Track By Track: Emma Russack

EMMA RUSSACK’s second album, ‘You Changed Me’, is heavily informed by specific relationships and settings, plus the likes of Joni Mitchell, Van Morrison and Michelle Shocked.

[Historical image is withheld pending rights review.]

‘Get Back’

Up until recently I’d somewhat resented having been brought up in a small country town (Narooma, population 8000). I always envied the ‘city kids’ – the ones who grew up in the big smoke and knew their way around. I always felt like the country bumpkin trying to navigate my way through the urban jungle. I wrote this song about not feeling like that anymore and finally being proud of where I come from. Now when I go back to my hometown, I never want to leave.

‘Cairns’

I really like warm weather, and I really like the beach. So Melbourne, it would seem, is a strange place for someone like me to live. There was a particular winter, a couple of years back, when I was absolutely certain that I would have to move to Queensland. I’d just broken up with my high school boyfriend and I didn’t have any permanent accommodation. Anyway, this song is basically about trying to run away from your problems. Alec [Marshall] came up with the really cool guitar lick, which reminds me of the America song ‘Ventura Highway’.

‘Scented Candles’

Over the years I’ve realised that the secret to contentment is to stay busy. There was a particular time in my life, a year or so ago, when I was just hanging around at home doing jack shit – and not feeling particularly fulfilled. Sometimes I’d go to the supermarket and wander around the aisles. But I never had any money so I’d just walk out and go home. It was a weird time. Anyway, that’s basically what the song is about. I wrote it as a rock opera – and in three movements. I thought that was rather ambitious of me at the time.

‘Stars’

I’m really happy with how this track turned out – it’s got a jazzy late-night vibe. Alec wrote all the guitar parts and played all the instruments (apart from drums) – actually, he did that on most of the tracks. The lyrics recall the time when I was 14 and lying on a trampoline in someone’s backyard at night, looking up at the stars. Lying next to me was this science nerd, and he was basically giving me a lesson in astronomy. I’d had a few too many of my dad’s light beers (which I had stolen) and I wasn’t in the mood. I just remember thinking, ‘Yeah, but what about the way they shine?’

‘In the End’

This song was recorded in the bush. You can hear birds chirping and a creek flowing in the distance. I’ve always had a certain fondness for the Michelle Shocked album The Texas Campfire Tapes, and thought it’d be cool to record a song (or an album for that matter) in that way – like a field recording. It’s all very au naturel and ‘organic’. When I sing the line “When I’m anybody’s woman,” I think I sound like a really crappy version of Carol King. But you’ll just have to hear it for yourselves…

‘London Town’

A couple of years ago I was in love with an older man who didn’t love me. For about a year we would meet up in fancy hotels all over the place (including London) and he’d wine and dine me for a night or so. Whenever we’d part ways I’d always ask, “When will I see you again?” to which he would reply, “Kid, we’ll always have Paris.” I finally realised that our feelings weren’t mutual and I wrote this song. It’s pretty whiney and vitriolic – a bit Alanis Morrisette-esque, perhaps. But hey, I don’t give a shit.

‘Two Lovers’

This is a really fun song about being single and feeling free. I got Melbourne’s finest pedal steel player, Ed Bates, to play on it and we really tried to play up the whole country vibe. I’m pretty sure you could dance to this song and it also features a bridge.

‘Women’

I think I had been listening to Van Morrison’s Astral Weeks when I wrote this song. And I envisioned having jazz flute on it from the very beginning. It’s probably my favourite track on the album, and recalls a fantastic time in my life. I was seeing someone who turned my world upside down for a while. And even though it ended, I had a blast. The alliteration in the line “Fine wine, fromage, at 4am” is something I’m very proud of. Cameron [Potts]’ drumming is particularly amazing too.

‘You Shouldn’t’

Long-term relationships are hard. And I was in one for seven years. It came to a point where I couldn’t trust myself to do the right thing when I went out at night, without my boyfriend. I think that was probably a sign that our relationship was doomed. I wrote this song about that very dark, dark time. On a lighter note though, Alec’s guitar solo is so awesome. It’s all about the Dunlop Cry Baby, baby.

‘Paris’

Alec and I wrote the song together (him the music, me the singing and words) and we don’t do that very often with my stuff. But that’s why the chord structure is a lot more complex than anything I would write completely on my own. The vocals are definitely inspired by Joni Mitchell’s Mingus album, which I adore. I don’t usually go into falsetto when I sing, but I did here and I really like it. The last section of the song becomes really anthemic. I wanted to go all the way with it a la the ‘Hey Jude’ outro, but Alec wouldn’t let me, so it is what it is.

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‘You Changed Me’ comes out today on CD, digital and vinyl through Spunk. Launch tour dates below.

Fri, May 30 – Boney, Melbourne, VIC
Sun, June 1 – MONA, Hobart, TAS [daytime gig]
Sun, June 1 – Republic Bar, Hobart, TAS
Wed, June 18 – Black Bear Lodge, Brisbane, QLD
Thurs, June 19 – RAD, Wollongong, NSW
Sat, June 21 – Brighton Up Bar, Sydney, NSW
Fri, July 4 – Metro, Adelaide, SA
Thurs, Oct 9 – Mojo’s, Fremantle, WA
Sat, Oct 11 – The Bird, Perth, WA