As a prominent member of the Jayhawks, Gary Louris has collaborated with notable artists, including Ray Davies of the Kinks and the esteemed producer Bob Ezrin, throughout his illustrious career. However, for his latest solo project, titled Dark Country, Louris took a decidedly introspective route, primarily working alone to create this heartfelt collection.

The album was released on Valentine’s Day, a fitting date as it serves as a profound tribute to his beloved wife, Stephanie. In tracks such as the lead single “Getting Older,” Louris delves into themes of mortality and the relentless passage of time, reflecting on personal experiences. This largely acoustic work evokes the quieter, more reflective side of Neil Young‘s discography. Although Louris has long admired Young’s music, he reveals that his own musical journey began in unexpected ways that may surprise his fans.

Watch Gary Louris’ ‘Getting Older’ Video

His collaboration with Davies on two albums—2017’s Americana and 2018’s Our Country: Americana Act II—stands out as a significant milestone in his career. Louris expresses that it was truly “the honor of a lifetime” to work with a musical idol. He explains to UCR that this experience transcended his admiration for legends like Bob Dylan and Neil Young. “At heart, I’m an Anglophile with a deep appreciation for all things British,” he shares, recounting the thrill of collaborating with Davies. He acknowledges the risk of disappointment when meeting heroes, emphasizing that Davies lived up to his expectations. “His approach to music is almost theatrical, transforming songs into mini-plays,” Louris adds, highlighting Davies’ unique artistic vision.

“Davies had an extraordinary attention to detail,” Louris notes, reflecting on how meticulously he would guide the musicians, whether it was the precise moment Tim O’Reagan struck the cymbals or the subtle nuances of background vocals. “He was incredibly discerning, but not obsessively focused on perfection,” he elaborates. He draws parallels between Davies’ meticulousness and the legendary production teams behind famous bands, noting how The Beatles collaborated with George Martin, Glyn Johns, and Phil Spector, while The Rolling Stones worked with a variety of producers. “Davies, much like Jimmy Page, is often underappreciated for his production skills,” Louris continues. “His ability to balance musicality with attention to detail is impressive, and it has pushed me to strive for greatness in my own work.”

READ MORE: Top 10 Ray Davies Lyrics

In creating Dark Country, Louris found himself driven by a powerful muse as he began crafting songs for the album, although he admits that the creative process initially felt unclear. “I had a vision for what I wanted to achieve, but the method to bring it to life was uncertain,” he explains. “The inspiration came from the profound love I have for my partner, prompting me to write songs that were deeply personal and autobiographical. This is a journey through my life as it unfolds, with lyrics that consistently reflect my feelings about Steph. While working on my previous project, Rainy Day Music, producer Ethan Johns encouraged me to perform live, capturing the moment authentically rather than layering and overdubbing. I’ve explored various recording methods, and my previous solo album leaned heavily on virtual instruments, but as an artist, I seek to evolve and embrace new challenges.”

“At the same time, as a newly settled resident of Canada, I became eligible for grants, which initially inspired me to form a small band and create a more live-oriented record, similar to what my friend Ron Sexsmith did,” he continues. “However, the grants didn’t materialize, and as I penned more songs and improved my demos, it became clear that this was the record that was meant to be. With access to a fantastic studio and vintage gear perfectly suited for this project, it dawned on me that I would be the primary creator on this record. A few friends contributed to a couple of tracks, and even Steph lent her voice to some parts, but essentially, it evolved into a project that felt true to its essence. Once I embraced this direction, I made it a routine to head to my studio each morning, recording diligently to complete the album.

Louris expresses that the essence of Dark Country is intended to create an intimate experience, as if the listener is sharing the space with him. The music captures a relaxed ambiance, evident in tracks like “Dead Porcupine,” where the subtle sounds of his breathing intertwine with the instrumentation, creating a candid and personal atmosphere. This authenticity invites listeners to imagine a scenario where he might have casually handed them a raw cassette of his latest work. This immediacy is a quality he has grappled with during the recording process. “When it’s just me, I sometimes struggle with acceptance,” he admits. “You may feel compelled to refine things, but when you embrace a live approach, that temptation dissipates.” He elaborates on the various methods to produce a remarkable record, particularly in the context of love songs on acoustic guitar, describing how the interplay between guitar and vocal should be dynamic. When overdubbing, the aim is to achieve the most polished acoustic sound possible, yet there’s a risk of losing the raw emotional connection that comes from live performance.

Throughout his career, Louris has produced albums with grander productions, including the 2000 release Smile, which he recorded with the Jayhawks under the guidance of Bob Ezrin, known for his work with Kiss and Pink Floyd. The title track alone has echoes of a classic Phil Spector production, while the album as a whole represents a significant evolution for Louris and the band, showcasing a new dimension of their sound while preserving their signature strengths. “After creating Sound of Lies, which was a darker project made in Minneapolis, I desired to produce a vibrant pop record,” he shares. “I even compiled a list of unconventional collaborators to expand our sound. We reached out to Jimmy Jam and Terry Lewis, which would have been a unique collaboration, and even David Dylan, who worked on Blood on the Tracks. However, many of these ideas didn’t pan out.”

“Bob Ezrin responded enthusiastically,” Louris recalls. “He and I, along with Perlman, shared a love for Lou Reed’s Berlin and The Wall. I grew up listening to Alice Cooper and other iconic records that shaped my taste.” When they reached out, Ezrin surprised them with a detailed 10-page letter analyzing their demos, providing insightful feedback. “We met him, and he has remained a good friend ever since. Our goal was to think outside the box and create a substantial record. Bob encouraged us to be bold and prioritize our vision rather than conforming to audience expectations. This approach resulted in a somewhat divisive record; we lost some fans while attracting others. Some listeners have a deep appreciation for that album, finding it successful, though it includes more songs I might have excluded compared to our other projects. Interestingly, we aimed to broaden our horizons and explore new musical territories.”

READ MORE: How Bob Ezrin Helped Peter Gabriel Escape from Genesis

Recently, Louris has been performing solo shows to promote Dark Country and plans to continue this alongside Jayhawks performances throughout the year. He expresses a desire to further develop some of these new songs in a band format. “I have additional material for the band, but I’m eager to see how these tracks could evolve within the Jayhawks’ sound,” he confirms. “We’ve even played a few of them live, so fans might hear these songs again, potentially in a more electrified arrangement, or at least in a live setting.”

Watch Gary Louris’ ‘Two Birds’ Video