Kim Ruehl: Let’s talk about your new record a little bit. It’s such a pretty record, and when I listened to it—before I had even read anything about it—I thought it sounded just like springtime in New York City … was that what you were going for, at all? Did you have a specific intention for how you wanted this record to sound?
Rosie Thomas: No, that was not my intention at all, although it’s a great thing. I don’t really tend to think about [what it sounds like]. I tend to just record and then give [the songs] away.
But I guess I just wanted to capture all the laugter and enjoyment, the leisure time that went into it. I chose to keep the moments of talking to show how laid-back the process was, because that’s what it was for me. I needed to take a break from the deadlines for the first time in a few years … every record I’ve ever done has been in, like, two weeks, because money is limited.
This one took place over a year and a half, though, so it was very laid-back, no pressure. It began as just an idea. We weren’t going to do anything with it. It was just for us to have fun. Then, without realizing it, we created something really compelling, and I thought it was worth sharing with people. Suddenly, I could kind of heard how the songs came together.
And, you know, I really trusted myself for the first time with [the creative process]. Usually, I’ll just analyze everything, trying to make decisions; but this time I allowed the songs to be exactly what they were. It was like I was sitting on a mountaintop and thinking, “Rosie, you can fall off,” [laughs] which would, you know, suck. “Or you can hope and have faith that there’s something taller than where you are now, something else to climb to the top of.”
So that’s what this record was about, what I wanted it to sound like: You do heal, you can accept change. Had I not done that [by making this record], I’m not sure I would’ve had something to share with people. I needed to be reminded of that.
Well I definitely got that with the lyric from the title track, “Maybe I need this time to be reminded for myself how I love to sing.”
Yeah, let me tell you about that song. When we were working on this record, I never expected to sum it up with a song about friendship. But then I recorded that one after I had gotten back to Seattle. I knew I had to get my mind off myself and my worries and troubles, and I realized how grateful I am for my friends. I realized how important they are to help me get through things.
You know, six years ago, I played music because I loved it. I’d play in a bar and make $40 and be able to buy a drink, you know. And then you start touring and people start asking you questions and you think, “Do they think I’m important?” You start getting self-conscious and more shy onstage and you’ve gotta rethink yourself. So that’s where I was. I was thinking I’ve got to do this because I love it, to feel good about myself simply because I wrote these songs and I did this, and I put a record out. And even if only five people hear it, it’s still something I did with integrity because I believe in it.
So the majority of this is because I can’t imagine not wanting to have a voice for somebody, to be able to remind them, “you’re gonna be fine,” and that I am somebody—that it’s not because of what I do for a living that makes me somebody.
Totally different topic: what do you have to say for Nettwork and making the switch between SubPop and Nettwork?
Oh god, you know this whole thing about doing things independently … I never even thought about getting a manager because it’s not like I’m Madonna. What [would a manager] earn from working with me? A dollar?
But when my contract with SubPop was up ... I felt very loyal to them, and as it was coming to a close, I realized I had no clue if this [career I have] would continue. I mean, I would continue, obviously, but I didn’t know how that would look or what it would be like. And the shift happened very naturally. I just started getting emails from Nettwork telling me about what they do, and I thought, you know, this could be a great failure or a great success—you never know until you try. But it seems like the right timing.
Speaking of being an independent musician, what do you think about this whole unfolding copyright ownership thing, with iTunes signing a contract to offer non-DRM tracks from EMI, and people having free access to music on the Web?
[laughs] You know, a few years back, I had this dinner with Tower Records down in L.A., and I remember someone asked me … it was back during the whole Napster thing, and someone asked me whether I thought music should be free online, and I said, “Oh I think it’s great!” Not realizing that, of course, Tower Records is going to lose money from the whole thing.
But, seriously, the whole idea [of music] is community—share what you have. The way I do what I do, I collaborate, I go on tour … now I’m getting some headlining dates, so maybe I can get to where I bring a friend with me and introduce the audience to their music. Naturally, it’s nice to know your rent is going to be paid [from your career], but what’s more important to me is that music is meant to be shared.
I’m awful with merchandise, because I’ll just give it all away if it’s up to me. I have to be careful. My heart says, “Give it away, it doesn’t belong to you.” You know, I don’t own these songs. I wrote them because I want other people to have them and maybe they can take them and give them to someone else. I can only hope [the songs] make an imprint on someone else, because then, all the struggle and sadness and everything will have been worth it if I was able to learn from it, share it with someone else, and then they can learn from it, too.
I say take what you need. There’s more than enough for everyone.
Rosie is currently on tour. Visit her Web site for more information.
