Say the name Jim Lauderdale around Nashville, and people will respond with an undeniable amount of awe and reverence. After all, Lauderdale does a lot of things—and does them well. He’s an accomplished actor, radio host, as well as one of the most respected singer/songwriters in the country and americana formats. The talented performer recently released a new two-disc set, Soul Searching. In between his busy schedule, Lauderdale made time to chat with Myspace about his new record and that one time George Jones “lied” to him……

First of all, let’s start with the new record. How did it come about?

This is the biggest project I have ever done. I think the last one was a 20-song country record called I’m A Song. It kind of grew backwards in a way. I had some time booked at RCA Studio A, which is now called Grand Victor Sound Nashville. I originally was going to do a follow-up to I’m A Song and do a traditional-based country record. I was slow on booking musicians, and had the session coming up, and I ran into Luther Dickinson, who had just moved to Nashville. We had done an album together with the North Mississippi All Stars, Spencer Oldham, and David Hood from Muscle Shoals.

That was the core of the band. That record was a blues/rock record with songs I wrote with Robert Hunter, and it was called Black Roses. I had started another record with Luther, and that unfinished record was still on my mind. So, I asked him if he was available and it Cody was available. They were, so we started discussing other musicians. I ended up changing directions a bit. I hadn’t recorded without a pedal steel in a long time – except for that Black Roses record. Luther said ‘We need to finish that record we started, and he told me that I needed to work with Boo Mitchell at Royal Studios in Memphis, but I was trying to finish the record in Nashville. I went ahead and booked some time and was having a hard time coming up with songs. As the date drew near, I didn’t have much. We had Leroy Hodges on bass, Charles Hodges on organ, Luther and Cody, and we had Alvin Youngblood Hart on guitar. I was on the road a lot, but we finally got done with it. I wanted to do something a little different, and we got it out about three weeks later, which is as quick as I ever have done before.

There are obvious differences between Memphis and Nashville as musical centers. But what ways are they alike?

I feel that there’s a similarity and a common thread between country, bluegrass, and soul music. It’s kind of like British rock being inspired by American music. I think the styles kind of went back and forth. I feel there’s a strong connection between the two.

One of your frequent collaborators is Buddy Miller. You perform together, write together, and even host “The Buddy and Jim Show” for SiriusXM together. Talk about your friendship.

He is one of my oldest friends. I met him in New York City back in 1980. We had both just moved there, and both of us had bands. I used to go see him when I wasn’t working, and he would let me sit in. When I moved to LA, he had contacted me to see if I had heard of any guitar work. He started playing with me, and we did a couple of albums. I knew it was only a matter of time before things took off for him. He started working with Steve Earle, Emmylou, the Band of Joy, and Robert Plant. Then, he started working on Nashville. He brought me the idea of us doing a radio show for SiriusXM. This is a great way for us to stay in touch with each other. We tape once a week. He’s got a lot of passion for the guests we have. We enjoy finding out more about their story, and sometimes we do shows with just a set list. Either way, we just have a lot of fun.

A few years ago, you portrayed George Jones in the Stand By Your Man musical at the Ryman Auditorium. Reflect on that experience.

That has been one of the highlights of my life. I idolized him so much. That was really something. I felt like everything I learned in life about music all came together through playing George. I think that being at the Ryman was so meaningful for me. He and Nancy took me to dinner one night as the first year was coming to an end, and they were apologizing for the fact that they wouldn’t be able to come to the show. On one hand I was disappointed, but also relieved, because I wouldn’t have to worry because I knew I’d be nervous. The next night, they show up without telling me, because they didn’t want to make me nervous. That was a great thrill to perform in front of him.

I understand George figures into two of your selections for the favorite song you have written.

“King of Broken Hearts,” which was written about George (as well as Gram Parsons) was a favorite. George Strait cut it, and it wound up being on the Pure Country soundtrack. That opened a lot of doors. Mark Chesnutt and lee Ann Womack also cut it. Then, “You Don’t Seem To Miss Me,” with George and Patty. That meant a lot to me. I still get all jittery when I hear it every day.
That song really kick-started your songwriting career, didn’t it?

George Strait wound up cutting about 14 of my songs, which really allowed me to be free with my music ever since. I could do whatever kind of project I wanted to do musically because people like George, The Dixie Chicks, and Gary Allan did my songs. That gave me the freedom to do whatever I wanted to do musically.

I wanted to ask you about one of the songs from Soul Searching titled “Why Does God Let That Happen?” I think it might be the most powerful song you have ever written.

That title came to me about ten years ago, along with a little bit of the melody. I think it’s something that anybody asks no matter what faith or how strong it is—not trying to be irreverent at all. I think sometimes we naturally ask that question because of the tragedies that happen in life to people that just seem so unfair or unexplained. It was something I wanted to finish. Every now and then, I would find it in a notebook and I would think about how I wanted to finish it, and finally it came together. Sometimes it works out like that, where eventually it comes into shape.