Armed with a Broken Heart

Singer-songwriter Freedy Johnston doesn't exactly flood the market with releases of new material, and Neon Repairman, just out, is only his second CD of new songs since 2001. Like many of his peers among major-label refugees (or even minor-label refugees), he's more or less on his own these days; this CD was issued by Singing Magnet Records, which I suspect means that he put it out himself.

There are pluses and minuses to going it alone, but at this point in the evolution of the pop music industry a lot of talented people don't have much choice. Happily, this is a fine CD, one that can comfortably be set beside records like Can You Fly and This Perfect World that Freedy made in the 1990s when it was still possible for someone like him to get promotion and airplay. Freedy continues to tour and I hope at least a few people get a chance to hear this one.

As melodic and jaunty as Freedy's songwriting is, I doubt he's ever been accused of sugarcoating things, and this record is no exception. In addition to drug dealers, waitresses, and damaged war veterans, his characters run the gamut from the ordinary lovelorn to the borderline creepy. The gentlest song on Neon Repairman is sung in the character of cosmonaut Yuri Gagarin, and even that one looks back to "that hole in the ground we lived in during the war." Not that Freedy has cornered the market on dark material, but there are few songwriters who can combine romanticism, down-and-out grit, and human sympathy quite this successfully. Plus he just flat-out knows how to compose a pop song.

Neon Repairman is available from CD Baby (which has audio samples), and presumably at Freedy's gigs. You could do worse.

Thank a musician week

Update (2021): Many of the links below are now broken.

There's a lot of hand-wringing these days about how the old model of compensating musicians is breaking down under the pressure of file sharing, piracy, and 99-cent downloads, and about how nobody has figured out yet just what new model might arise to replace it. As interesting and important as all that is, it's worth remembering that there are plenty of talented working musicians out there right now trying to make a living, driving themselves from gig to gig and hoping that their next royalty check — assuming there still is one — will help cover their medical bills. If those of us who make up their audience — because we get some kind of joy or consolation or amusement out of what they do — want them to continue doing it, we're going to have to keep supporting them, and that means, one way or another, supporting them financially.

Fortunately, there's still a way of doing that that benefits everybody. You purchase a CD (or a download, if you're so inclined), maybe go to a gig if you have the opportunity, the artist gets some cash and a reason to keep going, and you get some music and the feeling of having done your part.

One thing the musicians in the list that follows have in common (other than demonstrating my shameless musical prejudices) is that most are now either producing and marketing their own music or recording for small boutique labels, which means that if you buy music direct from them there's a chance that a fair portion of your dollar might actually go into their pockets. And although I derive no financial benefit from promoting them, I can't say that I do so entirely for selfless reasons; I promote them because I enjoy what they do and want to make sure that they're able to keep on doing it.

— Mary Chapin Carpenter, Ashes and Roses, available from Bandgarden.
— Lowry Hamner, American Dreaming, available from CD Baby.

— Robyn Hitchcock, Spooked, available from Yep Roc Records.
— Andy Irvine, Abocurragh, available from the artist.

— Leo Johnson, It's About Time, available from CD Baby.
— Freedy Johnston, Rain on the City, available from the artist.

— Los Lobos, Tin Can Trust, available from the artists.
— Kelly Joe Phelps, Brother Sinner and the Whale, available from Black Hen Records.

— Amy Rigby & Wreckless Eric, A Working Museum, available from Amy Rigby.
— Zachary Richard, Le fou, available from the artist.

— Chris Smither, Hundred Dollar Valentine, available from the artist.
— Syd Straw, Pink Velour, available from CD Baby.

— Gillian Welch, The Harrow and the Harvest, available from Acony Records.
— Scott Wendholt, Beyond Thursday, available from Double Time Records.

Finally, here are two excellent music documentaries by independent filmmakers:

— Tom Weber, Troubadour Blues, available from Tom Weber.
— Fred Uhter, Wide Awake, available from New Filmmakers Online.

The Mortician's Daughter

I got a chance to see Freedy Johnston live the other night. I had seen him once earlier, playing with his longtime lead guitarist Cameron Greider about six or seven years ago; this time he was on his own in a small club.

The show was a little ragged at times. He began it distracted by his dog, who was just outside the door, started playing with the capo on the wrong fret once or twice and had to start a song over, forgot the lyrics to “Dolores,” and at one point stopped the show for about ten minutes while he replaced a nine volt in his electronic tuner. But he was relaxed and in good spirits and eventually hit his stride.

On his records you don't at first notice how effective a guitarist Freedy is, although it's there if you listen carefully. As he's made clear in interviews, he doesn't pretend to be a accomplished lead player, but his playing is original and assured; he makes the most of a few well-chosen, deceptively simple-sounding licks and strums neatly tailored to his own compositions.

I've always liked this song from its original appearance on Can You Fly in 1992. He played it live this time, with a somewhat different, freer arrangement starting at the beginning of the second verse. After the show I bought a copy of Freedy's self-issued CD Live at 33 1/3 from his wife. The version there is very similar to what he played the other night, and I think, even better than the one originally recorded. If you don't realize that the first two lines are supposed to be funny you're not getting this song, but for all that it's a sweet, sad, and I think very canny and beautiful piece. A little mysterious too: has the girl died? If so, it neatly folds together the song's little ironies of sex and death.

I used to love the mortician's daughter
We drew our hearts on the dusty coffin lids
I grieve tonight over this letter
My tears dissolve an image from the careful ink

Her father stands in the open door
He's waiting for her
There's a storm blowing across the lake
It's late summer
On the broken step is a cardboard box full of wilted flowers
She whispers in my burning ear
It doesn't matter

I used to love the mortician's daughter
We rolled in the warm grass by the boneyard fence
Her skin so white
The first leaves falling
This long forgotten night I am there again

Her father stands in the open door
He's waiting for her
There's a ribbon printed with last respects
Blowing down the gutter
And the rain comes in, she drops my hand, she's turning, laughing
And I used to love the mortician's daughter

I used to love the mortician's daughter
We drew our hearts on the dusty coffin lids
There's a lonely dove out on the telephone wire
I turn my head and she flies away