***On Sugar Mountain"- The Musak Of James Taylor

DVD MUSICAL REVIEW

James Taylor Live At The Beacon Theater, James Taylor and various artists, Columbia Music Video, 1998

Strangely, as a youth caught up in the fervor of the early 1960's folk revival and its aftermath James Taylor the subject of this review was never on my personal radar. I knew the name, knew people who knew him, and had many chances to hear him perform in the old days. I passed. And with the exception of a couple of songs here that remains true. Somehow he is, however, the perfect performer for aging `baby boomers' who have lost the taste for hard-driving, edgy music but still love the old tunes-and memories. Moreover, Taylor is the perfect performer for Public Broadcasting System fundraisers. The PBS fundraising moguls know their demographics.

Oh yes, I listened to Fire and Rain and You Can't Close Your Eyes back in the days like everyone else. That is not the question. I listened to tons of stuff in those days (and now, as well). However, those songs lacked pathos for me then and off of Taylor's performance here at New York's Beacon Theater in 1998 that condition still prevails. Moreover, the covers here like Jimmy Jones' Handy man and Buddy Holly's Not Fade Away point to my problem with Taylor's work. Generally, good workmanlike performances but no "soul". And to these eyes and ears no real stage presence despite the blurb accolades that accompanied the DVD to the contrary. Unless you are a die hard Taylor fan pass this by.


Bonnie Raitt-Road Tested, Bonnie Raitt and various artists, Capitol Records, 1997

Let us take a trip down memory lane to the Boston Common in the summer of that fateful year, 1968. A bunch of us were sitting (on the ground, no less) fairly far back in that locale and then suddenly a woman’s voice came booming through the air. Moreover, she was playing not the female de rigueur acoustic guitar but an electric one. Just like the guys! That, my friends was my introduction to Bonnie Raitt and she has been rockin’, bluesin’ and folkin’ ever since. This San Francisco concert from 1995 brings all those trends together. For Bonnie Raitt fans, or just the casual blues/folk/rock fan this is a treat. When I occasionally call back memories of the 1960’s and say that that was a time when men (and women) played Rock ‘n’ Roll for keeps it is Bonnie that I have in mind as one of the women.

Honestly, after that early introduction to Bonnie on that long ago summer day I did not follow her career that closely for a time although I knew she learned here craft later at the feet of Mississippi Fred McDowell and would catch her at various Cambridge night spots. However, this concert brings all that back. Not only that but the added attractions of Jackson Browne and the legendary blues singer Ruth Brown (a favorite of mine from way back) round out a very nice concert. What’s good here: John Prine’s Angel From Montgomery; Never Make Your Move Too Soon (with Brown); Chris Smither’s Love Me Like A Man and Rock Steady. Nice stuff, well performed with her band and guest artists.


John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his Angel From Montgomery but I never associated his name with that song. Then a couple of years ago I happened to listen to his Hello In There and Sam Stone. Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of Sam Stone, Lake Marie and Hello in There not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like When Two World Collide he is accompanied by Iris Dement (wife of the folksinger/songwriter Greg Brown). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

*Average Folk- The Second Tier Of The Folk Revival Of The 1960's

Click On Title To Link To YouTube's Film Clip Of Arlo Guthrie Doing "Buffalo Skinners"



CD REVIEW



Here is a late addition to the course, from Folk 101



Folk Classics: Roots Of American Folk Music, various artists, CBS Records, 1989



I have spent a fair amount of time recently reviewing, individually and on various artist compilations, performers from the 1960’s urban folk revival. You know, Bob Dylan, Joan Baez, Dave Van Ronk, Eric Von Schmidt and the like. I have also reviewed the earlier performers who influenced them on the more traditional folk side like Woody Guthrie and Pete Seeger. There was another component of that search for roots that entailed heading south to the Mississippi Delta, the Georgia Sea Islands, the hills and hollows of Southern Appalachia, the prairies of Texas, the plains and the Mountain West to get ‘religion’ on the rural roots musical scene.

This compilation reflects the results of that search with a selection maybe not of the best versions, best done or best representative of the genres but a good sampler nevertheless. Stick outs here include Lead Belly’s "Alberta" (although his has done that song under other female names); Pete Seeger’s "Jesse James" (although it is long past time to correct the historical record concerning this craven outlaw who, moreover, for this Northern unionist and abolitionist was on the wrong side in the American Civil War); Ramblin’ Jack Elliot’s “Buffalo Skinners”; Carolyn Hester’s “Swing and Turn Jubilee” (what a voice she projected when she was on); and, an interesting combination of Johnny Cash and the Carter Family on “The Banks Of The Ohio”. Not filled with a lot of my folk favorites but very good as a cross-section of what the 1960’s folk revival was all about.

Songs To Aging Children- Joni Mitchell

DVD REVIEW

Joni Mitchell- Woman of Heart and Mind, American Masters-PBS, 2003

I viewed the American Masters documentary on Joni Mitchell during a time when I had been re-reading Norman Mailer's Marilyn- his take on the life of the legendary screen star Marilyn Monroe. And although there is no obvious connection between the lives or the talents of the two women there is a tale of two generations hidden here. Marilyn represented for my parents' generation, the generation that survived the Great Depression and fought World War II, the epitome of blond glamour, sex and talent. To my more `sedate' generation blond-haired Joni represented the introspective, searching, quiet beauty that we sought to represent our longings for understanding in a seemingly baffling world that we had not made. As this documentary and Mailer's book point out however they `represented' our fantasies they also shared a common vulnerability- attempting to be independent women in worlds dominated by men- the movie and recording studios. Such is the life of the great creative talents.

This well-done documentary traces Joni's life from the snow-bound Canadian farmlands to her early rise to stardom at the tail end of the folk revival of the 1960's. It also traces the later twists in her creative career as she tried to break out of the `folkie' milieu; the successful attempt to be a rocker; the less successful attempt to be a female Leonard Cohen searching the depths of her soul; the attempt to turn herself into a torch singer and later the attempt to take on the jazz idiom under the direction of the legendary Charlie Mingus: and, finally the semi-reversion to her youth under the banner of protest against some of the injustices of the world. Along the way various lovers, learners, hangers-on and fellow song writers give their takes on her place in the musical history of her time. This is always a welcome touch. Moreover, since she will have a big place in that history it helps tell us how very influential she was in that endeavor.

Ramblin' Boy- Tom Paxton And Friends

CD REVIEW

Best Of Friends, Tom Paxton, Anne Hill, Bob Gibson, Appleseed Records, 2004

The following paragraphs are from a review of Tom Paxton’s Greatest Hits CD that I reviewed in this space last year and that is germane to a review of this album- at least to Tom Paxton’s role in it.

“If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Tom Paxton is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Tom Paxton as well. I do not know if Tom Paxton, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong) voice to fit the lyrics of love, hope, longing and sometimes just sheer whimsy, as in the children’s songs, that he was singing about at the time. I would venture however, given what I know of his politics and the probably influence that his good friend the late folksinger and historian Dave Van Ronk had on him, that the answer above is probably no.”

Well, those points made above apply to him here as well. Except that instead of just posing the question to Tom Paxton it is also a question that one can ask of the late Bob Gibson who, arguably, was as influential as anyone in the early 1960’s folk revival. I will, when I can find some of his material, do a separate review on his work. Added here as well is the very fine voice of Anne Hall whom I was very unfamiliar with prior to listening to this CD. I will also make up for that lack at a later time. For now though, this is a very fine CD based on collective work that this trio did for a short time on the Chicago folk circuit in the mid-1980s. Most of the material was written by Paxton, including works containing his funny political slant, but the real treat is the almost seamless harmony done on the songs.

Outstanding here are “The Death Of Stephen Biko (a black activist murdered while in custody in South Africa in the 1970’s); “And Loving You”; “She Sits On The Table” (a gripping and compelling tale of domestic abuse and the sometimes no way out dead end that women find themselves in with abusive men); and, Tom’s classic “Ramblin’ Boy”. Nice stuff, and you will be seeing more about all of these artists in this space this year.

*On The Question Of Cats- Really

Click on the headline to link to a "YouTube" film clip of a performance of "Memory" from the musical, "Cats".
Click on link below for a discussion of T.S. Eliot on the NPR show On Point  

http://onpoint.wbur.org/2015/12/15/ts-eliot-modern-poetry-waste-land

CD Review

Selections From “Cats”, “Cats” cast, The Really Useful Group Records, 1989

Okay, put a life long love of cats (real), with a literary love of cats (poetic, via T.S. Eliot), with a “Cat”-full of cats (on stage) and you throw in some now classic songs about our feline friends and that tells everything you need to know about this CD. Oh, except that for the life long cat-lovers out there you will know by each kind of cat mentioned in this compilation that it is probably not far removed from some cat that you nursed back to health, tripped over, got mad at, fed (in the middle of the night), groomed (at best you could) and got misty-eyed over the memory of when you heard that “Memory” song that kind of puts the whole production together. That says it all.

Rum Tum Tugger is one of the many feline characters in the poetry book Old Possum's Book of Practical Cats by T. S. Eliot and in the musical Cats. Cats was based on Eliot's book, published in 1939.

T.S Eliot draws attention to the similarities between feline and human personality traits in his book Old Possum's Book of Practical Cats. The Rum Tum Tugger is portrayed as the rebel cat who can't help but be difficult. He is never satisfied with what you give him;

The Rum Tum Tugger is a Curious Cat:

If you offer him pheasant he would rather have grouse.
If you put him in a house he would much prefer a flat,
If you put him in a flat then he'd rather have a house.
If you set him on a mouse then he only wants a rat,
If you set him on a rat then he'd rather chase a mouse.
He is notoriously hard to please and he sets himself apart from others by wanting to be different. He always does the opposite of what is expected of him and by the end of poem you are left with the idea that the Rum Tum Tugger is deviously self-centered and relishes in being so. The three words that are used to describe his character given to each performer who plays the role are, 'Perverse, Preening, and Independant'

In the musical The Rum Tum Tugger is a black tom cat with leopard spots on his chest, and a wild mane. In some Japanese productions, he is white. He is considered the ladies cat, and the rebel of the group. He loves the limelight, while at the same time he enjoys being seen as an individual by separating himself a little from the pack. He may be self-obsessed, but he has great respect for those who deserve it, such as Mr. Mistoffelees. The younger female kittens (Victoria, Etcetera, Electra and Jemima), and even some of the male kittens are in awe of him as well as some of the older queens, especially Bombalurina. He flirts openly with almost every female cat in the filmed version. Demeter seems to dislike him very deeply. This is shown in the filmed version. During The Awefull Battle Of The Pekes And The Pollicles, he plays the bagpipes.

Paul Nicholas played the role on the West End and Terrence Mann originated the role in the Broadway version. Rum Tum Tugger is played by John Partridge in the filmed version. In the 25th Anniversary tour of CATS, the role of Rum Tum Tugger was performed by Gary Watson. Right now in the Worldwide tour he is played by Adam Steiner. In most productions he sings 'The Rum Tum Tugger', 'Magical Mr Mistoffelees', and, along with Munkustrap he sings 'Old Deuteronomy'. In "Jellicle songs for Jellicle Cats, he sings "Can you say of your bite, that it's worse than your bark?" Also, in this scene, he doesn't have his mane, he has a different wig and doesn't have his belt on yet- they don't want him to stand out too much just yet. His first appearance with his mane and proper Rum Tum Tugger wig and accessories is in his own song (which he enjoys greatly - he gets to destroy the Gumbie Cat's fun.)

Andrew Lloyd Webber has stated that the part of the Tugger is intended to be an homage to Mick Jagger of the Rolling Stones. This homage is apparent in the way he moves on stage in the original Gillian Lynne choreography and the costume styling. His type of cat was said to be Maine Coon, because of his wild mane and being portrayed as being much bigger than the other cats. According to his song, he apparently would do pretty much anything to annoy his owners. He does not appear in many of the scenes, but when he does he usually has a solo. He and Munkustrap sing the solos to "Old Deuteronomy"

Retrieved from "http://en.wikipedia.org/wiki/Rum_Tum_Tugger"

*Songs To While Away The Class Struggle By-DOWN ON PENNY'S FARM-The Bentley Boys

Click on the title to link a YouTube film clip from

In this series, presented under the headline Songs To While Away The Class Struggle By, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here. Markin.

*************

DOWN ON PENNY'S FARM
(trad.)
Any copyrighted material on these pages is used in "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s).
Audio files are DELIBERATELY encoded "low-fi" to enable faster streaming and are intended as "illustrations" and "appetizers" only.
Official and "hi-fi" recordings can (and should) be purchased at your local record dealer or through a number of web-based companies, like CDNow.


Likely inspiration for Dylan's "Hard Times in New York Town".
LISTEN TO BOB DYLAN'S SONG (EXCERPT) at
Likely source: Anthology of American Folk Music" (compiled by Harry Smith), by The Bently Boys (track No. 25).
Bascom Lamar Lunsford version, transcribed in Tom Glazer, Songs of Peace, Freedom & Protest, New York, 1972, pp. 90-92.
TOM GLAZER:
Also known as "Robert's Farm." Bascom Lamar Lunsford, the Southern folklorist, says he learned it from a Claude Reeves of North Carolina, who claims he wrote it on personal experience around 1935.
(ibid., p. 90)
Claude Reeves' claim is contradicted by the recording date of the Bently Boys' version (original issue: Columbia 15565D), 1929. Harry Smith also remarks in his liner notes:
This recording is a regionalized recasting of an earlier song, "Hard Times."

Come you ladies and you gentlemen
And listen to my song,
I'll sing it to you right, but you might think it's wrong,
May make you mad, but I mean no harm,
It's all about the renters on Penny's farm.
CHORUS:
It's hard times in the country,
Down on Penny's farm.
Now you move out on Penny's farm,
Plant a little crop of 'bacco and a little crop of corn,
He'll come around to plan and plot,
Till he gets himself a mortgage
On everything you got.
You go to the fields
And you work all day,
Till way after dark, but you get no pay,
Promise you meat or a little lard,
It's hard to be a renter on Penny's farm.

Now here's George Penny come into town,
With his wagon-load of peaches, not one of them sound,
He's got to have his money or somebody's check,
You pay him for a bushel,
And you don't get a peck.

Then George Penny's renters, they come into town,
With their hands in their pockets, and their heads hanging down,
Go in the store and the merchant will say:
"Your mortgage is due
And I'm looking for my pay."

Goes down in his pocket with a trembling hand --
"Can't pay you all but I'll pay you what I can."
Then to the telephone the merchant makes a call,
"They'll put you on the chain gang
If you don't pay it all."

Three Score And Ten- Happy Birthday Bob Dylan- The Endless Tourist

Click on the headline to link to an American Left History entry on some of birthday boy Bob Dylan’s earlier work.

Markin comment:

No question Bob Dylan, his early folk-inspired protest songs, and his persona had a great influence on me, and my generation, the generation of ’68, period. Whether he was the “voice” of our generation, or a voice is seriously open to question but what is not is his long-standing commitment to keep pushing the music envelope. And to do so relentlessly , for whatever reason, if only to keep himself from the easy old man rocking chair. His place in the music pantheon (folk, folk rock, rock, popular, country, mountain, Tin Pan Alley, whatever, he has respectable niches in each) and with many chapters in the American songbook is secure. Keep moving, brother.
*******
Line for line Desolation Row is my number one Bob Dylan song. It is the one that I sing (to myself) on those glooming days we all have. Do I know all the lines by heart from memory. No way. This is not unlike the fate of a lot of Dylan songs, as a well-know musician once reminded me. We all remember about half the verses of many Dylan songs on recall. True, brother, true.
********
Desolation Row Lyrics
Bob Dylan


They're selling postcards of the hanging
They're painting the passports brown
The beauty parlor is filled with sailors
The circus is in town
Here comes the blind commissioner
They've got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they're restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row.

Cinderella, she seems so easy
"It takes one to know one," she smiles
And puts her hands in her back pockets
Bette Davis style
And in comes Romeo, he's moaning
"You belong to Me I Believe"
And someone says, "You're in the wrong place, my friend
You better leave"
And the only sound that's left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row.

Now the moon is almost hidden
The stars are beginning to hide
The fortunetelling lady
Has even taken all her things inside
All except for Cain and Abel
And the hunchback of Notre Dame
Everybody is making love
Or else expecting rain
And the Good Samaritan, he's dressing
He's getting ready for the show
He's going to the carnival tonight
On Desolation Row.
Now Ophelia, she's 'neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid
To her, death is quite romantic
She wears an iron vest
Her profession's her religion
Her sin is her lifelessness
And though her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row.

Einstein, disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend, a jealous monk
He looked so immaculately frightful
As he bummed a cigarette
Then he went off sniffing drainpipes
And reciting the alphabet
You would not think to look at him
But he was famous long ago
For playing the electric violin
On Desolation Row.

Dr. Filth, he keeps his world
Inside of a leather cup
But all his sexless patients
They're trying to blow it up
Now his nurse, some local loser
She's in charge of the cyanide hole
And she also keeps the cards that read
"Have Mercy on His Soul"
They all play on penny whistles
You can hear them blow
If you lean your head out far enough
From Desolation Row.
Across the street they've nailed the curtains
They're getting ready for the feast
The Phantom of the Opera
In a perfect image of a priest
They're spoonfeeding Casanova
To get him to feel more assured
Then they'll kill him with self-confidence
After poisoning him with words
And the Phantom's shouting to skinny girls
"Get outa here if you don't know"
Casanova is just being punished for going
To Desolation Row.

At midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row.

Praise be to Nero's Neptune
The Titanic sails at dawn
Everybody's shouting
"Which side are you on ?"
And Ezra Pound and T. S. Eliot
Fighting in the captain's tower
While calypso singers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row.
Yes, I received your letter yesterday
About the time the door knob broke
When you asked me how I was doing
Was that some kind of joke ?
All these people that you mention
Yes, I know them, they're quite lame
I had to rearrange their faces
And give them all another name
Right now I can't read too good
Dont send me no more letters no
Not unless you mail them
From Desolation Row.

From The Bob Feldman 68 Blog- "Ben Davis" (Black Communist Councilman From New York City)

Click on the headline to link to a Bob Feldman 68 post for his protest song, Ben Davis

Ben Davis

My name it is Ben Davis and I’m in a prison cell
In Terre Haute, Indiana, that’s where I’m forced to dwell
In a segregated section of the penitentiary
And while I’m locked in solitary, I write my life story.

“I grew up in Jim Crow, Georgia and became a people’s lawyer
I defended Angelo Herndon when he organized workers
They wished to execute him for uniting Black and white
To march to the county courthouse and demand `jobs or relief.’

“For defending the free speech rights of a 19-year-old communist
They threatened me with `contempt of court’ and to lynch me by the neck
Inspired by Angelo’s testimony, his Party I did join
And four years after his rigged trial, the verdict was overturned.

“I worked to build the Party and moved up to Harlem
I rented an apartment and owned no stocks and bonds
I found myself elected in 1943
To serve the working people in the Council of New York City.

“I fought discrimination by Metropolitan Life
And demanded that the major leagues cease to be lily-white
I fought against the fare increase and protected rent control
And denounced police brutality and applied the housing code.

“They could not defeat me at the polls in two elections
So they spent a lot of money to change the regulations
Then in July of 1948, while writing in my home,
Six FBI agents did appear and dragged me from Harlem.

“Although I was elected by the people of New York
They threw me in a prison and charged me in their court
An unconstitutional Smith Act, they used to imprison me
And expelled me from the Council in the name of `democracy.’

“Locked inside this prison by Truman, the `Democrat',
I received a 5-year sentence, just because I’m a communist
Along with other comrades, I’m jailed for my beliefs
And this book I write in prison, they vow they won’t release.

“Yes, my name it is Ben Davis and I’m in a prison cell
In Terre Haute, Indiana, that’s where I’m forced to dwell
In a segregated section of the penitentiary
And while I’m locked in solitary, I write my life story.”

To listen to this song, you can go to following music site link:

http://www.last.fm/music/Bob+A.+Feldman/More+Biographical+Folk+Songs/Ben+Davis

The Ben Davis biographical protest folk song lyrics were written a few years ago, after I read the book Communist Councilman From Harlem: Autobiographical Notes Written in a Federal Penitentiary by Benjamin Davis, and are sung to the traditional Scottish folk song tune of “Come, All Ye Tramps and Hawkers”. Prior to Ben Davis’s release from prison the manuscript of his autobiography was seized by U.S. prison authorities and kept by the Bureau of Prisons until after Ben Davis’s death in 1964—before the autobiographical manuscript was finally allowed by U.S. government officials to be published in 1969 by International Publishers.

To listen to some of the other protest folk songs that I’ve written since the late 1960s, you can check out the “Columbia Songs for a Democratic Society” music site at the following link:

http://www.myspace.com/bobafeldman68music

From The Bob Feldman 68 Blog -"Chuck Turner" (Boston)Protest Folk Song

"Chuck Turner" Protest Folk Song
by bobf

(No verified email address) 28 Mar 2011

Modified: 11:47:01 AM

"Chuck Turner" public domain protest folk song tells story of the recent illegal expulsion from Boston's City Council and imprisonment of Boston City Councilor Chuck Turner

Chuck Turner (sung to the tune of traditional Scottish folk song, "Come All Ye Tramps and Hawkers")

"Oh, my name it is Chuck Turner
And I'm in a prison cell
Far away in West Virginia
That's where I'm forced to dwell
In a lonely section
Of the penitentiary
And while I'm locked behind the wall,
I recall what they did to me.

"I grew up in Cincinnati
Then attended Harvard U.
I became an organizer
And to Roxbury I did move
To the Boston City Council
The people did vote me
And as their representative
I served diligently

"I fought discrimination
By the universities
And demanded that developers
Cease to be greedy
I fought to regulate their rents
And for Boston tenants' rights
And denounced police brutality
And the wars Bush launched at night.

"They could not defeat me at the polls
In six elections
So Ashcroft's partner and the FBI
Began a collaboration
They paid an informant thirty grand
To tape me secretly
And illegally tried to entrap me
For proposing a public hearing.

"Although I was elected
By the people of Roxbury
A corrupt U.S. Attorney
Charged me with `bribe-taking'
To cover-up his misconduct
The Feds arrested me
And from Boston's City Council
I was expelled illegally.

"Then after a press-rigged trial
The biased judge sentenced me
And because I pleaded innocent
He accused me of `perjury'
And added more months in prison
`Cause I spoke at some meetings
And imprisoned me for three long years
`Though my age is seventy.

Yes, my name is Chuck Turner
And I'm in a prison cell
Far away in West Virginia
That's where I'm forced to dwell
In a lonely section
Of the penitentiary
And although I'm locked behind the wall
Boston now wants me FREE!"
See also:
http://bfeldman68.blogspot.com/2008/05/ben-davis.html
http://www.youtube.com/watch?v=3r3FBigdvGc

*Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Glenn Yarborough

Click on title to link to YouTube's film clip of 'Cowboy' Bob Dylan (Brooklyn-born Ramblin' Jack Elliott is not alone) performing "Spanish Is The Loving Tongue. Where is Glenn Yarbrough. No luck on YouTube for him. Hey, I really like this song and in this space, at least here, I control the clicker. Okay? If not I'll meet you on Main Street in Dodge City. Oops, I got carried away. Sorry.

CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

"Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."

Glenn Yarborough on “Spanish Is A Loving Tongue”. Honestly I am not that familiar with Glenn Yarborough although I know his name and some of his work from the 1960s television show “Hootenanny” that was a great source for the expansion (and commercialization) of folk music to a greater audience that the coffeehouses and parks of the big cities. His rendition here, I think, is an expression of that commercialization of this old time cowboy thwarted love song. Here is the antidote-listen to Bob Dylan and The Band doing it on Volume Five of “The Genuine Basement Tapes” done while Dylan was in ‘exile’ in upstate New York after 1966. Then you will know how a folkie should sing this one.

"Spanish Is The Loving Tongue"

ORIGINAL LYRICS BY CHARLES BADGER CLARK, JR.

Originally published in Charles Badger Clark, Sun and Saddle Leather, Boston, 1915; later included in N. Howard Thorp, Songs of the Cowboys, Boston, 1921. Music: unknown composer; most commonly used melody from the singing of Richard Dyer-Bennett (learned from Sam Eskin), transcribed in The People's Songs Bulletin (Vol. 3, No. 11).


--------------------------------------------------------------------------------


Spanish is the loving tongue,
Soft as music, light as spray:
'Twas a girl I learned it from,
Living down Sonora way.
I don't look much like a lover,
Yet I say her love words over,
Often when I'm all alone --
"Mi amor, mi corazón."
Nights when she knew where I'd ride
She would listen for my spurs,
Fling the big door open wide,
Raise them laughin' eyes of hers;
And my heart would nigh stop beating
When I heard her tender greeting,
Whispered soft for me alone --
"Mi amor, mi corazón."

Moonlight in the patio,
Old Senora nodding near,
Me and Juana talking low
So the Madre couldn't hear;
How those hours would go a-flyin'!
And too soon I'd hear her sighin'
In her little sorry tone --
"Adios, mi corazón!"

But one time I had to fly
For a foolish gamblin' fight,
And we said a swift goodbye
In that black unlucky night.
When I'd loosed her arms from clingin'
With her words the hoofs kept ringin'
As I galloped north alone --
"Adios, mi corazón!"

Never seen her since that night --
I can't cross the Line, you know.
She was "Mex" and I was white;
Like as not it's better so.
Yet I've always sort of missed her
Since that last wild night I kissed her;
Left her heart and lost my own --
"Adios, mi corazón!"

*Once More Into The Time Capsule- The New York Folk Revival Scene in the Early 1960’s

Click On Title To Link To YouTube' Film Clip Of Woody Guthrie Performing "Hard Travelin'".

CD Review

A number of the more important or famous performers on these CDs will get a reprieve here by having separate entries under this same headline

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

Okay, let’s go through the geography of this seemingly endless review of folk revival of the 1960’s tour that I have been conducting over the past year or so. I have gone down the byways and back alleys of Bleeker Street. I have tipped my hat to McDougall Street and its “mayor” (the late Dave Van Ronk). I have been positively 4th Street more times that I can shake a stick at (Bob Dylan’s old haunts). So now to round out this tour of a few square blocks of lower Manhattan that made some musical history in the early 1960’s that I am reviewing, make that proudly reviewing, I am, hopefully, finishing up with this compilation entitled “Washington Square Memoirs”. And this is an apt place to wind up the tour because, in a sense, this is the place where it all got hashed out before it got to the coffeehouses, other venues and those hard sought after recording contracts. If you couldn’t make it as a musician in the park (an, at times, not very high bar to get over) then you had better take your act elsewhere. Like, maybe, East Orange, New Jersey.

I mentioned in a recent review of “Friends Of Old Time Music”, a CD featuring mountain music, another separate strand of the folk revival that ran through New York City in the early 1960’s, the following:

“This three disc compilation (including an incredibly informative booklet giving a mother lode of material, including photographs, about the how, when and why of bringing the mainly Southern, mainly rural talents to New York City in the early 1960s) will give the new generation and mainly older aficionados, in one place, a primer of great value. If you want to know the details of this part of the folk revival puzzle you certainly have to start here. For the beginner or the aficionado this is a worthwhile addition to the store of our common musical heritage.”

Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball”, Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”.

Disc Two: Dave Van Ronk on “He Was A Friend Of Mine” and You’se A Viper”, The Chad Mitchell Trio on “Last Night I Had The Strangest Dream”, Hedy West on “500 Miles”, Ian &Sylvia on “Four Strong Winds”, Tom Paxton on “I Can’t Help But Wonder Where I’m Bound”, Peter, Paul And Mary on “Blowin’ In The Wind”, Bob Dylan on “Boots Of Spanish Leather”, Jesse Colin Young on “Four In The Morning”, Joan Baez on “There But For Fortune”, Judy Roderick on “Brother, Can You Spare A Dime?”, Bonnie Dobson on “Morning Dew”, Buffy Sainte-Marie on “Cod’ine” and Eric Von Schmidt on “ Joshua Gone Barbados”.

Disc Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days” and Arlo Guthrie on “The Motorcycle Song”

"Hard Travelin'" -Woody Guthrie and Cisco Houston

I've been havin' some hard travelin', I thought you knowed
I've been havin' some hard travelin', way down the road
I've been havin' some hard travelin', hard ramblin', hard gamblin'
I've been havin' some hard travelin', lord

I've been ridin' them fast rattlers, I thought you knowed
I've been ridin' them flat wheelers, way down the road
I've been ridin' them blind passengers, dead-enders, kickin' up cinders
I've been havin' some hard travelin', lord

I've been hittin' some hard-rock minin', I thought you knowed
I've been leanin' on a pressure drill, way down the road
Hammer flyin', air-hole suckin', six foot of mud and I shore been a muckin'
And I've been hittin' some hard travelin', lord

I've been hittin' some hard harvestin', I thought you knowed
North Dakota to Kansas City, way down the road
Cuttin' that wheat, stackin' that hay, and I'm tryin' make about a dollar a day
And I've been havin' some hard travelin', lord

I've been working that Pittsburgh steel, I thought you knowed
I've been a dumpin' that red-hot slag, way down the road
I've been a blasting, I've been a firin', I've been a pourin' red-hot iron
I've been hittin' some hard travelin', lord

I've been layin' in a hard-rock jail, I thought you knowed
I've been a laying out 90 days, way down the road
Damned old judge, he said to me, "It's 90 days for vagrancy."
And I've been hittin' some hard travelin', lord

I've been walking that Lincoln highway, I thought you knowed,
I've been hittin' that 66, way down the road
Heavy load and a worried mind, lookin' for a woman that's hard to find,
I've been hittin' some hard travelin', lord

*The Not Joan Baez Female Folkies- The Music Of Mary McCaslin

Click On Title To Link To YouTube's Film Clip Of Mary McCaslin Doing "The Abyss".

CD Review

Broken Promises, Mary McCaslin, Philo Records, 1994

This review has also been used for McCaslin's "Broken Promises" CD.

Okay, okay I have had enough. Recently I received a spate of e-mails from aging 1960's folkies asking why, other than one review of Carolyn Hester's work late in 2008, I have not done more reviews of the female folkies of the 1960's. To balance things out I begin to make amends here. To set the framework for my future reviews I repost the germane part of the Carolyn Hester review:

"Earlier this year I posed a question concerning the fates of a group of talented male folk singers like Tom Rush, Tom Paxton and Jesse Colin Young, who, although some of them are still performing or otherwise still on the musical scene have generally fallen off the radar in today's mainstream musical consciousness, except, of course, the acknowledged "king of the hill", Bob Dylan. I want to pose that same question in this entry concerning the talented female folk performers of the 1960's, except, of course, the "queen of the hill" Joan Baez. I will start out by merely rephrasing the first paragraph from the reviews of those male performers.

"If I were to ask someone, in the year 2008, to name a female folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Joan Baez (or, maybe, Judy Collins but you get my point). And that would be a good and appropriate choice. One can endlessly dispute whether or not Baez was (or wanted to be) the female voice of the Generation of '68 but in terms of longevity and productivity she fits the bill as a known quality. However, there were a slew of other female folk singers who tried to find their niche in the folk milieu and who, like Baez, may today still quietly continue to produce work and to perform. The artist under review, Carolyn Hester, certainly had the talent to challenge Baez to be "queen of the hill."

Well, as the CD under review will testify to, the singer /songwriter Mary McCaslin also was in contention, back in the days. I am not familiar with the current status of Ms. McCaslin as a performer although I know several years ago I attended a benefit concert to raise funds for her medical needs. Nevertheless I can remember the first time I heard her in a coffeehouse in Cambridge doing Woody Guthrie's "Oklahoma Hills Back Home". And that was appropriate as Ms. McCaslin is certainly in her singing style and her songwriting interests attached to the Western United States. That tradition got an additional acknowledgement in that Cambridge performance when she brought down the house with her version of the country classic "Pass Me By If You're Only Passing Through".

That theme and, in addition, several more inward searching tracks, make this a very representative McCaslin effort. Needless to say “Way Down In Texas” sticks out on the first theme and “The Abyss” on the second. She also does a very fine version of the Beatles tune “Help”. So, all in all, whatever her later personal journey back in the days she could have been a contender for “queen of the hill”. Listen up.

Mary McCaslin - Better Late Than Never

LYRICS

ACRES OF HOUSES

I returned to my home in the valley
After way too many years
I stopped on the road, stepped out of the car
And I almost broke down there in tears

I stood and looked all around me
At the fields where the corn used to be
Two story houses, manicured yards
As far as my eye could see

Chorus:
Acres of houses on farmland
It's the saddest thing I've ever seen
We better start thinking about making a stand
Or we'll all end up on soylent green

While they don't come from south of the border
And they don't come from over the sea
They pack up their babies and move out from town
And they all look just like you and me

It's a grand old new world order
Religion and business take all
Families and brokers divide up the ground
And the meadow turns into a mall

Chorus:
Acres of houses on farmland
It's the saddest thing I've ever seen
We better start thinking about making a stand
Or we'll all end up on soylent green



THE LIGHTS OF SPARTANBURG

I've made a living with the band for 20 years or more
Days and nights from sun to sun out on the road we tour

After the Atlanta show, we drove all through the night
Crossing states to make it home sometime around daylight

You came to mind that night along the South Carolina road
Years of friendship, years of song - a treasury untold

Chorus: And I heard it on the radio
Outside of your hometown
I saw the lights of Spartanburg
the night your plane went down
I saw the lights of Spartanburg
The night your plane went down

Don't you know you made the news; your songs are on the air
I wonder why we wait to lose to show how much we care

Cars and buses, trains and planes, the highway and the sky
Seem to take a toll of names as every year goes by

Chorus: And I heard it on the radio
Outside of your hometown
I saw the lights of Spartanburg
The night your plane went down

I think about that night along the South Carolina road
Maybe from this life you've gone, but never from the fold

Chorus: And I hear the words forever more
Outside of your hometown
I saw the lights of Spartanburg
The night your plane went down
I saw the lights of Spartanburg
The night your plane went down
I saw the lights of Spartanburg
The night your plane went down


SABERS AND GUNS

Turn in your saddle and look back at home one more time
Quiet her fears with a few words that come to your mind
'Keep supper warm', you lied your brave lie when she asked
'We'll end it this evening if the Yankees don't run too damn fast'

Stop by the well, smell the sweet scent of magnolia trees
Take a cool drink of water and last look at all that you leave
Your graceful white mansions, acres of fields and green lawns
Will be ashes and ragweed, gone to seed by the time you return

Chorus: Off to war - oh just look at your hardware
With the brass shining gold in the sun
Ah, but don't you feel strong in your gray uniforms
With your shiny new sabers and guns

Wait on the hill where the road forks to go into town
To be joined by another and another, till a hundred ride down
Ride on together, form a column of soldiers so bold
Ah, the pride of the south is a grand thing indeed to behold

Charge into battle with the flame of youth hot in your breast
An army of children trying hard to be men in the test
And which of your friends stand brave and strong in the fight
And which of your friends will be left in the cold ground tonight

Chorus: Off to war - oh just look at your hardware
With the brass shining gold in the sun
Ah, but don't you feel strong in your gray uniforms
With your shiny new sabers and guns

It's all over now, there's no place to go but back home
To face all your loved ones and the people that once you did own
Plantation kingdoms passed down from fathers to sons

Could not be defended with your shiny new sabers and guns
Could not be defended with your shiny new sabers and guns

STANDING IN THE DOORWAY

Standing in the doorway of the Salvation Army
In a place where you and i could wind up any day
A scarf and sweater in a paper bag she holds so dearly
Treasures for a buck or two that someone threw away

She turns her head to look each way and steps out 0n the sidewalk
Hums a tune from some old song she learned when it was new
Starts her daily round to make a little change and small talk
Rain or shine, out on the street - it's what she has to do

Chorus: On and on the memories keep running through her mind
All the dreams of younger days left so far behind

All it takes to stay alive is give up every pleasure
A monthly check just pays the rent and leaves so little more
Every day she faces those who know they are much better
Sees 'em turns their eyes away when she comes through the door

Once a young girl held the stage with every eye upon her
Someone spent a fortune after almost every show
Now a woman stands alone, a hand out to a stranger
A far cry from the life she led so many years ago

Chorus: On and on the memories keep running through her mind
All the dreams of younger days left so far behind

Passing by the doorway of the Salvation Army
It's easier to move along and look the other way
Never stop and take the time to listen to a story
Or think about where you and I could wind up any day
MISSING

A little girl is missing - the wind begins to blow
Neighbors are out searching, but who will ever know
Why he had to pick her up, along the road that day
And take her to a lonely stop, half a mile away

Lawmen spread out all around, knock on every door
Trackers cover miles of ground, like soldiers off to war
Parents pleading on TV, for anyone to tell
Where their little girl may be, and end this living hell

Updates on the Internet, posters everywhere
Sightings in another state, leads from here and there
Faith becomes insanity - hope becomes despair
A night becomes eternity - a curse becomes a prayer

Seven long months after, she disappeared that day
She turned up where he left her, a half a mile away
The wind becomes a mother's cry, a high and mournful howl
Echoing across the sky, the night begins to fall

CALIFORNIA JOE (Jack Crawford)

Well Folks, I Don't Like Stories; Nor Am I Going To Act
Nor Part Around The Campfire What Ain't A Truthful Fact.
Fill Up Your Pipes And Listen; I'll Tell You -- Let Me See
I Think It Was In '50; From Then Till '63.

You've All Heard Tell Of Bridger? I Used To Ride With Him.
And Many A Hard Day's Scoutin' I Did 'Longside Of Jim;
And Back Near Old Fort Reno, A Trapper Used To Dwell
We Called Him Mad Jack Reynolds; The Scouts All Knew Him Well.

In The Spring Of '50, We Camped On Powder River.
We Killed A Calf Of Buffalo And Cooked A Slice Of Liver.
While Eating, Quite Contented, We Heard Three Shots Or Four
Put Out The Fires And Listened; And We Heard A Dozen More.

We All Knew Old Jack Reynolds Had Moved The Traps Up There.
So Picking Up Our Rifles And Hitching Up Our Gear,
We Moved As Quick As Lightning; To Save Was Our Desire.
Too Late, The Painted Heathens Had Set The Camp On Fire.

We Turned Our Horses Quickly And Waded Down The Stream,
And Close Beside The Water I Heard A Muffled Scream,
And There Among The Bushes A Little Girl Did Lie
I Picked Her Up And Whispered, "I'll Save You Or I'll Die."

God, What A Ride -- Old Bridger Had Covered My Retreat.
Some Times The Child Would Whisper In A Voice So Low And Sweet,
"Dear Papa, God Will Take You To Mama Up Above.
There's No One Left To Love Me; There's No One Left To Love."


The Little Girl Was Thirteen; And I Was Twenty-Two.
Said I, "I'll Be Your Papa, And I'll Love You Just As True."
She Nestled To My Bosom, Her Hazel Eyes So Bright
Looked Up And Made Me Happy Through The Close Pursuit That Night.

One Year Had Passed When Maggie -- We Called Her Hazel Eyes
In Truth Was Going To Leave Me; Had Come To Say Goodbye.
Her Uncle, Mad Jack Reynolds, Long Since Reported Dead
Had Come To Claim My Angel, His Brother's Child, He Said.

What Could I Say? We Parted. Mad Jack Was Growing Old.
I Handed Him A Banknote And All I Had In Gold.
They Rode Away At Sunrise; I Went A Mile Or Two.
In Parting Said, "We'll Meet Again; May God Watch Over You."

While Resting By A Babbling Brook A Little Cabin Stood,
And Weary From The Long Day's Ride I Saw It In The Wood.
The Pleasant Valley Stretched Beyond The Mountains Towered Above
Like Some Painted Picture, Or A Well-Told Tale Of Love.

Drinking In The Sweetness And Resting In The Saddle,
I Heard A Gentle Rippling, Like The Dipping Of A Paddle,
And, Turning Toward The Water, A Strange Sight Met My View
A Pretty Girl Was Seated In A Little Birch Canoe.

She Stood Up In The Center, Her Rifle To Her Eye.
I Thought For Just A Moment My Time Had Come To Die,
So I Tipped My Hat And Told Her, If It Was All The Same,
To Drop Her Little Shooter, As I Was Not Her Game.


She Dropped Her Deadly Weapon And She Leaped From Her Canoe.
She Said, "I Beg Your Pardon; I Thought You Were A Sioux.
Your Long Hair And Your Buckskins Looked Warrior-Like And Rough.
My Bead Was Spoiled By Sunlight, Or I'd 'A Killed You Sure Enough."

"Well, Perhaps It Would Be Better Had You Killed Me Here" Said I.
"For Surely Such An Angel Could Bear Me To The Sky."
She Blushed And Dropped Her Eyelids; Her Face Was Crimson Red.
One Shy Glance She Gave Me And Then Hung Down Her Head.

Then Her Arm Flew 'Round Me. "I'll Save You Or I'll Die."
I Held Her To My Bosom, My Long-Lost Hazel Eyes.
The Rapture Of That Moment Was Heaven Unto Me.
I Kissed Her Then, Amid Her Tears, Her Merriment And Glee.

Her Heart 'Gainst Mine Was Beating When Sobbingly She Said,
"My Dear Long-Lost Preserver, They Told Me You Were Dead.
The Man Who Claimed Me From You, My Uncle, Good And True
Lies Ill In Yonder Cabin, And He Talks So Much Of You."

"'If Joe Were Living, Darling,' He Said To Me Last Night,
"'He'd Care For You, Dear Maggie, When God Puts Out My Light.'"
We Found The Old Man Sleeping; "Hush, Maggie -- Let Him Rest."
The Sun Was Slowly Sinking In The Far-Off Golden West.

Although We Spoke In Whispers, He Opened Up His Eyes.
"A Dream, A Dream," He Murmured, "Alas! A Dream Of Lies."
She Drifted Like A Shadow To Where The Old Man Lay
"You've Had A Dream, Dear Uncle, Another Dream Today."


"Oh Yes I Saw An Angel, As Pure As Drifted Snow,
And Standing Close Beside Her Was California Joe."
She Said, "I'm Not An Angel, Dear Uncle, This You Know;
"These Little Hands And This Face Were Never White As Snow."

"But Listen While I Tell You, For I Have News To Cheer
Your Hazel Eyes Is Happy, For Truly Joe Is Here."
Then, But A Few Days Later, The Old Man Said To Me,
"Joe, Boy, She Is An Angel, Or As Good As Angels Be."

"For Three Long Months She's Hunted, And, Joe, She's Nursed Me Too;
"And I Believe That She'll Be Safe Alone, My Boy, With You."
Then, But A Few Days Later, Maggie -- My Wife -- And I
Went Riding From That Valley With Teardrops In Our Eyes.

For There Beside The Cabin, Within A New-Made Grave,
We Laid Him 'Neath The Daisies, Her Uncle, Good And Brave.
Hereafter, Every Gentle Spring Will Surely Find Us There,
At His Graveside In The Valley. We'll Keep It Fresh And Fair.

Our Love Was Newly Kindled While Resting By The Stream,
And Two Hearts Were United In Love's Sweet Happy Dream,
And Now You've Heard My Story; And This You Ought To Know
That Hazel Eyes Is Happy With California Joe.

*Folk Potpourri- Part Three-Mark Spoelstra

Click On Title To Link To Rhapsody's Presentation Of "Mark Spoelstra At Club 47". For Those Unfamiliar With 1960's Folk Revival History Club 47 (Now Club Passim) Was The "Mecca" Of The Boston/Cambridge Folk Scene With The Likes Of Joan Baez, Bob Dylan, Tom Rush And The Artist Under Review Holding Forth There. Those Were The Days. Sorry, I Could Not Find A YouTube Link For Mark Spoelstra.

CD REVIEW

Five & Twenty Questions, Mark Spoelstra, Collectors’ Choice Music, 2006

Over the past year or so I have been reviewing many of the male folksingers who proliferated in the early 1960’s folk revival and who threw their hats in the ring to be “king of the hill” of the burgeoning folk scene (the women singers of the period are to be looked at separately later). Names such as Tom Rush, Tom Paxton, Jesse Colin Young and Jesse Winchester have already been reviewed. These are performers, for the most part, who still work the small concert and coffee house circuit but whose names are probably very unfamiliar to today’s musical audience, folk or otherwise. I approached my theme initially under the sign of this question; what qualities, personal and musical, make some singers succeed and others fall by the wayside?

We know that Bob Dylan, without a doubt, wanted to win that contest for supremacy and did so. I think that Dylan answered the why of that question himself in one of the snippets of interviews in the Martin Scorsese documentary of his early career, “No Direction Home”. There he noted, when asked why audiences gravitated to his songs, that while there was plenty of talent around most singers sang their message over the audience (I think that he meant in the literal performing sense, as well as intellectually) but that it was necessary to “speak” to the audience. To our sense of longing for identity, for some knowledge of life’s mystery, and for that some one who could express in our own tribal youth language the words that we needed to push on with. Well, Dylan certainly did that to a generation, my generation, that saw “the answer blowing in the wind” and desperately hoped that “the times were a-changin’’’.

The folk artist under review, Mark Spoestra is one of the male singers that I have not mentioned previously, although he was certainly in the mix of things in the early 1960’s. In fact, his “resurrection” here is due to my having seen his “talking head” commentary on that “No Direction Home” Scorsese production. I do not know the particulars of his later story but the work here on this CD is a case in point about the Dylan comment. (I note that after this review was written I found out that Mark Spoelstra had died in 2007.)

Certainly his lyrics are strong and are right in the Woody Guthrie (and later, Dylan himself) troubadour tradition of spreading the news of the day. “Five & Twenty Questions” and, more so, the tragic story outlined in “Ballad Of 12th Avenue”, about the desperation of a used up man in the bowels of modern American society that has left him with no resources but the gun to work out his problems, are in that mode. “On The Road Again” and “The Leaves” speak to the need to ramble and find oneself or to find love or find something that we hungered for then (and not just then either). That said, this album still leaves me with the feeling that old Mark was speaking to himself and for himself and not to me. That is the difference. A big difference. Still, if you have time listen in to someone who was struggling to find the meaning of his times and, at least on “Ballad Of 12th Street”, hit pay dirt.

He Was A Friend of Mine (Just A Hand To Hold)

Lyrics: Mark Spoelstra

Music: Mark Spoelstra

This was played by the Grateful Dead in their early days, from 1966 to 1970. It is normally in setlists as "He Was A Friend Of Mine" but it is in fact a portion of a Mark Spoelstra song "Just A Hand To Hold"

Chorus
He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone

This morning my best friend
Was sleeping in his bed
His face like a jewel
And he was dead

[chorus]

He liked to play games
Mark, push me on a swing
Mark, push me on a merry-go-round
Going round and round

[chorus]

deadsongs.vue.90 : He Was A Friend Of Mine
permalink #5 of 18: Alex Allan (alexallan) Sat 17 Sep 05 01:20

Thanks to a tip from Russ Lipetzky, I've discovered that the song we
know as "He Was A Friend Of Mine" is in fact "Just A Hand To Hold" by
Mark Spoelstra. Spoelstra recorded it on his 1965 LP "5 & 20 Questions"
and it was covered in the same year by Kathy and Carol (Kathy Larisch
and Carol McComb). I've got a copy of the latter - lyrics below. The
Grateful Dead sang just the first few verses. Mark Spoelstra used to
perform with Bob Dylan, Dave Van Ronk et al in New York in the early
1960s, which may explain the loose connection with the song "He Was A
Friend Of Mine" that they performed.

Just A Hand To Hold

Mark Spoelstra

He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone

This morning, my best friend
Lay still on his bed
His face like a jewel
And he was dead

He was, he was only six years old
He was, he was only six years old
So I've been told

He like to play games
Mark, push me on the swing
Mark, push me on the merry-go-round
Go round and round

Swing me, oh swing me, swing me all up and down
Spin me, oh spin me, spin me around and round
Till my feet touch the ground

He never was afraid
For he was was brave and bold
And the only thing he ever asked for
Was a hand to hold

It makes no difference where he's from or where's he's bound
And it makes no difference if he's lost or been found
He's dead and gone

But there is no power
Anywhere in this land
Like the voice used to say
Will you hold my hand

There is a voice that rings loud throughout this land
There is a voice that speaks for the black and tan
And for all of man

It's young and it's old
It's brave and it's bold
It can't be bought or sold
Just a hand to hold

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes- "The Basement Tapes"

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tears Of Rage"

CD Review

Strictly For Aficionados

The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975

Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Five

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Spanish Is The Loving Tongue"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Four

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "You Aint Going Nowhere"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Three

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tiny Montgomery"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume One

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Hills Of Mexico".

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes

Click On Title To Link To YouTube's Film Clip Of Bob Dylan(And The Band) Doing His "Sign Of The Cross".

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

SIGN ON THE CROSS

Words and Music by Bob Dylan
1971, 1973 Dwarf Music

Now, I try, oh for so awf'ly long
And I just try to be.
And now, oh it's a gold mine
But it's so fine.
Yes, but I know in my head
That we're all so misled,
And it's that ol' sign on the cross
That worries me.

Now, when I was just a bawlin' child,
I saw what I wanted to be,
And it's all for the sake
Of that picture I should see.
But I was lost on the moon
As I heard that front door slam,
And that old sign on the cross
Still worries me.

Well, it's that old sign on the cross,
Well, it's that old key to the kingdom,
Well, it's that old sign on the cross
Like you used to be.

But, when I hold my head so high
As I see my ol' friends go by,
And it's still that sign on the cross
That worries me.

Well, it seems to be the sign on the cross. Ev'ry day,
ev'ry night, see the sign on the cross just layin' up
on top of the hill. Yes, we thought it might have
disappeared long ago, but I'm here to tell you, friends,
that I'm afraid it's lyin' there still. Yes, just a
little time is all you need, you might say, but I don't
know 'bout that any more, because the bird is here and
you might want to enter it, but, of course, the door might
be closed. But I just would like to tell you one time,
if I don't see you again, that the thing is, that the sign
on the cross is the thing you might need the most.

Yes, the sign on the cross
Is just a sign on the cross.
Well, there is some on every chisel
And there is some in the championship, too.
Oh, when your, when your days are numbered
And your nights are long,
You might think you're weak
But I mean to say you're strong.
Yes you are, if that sign on the cross,
If it begins to worry you.
Well, that's all right because sing a song
And all your troubles will pass right on through.

QUINN, THE ESKIMO

Words and Music by Bob Dylan
1968,1976 Dwarf Music

Ev'rybody's building the big ships and the boats,
Some are building monuments,
Others, jotting down notes,
Ev'rybody's in despair,
Ev'ry girl and boy
But when Quinn the Eskimo gets here,
Ev'rybody's gonna jump for joy.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

I like to do just like the rest, I like my sugar sweet,
But guarding fumes and making haste,
It ain't my cup of meat.
Ev'rybody's 'neath the trees,
Feeding pigeons on a limb
But when Quinn the Eskimo gets here,
All the pigeons gonna run to him.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

A cat's meow and a cow's moo, I can recite 'em all,
Just tell me where it hurts yuh, honey,
And I'll tell you who to call.
Nobody can get no sleep,
There's someone on ev'ryone's toes
But when Quinn the Eskimo gets here,
Ev'rybody's gonna wanna doze.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

GOIN' TO ACAPULCO

Words and Music by Bob Dylan
1975 Dwarf Music

I'm going down to Rose Marie's
She never does me wrong.
She puts it to me plain as day
And gives it to me for a song.

It's a wicked life but what the hell
The stars ain't falling down.
I'm standing outside the Taj Mahal
I don't see no one around.

Goin' to Acapulco
Goin' on the run.
Goin' down to see fat gut
Goin' to have some fun.
Yeah
Goin' to have some fun.

Now, whenever I get up
And I ain't got what I see
I just make it down to Rose Marie's
'Bout a quarter after three.

There are worse ways of getting there
And I ain't complainin' none.
If the clouds don't drop and the train don't stop
I'm bound to meet the sun.

Goin' to Acapulco
Goin' on the run.
Goin' down to see some girl
Goin' to have some fun.
Yeah
Goin' to have some fun.

Now, if someone offers me a joke
I just say no thanks.
I try to tell it like it is
And keep away from pranks.

Well, sometime you know when the well breaks down
I just go pump on it some.
Rose Marie, she likes to go to big places
And just set there waitin' for me to come.

Goin' to Acapulco
Goin' on the run.
Goin' down to see some girl
Goin' to have some fun.
Yeah
Goin' to have some fun.

Strictly For Aficionados

The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975

Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.


TEARS OF RAGE

Words by Bob Dylan and Music by Richard Manuel
1968,1970 Dwarf Music

We carried you in our arms
On Independence Day,
And now you'd throw us all aside
And put us on our way.
Oh what dear daughter 'neath the sun
Would treat a father so,
To wait upon him hand and foot
And always tell him, "No"?
Tears of rage, tears of grief,
Why must I always be the thief?
Come to me now, you know
We're so alone
And life is brief.

We pointed out the way to go
And scratched your name in sand,
Though you just thought it was nothing more
Than a place for you to stand.
Now, I want you to know that while we watched,
You discover there was no one true.
Most ev'rybody really thought
It was a childish thing to do.
Tears of rage, tears of grief,
Must I always be the thief?
Come to me now, you know
We're so low
And life is brief.

It was all very painless
When you went out to receive
All that false instruction
Which we never could believe.
And now the heart is filled with gold
As if it was a purse.
But, oh, what kind of love is this
Which goes from bad to worse?
Tears of rage, tears of grief,
Must I always be the thief?
Come to me now, you know
We're so low
And life is brief.

YOU AIN'T GOIN' NOWHERE

Words and Music by Bob Dylan
1967,1972 Dwarf Music

Clouds so swift
Rain won't lift
Gate won't close
Railings froze
Get your mind off wintertime
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

I don't care
How many letters they sent
Morning came and morning went
Pick up your money
And pack up your tent
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

Buy me a flute
And a gun that shoots
Tailgates and substitutes
Strap yourself
To the tree with roots
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!


Genghis Khan
He could not keep
All his kings
Supplied with sleep
We'll climb that hill no matter how steep
When we get up to it
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

Guest Commentary

I have mentioned in my review of Martin Scorsese's "No Direction Home; The Legacy Of Bob Dylan" (see archives) that Dylan's protest/social commentary driven lyrics dovetailed with my, and others of my generation's, struggle to make sense of a world at war (cold or otherwise)and filled with injustices and constricting values. Here are the lyrics of three songs-"Blowin' In The Wind", "The Times They Are A-Changin'" and "Like A Rolling Stone" that can serve as examples of why we responded to his messages the way we did. Kudos Bob.


The Times They Are A-Changin'

Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.

Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.

Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.

Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.

The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.

Copyright ©1963; renewed 1991 Special Rider Music

Blowin' In The Wind

How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many years can a mountain exist
Before it's washed to the sea?
Yes, 'n' how many years can some people exist
Before they're allowed to be free?
Yes, 'n' how many times can a man turn his head,
Pretending he just doesn't see?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many times must a man look up
Before he can see the sky?
Yes, 'n' how many ears must one man have
Before he can hear people cry?
Yes, 'n' how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

Copyright ©1962; renewed 1990 Special Rider Music


Like A Rolling Stone

Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you?
People'd call, say, "Beware doll, you're bound to fall"
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.

How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?

You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

You never turned around to see the frowns on the jugglers and the clowns
When they all come down and did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Princess on the steeple and all the pretty people
They're drinkin', thinkin' that they got it made
Exchanging all kinds of precious gifts and things
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Copyright ©1965; renewed 1993 Special Rider Music