Omaha Rainbow : Issue 19
(The Palamino, North Hollywood, CA, USA : 1978)
Who would ever have thought that a former member of the Kingston Trio - who even in their heyday were thought of as wimps - would be called the Clint Eastwood of rock 'n roll? But that's the label John Stewart's been saddled with lately, and the image seems to be a fitting one.
First of all John looks, well-weathered. Not burnt out, mind you. But his rough-hewn and haggard good looks probably would have landed him a movie career long ago had he not been bent on making it as a songwriter.
Since his pin-striped shirt and white buck days, John's recorded eight solo albums that have sported hits like 'Daydream Believer' (by The Monkees, if you can believe that), 'Never Going Back to Nashville' (The Lovin' Spoonful) and 'July You're a Woman' which has been covered by everyone from Stewart to Robert Goulet.
The fact that Stewart's songs deal with themes that are considered classic Americana have prompted the more poetic of his admirers to liken his work to Steinbeck, Faulkner and Mark Twain. But to my mind the cinematic content of his tunes puts his main nerve closer to Sam Fuller or Howard Hawks.
The tunes off Stewart's new album, "Fire in the Wind," do deal with American themes, but from a decidedly "non-folkie" position. 'Sell 'em the Lord and Promise the Wind' is a biting tune about how Jimmy Carter got elected. And in 'Roller Derby Queens,' Stewart manages to make the girls of Channel 13 an integral part of the American culture.
Musically, much of the new material is three-chord rock, driven by a strong backbeat and pushed along by Stewart's own percussive guitar work. All those who remember the Bobby Fuller Four's 'I Fought the Law and the LawWon' as one of the classic pieces of American rock 'n roll will understand what Stewart is doing. Because the best rock - like the best western films moves us by its landscape and its guts. Plot is secondary. It's why Clint Eastwood - a definite non actor - has made it.
And like Eastwood, John Stewart's impact is visceral rather than cerebral. He is, by his own admission, not a particularly good singer. But when he gets onstage all 6'3" of him in jeans and leather vest- he evokes those screams that only your he-man performers get. Certainly hs's sexy, but it's more. John Stewart is no poser - and his fans know it.
After two standing ovations at his recent Palomino gig, John led me backstage through the hyped-up crowd - mostly women who grabbed and clawed at him in a manner slightly more frantic than usual. But when we got to the dressing room, it was completely packed by more fans, so we were forced to retire to the tiny backstage bathroom.
Once inside John offered me the seat of honour while he propped himself on the sink directly opposite. My position was made slightly more uncomfortable due to the fact that the seat had been removed from my resting place, forcing me to balance myself rather precariously during the entire interview. Also, John had positioned himself slightly higher, thus forcing me to look up at him while we spoke. There's always that little tactical battle for power that takes place before every interview, and Stewart had won this one hands down. I silently complimented him for his move. It's one that I think Clint Eastwood would have been proud of.
What's interesting to me is that you've been around for as long as you have. How do you account for that?
I think the name of the game has always been endurance and I guess I've always been aware of that.
What contemporary artists ars you listening to - I mean that you enjoy?
Randy Newman...Fleetwood Mac...
What? You like Fleetwood Mac?
Love Fleetwood Mac. But I'm talking about for enjoyment. I also listen to Beethoven for enjoyment.
Well, I'll rephrase the question then. What new artists are you influenced by?
I really try to stay away from writers who I think would influence me. Like it took me years to get into Jesse Winchester, but I finally had to 'cause he just pissed me off so much. The guy's so fucking good... But you really have to be careful, listening to other writers, that their stuff doesn't start creeping into your writing.
If I was up there doing Neil Diamond or Gordon Lightfoot songs and all that - people wouldn't come. They come to hear the songs. I'm not a great singer, y'know...I'm not James Taylor.
People want to come and hear writers do their own stuff. I mean, I don't want to hear somebody do a Randy Newman song really good. I want to hear Randy do it....I want to hear Gordon do it. There's something that happens when a writer does his own song that someone else just can't get. They can do it 'better'.. but it ain't better. It's more perfect.
I'm not interested in the least in perfection. That's where I agree with what Dylan said in the Playboy interview about a record being "a collection of songs." You know, I don't want to look at it like Paul Simon looks at it - a production. I don't see it that way. To me, the song is important. Let's make the song work. That's it.
Are you concerned about a song like 'You Light Up My Life' getting a Grammy?
Well, what can I say? It's all based on sales. 'You Light Up My Life' wasn't the best song of the year. It was the best number one song. You know - if it hadn't been in the charts so long it wouldn't have gotten that award.
You know they're not going to give Randy Newman an award for 'SailAway' or 'Louisiana.' 'Short people,' maybe. But only because it got airplay. So you have to look at the Grammys with the correct perspective. They're nice, y'know. But it's not one of my main concerns. I think more in terms of staying alive.
Not that I don't play the game. It's just that I'm not scheming to get somewhere. I'm not trying to sound like a purist, but it just goes against my grain. When I was being managed by Alan Bernard, he brought me 'I Write the Songs' and said, "This is a hit, a number one song."
I said, "You're right, Alan. But I could not shave in the mirror and then get up there and sing that song. It just ain't me." Nothing against the song. Bruce Johnston wrote it and it's a great song...but not for me. It'd be like putting Clint Eastwood in a leisure suit.
Well, we certainly couldn't do that to your macho image. But I assume that you do still think in terms of a hit record. Or is it something that you feel is completely out of your hands?
You know, the record industry is one of the top-four money making businesses in the world right now. And what's really interesting is that with all the statistics and demographic studies and all that shit.. it's the one business where they have absolutely no idea why someone goes in and buys one record instead of another. No fucking idea. No idea why they all went in and bought "Rumors."
Nobody knows. Anyone who says they do has their head up their ass. If anybody should be selling astronomically it's Jesse Winchester, and look... fucking nothing. Figure it out. So keeping that in mind, you just press on.
Well, you seem to be doing a pretty fair job of it.
Like I said, man - the name of the game has always been survival.