Happy Birthday Townes In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again-Van Morrison’s “Back On Top”

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.

CD Review

Back On Top, Van Morrison, Exile Productions, 1999

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Back on Top, and another “outlaw” country music man, the "Belfast Cowboy," Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy. But he ain't no one-trick pony, no way. This guy is a musical songbook of the late 20th century.

If you do not believe me then just listen to him ante up on Goin’ Down Geneva, a classic bluesy number; the thoughtful The Philosophers Stone; the pathos of High Summer; the title song Back On Top; and, something out of time, something out of a place that few musicians, hell, few people, go Golden Autumn Day. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves.

Happy Birthday Townes-In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony-The Belfast Cowboy Rides Again- Van Morrison’s "How Long Has This Been Going On"

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, How Long Has This Been Going On.

CD Review

How Long Has This Been Going On, Van Morrison, with Georgie Fame and the Flames, Exile Productions, 1995

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way.

If you do not believe me then just listen to him ante up on Early In The Morning , a classic bluesy number; the thoughtful Gershwin tuneHow Long Has This Been Going On ; the pathos of That’s Life;and, Blues In The Night; and, something out of lost time,Early In The Morning. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And kudos to Brother Fame, who rode that same train, as well.

Happy Birthday Townes-In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Keep It Simple”

Click on the headline to link to a YouTube film clip of Van Morrison performing Behind The Ritual.

CD Review

Keep It Simple, Van Morrison, Exile Records, 2008

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Keep It Simple, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony.No way, no how. Too many hard life lessons "learned."

If you do not believe me then just listen to him ante up on School of Hard Knocks, a classic bluesy number; the thoughtful Song Of Home; the pathos of No Thing; the title song reflecting back from back in youthful rock times, Keep It Simple; and, something out of time, Behind The Ritual. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Van Morrison, barrelhouse blues, folk rock, outlaw country music, Townes Van Zandt, be-bop night, rock and roll,

Happy Birthday Townes- In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony-The Belfast Cowboy Rides Again Van Morrison’s “The Best Of Van Morrison, Volume Three”

Click on the headline to link to a YouTube film clip of Van Morrison performing Tupelo Honey. A greatest hit, indeed.

CD Review

The Best Of Van Morrison: Volume Three, two CD set, Van Morrison, various artist, Exile Productions, 2007

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how.

If you do not believe me then just listen to him ante up on Gloria , a classic bluesy number with legendary bluesman John Lee Hooker; the thoughtful Centerpiece Stone with Georgie Fame and the Flames;the pathos of That’s Life;The Healing Game; and, something out of time, out of youthful rock timeTupelo Honey with bluesman Bobby Bland. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And as loners, not with legendary company. But fine, fine indeed.

Happy Birthday Townes -In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Brown Eyed Handsome Man”

Click on the headline to link to a YouTube film clip of Van Morrison performing In The Back Room.

CD Review

Brown Eyed Handsome Man , Van Morrison, Bono Records, 2000

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how not with that deep musical background.

If you do not believe me then just listen to him ante up on He Ain’t Give You None, a classic bluesy number; the thoughtful Beside You; the pathos of Send Your Mind; the title song from back in youthful rock timesBrown Eyed Handsome Man; and, something out of time,The Back Room. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Happy Birthday Townes- In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Down The Road”

Click on the headline to link to a YouTube film clip of Van Morrison performing The Beauty Of Days Gone By.

CD Review

Down The Road, Van Morrison, Exile Records, 2002

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Down The Road, and another “outlaw” country music man, the Belfast Cowboy, Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony. No way, no how, just too many lessons "learned."

If you do not believe me then just listen to him ante up on Steal My Heart Away, a classic bluesy number; the thoughtful The Beauty Of Days Gone By; the pathos of Chopping Wood; the title song reflecting back on youthful rock timesDown The Road; and, something out of time,Fast Train. The Belfast cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

The Summer Of Love, 1967 -Everybody Knows This Is Nowhere- Neil Young

DVD REVIEW

Everybody Knows This Is Nowhere, Neil Young With Crazy Horse, Reprise Records, 1970


I have mentioned elsewhere in this space that, on any given night in the 1960’s, Jim Morrison and the Doors were pound for pound the best rock and roll band in the world. I would stand by that remark as a general proposition but only add that for quality over the long haul the Rolling Stones would edge the Doors out. However, somewhere, somehow into this mix one must place Neil Young’s work with Crazy Horse in the early 1970’s. Young himself has gone through many transformations including grunge bandleader and lately sort of a soulful folk-rock elder statesman. But back in the day he could rock with the best of them-first with Buffalo Springfield and then the various combinations with Crosby, Stills and Nash.

So what makes Everybody Knows This Is Nowhere special? Easy. Young on lead vocals and guitar and the band play the kind of acid-inspired rock that has withstood the test of time. That is not true for most of the work of that era. Some Jefferson
Airplane, some The Who yes but most of it is rather grating on the ear these days. And the aging of this reviewer is only one of the factors for that belief. Neil and the guys knew how to work the riffs as they related to any particular song. Take, for example, Down By The River, it is simply powerful without being overdone. Or the title song mentioned above, for that matter.

I think that Young, as experienced musician by that point in his career, had something in the back of his mind about doing music for the long haul. The quality of this album reflects that decision. Look, electricity will take virtually anything that an instrument has to offer. The history of rock and roll proves that. If you want to get a slice of what the best use of that electricity was like when men and women played rock and roll for keeps listen here.

* Another Peep At The British Side Of Contemporary Folk /Rock- Richard Thompson’s “You? Me? Us?-“Voltage Enhanced”/”Nude”

Click on title to link to YouTube's film clip of Richard Thompson performing "Put It There Pal".

CD Review

You? Me? Us?-Voltage Enhanced/Nude, 2 CD set, including lyrics booklet, Richard Thompson, Capitol Records, 1996

This review has also been used to review another Richard Thompson CD.

Recently in this space I went through a chronology of how I happened to come across certain musical selections to review. In that case it was tracing the roots of country blues through well-known old time country bluesman Charley Patton via Bob Dylan tribute, “High Water Everywhere” on his latest “Bootleg” volume. Here, the route to reviewing folk/rock lyricist and singer Richard Thompson, known back in the day as part of the well-thought of British folk group Fairport Convention, is a cover of his classic working class love song, “1952 Vincent Black Lightning’ covered, and covered very well, by American folksinger Greg Brown. But that is where the comparisons end. In the case of Dylan’s tribute I was able to review Patton’s early work very favorably. Here I am, frankly, stymied.

I was not particularly a fan of Fairport Convention back in the days, although anytime I heard them then (or now, when played on a local oldies folk radio program) I was always impressed by their harmonics. When I asked others about Richard Thompson as a solo artist I thought I was confronting the Second Coming with the profuseness of the praise for his work. And that is where the problem is. His lyrics, as “1952 Vincent” shows, are incredibly well thought out and richly evocative. (How about that combination, right?) However, his presentation, mainly the result of over-production, leaves me flat. So, I guess, and it will not be the first time this has happened, Google for Thompson’s lyrics and find out who covers his material. Here I will say that these songs really stick out- From “Voltage”- “She Steers By Lightning” and “Am I Wasting My Love On You?” From “ Nude”- “Burns Supper” and “Woods Of Darney”

Am I Wasting My Love On You? lyrics

Oh I can't get started, and I'm broken hearted
You smile so sweet but you're fast on your feet
Do you want me to catch you, or just get near?
Should I chase you forever? I think I got the idea

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

Oh I went to a party, you were standing there
You looked so retiring with that fruit in your hair
I said "What gives?" and you said "I do"
And that was the last sense I ever got from you

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

Well I'm wasting my love, wasting my love, wasting my love on you
Wasting my love, wasting my love, wasting my love on you

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

I went to your house, and I drank your tea
We were getting very cosy on Greek philosophy
You chewed on my ear and when I begged for more
You went off to bed, barricaded the door

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do
Than wasting my love, wasting my love, wasting my love on you
Am I wasting my love, wasting my love, wasting my love on you
I'm wasting my love, wasting my love, wasting my love on you
Am I wasting my love, wasting my love, wasting my love on you

*A Peep At The British Side Of Contemporary Folk /Rock- Richard Thompson’s “Sweet Warrior”

Click on title to link to YouTube's film clip of Richard Thompson performing "Daddy's Going To Kill Me".

CD Review

Sweet Warrior, including lyrics booklet, Richard Thompson, Shout Factory, 2007

Recently in this space I went through a chronology of how I happened to come across certain musical selections to review. In that case it was tracing the roots of country blues through well-known old time country bluesman Charley Patton via Bob Dylan tribute, “High Water Everywhere” on his latest “Bootleg” volume. Here, the route to reviewing folk/rock lyricist and singer Richard Thompson, known back in the day as part of the well-thought of British folk group Fairport Convention, is a cover of his classic working class love song, “1952 Vincent Black Lightning’ covered, and covered very well, by American folksinger Greg Brown. But that is where the comparisons end. In the case of Dylan’s tribute I was able to review Patton’s early work very favorably. Here I am, frankly, stymied.

I was not particularly a fan of Fairport Convention back in the days, although anytime I heard them then (or now, when played on a local oldies folk radio program) I was always impressed by their harmonics. When I asked others about Richard Thompson as a solo artist I thought I was confronting the Second Coming with the profuseness of the praise for his work. And that is where the problem is. His lyrics, as “1952 Vincent” shows, are incredibly well thought out and richly evocative. (How about that combination, right?) However, his presentation, mainly the result of over-production, leaves me flat. So, I guess, and it will not be the first time this has happened, Google for Thompson’s lyrics and find out who covers his material. Here I will say that three songs really stick out- “Needle And Thread”, “She Sang Angels To Rest”, and “Sunset Song”.

Lyrics to Needle And Thread :
(Richard Thompson)

I see young girls with old faces
I see good girls in bad places
I see plain girls in finery
And every one be the death of me

Needle and Thread, Needle and Thread
Hand me down my Needle and Thread
Hey Hey Hey
Hey Hey Hey
Going to thread up my needle and then
Gonna sew my soul back together again

Now pretty Caitlin she went too far
Shaking all she had at the topless bar
Right in the face of Ben and Bob
Put a little too much into the job

Now sweet Myfanwe she took a shine
Dumped me for Dai worked down the mine
I was a temp, Dai was a keeper
He knew how to dig that little bit deeper

Now Bonnie Jean meant everything
But she threw back my hard-earned ring
Said she had other men who dig her
She was holding out for something bigger


Lyrics to Johnny's Far Away :
(Richard Thompson)

Johnny's joined a ceilidh band,
They're known quite well throughout the land, The Drones
The Drones are signed up on a cruise
While Tracey's laying in the booze back home
She's got herself another man, a smoothie
While the kids are in the front room watching movies
She's got him in a head lock, in an arm lock, in a jam
She says, I can't express myself with my old man

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea

Johnny's cruising out to sea
And he believes in chastity - for some
The wealthy widows bill and coo
He fends off one or two, and then succumbs
As they're turning hard-a-port in the Bahamas
He's turning her right out of her pyjamas
He's turned her every which way to the rhythm of the sea
He says, I can't express myself with my old lady

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea

Johnny's home, he opens up his door
While someone's sneaking out the back
And Tracey says, you look so poorly
Sores and all, you need to see the quack
She wipes the snot from off the kiddies' noses
He charms her with eleven battered roses
And by and by they get down to the job of man and wife
Back to the old comforts of the missionary life

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea


Lyrics to Sunset Song :
(Richard Thompson)

With you or without you, love,
I must be moving
Never meant to linger here so long
With you or without you,
Though it breaks my heart
To hear the Sunset Song

Wasn't that a time we had,
And bless you for it
But I'm a stranger here, I don't belong
The band's down on the jetty,
If you cup your ear
You'll hear the Sunset Song

You said, if I hold my breath
Dive down deep enough
I might grow fins
Seems to me I've held my breath
Held my breath to please you
Ever since

Early morning, that's the time
For fare-thee-wells
Slip out of the warm sheets and gone
But I want to hear it as I walk along
Hear the Sunset Song

In your waking, in your dreams,
I won't be martyred
On that cross where some say
I belong
Opinions are coffins, I'll just trust my feet
To find the Sunset Song

Every day I'll wear your memory
Like a favourite shirt upon my back
In the hallway, there's my suitcase
By the door, I never did unpack

With you or without you, love,
I must be moving
Never meant to linger here so long
With you or without you,
Though it breaks my heart
To hear the Sunset Song

*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.

In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Pay The Devil”

Click on the headline to link to a YouTube film clip of Van Morrison performing his pre-Belfast Cowboy Into The Mystic.

CD Review

Pay The Devil, Van Morrison, Exile Productions, 2006

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy.

If you do not believe me then just listen to him ante up on There Stands The Glass, a classic honky-tonk midnight sorrows tune; the Williams’ classic Your Cheatin’ Heart; the pathos of Back Street Affair; the title song Pay The Devil; and, something out of about 1952, and the number one example of his cowboyishness (whee!),Till I Gain Control Again. The Belfast cowboy, indeed, although I always thought that was in the North.

*The Bob Dylan Bootleg Legacy- The Royal Albert Hall Concert of 1966- You Do Need The Band To Play The Last Waltz- The Band's LeVon Healms Passes At 71

Click On Title To Link To A YouTube Film Clip Of Bob Dylan And The Band Performing Like A Rolling Stone.

CD REVIEW

Bob Dylan Live 1966: The Bootleg series, Volume 4, “The Royal Albert Hall” Concert, Bob Dylan and The Band, Columbia Records, 1966.

Of all the bootleg, genuine basement tapes, fake basement tapes, etc. that have come out of over the years detailing the career of the premier folk troubadour of his times, Bob Dylan, this volume that contains the bulk of the famous (or infamous, if you are one of those old folk traditionalists who never moved on) English "Royal Albert Hall" Concert of 1966 may be historically the most valuable. Certainly after Martin Scorsese used the concert as a central backdrop to his Dylan documentary "No Direction Home" the argument for its importance in the folk pantheon has been enhanced. The CD issued many years ago prior to Scorsese's effort only confirms that judgment.

Here, in a quick summary, is what the hullabaloo was all about. Many early 1960's folkies were looking for a new "king of the hill" to continue the tradition established by the likes of Woody Guthrie (an early Dylan hero, by the way) and Pete Seeger. Certainly off the first few years of Dylan's rise it looked to one and all, including this reviewer, that Dylan would fill the bill. Then, he switched gears and started to write more starkly personal songs (rather than quasi-political songs like "Blowing In The Wind") and, oh lord here it comes, to use the electric guitar as backup. And worst of all, an electric backup band (the now immortal The Band). You know, with drums and all. "Albert Hall" was one of the first major venues where he presented both concepts, acoustic and electric. The British traditionalists (or at least some of them) were not pleased. But as I have noted elsewhere in earlier reviews of Dylan's work everyone else should be glad, glad as hell, that he made that move.

Needless to say this concert is divided into an acoustic section where he plays some great numbers like "Visions Of Johanna", "Mr. Tambourine Man" and the like. His highlight here is "Desolation Row" an incredible almost surreal use of words and phrases that read more like a poem than a mere song. If I had not been a Dylan fan before this song then the first time I hear "They are selling postcards of the hanging. They are painting the passports brown. The beauty parlor is filled with sailors. The circus is in town" would have caught my attention for life right then and there.

The second, more controversial electric part includes the 1960's semi-national anthem for the counter cultural generation "Like A Rolling Stone" and a good literary companion piece to "Desolation Row" the very fine "Just Like Tom Thumb's Blues.” Finally, as an extra bonus if you want to hear Dylan without the slurs that make understanding some of the lyrics in other albums hard this is one for you.

LIKE A ROLLING STONE

Words and Music by Bob Dylan
1965 Warner Bros. Inc
Renewed 1993 Special Rider Music

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?

DESOLATION ROW

Words and Music by Bob Dylan
1965 Warner Bros. Inc
Renewed 1993 Special Rider Music

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
Now 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
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"

Now 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
And 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 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
Don't send me no more letters no
Not unless you mail them
From Desolation Row

JUST LIKE TOM THUMB'S BLUES

Words and Music by Bob Dylan
1965 Warner Bros. Inc
Renewed 1993 Special Rider Music

When you're lost in the rain in Juarez
And it's Eastertime too
And your gravity fails
And negativity don't pull you through
Don't put on any airs
When you're down on Rue Morgue Avenue
They got some hungry women there
And they really make a mess outa you

Now if you see Saint Annie
Please tell her thanks a lot
I cannot move
My fingers are all in a knot
I don't have the strength
To get up and take another shot
And my best friend, my doctor
Won't even say what it is I've got

Sweet Melinda
The peasants call her the goddess of gloom
She speaks good English
And she invites you up into her room
And you're so kind
And careful not to go to her too soon
And she takes your voice
And leaves you howling at the moon

Up on Housing Project Hill
It's either fortune or fame
You must pick up one or the other
Though neither of them are to be what they claim
If you're lookin' to get silly
You better go back to from where you came
Because the cops don't need you
And man they expect the same

Now all the authorities
They just stand around and boast
How they blackmailed the sergeant-at-arms
Into leaving his post
And picking up Angel who
Just arrived here from the coast
Who looked so fine at first
But left looking just like a ghost

I started out on burgundy
But soon hit the harder stuff
Everybody said they'd stand behind me
When the game got rough
But the joke was on me
There was nobody even there to call my bluff
I'm going back to New York City
I do believe I've had enough


BALLAD OF A THIN MAN

Words and Music by Bob Dylan
1965 Warner Bros. Inc
Renewed 1993 Special Rider Music

You walk into the room
With your pencil in your hand
You see somebody naked
And you say, "Who is that man?"
You try so hard
But you don't understand
Just what you'll say
When you get home

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

You raise up your head
And you ask, "Is this where it is?"
And somebody points to you and says
"It's his"
And you say, "What's mine?"
And somebody else says, "Where what is?"
And you say, "Oh my God
Am I here all alone?"

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

You hand in your ticket
And you go watch the geek
Who immediately walks up to you
When he hears you speak
And says, "How does it feel
To be such a freak?"
And you say, "Impossible"
As he hands you a bone

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

You have many contacts
Among the lumberjacks
To get you facts
When someone attacks your imagination
But nobody has any respect
Anyway they already expect you
To just give a check
To tax-deductible charity organizations

You've been with the professors
And they've all liked your looks
With great lawyers you have
Discussed lepers and crooks
You've been through all of
F. Scott Fitzgerald's books
You're very well read
It's well known

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

Well, the sword swallower, he comes up to you
And then he kneels
He crosses himself
And then he clicks his high heels
And without further notice
He asks you how it feels
And he says, "Here is your throat back
Thanks for the loan"

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

Now you see this one-eyed midget
Shouting the word "NOW"
And you say, "For what reason?"
And he says, "How?"
And you say, "What does this mean?"
And he screams back, "You're a cow
Give me some milk
Or else go home"

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

Well, you walk into the room
Like a camel and then you frown
You put your eyes in your pocket
And your nose on the ground
There ought to be a law
Against you comin' around
You should be made
To wear earphones

Because something is happening here
But you don't know what it is
Do you, Mister Jones?

**Songs To While Away The Class Struggle By- Country Joe And The Fish-"I-Feel-Like I 'm- Fixin'-To-Die"

Click on the title to link a YouTube film clip of Country Joe and The Fish performing the I-Feel-Like-I'm-Fixin'-To-Die Rag.

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, although hard communist musicians have historically been scarce on the ground. 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.


The Fish Cheer & I-Feel-Like-I'm-Fixin'-To-Die Rag

Gimme an F!

F!
Gimme an I!

I!
Gimme an S!

S!
Gimme an H!

H!
What's that spell ?

FISH!
What's that spell ?

FISH!
What's that spell ?

FISH!
Yeah, come on all of you, big strong men,
Uncle Sam needs your help again.
He's got himself in a terrible jam
Way down yonder in Vietnam
So put down your books and pick up a gun,
We're gonna have a whole lotta fun.

And it's one, two, three,
What are we fighting for ?
Don't ask me, I don't give a damn,
Next stop is Vietnam;
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why,
Whoopee! we're all gonna die.

Well, come on generals, let's move fast;
Your big chance has come at last.
Gotta go out and get those reds —
The only good commie is the one who's dead
And you know that peace can only be won
When we've blown 'em all to kingdom come.

And it's one, two, three,
What are we fighting for ?
Don't ask me, I don't give a damn,
Next stop is Vietnam;
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why
Whoopee! we're all gonna die.

Huh!

Well, come on Wall Street, don't move slow,
Why man, this is war au-go-go.
There's plenty good money to be made
By supplying the Army with the tools of the trade,
Just hope and pray that if they drop the bomb,
They drop it on the Viet Cong.

And it's one, two, three,
What are we fighting for ?
Don't ask me, I don't give a damn,
Next stop is Vietnam.
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why
Whoopee! we're all gonna die.

Well, come on mothers throughout the land,
Pack your boys off to Vietnam.
Come on fathers, don't hesitate,
Send 'em off before it's too late.
Be the first one on your block
To have your boy come home in a box.

And it's one, two, three
What are we fighting for ?
Don't ask me, I don't give a damn,
Next stop is Vietnam.
And it's five, six, seven,
Open up the pearly gates,
Well there ain't no time to wonder why,
Whoopee! we're all gonna die.

*When Time Fails You - The Music Of Chris Smither- “Time Stands Still”

Click on title to link to YouTube's film clip of Chris Smither performing a cover of Bob Dylan's classic "Desolation Row".

CD Review

Time Stands Still, Chris Smither, Signature Sounds, 2009

The name Chris Smither, or rather the musical artist formerly known as Chris Smithers as I now stand corrected from previous reviews (the details of which do not need to be delved into here), is a familiar one to readers of my reviews in this space. I have, usually, heartily thrown many kudos Brother Smither’s way starting from his first ‘wild boy’ days of “Love You Like A Man” as the new sheriff on the block in folkdom and on through his various incarnations and mood swings. Throughout I have always admired his sense of time and his way with a lyric. But something is out of joint with the times here. With the exception of his cover of Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry” I think he mailed this one in. More than that my companion who LOVES everything that Chris has previously done is of the same opinion. That is not good for she knows the Chris catalogue backward and forward.

Reasons? Well, for starters with the exception of his ode to his late father, “Old Man Down”, the lyrics seem like more of the same melancholy, morose, although poignant words that we have gotten used to over the past several albums. Even his novelty song “Surprise, Surprise” seemed trite on a second hearing. Nothing jumps out like that old ode to “Lola” from a couple of albums back. Or the indignity, in verse, of his auto getting stolen from that same album. Time has stood still. Moreover his singing and playing is off. The punch of a song like Blind Willie McTell’s “Statesboro Blues “ or “Killin’ The Blues” that is kind of a benchmark for that foot-driven beat that is Chris's trademark (along with the old blue guitar) is just not there. Has Chris turned into that old geezer that he, and I, have dreaded all our lives?

To end on a positive note though. Chris, over the last few albums, has done covers of Bob Dylan songs (stemming, I think, from, a workshop that he presented several years ago at the Boston Folk Festival). He has previously covered “Desolation Row (short version)” and “Visions Of Johanna” to great effect. Here he does even better on the above-mentioned “It Takes A Lot To Laugh, It Takes At Train To Cry” because his raspy voice fits the slower, and, I think, more appropriate tempo that the song deserves. Dylan played it too fast to catch the pathos of the imaginary. For those who have heard the Dylan Bootleg Volume Three version which is even faster that point is really driven home here. Kudos on that one, Chris.


It Takes A Lot To Laugh, It Takes A Train To Cry

Well, I ride on a mailtrain, baby,
Can't buy a thrill.
Well, I've been up all night, baby,
Leanin' on the window sill.Well, if I dieOn top of the hillAnd if I don't make it,
You know my baby will.
Don't the moon look good, mama,
Shinin' through the trees?
Don't the brakeman look good, mama,
Flagging down the "Double E"?
Don't the sun look good
Goin' down over the sea?Don't my gal look fine
When she's comin' after me?
Now the wintertime is coming,
The windows are filled with frost.
I went to tell everybody,But I could not get across.
Well, I wanna be your lover, baby,
I don't wanna be your boss.
Don't say I never warned you
When your train gets lost.

Copyright ©1965; renewed 1993 Special Rider Music

***Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Richie Haven

Click on to title to link to YouTubes' film clip of Richie Havens performing Bob Dylan's "Just Like A Woman"

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 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”

Richie Havens on “Just Like A Woman”. I have mentioned earlier that good Pete Seeger covers are hard to find. That is definitely not the case with Brother Dylan. While he has placed his signature on many of his songs there have been so many that other singers had a chance to make their mark covering his work. That is the case here. Haven’s version of this song is the definite one for timing, sense of the song, phrasing, hell, everything. He is also one of the few, Taj Mahal being another, black folk artists who came out of that 1960s folk revival. Strange in a way, because without the ‘discovery’ of old black 1920s country blues singers, like Son House, Skip James and John Hurt, and other black sources of the revival it would have lost quite a lot of it authentic flavor.

Just Like A Woman

Nobody feels any pain
Tonight as I stand inside the rain
Ev'rybody knows
That Baby's got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls.
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl.

Queen Mary, she's my friend
Yes, I believe I'll go see her again
Nobody has to guess
That Baby can't be blessed
Till she sees finally that she's like all the rest
With her fog, her amphetamine and her pearls.
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl.

It was raining from the first
And I was dying there of thirst
So I came in here
And your long-time curse hurts
But what's worse
Is this pain in here
I can't stay in here
Ain't it clear that--

I just can't fit
Yes, I believe it's time for us to quit
When we meet again
Introduced as friends
Please don't let on that you knew me when
I was hungry and it was your world.
Ah, you fake just like a woman, yes, you do
You make love just like a woman, yes, you do
Then you ache just like a woman
But you break just like a little girl.

Copyright ©1966; renewed 1994 Dwarf Music

*Once More Into The Time Capsule, Part Two- The New York Folk Revival Scene in the Early 1960’s-Jesse Colin Young

Click on title to link to YouTube's film clip of a 'mature' Jesse Colin Young performing "Four In The Morning". Ah, to be young was very heaven. Old age, the hell with that.

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 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”.

Jesse Colin Young on “Four In The Morning”. There is a certain irony to this song today. We were up then, getting ready, maybe, to go to bed after a hard night of this or than. Now we may get up at four to face the day after a sleepless night (or maybe after a restful one but the alarm clock in our heads has shifted and we are awake). This song is pure young Jesse and evokes the sound of that rain, young sorrow (meaning some tiff with a boyfriend or girlfriend), maybe as here some rage, that rain , some more sorrow, some yearning, some longing, more rain, stale cigarette butts, some kind of dope or booze (Do you think we really stayed up without some help? Please), a leaking roof or some other "landlord it needs fixing" thing. Get a sense of it? It was the sound of that rain that held it all together.

Four In The Morning
Youngbloods

Fm Db Ab Eb Bb Fm Bb Fm
Fou r in the morning and the water is pouring down
Db Ab Eb Bb Fm Bb Fm
Stove don't work and my baby has just just left town
Db Ab Eb Bb Fm Bb Fm
I'm lying on my back cause there just ain't nothing to drink n o
Db Ab
Empty bottles on the floor
Eb Bb Fm Bb Fm
Dirty dishes in in the sink
Db Ab Eb Bb Fm Bb Fm
Watching a cockroach crawling in an old bean can yes I am
Db Ab Eb Bb Fm
He said when your baby left you I bet it's tough to be a man
Bb Fm Bb Fm
Tough to be a man baby tough to be a man

solo

Db Ab Eb Bb Fm Bb Fm
Saw her again and she took back off she said y es she said
Db Ab Eb Bb Fm Bb Fm
It dont make no difference now Cause I shot her dead she's dead

Db Ab Eb Bb Fm Bb Fm
She met Joe with her legs and knees all bandag ed up yea
Db Ab
Came asking for some money
Eb Bb Fm Bb Fm Bb Fm
And all I had was a buck y ea that's all I h ad

Db Ab Eb Bb Fm Bb Fm
Four in the morning and the water is pouring down
Bb Fm Bb Fm
Four in the morning four in the morning four in the morning

*"I’d Rather Be The Devil That Be A Woman To That Man"- The Blues Of Rory Block

CD REVIEW

Gone Woman Blues: The Country Blues Collection, Rory Block, Rounder Records, 1997

I owe Rory Block one. Here is why. During the recently completed misbegotten American presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ songs, “I’d Rather Be A Devil That To Be That Woman’s Man”, for some political blogs that I wrote in regard to the Hillary Clinton Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially women candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s change up rendition of the James’ classic which forms the headline to this entry. Thanks, Rory.

But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.

But, enough homage. You get the drift. So what is good here? Of course the above-mentioned tune (named “Devil Got My Man” here). Thanks, again Rory. A couple of nice covers of the legendary Robert Johnson’s “Terraplane Blues’ and “Hellhound On My Trail”. I have mentioned in reviewing Johnson's work that his vocals are reedy and thin. Here Rory gives full-bodied treatment to the songs. Of course one must pay respects, as well, to her own CD title track "Gone Woman Blues”.

A couple of other Skip James tunes also deserve mention, “Be Ready When He Comes” (remember Skip turned to preaching after his very short first blues career) and “Cypress Grove”. Ms. Block also does a very sexy version of Hattie Hart’s double entendre “I Let My Daddy Do That”. Here is the kicker though. Bessie Smith made “Do Your Duty” rattle the house back in the day. I like Rory’s cover better. That, my friends, is high praise indeed as I was practically spoon-fed on Bessie back in my youth.

Skip James
Devil Got My Woman lyrics

You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man

You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo

You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west

You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again

You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier

You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind

You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.

Skip James
Cherry Ball Blues lyrics

I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else

Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday

Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine

She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause

Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise

Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me

She got to come on back home to me-ee-ee.

I Let My Daddy Do That lyrics
I've got a long black hair
I'll say very tall
I'm just about set to have my ashes hauled

I Let My Daddy Do That,
I Let My Daddy Do That

I Let My Daddy Do That,
Cause it satisfies my worried mind

I got a range in my kitchen
got a straightened door
when it get to hot,
I want my oven to cool
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

You can drink my liquor
wear my clothes
when it comes to time
to pay my dow
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

You can milk my cow
use the cream
when it comes to lovin that's just a dream
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

"Oh Janet you're on bar-b-que..."


You can crank my car
shift my gears
But when any easy ridin's gonna go on here
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind


Have Mercy, Rory

Angel Of Mercy, Rory Block, Rounder Records, 1994

I recently, in reviewing Rory Block’s fine “Gone Woman’s Blues CD, noted that I owed her one. Here is why. During the recently completed misbegotten presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ “I’d Rather Be A Devil That To Be That Woman’s Man” for some political blogs that I wrote in regard to the Hillary Clinton’s Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially woman candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s rendition of the James’ classic and which forms the headline to this entry. Thanks, Rory.

But thanks and kudos can only go so far. The present CD, “Angel Of Mercy”, leaves me cold. Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.

Pure Rory

CD Review

“I’ve Got A Rock In My Sock”, Rory Block, Rounder Records, 1989

Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” I’ve Got A Rock In My Sock”, Charley Patton’s “Moon’s Goin’ Down” and the Willie Brown classic “M&O Blues”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Love and Whiskey” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. And “Send The Man Back Home” is well; just good advise under the terms of the song's scenario. Kudos.

Ain't She A Woman

CD Review

Ain’t I A Woman, Rory Block, Rounder Records, 1992

Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” Ain’t I A Woman”, the legendary blues man Robert Johnson’s “Come On In My Kitchen” and the little known (but should be) Lottie Kimbrough’s “Rolling Log”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Faithless World” like “Love and Whiskey” from the CD “I’ve Got A Rock In My Sock” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. A couple of Tommy Johnson songs round this one out. Kudos, again.

Once Again, Rory Have Mercy

CD REVIEW

Tornado, Rory Block, Rounder Records, 1996

Damn, apparently I really am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock” and “Ain’t I A Woman”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Here we are “Angel Of Mercy’ turf again despite some good material and various all-star back up performers. That Block folk stylist nexus is on display here, as well as a bit of overall overproduction on most of the songs. Again, maybe it is that the lyrics just do not “speak” to me but something is off here. I will make one great exception for her inclusion of “Gone Woman Blues” from a previous CD mentioned above. I will make an even greater exception for an incredible cover of Andy Barnes “The Last Leviathan” (that’s right, about the fate of the whales, and us). Wow. That said, two out of eleven do not a great CD make.

*Folk Music 101- There Are Many Rooms In That Mansion

CD REVIEWS

Troubadours Of The Folk Era, Volumes One, Two And Three, Rhino Records, 1992

The generic parts of this review, relating to the 1960's folk revival, have been used in other reviews of musicians from this period.

My musical tastes were formed, as were those of many of the Generation of 1968, by `Rock and Roll' music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us at some other level. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.

That said, in the early 1960's there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960's cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians' respective agendas proved inadequate and/or short-lived does not negate their influence on the times.

My leftist political consciousness, painfully fought for in my troubled youth, coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960's. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review this two volume compilation of songs by the best musicians of the early folk period.

Many of the folksingers of the 1960's attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. The artists here, for the most part, stayed within the broad parameters of the term folk. There are, indeed, many rooms in that mansion as this compilation will demonstrate to the attentive listener. Some of the artists listed here, like Pete Seeger, I have reviewed previously elsewhere in this space. Others, like Eric Von Schmidt, I will do individual reviews of in the future. As a general observation the producers of this CD went out of their way, way out of their way to get the best renditions available of the songs by the individual artists represented and to provide the best range of what folk meant to those who wrote the songs, sang them and listened in. For those too young to have heard it then you have been given a reprieve- use it.

Highlights of Volume One are Joan Baez on "Silver Dagger"; Eric Andersen on "Violets of Dawn", the late Odetta on "John Henry"; Jesse Colin Young on "Four In The Morning": Donovan on "Catch The Wind" and an incredible rendition by the late Eric Von Schmidt of his "Wasn't That A Mighty Storm" (about a flood in Galveston, Texas in the early part of the 20th century).

Highlights on Volume Two are Tom Rush on "The Circle Game"; Judy Collins on " Who Knows Where The Time Goes"; Tom Paxton on "Ramblin' Boy"; and, Jim Kweskin & The Jug Band (that's with Geoff Muldaur and Maria Muldaur along with Jim, by the way) on a very well done version of the old blues classic "Don't You Leave Me Here".

Highlights on Volume Three, which is a little less worthwhile than the first two volumes and, frankly, reflects inclusions of some 'space fillers', are Leadbelly's "Goodnight, Irene"; Woody Guthrie's "Hard, Ain't It Hard" and Sonny Terry's "Rider".

*****

500 Miles by Hedy West

If you miss the train Im on, you will know that I am gone
You can hear the whistle blow a hundred miles,
A hundred miles, a hundred miles, a hundred miles, a hundred miles,
You can hear the whistle blow a hundred miles.

Lord Im one, lord Im two, lord Im three, lord Im four,
Lord Im 500 miles from my home.
500 miles, 500 miles, 500 miles, 500 miles
Lord Im five hundred miles from my home.

Not a shirt on my back, not a penny to my name
Lord I cant go a-home this a-way
This a-away, this a-way, this a-way, this a-way,
Lord I cant go a-home this a-way.

If you miss the train Im on you will know that I am gone
You can hear the whistle blow a hundred miles.

Once I Was- Tim Buckley

Once I was a soldier
And I fought on foreign sands for you
Once I was a hunter
And I brought home fresh meat for you
Once I was a lover
And I searched behind your eyes for you
And soon therell be another
To tell you I was just a lie

And sometimes I wonder
Just for a while
Will you remember me

And though you have forgotten
All of our rubbish dreams
I find myself searching
Through the ashes of our ruins
For the days when we smiled
And the hours that ran wild
With the magic of our eyes
And the silence of our words

And sometimes I wonder
Just for a while
Will you remember me

Ramblin' Boy
Words and Music by Tom Paxton

He was a man and a friend always
He stuck with me in the hard old days.
He never cared if I had no dough
We rambled 'round in the rain and snow.

[Chorus]

And here's to you my ramblin' boy
May all your ramblin' bring you joy
And here's to you my ramblin' boy
May all your ramblin' bring you joy.
In Tulsa town we chanced to stray
We thought we'd try to work one day
The boss said he had room for one
Says my old pal, "We'd rather bum!"

[Chorus]

Late one night in a jungle* camp
The weather it was cold and damp
He got the chills and he got 'em bad
They took the only friend I had.
[Chorus]

He left me here, to ramble on
My ramblin' pal, is dead and gone
If when we die, we go somewhere
I'll bet you a dollar, he's ramblin' there.

[Chorus]

The Circle Game by Joni Mitchell

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star
Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like, when youre older, must appease him
And promises of someday make his dreams
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we con only look behind
From where we came
And go round and round and round
In the circle game.

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him,
Take your time, it wont be long now
Till you drag your feet to slow the circles down
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we can only look behind
From where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur
Coming true
Therell be new dreams, maybe better dreams and plenty
Before the last revolving year is through.
And the seasons they go round and round
And the painted ponies go up and down
Were captive on the carousel of time
We cant return, we can only look behind
From where we came
And go round and round and round
In the circle game

THIS LAND IS YOUR LAND
words and music by Woody Guthrie

Chorus:

This land is your land, this land is my land
From California, to the New York Island
From the redwood forest, to the gulf stream waters
This land was made for you and me

As I was walking a ribbon of highway
I saw above me an endless skyway
I saw below me a golden valley
This land was made for you and me

Chorus

I've roamed and rambled and I've followed my footsteps
To the sparkling sands of her diamond deserts
And all around me a voice was sounding
This land was made for you and me

Chorus

The sun comes shining as I was strolling
The wheat fields waving and the dust clouds rolling
The fog was lifting a voice come chanting
This land was made for you and me

Chorus

As I was walkin' - I saw a sign there
And that sign said - no tress passin'
But on the other side .... it didn't say nothin!
Now that side was made for you and me!

Chorus

In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin' and some are wonderin'
If this land's still made for you and me.

Chorus (2x)

©1956 (renewed 1984), 1958 (renewed 1986) and 1970 TRO-Ludlow Music, Inc. (
BMI)

TOMORROW IS SUCH A LONG TIME lyrics
(Bob Dylan)

If today was not an endless highway
If tonight was not a crooked trail
If tomorrow wasn't such a long time
then lonesome would mean nothing to you at all

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

I can't see my reflection in the mirror
I can't speak the sounds that show no pain
I can't hear the echoes of my footsteps
and can't remember the sound of my own name

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

There's beauty in the silver singin' river
There's beauty in the sunlight in the sky
But none of these, and nothing else
can steal the beauty
that I remember in my true love's eyes

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

JOHN HENRY, STEEL DRIVING MAN

1. John Henry was a railroad man,
He worked from six 'till five,
"Raise 'em up bullies and let 'em drop down,
I'll beat you to the bottom or die."

2. John Henry said to his captain:
"You are nothing but a common man,
Before that steam drill shall beat me down,
I'll die with my hammer in my hand."

3. John Henry said to the Shakers:
"You must listen to my call,
Before that steam drill shall beat me down,
I'll jar these mountains till they fall."

4. John Henry's captain said to him:
"I believe these mountains are caving in."
John Henry said to his captain: "Oh, Lord!"
"That's my hammer you hear in the wind."

5. John Henry he said to his captain:
"Your money is getting mighty slim,
When I hammer through this old mountain,
Oh Captain will you walk in?"

6. John Henry's captain came to him
With fifty dollars in his hand,
He laid his hand on his shoulder and said:
"This belongs to a steel driving man."

7. John Henry was hammering on the right side,
The big steam drill on the left,
Before that steam drill could beat him down,
He hammered his fool self to death.

8. They carried John Henry to the mountains,
From his shoulder his hammer would ring,
She caught on fire by a little blue blaze
I believe these old mountains are caving in.

9. John Henry was lying on his death bed,
He turned over on his side,
And these were the last words John Henry said
"Bring me a cool drink of water before I die."

10. John Henry had a little woman,
Her name was Pollie Ann,
He hugged and kissed her just before he died,
Saying, "Pollie, do the very best you can."

11. John Henry's woman heard he was dead,
She could not rest on her bed,
She got up at midnight, caught that No. 4 train,
"I am going where John Henry fell dead."

12. They carried John Henry to that new burying ground
His wife all dressed in blue,
She laid her hand on John Henry's cold face,
"John Henry I've been true to you."

Reno Nevada

It's a long long way down to Reno Nevada
It's a long long way to your home
And the change in your pocket it's beginning to crumble
And you reap just about what you sow
You can walk down the street
Pass your face in a window
You can go on foolin' around
You can work night and day take a chance on promotion
You can fall through a hole in the ground

Well there ain't no game like the game that you're playing
When you've got a little something to lose
And there ain't no time like the time that you're wasting
And you waste just about what you choose
There's a man at the table and you know he's been able
To return all the odds that you lay
And you can't feed your hunger
And you ain't getting younger
And your tongue it's got nothing to say

It's a long long way down to Reno Nevada
It's a long long way to your home
And the ground underneath you it's beginning to crumble
And the sky up above you has grown
There's a time to be grievin' and a time to be screamin'
And a time just to scroll on the wall
And you ain't got the double
And it ain't worth the trouble
You're feeling you're going nowhere at all

COCAINE BLUES

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

I woke up this mornin', Lord, I had a hunger pain.
And all I want for breakfast is my good cocaine,
Cocaine, aw you ol' cocaine.

Jump out of bed, Mama, run downtown;
Take along the money and look all around.
Find the man, the man that sells cocaine.

Come here, Mama, come here quick;
That ol' coke's got me and I'm feelin' sick.
Cocaine, aw you ol' cocaine.

Get out of here, Mama, I thought you understood;
You got no connections then you're no damn good.
Cocaine.

Well, coke's for horses, Lord, it ain't for men.
They say it kills you, but they don't say when.

C'mon, Mama, let's rent us a boat.
We'll sail down that Gibraltar moat;
Shed a tear every time we pass Tangiers.

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

Donovan » Catch The Wind Lyrics

In the chilly hours and minutes,
Of uncertainty, I want to be,
In the warm hold of your loving mind.

To feel you all around me,
And to take your hand, along the sand,
Ah, but I may as well try and catch the wind.

When sundown pales the sky,
I wanna hide a while, behind your smile,
And everywhere I'd look, your eyes I'd find.

For me to love you now,
Would be the sweetest thing, 'twould make me sing,
Ah, but I may as well, try and catch the wind.

When rain has hung the leaves with tears,
I want you near, to kill my fears
To help me to leave all my blues behind.

For standin' in your heart,
Is where I want to be, and I long to be,
Ah, but I may as well, try and catch the wind.