Those who have lived - not just witnessed - the efflorescence of
a pivotal culture moment never see the world through veiled eyes
again. Jimmy Lyons was there, devising wholly original inventions
of words and music while the Beats, the neo-folk troubadours, the
post-bop jazz shooting stars, and the tie-dyed psychedelic rockers
were scorching through the underbrush and opening new paths of
creativity as alternatives to the increasingly bottom line-driven
mainstream. Lyons, though, wasn't content to find a niche in one
countercultural movement or another. He kept moving, observing, and
writing new poems, stories, and songs. But he never gave up on the
wry sophistication of the classic American popular song. Indeed, he
has dedicated himself to infusing the same hallowed forms perfected
by Irving Berlin, George and Ira Gershwin, Cole Porter, Harold
Arlen, and others, with his singular fantasias of ingeniously
colored and textured wordplay.
These plays have a subtext only Lyons can provide, derived from
what he calls the "rituals of the road" and the "the circular
rhythms" of the race track, the beats and pulses of everyday
American life that rarely raise a ripple on the surface of American
culture. Lyons hears the screams and dreams of his countrymen and
woman; from them he creates new modes of expression. He has been
changed by each of his open-hearted an open-eared encounters, and
this body of work is his way of making those changes sing and
swing. - Derk Richardson
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