I recently sat down for this exclusive interview, done exclusively for this website (dagjuhlin.com) in an exclusive-feeling restaurant. The interview, in its entirety, is yours to enjoy in an exclusive manner. Q: Is your name Dag J. Juhlin? A: Yes, it is. Q: What does the J. stand for? A: Jeffrey. Q: Really? I see. Interesting. A: What is that supposed to mean? Q: Oh, nothing. Let’s move on. A: Wait a minute, I’m still… Q: Why a solo CD? Why now? A: Well… I had always wanted to record solo albums, and one day I decided to start recording one. It took a series of twists and turns and delays, but eventually this recording became “Into The Woods”. Q: How would you describe the nature of the material on this record? A: It’s chiefly acoustic, but it is embellished with some kind of spacey electric guitar sounds, keyboards, some bass, percussion. Oh, and a great bass harmonica. And cello, too. Q: Ooh, a cello. Must be some serious “compositions” on your little CD. A: What do you… Q: I say! Call Deustche Grammaphone! Call the Chicago Symphony Orchestra! Mr. Amplifier has discovered the cello! LA DEE DA, dude.… A: Are you trying to start something? Q: Ravinia on line one! They heard about your cello! They want to pay you four hundred thousand dollars to sing with a cello! A: Alright, you little… Q: Sssh. Sit down, The waiter is giving us a funny look. Now, these songs seem to be of a more reflective nature than some of the recent... A: No! I am not going to sit here while you mock me on my own website. Q: There seems to be a great deal of ‘looking back’ going on here; a lot of solitary behavior. Is this reflected in the album’s title, “Into The Woods”? A: (Pause) Do you…do you want a serious answer, or are you just setting me up again? Q: When you write a song, do you… A: Because, I’ll WALK. You want to try me? Q: There’s a lot of looking back, as I say. Some of it jovial and sweet, as in, say, “Little Black Glasses” or “Lindy Brown”, but at the closing track, “Pony Girl” you’re sort of looking ahead, aren’t you. It’s a nice sort of surprise when the drums come in, by the way. A: (Very long pause) Well…I mean…yes, I suppose you’re right. “Pony Girl” is the story of a man trying to shake loose the cobwebs of his own youth so he can become the adult he needs to become for the sake of his daughter. Q: The album kicks off with “The Man In The Movie”, which seems to establish the theme of ‘starring in your own life’, if I can be so bold. A: Yes, that’s fairly accurate, but what it really... Q: The humor in that song is very subtle. A: Yes, it is. Thank you. Q: Subtle as the “B” in “subtle”. A: Er, yes... Right. Q: Did you like that one? A: (Sighs) Yes, it was very good. Q: I mean, you got it, right? Subtle as the “B” in “subtle”? It’s very good, that, don’t you think? I mean, the “B” is so subtle that you don’t actually pronounce… A: YES, I got it! It was clever! Now here you go again, with… Q: I’m sure you’ll use it and take credit for it. A: Okay, this interview is over. (Gets up to leave) Q: No, come on, sit down. Look, the entrees are arriving. Come on. Sit. Don’t these steaks look good? Let’s talk about your recent tour with John Wesley Harding and Scott McCaughey. A: I swear,you have ONE more chance. Q: That must have been exciting for you. First solo tour and all, and with such big names! A: Yes, The Young Fresh Fellows tapes were a staple in the Slugs’ van. And Wes is a great friend, such a good guy. We’ve played a lot of… Q: Did they bring you along to pump the gas and change the guitar strings or what? I mean, you weren’t actually allowed to PLAY, were you? A: (Gets up, exits) Q: (Quietly, laughing) Oh no. Please come back. A: (Has left building) Q: Very strange, defensive dude, him. Nice record, though. (Shuts off tape recorder. Writes SUBTLE AS THE B IN SUBTLE in block letters on otherwise blank legal pad. Smiles to himself. Devours both steaks. Leaves restaurant without paying.) - Fin -