Americana Highways brings you this video premiere of an interpretation of the song “Any Day Now” by Divine Horsemen. The song was written by Tim Lee and Susan Bauer Lee, and appeared on the Divine Horsemen’s recent album, Hot Rise of an Ice Cream Phoenix, which came out on In The Red Records. Hot Rise of an Ice Cream Phoenix was co-produced by Chris Desjardins and Craig Parker Adams.
Divine Horsemen are fronted by Chris D (The Flesh Eaters) and Julie Christensen (The Flesh Eaters). The Flesh Eaters were the duo’s recent incarnation, releasing an album on Yep Roc with band members Dave Alvin, Steve Berlin (Los Lobos), John Doe (X) and Bill Bateman (the Blasters). But they’ve had a long history together.
The video was directed with videography by Magnus Jackson Diehl with additional videography by Chris D. It was edited by Julie Christensen an the crash clips were compiled by Chris D. The video’s concept was courtesy of Peter Andrus.
This song is a stellar creation, with Chris D’s commanding vocal tones blending surreally with Christensen’s more fluid ones. It’s super entertaining. And the video multiplies the entertain value a hundredfold.
I found this song while listening to an older record from my friends in Knoxville TN: Tim Lee and Susan Bauer Lee. They now comprise a band called BARK, but the song comes from a Tim Lee 3 album, and Susan sang it. I heard “Any Day Now,” and thought a duet version would be perfect for Divine Horsemen, and Chris agreed. Tim and Susan have told me that one of their pastimes is to find copies of old Divine Horsemen vinyl and turn people on to us! Our Hot Rise Of An Ice Cream Phoenix album holds many semi-autobiographical stories about the crack-up of lovers, and of ourselves, against a backdrop of a messed-up world. “Any Day Now” fits the bill.
Our guitarist Peter Andrus came up with the concept of the video: drive-by shots of Chris and me, and shots from inside the car of the two of us, exasperated with each other and the world. Originally, the idea was to project images on the walls we’d drive by at nighttime. The production of that might’ve been prohibitive, and Peter, Chris, and Magnus came up with alternatives . Then Peter, who was going to help manifest the ideas along with some of his filmmaking buddies, got a big film gig. So my son, filmmaker and actor Magnus Diehl, stepped in to shoot and direct it. We made it happen on two weekend evenings at golden hour. As his mom, I’m used to his doing things like sitting on a car window or in a trunk to get a shot. Where we were, we managed not to draw too much attention to that fact.
Chris is a master at finding public domain movie clips. You’ll notice we use those often in our videos. He compiled the crash footage for this one, and shot Peter’s hands playing the guitar. Chris mapped out a loose plan for the use of those shots, but gave me more rein this time to assemble things. I’d looked at all the footage shot on those two evenings, and the stuff he’d shot himself in downtown Los Angeles, and gone over what was great and usable the night after we shot them, and was familiar with the best shots and where they might fit the story and song. I got home to New Mexico to start my edit in the usual way. I found that the editing software I’d used on my old computer for the other 3 videos on this project had upgraded away to a dumbed-down version. Bummer. I could use the pro editing program that Magnus uses, and get a few tips from him, but there was a learning curve, and a loose deadline to complete the cut. Once I got going, though, I had a lot of fun with it. Thanks to Premiere Pro, if I can put in a plug for that. —Julie Christensen