By Jef With One F
By Rocks Off
By Chris Lane
By Angelica Leicht
By Corey Deiterman
By Angelica Leicht
By Corey Deiterman
Toronto's Cowboy Junkies, known for their monumental cover of Lou Reed's "Sweet Jane" and the catchy 1996 single "A Common Disaster," mark their 25th anniversary as a band this year and, as she nears 50, vocalist Margo Timmins doesn't see any end in sight.
"Surprisingly, 50 doesn't feel so old, and it's still fun, still what I want to do," admits Timmins. "It's so hard to believe that what we do is make records and tour. That's it. Fortunately we still love getting on the bus together. Not many bands can say that after 25 years."
Timmins credits late former Houstonian Townes Van Zandt as part of the reason for the band's longevity.
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"Our band never went kooky," she explains, "and one reason we're still here is that, odd as this may sound, Townes grounded us."
Timmins fondly recalls the band's trepidation about approaching Van Zandt.
"We toured with him on [1990's] The Caution Horses album, which came right after Trinity Session," she begins. "We were a band that had just gone through this very strange, exhausting experience of having a lot of people looking at our work, and we desperately wanted to get back on the road away from all that," says Timmins.
"The label told us we could pick our opening act and we immediately thought of Townes," Timmins adds. "But at the same time, we thought, 'This is wrong — we can't have the greatest living songwriter open for us, that just wouldn't be right.'"
But the Junkies approached Van Zandt, and he had only one condition: He wanted to travel on the bus with the band.
"We're a family band, so we never let anyone travel on the bus with us," laughs Timmins. "But we immediately said, 'This is Townes Van Zandt,' and everyone voted yes. So we basically got to live with Townes for a month."
She continues: "Sometimes life throws these things at us that are perfect. Townes was pretty much on the wagon, and he was just an absolute gentleman to me. And whenever he fell off the wagon, he'd just go off with the boys. It was surreal, but we learned so much about how to handle traveling and industry aggravation through Townes on that tour. Precious memories."
Timmins, who made People magazine's list of the world's 50 most beautiful people in the early '90s, also credits brother and bandleader Mike Timmins with keeping the band together and economically viable.
"We had Miles from Our Home out in 1998 and we were working it just as the Geffen label was in the process of being taken over," she remembers. "We'd be in Germany or somewhere and we'd suddenly find there wasn't an office anymore, so we felt lost in the shuffle and it really brought morale down.
"Working with the companies was always a struggle, but I remember going to Mike after that tour and saying, 'I can't do this again; these record company people are nuts.' I truly thought maybe we were just going to give it up, but Mike said, 'Don't worry, I've got ideas.' It might've destroyed us if we'd done one more album with a record company.
"But Mike's just amazing," marvels his sister. "He's got three kids and he's not an absentee dad. He's on the sidelines at all the soccer games and stuff. Plus he runs our label and he's our musical leader. I don't know when he sleeps. He has this amazing ability to compartmentalize."
Timmins finds the band's frequent classification as alternative country both baffling and amusing.
"That's the industry side of things," she laughs. "People have always asked how we classify ourselves, and I'm even more confused than anybody listening to it, because we'll be putting something together in the studio and the bass line sounds like something from Joy Division, I'm singing country and Mike is playing some blues thing, and sometimes it just seems like noise. But that's what our sound is."
Canadian bands that do well in the U.S. are often accused of pandering to the American market, but Timmins dismisses the whole idea.
"We started playing because we loved music. At that time, the idea of a Canadian band getting a record contract was just unheard of," she recalls. "But the U.S. has always been our biggest market, and we concentrated on it from the very beginning. We actually snuck ourselves into the U.S. in '86 before we recorded Trinity Sessions and played almost any place that would have us for about three months. We made it as far south as Atlanta.
"We actually come out of this folk music background being from Canada, but while we were down there on that first tour, we started reading about Steve Earle and Lyle Lovett — guys who'd just gotten these big Nashville deals, and that's when we truly discovered country music," Timmins continues.
"Lyle would mention the Louvin Brothers in an article and we'd go find the music and go, 'Wow.' And that's what you hear happening to us on Trinity; we're digging into true country music for the first time and trying to put our personal thing on it."