Archive for the ‘Dwight Yoakam’ Category

Years long ago, with the old website, I routinely received requests to review new releases from independent artists and bands. The emails arrived in my inbox (the same Yahoo Mail account I use today, believe it or not), contained links to low-quality song snippets, and if interested I replied with my address. A week or so later, a CD would show up in my mailbox.

I usually ignored such enquiries.

In late 1997, however, I received a request from an Arizona-based band called Permission to Breathe, who thought that their song “(Leanin’ on) Neil Young’s Soul” was a natural fit for my site. As astute Internet historians should know, the original Old Grey Cat site leaned on Neil Young-related content to attract hundreds of visitors a day. I figured what the hell, and told them to send a CD my way.

A few months later, on February 8th, 1998, I posted the below essay, which used the “(Leanin’ on) Neil Young’s Soul” song as a launching pad for something more than a straight review; I’m sure it wasn’t what the band wanted, but c’est la vie. (I have edited the piece for clarity, excised a few digressions of digressions – back then I subscribed to a stream-of-consciousness approach I now find abhorrent – and added the YouTube clips.)

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That’s me in 1972 or ’73, above.

Yeah, even then I was something of a hippie, an outsider, a rebel, ready, willing and able to sneak off with a buddy for a smoke – of tobacco. The smoke seduced and corrupted our young lungs, with the coughs erupting from within us little more than echoes of our fading innocence.

Music was a known entity to me: My mom and dad liked “the anti-Neil,” Neil Diamond, and me, I thrived on Johnny Horton. If you’ve never heard of him, it’s a shame: In the late ’50s, he hit the charts with a variety of historical-based novelty songs -“The Battle of New Orleans,” “Sink the Bismarck,” “Jim Bridger” and “Johnny Freedom” – to name but a few. I played his Greatest Hits album on my portable record player, listened to the music and memorized the words.

I didn’t know it at the time, of course, but he was a “Honky Tonk Man” who mined the rich veins of hillbilly music, a pioneer who helped pave the way for Buck Owens and, later, Dwight Yoakam. “Guitars, Cadillacs and hillbilly music/it’s the only thing that keeps me hanging on,” Dwight sang on his first album, Guitars, Cadillacs, Etc., Etc., capturing on vinyl (or cassette, in my case) the reflection of his – and mine, and yours – soul. It’s an undeniably great album. If you don’t have it, get it, and crank it up. Hell, yes, it’s hillbilly music. It’s real. Authentic.

Certain songs, certain albums stay with you for the long haul. They take you back to a time, a place, a street like a lot of other streets in a town like a lot of other towns – and, yes, I more or less copped those last lines from the final episode of The Wonder Years. But great music does more than just take you back: It speaks for you in the present, too. We change, it changes.

Neil Young’s music is like that. “Down by the River” (from Everybody Knows This Is Nowhere) means many things, few of which are actually articulated in the lyrics. It’s the guitar rising, falling, swirling in space like a Deadhead twirling, each time ’round different from the last. It speaks volumes – especially when played loud.

Another album, another year: Neil’s Old Ways in 1985. Not a great album by any means, but “Bound for Glory,” a duet with Waylon Jennings, is sublime. Came out the year before Dwight’s LP and another landmark, must-buy album, Steve Earle’s Guitar Town. In that same time frame came yet another genre-busting effort: Lone Justice’s debut, which featured the absolutely sweet Maria McKee’s mercurial vocals on such songs as “Sweet, Sweet Baby (I’m Falling),” “Ways to Be Wicked” and “You Are the Light.” 

If you don’t have Lone Justice’s debut, hunt it down. I recommend investing in – at the least – Maria McKee’s entire catalogue; whether live or on album, she sends shivers up the spine with just about every song she sings. That’s a cliché, I know, but that’s what happens when you write about music: you find yourself groping for words and phrases that accurately sum up what it is the music makes you feel. ‘Cause in the end, that’s what great music does: It makes you feel.

It doesn’t matter if it’s new or old; the best songs and albums, like great literature, communicate in the moment, not the past. I wasn’t at Woodstock; I don’t remember Kent State. When I was five, I met then-Vice President Spiro Agnew and was thrilled to shake his hand. I knew nothing of hippies or the anti-war movement, of his or President Nixon’s crimes. But I was in the stands in Atlantic City when Neil Young dedicated “Ohio” to the students slain in China.

That song – although about a specific time and place – transcends its origin. For good and ill, Kent State has entered the lexicon as a metaphor. And, to paraphrase David Crosby, metaphors are the driving force behind great songs.

“My heart wants to be unbroken/my dreams rattle here unspoken/my days have all got a number/I need a good song so I don’t feel so wrong/so I’m leanin’ on Neil Young’s soul/I’m leanin’ on Neil Young’s soul…”

Those lyrics are from a recent find which came the Old Grey Cat’s way quite by chance. There, in my mailbox last December, was an invite from an Arizona-based band called Permission to Breathe: Review us, they said. They’d just released a song they thought I might appreciate: “(Leanin’ on) Neil Young’s Soul.” It’s a sentiment, obviously, that captured my imagination.

The first time I heard their self-titled CD, I said to Diane, “They’re going far.” It was neither an affirmation of the music nor a condemnation, just a recognition that they possess all of the ingredients necessary to storm the charts.

I’ve lived with the disc for just over a month and can honestly say I like the Neil Young song: “You say I’ll never be forgiven/your way is taking no giving/that my role is that of a sinner/I need a strong song/that rockin’ free world song/I find myself…leanin’ on Neil Young’s soul.”

It rocks and, as importantly, it captures in “feel” that part of us that turns to certain songs for inspiration. There are other moments of clarity as well, including “Crooked by Design” (“This life of mine, tangled in twine/May not be pretty, but it suits me/Rebel inside, just won’t hide…”) and “Nothing Now,” which documents a relationship’s dying days. 

I don’t know how or where Permission to Breathe and/or “Leanin’ on Neil Young’s Soul” will rank in the pantheon of music that makes up the soundtrack of my – or your – life. But, that’s the thing about music. You meet a song, you embrace and it’s with you for the long haul unless and until, for reasons best left unsaid, you leave it stranded on the roadside. “Leanin’ on Neil Young’s Soul,” that one is in the “probable” stage right now. It’s great on a tape right before…you got it: “Down by the River.”

psu_desk_86001Thirty years ago today I was but a few weeks into my senior year of college. The picture to the left is of my desk in my dorm room, and it tells much about me then – a print of the Gilbert Williams painting “Celestial Visitation,” which is probably known to most as the cover of Crosby, Stills & Nash’s 1982 Daylight Again album; beside it, the fold-out poster that came with Madonna’s True Blue LP; my Ballad of Sally Rose button, which I purchased the previous year when I saw Emmylou Harris in concert, is beneath it; and, beneath that, a picture of the Beatles, circa 1967, that was taken by Linda Eastman (though I didn’t know it at the time). To the left of that: a postcard from the Wings Fun Club that looked cool to me; and, beneath that, a Marilyn Monroe postcard. I can’t make out the rest, but suffice it to say that I had one foot in the past, another in the present, and an ear for hip country sounds.

According to the Weather Underground, September 5th, 1986, was a rainy day in State College, home of the Penn State mothership, with a high of 75 degrees and a low of 55. Hot movies that summer included She’s Gotta Have It, Stand by Me and The Fly; and Shanghai Surprise, which starred Madonna and Sean Penn, had cratered at the box office the previous weekend. In America at large, the economy was still in the midst of rebounding from the nasty recession of 1981-82; the unemployment rate at the start and end of the month clocked in at seven percent – not a great number, but much better than the double-digit rates of late 1982 and early ’83 – and inflation, at all of 1.8 percent, was a non-factor.

The state of my personal economy was fairly good, too: I had a summer’s worth of savings thanks to full-time shifts at a department store back home. I continued selling my plasma twice a week like clockwork, most weeks, and rented out my student pass for Nittany Lion home games; while I attended every tailgate, I actually only saw one game during my two years at main campus. (And no regrets about that, either.) My expenses consisted primarily of fast-food, alcohol and cigarettes.

Looking back, the ‘80s were somewhat like a snow globe: America was shaken at its start, but everything settled into place by decade’s end. That the era is often derided for its fashion miscues, pop music and political retrenchment is a shame; there was much good to be found. As for 1986? It’s likely remembered most for the tragedy that begat the year, the Challenger disaster…

…but the year was far more than that sad day.

Anyway, inspired both by Herc’s Hideaway’s recent countdown of the Top 100 Albums of 1984 (the link takes you to the Top 10; navigate to older posts and you’ll find his 11-90 entries), here’s my Top 10 from ’86. Why that year? Well, “It Was 30 Years Ago Today” has a nice ring to it…

1) Paul Simon – Graceland. Selected track: “The Boy in the Bubble.” Rolling Stone recently ran down 10 Things You Didn’t Know about the album, which was released on Aug. 25, 1986. To my ears, it sounds as fresh today as it did then. The title track is sheer genius, and I almost spotlighted it, but this song contains what may well be the one line I quote more than any other (by any artist): “Every generation sends a hero up the pop charts.”

2) The Bangles – Different Light. Selected track: “If She Knew What She Wants.” Yeah, some folks may not rank this album quite as high as me, but – I loved it then, and I love it now. Back when it was released, in early ’86, much of my music purchases was on cassette – they took up less room and, too, I had a cassette deck in my car. I actually played my original tape so much that you could hear the music on the flip side bleeding through.

A quick side-note: Those top two picks are easy enough for me to recall, as I noted them at the time; and have kept them on one list or another every year since. Numbers 3 on – I’m guesstimating to an extent, as they’re albums that I loved then and still enjoy today. Where, exactly, they fall…that’s up for (internal) debate.

3) Dwight Yoakam – Guitars, Cadillacs, Etc., Etc. Selected track: “Honky Tonk Man,” the lead single to Dwight’s debut album, is a remake of a classic Johnny Horton song. It’s just plain intoxicating; and, at the time, it sent out a signal that Yoakam was pursuing a more purist sound than the era’s Urban Cowboy-flavored norm.

4) Steve Earle – Guitar Town. Selected track: “Guitar Town.” Another country-music outsider, another great debut. It was considered too country for rock audiences and too rock for country folk, but it found its niche with those of us who liked both.

5) Belinda Carlisle – Belinda. Selected track: “Mad About You.” The former (and future) lead singer of the Go-Go’s released her solo debut during the early summer, and it’s a gem. As with the four preceding entries, it’s an album I still listen to on a regular basis. And here’s some trivia: Andy Taylor (of Duran Duran) plays the guitar solo on this song; and the album also features former Wings guitarist Laurence Juber and non-Rolling Stone Nicky Hopkins in addition to fellow Go-Go Charlotte Caffey, who wrote one of the songs and co-wrote four others.

6) Robert Cray – Strong Persuader. Selected track: “Smoking Gun.” As I’ve mentioned before in these pages, part of my time at Penn State included spinning discs on the weekend Folk Show on WPSU. I first learned of Cray in late ’85 or early ’86 from a fellow deejay, and – as a result – already owned one of his other albums, Bad Influence, which was a good, not great, affair. This release was simply phenomenal, and this song… well, you kinda know something’s an instant classic when a bar band in the boondocks, aka Bellefonte, Pa., plays it – and that’s exactly what happened sometime in… egads. Late ’86? Early ’87? God only knows…

7) Madonna – True Blue. Selected track: “Papa Don’t Preach.” Yeah, yeah, some people will undoubtedly smirk upon seeing Madonna’s name in this list, but I have no shame. I loved it then, as evidenced by the poster above my dorm-room desk, and still find it enjoyable today. It was also the last of her albums that I liked from start-to-finish.

8) Van Morrison – No Guru, No Method, No Teacher. Selected track: “In the Garden.” One of my favorite Van albums, and one of his all-time best. Words really don’t do it justice.

9) Hank Williams Jr. – Hank Live Selected track: “My Name Is Bocephus” It may seem bizarre to some that I was (and, to an extent, still am) a fan of Hank Jr. But I am. At his best, he’s authentic country and authentic southern rock. He released a string of what I consider good-to-great albums throughout the 1980s – 13 studio albums and this live set (plus three greatest hits collections). Think about that for a second. Most acts release, what? An album every other year (if we’re lucky)? He was on a roll. This song is one of my favorites by him, though it’s likely not the performance from the album. (Update: Hank Live was released in January 1987. So much for working from memory!)

10) Lone Justice – Shelter. Selected track: “Wheels.” Lone Justice Mach II wasn’t on a par with the original lineup, and this sophomore set wasn’t as strong as the original lineup’s 1985 debut. Yet, even with that, it contains some of Maria McKee’s greatest songs, including “I Found Love,” the title cut, “Dixie Storms” and this.

In retrospect, there are other albums I’d rank higher than a few of these – Janet Jackson’s Control, for instance, deserves mention – but I didn’t become familiar with them until the late ’80s, when I worked in a new-fangled CD store. But that’s a post for another day…