“There’s a funny story about this one that I can blame on the great photography of my friend, Jack Spencer. Because I’m a big fan of his work and because his work was showcased in Megan Barra’s Grammy-nominated package design for Levee Town, I called him for The Road We’re On, too. We drove around Lafayette and out into the country. After a while we ended up at this Creole bar outside of Abbeville, and he just fell in love with the place so much that we did the rest of our shoot there. One of my favorite shots was my old Strat up against the jukebox and when I saw the print I started feeling this song coming on. The problem was that we had already finished recording the album. I’d even made the deadline -- for, like, the first time in my life. But I couldn’t stop this song. So I went back into the studio with Tony Daigle and we got the idea to make a loop of natural sounds that would seem like one big instrument. This included me banging my old National guitar and raking the strings, and him stomping on the floor for a kick drum beat (in fact, that’s how the song starts). Then we got Mike Burch to come in and play his old, deep, wooden marching snare with brushes. He got this sound that reminded me of a funky place I used to play 30 years ago in Opelousas; they had a little black dude there who would dance to the jukebox, like a Louisiana version of Mister Bojangles. Something was obviously happening here, so we cut this one, added it to the album … and I still made my deadline.“