With his brand new album I’m Glad Trouble Don’t Last Always having just released on Bloodshot Records last week, we talked with Americana slide guitar virtuoso Luke Winslow-King for our newest NoiseTrade One-on-One. We talked to the bluesman about the thematic inspirations behind his new album, the role of geography in his musical landscape, and what slide guitarist he recommends listeners check out.
NoiseTrade: Tell us about the themes on your new album I’m Glad Trouble Don’t Last Always. Where did the inspiration for the title track come from?
Luke Winslow-King: The inspiration came from true life events and overcoming my own personal struggles and challenges. It’s about trying to find faith and confidence in dark times. Stylistically, it was inspired by great blues artists like RL Burnside, Mississippi Fred McDowell, and Junior Kimbrough.
NT: Another of your new songs “Heartsick Blues” has a few nice lyrical references to classic country legends Hank Williams and Ray Price. Were those intentional winks or did they just appear naturally as you were writing the song?
Winslow-King: This song is actually all a true story. I wasn’t just trying to be clever or give a nod. It was actually true. When I went through my break up, she started singing “Please Release Me” and “I’m So Lonesome I Could Cry.” You know things have gone wrong when your partner starts listening to a completely different kind of music overnight.
NT: “Esther Please” is the third new track you’re offering on your NoiseTrade sampler. Were you channeling any other artists to help nail the slinky shuffle or is that one all you?
Winslow-King: We were definitely inspired by John Lee Hooker’s song “Baby Lee.” I always thought of this song as a kind of a crawl or slow grind. It’s been one of my favorites to listen to for years.
Mike Lynch plays Clavinet keyboard on the song. The plunkyness adds a whole new element, almost like a banjo. Drummer Benji Bohannon brings a very unique rumba style to the song as well. The band has a special cadence and harmonic rhythm that can only be captured live. They wait for me to deliver the next line before proceeding to the chord changes. Some verses are 12 bars, others 14 or 15.
NT: Your new album has been described as a “sonic travelogue” as you play with a fantastic variety of genres: Chicago blues, Heartland rock, Memphis R&B, Midwest country, New Orleans jive, and more. To what do you ascribe your geographical sonic stew?
Winslow-King: Travel. The band is constantly on the road and soaking up different influences. New Orleans is a hotbed of many of these genres, and I’ve done my best to soak them up over the years here. I feel like the band’s sound has actually solidified over the last couple albums. We were able to condense our sound stylistically on this effort while still feeling free to explore.
NT: You’ve added a couple other catalog gems on the sampler as well, including the bluesy rave-up “Swing that Thing” from your 2014 album Everlasting Arms. How do you feel your new album is different from your previous four releases?
Winslow-King: There’s a little bit more of a drive on this album. The recording process was done mostly live and utilizes electric bass and drums on most tracks. Our albums are starting to reflect our live show a little bit more. We’re looking for that audience response and participation live and trying to transfer that feeling onto wax.
NT: Finally, while your own slide guitar skills tastefully hum and howl in a league all their own, who are some other slide guitar players that you think folks should check out?
Winslow-King: My slide guitar maestro is named Roberto Luti. He is featured on the album as well. Roberto and I are both students of great slide guitarists like Ry Cooder, John Mooney, Mississippi Fred McDowell, Blind Willie Johnson, and RL Burnside.
When writer Will Hodge (@will_hodge) isn’t finding that dark was the night and cold the ground, you can find him running off at the keyboard about music, concerts, and vinyl at My So-Called Soundtrack