STEVE POLTZ - JD SOUTHER

This is the story of Steve Poltz. Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages. The resulting album is called Stardust & Satellites [Red House / Compass Records]. “I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.” The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix. They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced. The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.” But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, My mom passed away, and then a few years later my dadncrossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit. The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve. On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radionsingle.“ Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fuzzy rhythm with you.”n“Hey, Everyone loves a can of pop” he cracks. Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell. With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day. Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dream house, Folk Singer, and 2019’s Shine On. No Depression crowned him, A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.” Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon. He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is. Ultimately, Steve never needed a plan. He’s something of a natural, after all.

Songwriters Hall of Fame inductee JD Souther is “one of the most celebrated songwriters of his generation,” writes Interview Magazine. “Raised on a steady diet of big band and jazz during his childhood, Souther has routinely returned to that music— as well as the genius songwriters of the early 20th century (Gershwin, Cole Porter)—for inspiration. On his latest studio album, Tenderness, Souther combines these musical threads, striking a perfect balance between understated jazz and the ineffable pop narratives that have been the backbone of much of his greatest work.” JD’s latest releases include Tenderness (Sony Music Masterworks), described by Uncut Magazine as an album that connects “LA’s ‘70s golden age with the Great American Songbook,” with songs that “sound like standards themselves.” Souther has also reissued expanded editions of John David Souther, Black Rose, and Home By Dawn (Omnivore Recordings), followed by a reissue of Longbranch/Pennywhistle (September, 2018 / UME). Longtime friends Glenn Frey and JD Souther known as Longbranch/Pennywhistle originally released on the Amos label in 1969, the self-titled Longbranch/Pennywhistle may have ultimately been consigned to the side bins of the acid-rock era, but songs like “Kite Woman” and “Run, Boy, Run” serve as the literal seeds of the country-rock movement Frey and the Eagles perfected to a T. Besides navigating the success of his own fine solo career (see “You’re Only Lonely”), Souther also went on to be a chief Frey collaborator on such pivotal Eagles songs as “Best of My Love,” “New Kid in Town,” and “Heartache Tonight.”Souther has penned countless hits for the Eagles, Linda Ronstadt, Roy Orbison, James Taylor, Don Henley, George Strait, Trisha Yearwood, Brooks and Dunn, and others, while establishing a cult following as a performer with the Souther-Hillman-Furay Band and as a solo artist. As an actor, he has appeared in the TV shows Thirtysomething and Nashville, among others. A passionate animal lover and advocate, JD is also involved with Best Friends Animal Society. “Souther proves his work holds up as well as Dylan’s or Simon’s or Lennon and McCartney’s and... deserves such astute re-examination.” – JazzTimes