Tag: Lucero

Cormac McCarthy and American Music

The No Country for Old Men author, who died last month at 89, lit a fire in the belly of some of the greatest American songwriters

Rolling Stone. July 3, 2023.

For a writer who spent most of his career outside the limelight, the outpouring of public admiration in the wake of Cormac McCarthy’s death on June 13 at 89 testified to the power of his work. An obscure figure with a cultish following for much of his writing life, McCarthy had long been esteemed by members of the literati. The late literary scholar Harold Bloom placed him on his very short list of American authors in the 20th century who had in their writing achieved the sublime, naming him alone as “the true heir to Melville and Faulkner.”  

Nearly three decades into his career, McCarthy found mainstream success with the publication in 1992 of his Western epic All the Pretty Horses. Later, he would achieve greater renown when the Coen Brothers’ film adaptation of No Country for Old Men won the Academy Award for Best Picture in 2008. But it was his 2005 parable about a father and son navigating a post-apocalyptic world, The Road, that first catapulted him to household-name status, winning him a Pulitzer and landing him on Oprah’s Book Club list. More recently, in 2022, McCarthy released two companion novels, The Passenger and Stella Maris, a suite of stirring swan songs that stand as a fitting coda to his challenging and brilliant body of work. On the day of McCarthy’s death, Stephen King said that he was “maybe the greatest American novelist of my time.”  

But for all the merits of his art, it was the “American language,” as historian Shelby Foote once put it, that was perhaps the true star of his novels. McCarthy wrote in cadences that many likened to the King James Bible (though much of his late work was marked by a more stripped-down prose style approaching that of Beckett). McCarthy’s imagery is strikingly visual and the rhythm of his prose has a sonority to it that, when read aloud, flows like music and puts most capital P poets to shame.

Perhaps it is no surprise then that among the hosannas following the news of his death, something interesting began to emerge: The prose-poet of Homeric proportions had left his mark on songwriters and musicians too. Social media was dotted with tributes from those in the music world who felt compelled to acknowledge McCarthy’s influence. Songwriter Jason Isbell, who’s talked before about his reverence for the Tennessee-bred author, might have said it best: “How many of us did he influence? Immeasurable. I could go onstage and say ‘this next one was influenced by Cormac McCarthy’ and literally sing any song I’ve ever written.”

Bruce Springsteen has checked McCarthy among his favorite writers, telling the New York Times in 2014 that Blood Meridianwas a “watermark” in his reading. The Road, he added, was the last book to make him cry. And McCarthy is also a darling of Tom Waits, who apparently was hipped to the writer long before the author’s mainstream arrival. Nick Cave, who helped compose the score for the 2009 film adaptation of The Road, also counts himself as an admirer. “It’s clever, that book,” Cave told Radical Reads in 2018, “because the environment that they’re living in is so unremittingly pessimistic that he’s able to weave this extraordinarily sentimental story about the love between father and son and completely get away with it.”

Hataałii, a 20-year-old Navajo singer-songwriter from Window Rock, Arizona, whose new album Singing into the Darkness came out last month on Dangerbird Records, tells Rolling Stone that his worldview had been shaped by the novelist.

“Because of McCarthy I figured out that the desert was more than just a void, but rather it was filled with spirit and that the people who truly live in the desert see things differently,” Hataałii says. “There was a sudden appreciation and immense respect that I now held for the history of the area and even the landscape formations, which saw me and every other generation that came before me, and that I was simply in line with my ancestry and that me and my ancestry were the same thing.”

Texas singer-songwriter Robert Earl Keen is something of a Cormac super-fan and collects first editions of his novels. He once had designs on purchasing McCarthy’s Olivetti Lettera 32 typewriter, which the novelist had used to write all his novels, when it went up for auction at Christie’s in 2009. Keen was prepared to spend $50,000 but bowed out after the bidding hit that figure in no time. “It shot through 50 like butter, man, like boom!” Keen tells Rolling Stone. It ended up going for nearly a quarter-million to “some guy in a blue raincoat, like in the Leonard Cohen song,” he says with a laugh.

McCarthy’s influence found its way directly into Keen’s songwriting. His 1998 album Walking Distance contains a five-song concept piece that loosely tracks the trails of The Kid in Blood Meridian, from the eastern United States into Texas and then down into Mexico. He wrote the songs in the first-person and set them in the present day, as opposed to the mid-nineteenth century when the novel takes place.

It’s the imagery in McCarthy’s prose, Keen says, that’s inspired him most. He mentions McCarthy’s first novel, The Orchard Keeper (1965), as an example. “He’ll talk about some steps going up to the porch, and how the moss is a certain color and it’s still sort of moist and it gives you that feeling that you’re really back there in the shadows in eastern Tennessee, and how cold it is and wet it is, at the same time without ever really saying it’s cold and wet — he’s just talking about the moss. He taught me that it’s about the importance of the imagery within a piece of writing, or even a song, and does the imagery mean anything in and of itself, no matter if it seems off-track.”

As a devoted reader of McCarthy, Keen is also in awe of his “narrative [gifts] and that ability he has to make a story that doesn’t have a real obvious trajectory,” he says. “And the stories never really wrap up. Time just sort of continues … I have to say he’s really spoiled me as a reader, so I just keep re-reading his books. Other than Henry Miller or even Emerson maybe, I never found writing like his that really grabs me and makes sense to me.”

McCarthy’s most pronounced influence on the American songbook comes in the form of The Last Pale Light in the West, a 2009 album inspired by Blood Meridian that was written and recorded by Ben Nichols, best known as the frontman for Memphis rock band Lucero. The album features seven story-songs based on different characters from the novel (“The Kid”, “Toadvine”, “Chambers,” et al.), set to acoustic guitar, pedal steel, accordion, and piano. 

“If I had set down to write a concept album about a Cormac McCarthy novel, well, that just sounds terrifying,” Nichols tells Rolling Stone when asked about the chutzpah it must have taken to translate a novel like Blood Meridian into song form. “Just doing it piece by piece by accident, just for the love of the words [is how it happened] … I wanted my dad to hear it. He’s a big Western fan. And so I put together these little short stories to songs, taking snippets out of the book and putting them to music. It just started as a little project to amuse myself. If I had known what I was actually pursuing, I might not have done it.”

Read the rest of the essay at Rolling Stone.

Steve Earle, Lucero Summon Old Spirits At Ryman Gig

Late in his set at the Ryman Auditorium, Steve Earle said he’d stood onstage in Chicago many moons ago and told fans that all of his dreams had come true. It was in that moment, he said, that he realized he needed to find some new dreams, and find them fast.

One of those second-act dreams came true Friday night when the so-called last of the hardcore troubadours, whose career has spanned 17 albums and survived all manner of slings and arrows, headlined the Ryman for the first time.

“This is a big deal for us,” he told the crowd.

A child of Texas, Earle was seven years old visiting his grandmother in Nashville, he said, when he first came to the Ryman, where he watched from the balcony as Bill Monroe performed on the Grand Ole Opry. He said he’d been thinking about that experience all day before launching into “You Broke My Heart,” an old-timey sounding country waltz that he wrote in the spirit of the venue.

“You Broke My Heart” features on Earle’s latest, So You Wanna Be Outlaw, an album that functions as a tribute of sorts to Waylon Jennings and Willie Nelson and their fight to wrest artistic control away from the anal retentive Nashville studio system. Like so many country greats who get slapped with the problematic “outlaw” tag, Earle’s output has been both traditional and subversive, a fact that was evident in a set list that moved peripatetically across genres.

The front end of Earle’s show drew heavily from the new album, and the third song of the night, “The Firebreak Line,” tipped its hat to America’s firefighters. With wildfires menacing much of the West, the tune is a modern-day folk number that finds Earle channeling his innermost Woody Guthrie. Another set highlight was “News From Colorado,” a song he co-wrote with his niece Emily Earle and ex-wife Allison Moorer before they split.

“Emily is in the crowd tonight, and Allison is not,” Earle deadpanned, adding that the audience would be hearing more from his niece, a Nashville-based songwriter who “survived for four weeks on The Voice without managing to end up in the hot tub with CeeLo.”

Hanging over the night, as if in benediction, was the legacy of Guy Clark, a mentor to Earle and a host of other Texas and Tennessee songwriters through the years. Before performing “Goodbye Michelangelo,” a song written about Clark shortly after his death, Earle spoke about the “L.A. Freeway” writer’s final days and the all-night bus trip he took with Clark’s inner sanctum to deliver Guy’s ashes to Santa Fe. He then talked about his old teacher’s decision to co-write late in his career, a move that inspired Earle’s own recent co-writing ventures.

Back in the ‘70s, Clark had advised against co-writing, but he eventually changed his tune. “Mainly I just got stuck, I ran out of shit to say,” he told American Songwriter in 2011. “I’ve found that with co-writing, there are a lot of young phenomenal songwriters and guitar players that come over here and write. And I learn so much from these guys. I’ll go, ‘Wow, how did you think of that?’ Or, ‘let me learn it.’”

Earle encored the show with “Desperadoes Waiting For A Train.” A song from Clark’s first album about a young kid and his hero’s death, it brought the night full circle.

Opening the show was Lucero, the Memphis bar-band exemplars who were playing the Mother Church for the first time. “We’ve never played the Ryman before but this is quite a place ya’ll have got,” said frontman Ben Nichols, who swigged whiskey throughout the set and joked that “you’d be nervous too if it was your first time playing the Ryman.”

There must be something about the Ryman and the memory of grandparents. Earle spoke about his grandmother, and before the last Lucero song of the night, Nichols wondered aloud what his grandfather would have thought about him playing the august venue. With just his accordionist, the unassuming frontman then delivered an emotional reading of “The War,” a song from 2005’s Nobody’s Darlings that recounts his grandfather’s experience in World War II. “Cause takin’ orders never suited me, giving them out was much worse,” Nichols sang, summoning a spirit kindred to his own.