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[ guy clark ]
guy Clark, an eclectic Texas singer-songwriter often slotted in country, is haunted by two facts: Other folks (Ricky Skaggs, Vince Gill) have had bigger hits with his songs than he has, and he can never seem to escape the shadow of his marvelous first record, "Old No. 1," now 22 years old. While that album was praised, if a bit lost, in the swell of outlaw country records from the middle '70s, it now sounds wiser and more subtle than the era's supposed masterpiece, Willie Nelson's "Red Headed Stranger." Consciously or not, Clark presents a cycle of songs about time and its displacements -- of generations, relations, societies and more. Shifting from L.A. freeways to the remote plains of Texas, some characters move on gratefully, some yearn for the past, a few make all the moments flow together. "Keepers" is Clark's only live album, and its core is still songs from "Old No. 1," but it's his first collection you might buy instead of that debut. Clark has said silly things about the new recording, such as that it wouldn't be "a big studio record," as though intrusive producers had spoiled his early albums -- his most "overproduced" '70s records sound like field recordings next to, say, U2's "Pop." His true problem is that he writes very slowly, and since putting out a single every two or three years will not sustain a career, he has released bales of sketchy or maudlin filler tunes. That is not an issue with "Keepers." All the material hangs tough, and with a relaxed yet spry quintet behind him (including dobro, accordion, and son Travis on bass and vocals), Clark can highlight his voice, richer with dry, dusty creaks than ever. The program sprinkles folkie tracks with simple guitar
accompaniment among peppier ensemble workouts, and either way Clark can
tease delights and sighs out of cowboy stories like "The Last Gunfighter
Ballad" or "Let Him Roll" or scenes like "South Coast of Texas" or "Out in
the Parking Lot." Few would guess that "Texas 1947," about the first
streamline train to roar past Clark's tiny hometown, would be the piece
with more railroad rhythm and simple joy than the version on "Old No. 1."
The big-finale hoedown is about food, not brawling or screwing. And Clark
finishes with "Desperados Waiting for a Train," among the finest numbers
ever written about growing up in the American West. He knows every note and
word of the song fall perfectly in place. Your record collection will suffer without it, and
"Keepers" is the perfect remedy.
--Milo Miles Milo Miles' music commentary can be heard on National Public Radio's "Fresh Air." He is a regular contributor to Salon. |
