Skip to Content
Talkhouse home
Talkhouse home
Podcast

The Making of A RIVER AIN’T TOO MUCH TO LOVE by Smog – featuring Bill Callahan

By Life of the Record

1:00 AM EDT on August 5, 2025

Episode Info

  • Season5
  • Episode3
For the 20th anniversary of the Smog album, A River Ain’t Too Much to Love, we take a detailed look at how it was made. Bill Callahan began recording music under the name Smog in 1988 and releasing music on his own label, Disaster. After signing with Drag City early on, he released a series of albums in the 1990s and continued into the early 2000s. At this point, he was living in Chicago and wanted a change of scenery. After moving to Austin, Texas, he began writing songs for his 11th album. He decided to abandon the Smog name and start using his real name, but Drag City asked him to wait until the next record before making that change. After a two week tour with Jim White on drums and Connie Lovatt on bass, the three of them immediately went into Willie Nelson’s studio, Pedernales, to begin recording the album. A River Ain’t Too Much to Love was eventually released in 2005. In this episode, Bill Callahan reflects on this period of his life when he was in his late thirties and felt like he wanted to settle down. By moving to Austin and buying a house with a yard, he found himself spending a lot more time in nature, which greatly impacted the songs he was writing. Despite having writer’s block initially, his songwriting opened up when he bought a nylon string guitar and taught himself fingerpicking for the first time. This new approach to guitar playing really shaped the song arrangements and how his vocal would come across. Callahan describes how this transitional time in his life inspired him to give up the Smog name and start using his own name to reflect his newfound approach to making music. From the leap of moving somewhere without knowing anyone, to recording as a power trio, to the importance of a good title or central image, to taking inspiration from Mickey Newbury and Johnny Cash, to key overdubs by Joanna Newsom and Thor Harris, to a recording malfunction that lead to barely audible bass, to the lacking nature of waltz time, to a clear sound like a river, we’ll hear the stories of how the record came together.

Stay in touch

Sign up for our free newsletter

Related Stories

968. – Derek Blasberg

July 10, 2026

Chaka Khan: Tell Me Something Good (Music as Medicine with Mei Rui)

Tell Me Something Good: Investigating How Music Can Transform The Brain & Body

July 9, 2026

Robyn Hitchcock

Robyn Hitchcock on his ability to remember birthdays, astrology, writing hungover, and seeing Dylan at Isle of Wight in 1969.

July 8, 2026

Zoh Amba

Amba on reclaiming Tennessee pride, fireflies, reinvention, devotional music, and seeking wisdom within artist interviews.

July 8, 2026