John Prine, a master storyteller in song, often shrouded his lyrical genius in a veil of mumbled delivery, leading to playful misinterpretations among his devoted fans. These lyrical puzzles become almost a badge of honor, particularly with tracks like “The Late John Garfield Blues,” where deciphering the true meaning feels like unlocking a secret. Each listener crafts their own version, contributing to the song’s evolving narrative.
For years, I envisioned lyrics painting scenes of “wind-blown scarves and top-down cars all share one western tree” and “the men on The El (Chicago’s elevated train) sit perfectly still.” Even the song’s enigmatic joke – “Two men were standing upon a bridge, one jumped and screamed yoo-hoo!” – remained a delightful mystery. The beauty of “The Late John Garfield Blues” lies in this collaborative creation of meaning, a shared songwriting experience between artist and audience.
John Prine’s Modernist Songwriting and Dylan’s Influence
Just a few years prior to the recording of “The Late John Garfield Blues,” Bob Dylan revolutionized popular song by seamlessly blending 20th-century Modernism into its fabric. John Prine absorbed this innovative approach with remarkable ease and clarity, earning him, among many others, the fleeting title of “The Next Bob Dylan.” (Time has proven, of course, that the next Bob Dylan is always Bob Dylan, and Prine rightfully claimed his place as the singular “First John Prine.”)
“The Late John Garfield Blues” represents Prine’s deepest dive into Dylan’s Modernist world within his early albums. The lyrics, evocative and fragmented, paint a picture through mood and suggestion rather than explicit narrative:
The fish don’t bite but once a night
By the cold light of the moon
The horses screamed, the nightmares dreamed
And the dead men all wear shoes
Cuz everybody’s dancing
Those late John Garfield blues
Dylan’s core innovation, as I interpret it, was shifting the responsibility of meaning-making in songwriting. A song’s essence shouldn’t be a static, pre-packaged message; instead, it should be a dynamic process, unfolding as the song and listener converge in shared sonic space. If we, as listeners, are active participants in shaping a song’s meaning, shouldn’t we strive to engage with intention and depth?
“The Late John Garfield Blues” certainly demands this participatory approach. The lyrics, in isolation, resist straightforward interpretation. They lack defined characters, a concrete setting, a linear plot, or a clear “occasion.” The dominant element is mood, a feeling evoked through poetic imagery.
Prine himself suggested that his primary aim was to capture a specific atmosphere – the melancholic ambiance of a late Sunday night, punctuated by the flickering images of an old John Garfield movie on television. He downplayed the song’s connection to the actor himself, positioning Garfield as a vehicle for conveying this feeling. Even the word “late” carries a double meaning, referring both to the time of night and Garfield’s passing.
However, the mood I discern in “The Late John Garfield Blues” resonates more powerfully with the somber atmosphere of John Garfield’s funeral in 1952 than a generic late-night feeling.
John Garfield testifies before the House Un-American Activities Committee (HUAC). The blacklisted actor's tragic story is subtly referenced in John Prine's song 'The Late John Garfield Blues'.
The Funeral of John Garfield: A Nation Mourns
John Garfield, born Jacob Julius Garfinkle, was a figure of immense public admiration. The son of impoverished Ukrainian-Jewish immigrants, he rose from the streets of New York to become a Golden Gloves boxer and a captivating Hollywood star. Garfield was the quintessential rebel on screen, embodying a raw, modern masculinity that resonated deeply with audiences. His staunch liberal political views and early activism, however, would later cast a dark shadow over his career.
When John Garfield tragically died at the young age of 39 from a heart condition exacerbated by stress, his funeral became a massive public outpouring of grief. The scenes were reminiscent of Rudolph Valentino’s legendary funeral in 1926, a testament to Garfield’s profound impact on American culture:
Black faces pressed against the glass
Where the rain has pressed its weight
Wind-blown scarves in top-down cars
All share one western traitSaddness leaks through tear-stained cheeks
From winos to dime-store Jews
Probly don’t know they gave me
These late John Garfield blues
John Garfield became a casualty of McCarthyism and the Hollywood blacklist. His refusal to name names before the House Un-American Activities Committee (HUAC) effectively ended his film career. Haunted by a sense of betrayal and unable to secure work in Hollywood, Garfield spiraled into despair. He became consumed by proving his innocence, obsessively reviewing his personal papers, and battling substance abuse and depression.
Two men were standing upon a bridge
One jumped and screamed “You lose.”
Just left the odd man holding
Those late John Garfield bluesOld man sleeps with his conscience at night
Young kid sleeps with his dreams
While the mentally ill sit perfectly still
And live through lives in between
Musical Echoes of Mourning: Funeral Bells and Dylan’s Influence
The musical arrangement of Prine’s recording further reinforces the historical and biographical context of John Garfield‘s life, adding layers beyond Prine’s stated intention.
The song’s opening verses (the first 50 seconds) feature a poignant duet between John Prine and Steve Goodman. Prine’s signature acoustic guitar provides the rhythmic backbone, emphasizing the country waltz tempo with resonant bass notes.
However, Steve Goodman’s electric guitar part during these opening stanzas is strikingly evocative. His solid, slow, ringing strums resonate like solemn church bells, like funeral bells tolling a mournful cadence.
This musical technique, employing guitar to mimic funeral bells, has a rich tradition. Bob Dylan famously utilized a similar guitar sound in “Queen Jane Approximately,” particularly towards the song’s conclusion, to ironically underscore the marriage theme.
Dylan’s inspiration likely traces back to Blind Lemon Jefferson’s seminal 1928 blues track, “See That My Grave Is Kept Clean.” In a powerful moment, Jefferson halts the song completely to emulate the sound of a funeral bell using the bass string of his guitar. This recording, from Jefferson’s final session, was notably covered by Dylan on his very first album, highlighting its significance in Dylan’s musical lineage.
In Prine’s “The Late John Garfield Blues,” the guitars serve as a musical conversation with Dylan and Blind Lemon Jefferson, mirroring the lyrical lineage of open interpretation. The song evokes classic Hollywood films, captures a universal late-night mood, and ultimately invites each listener to construct their own meaning within its evocative framework.
“The Late John Garfield Blues” offers a multitude of entry points and interpretations, solidifying its place as a significant and enduring work in John Prine’s remarkable catalog.
(This is part of my song-by-song series on John Prine’s second album, Diamonds in the Rough: Everybody * The Torch Singer * Souvenirs * The Late John Garfield Blues * Sour Grapes * Billy The Bum * The Frying Pan * Yes I Guess They Oughta Name a Drink After You * Take the Star Out of the Window * The Great Compromise * Clocks and Spoons * Rocky Mountain Time * Diamonds in the Rough)
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