Here’s an example of excellent songwriting from Seattle-born, Nashville-based artist Tai Shan. ‘Jump On In’ captivates from the start, displaying a real freedom in the writing – the melody and and changes of pace and volume are engaging, while the sound is full with trumpet and keys adding richness. Tai Shan delivers an excellent vocal performance, displaying soul and character. There’s real passion in her voice, especially when it rises high, soaring powerfully before swiftly quietening.
Tai Shan says the song was, “…written as an ode to the streams my husband and I stop at as we travel the country. Produced by Nielson Hubbard, he made this song swampy and rocking!” Upbeat and rhythmic, ‘Jump On In’ is brilliantly uplifting, both lyrically and musically. There’s also a real sense of fun in the accompanying video, which takes us on travels with her family.
‘Jump On In’ appears on Tai Shan’s brand new album, ‘Wildflower Moon’, a collection that isn’t bound by genre, blending a range of styles and influences from country and folk to jazz. Themes of personal discovery, travel and motherhood run through the songs. Check out the exclusive Q & A below for a greater insight into the inspiration of the new record.
An acclaimed musician, Tai Shan is a Kerrville folk finalist this year and is an award-winning music teacher, whose students have gone on to receive awards and sign record deals. She certainly knows how to write a song. Enjoy.
What’s the story behind this song?
“Every summer, my family hits the road and travels across the country playing shows. Our rental car is stuffed to the brim, with my daughter in her car seat in the back, barely visible next to the guitars and gear. We play festivals, breweries, wine bars, and our personal favourite: House Concerts. My husband Austin joins me on stage, beatboxing and soloing with his trumpet, while our 5-year-old daughter sings the choruses with her clear soprano voice. In the morning, we drive off, and in the heat of the day, we take out our phones or consult that tattered Rand McNally atlas to find a river. Finding access can sometimes be tricky, as we navigate dirt roads, sandy paths, and mountain roads in our van with our 13-foot Scamp trailer bouncing behind. We’ve had a few flats along the way. But as soon as we’re in that water on a hot day, it’s peaceful and fun. This summer, we had our first rattlesnake encounter by the banks of the Columbia River and tubed down the cold Icicle Creek near Leavenworth, Washington. When I first moved to Nashville, my husband and I lived at a state park. With no AC, we often took a dip in the water to cool off before settling in for the night. So the line, ‘lay back floating till the stars come out and the fireflies dance,’ is a true story of how we fell asleep every night.”
Talk about the themes on the new record.
“I am a travelling musician and mother. I love to drive cross-country, and some of the songs on ‘Wildflower Moon’ reflect that: ‘Road Back to Me,’ written with Elizabeth Eckert and Bradley Collins, and ‘Wheels and Gasoline,’ written with Hal O’Dell, reflect my travelling spirit. A few years ago, I drove across the United States from Nashville to Seattle, taking the southern route. I travelled with a 13-foot trailer, and I went alone. There’s nothing like being alone on a highway where anything can happen. I slept under the stars in the back-country, saw cougars, bears, wild mustangs, bison, wolverines, a badger, and a prairie dog, and witnessed the northern lights rippling above my head while staying in a lookout tower in Montana. I even met two ghosts on my travels. Once, I encountered a lost herd of cattle while staying in a lookout tower in California near Ishi Wilderness. My husband and I came upon a herd of haggard cows. They were old, grizzled, and strange-looking. As we tried to drive past them, they turned towards us and stampeded. We had to throw the car in reverse; I remember our car being eye level with their horns as they moved towards us and we moved back. At some point, we turned and escaped. Later, we saw a ranger in the back-country and mentioned the herd. He said he had been working there for ten years and there was no such herd. ‘There was a rumour that an old Indian woman had a small herd 50 years ago around here,’ he said. ‘But honestly, that’s as likely as seeing a ghost herd.’ In Seattle, I met up with my husband, and for a month, we travelled from Seattle to the tip of Cabo San Lucas along with two of our closest friends. I petted a humpback whale and swam with seals and tropical fish. In other words, I love adventure. The other major theme on this album is motherhood, with songs like ‘My Station,’ written with Sarah Spencer and Bonnie Baker, ‘Simple Things,’ written with Jesse Correll, and ‘Lullaby Rendezvous.’ For parents out there, they’ll remember those sweet moments when their kid first falls asleep. The world is our oyster—you can watch something, dance around the kitchen; it’s the time to date your partner. I call this the ‘Lullaby Rendezvous.’ ‘Simple Things,’ written with the winner of the Kerrville Folk Festival, Jesse Correll, is a song that offers guidance to young kids about how to get along with others. The last theme is loss, with songs like ‘If Heaven Had Waited’ and ‘Sailing into the Sunset.’ A few years ago, a friend of mine, Linda, went into the ER with her husband, Bob. Four hours later, she walked out alone. In that time, they discovered he had advanced lung cancer, started him on chemo, and then he got a blood clot and died. Linda thought it was a cold or the flu. ‘If Heaven Had Waited’ is from Linda’s perspective, reflecting on all the things she wished to do if Bob could have stayed longer. Produced by Brandon Bee.”
Any cool/funny/interesting stories from the recording of this?
“I recorded this song with producer and drummer Neilson Hubbard (Mary Gauthier, Amy Speace) at Skinny Elephant Studios. We aimed for that Lucinda Williams, Patty Griffin bluesy, country-fried approach. The musicians in the room knew exactly how to bring it to life. Danny Mitchell on piano, the music director for Miranda Lambert, really captured the vibe of the song. Juan Solorzano on guitar, who is touring with Noah Kahan, and Lex Price on bass (k.d. lang, Neko Case, Indigo Girls) also brought the song to life, making it a joy to sing over. Neilson’s recording process allows for three tries, as he likes to keep things fresh. So this is vocal take three!”
