Essentials: The Top 10 Joe Ely Songs

I owe quite a bit to Joe Ely. His 1980 album “Live Shots”, a blistering document of his London shows opening for The Clash that year, was my introduction to the Texas music scene. There were no Americana or alt-county categories at that time. Ely was primarily touted as a country artist when his earlier LPs were issued in the late 1970s. But the “Live Shots” reviews I read all raved that Joe Ely in concert was a force to be reckoned with, so I ordered the pricey import title without having heard a note of his music.

The rockin’ LP floored me and remains one of my all-time favourite live albums. There is a special kind of tension in Ely’s blend of country, blues and rockabilly that made my heart beat faster and caused me to break out in a sweat. I was hooked and sought out his other records, which weren’t all that easy to find back then. Even though they were more overtly country-influenced, I fell in love with the tough, poetic beauty of these earlier efforts as well. I also grabbed his next album, “Musta Notta Gotta Lotta”, as soon as it was released the next year.

I’ve never stopped following his music, so I’m familiar with most of Joe Ely’s catalogue. However, keep in mind my Essential Top Ten Songs are mostly drawn from his first five albums. They are my point of discovery for Ely, as well as the songwriting talents of his longtime compadres and Flatlanders bandmates Butch Hancock and Jimmie Dale Gilmore, and these LPs’ songs still resonate with me the most.

Number 10: ‘She Leaves You Where You Are’ from “Down on the Drag” (1979)

Hopes were high for Ely’s third album, “Down on the Drag”, which was recorded with Bob Johnston, producer for Bob Dylan and Leonard Cohen. The LP failed to take off, even though it includes fine songs like this self-penned love lament. ‘She Leaves You Where You Are’ may not be one of Ely’s better-known works, but somehow this affecting tune caught my attention almost immediately. The idea of a relationship that goes many places like a highway, but ultimately leaves you stranded in the same spot, is provocative and direct. Ely’s beat-up resigned vocals eloquently match the song’s mournful country waltz.

Number 9: ‘She Never Spoke Spanish to Me’ from “Live Shots” (1980)

A constant on many of Ely’s albums is the songwriting credit of Butch Hancock and these songs often end up being favorites. I first encountered Hancock’s work on “Live Shots” through the dramatic heartbreak Tex-Mex ballad ‘She Never Spoke Spanish to Me.’ In true Hancock wordplay, the lyrics deflate the adage “Spanish is the loving tongue” as the crestfallen protagonist realizes he’s never heard his sweetheart utter a word of the romantic dialect.

Number 8: ‘All Just to Get to You’ from “Letter to Laredo” (1995)

‘All Just to Get to You’ was co-written with Will Sexton and recorded by the Austin guitarist for one of his 1980s albums. Ely borrowed the song to open his 1995 “Letter to Laredo” collection as a duet with Bruce Springsteen. The breathless, chugging rocker chronicles a worldwide search for true love via plane, train, boat, and taxi and is a perfect vehicle for Springsteen’s rough-and-ready vocal sparring. The “Laredo” album’s distinctive sound is dominated by flamenco guitarist Teye, whose playing effortlessly fits right into the roots rock style of the song.

Number 7: ‘Because of the Wind’ from “Honky Tonk Masquerade” (1978)

Even though Ely’s second album contains a handful of Hancock and Gilmore classics, I tend to consider their early work part of the Flatlander’s oeuvre. So, I went with Ely’s own composition, the tender ‘Because of the Wind.’ Instrumentally, this track has everything that made Ely’s band great back in these days. Lloyd Maines’ ringing steel guitar lines introduce the song. Jesse Taylor then shadows Ely’s lyrics about his Caroline with expressive acoustic guitar phrasings. Finally, Ponty Bone’s sultry accordion deftly colours Ely’s captivating imagery as he compares himself to “The trees that bend because of the wind” when “Caroline blows through me.”

Number 6: ‘Wishin’ for You’ from “Musta Notta Gotta Lotta” (1981)

The wistful, start-stop Tex-Mex stumble of Hancock’s ‘Wishin’ for You’ never fails to make me smile. Hancock’s lyrical witticisms are in full display, describing everything from the sidewalks, streetlights and even stars in the night sky being weary of Ely wishing for his girl. The music itself joins in on the fun by sneaking in a playful pause in the middle of “bottom dollar” when Ely sings the lyrical phrase. A lazy, strutting bass keeps everything moving, supporting an electric keyboard that plays the tune’s signature riff, while steel guitar and accordion take turns dancing around it.

Number 5: ‘Love is the Beating of Hearts’ from “Love and Danger” (1992)

“Love and Danger” seemed to appear out of nowhere in 1992 after a four-year gap between record releases. For all my talk about how I prefer Ely’s early LPs, this mid-career surprise quickly became a favourite. Even though it includes terrific covers of Dave Alvin and Robert Earl Keene compositions, Ely’s originals shine as well. Sly, clipped, rhythmic guitar picking introduces ‘Love is the Beating of Hearts’ in classic Buddy Holly fashion. Ely’s quiet vocals slowly build as the rest of the band join in piece by piece, until the chorus explodes amid pounding drums and David Grissom’s wailing slide guitar. It’s a prime example of Ely’s use of push-pull dynamics to create his own brand of urgent nirvana.

Number 4: ‘Slow You Down‘ from “Love and Danger” (1992)

Since Ely went into “Love and Danger” with so many exceptional songs, I ended up choosing more than one from the album. ‘She Collected,’ a tuneful mid-tempo rocker that humorously lists all the various unsavoury characters hanging around his partner, was a close list contender. But I went with the easy-going plea of ‘Slow You Down’ instead, which has Ely asking her to “let it all go” and live in the moment with him. I love the imagery he uses to romance her: “I wanna smear the moonlight in your skin / And put Orion in your crown.” Keyboards keep a loping, steady rhythm as leisurely guitar lines wind around Ely’s serene vocals, matching the calming atmosphere he so desires.

Number 3: ‘Musta Notta Lotta Lotta’ from “Musta Notta Gotta Lotta” (1981)

The title song of his 1981 album clearly shows that hanging out with The Clash rubbed off on Ely. Right out of the gate, Ely and the musicians display an unhinged energy that sounds like it will derail at any moment, but in true road warrior style, they keep everything tightly wound. Jerry Lee Lewis-style piano pounding keeps the tempo at a breathless pace, while guitar and steel guitar trade fiery licks throughout. Ely’s animated vocals careen around this glorious chaos like a pinball. I wholeheartedly agree when he exclaims, “Hot dog I like it a lot!”

Number 2: ‘Fools Fall in Love’ from “Live Shots” (1980)

I remember this Butch Hancock song being a favourite when I got “Live Shots”. From its first lines, Hancock’s lyrical genius is evident, eloquently stating the universality of heartbreak. “Fools fall in love / Wise men they fall too / Wise men hit the bottom / Lord, a fool falls on through.” Jesse Taylor’s nimble chorus guitar figure and his scorching solos keep the atmosphere dark, mysterious, and filled with apprehension. Lloyd Maines and Ponty Bone also step into the fray contributing their riffs, adding to the lonely desperation of Ely’s mournful, yet tough vocals. All around, this is just a powerful, mesmerising performance.

Number 1: ‘Settle for Love’ from “Love and Danger” (1992)

‘Settle for Love’  is the quintessential Ely rocker and remains a highlight of his live shows. The song first appeared on the 1988 Hightone album “Dig All Night” and was the title track to a compilation of selections from Ely’s two releases for the indie label. He wisely resurrected it for his 1992 major label return to MCA. He and the band immediately slam in with pounding drumbeats as Ely boasts, “If you want drama / I’ll give you drama” and doesn’t waste any time delivering on his promise. David Grissom’s crunching guitar rhythms and Reese Wynans’ soulful organ keep the energy high, until the mood lightens for a few sliding guitar riffs and one quick chorus, then roars back for a blazing finale. There’s that patented Joe Ely tension again, making for a fine example of Texas music perfection.