Bill Knight
column for Mon., Tues. or Wed., Sept. 10, 11 or 12, 2018
“Chicago Farmer” is a great name for
an act, like “clean coal” or “nonviolent commando.”
But Chicago Farmer is much more than
a snappy name. Born Cody Diekhoff, Chicago Farmer is more than a 39-year-old
“singer/songwriter.” The troubadour is standup – a storyteller like the best
standup comics and an upright fellow standing up for regular folks and the
lives of quiet desperation and outright glee we all experience to the
soundtracks in our heads and hearts.
Chicago Farmer's live album
"Quarter Past Tonight," recorded in December at downtown Peoria’s
Apollo Theater, was released this summer, and the double CD’s 32 tracks make up
a Chicago Farmer retrospective of sorts, with songs and anecdotes familiar to
clubgoers throughout Central Illinois and the Midwest.
Raised in Delavan in Central
Illinois, Chicago Farmer brings a pleasant and too-rare blend of everyday
small-town ethos and routine big-city experiences to his healthy working-class
perspective.
He’s comparable to John Prine,
Loudon Wainwright and Neil Young, and also occasionally like the late Steve
Goodman, Art Thieme and Woody Guthrie, with a soulful sense of humor and keen
insight to the human condition and all its passion, silliness and dreams.
However, he’s not derivative as much as a distinctive artist who’s plucked the
baton from such contemporaries and forebears to race on.
Describing himself as a
“folk-singing hillbilly from the upper Midwest,” Chicago Farmer uses his
dynamic but delicate tenor to soar and also bring listeners along for flights
of fancy. But he’s also such a solid writer that his skill can make other
aspiring wordsmiths feel like mere typists, with momentary but memorable lines
like “pickin’ guitars and fights.”
The reflective song “Anymore” deals
with frustration and change, surrendering the impulse to drink, fight, cuss –
and maybe dream of peace. “Round Table” is a common-sense take on the
environment and prejudice, and “Dirtiest Uniform” starts off things with a
universal a tale of heroic efforts and sincere sacrifice.
Other highlights are “Who on Earth”
(about arbitrary rules, showing a point of view that’s less
“anti-establishment” than “pro-human”),“Illinois Anthem,” a nicely weird mix of
celebration and rejection, turning dejection into a joyful romp, and
“Umbrella,” a comforting cut, even soothing, with a memorable melody and poetic
lyrics.
Besides a knack for turning a
phrase, the talented guitarist also can twist a riff, shown in numbers such as
“Victoria Walker,” about racism and irony. Among all the love songs and
laments, uptempo jigs and melancholy ballads – like “Won’t Let You Down,” which
almost sounds like a lullaby – there’s an inspiration and insight here that’s
too rare in whatever passes for the Billboard Hot 100 Chart, much less what
radio’s become.
One of the best tracks is “Farms
& Factories,” which starts by singing “My family works in the factory, my
family works on the farm,” and ends with a nice double-reverse, pining, “Thank
God for the farms and the factories, thank the devil for the factory farms.”
In the jarring stomp “Assembly Line
Blues,” featuring a sharp harmonica, or his cover of Edward David Anderson
& Backyard Tire Fire’s “Good to Be” (a rousing bit of merriment), or “I
Need a Hit” (combining a humble sense of humor with some sobering perceptions),
or “Rocco N’ Susie” (a plaintive look at superficial appearances, pressures and
the illusory temptation of meth as a solution), Chicago Farmer reminds us that
excellent artists aren’t confined to the coasts or urban areas, Many listeners
will agree with Diekhoff's observation here: “Local bands are music to my
ears.”
In heavy times and troubles that
burden folks hour by hour, Chicago Farmer offers a sober lightness and creates
music that’s a balm to our spirits.
(Chicago
Farmer has a Facebook page [www.facebook.com/chicagofarmer/]
and website [www.chicagofarmer.com/].)
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