I enjoyed your reading of Dress Blues. The question of ego, though, I think misses the mark. For an artist, poet, an expression of anger and grief doesn't gain authenticity to the extent that it's what the writer felt (or didn't feel) at a particular place, but by the ability to realize the moment linguistically. The "speaker" of the song, the figure expressing his grief/disgust/outrage, is a character, not the Jason Isbell who didn't really know Conley. The voice Isbell has created borrows details and images from his own experience, and expresses his perspective on American wars, but in a voice that is NOT his own. So there's a suppression of his ego, with only glimpses of Isbell within the character he created. (Fun fact: one of the greatest elegies in the English language, Milton's "Lycidas," was written for a guy he was only vaguely acquainted with.)
It's clever to suggest that he actually suppresses his ego by inventing a narrator here, although I'm not sure I agree. I think you are right that Isbell occupies a sort of "alternative Isbell" POV in this song - as I wrote, he imagines himself having known the dead man much better than he did.
But it is hard for me to fully separate author from narrator in this song, whereas I think that is the right approach when it comes to "Song She Sang In The Shower" and "Speed Trap Town."
That being said, I don't intend to castigate him for taking creative liberties, by any means, nor for having an ego. Leonard Cohen - perhaps my favorite songwriter - wrote "Chelsea Hotel #2," for God's sake!
Thanks for reading, and for sharing your perspective.
Yes, the documentary Secret to a Happy Ending. Lots of old video, old songs, and ends with Isbell's departure from the band and the breakdown of his first marriage. Its a pretty interesting video from a lot of perspectives. As I disappeared down the rabbit hole of Isbells's songwriting, I took a side trip into Drive By Truckers.
I was very impressed with how you handled When We Were Close, your approach was very data driven. I find Razortown to be one of Isbell's least accessible, but most beautiful songs. Its interesting that it is included in the Drive By Trucker video, at the place the breakdown of Isbell's first marriage come up. Might be a coincidence, but I somehow doubt it.
Thanks Rufus - really appreciate it. I like to look closely at all the influences and biographical info that can come into the picture with a song.
I think Razortown is beautiful too - it has a haunting melody. I agree that it isn't easily accessible, as it is written in a very vague way and slips in and out of first person.
It's included in a DBT documentary, you mean? I'll have to check that out.
I enjoyed your reading of Dress Blues. The question of ego, though, I think misses the mark. For an artist, poet, an expression of anger and grief doesn't gain authenticity to the extent that it's what the writer felt (or didn't feel) at a particular place, but by the ability to realize the moment linguistically. The "speaker" of the song, the figure expressing his grief/disgust/outrage, is a character, not the Jason Isbell who didn't really know Conley. The voice Isbell has created borrows details and images from his own experience, and expresses his perspective on American wars, but in a voice that is NOT his own. So there's a suppression of his ego, with only glimpses of Isbell within the character he created. (Fun fact: one of the greatest elegies in the English language, Milton's "Lycidas," was written for a guy he was only vaguely acquainted with.)
It's clever to suggest that he actually suppresses his ego by inventing a narrator here, although I'm not sure I agree. I think you are right that Isbell occupies a sort of "alternative Isbell" POV in this song - as I wrote, he imagines himself having known the dead man much better than he did.
But it is hard for me to fully separate author from narrator in this song, whereas I think that is the right approach when it comes to "Song She Sang In The Shower" and "Speed Trap Town."
That being said, I don't intend to castigate him for taking creative liberties, by any means, nor for having an ego. Leonard Cohen - perhaps my favorite songwriter - wrote "Chelsea Hotel #2," for God's sake!
Thanks for reading, and for sharing your perspective.
Yes, the documentary Secret to a Happy Ending. Lots of old video, old songs, and ends with Isbell's departure from the band and the breakdown of his first marriage. Its a pretty interesting video from a lot of perspectives. As I disappeared down the rabbit hole of Isbells's songwriting, I took a side trip into Drive By Truckers.
I was very impressed with how you handled When We Were Close, your approach was very data driven. I find Razortown to be one of Isbell's least accessible, but most beautiful songs. Its interesting that it is included in the Drive By Trucker video, at the place the breakdown of Isbell's first marriage come up. Might be a coincidence, but I somehow doubt it.
Thanks Rufus - really appreciate it. I like to look closely at all the influences and biographical info that can come into the picture with a song.
I think Razortown is beautiful too - it has a haunting melody. I agree that it isn't easily accessible, as it is written in a very vague way and slips in and out of first person.
It's included in a DBT documentary, you mean? I'll have to check that out.
Another interesting take on one of his songs. Can’t say I didn’t. Now, take on Razortown
Thanks for reading! I actually am working on a piece about that one as we speak. It's a very interesting one.