The Inspiration for Jason Isbell’s “Elephant” (Song of the Day)

Jason Isbell’s song “Elephant” is a rare heartbreaking song capturing the realities of dying and relationships.

Like many others, when I first listened to Jason Isbell’s wonderful 2013 album Southeastern I was blown away from the first listen to the song “Elephant.” As you listen to the song, it slowly dawns upon you what the “elephant” in the room is and it is heartbreaking. If you have never heard the song before, watch the video below before reading further.

In the song, the singer tells about his close relationship with a woman dying of cancer. The singer recounts their interactions while trying to “ignore the elephant.”

But I’d sing her classic country songs,
And she’d get high and sing along;
She don’t have a voice to sing with now;
We burn these joints in effigy,
And cry about what we used to be;
Try to ignore the elephant somehow;
Somehow
.

The song seems so personal, detailed, and truthful, that for a long time I had assumed Isbell wrote it about a friend who had died. But that is not the case.

The source for “Elephant,” however comes from real people. Isbell has said “Elephant” was generally inspired by watching regulars at an Alabama bar and over time seeing some of them disappear from the scene due to cancer. He explained to NPR, “I imagined a couple of folks who were drinking buddies, nothing more than that, and how their relationship changed when one of them got sick. I’ve known a lot of people who have gotten cancer and died. I think everybody has at this point in time, but those two folks aren’t necessarily people who exist in reality.”

Although the characters are not “real,” the descriptions are genuine and the conversations seem to exist in reality. It is one of the greatest songs about dying, loss, and friendship.

Below, Isbell performs the song in 2013 for SiriusXM Outlaw Country. Check it out, but only if you have tissues handy.

What is your favorite song about death? Leave your two cents in the comments.

Roy Orbison Without the Sunglasses: “Only the Lonely”

Roy Orbison began wearing his signature sunglasses onstage in 1963 due to something that happened while touring with the Beatles.

Roy Orbison Without Glasses

Roy Orbison, who was born on April 23, 1936 and passed away on December 6, 1988, was known for his amazing voice and his signature look. The image we have of him is dressed in black and wearing sunglasses. But he did not always wear his signature sunglasses, as shown by the below performance of “Only the Lonely” on Dick Clark’s Saturday Night Beechnut Show.

Throughout the pandemic, I have been digging deeper into artists I have always loved.  Lately, one of my obsessions has been Roy Orbison.

There are various stories about why Orbison wore sunglasses on stage.  One of the most popular legends is that Orbison was shy and the sunglasses helped him overcome stage fright.

But in the book The Authorized Roy Orbison, Orbison’s sons Roy Jr., Wesley, and Alex explained the story behind the famous sunglasses.  While on tour with the Beatles in 1963, Roy Orbison left his regular glasses on an airplane.  Orbison had poor eyesight and was at a loss without his glasses, but he had a pair of sunglasses with him (apparently prescription sunglasses).  So he wore the sunglasses on the tour, creating what would become his iconic look.

Prior to 1963, however, Orbison did not perform with the sunglasses.  So here, you may see Orbison perform one of the great classics “Only the Lonely” below in what appears to be from July 23, 1960 on Dick Clark’s show.  Check it out.

What is your favorite Roy Orbison song? Leave your two cents in the comments.

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    Amythyst Kiah: “Wary + Strange” (Short Review)

    Amythyst Kiah positions her unique voice and songwriting with one of the best albums of the year with “Wary + Strange.”

    One of my favorite albums from 2021 is Amythyst Kiah‘s Wary + Strange. The Tennesseean’s first nationally distributed album defies categorization, with many finding indie, alt-rock, roots, folk, country-blues and other sounds in it, with a deep voice that may remind some of Tracy Chapman. Kiah, though, is an experienced artist making her own music, with experience that includes time spent in Our Native Daughters, a talented supergroup that includes Rhiannon Giddens, Leyla McCalla, and Allison Russell.

    Wary + Strange shows an artist continuing to develop since 2013’s debut Dig and the 2016 EP Amythyst Kiah And Her Chest of Glass. The newest album is packed full of memorable songs. One stand-out is “Black Myself.” The New York Times called the song “a down-home, defiant testimony to Black pride that earned a Grammy nomination for best American roots song.” Check it out.

    Kiah wrote or co-wrote all of the songs on the album, which was produced by Tony Berg. Another powerful song is “Fancy Drones (Fracture Me),” a song about being cut off from your emotions. Another favorite song showing a softer bluesy side is “Tender Organs,” revealing both strength and vulnerability in dealing with internal struggles.

    Notice here, notice here,
    These tender organs rotting inside me;
    Notice here, notice here,
    The hands that healed me, now they’re writhing.

    With such a talent for songwriting and a distinctive powerful voice. Kiah should be around for a long time adding to the soundtrack of our lives. Give the album a spin.

    What do you think of the album? Leave your two cents in the comments.

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    Sam Williams: “Can’t Fool Your Own Blood” (Song of the Day)

    Sam Williams, the youngest grandson of Hank Williams, released his debut album featuring the mesmerizing track, “Can’t Fool Your Own Blood.”

    Sam Williams Can't Fool

    Sam Williams has a last name with a lot of musical history. The grandson of Hank Williams and the son of Hank Williams Jr., Williams is carving his own musical trail. With songs encompassing rock, folk, and country, Williams released a debut full album in 2021, Glasshouse Children. One of my favorite tracks from the album is “Can’t Fool Your Own Blood.”

    And you can lie to a liar,
    Go ahead and flame the fire,
    And Burn down everything you love;
    You can steal from a thief,
    I’ll act like I believe,
    But you can’t fool your own blood.

    One might be tempted to speculate that the heavy weight of being in a legendary family has led Sam Williams to reflect on what a family means. And is that a reference to Hank’s “Lost Highway” in the line, “And then the lost highway claims me its own.”

    But the song is after something more universal. Beginning with the portrait of an alcoholic mother, the song remarks on how you might be able to hide a lot from the world, but ultimately you can’t hide from those that know you best.

    It’s a stunning song on a wonderful debut album from a young artist. Here’s hoping we have Sam Williams around for a long time.

    Leave your two cents in the comments.

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    With Glowing Hearts: “O Holy Night” By John Denver

    John Denver’s “Christmas in Concert” features joyous renditions of many Christmas classics and a touching “O Holy Night.”

    Denver Christmas Concert

    I have a pretty broad collection of Christmas music that expands every year. One of the albums I’ve been listening to this year is John Denver’s Christmas in Concert (2001). And one of the highlights of the album is Denver’s rendition of “O Holy Night.”

    The live album was recorded in Washington, D.C. in December 1996, so the Christmas spirit throughout is real, unlike Christmas albums recorded in July. Denver sticks to a holiday theme throughout the performance, with the exception of giving the audience a handful of Denver classics at the end. For listening purposes, it is refreshing that the non-holiday songs are at the end rather than mixed with the holiday songs.

    The album’s holiday songs range from several classics like a fun version of “Jingle Bells” to the odd “Please Daddy (Don’t Get Drunk This Christmas).” The latter’s awkward happy chorus, accompanied by a children’s choir, would unlikely make the cut today. And even in 1996, Denver introduces the song that had appeared on his 1975 album Rocky Mountain Christmas in a way that recognizes he was reassessing the song he recorded as a younger man (Denver did not write the song). Finally, unlike on many Christmas performances, Denver also embraces more religious-based classics like “Away in a Manger.”

    On Christmas in Concert, Denver is backed on various songs by the World Children’s Choir and the National Symphony Orchestra. But it is often Denver’s voice that is the star, an that is most true on his performance of “O Holy Night.” When we think of Denver, I often overlook what a wonderful tenor voice came out of the man. And when he gets to the high notes of “O Holy Night,” it can make believers out of the most cynical.

    Below is a 1996 performance of Denver playing “O Holy Night.” While it is not the same one from the album, this tribute clip appears to be from a Today Show appearance he mentions on the album.

    “O Holy Night” comes from an 1843 poem by Placide Cappeau, set to music in 1847 by Adolphe Adam (with the English version is by John Sullivan Dwight). It remains one of the most religious of the Christmas classics, and one that carolers may avoid due to being more difficult to sing than other Christmas songs. 

    Denver on October 12, 1997, so the album captures Denver during his last Christmas, reminding us we can never know which will be our last. So, check out the John Denver Christmas in Concert album this holiday season, during a time when we all could use some faith in something or someone who knows our needs and is not a stranger to our weaknesses.

    Or at least we can settle for a short respite. Wishing love, faith, hope, comfort, and good health to you and yours.

    Leave your two cents in the comments.

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