Few people in the world can boast a legend akin to that of Blaze Foley. However, to digress into such talk would necessitate an article of its own. The genius of the couch-surfing troubadour - who died in unfortunate circumstances at the age of 39 in 1989 - was never widely recognised in his lifetime. This could finally be about to change. In tandem with the long-anticipated release of Kevin Triplett’s fascinating documentary, Blaze Foley: Duct Tape Messiah, Gurf Morlix has recorded an entire album of Blaze’s music. Having been a longtime companion of Foley, there’s no more fitting an artist to deliver this tribute
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Blaze’s songs catered for many aspects of human emotion usually dealing with everyday situations and feelings. The opening track “Baby Can I Crawl Back to You” keeps an upbeat tone despite portraying an individual in a series of hopeless circumstances. “Clay Pigeons” - which was brought to widespread attention when covered by John Prine - is delivered in the same reflective tone that made the original so moving. Similarly, “If I Could Only Fly” (which Merle Haggard covered) stays largely faithful with Kimmie Rhodes adding an extra coat of emotion to the chorus.
Love songs also portioned into Blaze’s work with “Oooh Love” perhaps being the most heartfelt on this album. “Oh Darlin’” has a ragtime feel to it with Gurf again channelling the sounds of his late friend. “Picture Cards” will have the listener holding their breath for fear that they might spoil the song. Such was – and, on this evidence, still is - the strength of Blaze’s lyricism.
The titular song runs at a comfortable pace, and further evidences Blaze’s self-deprecating and uncompromising sense of humour, while the album closes on “Cold, Cold World”, a “hopeless” song, to borrow the term Townes Van Zandt once used to describe his own songs. Hopeless, but beautiful nonetheless.
Certainly, much applause must go to Morlix. Not just for conceiving the album but for his overall appreciation of Blaze’s character. Throughout the album, Morlix manages to convey Blaze’s lyrics without losing any of the intended feelings or wit. Easier said than done, even considering how well one knew the other. Take even the production qualities - again the work of Morlix. Not the tidiest, nor the cleanest, but it works perfectly well. Moreover, it’s probably fair to say that Blaze’s songs weren’t ever destined for fancy recording studios.
For many reasons, but none more important than the fact that it’s heartfelt, you’ll not come across a more complete tribute to Blaze Foley than this. Whether as an introduction to his music or not, this album is quite excellent.
Available from CD Baby.