Here’s a playlist of artists who I discovered at this year’s Hopscotch Music Fest in Raleigh. Once again, a great time at what I feel is a really well run festival and I can’t wait to go again next year.
Love this whole conversation but there’s a lot of interesting stuff at the very end of the interview about Love is Hell, which came out 10 years ago.
STEREOGUM: One last thing I wanted to talk about, just because it’s one of my favorites that you’ve done, is that Love Is Hell, the full album release, turned 10 this year. I was wondering where that fell for you in your career, how you look at that record, what you think about it now, all that stuff.
ADAMS: I think it’s great. I think it sucks anybody ever had to buy it as two EPs. I think Lost Highway did that because if they released it as two EPs they didn’t have to pay me for one album. It didn’t have to count as one album. That was, actually, I think their strategy back then. And I think that Demolition didn’t count as a record either because it was a compilation. They were such dicks, dude. I owed them like 8 or 9 records for option, and they weren’t even counting things off. I felt like, musically, I was trapped in some basement of a house. Some country person’s house.
But Love Is Hell, to me, it’s one record, and you can only get it as that now on iTunes. We fixed that. That compromise was shocking to me, that somebody would do that. You know what’s interesting, too, I think that’s a beautiful record and there’s more mystery on that one than I can find in the rest of my catalog, the depth and the mystery are really there. At the time, with my label shitting on me and doing that kind of saboteur thing they were doing, I noticed that people followed suit. Reviews and people followed suit with the way it was being presented. Things are only as cool as you make them. People are going to follow the way you’ve been nurturing the thing you have. If the label’s treating it like it doesn’t matter and it’s crap, people aren’t going to know how to react. I always had the sneaking suspicion that time was going to do justice to some of the work. And it was always going to live its own life and grow up sort of its own way. And it did. I just knew. I didn’t care. I loved it, and if nobody ever gets it … it was the same thing I was doing when I was living in Jacksonville, North Carolina, which was: I was waking up and making music. That was enough for me. It’ll always be enough. It’s enough now.
Hopscotch starts tomorrow! I’ve been listening to the official Hopscotch playlist for the past couple of weeks and compiled a playlist of the artists I am digging (both bands I was aware of before and those newly discovered) heading into the weekend.
RIP Reflection Sound recording. A Charlotte treasure lost.
R.E.M. cut 1983’s “Murmur” and 1984’s “Reckoning” at Reflection’s Central Avenue location, where the studio has resided since the early 1970s. Others who recorded there include The Eagles’ Glenn Frey and Joe Walsh, Joe Cocker, Buddy Guy, Aaron Neville, the Dixie Chicks, Hootie & The Blowfish, Mary J. Blige, Ben Folds Five, Don Dixon, and Southern Culture on the Skids. #progress #needmorecondos