{"id":10320,"date":"2022-06-14T08:52:49","date_gmt":"2022-06-14T07:52:49","guid":{"rendered":"https:\/\/aata.dev\/?p=10320"},"modified":"2022-06-14T13:48:25","modified_gmt":"2022-06-14T12:48:25","slug":"steve-earle-respecting-the-song-and-its-practitioners","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/06\/14\/steve-earle-respecting-the-song-and-its-practitioners\/","title":{"rendered":"Steve Earle: RESPECTING THE SONG and its practitioners"},"content":{"rendered":"\n

Steve Earle talks To Tom Lanham of Paste on-line about<\/strong><\/p>\n\n\n\n

RESPECTING THE SONG<\/strong> and its practitioners<\/strong><\/p>\n\n\n\n

and Norman Warwick listens in<\/strong><\/p>\n\n\n\n

Apropos our front page we have recently read Tom Lanham, of Paste on line, telling us how important are niche and late night television to music-loving insomniacs. It probably wasn\u00b4t BBC 4 he had in mind, as he makesde some salient points, but the recently announced imminantd closure of that channel is a major blow to those of us who search late into the night for an esoteric documentary on Dylan or a hushed and hallowed appreciation of the songs of Emmylou Harris.<\/p>\n\n\n\n

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\u00a8One of the rare, decidedly unexpected upsides of the pandemic\u00b4, he says, \u00b4has been the surreal fluidity of time. With 9-5 clock-punching becoming a thing of the past for many of us, it was easy for days to slip into nights and vice versa, so seamlessly that you could easily find yourself wide awake at 3 a.m., hypnotically scrolling through countless random cable channels or streaming services, in search of something new to watch. And until you end up drifting through the truly strange late-night possibilities, you never really know what long-buried cinematic gem you might uncover. True visual oddities like director James Szalapski\u2019s curious musical documentary from 1976, Heartworn Highways, which has been popping up lately at hours when most of us used to be peacefully asleep. Some might have seen it; many have not, and it\u2019s not an easy movie to explain.<\/em><\/p>\n\n\n\n

There is no real linear plot to Heartworn Highways, outside of following once-incarcerated country renegade David Allan Coe as he drives his own tour bus to the Tennessee State Prison, where he plays a quirky but convivial concert for inmates. But it\u2019s the other footage that Szalinski gathers along the way that\u2019s simply magical, capturing the Texas Outlaw Country movement in its infancy, via: a young Guy Clark, plying his trade as a luthier; Townes Van Zandt, spinning yarns like a talk show host on his bucolic farm; other upstarts like Steve Young, Rodney Crowell and even Charlie Daniels, playing a high school.<\/em><\/p>\n\n\n\n

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Then, later in the inexplicably sequenced clips, a spider-limbed young disciple of that song-writing school, his long hair practically obscuring his face and a cigarette dangling Ron-Wood-dangerously from his lips\u2014future Grammy winner Steve Earle (right)<\/strong> , 21 at the time, playing his own early material like \u201cElijah\u2019s Church,\u201d but obviously in reverent awe of his mentors. He might be sitting at the same Nashville kitchen table with the late legend Clark and company in the scene, and sharing the same bottle of inspirational booze (\u201cNow that\u2019s vodka!\u201d he rasps after a swig, before leading a seasonal singalong of the traditional \u201cSilent Night\u201d), but it\u2019s clear that he\u2019s paying studious attention. Because you just don\u2019t get access to those kinds of teachers anymore.<\/em><\/p>\n\n\n\n

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Why did his elders accept this neophyte, warmly welcome him and take him in? Earle\u2019s still not sure. \u201cBut I think part of it was, I was persistent, and I probably wouldn\u2019t let \u2019em ignore me,\u201d he reckons. \u201cSo I think they had to admire that, because they had to do that, too, to get where they were at the time. And another part of it was, Townes tended to put me through more hoops, because he was pretty hard on himself\u2014he was his own worst enemy, in many ways. And with Guy, it was more of a direct apprenticeship, because you could ask him questions and get a straight answer. Whereas Townes would give you a copy of [Dee Brown\u2019s] Bury My Heart at Wounded Knee and tell you to go read it. But Jerry Jeff was just Jerry Jeff\u2014he was good at what he did, and he knew he was Jerry Jeff Walker. But when he ran across something he liked, he championed it.\u201d And Clark, in turn, picked up said trait from him, he believes. \u201cBecause Guy literally bugged Pat Carter to death until he signed me to my first publishing deal, at Sunbury Dunbar, so I wrote for the same place Guy did. So it was just one of those things\u2014I was just the kid that <\/em>And not long after that, Jerry Jeff got run out of Key West, but Jimmy stayed for a while,\u201d he adds. \u201cAnd I knew about Guy Clark because there were three of his songs scattered across Jerry Jeff\u2019s two albums he made for MCA\u2014the only way I heard his songs was Jerry Jeff Walker singing \u2019em. He was very generous about that, making people aware of the songwriter.<\/em><\/p>\n\n\n\n

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The first time I ever heard Tom Waits\u2019 name (right)<\/strong> was from him. He had been all over the place, and he just knew.\u201d Because Walker was a dedicated interpreter of his peers\u2019 efforts, too, a bonus-track edition of Jerry Jeff includes three non-Walker selections\u2014Ray Wylie Hubbard\u2019s \u201cUp Against the Wall Redneck Mother,\u201d Michael Burton\u2019s \u201cRedneck Lament\u201d and David Gilstrap\u2019s \u201cRodeo Cowboy.\u201d \u201cBut the basic 10-song album is all songs that Jerry Jeff wrote, dating back to his ATCO\/Vanguard days,\u201d Earle explains.<\/em><\/p>\n\n\n\n

Nick Nolte-gravelly tones they would both assume later\u2014you simply have to stand in awe at the sheer magnitude of a lovingly crafted folk\/country song. Earle\u2014who went on to author plays, short stories, host radio shows and podcasts, and act in hit TV series like Treme and The Wire\u2014still holds the art form in the highest esteem, and he rhapsodizes at length about such perfect examples as Clark\u2019s \u201cThe Randall Knife,\u201d a reflection on a parent\u2019s passing that can move the average listener to tears. \u201cIt took Guy a long time to write that song,\u201d he sighs, still awed. \u201cAnd just like the song says, he had to give it a certain amount of time before he could deal with it. So that\u2019s what he did. And that\u2019s what he wrote.\u201d<\/em><\/p>\n\n\n\n

Similarly, he says, everyone from random truck drivers he\u2019d meet to the Man in Black himself, Johnny Cash, went out of their way to compliment him on the Guitar Town ballad \u201cLittle Rock and Roller,\u201d an ode he penned for his then-toddler son Justin Townes Earle (who tragically overdosed in 2020 from cocaine laced with deadly and addictive fentanyl, now a national opiod scourge that\u2019s 50 times stronger than heroin and 100 times as strong as heroin; he honored his late son by cutting a tribute album of his songs last year called J.T.<\/a><\/em>). \u201cAnd that\u2019s when I figured out what this job was,\u201d he concludes. \u201cI wrote \u2018Little Rock and Roller\u2019 because I was on the road all the time, and I missed my kid, but what me, Johnny Cash and a truck driver have in common? We all miss our kids on the road. So it doesn\u2019t matter so much what a song means to me as what it means to somebody else, and that\u2019s what the job is.<\/em><\/p>\n\n\n\n

\u201cThe job is about empathy, and it\u2019s about what you have in common with the audience. <\/em>It\u2019s not about how cool you are.\u201d<\/em><\/p>\n\n\n\n

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And in the process, the then 20-something Steve Earle, almost fifty years ago, learned respect for The Song and its practitioners, and it shows on the soundtrack, his first-known recordings. And long after he broke into the alt-country business with his definitive Guitar Town debut from 1986, he went on to pay dutiful tribute via collections of covers that tipped the hat to his crucial tutors, who look barely out of their teens themselves in Heartworn Highways (an expanded DVD edition of which features bonus scenes of him crooning \u201cDarlin\u2019 Commit Me,\u201d \u201cMercenary Song,\u201d and\u2014with another young up-and-comer at the time, Rodney Crowell\u2014\u201cStay a Little Longer\u201d). First came the Clark-honoring Guy in 2009, then Townes 10 years later, the third entry in Earle\u2019s trilogy, Jerry Jeff, his 22nd overall. It\u2019s a 10-track nod to another telling musical influence, Jerry Jeff Walker, a New York-reared folkie who settled in Austin, began running with cutting-edge tunesmiths like Waylon Jennings and Willie Nelson, but succumbed to throat cancer in 2020 at 78 (Van Zandt died in 1997, Clark in 2016). And although Walker doesn\u2019t figure into Heartworn, the obscure old film and freshly cut new album nicely complement each other. They capture a bygone era when composers considered their craft to be some sort of alchemy, and a perfect song to be worth its emotional weight in gold.<\/em><\/p>\n\n\n\n

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Thinking back on his youthful mid-\u201970s days on Music Row, the San Antonio-raised Earle gets wistful. He\u2019d first discovered Walker at 14, when his high school drama teacher gave him a copy of the artist\u2019s classic \u201cMr. Bojangles,\u201d which Earle covers on Jerry Jeff, along with \u201cGettin\u2019 By,\u201d \u201cLittle Bird,\u201d \u201cMy Old Man\u201d and \u201cHill Country Rain,\u201d the tune he chose to perform at a life-celebrating concert last year in Luckenbach, Texas, organized by Walker\u2019s widow, Susan, alongside fellow fans Emmylou Harris and Jimmy Buffett. The whimsical \u201cMr. Bojangles\u201d not only caught the kid\u2019s attention, but also gave him something to aspire to. And soon he was living in Nashville, palling around with other scrappy hopefuls like John Hiatt, and testing out originals at smoky coffeehouses. It might be tough to picture, but he actually sported a beat-up black cowboy hat back then, with a beaded band, which was what initially caught Clark\u2019s eye in a club. \u201cHe just walked over and said, \u2018I really like your hat,\u2019 and that was the first conversation that we ever had,\u201d Earle drawls, chuckling. Next thing he knew, he was playing bass in the man\u2019s band, co-writing with him, and then helping him record his landmark Old No. 1 debut in \u201975.<\/em><\/p>\n\n\n\n

The newcomer also began working with Van Zandt. But he makes clear the fact that Walker was always his first and foremost stylistic influence. He wanted to be Walker, he swears, and he grew his hair appropriately hippie-cosmic long. Walker, in turn, came to trust Earle enough to make him his designated driver, ensuring he got home safely each libidinous night spent on the town. The disciple watched the master casually hitchhike to various distant gigs; he did the same, admittedly somewhat naively, and occasionally found himself in some scary situations. \u201cAnd yeah, it happened\u2014if you hitched as much as I did, it happens,\u201d he says. \u201cI ran away from home when I was 14, and I had some people tell me once, \u2018Hey, kid! Get out here and ask for directions!\u2019\u201d He sighs, somberly. \u201cI fell for it. And they drove away with my guitar. So hitchhiking wasn\u2019t for everybody, but it was for Jerry Jeff, and it was for me, and it was for Townes at one time, too. I don\u2019t think Guy ever hitchhiked anywhere\u2014Guy always had a VW that ran, and the rest of us didn\u2019t. And Jerry Jeff actually toured on a motorcycle for a few years. It was a Harley-Davidson, and whenever it broke down, he would hitchhike.\u201d<\/em><\/p>\n\n\n\n

On paper\u2014and in Heartworn Highways\u2014that halcyon era appears picture perfect. But Earle is quick to point out that when it came to securing a recording contract, he was far from an overnight sensation. He\u2019d been in town for 12 years without a nibble from a label, and he eventually put a rockabilly trio together to land a deal with Epic, for whom he tracked a full album called Cadillac (later sliced and diced as Early Tracks to cash in on Guitar Town\u2019s surprise success). \u201cI had four singles released on Epic, two charted, two didn\u2019t, and none of \u2019em charted high, so they dropped me,\u201d he recalls. In between, he cut four sides with producer Emory Gordy, utilizing a Duane Eddy-booming guitarist named Richard Bennett, and his trailblazing new take on country clicked perfectly into place, earning him a coveted slot on the MCA roster. \u201cAnd Epic did what they did\u2014they owned those masters, and when Guitar Town went to number one, they had the right to release them.\u201d <\/em><\/em><\/p>\n\n\n\n

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Earle has a parcel of wild Walker yarns, many experienced in person. He still loves retelling how the vagabond artist urged an unknown Alabama-bred artist named Jimmy Buffett (left)<\/strong> to hop in his \u201947 Packard and drive to Key West, thereby setting the stage for Buffet\u2019s whole Margaritaville sea-breeze sound and restaurant empire. \u201c<\/em><\/p>\n\n\n\n

Known for rock country like Guitar Town and Copperhead Road, my own favourite song of Steve Earle\u00b4s is the gorgeous My Old Friend The Blues, (see our cover and top of this page)<\/em><\/strong> but I suspect that a mixture of Earle\u00b4s passion and Jerry Jeff Walker songs is going to find its way on to my playlists, too.<\/p>\n\n\n\n

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It is true that Jerry Jeff\u00b4s most famous song might be Mr. Bojangles and there can\u00b4t be many of us who haven\u00b4t heard the song, but even if you have you might not be aware that remains a granny film of Sammy Davis Junior (right)<\/em><\/strong> singing it life. If that isn\u00b4t worth searching for through your late night tv channels, I don\u00b4t know what is.<\/p>\n\n\n\n

Sammy\u00b4himself, of course, was pretty cool with \u00b4the old soft shoe\u00b4and was as highly regarded for his dancing as he was for his singing and comedy patter. <\/p>\n\n\n\n

In the tv clip I\u00b4m referring to I\u00b4m pretty sure the stage was set like a prison cell, (unless that\u00b4s just me being fanciful) and Davis went into a prolonged dance break in between his deliberately slurred verses in which the narrator tells of how his drink dependency finally ended his career. Davis portrays Mr. Bojangles, as lonely and sad but still proud and carrying himself with a faux dignity after being thrown into a cell for night after public drunkeness somehow tells his tale. He tells any prisoneror cell guard who will listen how he dances \u00b4for tips\u00b4but says how good he might have been, \u00b4but, y\u00b4see, I drinks a bit.\u00b4 In a famous verse about his only travelling companion, a beloved dog, had recently just upped and died, a verse that other performers of the song often struggled to deliver in the right tone, Davis captured the sad and confused melancholia of Mr. Bojangles, and yet never let the character slip into self-pity. The lyric, stripped bare and simple is a masterpioece by Walker and in the hands of Sammy Davis Junior becomes almost Shakespearian in its tragedy.<\/p>\n\n\n\n

The song was actually most effectively brought to public attention by the country outfit, The Nitty Gritty Dirt Band, who recorded it on an album and also released it on a single to some chart success.<\/p>\n\n\n\n

The song is said to have been based on a vaudeville performer called Bill Robinson. Nick named  in his career as Bojangles, Bill was born  Luther Robinson; May 25, 1878 \u2013 November 25, 1949).<\/p>\n\n\n\n

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Bill Robinson (left)<\/em><\/strong> went on to be an American tap dancer, actor, and singer, the best known and the most highly paid African-American<\/a> entertainer in the United States during the first half of the 20th century. His long career mirrored changes in American entertainment tastes and technology. His career began in the age of minstrel shows<\/a> and moved to vaudeville<\/a>, Broadway theatre, the recording industry, Hollywood films, radio, and television.<\/p>\n\n\n\n

According to dance critic Marshall Stearns<\/a>, “Robinson’s contribution to tap dance<\/a> is exact and specific. He brought it up on its toes, dancing upright and swinging,” adding a “hitherto-unknown lightness and presence.” \u200a<\/sup> His signature routine was the Stair Dance, in which he would tap up and down a set of stairs in a rhythmically complex sequence of steps, a routine that he unsuccessfully attempted to patent. He is also credited with having popularized the word copacetic<\/em> through his repeated use of it in vaudeville and radio appearances.<\/p>\n\n\n\n

He is best known today for his dancing with Shirley Temple<\/a> in a series of films during the 1930s, and for starring in the musical Stormy Weather<\/a><\/em> (1943), loosely based on his own life and selected for preservation in the National Film Registry<\/a>. He used his popularity to challenge and overcome numerous racial barriers. Robinson was one of the first minstrel and vaudeville performers to appear as Black without the use of blackface<\/a> makeup, as well as one of the earliest Black performers to perform solo, overcoming vaudeville’s two-colored rule<\/a>. Additionally, he was an early Black headliner in Broadway shows. Robinson was the first Black performer to appear in a Hollywood film in an interracial dance team (with Shirley Temple in The Little Colonel<\/a><\/em>, 1935), and the first Black performer to headline a mixed-race Broadway production.<\/p>\n\n\n\n

Robinson came under heavy criticism for his apparent tacit acceptance of racial stereotypes of the era, with some critics calling him an Uncle Tom<\/a>. He strongly resented this, and his biographers suggested that critics were underestimating the difficulties faced by Black performers engaging with mainstream White culture at the time, and ignoring his many efforts to overcome racial prejudice. In his public life, Robinson led efforts to persuade the Dallas<\/a> Police Department to hire its first Black policeman; lobby President Franklin Delano Roosevelt<\/a> during World War II<\/a> for more equal treatment of Black soldiers; and stage the first integrated public event in Miami<\/a>, a fundraiser which was attended by both Black and White city residents.<\/p>\n\n\n\n

Robinson was a popular figure in both the Black and White entertainment worlds of his era, and is remembered for the support that he gave to fellow performers, including Fred Astaire<\/a>, Eleanor Powell<\/a>, Lena Horne<\/a>, Jesse Owens<\/a> and the Nicholas Brothers<\/a>. Sammy Davis Jr.<\/a> and Ann Miller<\/a> credited him as a teacher and mentor, Miller saying that he “changed the course of my life.” <\/p>\n\n\n\n

Gregory Hines<\/a> produced and starred in a biographical movie about Robinson for which he won the NAACP Best Actor Award<\/a>.<\/p>\n\n\n\n

Despite being the highest-paid Black performer of the time, Robinson died penniless in 1949, his funeral paid for by long-time friend\u00a0Ed Sullivan<\/a>. In 1989, Congress designated Robinson’s birthday of May 25 as\u00a0National Tap Dance Day<\/a>.<\/p>\n\n\n\n

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from Simon Petermann, jazz musician and writer<\/figcaption><\/figure><\/div>\n\n\n\n

“Why does this happen to me?”

I woke up in the middle of the night.  And I was deaf in my left ear.

It was only when my ear went deaf, that I understood how important listening to music really is to me.<\/p>\n\n\n\n


For four days my left ear was deaf. I started to think I may never enjoy music again.<\/p>\n\n\n\n


I feared I would lose the ability to hear and enjoy music forever.
No music again. Not as a player, not as a listener.

During this time, I read a quote from one of history’s most important philosophers. Friedrich Nietzsche said: “Without music, life would be a mistake.”<\/p>\n\n\n\n


It was after reading this, that I decided to go on a lifelong quest:
I want to invest every day of my life in discovering the secrets of listening. Because music is a healing balm for my mind and my soul.

Would you like to know what I found out?<\/p>\n\n\n\n


I developed a system, that unveiled every layer of a jazz recording. Do you want to know about it?<\/p>\n\n\n\n

If so, then look out for my email tomorrow.
I’m going to show you the epiphany I had.

But more importantly, I’m going to explain how you can use it to get similar results with YOUR favourite music!

So, look out for tomorrow’s email. The subject line is [Ch. 3 of 4]: The layers of jazz<\/p>\n\n\n\n

WATCH THIS SPACE<\/strong><\/p>\n\n\n\n

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The<\/strong> Primary source for today\u00b4s article was\u00a0 a piece written by Tom Lanham and published at Paste on-line \u00a0who are an excellent and positive information stream. The outlet serves as a force for good, unafraid to question the government and its councils and to monitor outcomes.<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

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This article was collated by Norman Warwick (right) , a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. <\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

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sheku kanneh mason newsletter<\/p>\n\n\n\n

songfacts                                           en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

long after he broke into the alt-country business with his definitive\u00a0Guitar Town\u00a0debut from 1986, Steve Earle went on to pay dutiful tribute via collections of covers that tipped the hat to his crucial tutors, who look barely out of their teens themselves <\/p>\n","protected":false},"author":2,"featured_media":10332,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-10320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=10320"}],"version-history":[{"count":5,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10320\/revisions"}],"predecessor-version":[{"id":10341,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10320\/revisions\/10341"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/10332"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=10320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=10320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=10320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}