Kerouac spoken word classic hits 25

Jim Sampas was a young member of Jack Kerouac's Estate team when he produced a genre-busting CD tribute to the author. Today, as Literary Executor, he recalls the genesis of Kicks Joy Darkness

A QUARTER of a century ago a recording that would become a recognised classic of the spoken word genre first saw the light of day. Kerouac: Kicks Joy Darkness, issued by the label Rykodisc, built fresh bridges between the late writer’s work and new generations of musical, literary and acting talent and quickly became a best-selling release in the field.

The project had been overseen by producer Jim Sampas, a man with experience as a musician and studio engineer but who, by 1997, was working in a junior position with the Jack Kerouac Estate. He devised a body of recordings that would bring together prose and poems from the author’s large archive with a parade of significant rock and cinematic performers.

Working alongside associate producer and Sonic Youth principal Lee Ranaldo, Sampas pulled together artists as diverse a Hunter S. Thompson and Aerosmith’s Steven Tyler, Lawrence Ferlinghetti and Joe Strummer of the Clash, William Burroughs and Eddie Vedder of Pearl Jam, Patti Smith and Allen Ginsberg, John Cale and Jeff Buckley, Michael Stipe and Matt Dillon, to celebrate Kerouac’s remarkable output, often with new musical settings.

Today, Sampas is the Literary Executor of the estate. Twenty five years on, he talks exclusively to Rock and the Beat Generation about a record which not only distilled the energy of the literary and the passion of rock’n’roll but also made such a significant impact on large numbers of younger readers and listeners…

What are your feelings now about Kicks Joy Darkness as this anniversary falls?  

My first reaction to this question is this one really stands the test of time. I listened to it on a drive home from Boston after you mentioned you wanted to do this retrospective piece, and, because of all the incredibly talented folks and their captivating readings, this album still has an ambition and energy that speaks to now.

And as you've used the words ‘feelings’ on this, I also have to say of all the albums I've produced over the years this one holds a very special place in my heart as it was my first big one and it opened up so very many doors for me. And, as the associate producer Kicks Joy Darkness Lee Ranaldo himself described, I stuck my foot in that door and haven't looked back since.

I can't tell you how many folks in my every day life mentioned buying this album, some of which said that it actually introduced them to Jack's work, which, of course, is the ultimate compliment. David Greenberg, the A&R at Ryko who, upon hearing about the idea behind the project, thankfully pushed himself toward it and was a tremendous guide throughout.

Looking back after all these years with the realisation that this was just kind of my 20-something wish-list of folks I admired whom I knew, or thought, had been influenced by Kerouac's writings. Holy Toleido, was I so blessed that they all came on board.

From the lighter being lit at the beginning with Eddie Vedder’s rendering of his version of ‘The Hymn’ to the brilliant pulse and cadence of Morphine's tribute ‘Kerouac’ to the captivating sound bed behind William Burroughs reading by the never-endingly engaging soundscape of Tomandandy, this one was on fire. 

Pictured above: Jim Sampas, Literary Executor of the Jack Kerouac Estate

The album emerged in 1997 just as a revival of interest in the Beat Generation writers seem to be underway. What part do you think the album played in contributing to the renewed attention being paid to Kerouac and his fellow writers at the time?  

There's little doubt in my mind that this project, again thanks to the support and brilliant work of all involved, was a catalyst, one that had even been cited by journalists at the time, including the New York Times, as a sign that a revival was definitely in the works.

That year was such a perfect moment to bring this one into being. In my view those who had been influenced by Jack, such as Patti Smith, Jim Carroll, Hunter S. Thompson, Warren Zevon, were now at the head of the table. For me, these remarkable individuals paved the way for this fresh style of interpretation.

Now, the work of Kerouac, an inventor of a whole world of literary artistry, could be lovingly coloured and reimagined, swept in by such talented folks and reassigned in a different form through their own music and influences. 

Again, to look back, it is funny to me that this one was such a huge success, I bet one of the most reviewed and critically acclaimed albums of 1997 as well, because when I first brought up the idea, even to a notable producer from Ireland, folks were like ‘Really Jim? Who the hell is going to buy that?’ But I was possessed, and unfazed by the naysayers, and could not be dissuaded. And now, I have to confess, I feel a certain level of satisfaction that I stuck to my guns.

How difficult was it to assemble such a cast of musicians, poets and actors? Was it a challenge to negotiate rights and permissions with so many texts and performance to sign off?  

I had been working for the Kerouac Estate for a couple years and in that run gained their respect and support I think. So when the time came to ask for such permissions they were game. Since I wanted to introduce folks to Kerouac's lesser known works such as his poetry, that was also considered a plus by all.

Allen Ginsberg had advised me to stay the hell away from On the Road, and so I took up these tasty little pomes from Jack Kerouac's Pomes All Sizes that were actually like little songs and let the artists pick their own piece from the Jack tree. It all just worked out marvellously, indeed something of a joyride from my perspective. 

Kicks Joy Darkness proved to be one of the most successful spoken word albums of all. Why do you think it chimed with so many and how did that make you feel at the time?  

This album pretty much invented the genre of spoken word music compilations that would follow. There had been brilliant, incredibly influential folks who had done tributes and spoken word, and who inspired this effort, but a tiny few compilations of various artists reading with music. Many followed, each of which had their own marvellous groove and fascinating new takes to offer on words with music. All truly inspiring. 

What are your warmest memories of the Kicks Joy Darkness venture? Did its success play a part in giving you the confidence to take on the role you have today as Literary Executor of the Jack Kerouac Estate?  

This one also gave me the confidence to work with the bad boy director of Hollywood at the time, John McNaughton (Wild Things, Henry Portrait of a Serial Killer) and the painter George Condo, on the music supervision to what was, I think, an innovative and music-filled documentary in Condo Painting.

It also gave me the guts to take on Bruce Springsteen's Nebraska for another star-filled tribute featuring Johnny Cash, Aimee Mann and Ben Harper, and then the homage to the Beatles’ Rubber Soul with Sufjan Stevens, Low, the Fiery Furnaces and several other successful tributes since, curating and advising, working to get folks involved. That, and my past management experience in Boston, has absolutely informed my work as the head of the Kerouac Estate. 

Was there ever a sense within the more conservative elements of the Estate this release could undermine or trivialise or even damage the Jack Kerouac brand: the low culture of popular music meeting the serious culture of literature?  

At a visit to Jack's grave I once was chastised by a super-fan, talented journalist, saying how dare you involve the folks I had, that having big rock stars cheapened the work itself, and I honestly did see where she was coming from, but respectfully disagreed and still do.

These were the cream of the crop, ground-breaking folks who bent the medium of rock to their own advantage and to our great privilege. But I gave my opinion and said she was right as well, and off we went.

That conversation though I'm sure helped me in handling Greil Marcus years later panning my Springsteen effort. In fact, when asked what a let-down it must be to have the greatest rock journalist of our time dig into your work, I actually thought it was the greatest compliment. Greil Marcus reviewed something I had done; I had arrived. 

We know that Kerouac had suspicions about the rock generation yet he loved the notion of spoken word and literature as an oral form. How would he have viewed this project, do you think?

Someone at the time of this release asked me the same question and and I've fine-tuned my answer and that it this: I still don't know, and it may be that he wouldn't have first have liked it. But then Allen Ginsberg once told me that he thought that Jack would have like the Clash, and I blurted out ‘What? Really?’ and he said confidently ‘Yeah, he would have loved their sensibility and nerve, and set of influences including, though nuanced, jazz.’

Not knowing anything for certain, having no actual definitive idea, I just feel as though if he would have sat with it, and listened to this new mould of expression, and that he would have taken to it, eventually. So, when folks criticise this project, or others I work on, I have to say a lot of thought goes into them and you can only use the experiences you have and do you best to further the work in what you envision as new creative ways. 

Note: Kerouac: Kicks Joy Darkness was released in two editions – a 25-track standard issue and a special version for the Japanese market, which featured four extra cuts