BGS 5+5: Jesse Dayton

Artist: Jesse Dayton
Hometown: Beaumont Texas, but been in Austin forever.
Latest Album: Gulf Coast Sessions, out July 24
Personal nicknames: AKA the Beaumonster, AKA Country Soul Brother

What other art forms, like literature, film, dance, painting, etc. inform your music?

Books and film have been the biggest inspiration outside of listening to other folks’ music. I remember seeing Ralph Steadman’s subversive art in Rolling Stone magazine when I was a kid and then reading the words under it, which were Hunter S. Thompson’s words. I had read some of the classics at this point, but that was my first introduction to outsider, almost punk rock-like, literature. Then I got into the Beat writers and after that it was the Russian writers, then then Irish writers, up until Latino surrealist like Márquez.

I always gotta a book going. Right now it’s On Tyranny by Timothy Snider. The biggest thing I learned from the writers I love is sometimes the narrative of your story/lyrics don’t have to be perfectly defined. When people digest art, the only thing they usually remember about it is how it made them feel. Same with films. Truffaut, Scorsese, and PT Anderson have all made me think, “Wow, that’d make a great lyric.” I directed a horror B-film that starred Malcolm McDowell called Zombex on Amazon. I’m writing a book for Hachette Book Group/DaCapo Press which will be out 2021.

Which elements of nature do you spend the most time with and how do those impact your work?

I bought a house in South Austin about 18 years ago and we have access to a beautiful greenbelt forest that runs outside of town next to a flowing creek and that’s where I trail run. Besides the mental health benefits I get from defeating the shitty committee in my head that’s always trying to talk me out of exercising, I get lots of song ideas out in the woods that I wouldn’t get running on concrete. Besides, country music is not just a genre, it’s an actual place and sometimes ya gotta get out in the woods away from folks to receive clear messages about your work. I’m buzzing at a different frequency when my feet are in the dirt.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Well, as long as we’re “dreaming,” I can’t think of anything better than having a big plate of Cajun seafood, oysters on the half shell, Fried red fish stuffed with crab meat, and a shrimp cocktail, circa 1955 at Antoine’s in the Quarter in New Orleans with the father of American music, Louis Armstrong. What’s not to love? By the way, I rarely eat seafood anymore and eat mostly a plant-based diet so I don’t keel over like all my other relatives did in their 50s from clogged arteries. But I will go fishing and eat my catch from time to time.

How often do you hide behind a character in a song are use “you“ when it’s actually “me”?

I’m guilty of doing this sometimes when I write personal and vulnerable lyrics that couldn’t be about anyone else but me, but I write it as “you.” I do like the idea of creating characters vocally though. All my favorite singers have created them throughout their careers, whether it was Mick Jagger’s country voice on “Wild Horses” or his blues voice on “Midnight Rambler.” Everyone from Jerry Reed to Bob Dylan to Howlin’ Wolf all create characters in their lyrics and in the vocal booth.

If you had to write a mission statement for your career, what would it be?

Try to give back more than I receive and keep my expectations lower than my gratitude. The more I do this, the better I feel.


Photo credit: Ray Redding

MIXTAPE: Cordovas’ Unknown Legends

The playlist is called Unknown Legends because each song carries a factor of the unknown; be it a somewhat unknown version (“Connection”), artist (Altyrone Deno Brown) or even origin (“Statesboro Blues”). These compositions and singers are the backbone of American weirdness, the reason we love our country’s music. – Cordovas

“Shake Sugaree” — Elizabeth Cotton

Cotton’s “Shake Sugaree” is crucial. Hard to find anyone that good at being a singer songwriter in the early 1900s but she was. Perfectly written, this song is a masterpiece of American music. This Carolina girl was an unknown legend

“Sweet Pea” — Altyrone Deno Brown

Just look at the picture of the dude. He could slay drums and he was 9 or 10 when he got signed. They want him to be the next Michael Jackson. Listen to his vibrato and the tenderness in his voice. The way he heard other singers seems to come out.

“The End of the World” — Skeeter Davis

This perfect melody. So sweet. Skeeter. Heartbroken and gettin’ over it by singing the blues. Some dynamite two part she throws down.

“Sign Language” — Eric Clapton

Clapton is obviously very well-known but this is a lesser known song. Featuring lead guitar by Robbie Robertson, harmonies by Richard Manuel, and a verse by Dylan himself, this is a beautiful scene in some movie. Two lovers. “You Speak to me in sign language as I’m eating a sandwich in a small café at a quarter to three.” So simple.

“Jesus I’ll Never Forget” — Forbes Family

Gospel Vocal groups. They believe. They lift their voices. This one has some epic 5 part harmony. It gets us singing in exaltation “Jesus I’ll Never forget” in the van as we ramble on. We are atheists.

“Piney Mountains” — Bruce Molsky

Jump up on the flat wheel car and let this fiddle tune take you up into the u-pined hills. “My hands can’t fiddle and my heart’s been broke, lord, and my time ain’t long.” Brother Bruce.

“Runs in the Family” — The Roches

The Roches have a masterpiece here. They address here the things we pass down in our families and in our ways and ambitions. Our desires. Through and through, concept, arrangement, feeling, this one is so well thought out and executed. On the idea of the sisters themselves coming of age the Roches sing, “Something about the danger zone, wouldn’t leave the bunch of us alone”

“Matty Groves” — Fairport Convention

This is a reworking of the old English ballad that tells a tale of lust, deceit and revenge in a renaissance setting. Sandy Denny’s powerful, convincing vocals are flanked by 20 year old Richard Thompson’s innovative, unpredictable guitar lines and Dave Swarbricks masterful electric fiddle, tying the tradition to a new era.

“Shady Grove” — Doc Watson

An Appalachian folk ballad by Doc Watson. There are some 300 stanzas collected reaching back to the 1800’s. There have been a vast amount of versions recorded and documented of this song, but Doc Watson’s version would come to be known through the folk revival period of the 1960s and making its mark into popular music by way of Jerry Garcia and David Grisman.

“Statesboro Blues” — Blind Willie McTell

This song came about from his many trips to a tobacco warehouse during harvest season in Statesboro, Georgia. He collected change from the laborers in a tin cup tied to the neck of his 12 string guitar that could be heard right outside the loading docks. “Reach over in the corner mama, grab my traveling shoes”.

“Going Down the Road Feelin’ Bad” — Woody Guthrie

Accompanied by Sonny Terry (harmonica) and Cisco Houston (mandolin, vocals) Guthrie’s rendition would provide the template for many subsequent versions of the song in both the bluegrass and the folk rock genres. Alan Lomax recorded this for the library of Congress.

“Connection” — Ramblin’ Jack Elliott

“Connection” is a Jagger/Richards song about being stuck while traveling, wanting to be home. Covered by NRPS among others, the song is on Elliott’s Reprise debut where it takes new life, now sung by a gunslinger-type.

“Tamp’ Em Up Solid” — Ry Cooder

Cooder’s “Paradise and Lunch” is a collection of older tunes, some somewhat unknown, including songs by McTell, Philips, and more. “Tamp’ Em Up Solid” is a traditional, attacked by Cooder in his unique style.


Photo credit: Alysse Gafkjen