*It Ain’t Always About Politics- The Recorded Topical Folk Song in American History- Man Versus Nature

Click On Title To Link To YouTube's Film Clip Of Charlie Patton Performing "High Water Everywhere, Part 2".

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Three CD Set, Tompkins Square, 2007


Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, manmade or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc Two: Man Versus Nature. Although the marvels of modern technology have provided an increasing share of stories about the vagaries of the machine age old “Mother Nature”, especially when observed up close as is the case down on the farm or out on the prairies still confounds us with her fury. We need only go back a few years to Hurricane Katrina to get very quickly reminded of our sometimes precarious position in the scheme of things. Floods and fires are center stage in this disc and no such compilation on this subject can be complete without the work of the “pre-blues” man Charlie Patton here on several tracks, most importantly those two parts of “High Water Everywhere”. Uncle Dave Mason deserves a nod for “Tennessee Tornado” as does a young Son House for “Dry Spell Blues”. Also of note is Charlie Poole’s “Baltimore Fire” that Kate and Anna McGarrigle covered several years ago.

*”Bluesland” -A Look At The Evolution Of The Blues- In One Place At One Time

Click on title to link to YouTube's film clip of Muddy Waters performing "Hoochie Coochie Man" at the New Port Jazz Festival in 1960. Wow!


DVD Review

Bluesland: Masters Of American Music Series, various artists, BMG, 1991

Okay, apparently I will review any item that comes my way that has even the remotest connection with the blues, the history of the blues, or the individual performances of blues artists, great and small. I confess to being an aficionado and have been since my jaded youth. However, I know damn well that not everyone either shares that addiction or has heard enough to make a judgment. Thus, while I now tend to shy away from anthologies and general histories on this subject and have been honing in on individual genres and styles within the broad terms of what the blues are, when one of those crosses my desk that seems reasonably well-done and gives good sense of where the blues came from and….where it is going I will take the time to write a few word about it, especially as here there when there is a great deal of rare film footage involved in the production.

“Bluesland” easily fits those criteria just mentioned, and if there is just a little too much push of the blues as a central American gene in relationship to other musical forms by the presenter and “talking heads” that always feature in such documentaries, it hits all the known high spots of the blues experience and has some very, very good documentary footage accompanying the presentation. Like? Well, like old Son House flailing away on that National guitar of his. Or Muddy Waters tearing the place up in 1960 at the staid old Newport Jazz Festival with his “Hoochie Goochie Man” that had them dancing in the aisles. Or Duke Ellington leading the band in different variations of his classic “Ko-Ko” (including clips shot at the famed Harlem Cotton Club.). Yes, now you get the idea. Some of this footage is incredible.

But enough of the homage to the film footage. The central theme is the evolution of the genre from back in post-Civil War plantation days through Jim Crow sharecropping days that formed the music. Then it moves to the cities in the early part of the 20th century, in the South at first, then upriver to places like Memphis, Chicago and Kansas City. With the urbanization came the key changeover to electric sound in the post World War II period. The story from there is one of a mix and match and partial ellipse with the rise of rock and rock and then back up front again when some British kids, who had been spoon-fed in the late 1950s on it while we were listening to Bobby Vee or whoever, starting linking up wit the likes of Muddy Waters. And then…well we will wait and see. But, if you have any interest at all in the blues or our common musical heritage here in America then you shouldn’t wait.


"Charley Patton High Water Everywhere (part 1) lyrics"


Well, backwater done rose all around Sumner now,
drove me down the line
Backwater done rose at Sumner,
drove poor Charley down the line
Lord, I'll tell the world the water,
done crept through this town
Lord, the whole round country,
Lord, river has overflowed
Lord, the whole round country,
man, is overflowed
You know I can't stay here,
I'll go where it's high, boy
I would goto the hilly country,
but, they got me barred
Now, look-a here now at Leland
river was risin' high
Look-a here boys around Leland tell me,
river was raisin' high
Boy, it's risin' over there, yeah
I'm gonna move to Greenville
fore I leave, goodbye
Look-a here the water now, Lordy,
Levee broke, rose most everywhere
The water at Greenville and Leland,
Lord, it done rose everywhere
Boy, you can't never stay here
I would go down to Rosedale
but, they tell me there's water there
Now, the water now, mama,
done took Charley's town
Well, they tell me the water,
done took Charley's town
Boy, I'm goin' to Vicksburg
Well, I'm goin' to Vicksburg,
for that high of mine
I am goin' up that water,
where lands don't never flow
Well, I'm goin' over the hill where,
water, oh don't ever flow
Boy, hit Sharkey County and everything was down in Stovall
But, that whole county was leavin',
over that Tallahatchie shore Boy,
went to Tallahatchie and got it over there
Lord, the water done rushed all over,
down old Jackson road
Lord, the water done raised,
over the Jackson road
Boy, it starched my clothes
I'm goin' back to the hilly country,
won't be worried no more

"High Water Everywhere (part 2)"



Backwater at Blytheville, backed up all around
Backwater at Blytheville, done took Joiner town
It was fifty families and children come to sink and drown
The water was risin' up at my friend's door
The water was risin' up at my friend's door
The man said to his women folk, "Lord, we'd better go"
The water was risin', got up in my bed
Lord, the water was rollin', got up to my bed
I thought I would take a trip, Lord,
out on the big ice sled
Oh, I can hear, Lord, Lord, water upon my door,
you know what I mean, look-a here
I hear the ice, Lord, Lord, was sinkin' down,
I couldn't get no boats there, Marion City gone down
So high the water was risin' our men sinkin' down
Man, the water was risin' at places all around,
boy, they's all around
It was fifty men and children come to sink and drown
Oh, Lordy, women and grown men drown
Oh, women and children sinkin' down Lord, have mercy
I couldn't see nobody's home and wasn't no one to be found