Wooden Wand
Exclusive Interview: Wooden Wand
February 19, 2012
by Chuck Norton
Wooden Wand makes the kind of music that I can get into today and want to go back to tomorrow. More specifically, James Jackson Toth – the man behind the band – writes the kinds of songs and has the type voice that transcends time and place.
The first time I heard one of his songs, my first thought was how he reminded me of Steve Earle. I don’t want to inadvertently skew someone’s expectations of Wooden Wand, because they don’t sound like him as much as Toth’s songwriting would have been right at home in many other generational songwriting peaks, whether that be the time of Townes Van Zant, Earle or Whiskeytown-era Ryan Adams.
Wooden Wand is relatable, especially if you aren’t from a privileged lot in life. The songs are real, at times gritty, and full of Americana. The band is releasing a deluxe version their album, Brairwood, on April 17, 2012. It will feature a second disc of the demo version of the songs on the album.
Brairwood was recorded with a line-up that includes Toth, Brian Lowery, Jody Nelson (Through The Sparks), and producer Duquette Johnston’s band, Gum Creek Killers. The album was recorded in Homewood, AL (a suburb of Birmingham) and the demos were all recorded at Toth’s home in Lexington, KY.
The band will be touring with a line-up of Toth and Janet Simpson-Templin and will be on tour throughout March 2012, including appearances at SXSW.
For more information on Wooden Wand, visit their Web site.
DeadJournalist.com brings you this exclusive interview with James Jackson Toth of Wooden Wand.
For someone unfamiliar with the band, how would you describe Wooden Wand, musically?
JJT: It would really depend on the album. I like to move around a lot, follow the muse, as it were. If I’m talking to a banker or a cop, I say something prosaic like “rock and roll” or “acquired taste music.” If I’m talking to someone informed, I just tell them to smoke a joint and listen to whichever one they can find in the used bin.
What were the biggest challenges in writing and recording Briarwood? What led to the re-release with demos?
JJT: No challenges – I flourish in the studio environment, and the act of making a record is my absolute favorite thing about “the game.” We re-released the album with the demos because we felt that the album came out at a weird time of year and, for various “perfect storm” reasons, did not get the attention we all felt it deserved.
What did you learn from the process that will help you on your next album?
JJT: Well, for one thing, the band I am currently working with – specifically David Hickox, Brad Davis, Janet Simpson, Jody Nelson and producer/auxiliary member Les Nuby – are the band I’ve been looking for since I started making records. They’re versatile and creative and proficient. And they are able to use my preferred studio vocabulary (ie not “is that a b flat?” – although they can do this too – but more “you know that part on The Marble Index that goes ‘da da da da da…?’”)
Wooden Wand – Winter In Kentucky from fire records on Vimeo.
You mentioned that you have a demo version of all of your work so you can go back and reference it. When did you begin doing this?
JJT: As far back as I can remember. I have a really, really bad memory. So making demos is crucial. It’s not really for any other reason than to remind me how a song goes.
How do you typically put a song together? Do you focus on the lyrics first or is every song different? What drives the creative process behind your writing?
JJT: Every song is different, but they all seem to happen the same way. I don’t write songs so much as observe them being born. I know that sounds like a hippie-ass thing to say, but it’s true. I’m pretty passive in the process. A vessel. I just capture ‘em and try to make sense of them. Sometimes I think if I could stop, I would.
Are you working on new material or are you focusing on your upcoming tour and supporting your new album?
JJT: Always working on new material. The next record will be a defining moment for me – my life’s work up to this point, in fact. I am really excited. But I’m also looking forward to touring.
When touring, do you try to maintain consistency from show-to-show or to you like the mood of the band and the vibe of the crowd impact each performance?
JJT: It is unwise to be rigid in touring situations – that goes for onstage and off. Usually you can feel out a room. The best crowds, obviously, are the ones who come to listen and not to socialize. I like to show up early to things and acclimate to a room.
James Jackson Toth (Photo: Leah Toth)
Which do you enjoy more: writing, recording or performing?
JJT: Recording is my favorite thing. The other two things just support that process. To record, you need songs, so I write ‘em. To sell the songs, you have to go and play them for the people. I enjoy writing songs most of the time, but, as I hinted at earlier, the muse can be a real pest.
What are you most looking forward to during SXSW?
JJT: I heard that the Jesus and Mary Chain are playing. They have always been one of my favorite bands, and Janet, who will be touring with me, has always loved them too. So that’ll be exciting. But the thing I’m looking forward to most is seeing Baptist Generals at 35 Denton.
What’s the most bizarre thing that’s happen to you while on tour?
JJT: Nothing too unusual. I’m sorta necessarily desensitized to the novelty of travel. Details fade for me over the years. I wish I had better recall of situations, but I tend to rely on the memories of the people I was with at the time. My brain is like a hard drive that’s always needing to be defragged.
How has social media and social networking impacted how you market the band? Have you seen benefits or detriments from the intimacy your fans have to the band because of Twitter, Facebook, etc.?
JJT: I reluctantly use social media to remind people that I exist. But I long for the days when an artist’s only responsibility was to make good art.
I think it’s a great way to remind people about releases, tours, etc. But it’s a vortex. I have a pile of books about three feet high I’ve been meaning to read, but many days I find myself arguing the merits of Siamese Dream on Facebook instead of doing something more constructive.
As for ruining the mystery or whatever, I don’t really care. I’m not in the business of myth-making.
Is there an artist that you’ve encountered recently that you’ve been recommending to your friends?
JJT: Always!! My jam right now is Hiss Golden Messenger, specifically the album Poor Moon. Pretty perfect record. I don’t listen to a ton of current music, but I really love Graham Lambkins last album, Amateur Doubles. I dig Cass McCombs quite a bit. The last Renderers album made me jealous of its awesomeness.
What were you listening to in 2002?
JJT: Royal Trux and free jazz.
Which do you prefer: MP3, CD, Tape or Vinyl?
JJT: Vinyl>>>>>>>>>>>>>>>>>>>tape>>CD>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>MP3
Web site(s) you read regularly?
JJT: Does eBay count?
One Drink. One Album. One Movie.
JJT: Pappy Van Winkle 23 year bourbon, neat. William Basinski, Disintegration Loops. ‘Rosemary’s Baby’
Always with the disintegration loops!