Cult Classic

If nothing else, Greg Brown is relentless. The Iowa-based singer just keeps cranking out albums and accumulating more good press than endless blue skies, green lights and sunshine in paradise. He only tours when he feels so inclined.

Brown and slide guitarist Kelly Joe Phelps will perform solo sets, then play together Saturday night in the latest round of the Sings Like Hell series at Santa Barbara’s Lobero Theatre.

The Grammy-nominated singer/songwriter has released 14 albums on Red House Records, a label he started in the early ‘80s. His latest release is “Slant 6 Mind.” His gritty voice gives life to razor sharp observations of dancing hicks, good times, bad times and all that time in between.

For a guy with little airplay, Brown is a fortysomething cult artist with a dedicated following. He just keeps plugging along sort of like John Prine, a big fish in a little pond. Brown discussed the latest from his Iowa City home during a recent phoner.

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Your bio weighs about as much as a well-fed third-grader. Does it matter what the press says?

You mean, what’s it like to be a critical success or a cult figure? It doesn’t really matter that much to me although my booking agent seems to take that stuff seriously when it comes to getting me gigs. All it means is that I’ve been able to control the kind of career I’ve had. I’ve never tried to have a big hit or make a lot of money, but rather just pursue a career off to the edge.

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How did you come to start your own label?

I don’t own the label anymore. But around 1980 when I recorded my first album, I called all the independent labels to see if they’d release my record. They’d ask me if I toured, and if I did, they’d put my album out. I figured if they put my album out, I could tour, so it was sort of a Catch-22 thing. So I started Red House, but now, I’m just another guy on the label.

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Do you recommend that to other artists?

If you play pop music that’s not really mainstream and probably won’t get on the radio, doing it yourself is a good idea. With the technology today, just about anyone can make a record, and they do.

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What kinds of music did you grow up listening to?

I grew up listening to gospel and old time country, and from gospel, I got into the blues. American musicians hear so much stuff growing up. When I got out of high school, I knew this is what I wanted to do. I knew it was going to be hard, kind of strange, but this is what I want to do.

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What do you think Greg Brown music sounds like?

Oh man, that’s kind of like asking a fish to describe water. I love to listen to all sorts of music. I don’t care what it’s called so long as it has a lot of emotion, heart and soul.

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What is your process for writing a song?

I tend to write in cycles. I won’t write for a couple of months, but then when I start, it doesn’t matter where I am--on the road or at home, and it just comes out.

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Is folk music getting bigger, smaller or staying the same?

I don’t really pay too much attention. Some folk or acoustic acts have had some commercial success such as Tracy Chapman and the Indigo Girls. And Ani DiFranco is quite an interesting phenomenon. But from my little corner of things, my shows are going well.

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How’s the Iowa scene?

I live in Iowa City, a college town with a lot of good young rock bands, plus some national touring acts play sometimes. The Writer’s Workshop is here--you may’ve heard of that--so there’s lots of poets roaming around. I play in town about every four months or so.

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As a solo artist, it’s easy to split the dough at the end of the night. Are there any other advantages?

Whatever pops into my head, I can do. It’s the complete freedom to do a song with a different rhythm or different lyrics or even do a song I’ve never done before. It’s spontaneity and freedom. I do like playing with others, though, as a duet, a trio or what have you.

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What misconceptions do people have about a musician’s life? Do they think you all sleep until noon and drive around in a limo or what?

I don’t hear anything bad about that. I guess some people tend to glamorize the travel, but a lot of time when you’re traveling, you don’t get to see anything. I remember one time I flew from L.A. to Colorado because I had a gig at Telluride. It was winter and I ended up on a seven-hour bus ride with a bunch of airline pilots who were going skiing. I finally got to the gig at about 8 that night and the audience turned out to be three drunk snow-plow drivers. Getting to the gig isn’t always that glamorous, but when I get there, I’m glad. Then again, I only do about 90 gigs a year.

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Who goes to a Greg Brown show?

It’s very diverse. I get young kids, people in their 20s, people my age and older people. I don’t play bars much anymore, but I do play clubs that serve liquor. I do find California audiences a bit livelier. Aging musicians have to get used to people coming up and telling them their mom turned them on to you, but that’s OK with me.

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Do you dance like a hick?

I sure as hell do.

BE THERE

Greg Brown and Kelly Joe Phelps at the Lobero Theatre, 33 Canon Perdido St., Santa Barbara, 8 p.m. Saturday; $19.50 advance or $22.50 at the door. (805) 963-0761.