After road-testing the new format at shows across Mississippi, Volt realisedthat one was the magic number. In August, she committed to the project, embarking on a month-long Amtrak train trip that became an intensive writing session, the shifting landscapes beyond thewindow inspiring her pen to scratch as never before.“I crossed Louisiana, Texas, New Mexico, Arizona, California, Nevada, Utah, Wyoming, Colorado, Kansas, Nebraska, Iowa, Illinois, Missouri, Tennessee, Kentucky, Arkansas, Mississippi,” she reflects.“The goal? Towrite the entire album through my travel. Most of the songs are inspired by the journey and real experiences. Others are from imagination.”
Recorded in November at Memphis’s legendary Royal Sound Studios – “on the same board where Al Green and Willie Mitchell made history” – One Woman Bandsaw Volt take an equally old-school approach. Rejecting the soft option of multi-tracking, she chose to record all the instruments live in real-time, flying solo except for two cameos on bass from New Orleans ace Dean Zucchero, and a pair of guest guitar solos from ‘Monster’ Mike Welch (a recent guest on Volt’spopular Blues ‘N’ Roll virtual sessions on YouTube). Co-producing the record with Lawrence Boo Mitchell, Volt made the bold decision to let the rough edges stay on, prizing atmosphere over perfection and delivering her most groove-driven material to date.
You can feel the turn of those train wheels in the addictive stomp of songs like Reap What You Sow, or Last Minute Packer, where Volt gives us a candid snapshot of roadlife’s manic pace, complete with a wicked double-entendre (‘It’sanother hotel room/One night stay, wap bam boom’).Meanwhile, therattle-and-shiver slide guitar of Espiritu Papago evokes the scream of a locomotive whistle. “Imagine John Lee Hooker on mushrooms, lost in the desert of Arizona, on a hot summer day,” says Volt.“That’s the vibe of that song.”
Just as the music cuts to the bone, so the lyrics are honest, raw and often witty, whether that’s Volt laying down her ground rules for a partner on Loving Me Is A Full Time Job, or exploringhow a parent’s toxic example can create a monster on Bad Apple. “It Ain’t Bad was the first song I wrote when the pandemic started,” she explains.“I remember walking in the park after fifteen days without family or friends,income or work, andtelling myself, even if we’re going through rough times, we’re still fortunate, so don’t take things for granted. Meet Me In My Dreams evokes how lucky we are when someone we’ve lost forever appears in our dreams. When your own memories start to fade, any new moment spent together – even in a dream –feels golden.”
The Covid-19 pandemic is an unprecedented chapter of human history, with noclear end in sight. ButGhalia Volt has given us the soundtrack to better times ahead, and the songs we’ll still be singing when we meet on the other side. This might be a One Woman Band – but you’re always welcome to ride shotgun.