*Every Picture Tells A Story, Don’t It- The Early Music Of Rod Stewart

Click On Title To Link To YouTube's Film Clip Of Rod Stewart Doing "Maggie May"

CD REVIEW

Every Picture Tells A Story, Rod Stewart, Mercury Records, 1971

I have spent some time in this space going over the litany of rock & roll groups and individuals who collectively formed the musical consciousness of my generation, the “Generation of ‘68”. The Rolling Stones, The Doors and the Beatles immediately come to mind. The performer under review, Rod Stewart, now known more for his fine (mostly) crooner covers of old time pre-rock songs fits into the second layer of those who entertained us and made us scream for more rock & roll. And, someone can add to this to refresh my memory, Rod Stewart was one of the early proponents of the rock concert as entertainment extravaganza in the old English music hall tradition. I can remember going to a Rod Stewart concert in the old days where he had circus acts, complete with fireworks and colored smoke in between his performances (and maybe as part of the performance as well). Such visual effects are practically de rigueur these days but then it was unusual.

Be that as it may the main thing about a Rod Stewart song in the old days as reflected in this CD is that energy he put into each song his own as here with “Maggie May” and “Every Picture Tells A Story”, or covers. In the end though, for me at least for male singers it is that gravelly voice that he brought to the performance highlighted here by “Mandolin Wind”.


The Best Of Rod Stewart, Rod Stewart, Mercury Records, 1976

Again the first paragraph above tells the Rod Stewart story. As noted there the main thing about a Rod Stewart song in the old days as reflected here is that energy he put into each song his own as here with “Maggie May” and “Every Picture Tells A Story” and “Gasoline Alley”, or covers like The Stones “Street Fighting Man”. In the end though, for me at least for male singers it is that gravelly voice that he brought to the performance highlighted here by “Mandolin Wind” and “Cut Across Shorty”.


Rod Stewart - Gasoline Alley

I think I'm goin' mad and it's makin' me sad,
it's a yearnin' for my old back door.
I realize maybe I was born to lead,
better swallow all my silly country pride.
Goin' home, runnin' home,
down the gasoline Alley where I started from.
Goin' home, and I'm runnin' home,
down the Gasoline Alley where I was born.
When the weather's better and the rails unfreeze,
and the wind won't whistle `round my knees,
I'll put on my weather suit and catch you in the train.
I'll be home before the milk's upon the door.
Goin' home, runnin' home,
down the gasoline Alley where I started from.
Goin' home, and I'm runnin' home,
down the Gasoline Alley where I was born.
(instrumental)
But if anything should happen and my plans go wrong
should I stray to the house on the hill,
let it be known that my intentions were good,
I'd be singing in my alley if I could.
And if I'm goin' away and it's my turn to go,
should the blood run cold in my veins,
just one favor I'd be askin' of you,
don't bury me here, it's too cold.
Take me back, carry me back,
down to Gasoline Alley where I started from.
Take me back, won't cha carry me home,
down to Gasoline Alley where I started from?

Mandolin Wind lyrics
(Rod Stewart)

When the rain came I thought you'd leave
'cause I knew how much you loved the sun
But you chose to stay, stay and keep me warm
through the darkest nights I've ever known
If the mandolin wind couldn't change a thing
then I know I love ya
Oh the snow fell without a break
Buffalo died in the frozen fields you know
Through the coldest winter in almost fourteen years
I couldn't believe you kept a smile
Now I can rest assured knowing that we've seen the worst
And I know I love ya
Oh I never was good with romantic words
so the next few lines come really hard
Don't have much but what I've got is yours
except of course my steel guitar
Ha, 'cause I know you don't play
but I'll teach you one day
because I love ya
I recall the night we knelt and prayed
Noticing your face was thin and pale
I found it hard to hide my tears
I felt ashamed I felt I'd let you down
No mandolin wind couldn't change a thing
Couldn't change a thing no, no
The coldest winter in almost fourteen years
could never, never change your mind
And I love ya
Yes indeed and I love ya
And I love ya
Lordy I love ya

Every Picture Tells A Story lyrics

Spent some time feelin' inferior
standing in front of my mirror
Combed my hair in a thousand ways
but I came out looking just the same

Daddy said, "Son, you better see the world
I wouldn't blame you if you wanted to leave
But remember one thing don't lose your head
to a woman that'll spend your bread"
So I got out

Paris was a place you could hide away
if you felt you didn't fit in
French police wouldn't give me no peace
They claimed I was a nasty person
Down along the Left Bank minding my own
Was knocked down by a human stampede
Got arrested for inciting a peacful riot
when all I wanted was a cup of tea
I was accused
I moved on

Down in Rome I wasn't getting enough
of the things that keeps a young man alive
My body stunk but I kept my funk
at a time when I was right out of luck
Getting desperate indeed I was
Looking like a tourist attraction
Oh my dear I better get out of here
'for the Vatican don't give no sanction
I wasn't ready for that, no no

I moved right out east yeah!
On the Peking ferry I was feeling merry
sailing on my way back here
I fell in love with a slit eyed lady
by the light of an eastern moon
Shangai Lil never used the pill
She claimed that it just ain't natural
She took me up on deck and bit my neck
Oh people I was glad I found her
Oh yeah I was glad I found her

I firmly believe that I didn't need anyone but me
I sincerely thought I was so complete
Look how wrong you can be

The women I've known I wouldn't let tie my shoe
They wouldn't give you the time of day
But the slit eyed lady knocked me off my feet
God I was glad I found her
And if they had the words I could tell to you
to help you on the way down the road
I couldn't quote you no Dickens, Shelley or Keats
'cause it's all been said before
Make the best out of the bad just laugh it off
You didn't have to come here anyway
So remember, every picture tells a story don't it

Maggie May lyrics
Wake up Maggie

I think I got something to say to you;
it's late September and I really should be back at school.
I know I keep you amused
but I feel I'm being used

oh
Maggie
I couldn't have tried anymore.
You lured me away from home
just to save you from being alone.
You stole my heart and that's what really hurts.
The morning sun
when it's in your face
really shows your age

but that don't worry me none
in my eyes you're ev'rything.
I laughed at all of your jokes
my love you didn't need to coax

oh
Maggie
I couldn't have tried anymore.
You lured me away from home
just to save you from being alone.
You stole my soul
that's a pain I can do without.
All I needed was a friend to lend a guiding hand

but you turned into a lover
and
Mother
what a lover !
You wore me out.
All you did was wreck my bed
and in the morning kick me in the head

oh
Maggie
I couldn't have tried anymore.
You lured me away from home
'cause you didn't want to be alone.
You stole my heart
I couldn't leave you if I tried.
I suppose I could collect my books and get back to school.
Or steal my daddy's cue and make a living out of playing pool.
Or find myselfe a rock and roll band that needs a helpin' hand.
Oh
Maggie
I wish I'd never seen your face.
You lured me away from home
just to save you from being alone.
You stole my heart and that's what really hurts.
The morning sun
when it's in your face
really shows your age

but that don't worry me none
in my eyes you're ev'rything.
I laughed at all of your jokes
my love you didn't need to coax

oh
Maggie
I couldn't have tried any face

you made a first-class fool out of me

but I'm as blind as a fool can be

you stole my heart but I love you anyway.
Maggie
I wish I'd never seen your face.
I'll get on back home one of these days.

*****Out Of The Hills And Hollows- With The Bluegrass Band The Lally Brothers In Mind

*****Out Of The Hills And Hollows- With The Bluegrass Band The Lally Brothers In Mind  

From The Pen Of Frank Jackman 

 

You know sometimes what goes around comes around as the old-time expression had it. Take for example Sam Lowell’s youthful interest in folk music back in the early 1960s when it crashed out of exotic haunts like Harvard Square, Ann Arbor, Old Town Chi Town and North Beach/Berkeley out in Frisco Bay Area Town and ran into a lot of kids, a lot of kids like Sam, who were looking for something different, something that they were not sure of but that smelled, tasted, felt, looked like difference from a kind of one-size-fits-all vanilla existence. Oh sure, every generation in their youth since the days when you could draw a distinction between youth and adulthood and have it count has tried to march to its own symbolic beat but this was different, this involved a big mix of things all jumbled together, political, social, economic, cultural, the whole bag of societal distinctions which would not be settled until the end of the decade, maybe the first part of the next. But what Sam was interested then down there in Carver about thirty miles south of Boston was the music, his interest in the other trends did not come until later, much later long after the whole thing had ebbed. 

The way Sam told it one night at his bi-weekly book club where the topic selected for that meeting had been the musical influences, if any, that defined one’s tastes and he had volunteered to speak since he had just read a book, The Mountain View, about the central place of mountain music, for lack of a better term, in the American songbook was that he had been looking for roots as a kid. Musical roots which were a very big concern for a part of his generation, a generation that was looking for roots, for rootedness not just in music but in literature, art, and even in the family tree. Their parents’ generation no matter how long it had been since the first family immigration wave was in the red scare Cold War post-World War II period very consciously ignoring every trace of roots in order to be fully vanilla Americanized. So his generation had to pick up the pieces not only of that very shaky family tree but everything else that had been downplayed during that period.

Since Sam had tired of the lazy hazy rock and roll that was being produced and which the local rock radio stations were force- feeding him and others like him looking to break out through their beloved transistor radios he started looking elsewhere on the tiny dial for something different. That transistor radio for those not in the know was “heaven sent” for a whole generation of kids in the 1950s who could care less, who hated the music that was being piped into the family living room big ass floor model radio which their parents grew up with since it was small, portable and could be held to the ear and the world could go by without bothering you while you were in thrall to the music. That was the start. But like a lot of young people, as he would find out later when he would meet kindred in Harvard Square, the Village, Ann Arbor, Berkeley he had been looking for that something different at just that moment when something called folk music, roots music, actually was being played on select stations for short periods of time each week.

Sam’s lucky station had been a small station, an AM station, from Providence in Rhode Island which he would find out later had put the program on Monday nights from eight to eleven at the request of Brown and URI students who had picked up the folk music bug on trips to the Village (Monday a dead music night in advertising circles then, maybe now too, thus fine for talk shows, community service programs and odd-ball stuff like roots music.) That is where he first heard the likes of Bob Dylan, Joan Baez, Tom Paxton, Dave Von Ronk, a guy named Tom Rush from Harvard whom he would hear in person many times over the years, and another guy, Eric Von Schmidt whom he would meet later in one of the Harvard Square coffeehouses that were proliferating to feed the demand to hear folk music, well, cheaply alone or on a date. Basically as he related to his listeners for a couple of bucks at most admission, the price of a cup of coffee to keep in front of you and thus your place, maybe a pastry if alone and just double that up for a date except share the pasty you had your date deal all set for the evening hearing performers perfecting their acts before hitting the A-list clubs).

He listened to it all, liked some of it, other stuff, the more protest stuff he could take or leave depending on the performer but what drew his attention, strangely then was when somebody on radio or on stage performed mountain music, you know, the music of the hills and hollows that came out of Appalachia mainly down among the dust and weeds. Things like Bury Me Under The Weeping Willow, Gold Watch and Chain, Fair and Tender Ladies, Pretty Saro, and lots of instrumentals by guys like Buell Kazee, Hobart Smith, The Muddy River Boys, and some bluegrass bands as well that had now escaped his memory.

This is where it all got jumbled up for him Sam said since he was strictly a city boy, made private fun of the farm boys, the cranberry boggers, who then made up a significant part of his high school and had no interest in stuff like the Grand Ole Opry and that kind of thing, none. Still he always wondered about the source, about why he felt some kinship with the music of the Saturday night red barn, probably broken down, certainly in need of paint, and thus available for the dance complete with the full complement of guitars, fiddles, bass, mandolin and full complement of Jimmy Joe’s just made white lightening, playing plainsong for the folk down in the wind-swept hills and hollows.                                 

As Sam warmed up to his subject he told his audience two things that might help explain his interest when he started to delve into the reasons why fifty years later the sound of that finely-tuned fiddle still beckons him home. The first was that when he had begun his freshman year at Boston University he befriended a guy, Everett Lally, the first day of orientation since he seemed to be a little uncomfortable with what was going on. See Everett was from a small town outside of Wheeling, West Virginia and this Boston trip was only the second time, the first time being when he came up for an interview, he had been to a city larger than Wheeling. So they became friends, not close, not roommate type friends, but they had some shared classes and lived in the same dorm on Bay State Road.

One night they had been studying together for an Western History exam and Everett asked Sam whether he knew anything about bluegrass music, about mountain music (Sam’s term for it Everett was Bill Monroe-like committed to calling it bluegrass). Sam said sure, and ran off the litany of his experiences at Harvard Square, the Village, listening on the radio. Everett, still a little shy, asked if Sam had ever heard of the Lally Brothers and of course Sam said yes, that he had heard them on the radio playing the Orange Blossom Express, Rocky Mountain Shakedown as well as their classic instrumentation version of The Hills of Home.  Everett perked up and admitted that he was one of the Lally Brothers, the mandolin player.

Sam was flabbergasted. After he got over his shock Everett told him that his brothers were coming up to play at the New England Bluegrass Festival to be held at Brandeis on the first weekend of October. Everett invited Sam as his guest. He accepted and when the event occurred he was not disappointed as the Lally Brothers brought the house down. For the rest of that school year Sam and Everett on occasion hung out together in Harvard Square and other haunts where folk music was played since Everett was interested in hearing other kinds of songs in the genre. After freshman year Everett did not return to BU, said his brothers needed him on the road while people were paying to hear their stuff and that he could finish school later when things died down and they lost touch, but Sam always considered that experience especially having access to Everett’s huge mountain music record collection as the lynchpin to his interest.             

Of course once the word got out that Everett Lally was in a bluegrass group, played great mando, could play a fair fiddle and the guitar the Freshman girls at BU drew a bee-line for him, some of them anyway. BU, which later in the decade would be one of the hotbeds of the anti-war movement locally and nationally but then was home to all kinds of different trends just like at campuses around the country, was filled with girls (guys too but for my purposes her the girls are what counts) from New York City, from Manhattan, from Long Island who knew a few things about folk music from forays into the Village. Once they heard Everett was a “mountain man,” or had been at Brandeis and had seen him with his brothers, they were very interested in adding this exotic plant to their collections. Everett, who really was pretty shy although he was as interested in girls as the rest of the guys at school were, told Sam that he was uncomfortable around these New York women because they really did treat him like he was from another world, and he felt that he wasn’t. Felt he was just a guy. But for a while whenever they hung out together girls would be around. Needless to say as a friend of Everett’s when there were two interested girls Sam got the overflow. Not bad, not bad at all.        

But there is something deeper at play in the Sam mountain music story as he also told the gathering that night. It was in his genes, his DNA he said. This was something that he had only found out a few years before. On his father’s side, his grandfather, Homer, whom he had never met since after his wife, Sam’s grandmother, Sara died he had left his family, all grown in any case, without leaving a forwarding address, had actually been born and lived his childhood down in Prestonsburg, Kentucky, down near the fabled Hazard of song and labor legend before moving to the North after World War I. Here is the funny part though when his father and mother Laura were young after World War II and at wits end about where his grandfather might be they travelled down to Prestonsburg in search of him. While they stayed there for a few months looking Sam had been conceived although they left after getting no results on their search, money was getting low, and there were no father jobs around so he had been born in the South Shore Hospital in Massachusetts. So yes, that mountain music just did not happen one fine night but was etched in his body, the whirlwind sounds on Saturday night down amount the hills and hollows with that sad fiddle playing one last waltz to end the evening.                  

Elvis Has Definitely Left The Room-Sideman Scotty Moore Passes At 84

Elvis Has Definitely Left The Room-Sideman Scotty Moore Passes At 84

  


Present At The Creation


When Rockabilly Rocked The Be-Bop 1950s Night- “Rock This Town-Volume 2”- A CD Review


Click on the headline to link to a YouTube film clip of Wanda Jackson performing her classic Let's Have A Party. CD Review

Rock This Town, Volume 2, various artists, Rhino Records, 1991



The bulk of this review was used to review Volume 1 as well:

The last time that I discussed rockabilly music in this space was a couple of years ago when I was featuring the work of artists like Elvis, Johnny Cash, and Jerry Lee Lewis who got their start at Sam Phillips’ famed Sun Records studio in Memphis. Part of the reason for those reviews was my effort to trace the roots of rock and rock, the music of my coming of age, and that of my generation, the generation of ’68. Clearly rockabilly was, along with country and city blues from the likes of Muddy Waters, Howlin’ Wolf, and Ike Turner and rhythm and blues from the likes of Big Joe Turner, a part of that formative process. The question then, and the question once again today, is which strand dominated the push to rock and rock, if one strand in fact did dominate.

I have gone back and forth on that question over the years. That couple of years ago mentioned above I was clearly under the influence of Big Joe Turner and Howlin’ Wolf and so I took every opportunity to stress the bluesy nature of rock. Recently though I have been listening, and listening very intently, to early Elvis Presley, Carl Perkins and Jerry Lee Lewis and I am hearing more of that be-bop rockabilly rhythm flowing into the rock night. Let me give a comparison. A ton of people have done Big Joe Turner’s classic rhythm and bluish Shake, Rattle, and Roll, including Bill Haley, Elvis, Carl Perkins, and Jerry Lee. When I listen to that song as performed in the more rockabilly style by them those versions seem closer to what evolved into rock. So for today, and today only, yes Big Joe is the big daddy, max daddy father of rock but Elvis, Jerry Lee, and Carl are the very pushy sons.

And that brings us to this treasure trove of rockabilly music presented in two volumes of which this is the second; including material by those who have revived, or kept the rockabilly genre alive over the past couple of decades. I have already done enough writing in praise of the work of Sam Phillips and Sun Records to bring that good old boy rockabilly sound out of the white southern countryside. There I noted that, for the most part, those who succeeded in rockabilly had to move on to rock to stay current and so the rockabilly sound was somewhat transient except for those who consciously decided to stay with it. Here are the examples that I used for volume one and they apply here as well:

“…the best example of that is Red Hot by Bill Riley and his Little Green Men, an extremely hot example by the way. If you listen to his other later material it stays very much in that rockabilly vein. In contrast, take High School Confidential by Jerry Lee Lewis. Jerry Lee might have started out in rockabilly but this number (and others) is nothing but the heart and soul of rock (and a song, by the way, we all prayed would be played at our middle school dances to get things moving).” Enough said.

Stick outs here on Volume 2 include: C’mon Everybody, Eddie Cochran (probably better known for his more bluesy, steamy, end of school rite of passage Summertime Blues, a very much underrated performer whose career was cut short when he was killed in a car accident; Let’s Have A Party, Wanda Jackson (one of the few famous women rockabilly artists in a very much male-dominated genre); Red Hot ( a cover of the famous one by Bill Riley featured in Volume 1), Robert Gordon and Link Wray; Rock This Town (title track from the group that probably is the best known devotee of the rockabilly revival), The Stray Cats.

Elvis Is Really Gone Now-Sideman Scotty Moore Passes At 84

Elvis Is Really Gone Now-Sideman Scotty Moore Passes At 84  

Click on link to Rolling Stone obituary for legendary Elvis sideman Scotty Moore


http://www.rollingstone.com/music/news/scotty-moore-elvis-presley-guitarist-dead-at-84-20160628




Present At The Creation


The Birth Of Rock 'n' Roll


One For The Money: The History Of Rock And Roll, Bill Haley and various artists, Intrepid, 2005



Over the past several months I have spend some time reviewing recording artist from my youth, the 1950’s, the youth of the Generation of ’68 that is now taking a certain political beating once again from those who cringe at the notion that we could have fundamentally changed the way we do the collective business of running this society. But that is a story for another day. What I want to do here is recommend this very nice DVD that in capsule form addresses all the issues, or at least all that I think are important, about the genesis of rock 'n' roll, its meaning for my post-World War II generation growing up in the 1950’s and how the forces of social reaction put, or tried to put, a cap on the natural rebelliousness of the original rock 'n' roll sound.

This documentary addresses affirmatively the issue of the roots of rock and roll as deriving from the blues and later in the early 1950’s rhythm and blues from the likes of Louis Jourdan and Big Joe Turner. It further pays, as it must, tribute to the early efforts of the likes of Sam Phillips and his Sun Record operation in Memphis and that of the Press Brothers Chess Records in Chicago to create breakout music with a distinctive sound that was not Frank Sinatra or Doris Day, the music of our parents’ generation. It also pays tribute to the promoters of rock like Alan Freedman who was a key in popularizing rock for the wider white audience that was necessary to make it a national and international phenomenon. Most importantly, this film documents the very conscious attempt by parents, religious and governmental figures abetted by the record industry to bring rock under control with the creation of the “teen idols” like Ricky Nelson Fabian, Bobby Vee, etc. at the end of the 1950’s. As I have pointed out elsewhere we had to go through that experience to really appreciate the difference when groups like The Rolling Stones hit the scene in the 1960’s. We were waiting to exhale, and none too soon.

Probably the most important reason to view this DVD though is to get, under one roof, a look at all the various performers who made up the original rock ensemble. Big Joe, Bill Haley, Elvis, Jerry Lee, Buddy, Bo Diddley, Chuck Berry and on and on. Like I say if you want a quick one hour overview of an important cultural phenomenon of our collective history this is the one for you. Then branch out to review the individual performers. Fifty years later a lot of this stuff still sounds good. And that is not just me saying that but young kids, desperate for a sound that jumps at them, that I have run into lately as well. Kudos.

WHEN AMERICA DEFENDED ENLIGHTENMENT VALUES

BOOK REVIEW

REVOLUTIONARY CHARACTERS: WHAT MADE THE FOUNDERS DIFFERENT, GORDON S. WOOD, PENQUIN, NEW YORK, 2006

In earlier times this writer has been rather blasé about the American Revolution tending to either ignore its lessons or putting it well below another revolution- The Great French Revolution, also celebrated in July- in the pantheon of revolutionary history. However, this is flat-out wrong. We cannot let those more interested in holiday oratory than drawing the real lessons of the American Revolution appropriate what is the hard fought property of every militant today. Make no mistake, however, the energy of that long ago revolution has burned itself out and other forces-militant leftists and their allies- and other political creeds-the fight for a workers party and a workers government leading to socialism- have to take its place as a standard-bearer for human progress. That task has been on the historical agenda for a long time and continues to be our task today.

That said, the eminent, if not preeminent, historian of the American revolutionary period Gordon S. Wood has written a collection of sketches which every militant leftist should read in order to get a handle on where the great promise of that American democratic experiment has gone fatally off track. It might be the current paucity of political leadership, it might be the ongoing frontal attack on the Enlightenment values that this country was founded on but this writer finds himself drawn to restudy the lives of the participants and the revolutionary history of the founding of this country. Yes, revolutionary-that is the operative word here and it fits. That action was what was necessary to turn royal subjects into citizens and the Founders rose to the occasion. Make no mistake these were big men (and women, although Mr. Wood strangely, in this day in age, does not include any in this study), from Washington on down, with big ideas that are for the most part codified in the frame of government, a genuine Enlightenment document, - the Constitution and, as importantly, the Bill of Rights. It is necessary, as always, to add that this document is severely marred, among other problems, by the capitulation to slavery and the race question embedded in it that has plagued this country to this day. But that is a question for another time.

Mr. Wood concentrates on the founders here- Washington, Adams, Franklin, Jefferson, and Hamilton. There are no closet socialists here, or for that matter, radical democrats such as Sam Adams, Tom Paine or James Otis. Nor are there nods to the plebian masses that made the revolution and stuck by it through thick and thin. Those types of studies more closely fit the reviewer’s own predilections. Nevertheless, on his own chosen ground Mr. Wood has brought the leadership cadre of the American Revolution to life and done an admirably job of discussing the virtues and anxieties of those men. Notably, there is a great divide between the Founders concepts of civic virtue, use of the public square and civic disinterestedness in comparison to what passes for the leadership of the country today. You know that we are in trouble when John Adams, a not so-closet-Tory, looks damn good in comparison to today’s open reactionaries.

The field of historical writing, like other fields of social research, has gone through various trends in appreciation of the role of leadership and of the masses. Until fairly recently the rage was to look closely at the role of the masses in social struggles. Those studies are still desperately needed. However, I do not believe that it is accidental that today’s trend is to rethink the leadership question in the American Revolution at a time when there is such an obvious lack of it. Some of Mr. Wood’s judgments about particular leaders can be disputed but the overall impression is that these men were not faking their Enlightenment values; in short, they for the most part put their lives on the line for this little democratic experiment. And they were not wrong. As stated above, we need to defend those hard fought for rights- and move beyond them. Read this book.

When “The King” Became The King-Elvis- July 5, 1954

When “The King” Became The King-Elvis- July 5, 1954-Take Two  

 

 

 

Frank Jackman comment:

You never know what will turn up when you read the newspaper, for those who still do, or what you will pick up as a nugget via the Internet if you don’t. The other day, July 5^th I happened to glance at the “This date in history” spot in the Boston Globe and noticed that it highlighted one Elvis Presley complete with be-bopping accompanying photograph from the session that on July 5, 1954 recorded That's All Right, Mama and the nowhere Blue Moon of Kentucky on the B side of the 45 RPM record (for those who know not of records I direct you to the relevant section in Wikipedia) in Sam Phillips’ Sun Records studio in Memphis and the rest was rock and roll history. By the way maybe today we need to use Elvis’ last name for identification but in my generation all you needed to say was “Elvis” or “the king” and that was all everybody, every coming of age in the 1950s teenager and maybe a few stray outraged parents who saw the incarnation of the devil’s work in him needed to know to know exactly who you were talking about.

No question we are today in the shadow of July 5, 2015 very far removed from the “from hunger” good old boy rockabilly side of the origins of rock and roll delivered to us by the likes of Elvis, Carl Perkins, Warren Smith, Jerry Lee Lewis and Sonny Burgess, far removed from a time now called with a shutter the classic age of rock and roll to distinguish it from post-1964 rock and its progeny. Moreover rock as a genre has undergone many permutations and transformations on its way to a well-deserved if now somewhat faded niche in history.

But for one moment, one brief moment in the long history of music, we, those of us who came of age in the 1950s were proud to say that we had been present at the creation. Had been there at the sea-change.  Proud to say enough of Bing Crosby, Frank Sinatra, Patty Page, Andrews Sisters, McGuire Sisters, damn, enough of the musical sensibilities that got our parents through the dusty “from hunger” 1930s Great Depression and slogging fitfully and fretfully through World War II that we were force fed on the family radio. Yes, enough of that sound that made us grind our teeth after we had heard something new on our fugitive transistor radios held close to our ears away from prying parents, something with a be-bop-a-lula, be my daddy, shake that thing, take me to the sock hop beat. And Elvis gave us a big chuck of that beat, made us pick up our feet, snap our fingers.            

Get this though, and this is the true value of that notice in the Globe, as I thought about my own introduction to Elvis. Some of us if we were boys went into that new dispensation kicking and screaming, we the boys with two left feet. Worse, much worse, were thoughts about how to the girls that were beginning to go from last year’s nuisances to, well, interesting, said we didn’t compare with dreamy Elvis no matter how much we slicked back our hair, moved our cranky non-swivel hips or tried to imitate that sullen sneer. That patented sneer the girls who were just kicking and screaming every time they saw those hips swivel said that they wished could, no, they would die to, take off his face. Yeah, no question, those were troubled coming of age times, tongue-tied, two left feet, afraid, no, scared every time a school sock hop came along and you hoped to high heaven that you would not have to embarrass yourself by unchaining those cranky teenage hips of yours in front of some girl who had made your eyeballs sore looking at her all night. But from that moment on we said rock and roll would never die. And now through the good offices of YouTube it never will. So a retro-thanks to Elvis even if I still can’t move those hips of mine worth a damn.        

 

IN THE TIME OF THE FRENCH REPUBLIC OF VIRTUE

REMEMBER THE BASTILLE, BUT HONOR ROBESPIERRE AND SAINT JUST

BOOK REVIEW

PARIS IN THE TERROR, JUNE 1793-JULY 1794, STANLEY LOOMIS, J.B. LIPPINCOTT, NEW YORK, 1964

This year marks the 217th anniversary of the beginning of the Great French Revolution with storming of the Bastille. An old Chinese Communist leader, Zhou Enlai, was asked by a reporter to sum up the important lessons of the French Revolution. In reply he answered that it was too early to tell what those lessons might be. Whether that particular story is true or not it does contain one important truth. Militants today at the beginning of the 21st century can still profit from reading the history of that revolution.

The French Revolution, like its predecessor the American Revolution, is covered with so much banal ceremony, flag- waving, unthinking sunshine patriotism and hubris it is hard to see the forest for the trees. The Bastille action while symbolically interesting is not where the real action took place nor was it politically the most significant event. For militants that comes much later with the rise of the revolutionary tribunals and the Committee of Public Safety under the leadership of the left Jacobins Robespierre and Saint Just. Although the revolution began in 1789 its decisive phases did not take place until the period under discussion in this review, that is from June 1793 with the expulsion of the (for that time moderate) Girondin deputies from the National Convention.

That event ushered in the rule of extreme Jacobins under Robespierre and Saint Just through the vehicle of the Committee of Public Safety. That regime, the Republic of Virtue, as it is known to militants since that time and known as the Great Terror to the author of the book under review and countless others, lasted until July 1794. It was in turn ousted by a more moderate Jacobin regime (known historically as the Themidorian Reaction, a subject of fascination and discussion by militants, especially the Bolsheviks, ever since).

Robespierre’s and Saint Just’s overthrow in 1794 stopped the forward progression of the revolution although it did not return it back to the old feudal society. The forces unleashed by the revolution, especially among the land hungry peasantry, made that virtually impossible. In short, as has happened before in revolutionary history, the people and programs which supported the forward advancement of the revolution ran out of steam. The careerists, opportunists and those previously standing on the sidelines took control until they too ran out of steam. Then, not for the first or last time, the precarious balance of the different forces in society clashed and called out for a strongman. Napoleon Bonaparte was more than willing to be obliging when that time came.

Mr. Loomis takes great pains to disassociate himself not just from the excesses of the period (the executions) but seemingly the whole notion of democratic revolution at that time. He essentially favors a constitutional monarchy, and let the revolution stop there. In short, a regime run by a Lafayette-type- but with brains. Great revolutions, however, do not go halfway, despite the best laid plans of humankind. That said, why would militants read this book which paints everyone to the left of the most moderate Girondists as some kind of monster or at least an accomplice? If militants only read pro-revolutionary tracts then they are missing an important part of their education- the fight against patented bourgeois mystification of events. The terror in Paris is a question that needs to be dealt with critically by us while we defend the members of the Committee of Public Safety in their efforts to defend France against internal hostile elements of the old regime and the counterrevolutionary Europe powers. And at the same time defend the Committee’s program of social democracy initiated in order to maintain their base among the sans-culottes.

That said, every place Mr. Loomis places a minus we do not necessarily place a plus. We need to do our own sifting out of revolutionaries from the pretenders. Mlle. Corday by all accounts was a royalist at heart before she murdered Marat. Marat was by all accounts a fanatic. You cannot, however, make a revolution without theses Marat types. A combat-type revolutionary party, if such a party existed in Paris at the time which this writer does not believe did exist, would rein a Marat in. Danton is still an equivocal character who wanted to stop the revolution at his threshold. A Danton-Robespierre political bloc could have carried the revolution over some tough spots. That was not to be. The fault lies in the personality of Robespierre. Moreover, the execution of the leading Hebertists was a serious mistake, as it weakened the Committee’s base of support among the sans-culottes.

Robespierre and Saint Just are portrayed here as little more than monsters. But without those two figures the contours of the revolution would have been different, if it had survived the Coalition military forces arrayed against it at all. The question of the military defense of the revolution and its requirements domestically takes short shrift in Mr. Loomis’s account. That is the book’s abiding error. Robespierre headed the key administrative component of that defense. Saint Just was instrumental in the military aspect of that defense. One can rightly ask, with the possible exception of Carnot, who else could have organized that defense? One should moreover note that a revolution brings to the fore all kinds of personalities, not all of them as well- adjusted as modern humankind (sic) - it however, can never be reduced solely to that factor. Thus, militants should look for other sources elsewhere in order to find ammunition in defense of Robespierre and Saint Just. Apparently, according to Mr. Loomis and others, they are in need of defending. Nevertheless, they are worthy of honor in any militant’s revolutionary pantheon. Enough said.

*****Then and Now-A Pamphlet On The American Labor Struggles Of The 1930s

*****Then and Now-A Pamphlet On The American Labor Struggles Of The 1930s

 

Workers Vanguard No. 1072 7 August 2015 New Spartacist Pamphlet   Newly available for purchase is our publication Then and Now, which explains how class-struggle leadership made a key difference in three citywide strikes in 1934. We reprint below the pamphlet’s introduction describing its contents.   The “Then and Now” article in this pamphlet addresses the crucial political lessons of the 1934 strikes by Minneapolis truckers, maritime workers on the West Coast and Toledo auto parts workers. Waged amidst the all-sided destitution of the Great Depression, these strikes, like others that year, confronted the strikebreaking forces of the capitalist state. A key difference was that these strikes won. What made this outcome possible is that their leaders were, at the time, committed to a program of class struggle. Unlike other trade-union leaders of that day—and today—they did not buy into the notion that the workers had interests in common with the employers, their political parties or their state. Instead, these strikes were fought by mobilizing the mass strength and solidarity of the workers in opposition to the forces of the capitalist class enemy.   The review of Bryan Palmer’s book Revolutionary Teamsters provides a more in-depth study of the Minneapolis truckers’ strikes, which were led by the Trotskyists of the Communist League of America (CLA). Here they confronted the Farmer-Labor Party (FLP) governor of Minnesota, Floyd Olson, who commanded the allegiance of many workers with his often radical-sounding, friend-of-the-little-guy rhetoric. The FLP postured as a “third party” alternative to both the Democrats and Republicans, but it was no less a capitalist party.   This is effectively addressed in the 1930 article “The Minnesota F.L.P.” by Vincent Dunne, who went on to become a central leader of the truckers’ strikes. As Dunne makes clear, the two-class Farmer-Labor Party was based on the subordination of the workers’ struggles to farmers and other petty-bourgeois forces “whose political outlook is bounded by the illusion that it is possible to achieve security under the capitalist order.” After an on-again, off-again alliance with the Democratic Party, the FLP finally merged with the Democrats in 1944.   Dunne and other CLA leaders of the Minneapolis strikes had been armed for battle against farmer-labor populism by Russian revolutionary leader Leon Trotsky, who in the early 1920s had intervened to pull the young American communist movement back from giving political support to the capitalist “third party” candidacy of Robert La Follette, a maverick Republican Senator from Wisconsin. The excerpts from Trotsky’s introduction to his book, The First Five Years of the Communist International, summarize his opposition to this opportunist course which, if pursued, would have politically liquidated the fledgling Communist party.   Today, what remains of the gains that were won through the momentous class battles of the past continues to be ravaged in a one-sided class war enabled by trade-union misleaders, who have long forsaken the very means through which the unions were founded. The working class, the poor, black people, immigrants and countless others at the bottom of this society have paid the price in busted unions, broken lives and all-sided misery.   To be sure, it is not easy for the workers to win in the face of the forces arrayed against them. Many strikes, even very militant ones, will lose. But as was demonstrated in the three 1934 strikes addressed in this pamphlet, when important working-class battles are won it can dramatically alter the situation. These victories inspired a huge labor upsurge later in the 1930s that built the mass industrial unions in this country.   Hard-fought strikes can provide an important school of battle for the workers in which they learn the power of their collective strength and organization and begin to understand the class nature not only of the capitalist system but of the government, laws and political parties that defend its rule. But while able to strike important blows against the conditions of the workers’ exploitation, trade-union struggle on its own cannot end that exploitation. To win that war there must be a struggle for working-class power under the leadership of a revolutionary party that can arm the workers with the understanding and consciousness of their class interests in the fight to emancipate labor and all of the oppressed from the bondage of capitalist exploitation.

 

Spartacist League/U.S.

Box 1377 GPO, New York, NY 10116, USA

Frank Jackman comment on the labor Struggles of the 1930s:

Everybody, everybody who has been around for the last generation or two and has been breathing knows that the rich have gotten richer exponentially in the one-sided class war that they have so far successfully been pursuing here in America (and internationally as well). We really do not need to have the hard fact of class thrown in our faces one more time by the dwindling band of brave pro-working class leftists who must be legitimately perplexed by the lack of push-back, lack of basic trade union consciousness that animated those of a couple of generations ago to at least fight back and win a few precious gains. Or to have those of the think tank crowd of craven sociologists and make-shift policy wonks who are always slightly behind whatever the current reality is and well behind on what the hell to do about it if they would dream of lowering themselves to such considerations tell us of their recent discovery that the working classes (and the vaunted middle too) are getting screwed to put in working class language. What we really do need to have is some kind of guidance about how to fight back, how to get some room to breathe and figure out a strategy to win some class battles, small, large, hell, any size if for no other reason than to get the capitalists, mostly finance capitalists these days to back off a bit in that relentless drive to push everybody else to the bottom.

So it is very good, and very necessary, that this informative and thought-provoking pamphlet, Then and Now, goes back to the 1930s, the last serious prolonged struggle by the American working class as a class. Goes back and discusses those three very important class battles of 1934 –Minneapolis, Toledo and San Francisco all led centrally by “reds,” by those who had some sense that they were joining  in episodes of the class struggle and were willing to take their lumps on that basis. It probably would have seemed crazy to those militants that over 75 years later that their battles would be touted as the last great struggles of the class and that their grandchildren and great-grandchildren would be looking over their exploits with a certain admiration (and maybe puzzlement too since they have not seem such uppity-ness, ever). It speaks volumes that today’s leadership of the organized working class in the trade unions is clueless, worse, consciously works to keep everybody under their thumbs clueless about the battles that gave them their jobs. But that should not stop the rest of us from picking up some pointers. Read this one-and act.  

*****In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind

*****In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind 

From The Pen Of Zack James 

A few years ago, maybe more like a decade or so, in an earlier 1960s folk minute nostalgia incantation fit Sam Eaton, who will be described further below, had thought he had finally worked out in his head what that folk moment had meant in the great musical arc of his life. Had counted up, had taken up and put value on its graces, did the great subtractions on its disappointments, that lack of beat that he had been spoon fed on in his head having heard maybe in the womb the sweats of some backbeat that sounded an awful lot like a band of the devil’s angels giving battle to the heavens, and got his head around, his expression, its clasps with certain young women, some absolute folkie women met in the Harvard Squares of the heated horny sex night and loves too not always with folkie women but just the muck of growing up and taking what came his way. So he had taken a back-flip, his expression, when he was required not out of his own volition like that great prairie fire burning before about why he felt after all these years that he needed to go back to what after all was a very small part of his life now that he was reaching four score and seventy, going back over the terrain of a small part of the musics that he had cultivated since early childhood.

Some of those musics from his parents’ slogging through the Great Depression and World War II be-bop swing big band Saturday night get your dancing slippers imposed on his tender back of brain not to be revived and revisited until many years later when he had heard some ancient Benny Goodman be-bop clarinet backing up a sultry-voiced Peggy Lee getting all in a silky sweat rage because her man like a million others was not a do right man but had been chasing her best friend the next best thing when he got his wanting habit on and Peggy turned ice queen when he ran out of dough after shooting craps against the dealer and decided he had been wrong to dismiss such music out of hand. Some of the music along the edges of his coming from that edgy feeling he got when he heard the classic rock that just creeped into his pre-teen brain and lingered there unrequited until he found out what in that beat spoke to his primordial instincts, what caused his feverish nights of wonder, of what made him tick, of what he had missed.

Folk, the folk minute he deeply imbibed for that minute, at least the exciting part of the minute when he heard, finally heard, something that did not make him want to puke every time he turned on the radio, put his ill-gotten coins, grabbed from mother’s pocketbook laying there in wait for his greedy hands or through some con, some cheapjack con he pulled on some younger kids in Jimmy Jakes’ Diner jukebox to impress a few of the girls in town who were not hung up on Fabian or Bobby, heard something very new in his life and so different from the other musics that he had grown up with that he grabbed the sound with both hands. He thought that sweating a decade ago where he done a few small pieces to satisfy his literary sense of things and put them in a desk drawer yellow, fray and gather dust until he passed on and somebody put the paper in a wastebasket for the rubbish men, thought he had ended those thoughts, closed out the chapter. Recently though he did another series of short citizen-journalist sketches of scenes from that period for various folk music related blogs and social media outlets. Sam had done that series at the request of his old time friend, Bart Webber, who will also be described in more detail below, from Carver, an old working-class town about thirty miles south of Boston which at the time was the cranberry capital of the world or close to it, and close enough to have been washed by the folk minute that sprouted forth in Harvard Square and Beacon Hill in Boston.

Sam and Bart who in their respective youths had been very close, had been corner boys together when that social category meant something, meant something about extreme teen alienation and angst combined with serious poverty, dirt poor poverty as in hand-me-down older brother clothes, as in no family car for long periods between old wreak of cars, of many surly peanut butter and jelly sandwiches, many Spam suppers, all fashioned to make these young men forever talking about big break-outs, about getting something for them and theirs but also for big candy-ased dreams too all put paid to, as one would expect of sons of “boggers,” those who cared for and harvested those world famous  cranberries, but also close because that was the way that corner boys were then, “having each other’s backs” was the term they used which confused even the best of the social scientists who investigated the phenomenon when that corner boy life meant juvenile delinquency, meant some unfathomed anger, some lack of socialization, some throwback to primeval muds, to some rising of the unkempt heathens they were payed to watch out for. Meant as well worry to those in power who were trying to weld society as one piece of steel to fight the internal and external red scare Cold War fight.

Like a lot of high school friends the cement that bound them in high school, that alienation, that comradery, those best left unsaid larcenous moments, the “midnight creeps” in Bart’s words when somebody asked him later what had made him and the corner boys put their reputations at risk for such small gain, a fact which also played a part in that “having each other’s back” broke apart once they graduated, or rather in their case once they had sowed their wild oats in the 1960s, those wild oats at the time meaning “drugs, sex, and rock and roll” combined with drifting the hitchhike road west in what one of their number, the late Pete Markin, called the search for the great blue-pink American West night.

Sam had stayed out in the West longer before he drifted back East to go to law school and pursue a professional career. Bart had returned earlier, had gotten married to his high school sweetheart and had started up and run a small successful specialty print shop based on the silk-screening tee-shirt and poster craze in Carver. They would run into each other occasionally when Sam came to town but for about twenty years they had not seen each other as both were busy raising families, working and travelling in different circles. One night though when Sam had been sitting in Jimmy Jakes’ Diner over on Spring Street in Carver having a late dinner by himself after having come to town to attend the funeral of a family member Bart had walked in and they then renewed their old relationship, decided that some spark from high school still held them together if nothing else that they both had been deeply formed, still held to those old corner boy habits toward life whatever successes they had subsequently enjoyed.

Along the way to solidifying there new relationship they would alternate meetings, some in Carver, some in Boston or Cambridge where Sam lived. On a recent trip to Boston to meet Sam at the Red Hat at the bottom of Beacon Hill Bart had walked pass Joy Street which triggered memories of the time in high school when he and his date who name he could not remember but she was a cousin of Sam’s “hot” date, Melinda Loring, who they went to school with and whom Sam was crazy to impress even though Melinda was not the daughter of a “bogger” but of school teachers and so from among the town’s better element and he was constantly on eggshells that she would toss him aside once she had figured out he was just another Fast Eddie corner boy trying to get into her pants, had taken them on a cheap date to the Oar and Anchor coffeehouse which stood at the corner of Joy and Cambridge Street to hear Lenny Lane who was an up and coming folk singer whom Sam had met on one of his clandestine midnight trips to Harvard Square on the Redline subway to hang out at the Hayes-Bickford.

That cheap part of the cheap date thing was important since Bart and Sam were as usual from hunger on money in the days when around Carver, probably around the world, guys paid expenses on dates, girls just looked beautiful or if not beautiful glad to not be forever hanging around the midnight telephone waiting for some two-timing guy to call them up for a date, and so short of just hanging at the Hayes for free watching weirdoes, con men, whores plying their trade, drunks, winos and occasional put upon artists, poets, writes and folk-singers perfecting their acts on the cheap, for the price of a couple of cups of coffee, a shared pastry and a couple of bucks in the “basket” for the performer you could get away with a lot especially when Bart was doing Sam a favor with that cousin (and worse could have gotten in trouble if Besty Binstock, his high school sweetheart. found out he was two-timing her although the two-timing involved the possibility of some off-hand sex with that cousin who was supposed to be “easy” but that in another story although come to think of it the situation could serve as another  prime example of “having each other’s back” when one of them was up against it).

Bart remembered that he had been very uncomfortable that night since he had had some feelings of guilt about two-timing (and lying to) Betsy starting out, had had trouble talking about anything in common, school, sports, the weather, with that cousin since she said she was doing Melinda a favor in order that she could go to Boston with Sam which Melinda’s mother would have balked at if she had told her they were going into Boston alone, going into Boston with a “bogger” alone. Moreover she knew nothing, cared nothing for folk music, didn’t even know what it was, said she had never heard of the thing, was fixated on Bobby Vee, dreamy guys, or something like that. What made that date worse was that Bart too then could hardly bear the sound of folk music, said repeatedly that the stuff was all dreary and involved weird stuff like murder and mayhem done on the banks of rivers, in back alleys, on darkened highways just because some woman would not come across, Jesus, strangely thwarted love reminding him of Sam’s forlorn quest for Melinda which seemed like some princess and pauper never the twain shall meet outcome, or hick stuff about home sweet home down in some shanty town in some desolate cabin without lights or water which sounded worse than Boggertown, singing high holy Jehovah stuff that made him wince, and of the hills and hollows in some misbegotten mountains made his teeth grind. So not a good mix, although it did turn out that the cousin was “easy,” did think he was dreamy enough to have sex with (with their clothes mostly on which was how more than one quicky one night stand wound up down by the boathouse near the Charles River after they had split from Sam and Melinda after the coffeehouse closed and that helped but had been the result of no help from the folk music they half-listened but more some dope that she had in her pocketbook after she passed had a joint around to get things going.            

After telling Sam about his recollections of Joy Street and that cousin, whose name was Judy Dennison Sam told him and who Sam had gone out with and agreed was a little sex kitten once she was stoned Bart started asking some questions about folk music. Sam said he was not finished with that Judy story, told Bart that fling was after the thing with Melinda had passed due not to class distinctions but to that hard fact that she was saving “it” for marriage, and had been very glad that he had that run and was not sorry he did. Bart started in again and asked Sam a million questions about various folk-singers and what had happened to them, were they still playing, still alive since Sam although he did not have the same keen interest of his youthful folk minute still kept small tabs on the scene, the now small scene through his long-time companion, Laura Perkins whom he met one night at the Café Nana several years before when Tom Tremble was playing there after Sam had not heard him in about forty years. The reason for Bart’s interest given that above he had said that the genre made his teeth grind was that after that night with Judy Bart did go on other double dates with Sam and Melinda, and later Suzanne when she was Sam’s next flame and a real folkie, to folk places and while he still would grind his teeth at some of the stuff did develop more tolerance for the genre, especially if the date Sam set up was a real foxy folkie girl (thinking on it now he couldn’t believe how unfaithful he had been to Betsy in those days but she too was saving “it” for marriage and some of those young women were very willing and had apartment or dorm rooms too).

The upshot of all of Bart’s questions was that Sam found that he was not really except for Tom Tremble who had lost his sweet baby James voice, forgot lyrics and had “mailed it in” that night he had met Laura and was cold “stonewalled” by the audience but possibly motivated by that old folkie feeling, or maybe just feeling sorry for a guy who had a big local following back in the day when the “basket” went around everybody put some dough in, Sam and Laura included, and a couple of other guys up on what had happened to the old-time folkies since for years he had merely listened on radio station WCAS and when that station went under WUMB out of U/Mass-Boston or listened to records, tapes or CDs. (Sam got big points from Laura that first night when he panned Tom, who Laura had never heard before being enough younger not to have been bitten by the folk minute craze and she agreed that Tom had “mailed it in”.) Since he was not all that familiar with what had happened to most of them he thereafter did some research, asked Laura some questions to lead the way and wound up writings that series of sketches. One series entitled Not Bob Dylan about the fate of prominent male folk-singers was a direct result of the Sam and Bart conversation. Here’s what he had to say about Tom Rush who back in the day he knew best from hanging around the old Club 47 on Mount Auburn Street:     

“…Other than enigmatic Bob Dylan who is the iconic never-ending tour male performer most people would still associate with that folk minute period they would draw a blank on a list of others who also were aspiring to make names for themselves in the folk milieu. I am not talking about guys like Lenny Lane who had one hit and then went back to graduate school in biology when he couldn’t get another contract, when his well ran dry, or like Tom Tremble who had a big local following around the old Club Nana when it was on Mount Auburn Street in Cambridge not where it is now on Brattle Street but who did mainly covers and just never broke out or Mike Weddle who had good looks, a good stage presence, had the young women going crazy but who just walked away one day when some good looking woman from Radcliffe came hither and he “sold out” to her father’s stockbroking business.

I’m talking about people like Tom Rush from New Hampshire who lit up the firmament around Cambridge via the Harvard campus folk music station, Dave Von Ronk the cantankerous folk historian and musician who knew more about what happened in the early, early days in the Village at the point where “beat” poetry was becoming passe and folk was moving in to fill in the gap, Phil Ochs who had probably the deepest political sensibilities of the lot and wrote some of the stronger narrative folk protest songs, Richard Farina who represented that “live fast” edge that we were bequeathed by the “beats” and who tumbled down the hill on a motorcycle, and Jesse Collin Young who probably wrote along with Eric Andersen and Jesse Winchester the most pre-flower child lyrics mid-1960s hippie explosion before folk got amplified of the bunch.

My friend Bart had just seen a fragile seeming, froggy-voiced Bob Dylan in one of stages of his apparently never-ending concerts tours up in Maine and had been shaken by the sight and had wondered about the fate of other such folk performers. That request turned into a series of reviews of male folk-singers entitled Not Bob Dylan (and after that, also at Bart’s request, a series entitled Not Joan Baez based on some of the same premises except on the distaff side (nice word, right, you know golden-voiced Judy Collins and her sweet songs of lost, Carolyn Hester and her elegant rendition of Walt Whitman’s Oh Captain, My Captain, Joan’s sister Mimi Farina forever linked with Richard and sorrows, and Malvina Reynolds who could write a song on the wing, fast okay, and based as well on the mass media having back then declared that pair the “king and queen” of the burgeoning folk music minute scene).

That first series (as had the second) had asked two central questions-why did those male folk singers not challenge Dylan who as I noted the media of the day had crowned king of the folk minute for supremacy in the smoky coffeehouse night (then, now the few remaining are mercifully smoke-free although then I smoked as heavily as any guy who though such behavior was, ah, manly and a way to seen “cool” to the young women, why else would we have done such a crazy to the health thing if not to impress some certain she)  and, if they had not passed on and unfortunately a number have a few more since that series as well most notably Phil Ochs of suicide early, Dave Von Ronk of hubris and Jesse Winchester of his battle lost over time had come, were they still working the smoke-free church basement, homemade cookies and coffee circuit that constitutes the remnant of that folk minute even in the old hotbeds like Cambridge and Boston. (What I call the U/U circuit since while other church venues are part of the mix you can usually bet safely that if an event is scheduled it will be at a U/U church which is worthy of a little sketch of its own sometime in order to trace the folk minute after the fanfare had died down and as a tribute to those big-hearted souls at radio stations like WCAS and WUMB and in places like Club Passim whose efforts have kept the thing going in order to try to pass it on to the younger generations now that demographics are catching up with the folkies from the 1960s heyday). Moreover, were they still singing and song-writing, that pairing of singer and writer having been becoming more prevalent, especially in the folk milieu in the wake of Bob Dylan’s word explosions back then. The days when the ground was shifting under the Tin Pan Alley Cole Porter/Irving Berlin/ Jerome Kern kingdom.   

Here is the general format I used in that series for asking and answering those two questions which still apply today if one is hell-bent on figuring out the characters who rose and fell during that time: 

“If I were to ask someone, in the year 2005 as I have done periodically both before and after, to name a male folk singer from the 1960s I would assume that if I were to get any answer to that question that the name would be Bob Dylan. That “getting any answer” prompted by the increasing non-recognition of the folk genre by anybody under say forty, except those few kids who somehow “found” their parents’ stash of Vanguard records (for example, there were other folk labels including, importantly, Columbia Records which pushed the likes of Dylan and John Hammond forward) just as some in an earlier Pete Seeger/Weavers/Leadbelly/ Josh White/Woody Guthrie records in our parents’ stashes. Today’s kids mainly influenced by hip-hop, techno-music and just straight popular music.

And that Dylan pick would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be since he clearly had tired of the role, or seemed to by about 1966 when he for all intents and purposes “retired” for a while prompted by a serious motorcycle accident and other incidents) the voice of the Generation of ’68 (so named for the fateful events of that watershed year, especially the Democratic Convention in America in the summer of that year when the old-guard pulled the hammer down and in Paris where the smell of revolution was palpably in the air for the first time since about World War II, when those, including me, who tried to “turn the world upside down” to make it more livable began to feel that the movement was reaching some ebb tide) but in terms of longevity and productivity, the never-ending touring until this day and releasing of X amount of bootleg recordings, the copyrighting of every variation of every song, including traditional songs, he ever covered and the squelching of the part of the work that he has control over on YouTube he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review, Tom Rush, is one such singer/songwriter.”

“The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960s and it is certainly an appropriate question to ask of Tom Rush as well. Did they aspire to be the “king” of the genre? I do not know if Tom Rush, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong baritone) voice to fit the lyrics of love, hope, and longing that he was singing about at the time, particularly the No Regrets/Rockport Sunday combination which along with Wasn’t That A Mighty Storm and Joshua Gone Barbados were staples early on. During much of this period along with his own songs he was covering other artists, particularly Joni Mitchell and her Urge For Going and The Circle Game, so it is not clear to me that he had that same Dylan drive by let’s say 1968.

I just mentioned that he covered Joni Mitchell in this period. A very nice version of Urge For Going that captures the wintry, got to get out of here, imaginary that Joni was trying to evoke about things back in her Canadian homeland. And the timelessness and great lyrical sense of his No Regrets, as the Generation of ’68 sees another generational cycle starting, as is apparent now if it was not then. The covers of fellow Cambridge folk scene fixture Eric Von Schmidt on Joshua Gone Barbados and Galveston Flood are well done. As is the cover of Bukka White’s Panama Limited (although you really have to see or hear old Bukka flailing away on his old beat up National guitar to get the real thing on YouTube).”

Whether Tom Rush had the fire back then is a mute question now although in watching the documentary, No Regrets, in which he tells us about his life from childhood to the very recent past (2014) at some point he did lose the flaming “burn down the building fire,” just got tired of the road like many, many other performers and became a top-notch record producer, a “gentleman farmer,” and returned to the stage occasionally, most dramatically with his annual show Tom Rush-The Club 47 Tradition Continues held at Symphony Hall in Boston each winter. And in this documentary appropriately done under the sign of “no regrets” which tells Tom’s take on much that happened then he takes a turn, an important oral tradition turn, as folk historian. 

He takes us, even those of us who were in the whirl of some of it back then to those key moments when we were looking for something rooted, something that would make us pop in the red scare Cold War night of the early 1960s. Needless to say the legendary Club 47 in Cambridge gets plenty of attention as does his own fitful start in getting his material recorded, or rather fitful starts, mainly walking around to every possible venue in town to get backing for record production the key to getting heard by a wider audience via the radio and to become part of the increasing number of folk music-oriented programs, the continuing struggle to this day from what he had to say once you are not a gold-studded fixture.

“Other coffeehouses and other performers of the time, especially Eric Von Schmidt, another performer with a ton of talent and song-writing ability who had been on the scene very, very early on who eventually decided that his artistic career took first place, get a nod of recognition.  As does the role of key radio folk DJ Dick Summer in show-casing new work (and the folk show, picked up accidently one Sunday night when I was frustrated with the so-called rock and roll on the local AM rock station and flipped the dial of my transistor radio and heard a different sound, the sound of Dave Von Ronk, where I started to pick up my life-long folk “habit”).

So if you want to remember those days when you sought refuse in the coffeehouses and church basements, sought a “cheap” date night (for the price of a couple of cups of coffee sipped slowly in front of you and your date, a shared pastry and maybe a few bucks admission or tossed into the passed-around “basket” you got away easy and if she liked the sound too, who knows what else) or, ouch, want to know why your parents are still playing Joshua’s Gone Barbados on the record player as you go out the door Saturday night to your own adventures watch this documentary and find out what happened to one Not Bob Dylan when the folk world went under.