We’ve seen them come and go in droves: the collection of maudlin folk guitarists and singer-songwriters who refuse to cull their self-induced, whiskey-sour vocal rasps with a simple bottle of water.
Sadly, if every man infatuated with folk legend Bob Dylan felt compelled to draw his guitar from a gunnysack and purposefully tinge his vocal chords with rye, all the under-funded roadhouses in Texas (and Oklahoma) wouldn’t accommodate this sullen whirlwind of smoke-riddled hearts and maimed acoustic guitars fruitlessly imitating the folk archetype. Now that’s just wasteful.
Although Jimmy LaFave, a Texas-born household name on the Americana circuit, may, on the surface, fall into this underappreciated sub-category of faceless posers, a deeper look will reveal a wealth of authenticity and that unremitting passion to praise America’s first folk idol, Mr. Dylan.
Unlike the indiscriminant masses, few Americana artists have the gusto to do what Texas native Jimmy LaFave has done for the past two decades.
In 1995, he proved his songwriting prowess, leaving the Kerrville Music Awards with the Songwriter of the Year Award. The following year, LaFave’s earthy lyricism aided a clean sweep at Austin Music Awards, claiming Songwriter of the Year once again.
LaFave’s name also slipped onto the mainstream ballot following his appearance at Austin City Limits in 1996.
Needless to say, Jimmy LaFave’s track record transcends those Saturday night, dancehall dreamers and karaoke kings wishing to be Dylan. And rightfully so.
Jimmy LaFave’s eighth studio release “Cimarron Manifesto” is an album that takes very little brooding to unravel. The Americana images of town and country are copious and compelling, and the instrumentation approaches perfection with heavenly ease.
Although LaFave’s accolades go virtually unnoticed beyond the Austin-to-Stillwater stretch of land that is Texas and the Panhandle, his music is undoubtedly praiseworthy. “Cimarron Manifesto,” Jimmy LaFave’s drifter-like homage to Oklahoma’s Cimarron River (where LaFave first honed his talents), is quaint and pleasing, pushing no envelopes or testing any unexplored boundaries of his person. Folklore and images of yore on “Cimarron Manifesto” surely draw from the raw, mangled poetics of Bob Dylan.
But, LaFave’s livelihood – writing, producing and performing – extends beyond a hackneyed gimmick to emulate an irreplaceable legend. A feat that separates the venerated singer-songwriter from the pile.
LaFave’s propensity for deeply evocative songwriting is what keeps “Cimarron Manifesto” afloat with the upper tier of great folk musicians like Woody Guthrie and Lucinda Williams. “Hideaway Girl” is a country ballad outfitted with violins, banjos and subtle drum patterns from timid tap sweeps.
Relying on imagery from the vast outreaches of land that span Texas and Oklahoma, LaFave creates a sense of simplicity in an outwardly complex land. In all, Jimmy LaFave proves to be a pioneer, a great performer and a hell of a songwriter. Aspects of his persona gleam through his noteworthy Bob Dylan-esque facade.
Be sure to witness Jimmy LaFave live on Nov. 23 at the Granada Theater.
