The Lyric: “Half Empty” by Kristina Murray

Tim Wenger | June 1, 2014 | 0 Comments

by Tim Wenger

Kristina Murray submitted her song “Half Empty” for The Lyric, and we were taken aback by the eloquently poised and introspective lyrics. They left us wanting to know more about what she was channeling when writing the song, and get the story on her music background while we’re at it as well. Here is the story, straight from the horse’s mouth.

CMB: Give us the lowdown on the lyrics. Is this a heartbreak song? Also, was it written while you were on the road?

KM: The song is one of the more autobiographical songs I’ve written, but it’s vague and covered up enough that you likely wouldn’t know it was personal unless I told you…and I guess I’m tellin you now! It could, to the outside ear, really just sound like a mirage of images. I mention my dog and her tuxedo-like fur coat (“Little girl’s got her Sunday suit on”), the van my boyfriend and I used to drive (“Townes”), and the guitar I used to play (“Ol’ Boy’s broke, got a short work crack”), in addition to describing myself a little bit (“Mama’s got the sweet tea”; “she got her daddy’s taste for a Louisiana life, cold sweatin beer, loose Friday night;” “spend all my money ‘fore I even get a dime.” ) People might think that “Louisiana” is a reference to the state, but I’m actually from Georgia, and that line references the hot sauce that my dad always put on his coleslaw.

The “whole world’s out to get me” refrain, I took from the general outlook I felt a friend had about his life at the time I wrote it.

I wouldn’t say ‘Half Empty’ is so much a “heartbreak” song as it is a “that’s just the way shit is” song. I started writing it when I was on vacation a couple years ago in South Carolina; the original page is all windblown and smells like the beach still. I finished the song after a gig I had in Boulder: we got off stage at our set break and a person in the crowd came up and said, “You sound really great, but you should [fix this, fix that, etc, etc.].” And I thought …“Everyone’s a fucking critic!”…and then that became an original lyric, which I later took out before recording. I added, instead, “That ain’t country music” because we often get people that complain that I lean to heavy on rock music, or rock n rollers that think I am “too country.” That line also mocks the ongoing—and somewhat hilariously ridiculous—feud within the greater Americana music umbrella of “is that REAL country music?”

CMB: What else do people need to know about the song itself?

KM: The song has some of my favorite slide guitar work and harmony vocals of the whole record. It was partially inspired by the song ‘Jemima Surrender’.

CMB: What is your musical background?

KM: Growing up, my family listened to a lot of blues and rock n roll: Allman Brothers, The Band, Zeppelin, Dylan, etc.; and I started getting into country music, both new and old, probably about fifth grade or so. My momma had a good collection of female singer/songwriters, too: Joni Mitchell, Jessi Colter, Lucinda Williams, Emmylou. I started playing guitar in high-school, and in college, got into traditional bluegrass… hence the move shortly after to Colorado, in 2007. I’ve cooled off on bluegrass and gone back to my two original loves: country and rock n roll. Now, I’m getting really in to listening and studying young Nashville singer-songwriters.

CMB: What does the songwriting process look like for you? How do you get motivated, and what are you channeling when you write?

KM: There doesn’t seem to be a specific method that works; a lot of stuff doesn’t work, like sitting down with a blank page and pen. I carry a small notebook with me and, often, a line or lyric idea will pop in my head, or someone will say something and put it in a way that is just so…and I’ll jot it down and come back to it, hopefully get some creative spark from it. I definitely look at songwriting as a muscle, the more I practice and get out those really terrible songs, the better the final, filtered product is. Usually words and lyrics come first, then music and melody. I’ve had a bit of luck with co-writing and hope to do more of it in the future. As far as channeling anything? I think I just try to speak in my songs in a way that is honest and true to myself or how people I love, admire, and write about speak or would speak.

CMB: Is there an overall message to your music?

KM: No “overall” message; people can take what they will from it. Songwriters are just conduits for the song: songs are meant to be interpreted and taken as they will from the listening public. I think if you listen to the album in full or come see a show, you’d hear a general thread that weaves through my music and the covers I choose and play. It’s definitely Americana music: country with an obvious rock influence and vice versa.

CMB: What is coming up for you?

KM: May was a pretty packed month, so I’m taking it a bit easy for the summer to focus on writing and working on new material.

CMB: Where can we find your music online?

KM: My website, www.kristinamurraymusic.com has all the links to where you can listen to and purchase my recently release debut album, Unravelin’. I’m on iTunes, CDBaby, Amazon, and Bandcamp. You can find me on social media, too: Facebook, Twitter, Instagram!