Jason Molina

Greg Locke: Did you release any recordings before Secretly Canadian started putting out your records? In general, do you remember much about your early days before Secretly Canadian? Jason Molina: I recorded a lot of music in the mid- and late-80s that was given away at either garage shows or other places. I used to record songs on my boombox at home then hand them out to the other guys sitting the bench during gym class. That’s not a joke, I really looked forward to hanging out with people who could care less about being molded into a perfect student. I had a few official releases over the years prior to Secretly Canadian that I can remember: several cassette-only releases by my old band, The Spineriders; a compilation track on a record called Clearing the Air around 89-90; a few compilation tracks; and several other cassette releases in the Cleveland area. I also did a flexi disc for a magazine along the way and a 7” all prior to Secretly Canadian. There are a lot of things out there with songs I wrote but did not sing on.

GL: So there was a good 15 years there that saw you playing and recording before picking up with Secretly Canadian. Can you tell me a bit more about the time before you were able to focus on your music as a career?

JM: I was playing live a lot, working full-time shit jobs, spending my money on guitars and books while my friends were all buying dope.

GL: Sticking with that time of books and guitars for a moment, is it true that you were in metal bands before your Songs: Ohia days? If so, are you still into heavy music?

JM: Not so much metal but more so heavy psychedelic rock. We liked Pink Floyd but also collected Folkways Records.

GL: Moving forward to the last 10 years or so, it seems like you have spurts where you record and release a lot of music in a short period of time. Do you work in spurts or are you always writing?

JM: I write everyday. I put together records and sometimes set them aside to start on another one. As far as my output goes, that all really depends on what Secretly Canadian sees as a strategic time to put something out. There’s more music sitting on the shelf than I’ve ever put out.

GL: Speaking of all these records, do you have anything you’re working on right now? Any plans for a new release anytime soon?

JM: I just finished a wonderful record with a well known Texas-based songwriter and am writing and doing demos for a solo record. A plan to record another Magnolia Electric Co. record in November with Steve Albini producing has been confirmed.

GL: Albini again? That’s great news. One of my favorite albums you’ve released, the final Songs: Ohia record, was recorded with him, too, so I’m already looking forward to that not-yet-recorded Magnolia album. I’ve followed the careers of Will Oldham, Bill Callahan, David Berman and Jason Molina for what feels like forever at this point. The four of you - as well as a few others - have really done an amazing job of continuing in the spirit of Dylan, Young, Townes and so on. I know that me and a lot of my friends feel very lucky to have you guys around. I know that you either are or have been linked to Will at times, do you know these other guys? Any thoughts on any of them?

JM: I’ve known, met and worked with most of those people. Some of them are good friends, others I only know from playing together or a handshake on the road - that’s enough for me in most cases.

GL: I liked Fading Trails quite a bit but was absolutely blown away by Sojourner. Why did you decide to put together Fading Trails like you did? Nashville Moon is a huge record for me personally, many people I know, too.

JM: Secretly Canadian came up with the idea to do Fading Trails and then work on the Sojourner box. It was a good idea and I’m glad I said yes to it. Otherwise I think those records would’ve come out over a five years period. I was too busy thinking about working on new music to wait that long.

GL: There’s not a whole lot of info about you on the Internet, which I love. I like music. I like to write. I like to write about the music that moves me. That said, I don’t really understand the world of media, and really appreciate you taking the time to “talk” to me, a fan who happens to write. How much do you put into this sort of thing? Is the mixing of art and business something you’re comfortable with?

JM: Well, I don’t put much time into reading music writing. I like to just get to my work. My job is to go and write songs and work hard.

GL: Okay. Getting back to your work, your lyrics imply that you’re a literate guy, or at least someone who knows and loves words. As far as the basic art of stringing words together goes, are there any major influences - be them songwriters, poets or whatever - you’ve carried with you?

JM: I was once really excited by old writing, old books and old sources. I have since worked on something closer to writing like I would say it. I do love words but I don’t live in books … but I do read everyday. I’m always looking for a good piece of trouble to get into or near so I can hear that language that gets thrown around in those situations.

GL: Tell me about being on the road; I’ve seen two of your shows, both of which were lean, mean and very memorable. Are you a big fan of touring and do you usually tour with the same people?

JM: I always tour with the Magnolia Electric Co. It is a name and it has many members. Touring is magic. Touring is very hard. Touring is not for everyone and not for me sometimes. That being said, I’d rather be looking at the town I’m heading towards than the minefield I just made it through - which thankfully is over my shoulder. Writing on the road is a pure joy and about as difficult to do as anything. Hungry? Cold? Exhausted? Lost? Worried? Stressed? Sick? Being treated like a dog? Now go write a song!

GL: Well, I think your true fans all appreciate the work someone like yourself puts in. I’d imagine you’re not making millions of dollars, you’re just making a living and putting your art out there - which is a lot more than most people manage. Okay, last question. I get the impression that your albums are put together in a way that nods to 60s and 70s albumcraft, meaning that you seem to consider the details - everything from sequencing to the small details that carry a level of consistency from album to album. Ten or less songs, simple artwork. Albumcraft. Do you think of the whole process as a part of the art?

JM: For me making a record is always Side A and Side B … or else a start-to-finish piece. The themes, art, lyrics and overall sound only work their best if they are carefully placed.