Click on the headline to link to a "YouTube" film clip of Ronee Blakley perfroming "Attachment".
CD Review
Ronee Blakley, Ronee Blakley, Collector’s Choice, 1972
A couple of years ago I spend a little time, worthwhile time I think, running through the male folk singers and songwriters of the folk revival of the 1960s. The premise, at the time, was to compare the fates of those singers to the man who has stood up as the icon of the era, Bob Dylan. I went through a litany of such male artists as Jesse Winchester, Jesse Colin Young, Tom Paxton, Dave Van Ronk, Tom Rush and the like and found no particular common denominator other than they were still performing (those who were still alive) at some level acceptable to them, if not at Dylan’s level and status.
As another aspect of that premise I looked at some (fewer) women folk singers and songwriters in comparison to the acknowledged “queen” of that folk revival, Joan Baez. Alas, other more political work interfered with a more extensive look at the “not Joan Baezs”. I will begin to make partial amends here, with the artist under review, Ronee Blakley. Oh, you are not familiar with the name? That is probably fair enough unless you might have gotten around to the local folk club circuit in the 1970s, or seen her as Barbara Jean- a Loretta Lynn prototype in Robert Altman’s classic, edgy homage to country music, “Nashville”. Or perhaps, some other movies like “Nightmare On Elm Street”.
You, in any case, probably do not know her from her two great albums produced in the early 1970s and composed of, mainly, her own songs. That is a shame because between her majestic voice and her fiery, sometimes acid-etched, lyrics, including taking on some very topical subjects like the murder of Black Panther Fred Hampton by the Chicago police and touting all the varieties of female independence and assertiveness she did some very good work. And then “puff”. No more music, at least recorded music. I have not been able to find out exactly why but she certainly takes her place in that group that I, sadly in this case, call one-note “janies”.
So what is good here: “Dues”, of course, from “Nashville” that got me tuned into her works, although the soundtrack version from that movie might be better; the above-mentioned righteously bitter “Fred Hampton”; the pathos of “I Lied”, and, the spunky “Bluebird” also from “Nashville” which I think kind of spoke for her life at that time.
From The Citizen K Blog
Monday, June 8, 2009
Ronee Blakely: Dues
SONG Dues
WRITTEN BY Ronee Blakely
PERFORMED BY Ronee Blakely
APPEARS ON Ronee Blakely (1972); Nashville: Original Motion Picture Soundtrack (1975)
When Ronee Blakely's character Barbara Jean sings "Dues," she provides the emotional epicenter of Robert Altman's film Nashville. Barbara Jean's heart-wrenching account of her tortured marriage connects with her fans at the same time that her preoccupied, insensitive husband remains oblivious. Hence the marvelous lines
It's the way that you don't love me
When you say that you do, baby
Better than almost any song I know, "Dues" depicts the anguish of a spouse who wants to leave the marriage almost as much as she wants to "love you the way I used to do." As much as she wants to "walk away from this battleground," what she'd sacrifice for ("I'd give a lot to love you") is to have things the way they were. Whipsawed between wanting to go and needing to stay, she's reduced to the plaintive entreaty of "how long must I pay these dues?" Sacrifice has become unbearable, too.
While consistent with Barbara Jean's character, Blakely's use of the vernacular also enables a universal expression of desperation: Fraught, complex, co-dependent relationships can and do happen to anyone. In that sense, "Dues" reaches out to anyone who knows deep down that their spouse has retreated so deeply into their "own private world" that they are "hidin'" their "blues" and "pretendin' what" they "say," to anyone in that fearsome place where communication is dead but the need to connect with that one person remains.
LYRICS
It's that careless disrespect
I can't take no more, baby
It's the way that you don't love me
When you say that you do, baby
It hurts so bad, it gets me down, down, down
I want to walk away from this battleground
This hurtin' life, it ain't no good
I'd give a lot to love you the way I used to do
Wish I could...
You've got your own private world
I wouldn't have it no other way
But lately you've been hidin' your blues
Pretendin' what you say
It hurts so bad, it gets me down, down, down
I want to walk away from this battleground
This hurtin' life, it ain't no good
I'd give a lot to love you the way I used to do
Wish I could...
Writin' it down kinda makes me feel better
Keeps me away from them blues
I want to be nice to you, treat you right
But how long can I pay these dues?
It hurts so bad, it gets me down, down, down
I want to walk away from this battleground
This hurtin' life, it ain't no good, no
I'd give a lot to love you the way I used to do
Wish I could...
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