Roots music column- Gurf Morlix does Blaze Foley   Leave a comment


In today’s Roots Music column in the Red Deer Advocate I advance the local shows as usual and review the recent Gurf Morlix tribute to Blaze Foley. As previously mentioned on Fervor Coulee, Morlix is bringing his Foley tribute show to Red Deer’s The Hideout June 12. To access the column, click on the link http://tinyurl.com/3b2gsbv and give it a gander.

Originally published in my Roots Music column in the Red Deer Advocate, May 20, 2011

Gurf Morlix Blaze Foley’s 113th Wet Dream www.GoToAGig.com

If it were not for Gurf Morlix, most of us would not know of Blaze Foley and his incredible legacy of understated songs, many of which could be mistaken for less familiar offerings from the songbooks of Steve Earle and Townes Van Zandt.

As much myth as legend, Foley has had songs written about him by Van Zandt and Lucinda Williams and he has been covered by Merle Haggard, John Prine, and others. Foley’s songs are sparse, matter-of-fact Texas poetry, alternating gentle romanticism with crude reality. Not long for this mortal coil, Foley checked out almost a decade before Van Zandt and left only a hodgepodge of recordings behind.

Over the past several years, Gurf Morlix has brought Blaze Foley’s name to prominence within Americana circles. Recently, Morlix released Blaze Foley’s 113th Wet Dream, performing intense, low-key renditions handpicked from the Foley catalogue.

Morlix presents a balanced view of Foley’s music. The straightforward country request of “Baby Can I Crawl Back to You,” which opens the album, is offset by the realistic wistfulness of “Clay Pigeons” and the linguistic playfulness of “No Goodwill Stores in Waikiki.”

Having made his career as a sideman, Morlix is a more than capable front man; his voice isn’t pretty but is pure, imparting shades and textures where more flamboyant vocalists may falter communicating the melancholy and conflicted emotions of the songs. Late in the set, a trio of songs- “Small Town Hero,” “Rainbows and Ridges,” and “In the Misty Garden”/”I Shoulda Been Home with You”fully expose the tortured intelligence and talents of Blaze Foley.

Obvious is the respect and loyalty Morlix holds for his friend Foley. He imparts enough personality to make the album his own, holding fast to the measure of the words and melodies as written by Foley.

When Morlix sings “Wherever I’m going is the same place I’ve been” in “Cold Cold World,” Morlix isn’t only singing the words as written, he is revealing the tortured soul that inhabits all of us.

As always, thanks for visiting Fervor Coulee.

Donald

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