Jul
15

And with “Old Hairy Eyebrows,” we’ve saved the best for last. Here’s a queasy sea shanty tale about a man lost at sea. It begins with a slow motion image of an Egyptian boy laughing amidst the waves. Let go the aft. After this talispin, we visit the hard-snorting crew, keeping us afloat. And then the heart-breaking bridge, which is worth quoting at length:
If you bob among the waves, the bonny bonny waves
And if you’re last among the lost you’ll be lost the same.
If you bob among the waves, the bonny bonny waves
And if you’re lost among the lost it ain’t the same as being saved.
As our singer leans left, weaves right, and searches the horizon, we wade along, beautiful losers all.
Dan Philips: Old Hairy Eyebrows
Jul
14

This fantastic shot of a desolate Baltimore city street was taken by Patrick Joust, and is used with his permission and patience. Thanks to him; please see more of work, starting here.
The first five years of our lives define our path, irretrievably some say. I work with young adults that have been pretty well screwed in the nature and nurture department. You’d be surprised how everything from the presence of a father to the presence of lead paint can affect a child’s development. Studies show that crime spreads with the migration of criminals. Studies show that America is a dangerous country to live in. Studies show that the human brain is an organ. Studies show nothing of morals.
These days, I’d trade my skin for a clean escape. Dan Philips is a man who once wrote a song called “Dreams of Vagrancy;” perhaps he felt the tenuous nature of a priveleged white upper-class existence. Perhaps he felt the ghastly lure of addiction round the unseen corner. Perhaps he felt his blood beat boldly in his veins. Dan Philips is a man of the blood.
Without wanting to reveal all his cards to the prying public, I will volunteer this information: Dan Philips was nurtured by caring, educated stock. He was encouraged to become whole, and he was swamped in ol’ time religion (as was I). Maybe that revival tent seemed dangerous. Maybe the long stare of the evangelist cast the same spell of the cold precision of the mobster. In “Grunts N Groans,” Dan lays out the human animal in its barest form, and connects the dope fiend to the slain believer. He pulls no punches when it comes to human motivation, and our reptilian brians fight or flee when faced with hunger and entrapment. Dan’s music pits the human animal against the elements, and divine grace is legendary and fleeting at best. The best we can hope for in Dan’s grim world – the fragile we, with outstretched arms – are cagey parental expressions of love in the form of long stares and coded silences.
“Dan’s grim world:” that sounds patronizing and cheap. This is a rich and traveled man. He and his old hairy eyebrows (see tomorrow’s post for more on that) have poured more love and grace into the grim world than almost any other saint I know. He is both welcoming and private, and I fear I am intruding with my words. I hope to go on more in this direction tomorrow, but for now let’s stick with the music. Have a listen for yourself, absorb the country piano and the backwoods drawl, and contemplate your own private life of crime and your own brushes with calamity.
Dan Philips: Grunts N Groans
Jul
13

John Martin: "Destruction of Sodom and Gomorrah" (1852)
Dan Philips writes about “Calamity,” but it strikes me that the disasters alluded to are either feared, half-remembered or illusory. He paints a barren scene of Old Testament wandering and scorched earth, and you can almost taste the dust in your teeth, and you can almost feel the textured canvas and the oils. It feels like oral tradition handed down beyond memory, but told by a new prophet. Like Josiah breathing life into the recovered scrolls of Deuteronomy, but without the forced public acceptance, and without any received application or interpretation. Dan Philips is the voice of hunger, and his words are half-starved. “Here’s having hunger that scorns food.”
As long as I’ve known him, Dan has had the ability to stare down the most harrowing corners of existence more than any songwriter I’ve known. He continues to inspire and stupefy me.
I can’t quite qualify exactly what Dan’s relationship with calamity is. All these allusions to Biblical losses: is he counting them as loss? Is the Gomorrah within depraved or noble? Did Esau actually get a good deal? I wonder if Dan’s internalizing all of history, from the tales of Genesis (“Here’s to your birthright for beans”), to the conquests of Alexander the Great (“Here’s to the phalanges march”); he claims all these as the “wasteland within,” and he ends up with “a hambone I longingly clutch” and a longing to have “something you’re born to.” In just three verses, he brilliantly roams amongst multi-layered and multi-sourced oral and written legend, and ultimately brings it back to a solitary picture of a man in the desert.
Dan Philips: Calamity