Hal Ketchum discusses Father Time

I caught up with Hal while commuting via van through Montana, on his way to northern Idaho.

Americana Roots: You just began your tour for your new record Father Time, how is that going thus far?

Hal Ketchum: Going great. We are now on our way up to northern Idaho, about a 10 hour drive. Just another day at the office. The show last night was good. You know, all of my guys are from Austin, Texas, and we are all old friends. So that makes traveling together pretty fun.

AR: I have heard rumors that during earlier tours, you would take the stage under a pseudo name, and open for yourself. Still doing anything like that?

HK: I still do it every once in a while. I have opened as Clovis Man, who is the original nature of the spear point. The band and I are now going to start out with sort of a bluegrass opener, and call ourselves the “High Lonesome Pecker Woods.” Just for fun, we thought we would try some Zeppelin covers and write some really bad songs to see how it goes. Just five or six songs, to get everyone in a good set of mind and ready for us. Got to keep it interesting.

AR: The new record sounds great. I know you recorded it in what today is a very unique way, live on two track. Can you tell me a bit about that whole process?

HK: I have a lot of friends who are session players in Nashville, and they don’t even sit in the same room anymore when they make a record. There has been a real complacency that has begun to grow when recording, especially with all the Pro Tools and technical stuff. You don’t even have to make a good pass through anymore, since they can just fix it all in the mix. They just fly in a note, or fly in a bridge. So, my theory was getting all my guys together, and cut a record live with no backup. Let’s just fly by the seat of our pants, and see if it works. I had a pretty good pile of songs all ready for the session, some of which I have been playing live for a while and getting good responses. I felt pretty comfortable about the material. I just cast the project sort like you would cast a movie. I tried to find the right players for these particular pieces, and fortunately it worked out. I was a little apprehensive, I cut it on the last Thursday and Friday of March, and I remember asking myself on Wednesday night “What are you doing?”

AR: So you were a bit nervous, huh?

HK: I knew everyone I had gathered had the talent to pull it off, I was just not sure it would all work the way I had envisioned in my mind. You never know until you get in there and start playing, how it is all going to go. I remember now feeling so gratified after we were done. By the way, I did not even sequence this record. The order you see it on the record is exactly how we played it. I went back when we were done and started to sequence it, but I thought there was a certain spirit there already so why mess with it at all.

The first song, “Invisible,” I played it on an acoustic guitar while Russ Pahl charted it out. We counted it out and went live. Everything just flowed from there. After the first take on “Invisible,” we listened to it after we were done, and thought it sounded good. I felt like we were really on track for something special now. One of the guys came up to me and mentioned how we could improve it here and there, but I thought we had some momentum going, lets not mess with anything right now and keep going. Let’s just plow. So there is some concession to imperfection here, but that is what makes it real. Just ten human beings together in a room playing live music.

AR: I agree. Those imperfections you mention only add to the depth and character of the music on the record.

HK: Oh I agree. It’s human!

AR: Was there anything in particular that made you decide to record this way now? Was there something in particular that you heard, or someone mention to you, that made you do this now?

HK: No, not really. It was just conversations that I had with my friends talking about how they really missed being together and creating a record. The human element was disappearing almost. Also, everyone seems to be striving for perfection, and the equipment has got to be so good that you could actually tune a fart if you wanted. It was not a boastful endeavor by any means, I only wanted to give it a shot and see how it went. You know, these songs start with a guitar and a voice. I wanted to capture the essence of that, and then embellish it with these great players. It is also a tribute to the level of musicianship in Nashville. This was all done on the fly. I go back and listen to this record now, hearing Aubrie Haynie on fiddle or mandolin, and Bryan Sutton on guitar, along with the background harmonies, and it is amazing to me we accomplished this with absolutely no rehearsal at all. It was really masterful musicianship all around.

AR: I have heard from several different artists, complaining about the same issue you mentioned. The technical, Pro Tools, are being abused. They can take virtually anyone off the street, package them right, and make them sound like a great singer.

HK: Oh yes definitely. I am from the old school. If you can’t sing, then stay at home. There are so many other things you could be doing. I love singing. I hit it every night with the same drive and desire as I always have. I started humming before I could talk.

AR: You have been with Curb for quite a while right?

HK: Yes, I have been with Curb since 1989. I have never been on any other label, and I feel very fortunate to say that. I don’t know of anyone else that could say that over the same period of time. It has been very good for me. Of course there are peaks and valleys in any relationship, but right now things are going great. I have been guilty in the past, much like others, of blaming the label when something goes wrong. But there are different ways you can handle that adversity. You can drink over it, cry over it, or roll up your sleeves and work on it. I have been fortunate to be able to work with some great people there. My good friend Dennis Hannon has been with Curb since I have, and he and I were talking the other day. I am kind of an old dog now, and country music radio has moved into another direction. So I told Dennis that I just want to make records, and not worry about anything else. He gave me full support behind this project and my choice of recording it on two track, and I am indebted to him for that. There are lots of younger musicians who have came in on Curb lately, and they really know how to get this stuff going. The internet has completely changed things in music as well. There is so much at our fingertips now at all times.

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AR: Do you ever think about the longevity of a song while writing it, given that someone may be listening to it over the internet 10 or 20 years from now? Do you try to avoid current topical subjects for songs, thinking their meaning and purpose are short lived?

HK: No, not really. It is comforting to think the music has that much age to it, but I really do not think much about whether it only pertains to today or tomorrow. If a topic strikes me, I will write about it.

AR:  So do you still go through the process of picking out a single on a record?

HK: No, and I never really did before. My first three records for Curb were with Allie Reynolds at Curb, and we never went in with any initial thought at all that this is the single, or this is the hit. We just went in each time and tried to make a good record in its entirety. The promotion guys at the label made all of the choices on singles. They know far better than I what will strike a chord with the public. I think they are all good, or I would not record it.

AR: On this record, as well as others in your past, you use a lot of harmony vocals. Is there anyone that you have yet to record with, perhaps a duet, that you would love a chance to do so?

HK: Vince Gill, without a doubt. I think he is one of the greatest and most gifted musicians that ever lived.

AR: I am surprised an opportunity has not come up yet for you to work with him.

HK: Well, we are friends, and we know each other very well. It is a funny kind of relationship, but I think we would have a blast working together. I know I would enjoy that very much.

I would also love to work with Emmylou Harris any day of the week. Van Morrison is another singer I admire, and would enjoy recording with. Patty Griffin is another with a great voice.

AR: Maybe you should consider a full duet record.

HK: Hey, that is not a bad idea at all. Thanks John!

AR: Back to Father Time, your song choices were very good. Since you recorded this live on the run, how did you select these from the rest you brought to the recording sessions?

HK: Oh yeah, I had a big handful of stuff. I really just wrote out a master list, and in no particular order just started pulling from it. That first day, we cut nine songs. So on the second day I had to go back through the pile and really start thinking about what to use to complete the project. “The Preacher and Me” is actually the first song I ever wrote, but I had never cut it. I was out one day working in the yard, and it kind of popped into my head. I went into the garage, and wrote the lyrics down on drywall so I would remember it. I go out that second day to leave for the recording session, I look up and there are these lyrics on the wall. I thought I better take a swing at it.

AR: That song is actually one of my favorites from the record.

HK: Thanks. I was very happy with how that turned out.

AR: Another song I really enjoyed was “Sparrow.” Can you tell me a bit about that one?

HK: I wrote that one very recently, only a couple of months ago. My brother sent me my great-great-grandfathers Civil War discharge papers from the state of Vermont. I was just looking over these papers, and the song came to me. The Civil War has always struck a chord with me, and this song flowed very well from the start.

AR: I see you are headed back down to the Opry very soon. I understand the Opry is going to try a Thursday night format, where they will go back to some older stars and sing some classics. What do you think about that?

HK: I think that is wonderful. I believe it is very important to continue to spotlight our predecessors. They are our tribal elders as far as I am concerned. I have been a member for 14 years now, and I have had the great honor of being around legends that have been doing this for 50 years or so. They have so much knowledge, and so much to share. I am sort of in the middle ground now, but as a young artist I loved sitting around and soaking everything I could in. These were people who ran the roads when we only had two lane paved highways at best, with instruments strapped on top of their vehicles just to make it. They laid the groundwork for all of us. I think anything we can do to honor them should be done without doubt.

AR: Who were some of your favorite past performers that you looked up to?

HK: Well, I love Little Jimmy Dickens. He just knocks me out. Jimmy C. Newman is another who is still out there rockin’. Charlie Walker is another I listened to frequently. The late Billy Walker was great. Charlie Louvin has got be at least in his 70’s, but when he takes that stage it is like he is 19 again. That has been a lesson for me. The time on stage is the most invigorating thing there is. It brings back all of the youth. Watch these cats who have been doing this for a long time, they still go out there and kill it every time.

AR: Now you originally got started in Texas right?

HK: Gruene Hall was my music school. Absolutely. There was so much great music going around down there at that time.

AR: Blaze Foley and Walter Hyatt would have been there about that time, right?

HK: Oh, I knew Blaze. Great stuff. Uncle Walt’s Band, along with Champ Hood is just killer. Great, great stuff.

AR: Another name from Texas that actually came from Todd Snider was Willis Alan Ramsey.

HK: Oh yeah. Willis put out one record in the early Seventies, and decided it was the best he could ever make, so he decided to never put another out. Great stuff. Pretty obscure cat, but great music.

AR: Anything you are currently listening to?

HK: I am all over the map, touched by all sorts of things. Nothing really stands out.

AR: I know on your Web site, Neil Diamond has lots of praise for your new record. That must feel pretty good.

HK: Oh yeah. There is the man right there. That is like Picasso telling you how well you did painting. It is mighty fine, and I appreciate it very much. He is a brilliant man, and great guy.

AR: Anything new upcoming that we can look forward to?

HK: Not right now. I am just going to ride the wave on this record for a while. I am writing some songs for the next record, but I am not in any rush. I just take my time.

Tags: Features, Hal Ketchum