Odd Marshall turns second chances into something powerful
Sometimes the old saying “never meet your heroes” couldn’t be further from the truth. For singer-songwriter Odd Marshall, that moment turned into a defining chapter of his career. On his album Seconds, Marshall teams up with Blind Melon’s Christopher Thorn and Rogers Stevens, transforming a cold email into a full-circle collaboration rooted in admiration, grit, and second chances. The first single, “Outta Here,” offers a bold introduction to the album’s desert-born sound, blending classic roots rock energy with deeply personal storytelling.
First off, care to introduce yourself to our readers?
Hello! I go by Odd Marshall. I’ve got some songs coming out in the form of an album. I call it Seconds.
What does the title Seconds represent to you at this stage in your life and career?
Three years ago, I didn’t expect to have one album let alone two. I’d stopped writing and playing for about ten years. Making the first album was such a great experience with producer/drummer Don Kerr, guitarist Michael O’Brien, bassist Jason Haberman and Carlin Nicholson and Mike Boguski on keys. It felt a little early to dive into a second album, like I was going back to the trough. I had reached out to a prominent Canadian producer to produce an EP, but when we couldn’t make it work with our schedules, I asked myself, “Who else did I like when I was 17?.” The answer was Blind Melon. After a few social media DMs and emails, I got in touch with one of their guitarists Christopher Thorn and right away we were planning to record at his place, Fireside Studios in Joshua Tree, California. To be working with my high school heroes was really a second coming, so the title kind of came out of a few ideas.
How would you describe the emotional core of this album?
This group of songs is definitely more aggressive than the first album. When I knew I was going to be working with Christopher and his Blind Melon partner Rogers Stevens, I chose a group of songs that would give them room to work. I will be the first to say I’m not the front man that Shannon Hoon was, so I’m definitely not trying to compare myself to the albums I grew up on.
Did making this record in Joshua Tree influence the tone or perspective of the writing?
To be honest, I flew in and we got right to work, so the songs weren’t written there. In fact, I wrote some of the songs before my ten-year hiatus. “Outta Here” was written in high school—more than half my life ago. But the studio compound Christopher has set up at Fireside is definitely an incredible place to work. With is wife Heather, they’ve designed a very special place–peaceful and isolated, with great beds. Walking out into the desert every morning was a unique experience, considering I had to snowshoe for forty-five minutes leaving my house that winter.
How did working with Christopher Thorn shift your songwriting or arrangement choices?
He brought in the band, which is the most important part of establishing the sound. And of course his friendship with Rogers was pretty vital to what we created. I couldn’t believe this was the first project they had collaborated on outside of Blind Melon. But overall, Christopher really shaped the songs in the mix and added elements along the way. He can play any instrument, so if it needs a little percussion or pulsing keys, he can jump on. He’s got fantastic levels of energy, so it’s great to have him take charge. I came in with my demos that were the foundation of the songs and I wouldn’t say the songs changed in structure, but it’s what the entire gang added that really brought them to life.
After stepping away from songwriting for a decade, did this album pour out of you — or did you have to fight for it?
Four of the songs were written in the months ahead of the session. The other four are 10-20 years old, ironically inspired by the guys I was working with all these years later. The main change in me is the lack of changes, if that makes sense. I used to try to impress people with how convoluted the songs were. But now, I’m just looking for the quickest way to express an emotion. If that’s two chords, and a third for the chorus, great. Slow it down, say something and hope it connects. I think it’s more about communication for me now. Maybe I had to become a hermit to unlock that need for communication!
Is there a lyric on the album that still hits you hard every time you sing it?
Because the songs on this album were written over so many years, some lines remind to very different chapters in my life. London, Bollywood, New York, but also less trampled places like the isolated cabin I call home. Every place inspires. In the song “Way Out” there’s a line, “We all hate who we are sometimes.” Sometimes I sing it as “We all hate WHERE we are sometimes,” and both are true. But I try not to be so full of hate these days. I’ve matured, and have come to see that the space you’re in is much more about how you make it. Some days I hate the kitchen table. Some days, when I write a new song there, I love it.
If Sand & Glue was your introduction, what is Seconds claiming?
I don’t think I’m claiming anything with the new album. I’m just glad to have the songs out. Off-loading an album helps the writing process. I’d say it inspires almost the opposite kind of writing. The next album will be much more chill. But I’m also still digging up old songs and trying to find spots for them along the way.