At Least Now Chris Whitley Is On The Road For His Own Reasons.
By Dave Irwin
AS AN ARTIST, Chris Whitley thinks happiness is overrated.
Asked about his statement that people aren't supposed to be happy,
the singer/songwriter, says, "It's a neurotic culture that
makes one think you're supposed to be happy. They asked Dylan,
'Are you happy?' And he said, 'I don't think that's the point.'
"
"If we were supposed to be happy all the time," Whitley
continues, "it would be spring all the time, everyone would
be female or male, it would be daylight all the time. But with
the natural laws, it's both."
Whitley says the journey itself is more important than happiness.
This "journey as meaning" metaphor would seem to suit
him well, since he's been on the road for whole years of his life,
including some 200 days and nights in the past 11 months. But
he also has an apartment in New York City he never sees and a
daughter in Belgium that he's aching to be with. It's hard to
tell if his philosophical stance is a clear and selfless vision
or a pragmatic adaptation to the hand he's been dealt.
It's been a long odyssey for Whitley. Most only know it from
his stunning 1992 debut, Living With The Law, a slinky,
street-smart collection of guitar-etched soundscapes and haunting
vocals on songs like "Big Sky Country" and "Poison
Girl." He followed that universally acclaimed album three
years later with Din of Ecstacy, a distortion-filled album
that seemed to repudiate his roots-oriented earlier work.
However, Whitley, now 38, notes, "When I got signed, I had
been playing and writing for 15 years. I've performed all my life.
I moved to New York when I was 17 and played on the street. I
opened for Willie Dixon in the '70s when I was a teenager. (In
the '80s) I went to Belgium and made techno records."
His influences include the Beatles, Dylan, Hendrix, Bowie and
Prince. But he also looks to jazz greats Thelonious Monk and
John Coltrane.
Neither his fans nor his then-label, Columbia, (now Sony), knew
what to make of him. Sales were disappointing for Din and
the subsequent release, Terra Incognita.
"I can't completely be classified as a typical singer/songwriter
because I play too much guitar," he concedes. "I write
too many songs to be a guitar player. I'm blues in spirit, but
not in style. If you want to say it's folk blues, I can argue
that structurally there are chords that are harmonically too complicated
for folk and structurally closer to pop."
Sony tried to pass him off him as a guitar-playing demigod. But
Whitley's unique style was created in service to the songs he
wrote, rather than true guitar gods who build their songs around
a catchy riff or flashy technique.
"It's kind of a lame way to market an artist," he says.
"I guess my style is homemade, so it's original compared
to other things. I learned to play guitar by writing songs, so
I don't even consider myself that. I don't really know how to
play guitar. I just make up songs. I've been doing it for 25 years."
He adds, "The guitar has become less a symbol of rebellion.
It's like a tennis racket now. In the '60s and '70s, it was something
more. Hendrix was more than a guitar player, he was this crazy
liberated artist. I find it a limiting thing creatively if you're
supposed to be about an instrument."
He toured, opening for folks like Tom Petty. Being on the road
has always come natural to him. He says he grew up traveling.
Born in Houston, he moved to Mexico at 11 with his mother when
his parents divorced. He also lived in Vermont, where his father
was an art director, before heading out on his own.
"It's a lifestyle that I'm slightly equipped for,"
he admits. "But the older you get and if you have a child...I
don't really have a sense of home."
After Sony released him, he returned to Vermont and recorded
a stripped-down solo album, Dirt Floor, one stereo mike
and no overdubs in a single afternoon in the barn his father still
owns. Released last year on indie Messenger Records, the minimal
approach puts his quirky, insightful songs back in the forefront,
no longer obscured by layers of production or the expectations
of others.
"I had just gotten dropped," he remembers. "I
was insecure about everything and then I remembered, I've still
got the songs. I spent the last two records on Sony completely
doubting myself. Everything I did wasn't sounding enough like
someone else. Everyone wants to sound like Everlast right now.
Last year they wanted to sound like the Wallflowers. The word
of the day is not nonconformity."
So now Whitley is on the road for his own reasons, finally making
money after years of indentured servitude.
"I don't know if I'm searching anymore," he says. "I
struggle with my own discipline with things, but I'm trying to
give up on searching and struggling. I made more money in the
first pay period of selling Dirt Floor than I will ever
make from records on Sony because of the royalty structure. I
never made money off of touring before and now I am. I don't just
live on advances."
As for his own artistic goals, he states, "I hope that I'm
articulating something that will be valuable to other people,
that I'm resonating something that says how somebody feels. You
relate to this and don't really know why, or it articulates something
but it's not literal, things that speak to your subconscious,
your instincts, something underneath, even underneath an emotional
level. There are things that are frustrating and there are things
that are glorious and amazing. Love, death, sex, all the basic
things, are going to motivate us forever."
Chris Whitley performs at Club Congress, 311 W.
Congress Street, on Friday, April 23, at 8 p.m. with Tim Gibbons.
Tickets are $6. For more information, call 622-8848.
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