As today's commentary "The Times Are Out Of Joint" indicates I am in a peevish mood concerning the doings (or not doings) in Washington, D.C. I'll just take a note from Lead Belly, the old folk singer, and let him give the 'skinny' on this mood of mine.
Lead Belly - The Bourgeois Blues Lyrics
Lord, in a bourgeois town
It's a bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Home of the brave, land of the free
I don't wanna be mistreated by no bourgeoisie
Lord, in a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, me and my wife we were standing upstairs
We heard the white man say "I don't want no n----rs up there"
Lord, in a bourgeois town
Uhm, bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, them white folks in Washington they know how
To call a colored man a n----r just to see him bow
Lord, it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
I tell all the colored folks to listen to me
Don't try to find you no home in Washington, DC
`Cause it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Showing posts with label folk singers. Show all posts
Showing posts with label folk singers. Show all posts
Friday, February 27, 2009
Monday, December 15, 2008
*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.
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.
Saturday, December 13, 2008
*Hello In There- The Music Of John Prine
Click on the headline to link to a YouTube film clip of John Prine performing his classic, "Angel From Montgomery".
CD/DVD REVIEWS
Great Days: The John Prine Anthology, John Prine, Rhino Records, 1993
Over the last several months I have done more musically-oriented reviews that I had expected to on this site in order to flesh out the role of some of the 1960's cultural icons on the times. One of the themes that have kept 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. In fact, my first acquaintance with the work of John Prine, at least that I was aware of, was several years ago when I was requested to get a couple of his CDs for a friend for Christmas. Upon listening to those albums, including this compilation, we both agreed that the best bet was to return them and get something else. Go figure.
I had, obviously, heard Bonnie Raitt do Prine's “Angel From Montgomery” long ago 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”. Anyone whose has been affected by the Vietnam War experience in any way will gasp after hearing this very personal take of the destructiveness of that war for many of those who fought it, found hard drugs and found the black hole as a result. If you want to hear a real anti-war song rather than something wistful like “Where have All The Flowers Gone?” and the like then listen to this one. Yes, this guy Prine had something to say that I wanted to (and on some songs, needed to) hear.
This compilation represents a very wide selection of his best work, arguably the best representation of that work in one location that you could get. Mr. Prine is a good guitar player, a very, very good wordsmith who has produced some poetic turns of phrases here that will have you thinking for a while. Moreover on, for example, “Dear Abby” he can show his “silly”, nonsensical side. He also frankly, has the wry sense of humor (in the classical Greek sense of that word) of a man who has been pushed around by life, has pushed back; has taken his beatings, dusted himself off and gotten back up again. You know, just the kind of guy that I, and I am sure other guys and gals of a certain age, very definitely can relate to, and in some cases like that above-mentioned “Hello In There” need to relate to. If you have just one John Prine album to get this is the one. Then start saving your dough to get the others.
In addition to the songs mentioned above listen to his cover of “Killing The Blues” and Steve Goodman’s “Souvenirs”. Also Unwed Fathers”, “The Late John Garfield Blues” and “Sweet Revenge”.
The Missing Years, John Prine, Oh Boy Records, 2002
This is a later compilation after his, hopefully, successful bout with cancer. Believe me the above remarks mentioned in the review of 'Great Days" still apply. So what is good here? Listen to "The Sins Of Memphisto", "Picture Show" Train" and "Jesus The Missing Years". Then you will know what I mean by that remark about his wordsmanship mentioned above in the review of “Great Days”.
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 (a powerful singer in her own right who I have reviewed elsewhere in this space. She is also the wife of singer songwriter Greg Brown who is also reviewed elsewhere here). 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.
CD/DVD REVIEWS
Great Days: The John Prine Anthology, John Prine, Rhino Records, 1993
Over the last several months I have done more musically-oriented reviews that I had expected to on this site in order to flesh out the role of some of the 1960's cultural icons on the times. One of the themes that have kept 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. In fact, my first acquaintance with the work of John Prine, at least that I was aware of, was several years ago when I was requested to get a couple of his CDs for a friend for Christmas. Upon listening to those albums, including this compilation, we both agreed that the best bet was to return them and get something else. Go figure.
I had, obviously, heard Bonnie Raitt do Prine's “Angel From Montgomery” long ago 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”. Anyone whose has been affected by the Vietnam War experience in any way will gasp after hearing this very personal take of the destructiveness of that war for many of those who fought it, found hard drugs and found the black hole as a result. If you want to hear a real anti-war song rather than something wistful like “Where have All The Flowers Gone?” and the like then listen to this one. Yes, this guy Prine had something to say that I wanted to (and on some songs, needed to) hear.
This compilation represents a very wide selection of his best work, arguably the best representation of that work in one location that you could get. Mr. Prine is a good guitar player, a very, very good wordsmith who has produced some poetic turns of phrases here that will have you thinking for a while. Moreover on, for example, “Dear Abby” he can show his “silly”, nonsensical side. He also frankly, has the wry sense of humor (in the classical Greek sense of that word) of a man who has been pushed around by life, has pushed back; has taken his beatings, dusted himself off and gotten back up again. You know, just the kind of guy that I, and I am sure other guys and gals of a certain age, very definitely can relate to, and in some cases like that above-mentioned “Hello In There” need to relate to. If you have just one John Prine album to get this is the one. Then start saving your dough to get the others.
In addition to the songs mentioned above listen to his cover of “Killing The Blues” and Steve Goodman’s “Souvenirs”. Also Unwed Fathers”, “The Late John Garfield Blues” and “Sweet Revenge”.
The Missing Years, John Prine, Oh Boy Records, 2002
This is a later compilation after his, hopefully, successful bout with cancer. Believe me the above remarks mentioned in the review of 'Great Days" still apply. So what is good here? Listen to "The Sins Of Memphisto", "Picture Show" Train" and "Jesus The Missing Years". Then you will know what I mean by that remark about his wordsmanship mentioned above in the review of “Great Days”.
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 (a powerful singer in her own right who I have reviewed elsewhere in this space. She is also the wife of singer songwriter Greg Brown who is also reviewed elsewhere here). 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.
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