Writing 'February' made me realize that breaking form is a way of letting the song be human.
A lot of the songs are pretty unmasked. If you listen to "As Cool As I Am," it's not all that different from what you were hearing from Ani DiFranco and some of the other indie women artists of the time. It was still in that context, still seen as folk music.
I really lucked out with that song ["As Cool As I Am"]. Men were becoming much more comfortable with all the different facets and parts of their identity, including their gentler, funnier, sillier, nurturing parts. They started showing up. There was so much exploration of gender at that time. Women were showing up with the range of ways of being female in the world and men were showing up with the range of being male in the world.
A song versus an album is not like a scene versus a play.
Just like my career, I've sung the same songs night after night in so many ways. It's always different because every space is different. I lost my mojo once. It was like Austin Powers. I don't know why or how, but I had to get it back. And I did.
The very best thing you can do is to try to write a song that has some sort of impact.
Mortal City was really influenced by geography. [The song] "The Ocean" is the Pacific Northwest. Southern California and New York also figure into songs, and Iowa. "February" is very much about New England. "Mortal City" is Philadelphia. The whole album is this anthropomorphized landscape where the metaphors live in this geography.
Youll almost encounter a superstition amongst musicians, people sort of go through strange rituals, what they need to do to write a song.
As I said in one of my songs, we're still abolishing slavery, but nobody says it's a good thing. Nobody justifies it.
There's always people who came 600 miles to hear the song you didn't play.
The rest of the songs on the album [Mortal City ] have spare arrangements on them. Steve [Miller], really loved that. He'd just come off of a project with someone who basically had to mask the fact that there were no songs there with production. He said, "Oh, my God, you have real songs here!"
I would push for more production and Steve Miller would say, "Why do you want to have more production when you have real songs? You don't want to cover up the song."
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