It felt like such a good experience to have, a great life experience to get to make a record with a friend like that.” “I wanted to do something different with my record and I thought, ‘Wouldn’t it be fun to work with those guys?’ I wrote Jason asking him about it, not really knowing what he would say. “The inclusivity of the whole group and the musicality every night was just wonderful,” Ritter explains, seated alongside Shires and Isbell in the control room following the session. It was after this tour - and the 2017 release of Ritter’s most recent album, Gathering - that Ritter thought that connection could extend to working in the studio together. ![]() Ritter and Isbell crossed paths a number of times over the last few years, but it wasn’t until the two toured together in 2016 that they discovered a special musical connection. Shires isn’t hearing what she’s wanting after the first couple of takes and has a few choice words for her fiddle in the interim. ![]() “Now go back and stack on top of it.” Shires layers three fiddle parts atop one another, the second and third layers played ever-so-slightly more loosely than the first, making for a sound that’s at once fat and chiming, stretching across the backing music like thick, lustrous strands of taffy. “You’re a genius,” Isbell says to Amanda Shires, who is still in the booth recording her fiddle parts. It’s classic Ritter on Muscle Shoals-bred steroids. “In Passing” is anchored by the acoustic warmth and unpretentious erudition (“Love the thorn and hate the rose,” Ritter sings in the hook) endemic to Ritter’s earlier work, with a gently twangy, studiously meaty heft lent by the 400 Unit. The song, an optimistic, mid-tempo rambler called “In Passing,” is the group’s penultimate to finish after a week in the studio, following initial sessions held back in August. ![]() It’s the last recording session for Ritter’s new album, which Isbell is producing and playing on as part of the 400 Unit, and they’re in the thick of adding fiddle to one of the album’s tracks. "And then eventually I was still drinking, but I wasn't celebrating any more.It’s a rainy November evening in Nashville and Josh Ritter and Jason Isbell are huddled in front of the console at Sound Emporium Studios, an historic space located in an otherwise nondescript building in the city’s Belmont neighborhood. "I started drinking to celebrate," he said. He would spend six years with the Georgia rock group, and marry bass player Shonna Tucker.īut by 2007, he'd divorced his wife, been fired by the band, and was drinking heavily. Isbell would soon make his mark with a band called The Drive-By Truckers. ![]() It was the gateway to everything we wanted to do." "So what did it mean to you to come here?" The songwriting job was his first steady income from making music,"other than, you know, $50 in a bar." Jason Isbell with correspondent Anthony Mason at Fame Recording Studios in Muscle Shoals, Ala. At 21, he was hired to write songs for Fame, where Little Richard, Aretha Franklin and the Allman Brothers had all recorded. Pretty soon they were paying attention in nearby Muscle Shoals, too, at the legendary Fame Recording Studios. "Everybody started paying attention in the family," she told Mason.
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