Catherine Irwin

Cut Yourself A Switch marks the first solo album by Catherine Irwin, perhaps best known for her work in Freakwater. Catherine’s songs about death and dying and dying and death compliment the Emmylou-esque offering of Freakwater’s other principle singer-songwriter Janet Bean. Freakwater has released six records since 1989. Their harmonies, songs and unique blend of old and new make them one of Americana’s brightest stars. The two toured as a five-piece for Endtime and after spending the majority of the year on the road in support of the record they returned back home for some much-deserved rest. Freakwater’s work has been limited to a few shows a year since the start of 2000. However both women have a stockpile of songs and are planning a record together for 2003. In the interim Catherine moved forward putting a handful to tape, along with a few choice covers and the result is Cut Yourself a Switch.
Cut Yourself a Switch was recorded this past Spring over the course of two weeks in scenic Asheville, North Carolina by Bill Reynolds and Aaron Price. Price/Reynolds have handled production for a number of area bluegrass and old-timey outfits. Musically, Cut Yourself a Switch retains a less-is-more attitude stripping things down to the bare essentials. Over the course of twelve tracks Catherine steps out as the primary voice, singing, playing guitar, banjo and bottleneck-guitar. She is joined by little else outside the bass played by Freakwater’s Dave Gay. Dave’s Asheville based band, Unholy Trio, join in for a song. Lance Wille plays accordion on "Dirty Little Snowman" and drums on "The Only Hell My Momma Ever Raised", where he is also joined by Morgan Geer, guitar and Audra Fleming, organ. Also used sparingly throughout the rest of the album is Cailen Campbell on the fiddle.
Cut Yourself a Switch owes more in tone and timbre to the high lonesome sound of folks like the Carter Family, Hazel Dickens and Roscoe Holcomb then to any contemporary country movement. In writing her songs, Catherine moves between "word-play" style and being straight forward. Her guitar playing is clearly based on the "church lick" or "Carter style" using finger picks. Catherine’s vocals have been compared to Sarah Carter, Hazel Dickens, and Melba Montgomery. When the mood strikes, she can break into a light and angelic harmony. Irwin’s songwriting has been praised for it’s mixture of dark humor and dark humorless-ness.
From the records opening track, "Needle in the Haystack", the homegrown tone and feel of the record is set into motion. The storytelling and heartbreaking tales you’ve come to expect from Catherine are present from the get go – think Flannery O’Connor meets Barry Hannah. The idea for "Needle" came from the homesteader’s practice, in tough times, of burning down the house in order to retrieve nails for the next home. Catherine Irwin has a curious preoccupation with songs about death and "Cry Our Little Eyes Out" tackles the death of young girl, "I left the funeral, I was so fucking mad…she was only 18 years old." "Hex" tells of the dangers of unrequited love for those not returning the affection at the hands of the enamoured. Catherine says with a wry smile that it has been pointed out to her on more than one occasion that "the thing someone liked about my songs was that I wasn’t really the victim, but that everybody else was." "Dirty Little Snowman" is an autobiographical account of childhood in Louisville. A Christmas foil for the little drummer boy brought on because says Irwin, "we never could have a very good snowman."
A handful of covers help round out the record. The modulated banjo performance of "Power of My Love" is an Elvis song off of the Memphis Record. Cut yourself…. also includes a lovely rendition of The Carter Family’s "Will You Miss Me," a solemn meditation on dying. Then inversely comes "The Only Hell My Momma Ever Raised" – made most famous by Johnny Paycheck – which was as much fun recording as it sounds. At this point in the making of Cut Yourself… Catherine was happy to step aside and hear somebody other than herself singing. Considering the intimate spare performances and personal somber tone of the songs, it is only fitting that the somewhat bleak cover photograph, on the banks of the Ohio, was taken by her mother Janet in Louisville, in 1966.
Over the course of last ten years Catherine has developed into one of this country’s most compelling traditional singers and songwriters. For many Cut Yourself a Switch is a long anticipated release and for others it will be a perfect starting point. Catherine’s exceptional ability and wit makes good company whether it be on a front porch in rural North Carolina or in a car on Chicago’s busy streets. Her sense of humor is no more clear than in her title for the record. Whose phrase for the uniformed asks one to choose their instrument of punishment. If to "Cut Yourself A Switch" is the punishment we’re more than willing to commit the crime.