PREMIERE: Greg Hawks — I Hope I Never Know

Greg Hawks has been playing music for 30 years. That’s a long time to be doing anything, obviously, and at this point you’d hope to be good at it. It certainly shows on Hawks’ latest album, I Think It’s Time. The album is in part a reaction to the Trump administration — but it also takes Hawks back to his early musical passions for rock’n’roll and retro country. On “I Hope I Never Know,” Hawks channels ’60s folk rock and early rock’n’roll to process one of the most hardest leave-takings of all. Hawks has a lot to say about the song and the unglamorous realities of the modern working musician, so I’ll let him take it from here.

Photo: York Wilson

 What is this song about?  Did something happen that was the spark that made you write it?

I
don’t think it was one specific event that triggered the inspiration to
write this song. The song started with the idea of how easy it is to
lose perspective on the things that matter the most in our relationships
with the people we know and love the deepest. We’ve all been there—at
least anyone who’s old enough to have had a long-term relationship. You
find yourself in a fight that goes around in a circle to the point where
you can’t even remember how the silly dance even started. Things
sometimes descend into ugly, emotional places where you say things that
you don’t even mean, just to inflict pain. Then when the dust clears and
the claws go back in, you find yourself in calm moment of regret. Most
of the time, if we’re honest with ourselves, it usually has something to
do with fear or insecurity about ourselves—not with the person we love.
When you get hurt, you want to hurt back. It’s human. But you have to
be careful, because words are powerful weapons and sometimes damage can
be done that can take a long time to repair. This song is about the
sobering thought of what life would be like if the person you love the
most ceased to be in your life. And that’s where the line and title
originate: “That’s a day I hope I never know.” It’s about putting the
petty, short-term things in proper perspective. The song is a meditation
and reminder to myself (and hopefully the listener) to stop making
mountains out of molehills. All we have is right now, and that’s really
everything.

Did you have an idea of what you wanted this song
to sound like before you went into the studio?  If so, how does the
final version compare to what you imagined in your head?

Yes, I
did. I was going through a phase where I was really enjoying some of my
favorite pop music over the years. I was revisiting the great ‘60s folk
rock period of The Byrds, The Hollies, and The Zombies (“Odyssey and
Oracle”). I also returned to my old XTC records. I’d always loved their
approach to pop music and their appreciation of jangly ’60s folk-rock I
love so much, especially the albums from “English Settlement” on. I’d
forgotten how great “Nonsuch” was! Something else always present in all
this music besides chiming guitars was incredible harmony singing, which
I love dearly. So all of this informed the sonic direction of the song.
Then when Tom Petty passed away, it hit me hard. I started to reflect
on how long and how much of an influence and inspiration he had been for
me over the decades. So much great music, so many great records. I also
admired him for the way he carried himself and the unwavering
integrity, originality, and character he maintained for his entire
career. So as I went back through all of his music, which fits right in
with the aforementioned jangly folk rock, it reinvigorated me and
strengthened my musical vision. I definitely wanted this tune to be my
tribute and nod of thanks to Tom.

How was it working with Chris Stamey again?

Working
with Chris again was fantastic! He has helped me so much in making
these last two records, not just with his brilliant mixing but with many
valuable recommendations on how to make the most of a limited home
studio space. He advised on miking techniques, on getting the best vocal
sounds, and recommendations on essential gear for best results. His
work flow and schedule fit perfectly with mine. Both of my last two
albums were done the same way. I wrote and recorded and built each song
from the ground up, one by one, here at my home studio, and then when it
felt finished, I would send the files over to Chris. Sometimes he might
be busy on tour or on another project which worked great because I
would be working on the next tune, so by the time he had time in his
studio to work on my stuff, he would have two or three songs waiting in
his inbox, ready to mix. As an independent artist, this process has
worked great for my schedule and budget.

What does he bring to the table as a mixer, and what made you want to work with him a second time?

Chris
has an incredible ear for dialing in crisp, clear, and beautiful sonic
clarity to everything. There’s a timeless quality to his mixes I like a
lot. He manages to get a state-of-the-art, modern-sounding mix that ages
well. It never sounds dated. Chris always finds the right combination
to bring out what’s best for the song. The vocals and the lyrics are of
utmost importance over everything else. He gets amazing vocal sounds,
and I love that that is his first priority. Chris is an aggressive mixer
in that he won’t hesitate to eliminate an entire track if he does not
think it contributes to the betterment of the song. This can be hard for
me sometimes, and there have been some cases where I’ve insisted on
putting something back in or to putting more of this or that in the mix.
More often than not, his call is the correct one. He has seen so much
in his years of experience as a songwriter, musician, band leader,
arranger, as well as a recording producer and a sound and mixing
engineer. Chris is a true artist in all regards. He has a true empathy
for the person who is creating the work because he has seen and knows in
great detail all sides of it himself through experience.

How
was it producing the record yourself and playing most of the
instruments? What were the hardest and easiest aspects of doing most of
it yourself?

Producing my own music is always interesting, but I
am much more drawn to the creative side of writing and playing music
than I am with the technical side of recording or engineering. It’s like
anything else, I guess: the more you work at it, the better you get.
You just can’t be afraid to make mistakes because it’s the only way to
learn and develop your own touch. I think I’m getting better at it. I
sure hope so! It’s always thrilling when things start to come together,
and it starts to feel like the song has a life of its own, directing you
instead of the other way around.