What I Deserve had the nice fortune of arriving simply as Americana was establishing itself as a marketable option to characterize Kelly Willis’ fourth album and its near-flawless fusion of nation, Texas twang, folks and pop. It additionally had the slight misfortune of being launched on Rykodisc—the primary indie label devoted solely to the CD format—in 1999. That very same yr, following a takeover by Island Information founder Mark Blackwell, Ryko’s Massachusetts workplace was shuttered and plenty of of its key gamers had been laid off. However that didn’t forestall What I Deserve from turning into one of many label’s best-selling releases of 1999.
1 / 4 century later, Omnivore Recordings has reissued What I Deserve for the primary time on vinyl. The brand new model contains 5 bonus tracks recorded dwell on Mountain Stage in 1999, plus liner notes from No Melancholy’s Peter Blackstock. Except for a pair of Willis originals, the LP options three excellent co-writes with the Jayhawks’ Gary Louris and one other with Grammy-winning producer John Leventhal. There’s additionally a number of well-curated covers, together with two gems by Bruce Robison (Willis’ former husband and longtime musical collaborator) and a sadly lovely tackle Paul Westerberg’s “They’re Blind.”
Touching base from her house in Austin, Willis took an sincere look again at her early years with MCA Information, mentioned the pivotal occasions that led to What I Deserve and defined her present standing as considered one of three Marvel Girls Of Nation.
What I Deserve had a fairly inauspicious starting. Inform us about that.
I began the file in San Francisco with a few producers (Norman Kerner and Daniel Presley) I didn’t know, and I used to be making an attempt to determine why I even went on the market. I’d simply began working with a brand new supervisor, and he had this connection to those guys, and he was making an attempt to get the ball rolling for me. After the primary few days, issues simply weren’t clicking. And I used to be like, “This may be my final likelihood to make a file, and I’m making the file I wish to make.” So I simply determined to take my tapes and go house.
What occurred whenever you obtained again to Austin?
The primary particular person I considered was (producer) David McNair. I referred to as him up, and he simply grabbed it and ran with it. He obtained the band collectively and made it occur. He actually delivered for me—he saved me. I saved a number of the primary tracks we did in San Francisco, and I recut another songs from scratch. I additionally introduced Chuck Prophet again with me from California. He was a gun for rent on that session, however he was so fabulous that I flew him to Austin. I’d been a fan of his since he was in Inexperienced On Crimson. I’d met him as soon as earlier than briefly on a prepare in Norway when my bass participant, Byron Home, was soothing a crying child along with his acoustic bass, and Chuck and (Inexperienced On Crimson co-founder) Dan Stuart came visiting.
In hindsight, why do you assume it went so badly in San Francisco?
I don’t assume they actually knew a lot about nation music, and I didn’t understand that till I obtained there. We weren’t actually talking the identical language, and I simply wasn’t going to waste a chance by making one thing I didn’t intend to make.
Was it about not reliving previous errors?
I used to be so inexperienced once I obtained my (MCA) deal. I used to be studying as I used to be going, and I didn’t have a powerful voice but—not singing smart, however creatively. I realized a lot in Nashville, after which that chance went away. I didn’t even know if anyone was ever going to permit me to make a file. I briefly went to A&M, however then that they had a reorganization and let my A&R particular person, Teresa Ensenat, go. I didn’t assume I might be no matter it was they needed me to be with out any person who actually believed in me. So I left. I used to be considering that, if nothing else, I’d make the file I wanted to make, after which I may transfer on with my life and see what else there was for me.
After which a brand new radio format got here alongside …
After I was with A&M, Americana didn’t exist but. There have been all these totally different radio individuals who’d been looking for a spot for folks like me and Lucinda Williams. Radio would possibly’ve performed considered one of Lucinda’s songs lined by a rustic artist, however they weren’t going to play Lucinda. So the timing was form of miraculous for me. Austin’s KGSR was a pacesetter, they usually influenced what different stations did. They performed a lot of me that my file was primary for seven weeks on that chart. That was a game-changer—to have a spot the place folks needed to play you and needed to listen to you.
Was it troublesome to get the music again from Rykodisc for the reissue?
No, it was so great. I simply referred to as up Jeff Rougvie, who’d signed me, and requested if there was a way I may get some bodily copies to promote at my exhibits. Jeff was like, “I can do this, however what you really want to do is reissue it—and right here’s who I feel you need to speak to.” He continued to do A&R for me and make the reissue occur.
Transferring on to extra present tasks, how did the Marvel Girls Of Nation come about?
We simply occurred to be on the identical invoice collectively, proper across the time COVID was ending and a few little issues had been beginning to occur once more. Bruce and I had been on the identical invoice with Brennan (Leigh), and Brennan had Melissa (Carper) enjoying bass for her. We had our massive, loud rock band, which I like. However I’m watching them play and be so intimate, acoustic and simply sensible. I used to be jealous—I actually needed to try this. I had some songs I by no means play with Bruce that I believed would sound good in that setting. Bruce and I had cut up, and we hadn’t informed anybody but. I used to be actually making an attempt to broaden on the issues I usually do and get again out into the world. I believed it could be good for me to spend time with these two sensible folks. We commerce songs, however we carry out them like a band, not like a tune swap. It’s been wonderful.
—Hobart Rowland