The Centennial Of Pete Seeger’s Birthday (1919-2014)- Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Arlo Guthrie

Click on title to link to YouTube's film clip of Arlo Guthrie performing "The Motorcycle Song" from "Alice's Restaurant".

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”

Arlo Guthrie on “The Motorcycle Song”. Well, we started this cycle with Woody Guthrie walking, hitching, whatever, down the road with “Hard Travelin’” and we end with his talented son, a product of the tail end of the folk revival that his father did so much to energize by his work, if not his person, riding into the sunset on his motorsickle. That seems about right in the great scheme of things, except, time factor excluded, Arlo’s signature song, and a very representative song of the tail end of the folk revival, “Alice’s Restaurant” would have put really paid to our “Washington Square Memoirs”.

The Motorcycle Song
words and music by Arlo Guthrie

CHORUS:
I don't want a pickle
Just want to ride on my motorsickle
And I don't want a tickle
'Cause I'd rather ride on my motorsickle
And I don't want to die
I just want to ride on my motorcy...cle

It was late last night the other day
I thought I'd go up and see Ray
So l went up and I saw Ray
There was only one thing Ray could say, was:

CHORUS

Just last week I was on my bike
I run into a friend named Mike
Run into my friend named Mike
Mike no longer has a bike. He cries:

CHORUS

The Centennial Of Pete Seeger’s Birthday (1919-2014)- From The Bob Feldman Blog- The Folkies From Muskogee-Oops-The Columbia Folk Protest Videos

Click on the headline to link to the Columbia Folk Protest Videos.

For Bob Dylan Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Phil Ochs

Click on title to link to YouTube's film clip of Phil Ochs performing the classic anti-war song "I Ain't Marching Anymore".

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”


Phil Ochs on “I Ain’t Marching Anymore”. Phil Ochs wrote the very politic songs that Bob Dylan either ceded to him or that he did not want to write as he went his own way in the musical world. Phil got the notion that some things desperately needed fixing (and still do) and he was the guy to write about them. Except a bad, a very bad thing happened to Brother Ochs. His generation, our generation of ’68, got cold feet when the deal went down and abandoned the struggle to “seek a newer world”. For a political songwriter that is the kiss of death and no more needs to be said. Someday, Brother, we will not be marching anymore. But until then we have to fight the bastards.

I Ain't Marching Anymore
By Phil Ochs

D G C D
Oh I marched to the battle of New Orleans
G C D
At the end of the early British war
G C
The young land started growing
G
The young blood started flowing
C Am D
But I ain't marchin' anymore

For I've killed my share of Indians
In a thousand different fights
I was there at the Little Big Horn
I heard many men lying
I saw many more dying
But I ain't marchin' anymore

C G
It's always the old to lead us to the war
C Am D
It's always the young to fall
Now look at all we've won with the sabre and the gun
Tell me is it worth it all

For I stole California from the Mexican land
Fought in the bloody Civil War
Yes I even killed my brother
And so many others
And I ain't marchin' anymore

For I marched to the battles of the German trench
In a war that was bound to end all wars
Oh I must have killed a million men
And now they want me back again
But I ain't marchin' anymore

(chorus)

For I flew the final mission in the Japanese sky
Set off the mighty mushroom roar
When I saw the cities burning
I knew that I was learning
That I ain't marchin' anymore

Now the labor leader's screamin' when they close the missile plants,
United Fruit screams at the Cuban shore,
Call it "Peace" or call it "Treason,"
Call it "Love" or call it "Reason,"
But I ain't marchin' any more.


There seems to be a variety of opinions about the chords for this song. Since I am not able to judge which is right, I will simply present all of them.

The first set of chords were provided by Dave Miller:

D G C D
Oh I marched to the battle of New Orleans
G C D
At the end of the early British war
G C
The young land started growing
G
The young blood started flowing
C Am D
But I ain't marchin' anymore

C G
It's always the old to lead us to the war
C Am D
It's always the young to fall


Jeffrey Shallit tells me that these are the correct chords:
D G C C/B D/A
Oh I marched to the battle of New Orleans
G C C/B D/A
At the end of the early British war
G C
The young land started growing
F Em
The young blood started flowing
Am C D
But I ain't marchin' anymore

Am G
It's always the old to lead us to the war
C Em A
It's always the young to fall
C Em
Now look at all we've won with the sabre and the gun
Am C D
Tell me is it worth it all

Simultaneously, I got a message from James Barnett giving these chords:
G C D
Oh I marched to the battle of New Orleans
G C D
At the end of the early British war
G C Am
A young land started growing
F Em
The young blood started flowing
Am D
But I ain't marchin' anymore

C G
It's always the old to lead us to the war
C Em A
always the young to fall
C Bm Em
Now look at all we've won with the sabre and the gun
C Am D
Tell me was it worth it all


NOTE:

Most of the historical events referenced in this song are probably pretty obvious, with the possible exception of ``United Fruit.'' Further information can be found in the notes to the song United Fruit.

Once Again Haunted By The Question Of Questions-Who Represented The “Voice” Of The Generation Of ’68 When The Deal Went Down-And No It Was Not One Richard Millstone, Oops, Milhous Nixon

By Seth Garth

I have been haunted recently by various references to events in the early 1960s brought to mind by either seeing or hearing those references. First came one out of the blue when I was in Washington, D.C. on other business and I popped in as is my wont to the National Gallery of Art to get an “art bump” after fighting the dearies at the tail-end of the conference that I was attending. I usually enter on the 7^th Street entrance to see what they have new on display on the Ground Floor exhibition areas. This time there was a small exhibit concerning the victims of Birmingham Sunday, 1963 the murder by bombing of a well-known black freedom church in that town and the death of four innocent young black girls and injuries to others. The show itself was a “what if” by a photographer who presented photos of what those young people might have looked like had they not had their precious lives stolen from them by some racist KKK-drenched bastards who never really did get the justice they deserved. The catch here, the impact on me, was these murders and another very disturbing viewing on television at the time, in black and white, of the Birmingham police unleashing dogs, firing water hoses and using the ubiquitous police billy-clubs to beat down on peaceful mostly black youth protesting against the pervasive Mister James Crow system which deprived them of their civil rights.

Those events galvanized me into action from seemingly out of nowhere. At the time I was in high school, in an all-white high school in my growing up town of North Adamsville south of Boston. (That “all white” no mistake despite the nearness to urban Boston since a recent look at the yearbook for my class showed exactly zero blacks out of a class of 515. The nearest we got to a black person was a young immigrant from Lebanon who was a Christian though and was not particularly dark. She, to my surprise, had been a cheer-leader and well-liked). I should also confess, for those who don’t know not having read about a dozen articles  I have done over the past few years in this space, that my “corner boys,” the Irish mostly with a sprinkling of Italians reflecting the two major ethic groups in the town I hung around with then never could figure out why I was so concerned about black people down South when we were living hand to mouth up North. (The vagaries of time have softened some things among them for example nobody uses the “n” word which needs no explanation which was the “term of art” in reference to black people then to not prettify what this crowd was about.)

In many ways I think I only survived by the good graces of Scribe who everybody deferred to on social matters. Not for any heroic purpose but because Scribe was the key to intelligence about what girls were interested in what guys, who was “going” steady, etc. a human grapevine who nobody crossed without suffering exile. What was “heroic” if that can be used in this context was that as a result of those Birmingham images back then I travelled over to the NAACP office on Massachusetts Avenue in Boston to offer my meager services in the civil rights struggle and headed south to deadly North Carolina one summer on a voting drive. I was scared but that was that. My guys never knew that was where I went until many years later long after we had all gotten a better gripe via the U.S. Army and other situations on the question of race and were amazed that I had done that.         

The other recent occurrence that has added fuel to the fire was a segment on NPR’s Morning Edition where they deal with aspects of what amounts to the American Songbook. The segment dealt with the generational influence of folk-singer songwriter Bob Dylan’s The Times They Are A-Changin’ as an anthem for our generation (and its revival of late in newer social movements like the kids getting serious about gun control). No question for those who came of political age early in the 1960s before all hell broke loose this was a definitive summing up song for those of us who were seeking what Bobby Kennedy would later quoting a line of poetry from Alfred Lord Tennyson call “seeking a newer world.” In one song was summed up what we thought about obtuse indifferent authority figures, the status quo, our clueless parents, the social struggles that were defining us and a certain hurried-ness to get to wherever we thought we were going.

I mentioned in that previous commentary that given his subsequent trajectory while Bob Dylan may have wanted to be the reincarnation Plus of Woody Guthrie (which by his long life he can rightly claim) whether he wanted to be, could be, the voice of the Generation of ’68 was problematic. What drove me, is driving me a little crazy is who or what some fifty plus years after all the explosions represented the best of what we had started out to achieve (and were essentially militarily defeated by the ensuing reaction before we could achieve most of it) in those lonely high school halls and college dormitories staying up late at night worrying about the world and our place in the sun.

For a long time, probably far longer than was sensible I believed that it was somebody like Jim Morrison, shaman-like leader of the Doors, who came out of the West Coast winds and headed to our heads in the East. Not Dylan, although he was harbinger of what was to come later in the decade as rock reassembled itself in new garb after some vanilla music hiatus but somebody who embodied the new sensibility that Dylan had unleashed. The real nut though was that I, and not me alone, and not my communal brethren alone either, was the idea that we possessed again probably way past it use by date was that “music was the revolution” by that meaning nothing but the general lifestyle changes through the decade so that the combination of “dropping out” of nine to five society, dope in its many manifestations, kindnesses, good thought and the rapidly evolving music would carry us over the finish line. Guys like Josh Breslin and the late Pete Markin, hard political guys as well as rabid music lovers and dopers, used to laugh at me when I even mentioned that I was held in that sway especially when ebb tide of the counter-cultural movement hit in Nixon times and the bastinado was as likely to be our home as the new Garden. Still Jim Morrison as the “new man” (new human in today speak) made a lot of sense to me although when he fell down like many others to the lure of the dope I started reappraising some of my ideas -worried about that bastinado fate.  

So I’ll be damned right now if I could tell you that we had such a voice, and maybe that was the problem, or a problem which has left us some fifty years later without a good answer. Which only means for others to chime in with their thoughts on this matter.         

*From The Pen Of Early Soviet Culture Commissar Anatol Lunacharsky- Early Soviet Writer Fyodor Kalinin

Click on title to link to early Bolshevik Culture and Education Commissar Anatol Lunacharsky's profile of early Soviet writer Fyodor Kalinin from his 1923"Revolutionary Silhouettes". Lunarcharsky may have been a "soft" Bolshevik but he had insights into the early Soviet "cultural wars" that are always interesting and thoughtful.