When you get a first look at David Childers, when you first hear him in conversation, you could be forgiven for thinking that he might be someone who likes to sit and talk with the old timers on the bench in front of a small town feed and seed, with his burly speech and stature, his drawl and his demeanor. His movements are straightforward, more deliberate than many, clearly without anxiety. There’s no pretense about him; when he looks at you, it’s clear that he is not plotting any advantage. This is all true, but is just a starting point, as if you had witnessed a work of art and thought, “Heck I could have done that”, without realizing the creative intellect, work, discipline and inspiration necessary to create what is now recognized as a masterpiece. When you first listen to David’s music, you could be forgiven for thinking that it is noteworthy for that same, booming, burly howl that was hinted at in his speech, that the only things that stick out are refrains from song titles like “Johnny Got A Mohawk”, “Burning In Hell” and “Run Skeleton Run”. You’re right, but you’re only getting that first look. The phrase, ‘You can’t judge a book by it’s cover’ comes to mind, except in this case you might not even realize that there’s a book involved. And it’s a great read. We’re cracking open that volume today, in this episode on David Childers on Southern Songs and Stories.
When you get a first look at David Childers, when you first hear him in conversation, you could be forgiven for thinking that he might be someone who likes to sit and talk with the old timers on the bench in front of a small town feed and seed, with his burly speech and stature, his drawl and his demeanor. His movements are straightforward, more deliberate than many, clearly without anxiety. There’s no pretense about him; when he looks at you, it’s clear that he is not plotting any advantage. This is all true, but is just a starting point, as if you had witnessed a work of art and thought, “Heck I could have done that”, without realizing the creative intellect, work, discipline and inspiration necessary to create what is now recognized as a masterpiece. When you first listen to David’s music, you could be forgiven for thinking that it is noteworthy for that same, booming, burly howl that was hinted at in his speech, that the only things that stick out are refrains from song titles like “Johnny Got A Mohawk”, “Burning In Hell” and “Run Skeleton Run”. You’re right, but you’re only getting that first look. The phrase, ‘You can’t judge a book by it’s cover’ comes to mind, except in this case you might not even realize that there’s a book involved. And it’s a great read. We’re cracking open that volume today, in this episode on David Childers on Southern Songs and Stories.
David Childers laid out his approach to songwriting by saying that, for him, less is more: you don't have to say so much. There can be great depth in the straightforward. What seems simple at first reveals, upon reflection, a wealth of meaning. This applies to David the man as well, I believe. He is, as producer Don Dixon said, "deceivingly sophisticated".
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(L to R) Dale Shoemaker and David Childers in concert
In this episode, we explore the world of North Carolina singer songwriter, painter and former lawyer David Childers, showcasing his music and some of his influences, along with interviews of David, son Robert, label head Dolph Ramseur, producer Don Dixon, Avett Brother bassist Bob Crawford, and writer, musician and WNCW radio host Carol Rifkin.
This episode is sponsored by Dynamite Roasting, organic and fair trade coffee, by Ramseur Records, and we’re sponsored by you when you support Southern Songs and Stories on our Patreon page, or directly on our website, with links to both in the right column on this page. We’re glad you’re with us, and hope you may support the music of David Childers and other artists you enjoy hearing here, and can spread awareness of their work as well as ours at Southern Songs and Stories.
