On social media, it was evident that Superdrag was actively making music together again. So, I was surprised when John Davis announced a solo album. The first single, “The Future,” is fantastic—beautiful!

The album, JINX, will be released on September 27 under the Lost In Ohio label. This record stands out from Davis’ other solo work because it was initially intended to be a new Superdrag LP, which would have been the band’s first album in a decade.

Davis explains how this came about in an interview with the Sweet Sweet Music blog.

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You can find ‘The Future’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

It took quite a while. I started writing this batch of material in January 2021. Superdrag demoed most of the songs at Vibe City with Mike Armstrong, while I recorded some others on a 4-track in my garage with Brandon and Don. We took four of them into the studio, but things didn’t work out. From that point on, I thought of it as a solo record. I ended up making the album in Farragut with Stewart Pack producing, playing bass, and handling backing vocals, with his son Henry Pack engineering, mixing, and playing drums. I think we make a nice trio.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

From the moment we started getting sounds, really. I love the Strat sound. We approached the album as if that was the only guitar we had, except for a handful of Telecaster and 12-string overdubs. The amp blend was pretty much ideal— all Fender, all 10-inch speakers. It’s very “Fendery.”

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

Success, for me, looks like something self-sustaining that points toward the next project. Something that helps me, helps the label, and reaches more people than I could on my own. That’s why I’m so thankful to have the support of Lost In Ohio, Force Field, and Terrorbird.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

That’s not for me to decide. The arrangements on this record are different; we were on a mission to trim any excess and avoid “circling the airport” while waiting for the next idea to happen.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?

It’s the only way I really know how to do it.

Among the gigs you’ve performed, which one holds an indelible place in your memory, and why does it stand out?

The night we jammed with Ray Davies from The Kinks at SXSW in 2001. He said we had a lot of good material. We lived on that for a while.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

By finishing every idea to see where it leads. The ideas should always be in charge.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

It’s really up to the listener to decide which lyrics move them or hold significance. I always strive to be honest and say precisely what I feel. I spent more time thinking about these individual songs than ever before, and I might never do it that way again. But as a result, I can honestly say I feel like they’re just right.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

I had no idea “Sucked Out” was going to be a hit song. It’s a weird hit. But it’s a great feeling to write a hit song. We’ve been called one-hit wonders, but I guess that’s better than being no-hit wonders. Reaching people is the whole point, you know?

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

The one from Ray Davies stands out, as well as Robert Pollard calling us “good rock performers.”

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

Hopefully, just in my own lane, always following the ideas.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

Brian Wilson, Carl Wilson, and Al Jardine— because they have angelic voices.

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

Hopefully, the record will resonate with someone immediately and then unfold over time with repeated listening.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

I plan to start writing for the 6th Superdrag LP.

Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?

Having Stewart not only agree to produce but also play bass and Henry on drums provided a steady foundation of interlocking rhythm for each song, plus a good amount of melody from the bass. We spent about an hour on each song, getting the arrangement right before going for the drums.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

Aaron Draplin of Draplin Design Co. did all the design. He totally crushed it. He listened to our feedback and nailed it. He’s a legend.