The first rule of the code is that you don’t talk about the code.Įaston Corbin certainly didn’t talk about any of this when he spoke to me on the phone from his home in Nashville. Of course, he didn’t talk much about any of this. In the absence of any system of order in the universe to cling to, the code hero invested in other people, maintaining strict loyalty to a small group. Instead, he was a doer who avoided death at all costs-death, after all, is nothing life is everything-so he immersed himself in the things that make life enjoyable: hedonistic lifestyles of sensual pleasure. He wasn’t a cerebral man, rather one to avoid abstract thoughts. A man’s man, he got good at stuff - not just drinking and womanizing - but also developing physical skill that required strength and competence.
Roll with it country song full#
Hemingway’s code hero, we remember, accepted that the world was full of chaos and pain, yet he faced down such severe limits with courage and grace under pressure. Corbin’s debut reads like a Farewell to Arms for the truck-pull set and lays out a hero’s code for existentialist country boys everywhere. Less explored to this point, however, has been Easton Corbin’s correlation to Ernest Hemingway. It’s already been well-established, of course, that if we follow a model of parallel connections to classic novelists, that Taylor Swift is the new generation’s Jane Austen Brad Paisley is our Henry Miller Jason Aldean is the new Scott Fitzgerald etc. It’s one that stands at odds with much of the rest of pop-country radio, but one that carries a timeless appeal nonetheless in both message and sound, which helps explain the record’s considerable success. In taking stock of his preoccupations and farm-kid wisdoms is to reveal Easton Corbin as a manifesto of sorts from a 27-year-old Florida native who has this year articulated a particular worldview, and taken as a whole, it’s a statement that provides a renewal of the Hemingway code. Then again, it’s more fun to pin everything on one guy and consider Easton Corbin’s and not just Easton Corbin’s cohesive statement on the record. We can, in that case, more easily consider the work as a more abstract artistic entity rather than a product of a single voice, thereby doing away with any authorial fallacy. Roll With It signalled a return to Winwood’s R&B roots with the Spencer Davis Group, and was helped on its way to the top of the chart by the powerfully nostalgic sound of its title track single.In today’s country music world of fantasy, nostalgia, and focus-grouping, it’s relatively easy to disregard the fact that Easton Corbin had a hand in writing only four of the 11 songs on his satisfying self-titled debut album. Steve already had a quarter-century in the business to his name by this time, despite still only being a mere 40 years of age. The scene for his latest triumph was really set when 1986’s Back In The High Life, featuring guest appearances by Chaka Khan, James Taylorand others, became a triple platinum sensation. The 1981 set Arc Of A Diver went platinum, as did the 1987 compilation Chronicles. The former member of Traffic and Blind Faith had been growing into a huge solo star, especially in the US, throughout the 1980s. It completed an amazing double victory for the British singer-songwriter, keyboard player and guitarist, who was already at No.1 on the Hot 100 with the single of the same name.
Roll With It ended the five-week run of Appetite For Destruction on the American album chart for that week.
British rhythm and blues heritage upstaged American rock on August 20, 1988, as Steve Winwoodoutsold Guns N’ Roses.
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