On the Record with Phosphorescent

By Aiden Landman
Published: February 6th, 2009 | 9:25am

It makes sense that Matthew Houck, the creative force behind the critically lauded alt-country band Phosphorescent, would make an album of Willie Nelson covers. Both men give off a personal but troubled vibe, like there is something below their sunny exterior — depth, uneasiness, volatility. To Willie (Dead Oceans), released February 3, 2009, is Houck’s testament to the “Red Headed Stranger.”

Recently, Houck took us through the tracklist, giving us an insight into the album's construction. He cautions, “I'm going to try to refrain from talking about the songs themselves and their original versions by Willie Nelson. Suffice it to say that, to me, they are all defining moments of perfection in song. They are simply 11 of my all-time favorites, and it would be real redundant for me to just keep saying so.”

“Reasons to Quit”
Pancho & Lefty (Epic Records)

Funny thing to end up leading off with this track, because it was the last one that I picked for this album. I'd known for a while which of the other songs would be on here but this one
came forward only about a year ago. I suppose the way I'd been living over the last couple of years made this one particularly resonant when it came time to make the album. This version probably reflects that.

“Too Sick to Pray”
Spirit (Island Records)

I believe this one might be my favorite result of these sessions. As such, I don't have a whole lot more to say.

“Phases and Stages (Theme)/Walkin'”
Phases and Stages (Atlantic Records)

This is one where there's lots of folks playing on there. The way the instruments intertwine during the breaks really gets me going.

“It's Not Supposed to Be That Way”
Phases and Stages (Atlantic Records)

All of these songs were recorded in the summer time in Phosphorescent’s warehouse space, except for this one. Several months before the recording sessions, I had a couple of weeks off between tours and was staying in a friend's room in an apartment in Bed-Stuy, Brooklyn. I set up some microphones while I was there and recorded some demos of the songs that were to become To Willie. Angel Deradoorian [Dirty Projectors] was my roommate, so she came in and sang on this one. Everything sounded so good I ended up keeping the demo as-is and putting it on the album.

“Phases and Stages (Theme) / Pick Up the Tempo”
Phases and Stages (Atlantic Records)

This was the only song where we referred to Willie's original during recording. Our electric guitarist, Jesse Anderson Ainslie, was a little hung up on what to play and wanted to listen to the original to try and get a feel for what they were doing. Turns out that in the original — buried low in the mix — there’s a fellow on an acoustic guitar doing licks like you wouldn't believe. Jesse got so stoked on them he decided to try and copy them. Now, our version is pretty different from the original — different tempo, different key, etc. — but he went for it anyway, lick for lick. Damn near nailed it too.

“I Gotta Get Drunk”
Both Sides Now (RCA Records)

This is all pretty much a one-take deal. Everybody is really killing it. Listen to that piano, for example.

“Can I Sleep in Your Arms Tonight”
Red Headed Stranger (Columbia Records)

I always thought this song had a real hymn-like quality, even though — or maybe especially because — it’s all about aiming for redemption through lust. So I wanted to see how it felt with a full choir.

“Heartaches of a Fool”
Willie Nelson's Greatest Hits (& Some That Will Be) (Columbia Records)

This was probably the earliest of these songs that I knew I wanted to record one day. Way, way back — even as a child — I loved this one. Good lord what a sad song. For the next three songs, this record will hold on to that tone.

“Permanently Lonely”
Good Times (RCA Records)

Another absolute psalm here; thank you for this one, Willie. A genius move to sing from the perspective of another person in order to get a clearer picture of one's self.

“Last Thing I Needed First Thing This Morning”
Always On My Mind (Columbia Records)

This really is a perfect song. The song itself is [perfect], also the way everybody plays on it here. I think we got something pretty special. The pedal steel after the line "Just go on if you want to be free" is one of my favorite moments on the album.

During the recording I had tried a couple of vocal takes, but to my ears they just weren't stepping up to the heights of what this song required. I mentioned this concern to
Jesse and he offered some advice: Tomorrow night, go to the studio late, weary, and drunk. Turn this song on and listen. While it's playing, drink two big shots of tequila and think about "Nothing Compares 2 You" and how Sinéad O'Connor absolutely owns that slow, sad song. Then hit the record button and sing. So I did just that.

“The Party's Over”
The Party's Over and Other Great Willie Nelson Songs (RCA Records)

This was the final song I recorded for the album. This one was the one that was most daunting for me. I had played this song many times at solo Phosphorescent shows, always looping the vocals, guitars, feedback and everything ’til it was a big din of noise.

At least once or twice it blended with other songs and lasted for as long as 45 minutes and was the only thing that got performed that night. So it had that kind of heritage and possibility, but I didn't feel that it would fit with the vibe of the album that way. Once I played it this way with the piano, I knew that was how it should go.

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For more information on Phosphorescent, check out their MySpace.