I can’t quite remember the first time I met Jason Ringenberg but it was at one of his early solo shows in Dublin. There was an immediate kinship that was revisited each time he came to play here in Ireland and we spent some time together, which he did on many occasions. Ringenberg has alsways been a dynamic performer with The Scorchers or equally in a solo capacity. He is the focal point of any performance he gives and his ability as a songwriter should not be underestimated. He has recently released a new album after taking time off from his musical endevours. Lonesome Highway caught up with him recently to ask one of our most interviewed artists a number of questions about his current musical situation.
After STAND TALL came out you have mentioned that you decided to take time out from playing music to concentrate on other aspects of your life. Did this break give you the necessary breathing space to recharge your creative batteries?
STAND TALL was a major event in my life.It essentially pulled me back into a world that I hadn’t existed in for 15 years. From 2002-2017 the whole focus was on my children’s music character Farmer Jason. The creative and commercial success of that record inspired me to continue making music in the adult world. After a year of solid touring and promotion work in 2019, I had planned to take a break for a few years to recharge and write new songs. Then Covid hit and everything changed.
The lockdown was a catalyst for creativity flowing and new songs emerging however the songs were largely not directly related to the pandemic. Was that deliberate?
At the beginning of the lockdown I was suddenly faced with unlimited time to concentrate on music. I immediately created the Barnstorming with Jason Ringenberg video program to stay connected to my audience. I had some songs left over that didn’t quite fit STAND TALL (Nashville Without Rhinestones, Stond on Rhinestones, Keep That Promise) so I decided to open myself up to writing a new record. Songs poured out pretty fast. When I finished Once I Rode with Crazy Horse and The Freedom Rides Weren’t Free I knew I had a solid record and immediately began recording. It was intentional to NOT do a record about Covid, although it certainly affected the process.
Again, as in the past, your subject matters are often steeped in history and particular people. Do these songs stem from your reading matter or do you get the idea and then do some research?
History and me are very old friends. I have been into history since my primary school years. As a 10 year old I knew more about the American Revolution than my teachers! What subjects to draw from is more an instinctive thing. For example, people think I must have written The Freedom Rides Weren’t Free in response to the summer racial unrest in the US. I actually wrote that in April before the George Floyd murder I simply felt a pull to write a song on that subject.
Has it been easy to ignore the recent particular political situation and are you hopeful for the future?
As an American it is impossible to not take political stances at this point in our history. It is very similar to the 1850s over the slavery issues. There are certain fundamental core American questions that everyone faces now. The storming of our Capitol forced everyone to take a side. For all its faults, I would rather live under our established historic democracy rather than some sort of neo-fascist personality cult.
RHINESTONED also, in a couple of instances, makes reference to those adorned garments that were part and parcel of Nashville and country’s past glories. These days they seem to set apart those who have a knowledge of a rich heritage rather than a pop influenced future. Would you agree?
Absolutely. You either get the history and glory of Rhinestones or you don’t. Rhinestones were a symbol of freedom, an affordable escape from the grinding poverty that most of the classic country singers came out of in the 40s and 50s. When those country singers of the 50s and 60s wore rhinestones, they were making a statement. “I am somebody worth paying attention to.”
Related to that looking back how do you now view your role as an innovator and catalyst in the re-emergance of country music’s roots?
I am proud of the influence Jason and the Scorchers had on Country Music and the broader music business in the 1980s and ‘90s. There were others making big statements as well, but we made our with a whole lot of volume and noise...
In relationship to that much discussed topic do you believe each to his own or do you think country music as currently played in the mainstream has lost its bearing?
Oh golly, much of what is played on commercial country radio really isn’t country. It is marketed for drunk rich frat boys. The format schism is complete now. Artists like Margo Price and Jason Isbell have nothing in common with commercial country singers like Jake Owen or Luke Bryan.
You write one some with Arty Hill an artist you have admired in the past. Are there other artists you also root for?
Yes Arty Hill and I have always had a great co-writing relationship, starting back with Beat on the Mountain, then Lookin’ Back Blues, and now the RHINESTONED opener Before Love and War. Arty is a fantastic country singer-songwriter. I usually discover new artists on the road. Given the lockdown I don’t have any underground talents to talk about now.
I think that the tour you did with Chuck Mead, Jim Lauderdale and yourself seems like an ideal billing. Do you miss touring these days?
Surprisingly, I am not missing touring too much. I found other creatively gratifying ways to create music and share it with my audience.
The role of George Bradfute is pivotal in the creation of your recent musical endeavours hoe did that relationship start?
When I went solo in 1999, I faced the challenge of making records without Jason and the Scorchers. Yea it was scary. I needed a producer who could not only handle all the technical aspects of the process, but also could create the entire music arrangement! Had I not connected with George Bradfute in 1999 my Jason Ringenberg and Farmer Jason phases would never have happened. He has been absolutely essential to my solo career. He is the perfect producer for me. He has an uncanny ability to sense exactly what a song needs, along with the musical chops to make that vision a reality. I never feel rushed or pressured around George. Recording there is always a creative process. I believe he is one of Nashville’s most talented musician/producer/engineers. Interestingly, for all his accomplishments and talents, he has no giant ego or showbiz veneer. He simply digs music and the process of creating it.
You also have such friends as Kristi Rose and Fats Kaplin involved. That reminds me of the tour you did in Ireland with both of them plus Paul Burch. Do you have fond memories of that time?
Yea brother Steve, I believe that is when I meant you as well, during the Kilkenny Festival in 2001. I remember it was raining buckets and I said to you: “I love your country but you have the damndest weather.” You simply smiled and nodded your head.
Regarding Fats and Krisit, they have played a huge role in the creation of my Jason and Farmer Jason records. Kristi appeared so many times with Farmer Jason that she had become part of the story line. On Rhinestoned she once again played a major role, dueting with me on The Carter Family'sThe Storms Are on the Ocean plus harmonies on several other tracks. One of the many aspects of Kristi's work that I dig is that she doesn't try to "blend in" like a Music Row harmony singer. Her power and personality are like a second lead singer added to the mix, much like Perry Baggs did with Jason and the Scorchers. I can offer no higher compliment than that.
I have worked with Fats Kaplin since 1996 when he did that amazing steel part on The Scorchers track I'm Sticking with You. He has played on every record of mine since then, using a myriad of instruments ranging from county steel guitar to a Turkish Oud. This is a cat who has played with Manhattan Transfer, The Judds, Jack White, Hayes Carll and countless other hit artists. I am enormously blessed to have him on my team.
Given the release of this new album are you revitalised to get out there and play when that is possible?
I do hope so, but science will drive the decisions.
For, obvious, economic reasons you tend to tour solo. Is that something that gives you an additional freedom in performance ?
Playing solo is an enormous challenge and enormously gratifying. Yes, I do have complete freedom to either soar or hang myself.
Equally however I have been fortunate enough to see you with Warner and your fellow Scorchers. Are there any plans to reunite the band?
There are no Scorcher tours or records planned at present.
There are several covers on the new album and you have often included outside material on your albums. How do you decide which songs you feel suit you?
My choice of covers is always an instinctive thing. Something draws me to the song as a performer. I have never been able to explain how it happens, but it does work.
Finally, you have two of your daughters involved in the album. That must have been a rewarding experience all round. Do you play together at home and will you encourage some further collaborations?
Music is a big part of our family life. My youngest daughter Camille is in fact studying to be a music teacher. I got the idea to record the old hymn Christ the Lord is Risen Today while listening to Addie and Camille sing it in our church choir.
Interview by Stephen Rapid
Photograph by Greg Roth