(Folk-Rock, Blues) [CD] Jimmy LaFave - Peace Town (2 CD) - 2018, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 14. November 2019, 18:22
Jimmy LaFave / Peace Town [Disc 1]
Used drive  : ASUS    BW-12D1S-U   Adapter: 1  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 667
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 |  4:46.64 |         0    |    21513
        2  |  4:46.64 |  4:38.69 |     21514    |    42432
        3  |  9:25.58 |  5:14.54 |     42433    |    66036
        4  | 14:40.37 |  4:20.20 |     66037    |    85556
        5  | 19:00.57 |  6:54.08 |     85557    |   116614
        6  | 25:54.65 |  4:20.67 |    116615    |   136181
        7  | 30:15.57 |  6:56.52 |    136182    |   167433
        8  | 37:12.34 |  3:41.21 |    167434    |   184029
        9  | 40:53.55 |  4:03.17 |    184030    |   202271
       10  | 44:56.72 |  7:20.67 |    202272    |   235338
Track  1
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\01. Let My Love Open the Door.wav
     Pre-gap length  0:00:02.00
     Peak level 91.1 %
     Extraction speed 4.4 X
     Track quality 99.9 %
     Test CRC 4CD3F3B9
     Copy CRC 4CD3F3B9
     Accurately ripped (confidence 8)  [8429CFBB]  (AR v2)
     Copy OK
Track  2
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\02. Minstrel Boy Howling at the Moon.wav
     Peak level 91.1 %
     Extraction speed 5.3 X
     Track quality 100.0 %
     Test CRC EDB44CE2
     Copy CRC EDB44CE2
     Accurately ripped (confidence 8)  [9DA39A83]  (AR v2)
     Copy OK
Track  3
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\03. Peace Town.wav
     Peak level 91.1 %
     Extraction speed 5.3 X
     Track quality 99.9 %
     Test CRC 3E9BF436
     Copy CRC 3E9BF436
     Accurately ripped (confidence 8)  [34CD106C]  (AR v2)
     Copy OK
Track  4
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\04. What Good Am I.wav
     Peak level 91.1 %
     Extraction speed 5.5 X
     Track quality 99.9 %
     Test CRC E2315BF8
     Copy CRC E2315BF8
     Accurately ripped (confidence 8)  [0BED0C46]  (AR v2)
     Copy OK
Track  5
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\05. Help Me Through the Day.wav
     Peak level 91.1 %
     Extraction speed 6.9 X
     Track quality 100.0 %
     Test CRC EA8E661E
     Copy CRC EA8E661E
     Accurately ripped (confidence 8)  [308B90B9]  (AR v2)
     Copy OK
Track  6
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\06. I May Be Used (But I Ain't Used Up).wav
     Peak level 91.1 %
     Extraction speed 7.0 X
     Track quality 100.0 %
     Test CRC 1097FAE9
     Copy CRC 1097FAE9
     Accurately ripped (confidence 8)  [FA8E317A]  (AR v2)
     Copy OK
Track  7
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\07. My Back Pages.wav
     Peak level 91.1 %
     Extraction speed 7.6 X
     Track quality 100.0 %
     Test CRC 9B98D23E
     Copy CRC 9B98D23E
     Accurately ripped (confidence 8)  [66741D37]  (AR v2)
     Copy OK
Track  8
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\08. My Oklahoma Home (It Blowed Away).wav
     Peak level 91.1 %
     Extraction speed 7.3 X
     Track quality 100.0 %
     Test CRC 1D52425D
     Copy CRC 1D52425D
     Accurately ripped (confidence 8)  [895C2E3C]  (AR v2)
     Copy OK
Track  9
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\09. A Thousand by My Side.wav
     Peak level 91.1 %
     Extraction speed 7.7 X
     Track quality 100.0 %
     Test CRC 3DC4280A
     Copy CRC 3DC4280A
     Accurately ripped (confidence 8)  [098EBBB8]  (AR v2)
     Copy OK
Track 10
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc One\10. Already Gone.wav
     Peak level 91.1 %
     Extraction speed 7.8 X
     Track quality 99.9 %
     Test CRC BF018639
     Copy CRC BF018639
     Accurately ripped (confidence 8)  [D691BAD4]  (AR v2)
     Copy OK
All tracks accurately ripped
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.6
[CTDB TOCID: 2mgC6SIP9AB_VfjSGXT7NMD4Llo-] found
Submit result: 2mgC6SIP9AB_VfjSGXT7NMD4Llo- has been confirmed
Track | CTDB Status
  1   | (16/16) Accurately ripped
  2   | (16/16) Accurately ripped
  3   | (16/16) Accurately ripped
  4   | (16/16) Accurately ripped
  5   | (16/16) Accurately ripped
  6   | (16/16) Accurately ripped
  7   | (16/16) Accurately ripped
  8   | (16/16) Accurately ripped
  9   | (16/16) Accurately ripped
 10   | (16/16) Accurately ripped
==== Log checksum 9C26929253280A2927C738A1F60139FA96F1081A5CA25DD88F95C11F858E1276 ====

REM GENRE Folk
REM DATE 2018
REM DISCID 960C410A
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Jimmy LaFave"
TITLE "Peace Town [Disc 1]"
REM COMPOSER ""
FILE "01. Let My Love Open the Door.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Let My Love Open the Door"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Pete Townshend"
    INDEX 01 00:00:00
FILE "02. Minstrel Boy Howling at the Moon.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Minstrel Boy Howling at the Moon"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Jimmy LaFave"
    INDEX 01 00:00:00
FILE "03. Peace Town.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Peace Town"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Woody Guthrie / Jimmy LaFave"
    INDEX 01 00:00:00
FILE "04. What Good Am I.wav" WAVE
  TRACK 04 AUDIO
    TITLE "What Good Am I"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Bob Dylan"
    INDEX 01 00:00:00
FILE "05. Help Me Through the Day.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Help Me Through the Day"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Leon Russell"
    INDEX 01 00:00:00
FILE "06. I May Be Used (But I Ain't Used Up).wav" WAVE
  TRACK 06 AUDIO
    TITLE "I May Be Used (But I Ain't Used Up)"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Bob McDill"
    INDEX 01 00:00:00
FILE "07. My Back Pages.wav" WAVE
  TRACK 07 AUDIO
    TITLE "My Back Pages"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Bob Dylan"
    INDEX 01 00:00:00
FILE "08. My Oklahoma Home (It Blowed Away).wav" WAVE
  TRACK 08 AUDIO
    TITLE "My Oklahoma Home (It Blowed Away)"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Bill Cunningham"
    INDEX 01 00:00:00
FILE "09. A Thousand by My Side.wav" WAVE
  TRACK 09 AUDIO
    TITLE "A Thousand by My Side"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Kelcy Warren / Jimmy LaFave"
    INDEX 01 00:00:00
FILE "10. Already Gone.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Already Gone"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Butch Hancock"
    INDEX 01 00:00:00

foobar2000 1.4.4 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта:  2019-11-14 18:24:35
--------------------------------------------------------------------------------
Анализ:   Jimmy LaFave / Peace Town [Disc 1]
--------------------------------------------------------------------------------
DR         Пики         RMS           Продолжительность трека
--------------------------------------------------------------------------------
DR7       -0.80 дБ    -9.48 дБ      4:47 01-Let My Love Open the Door
DR7       -0.80 дБ    -9.20 дБ      4:39 02-Minstrel Boy Howling at the Moon
DR8       -0.80 дБ   -10.08 дБ      5:15 03-Peace Town
DR8       -0.80 дБ   -10.42 дБ      4:20 04-What Good Am I
DR7       -0.80 дБ    -9.61 дБ      6:54 05-Help Me Through the Day
DR8       -0.80 дБ    -9.11 дБ      4:21 06-I May Be Used (But I Ain't Used Up)
DR7       -0.80 дБ    -9.67 дБ      6:57 07-My Back Pages
DR7       -0.80 дБ    -8.53 дБ      3:41 08-My Oklahoma Home (It Blowed Away)
DR8       -0.80 дБ   -11.03 дБ      4:03 09-A Thousand by My Side
DR7       -0.80 дБ    -9.01 дБ      7:21 10-Already Gone
--------------------------------------------------------------------------------
Количество треков: 10
Реальные значения DR: DR7
Частота:   44100 Гц
Каналов:   2
Разрядность:   16
Битрейт:   896 кбит/с
Кодек:   FLAC
================================================================================

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 14. November 2019, 18:55
Jimmy LaFave / Peace Town [Disc 2]
Used drive  : ASUS    BW-12D1S-U   Adapter: 1  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 667
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
TOC of the extracted CD
     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 |  6:53.28 |         0    |    31002
        2  |  6:53.28 |  5:04.35 |     31003    |    53837
        3  | 11:57.63 |  5:29.40 |     53838    |    78552
        4  | 17:27.28 |  4:06.24 |     78553    |    97026
        5  | 21:33.52 |  5:06.18 |     97027    |   119994
        6  | 26:39.70 |  4:31.17 |    119995    |   140336
        7  | 31:11.12 |  2:40.71 |    140337    |   152407
        8  | 33:52.08 |  5:20.40 |    152408    |   176447
        9  | 39:12.48 |  4:44.39 |    176448    |   197786
       10  | 43:57.12 |  2:43.74 |    197787    |   210085
Track  1
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\01. It Makes No Difference.wav
     Pre-gap length  0:00:02.00
     Peak level 91.1 %
     Extraction speed 5.1 X
     Track quality 100.0 %
     Test CRC 9F49E083
     Copy CRC 9F49E083
     Accurately ripped (confidence 8)  [8F87A798]  (AR v2)
     Copy OK
Track  2
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\02. Don't Go to Strangers.wav
     Peak level 91.1 %
     Extraction speed 5.1 X
     Track quality 99.9 %
     Test CRC E989A98E
     Copy CRC E989A98E
     Accurately ripped (confidence 8)  [554080BA]  (AR v2)
     Copy OK
Track  3
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\03. When the Thought of You Catches Up with Me.wav
     Peak level 91.1 %
     Extraction speed 6.1 X
     Track quality 100.0 %
     Test CRC 048B109B
     Copy CRC 048B109B
     Accurately ripped (confidence 8)  [5FBBCC85]  (AR v2)
     Copy OK
Track  4
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\04. Salvation Train.wav
     Peak level 91.1 %
     Extraction speed 5.6 X
     Track quality 99.9 %
     Test CRC 4155FE38
     Copy CRC 4155FE38
     Accurately ripped (confidence 8)  [86685AE4]  (AR v2)
     Copy OK
Track  5
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\05. Ramblin' Sky.wav
     Peak level 91.1 %
     Extraction speed 6.8 X
     Track quality 100.0 %
     Test CRC 049A336D
     Copy CRC 049A336D
     Accurately ripped (confidence 8)  [ACA514B8]  (AR v2)
     Copy OK
Track  6
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\06. Sideline Woman.wav
     Peak level 91.1 %
     Extraction speed 6.4 X
     Track quality 99.9 %
     Test CRC EDA291AC
     Copy CRC EDA291AC
     Accurately ripped (confidence 8)  [3C8F325C]  (AR v2)
     Copy OK
Track  7
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\07. The Promised Land.wav
     Peak level 91.1 %
     Extraction speed 6.6 X
     Track quality 100.0 %
     Test CRC 949EFE0A
     Copy CRC 949EFE0A
     Accurately ripped (confidence 8)  [B0C28B69]  (AR v2)
     Copy OK
Track  8
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\08. You're Gonna Make Me Lonesome When You Go.wav
     Peak level 91.1 %
     Extraction speed 7.6 X
     Track quality 100.0 %
     Test CRC 62ABFF4C
     Copy CRC 62ABFF4C
     Accurately ripped (confidence 8)  [91A33FEC]  (AR v2)
     Copy OK
Track  9
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\09. Untitled.wav
     Peak level 91.1 %
     Extraction speed 7.0 X
     Track quality 99.9 %
     Test CRC CE851AAC
     Copy CRC CE851AAC
     Accurately ripped (confidence 8)  [9C71C93F]  (AR v2)
     Copy OK
Track 10
     Filename F:\Torrents of Autumn\LaFave, Jimmy [2018] Peace Town\Disc Two\10. Goodbye Amsterdam.wav
     Peak level 91.1 %
     Extraction speed 7.3 X
     Track quality 100.0 %
     Test CRC 1923CF67
     Copy CRC 1923CF67
     Accurately ripped (confidence 8)  [596E29F4]  (AR v2)
     Copy OK
All tracks accurately ripped
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.6
[CTDB TOCID: otc_AC0GHddbVK_Zrb4hTTVe_Mk-] found
Submit result: otc_AC0GHddbVK_Zrb4hTTVe_Mk- has been confirmed
Track | CTDB Status
  1   | (13/13) Accurately ripped
  2   | (13/13) Accurately ripped
  3   | (13/13) Accurately ripped
  4   | (13/13) Accurately ripped
  5   | (13/13) Accurately ripped
  6   | (13/13) Accurately ripped
  7   | (13/13) Accurately ripped
  8   | (13/13) Accurately ripped
  9   | (13/13) Accurately ripped
 10   | (13/13) Accurately ripped
==== Log checksum BD18049F1A977E9670B5979AC00ACB651531FA89537F04C897EDCE1B1135371A ====

REM GENRE Folk
REM DATE 2018
REM DISCID 820AF10A
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Jimmy LaFave"
TITLE "Peace Town [Disc 2]"
REM COMPOSER ""
FILE "01. It Makes No Difference.wav" WAVE
  TRACK 01 AUDIO
    TITLE "It Makes No Difference"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Jaime Robbie Robertson"
    INDEX 01 00:00:00
FILE "02. Don't Go to Strangers.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Don't Go to Strangers"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "J. J. Cale"
    INDEX 01 00:00:00
FILE "03. When the Thought of You Catches Up with Me.wav" WAVE
  TRACK 03 AUDIO
    TITLE "When the Thought of You Catches Up with Me"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "David Ball"
    INDEX 01 00:00:00
FILE "04. Salvation Train.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Salvation Train"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Woody Guthrie / Jimmy LaFave"
    INDEX 01 00:00:00
FILE "05. Ramblin' Sky.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Ramblin' Sky"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Jimmy LaFave"
    INDEX 01 00:00:00
FILE "06. Sideline Woman.wav" WAVE
  TRACK 06 AUDIO
    TITLE "Sideline Woman"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Woody Guthrie / Jimmy LaFave"
    INDEX 01 00:00:00
FILE "07. The Promised Land.wav" WAVE
  TRACK 07 AUDIO
    TITLE "The Promised Land"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Chuck Berry"
    INDEX 01 00:00:00
FILE "08. You're Gonna Make Me Lonesome When You Go.wav" WAVE
  TRACK 08 AUDIO
    TITLE "You're Gonna Make Me Lonesome When You Go"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Bob Dylan"
    INDEX 01 00:00:00
FILE "09. Untitled.wav" WAVE
  TRACK 09 AUDIO
    TITLE "Untitled"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Jimmy LaFave"
    INDEX 01 00:00:00
FILE "10. Goodbye Amsterdam.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Goodbye Amsterdam"
    PERFORMER "Jimmy LaFave"
    REM COMPOSER "Tim Easton"
    INDEX 01 00:00:00

foobar2000 1.4.4 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта:  2019-11-14 18:57:08
--------------------------------------------------------------------------------
Анализ:   Jimmy LaFave / Peace Town [Disc 2]
--------------------------------------------------------------------------------
DR         Пики         RMS           Продолжительность трека
--------------------------------------------------------------------------------
DR7       -0.80 дБ    -9.27 дБ      6:53 01-It Makes No Difference
DR8       -0.80 дБ   -11.33 дБ      5:04 02-Don't Go to Strangers
DR9       -0.80 дБ   -12.11 дБ      5:30 03-When the Thought of You Catches Up with Me
DR7       -0.80 дБ    -9.03 дБ      4:06 04-Salvation Train
DR8       -0.80 дБ    -9.61 дБ      5:06 05-Ramblin' Sky
DR8       -0.80 дБ   -10.34 дБ      4:31 06-Sideline Woman
DR6       -0.80 дБ    -7.86 дБ      2:41 07-The Promised Land
DR8       -0.80 дБ   -10.13 дБ      5:21 08-You're Gonna Make Me Lonesome When You Go
DR8       -0.80 дБ    -9.21 дБ      4:45 09-Untitled
DR7       -0.80 дБ   -10.13 дБ      2:44 10-Goodbye Amsterdam
--------------------------------------------------------------------------------
Количество треков: 10
Реальные значения DR: DR8
Частота:   44100 Гц
Каналов:   2
Разрядность:   16
Битрейт:   805 кбит/с
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[b]Ribbon on the Highway: The other side of Jimmy LaFave[/b]
Dave Marsh, [i]The Austin Chronicle[/i], 6 May 2005
Here comes Jimmy LaFave. Maybe he’s walking onstage to sing or slipping into the back of the Cactus Cafe to hear an old friend. Or lounging in a hotel lobby between gigs. Maybe he’s walking up your driveway. The setting makes no difference. He’s Jimmy LaFave wherever he goes.
He’s about five ten, neither slender nor chunky. Wears a chambray work shirt over a T-shirt and jeans. A blue beret tops him. He doesn’t wear it like a French intellectual. He wears it the way UN peacekeepers or Green Berets wear theirs. Either way, that cap’s not gonna budge. It belongs to a man who knows how to keep it tight. On his face, a goatee and a slight grin. His sideburns are long, and a little dirty-blond hair peaks out from under the beret. A pendant bearing the image of a bison hangs around his neck.
You’d expect to find boots on his feet, but he’s almost always wearing sneakers. Hard to say why. Maybe they’re more casual. LaFave greets just about everything in life with immense casualness. Or maybe it’s that he can’t stand killing animals. He’s been a vegetarian since childhood, not for health or religious reasons, but because he didn’t like the idea of dead critters. Still doesn’t. If he’s wearing a leather belt, the untucked T-shirt hides it, befitting a guy who used to have a paunch. He’s not much on guitar straps, either.
He looks like a truck driver, the kind of guy who might take on some impossible task: Get these oil rig parts from Stillwater to some place up in Montana you’ll need a topographical map to ID, and do it by tomorrow night, no matter how often you have to leave the highway and go cross-country. He looks like the kind of guy who’d make it on time, too, Lynyrd Skynyrd or AC/DC blasting all the way, wisecracking cynically at the truck stops where he flirts with just enough intensity and manners to have all the waitresses primping when they see him walking in from the parking lot.
Jimmy LaFave used to have that job, driving for his father, who was a parts supplier, first based in Wills Point (“that’s in Van Zandt County,” the singer points out), then when he was a high school sophomore, in Stillwater, Okla., where his family relocated. LaFave’s still got a long-hauler’s instinct for wisecracks, though since getting married, the flirting’s toned way down. He’s still a dedicated driver; his agent, Val Denn, says he insists on driving to a lot of gigs even when it’d be cheaper and easier to fly. Friends in Oklahoma talk about scary runs on red dirt roads, flying through intersections in a pickup piloted with the legendary LaFave confidence. Driving is part of what defines him. He says he does a lot of his best writing out there, picking up images from road signs, for instance, because he once heard Bob Dylan did that.
________________________________________
[b]Emotionally Yours[/b]
LaFave got to Austin exactly 20 years ago, when he was 30, during what he describes as “the golden age of singer-songwriters in Austin.” He’d been visiting since a high school road trip got him to the Armadillo. It suits him to look like a don’t-give-a-damn cheeseburger guy, and at least some of the time, it suits him to act like one. Here’s the catch. There’s this other Jimmy LaFave. That cynical exterior masks a remarkable degree of empathy and good taste.
This LaFave pops out of that carefully maintained dishevelment when called upon by the master of his fate, who is, to an amazing extent, Jimmy LaFave himself. When a friend needs a boost, LaFave turns on his warmth, not necessarily charm, just plain and powerful empathy. All his friends say something similar to Bob Childers, LaFave’s songwriting mentor: “Jimmy’s a really sensitive guy, but he spends a whole lot of time making sure nobody knows it.”
“Singing is very emotional,” allows LaFave. “You get obsessed with a lot of stuff. There’s a sense of loneliness you have as an artist. That’s why I close my eyes when I sing, because I like to go somewhere and find that place in everybody.”
LaFave’s notoriously generous with other performers, especially up-and-comers. He’s had a hand in some significant careers—Abra Moore and Michael Fracasso come to mind—beginning locally by co-hosting open mics with Betty Elders at the long-departed Chicago House on Sixth Street, which uncovered a lot of talent, including Todd Snider.
For the past couple of years, he’s led the Woody Guthrie roadshow (Ribbon of Highway, Endless Skyway), whose cast includes Childers in the role of narrator (inevitable given his quintessential Okie accent), locals Fracasso, Eliza Gilkyson, Slaid Cleaves, as well as Sarah Lee Guthrie and Johnny Irion, Joel Rafael, Ray Bonneville, and the Burns Sisters. Together with Nora Guthrie and Val Denn, LaFave put together the show, based entirely on songs and writings by Woody. He makes no star turn, ensuring the show isn’t about anybody but its subject, an atmosphere that creates the sort of musical community Guthrie loved, onstage and off. LaFave is currently completing production on a [i]Ribbon of Highway[/i] disc, a live set culled from 45 to 50 hours of recordings.
Empathy is why, even though LaFave pens most of the songs on his albums, he’s best known as an interpreter of other people’s material. That may be changing: His latest, [i]Blue Nightfall[/i], contains 11 originals, and they’re by far the best he’s written, particularly “River Road,” “Shining On Through,” and the extraordinary “Rain Falling Down.” Nevertheless, he’s one of the few contemporary singer-singers who work covers into their sets because they belong there—because he loves them and they’re well-suited to his singular voice. He’s got a gritty midrange, a thrilling ability to hit high notes, phrasing so adept that he can sing quasi-art songs like Jimmy Webb’s “The Moon’s a Harsh Mistress” as easily as “Oklahoma Hills” or “Have You Ever Loved a Woman.” His is a pronounced vibrato, uncontrolled, but he can still shake a note ’til it almost breaks.
His forte is ballads; there’s no other singer in Austin, or Americana, who can do as much with a ballad, whether written by him or someone else. His version of “On a Bus to St. Cloud” caused its writer, Gretchen Peters, to say that although she knew it was her best song, she hadn’t understood it completely until she heard LaFave sing it. The version on his 2001 LP, [i]Texoma[/i], revels in phrasing so legato you can’t tell if he really intends to come in behind the guitar. He luxuriates in the space created by the song’s rhythms, even while recounting a tale bounded by madness and suicide. One of the things that makes his new songs so good is that he’s given himself similar spaces to manipulate, as on “I Wish” and “River Road.”
LaFave can get to the heart of ballads because he has such a magnificent sense of time. He commands the stillness between phrases even more than the lyrics themselves, which makes it seem as if every line is being uttered for the first time, after due consideration and from a place deep inside. His upbeat material has always been a little more problematic; he’s best as a straight-up blues singer, doing something like “Key to the Highway,” though he can rev up stomping Southwestern rock & roll. But truck drivers are loners, even or especially the most romantic ones. To turn that loneliness into art is a beautiful gift all by itself.
Maybe that’s what makes him such a fine interpreter of Dylan songs, having recorded 18 (by my count) since his 1992 debut, [i]Austin Skyline[/i], including “Positively 4th Street,” “Emotionally Yours,” “Girl From the North Country,” and “Buckets of Rain.” He hasn’t just run through them, either. No one, not a single singer, has ever sung Dylan with as much grace and insight as Jimmy LaFave. There was a haunting night at the Cactus Cafe a few years ago, when he dedicated a song to a close friend who had just suffered a genuinely tragic loss of a loved one. He sang “Emotionally Yours” as if it were his best friend who’d been killed, and he sang it not only without flaw but from deep, deep inside what the words mean. Sitting there in the dark, you could forgive yourself for thinking it was the first time anyone at all had sung those words to that melody.
________________________________________
[b]Woody’s Road[/b]
LaFave’s been a champion of Woody Guthrie since he discovered the dust bowl prophet when his family moved to Stillwater, about 70 miles from Okemah, Guthrie’s hometown. He’s a scholar about the man.
“People don’t understand what a genius he was,” says LaFave simply.
He proudly plays a Guthrie guitar borrowed from the EMP museum in Seattle for the [i]Ribbon of Highway[/i] shows.
“I want to let that guitar speak again. I think Woody would like that. It seems like he really loved his guitar,” explains LaFave.
Now that’s empathy. In his own shows, LaFave sings few Guthrie songs, other than a rousing “Oklahoma Hills.” He also does Childers’ “Woody’s Road,” the consummate tribute. LaFave identifies with Guthrie's enthusiasm, his determination, his fundamental optimism. He’s not particularly interested in singing about mass social strife, and it’s just as well. When empathy reaches out to the multitudes it can get pretty sappy.
The title [i]Texoma[/i] sums up the Guthrie that got under LaFave’s skin. The latter connects it to living in Oklahoma: “There’s a vibe there that’s not in Texas or anywhere else I’ve found.” Lots of folks agree, and given its size, Oklahoma has an astounding track record of producing one-of-a-kind musicians—Guthrie, Charlie Parker, Bob Wills, Webb, J.J. Cale—but LaFave goes the limit. He notes that Oklahoma possesses “a frontier spirit, with an Australian edge to it” and that “you can hardly see a band in Austin without an Oklahoma musician.” It’s the desolation that makes Oklahoma beautiful, “like the Delta before you get to New Orleans.” For LaFave, such statements form a kind of gospel. Rather than allegiance to ethnicity, religion, or class, Jimmy LaFave is a patriot of Oklahoma. If you mention Skynyrd, you’re going to be reminded that Steve Gaines was from Oklahoma.
Onstage and on his albums, in his songwriting and song choices, LaFave eschews Guthrie-style politics in favor of intricate commentaries on romantic love, human connections, and the delights and sorrows of rambling. The closest he’s come to writing about issues is a series of metaphoric songs about Indians, most plaintively on “It’s Gone,” from [i]Blue Nightfall[/i], most definitively with “Buffalo Return to the Plains,” the title song of his 1995 album.
It isn’t as simple as passion and obsession, influence and raw talent, either. LaFave wouldn’t let it be. He has a mulish streak. For instance, he’s the only one of the five kids in his family not to go to college, even though Stillwater’s a college town. He was already playing bass in rock bands like Night Tribe. He explains this as the practical choice: “Once I discovered music, I didn’t want anything to fall back on.”
Then there’s record producers—he hasn’t worked with one since a semidisastrous, altogether unproductive pairing with Dylan associate Bob Johnston. “We did a lot of songs,” he says, “but it was a bad experience.”
He has a thing about record labels, too. He worked with Johnston when both of them had a deal with Tomato Records, home to Townes Van Zandt. He quit Tomato, and refused to consider other labels even though there was interest, vowing, “I’m never gonna sign with a label again,” an attitude he describes as “jaded,” though it’s more like naive. Or maybe not; he didn’t turn down a publishing deal with Polygram.
He came close to not having a record company with his first six albums, which were released on Colorado-based indie Bohemia Beat. In 1992, Mark Shumate, a fan LaFave says wanted to be a patron of the arts, “loaned me the money to do some live recordings at La Zona Rosa, and that led to [i]Austin Skyline[/i].” Shumate created Bohemia Beat to release it, but showed little interest in being a label executive (one album came out without a copyright notice), let alone a promoter or marketer, though he did hustle up distribution through Rounder. Shumate did much better as a patron of the arts, releasing Abra Moore’s solo debut and two albums by Michael Fracasso.
Denn, who’s as close to a manager as LaFave has ever come, says his recalcitrance extended to an adamant refusal to so much as hire a publicist when he put out his double-disc live compilation [i]Trail[/i] in 1999. “We had a real disagreement about it,” she says. “I thought he was making a huge mistake, but in the end, the record outsold his others. Jimmy always acts like he knows exactly what he’s doing. The thing is, he usually does.”
________________________________________
[b]It Takes a Train[/b]
Somehow, each of the Bohemia Beat albums sold 40,000 - 50,000 copies, numbers helped enormously by LaFave’s popularity in Europe, particularly Holland. LaFave mentioned this in an interview, knowing most singer-songwriter albums are lucky to sell 10,000, but he wasn’t bragging. The number simply slipped out.
[i]Blue Nightfall[/i], his first new album in four years, came out this spring on Red House, the Minnesota-based label whose roster counts veteran singer-songwriters Eliza Gilkyson, Greg Brown, John McCutcheon, and Guy Davis. It’s his seventh album, but the first on anything that might be described as a real label. Still no producer, but he did let Red House owner Bob Feldman choose the track sequence. It’s the best sequenced of his albums.
More than ever, this other LaFave can be heard in the songs on [i]Blue Nightfall[/i], all but one of which is an original. “Don’t want to get out of this car, I just want to drive and drive,” he sings in the opening lines of the title track, then goes for it all: “Into the fading light, and pretend I’m alive.” With spare accompaniment by keyboardist Radoslav Lorkovic and a pulse rather than a beat, LaFave comes to territory mined by Bruce Springsteen and Patty Griffin and stands shoulder to shoulder with them, largely because, like them, he’s as devoted to performance as to writing.
The gain can be attributed to that four-year layoff, or more precisely, to the events that resulted in it. They began while LaFave was still touring behind [i]Texoma[/i]. Barb Fox was pregnant, and she and Jimmy decided to get married. (He’d had a brief first marriage back in Stillwater.) But the same squeamishness that made him a vegetarian made Jimmy jumpy about being present for the child’s birth. So he was in Montreal when Fox bore their son, Jackson, on May 12, 2002.
Jackson clearly changed his father’s life, and in every way, the change was positive. LaFave kept working, but he only went out for a week or two, occasionally three, not the long rambling stints he did before his son was born. He wanted to be home for those first few years. He wasn’t in any hurry to make an album: “I did what I always do, make an album when I have 12 good songs and I’m ready.” One more crucial thing happened: His mother was diagnosed with cancer.
When Bob Childers wrote “Elvis Loved His Momma,” he tapped into one of the secret truths of rock & roll: They’re [i]all[/i] mama’s boys, from Elvis to the Beatles to Bruce to. . . well, Los Lonely Boys talk a lot about their dad, but I bet you anything if you cornered them in dead of night, it’s mama who got ’em through the bad times. LaFave fits the mold, and he has more reason than most. His mother led gospel gatherings up until just before her death. She bought Jimmy his first guitar using green stamps. When she was entering the final phase of illness, he didn’t waste any time.
“I got Jackson and put him in the car and we just drove straight through to Stillwater. I was just in time. I got to spend a day or two there, and I got to play her my version of ‘Revival.’ She loved it when I sang that song in my shows, and it was so important to play the record for her.”
She passed away in her sleep a day or two later, but her absence can be felt in any number of songs on [i]Blue Nightfall[/i]. The most notable is again “Rain Falling Down.” If the first two-thirds of the song are about a parent filled with joy at first sight of his child, the last verse comes from the grownup child who’s dreading the big hurt about to come. The unifier is heartbreak.
In uniting those two halves—the child and the man, let’s say—Jimmy LaFave steps forward as a much more complete artist. He’s always had talent and never lacked for vision, but his songs now reflect a sense of purpose that hasn’t been there before. In fact, he thinks there may be “a renaissance of music going on,” albeit mostly in coffeehouses and at house parties. He says that’s fine with him. Jimmy LaFave never went out of his way for stardom. From the beginning, he’s been concerned with self-expression and integrity. This goes to the heart of his self-confidence. He’s always felt that being the best version of himself was plenty. So he says, with pleasure and not a hint of sarcasm, “I lead a pretty good life.” A beat. “I don’t sleep on people’s couches anymore.”
There will always be two Jimmy LaFaves. It’s as natural as needing to laugh as well as cry.
[url=https://www.austinchronicle.com/music/2005-05-06/269716/]https://www.austinchronicle.com/music/2005-05-06/269716/[/url]

[b]Jimmy LaFave in the Present Tense: Honoring the local musician’s commitment to life[/b]
Dave Marsh, [i]The Austin Chronicle[/i], 12 May 2017
“Don’t want to get out of this car,” sings Jimmy LaFave at the beginning of “Blue Nightfall.” Then he pauses. One. . . two. . . three. . . four seconds. Not a long interval, but you could take up residency in the cavern of possibility this particular silence builds.
The band rolls on, tearing it apart in fully synchronized agony, but your ear wants more of that voice, the very instrument of pain. A great many things beg revelation in this ticking down, least of all an ending. The voice cracks a little, bumps over a phrase, lingering briefly on a key syllable and then, expressing quite patiently, the obvious truth—the one you can’t bear to be without:
“It’s a blue nightfall. Now I weep.”
The band continues but LaFave stops. You can almost hear shards of a broken heart hitting the floor. You’ll be forgiven for wondering if you’re the only one that’s shed anything-but-metaphoric tears. Or for wondering if there’s really someone, somewhere who weeps no more, or whether it’s just. . . everybody. Impossible to grasp fully why in such moments a listener feels so much more alive.
Listening to a genuinely great singer—Smokey Robinson or Joe Strummer, Patty Griffin or Mary J. Blige—is to accept a unique sacrament. It may raise you high or smash you flat, but you’ll visit places you’ve barely imagined as well as those you know so intimately as to call home. Stopovers that confront you with your deepest fears, destinations driving your highest hopes.
Jimmy LaFave is one of those singers. And not only on “Blue Nightfall.” All of the veteran Austinite’s recordings and even more, his live performances, are extraordinarily rich in these moments.
Once, on my SiriusXM radio show broadcasting live Sunday mornings, I asked him to sing “On a Bus to St. Cloud” as a duet with its writer, Gretchen Peters. They both balked. Then the former sort of shrugged and they did that most beautiful of songs justice. It wasn’t perfect. It was extraordinarily human.
“I don’t think I really understood that song until I heard him sing it,” Peters told me after LaFave covered it on 2001’s [i]Texoma[/i].
[b]Austin Skyline[/b]
Jimmy LaFave doesn’t simply possess a great voice. He taught himself how to use it. How to make it better.
Wise, tough, tender, elegant, gritty, he sings Bob Dylan songs like he owns the copyright. His national debut, 1992’s [i]Austin Skyline[/i], included four Dylan covers. Besting the author of “Girl From the North Country” on the [i]Freewheelin’ Bob Dylan[/i] track isn’t a stretch since it’s been done before, but usurping him on “Leopard-Skin Pill-Box Hat”?
LaFave captures all the honky-tonk the latter calls for. He keeps the rock rolling and when he starts to sing, you realize that the damn lyric is a really smooth hipster running a verbose come-on with uncommon panache. Originally, I’d heard it as crazy. LaFave made it crazy like a fox.
One night at the Cactus Café—I’m not sure what year but the club was packed out in a way that hollers “South by Southwest”—LaFave explained that someone close to him had just lost her sister. The UT listening room remains possibly the finest space I’ve ever heard music in, as perfectly attuned to the kind of music played in it as it is tiny. You can have your emotions turned upside down in there, and you can also have a ball, like the time a bunch of us played kazoos behind Molly Ivins. On the most memorable evenings, people in chairs and with their backs to the bar or the wall or standing in the doorway are exalted by music.
That night, when Jimmy LaFave sang Dylan’s “Not Dark Yet,” every heart was not shattered (that wasn’t his purpose), but opened. It felt a little like a baby being born. New magic filled the air, something you’d imagined but never taken this far even in fantasy.
It proved one of the few truly perfect performances I’ve ever experienced. Tears on my cheeks and joy in my heart spring from simple recall of that performance. On that night, at that hour, Jimmy LaFave achieved undeniable greatness.
There are two recorded versions of him singing “Not Dark Yet.” He brings so much of himself to the version on 2007’s [i]Cimarron Manifesto[/i]. The longer he sings it, the deeper it goes. His accompanists, particularly guitarists Andrew Hardin and John Inmon, plus keyboardist Radoslav Lorkovic, crank up that tune. They don’t just support, they toss him into the air and catch him clean on the way back down. They love him because he has the courage to step up to this. They get the cost—to Dylan, to LaFave, to whom- or whatever the song’s about originally—so they synchronize themselves more completely to live up to it.
The best “Not Dark Yet” is the live take from 2014’s [i]Trail 2[/i]. In my soul, it’s from that night at the Cactus Cafe. This one’s gentler, more intimate. He sings it a little more like Dylan, rushing the words here and there, and elsewhere pausing for a breath as if surprised by what’s coming next. It’s a man counting off heartbeats of his unforgiving yet also absolutely honest interpretation of what it’s like to succumb—to hear and see and feel your humanity laid waste.
“My sense of humanity has gone down the drain,” wrote Dylan, which is honest because it isn’t true—a paradox worth pondering. A couple of lines later, if you listen real, real close, you can hear the voice that’s made it through so much tremble. Just a little, just enough. The fragility lays bare palpable courage.
You can’t understand it from anybody’s mere verbal account, but it’s there to be found—in the breathing, in the timing, in the wonder expressed at what the song has to say, and the horror that it’s yet incomplete. You get there eventually; that’s what Dylan says in the last line, “It’s not dark yet, but it’s getting there.”
Or you don’t.
It’s that simple. It’s that painful. It’s a lot like knowing that Jimmy LaFave is dying.
[b]Buffalo Return to the Plains[/b]
The first time I met or heard Jimmy LaFave was at the Woody Guthrie tribute conference put on in Cleveland in 1996 to benefit the Woody Guthrie Foundation & Archives and Rock & Roll Hall of Fame. I saw a lot of old friends and made several new ones at that event. I met him with Greg Johnson from the Blue Door, a folk/rock/singer-songwriter/Jimmy Webb club in LaFave’s home state of Oklahoma.
At various Folk Alliance and SXSW events, we regathered, our ranks expanding as more musicians became old friends. It’s a great social circle but requires some heavy dues: You either have to know how to perform or have to have something to say about it that has not yet been totally refuted by concrete evidence.
LaFave’s singing struck me immediately. So did his songwriting. [i]AllMusic[/i]’s Thom Jurek, one of the most astute music critics and historians in the country, thinks his third album, [i]Buffalo Return to the Plains[/i], is a virtually perfect folk album, the best of its time. The title song, “Burden to Bear,” “Going Home,” “Rock & Roll Land”—the more you look into it, the harder that judgment becomes to refute.
In a city crowned by world-class singer-songwriters, Jimmy LaFave nestled near the top from the time he arrived in 1985. The company he keeps on that list is impressive, but more remarkable is that he goes about all of it—composing, recording, performing—with an awareness that he’s an Oklahoma-Texas folk musician. Hints of Lynyrd Skynyrd appear on the first couple of albums, including “Rock & Roll Music to the World,” but his allegiance is to Woody Guthrie and those who followed him. LaFave played an instrumental role in keeping the focus of the Cleveland Guthrie show, while also proving pivotal in development of the Woody Guthrie Center in Tulsa. He became leader of the troupe that toured the Guthrie show, [i]Ribbon of Highway, Endless Skyway[/i] (see “Two Lafaves,” above).
He’s written insightfully about his native soil, the red dirt region that spawned him and his conception of self. More quietly, he’s kept up the Guthrie tradition of writing about the common man, in praise of justice and equality, against the rape of the land, always siding with the fate of the poor and underprivileged. In hindsight, he seems more political than Guthrie, especially in the live arena where most of his audience encounters him.
At the Folk Alliance conference in Kansas City this past February, when I saw him for the first time in over a year, I mentioned he had written the first song about Donald Trump.
“I did?”
“Yeah, it’s on [i]Buffalo Return to the Plains[/i]. Pretty much every line of it.”
We laughed for a moment. His showcase the next night turned out to be one of the most passionate shows I’ve ever seen, partly because half the audience had heard how sick he was, but mostly because he was playing like it was his last time onstage. At the end, he said wryly, “I wrote a song about Donald Trump 20 years ago and didn’t even know it.”
Then he sang “Worn Out American Dream.”
[i]“I see no refuge for the weary
I see no handouts for the poor
I see no sense of satisfaction
On all the ones who just endure
All the slings and arrows slandered
Against the face of the poor man’s dream
Where the rich circle in like vultures
Picking all their pockets clean”[/i]
Devastating, especially when he came to “Come on, face your situation. It’s just as desperate as it seems.”
[b]Burden to Bear[/b]
A year earlier, I’d gotten a call from our mutual friend, Val Denn, who’s been Jimmy LaFave’s agent and de facto manager/agent for most of the time I’ve known him. She gave me a recap of the conference, which I’d not attended, and then, a little shakily, said, “Jimmy found some kind of growth in his chest.”
“How big?” I asked, and was told the size of a pea. It was protruding, not soft and squishy. I told her it was urgent to get a biopsy because the chances were 1,000 to 1 it might be a sarcoma.
I know a lot about sarcomas. In the autumn of 1992, my 20-year-old younger daughter, Kristen Carr, had a routine gynecological checkup. A growth was found in her abdomen and when it was biopsied, it was identified as malignant. Sarcoma is the rarest of rare cancers.
There are approximately 1 million cases of cancer discovered in the U.S. annually. Only 1% of these, 13 - 15,000, are sarcomas. They’re so rare that most surgeons have very incorrect—lethally incorrect—ideas about how to remove them. Biopsy and identification are crucial, because sarcoma pathology is regarded as the most difficult in all of medicine. On top of that, while sarcoma accounts for a small fraction of all cancers, it nevertheless yields about two thirds of all types of cancer. One distinguished researcher told me there will eventually be about 500 types identified.
Sarcoma is cancer of the connective tissues—fat cells, bones, cartilage, fibrous tissue, the lining of organs, blood vessels, lymph nodes, muscle, and many more—meaning they can appear anywhere in the body. There are no symptoms until the tumor becomes large enough to interfere with an organ or system. When someone has a tumor the size of a watermelon, that’s often a sarcoma. When you wonder why it wasn’t discovered earlier, remember that no symptoms does not mean “a few.”
Half of all sarcomas are treated by surgical resection. The other half result in amputations, debilitating additional surgeries, eventually death. If more initial surgeries were done by surgeons with specific sarcoma expertise, the survival rate would likely be notably higher.
Jimmy LaFave had some advantages. His sarcoma was small (sort of), it was identified at an early stage, and it was visible. The surgery appeared successful, but the margins weren’t as clear as they needed to be, and the tumor recurred almost immediately. Additionally, sarcoma in the trunk of the body is much more lethal than sarcoma elsewhere. You can amputate your arm or leg, but you can’t do the same to your bladder or heart.
Jimmy faced major issues immediately and not all of them physical. Even if a medical solution could be found, even if all the family and psychological issues could be surmounted, how would this affect his career or for that matter, given the chest involvement, his ability to sing? Repeated recurrences and then proliferating growth resulted, even with the most promising chemotherapy. No new sarcoma drug has been developed in about 40 years.
I advocated coming to New York where my family works closely, as the Kristen Ann Carr Fund, with a sarcoma team, one of the world’s best. After analyzing the options with amazing calm and decisiveness, he told me that if he had to die, then he didn’t want to do it in New York. He wanted to be in Austin with the people he loved, on the land that inspired him. He didn’t want to be laid waste by chemo if it was only a stopgap. He wanted to write songs, maybe record, do his shows until he couldn’t gig anymore.
I had to get off the phone and sit for a while as the truth sank in: Jimmy LaFave was the bravest of all the cancer patients I’ve known. He wasn’t refusing treatment. He wasn’t “giving up without a fight.” He’d chosen to live, really live.
[b]Depending on the Distance[/b]
Sarcoma will eventually cause Jimmy LaFave to die. I wrote this story as much in the present tense as I could, even though I know he is now very, very ill. It’s the last chance I have to honor his commitment to life.
He’s faced the situation and all the sadness it brings, but his American dream is no wasteland. It’s a hero’s tale and I hope it inspires generations. He, and his music, deserve that much.
[url=https://www.austinchronicle.com/music/2017-05-12/jimmy-lafave-in-the-present-tense/]https://www.austinchronicle.com/music/2017-05-12/jimmy-lafave-in-the-present-tense/[/url]