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Your originals tend to cover
topics not often explored in blues, or to cover the old topics
in new, unexpected ways. The Ten Dollar Dress tune "Latex,"
for example, brings a contemporary twist of direct sexuality
to the old "cheatin' song." How important is it to
you to do things artistically that have not been done before?
"Latex" is kind of tongue-in-cheek;
it's a fun song but with a serious message. People respond to
it. I do like to stimulate people or even take them outside their
comfort level a little, with a song like "Hey Hey"
[which deals with drug addiction] or "Abused." I like
it that at the end of "Abused," people don't seem to
know what to do. And I think the reason a lot of people are uncomfortable
is that so many people were abused, are abused,
or are abusers, that they don't even realize it. So songs like
that stir intense emotions in people, and they're like, "Do
we clap? Do we holler? Do we not?" But I know then that
I've touched them, that I've made them think. And that's good.
It's a song I don't do it live often, because it's so heavy emotionally
for me.
It's so great to have this album out there
and to get a good reception. Especially as a songwriter, because
I always thought my stuff was too heavy, too controversial, and
too personal to be experienced by other people. I didn't understand
until a couple of years ago that different people can experience
a song - just like a painting - with different eyes. That everyone
will see different things in them. And that I didn't have to
be such a literal writer, that I could be more abstract. So I'm
happy to have people saying that "Latex" is a cool
tune.
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