Mills and Weisman spent the next several years working together remotely on the Daisy Jones soundtrack. But as it happened, a bit of Seventies rock & roll pastiche was exactly what Weisman was looking for. Keen to work with Weisman, Mills reached out with an offer around 2019 for a project that he figured Weisman - given his own reputation - would likely decline: The soundtrack for Prime Video’s adaptation of Daisy Jones & the Six. “It’s like picking up the Odyssey or something.” “I dove in headfirst, and swam as deep as I could,” he says.
When Mills learned of Weisman’s massive oeuvre, he was immediately hooked. It was easy to trust Weisman, who has quietly constructed a vast musical world in Brattleboro, Vermont, where he was content to let his work spread naturally through those in the know. “But he said, ‘I think on this record, you should try whatever the opposite of that is.’ He was a proponent of guitar solos, essentially. “Chris was like, ‘I get it’ - this idea of holding back,” Mills says of the Vermont musician, with whom he co-wrote and co-produced Jelly Road. And something Weisman was eager to address. Whether or not it’s accurate, it’s something Chris Weisman - Mills’ main collaborator on his new solo album Jelly Road (out July 14) - was keenly aware of. In other words, Mills doesn’t like to shred. But there’s one notion people have about him that Mills finds baffling: That “I’m this extremely capable guitarist who never allows himself to play.” The 36-year-old Los Angeles musician is an ace producer ( Perfume Genius, Feist, Marcus Mumford) an in-demand sideman and session player ( Joni Mitchell, Bob Dylan, Phoebe Bridgers) and an exceptional singer-songwriter in his own right. Blake Mills has the kind of CV, and accompanying reputation, that leaves little to quibble with.
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