* Hard Times In Babylon, Again- "Poor Man's Heaven"- Song Of The Great Depression Of The 1930's (The Other One)

Click On Title To Link To YouTube's Clip of Yip Harburg's "Brother, Can You Spare a Dime?" done by Bing Crosby.

CD REVIEW

Poor Man's Heaven: Songs Of The Great Depression, various artists,When The Sun Goes Down series, BMG, 2003

Banks are failing. Stock markets are in a nose dive. Unemployment is way up. Housing values are headed toward the floor. More and more people are seeking welfare and food stamps. Consumers are “tightening their belts” waiting for the other show to fall. And that is only the grim news on an average day. Other days ratchet up the doom and gloom from there. Oh, you thought I was talking about today’s headlines. No I am referring to the Great Depression of the 1930’s which in song is the subject matter of this CD review. Does sound familiar though, doesn’t it? The only thing I haven’t heard about lately is “Bushvilles” or "Obamavilles” to replace the “Hooverville” shanty towns of the 1930’s. But they could be on the way.

Even in the worst of times, at least to this reviewer’s understanding of the human endeavor, people have turned to song to relieve what ails them. Sometimes, as some selection here, it could be with a funny twist on the idiocy of the markets like old time comedian Eddie Cantor’s “Tips On The Stock Market” or Frank Crumit’s “Tale Of The Ticker”. Sometimes it could be the pathos expressed in “Brother, Can You Spare A Dime?’ or “Remember My Forgotten Man”

Other times it can be ironic as on “Hallelujah, I’m A Bum” or the title track “Poor Man’s Heaven”. Or it can express social or personal reality like “Raising The Rent”, “Ten Cents A Dance” or “The Farm Relief Song”. And sometimes, it can express just pure desperation or frustration as in Alfred Reed’s “How Can A Poor Man Stand Such Times And Live?’, Daddy Stovepipe’s “35 Depression” or Joe Stone’s “It’s Hard Time”. Yes, we need our songs to get us through but here is the kicker. It’s not enough. We cannot sing these bad time blues away. For that we need to take social action. By and for ourselves. But that is a question for another day. Today we speak of our hard times musical heritage. Listen up.

*****

A Tale of A Ticker

By Frank Crumit and Frank O'Brien

A Tale of A Ticker , a 1929 novelty song foreshadowing the 1929 stock-market crash, has music by Frank Crumit and lyrics by Frank O'Brien.

This little pig went to market,
Where they buy and sell the stocks,
This little pig came home again,
With his system full of shocks.

I don’t understand their language,
Don’t know what it’s all about,
For a bull buys up and a bear sells down and a broker sells you out;

And here is the song they sing the whole day long;
Oh! the market’s not so good today,
Your stocks look kind of sick,
In fact they all dropped down a point time the tickers tick;

We’ll have to have more margin now,
There isn’t any doubt,
So you better dash with a load of cash,
Or we’ll have to sell you out.

The stock exchange is a funny place,
It’s the strangest place in town,
The seats cost half a million cash,
But the brokers won’t sit down.

There’s the broker the bull and bear,
It’s queer but it’s not a joke,
For you get the bull till your bank-roll’s bare
and the broker says you’re broke,

And here is the song I hear the whole day long;
Oh! The market’s not so good today,
Your stocks look kind of sick,
In fact they all dropped down a point time the tickers tick;

We’ll have to have more margin now,
There isn’t any doubt,
So you better dash with a load of cash,
Or we’ll have to sell you out.

The market simply goes to prove,
That we still have loco weeds,
For the bull buys what he doesn’t want,
And the bear sells what he needs,

I bought an elevator stock,
And thought that I did well,
And the little bears all ran down-stairs
and rang the basement bell,

And here is the song I hear the whole day long;
Oh! The market’s not so good today,
Your stocks look kind of sick,
In fact they all dropped down a point time the tickers tick;

We’ll have to have more margin now,
There isn’t any doubt,
So you better dash with a load of cash,
Or we’ll have to sell you out.

HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE ?

Blind Alfred Reed - 1929

There once was a time when everything was cheap,
But now prices nearly puts a man to sleep.
When we pay our grocery bill,
We just feel like making our will --
I remember when dry goods were cheap as dirt,
We could take two bits and buy a dandy shirt.
Now we pay three bucks or more,
Maybe get a shirt that another man wore --
Tell me how can a poor man stand such times and live?
Well, I used to trade with a man by the name of Gray,
Flour was fifty cents for a twenty-four pound bag.
Now it's a dollar and a half beside,
Just like a-skinning off a flea for the hide --
Tell me how can a poor man stand such times and live?

Oh, the schools we have today ain't worth a cent,
But they see to it that every child is sent.
If we don't send everyday,
We have a heavy fine to pay --
Tell me how can a poor man stand such times and live?

Prohibition's good if 'tis conducted right,
There's no sense in shooting a man 'til he shows flight.
Officers kill without a cause,
They complain about funny laws --
Tell me how can a poor man stand such times and live?

Most all preachers preach for gold and not for souls,
That's what keeps a poor man always in a hole.
We can hardly get our breath,
Taxed and schooled and preached to death --
Tell me how can a poor man stand such times and live?

Oh, it's time for every man to be awake,
We pay fifty cents a pound when we ask for steak.
When we get our package home,
A little wad of paper with gristle and a bone --
Tell me how can a poor man stand such times and live?

Well, the doctor comes around with a face all bright,
And he says in a little while you'll be all right.
All he gives is a humbug pill,
A dose of dope and a great big bill --
Tell me how can a poor man stand such times and live?

"Brother, Can You Spare a Dime," lyrics by Yip Harburg, music by Jay Gorney (1931)

They used to tell me I was building a dream, and so I followed the mob,

When there was earth to plow, or guns to bear, I was always there right on the job.

They used to tell me I was building a dream, with peace and glory ahead,

Why should I be standing in line, just waiting for bread?

Once I built a railroad, I made it run, made it race against time.

Once I built a railroad; now it's done. Brother, can you spare a dime?

Once I built a tower, up to the sun, brick, and rivet, and lime;

Once I built a tower, now it's done. Brother, can you spare a dime?

Once in khaki suits, gee we looked swell,

Full of that Yankee Doodly Dum,

Half a million boots went slogging through Hell,

And I was the kid with the drum!

Say, don't you remember, they called me Al; it was Al all the time.

Why don't you remember, I'm your pal? Buddy, can you spare a dime?

Once in khaki suits, gee we looked swell,

Full of that Yankee Doodly Dum,

Half a million boots went slogging through Hell,

And I was the kid with the drum!

Say, don't you remember, they called me Al; it was Al all the time.

Say, don't you remember, I'm your pal? Buddy, can you spare a dime?


Ten Cents a Dance

From Simple Simon

Lyrics by Lorenz Hart, music by Richard Rodgers

VERSE

I work at the Palace Ballroom,
but, gee that Palace is cheap;
when I get back to my chilly hall room
I'm much to tired to sleep.
I'm one of those lady teachers,
a beautiful hostess, you know,
the kind the Palace features
for only a dime a throw.

REFRAIN

Ten cents a dance
that's what they pay me,
gosh, how they weigh me down!
Ten cents a dance
pansies and rough guys
tough guys who tear my gown!
Seven to midnight I hear drums.
Loudly the saxophone blows.
Trumpets are tearing my eardrums.
Customers crush my toes.
Sometime I think
I've found my hero,
but it's a queer romance.
All that you need is a ticket
Come on, big boy, ten cents a dance.

PATTER

Fighters and sailors and bowlegged tailors
can pay for their ticket and rent me!
Butchers and barbers and rats from the harbors
are sweethearts my good luck has send me.
Though I've a chorus of elderly beaux ,
stockings are porous with hole at the toes.
I'm here till closing time.
Dance and be merry, it's only a dime.

TAG

Sometime I think
I've found my hero,
but it's a queer romance.
All that you need is a ticket
Come on, big boy, ten cents a dance.

* Poor Man’s Heaven- Once Again No Relief In Sight

Click on title to link to YouTube's film clip of Vernon Dalhart performing his "The Farm Song" from "Poor Man’s Heaven", various artists, When The Sun Goes Down, RCA Victor, 1995.

***The Voices Of The Old South- Alan Lomax's Southern Journey, Volume 1

Click Below To Link To YouTube's Instrumental Version of "Poor Wayfaring Stranger". Sorry that I could not locate film clips of the artists mentioned below but such items are either non-existent or not readily available. There are, after all, limits even to today's technological possibilities of recovering the past.

http://www.youtube.com/watch?v=Ry4_7oVS_NI

CD REVIEW

The Hills And Islands Of The South -The Short Course

Southern Journey, Volume 1, Voices From The American South, various artists, Rounder Records, 1997

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

I mentioned in a review of the performers who influenced the 1960's urban folk scene that those efforts did not fall from the sky but had been transmitted by earlier performers. That, my friends, applies as well to the search for roots music. I also mentioned that we all, later when we understood things better, appreciated that John and Allan Lomax (here in this many-volumed series carrying on his father's work in the late 1950's) did yeomen's service to roots music by their travels into the hinterlands in the 1930's and 1940's (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain music and other types of American traditional music. Most of us got our country blues infusion second-hand through our addiction to local coffeehouses and the performers who provided us with entertainment. The performers we listened to, in turn, learned their material from the masters who populate this CD.

This CD contains a nice assortment of Georgia Sea Island tunes, wage work songs, prisoner work songs and some of the most interesting simple religious music I have heard in a while. I would note in regard to that last point the version of "Beulah Land" done by John Davis and Bessie Jones (who also stands out on other selections here); Sidney Carter's "Pharaoh" and, by far my favorite, The Thornton Old Regular Baptist Church Congregation's "Guide Me O Thou Great Jehovah". A few centuries ago during the Protestant Reformation, or a little later, during the English Revolution in England I would have heartily joined in on this one.

127. Guide Me, O Thou Great Jehovah
Text: William Williams, 1717-1791; trans. from the Welsh by Peter Williams and the author
Music: John Hughes, 1873-1932
Tune: CWM RHONDDA, Meter: 87.87.87
--------------------------------------------------------------------------------

1. Guide me, O thou great Jehovah,
pilgrim through this barren land.
I am weak, but thou art mighty;
hold me with thy powerful hand.
Bread of heaven, bread of heaven,
feed me till I want no more;
feed me till I want no more.

2. Open now the crystal fountain,
whence the healing stream doth flow;
let the fire and cloudy pillar
lead me all my journey through.
Strong deliverer, strong deliverer,
be thou still my strength and shield;
be thou still my strength and shield.

3. When I tread the verge of Jordan,
bid my anxious fears subside;
death of death and hell's destruction,
land me safe on Canaan's side.
Songs of praises, songs of praises,
I will ever give to thee;
I will ever give to thee.

***The Voices Of The Old South- Alan Lomax's Southern Journey, Volume 3

Click On Title To Link To YouTube's film clip of Mississippi Fred McDowell doing his version of "John Henry". Slide, Brother, Slide. Wow.

CD Review

Delta Blues-The Short Course

Southern Journey, Volume 3, Highway 61, Fred McDowell and various artists, Rounder Records, 1997

I have spent a fair amount of time recently reviewing, individually and on various artist compilations, performers from the 1960’s urban folk revival. You know, Bob Dylan, Joan Baez, Dave Van Ronk, Eric Von Schmidt and the like. I have also reviewed the earlier performers who influenced them on the more traditional folk side like Woody Guthrie and Pete Seeger. There was another component of that search for roots that entailed heading south to the Mississippi Delta (or the hills of North Carolina) and getting ‘religion’ on the black country blues scene.

I mentioned in a review of the performers who influenced the 1960’s urban folk scene that it did not fall from the sky but had been transmitted by earlier performers. That, my friends, applies as well to the search for the blues. I also mentioned that we all, later when we understood things better, appreciated that John and Allan Lomax did yeomen’s service to roots music by their travels into the hinterlands in the 1930’s and 1940’s (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain and other types of American traditional music. However, most of us got our country blues infusion second-hand through our addiction to local coffeehouses and the performers who provided us entertainment. They, in turn, learned their material from the masters who populate this CD.

This CD compilation is filled with the legends of the genre like the renowned Mississippi Fred McDowell (a major influence on, and mentor to, Bonnie Raitt). Moreover it contains fife and drum music from North Mississippi, which can be traced back to the African roots, and work songs that do not get nearly enough attention (including by this reviewer) as the work of the Delta artists like McDowell, Son House, John Hurt and Bukka White. Nicely done.

John Henry

A Folk Version of the Ballad

An Early Version
Construction Crew Version
Folk Version
Prison and Chain Gang Version
Other Versions

Johnson cites another song obtained from Onah L. Spencer of Cincinnati, Ohio. Spencer compiled the song by combining lyrics from a variety of versions he overheard during 25 years of life in an African-American community in Cincinnati. Spencer said the song was used to introduce new workers into the culture of the laboring community "for if there was a slacker in a gang of workers it would stimulate him with its heroic masculine appeal."


JOHN HENRY

Some say he's from Georgia,
Some say he's from Alabam,

But it's wrote on the rock at the Big Ben Tunnel,

That he's an East Virginia Man,

That he's an East Virginia man.

John Henry was a steel drivin' man,
He died with a hammah in his han',

Oh, come along boys and line the track

For John Henry ain't never comin' back,

For John Henry ain't never comin' back.

John Henry he could hammah,
He could whistle, he could sing,

He went to the mountain early in the mornin'

To hear his hammah ring,

To hear his hammah ring.

John Henry went to the section boss,
Says the section boss what kin you do?

Says I can line a track, I kin histe a jack,

I kin pick and shovel too,

I kin pick and shovel too.

John Henry told the cap'n,
When you go to town,

Buy me a nine pound hammah

An' I'll drive this steel drill down,

An' I'll drive this steel drill down.

Cap'n said to John Henry,
You've got a willin' mind.

But you just well lay yoh hammah down,

You'll nevah beat this drill of mine,

You'll nevah beat this drill of mine.



John Henry went to the tunnel
And they put him in lead to drive,

The rock was so tall and John Henry so small

That he laid down his hammah and he cried,

That he laid down his hammah and he cried.

The steam drill was on the right han' side,
John Henry was on the left,

Says before I let this steam drill beat me down,

I'll hammah myself to death,

I'll hammah myself to death.

Oh the cap'n said to John Henry,
I bleeve this mountain's sinkin' in.

John Henry said to the cap'n, Oh my!

Tain't nothin' but my hammah suckin' wind,

Tain't nothin' but my hammah suckin' wind.

John Henry had a cute liddle wife,
And her name was Julie Ann,

And she walk down the track and nevah look back,

Goin' to see her brave steel drivin' man,

Goin' to see her brave steel drivin' man.

John Henry had a pretty liddle wife,
She come all dressed in blue.

And the last words she said to him,

John Henry I been true to you,

John Henry I been true to you.

John Henry was on the mountain,
The mountain was so high,

He called to his pretty liddle wife,

Said Ah kin almos' touch the sky,

Said Ah kin almos' touch the sky.

Who gonna shoe yoh pretty liddle feet,
Who gonna glove yoh han',

Who gonna kiss yoh rosy cheeks,

An' who gonna be yoh man,

An' who gonna be yoh man?



Papa gonna shoe my pretty liddle feet,
Mama gonna glove my han',

Sistah gonna kiss my rosy cheeks,

An' I ain't gonna have no man,

An' I ain't gonna have no man.

Then John Henry told huh,
Don't you weep an' moan,

I got ten thousand dollars in the First National Bank,

I saved it to buy you a home,

I saved it to buy you a home.

John Henry took his liddle boy,
Sit him on his knee,

Said that Big Ben Tunnel

Gonna be the death of me,

Gonna be the death of me.

John Henry took that liddle boy,
Helt him in the pahm of his han',

And the last words he said to that chile was,

I want you to be a steel drivin' man,

I want you to be a steel drivin' man.

John Henry ast that liddle boy,
Now what are you gonna be?

Says if I live and nothin' happen,

A steel drivin' man I'll be,

A steel drivin' man I'll be.

Then John Henry he did hammah,
He did make his hammah soun',

Says now one more lick fore quittin' time,

An' I'll beat this steam drill down,

An' I'll beat this steam drill down.

The hammah that John Henry swung,
It weighed over nine poun',

He broke a rib in his left han' side,

And his intrels fell on the groun',

And his intrels fell on the groun'.



All the women in the West
That heard of John Henry's death,

Stood in the rain, flagged the east bound train,

Goin' where John Henry dropped dead,

Goin' where John Henry dropped dead.

John Henry's liddle mother
Was all dressed in red,

She jumped in bed, covered up her head,

Said I didn't know my boy was dead,

Said I didn't know my boy was dead.

They took John Henry to the White House,
And buried him in the san',

And every locomotive come roarin' by,

Says there lays that steel drivin' man,

Says there lays that steel drivin' man.

***The Voices Of The Old South- Alan Lomax's Southern Journey, Volume 2

Click On Title Page To Link To YouTube's Instrumental Version Of "Sally Anne". Sorry that I could not locate film clips of the artists mentioned below but such items are either non-existent or not readily available. There are, after all, limits even to today's technological possibilities of recovering the past.


CD Review

Going Out To The Hollows and Hills Of Appalachia

Southern Journey: Ballads And Breakdowns, Volume 2, various artists and Alan Lomax, Rounder Records, 1997

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

I mentioned in a review of the performers who influenced the 1960’s urban folk scene that it did not fall from the sky but had been transmitted by earlier performers. That, my friends, applies as well to the search for roots music. I also mentioned that we all, later when we understood things better, appreciated that John and Allan Lomax (here in this series carrying on his father’s work in the late 1950’s) did yeomen’s service to roots music by their travels into the hinterlands in the 1930’s and 1940’s (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain and other types of American traditional music. However, most of us got our country blues infusion second-hand through our addiction to local coffeehouses and the performers who provided us entertainment. They, in turn, learned their material from the masters who populate this CD.

So what sticks out here in this CD that concentrates on the southern mountain regions of Virginia and environs? I would first note the hard Protestant spirit, if not Calvinism, of much of the music, as this compilation is about rural whites, their trials, and tribulations and struggles to eke out an existence on hard-scrabble land. I would also note the fair amount of a cappella work here. And that instrumentation is simple and clean, especially on the ubiquitous fiddle and the occasional banjo. That said, a nice version of “John Henry” works (a song that I have probably heard in twenty or so forms). As does a great rousing rendition of “Sally Anne” (also known under other names) and yet another variation on “The Banks Of The Ohio” (what doesn’t change in the versions is the murderous assault and the unrequited love of the story line). ‘The Little Schoolboy” by Hobart Smith, one of the stars of this CD is an interesting take on lost and death, a not infrequent theme is these ballads. If you want to hear fiddling done old style and get a feel for an important, if somewhat neglected part of the American experience then listen here.



BANKS OF THE OHIO (trad.)

Song lyrics on these pages only for the purpose of study, review or critical analysis

Bill and Charlie Monroe originally recorded this song on June 21, 1936, and show it as public domain on the Bluebird recording; although interestingly enough when Bill recorded it with the Blue Grass Boys on March 14, 1972 [BILL MONROE & JAMES MONROE, "FATHER & SON," MCA-310], he indicated that his version was adapted and arranged by B. Welch and J. Farrar [Blue Gum Music, Inc.].
The version done by Doc and Bill is obviously reminiscent of the Monroe Brothers' recording.
RALPH RINZLER, liner notes for Bill Monroe & Doc Watson, "LIVE DUET RECORDINGS 1963-1980" (SMITHSONIAN FOLKWAYS SF 40064, 1993)



I asked my love to take a walk,
Just a little way's with me.
An' as we walked,
Then we would talk
All about our wedding day.
CHORUS:
"Darlin', say that you'll be mine;
In our home we'll happy be,
Down beside where the waters flow,
On the banks of the Ohio."

I took her by her pretty white hand,
I led her down the banks of sand,
I plunged her in
Where she would drown,
An' watched her as she floated down.

CHORUS:
"Darlin', say that you'll be mine;
In our home we'll happy be,
Down beside where the waters flow,
On the banks of the Ohio."

Returnin' home between twelve and one,
Thinkin', Lord, what a deed I've done;
I'd killed the girl
I love, you see,
Because she would not marry me.

The very next day, at half past four,
The sheriff walked right to my door;
He says, "Young man,
Don't try to run.
You'll pay for this awful crime you've don."

CHORUS:
"Darlin', say that you'll be mine;
In our home we'll happy be,
Down beside where the waters flow,
On the banks of the Ohio."

*Jump Blues Jumping- The Blues Masters Series

Click On Title To Link To YouTube Clip Of Big Joe Williams Doing "Shake, Rattle and Roll". The Birth Of Rock At Your Fingertips. Nice.

CD REVIEW

Blues Masters: More Jump Blues,Volume 14, various artists, Rhino Records, 1993

I have tried in this space over the past period to get a hook into the roots of certain kinds of American popular music centered on the key role of the blues in creating the modern rock sound. Once the blues moved north from the Mississippi Delta and other southern ports of call and got electrified in the post-World War II period reflecting a more urban, urbane style the possibilities became almost endless. The confluence of jazz, scat, rhythm and blues and swing developed the first notable type of urban blues that deserved a name-jump blues. To pay homage to that early trend that, arguably, ultimately went on to form the core beat to the rock & roll revolution the producers here have put out a second CD (Volume 5 was the first) in this "Blues Masters Series" dedicated to the makers and shakers of that music.

I have, seemingly endlessly, touted the virtues of Big Joe Turner and especially his seminal "Shake, Rattle and Roll" elsewhere so I need spend little time on "Boogie Woogie Country Girl" that is a just lesser tune in that same genre. I do need to note an early Little Richard classic, "Little Richard's Boogie", which goes a long way to showcasing his wild talent and incidentally providing another strand in that complex of beats that created rock & roll. Laverne Baker, of later "Jim Daddy" fame, not given nearly enough credit as a key voice in the golden age of rock does a lively "Voodoo Voodoo". Finally, take a listen to an earlier pre-Bill Haley version of "Later Alligator". Jump blues, rock and rock? Ya, they fit together.

Jim Dandy

LaVern Baker & the Gliders

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

I was sitting on a mountain top.
30,000 feet to drop.
Tied me on a runaway horse
Uh huh, that's right, of course.
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

One day, I met a girl named Sue.
She was feeling kind of blue.
I'm Dandy, the kind of guy
Who can't stand to see a little girl cry.
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

I was riding on a submarine
Got a message from my mermaid queen.
She was hanging on a fishing line.
Mr. Dandy didn't waste no time!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Once upon a time, I went to Maine.
Got a ticket on a DC plane.
Mr. Dandy didn't need no chute!
I was high and ready to boot!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
Go, Jim Dandy! Go, Jim Dandy!

Annotated & Submitted by Leon Sanchez
chezzy2@yahoo.com

Tweedlee Dee

LaVern Baker and The Gliders
(Scott)

Tweedlee tweedlee tweedlee dee
I'm as happy as can be
Jimminy cricket jimminy jack
You make my heart go clickety-clack
Tweedlee tweedlee tweedlee dee

Tweedlee tweedlee tweedlee dot
How you gonna keep that honey you got
Hunkies hunkies fishes bite
I'm gonna see my honey tonight
Tweedlee tweedlee tweedlee dot

Tweedlee dee tweedlee dee
Give it up give it up
Give your love to me
Tweedlee dot tweedlee dot
Gimme gimme gimme gimme
Gimme all the love you got
Hump-be-ump-bump-bump

Tweedlee tweedlee tweedle doe
I'm a lucky so-and-so
Hubba hubba honey dew
I'm gonna keep my eyes on you
Tweedlee tweedlee tweedlee doe

Tweedlee doe tweedlee doe
Give that kiss to me before you go
Tweedlee dum tweedlee dum
Lookie lookie lookie lookie
Look at that sugar plum
Hump-be-ump-bump-bump

Tweedlee tweedlee tweedlee dum
You're as sweet as bubble gum
Mercy mercy pudding pie
You've got something that money can't buy
Tweedlee tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
FADE:
Owww, tweedlee tweedlee dum
Owww, tweedlee tweedlee dum
Owww

Transcribed by Little John.
These lyrics were transcribed from the specific recording referenced
above, and are for personal use and research interest only.

I Cried A Tear

LaVern Baker

I cried a tear because of you
I cried a tear because we're through
I cried a tear what else could I do
But cry and sigh for love of you

I felt a tear fall in my heart
You fooled me so I wasn't smart
I can't believe that we must part
Come back to stay let's make a new start

Music interlude

I cried a tear because of you
I cried a tear because we're through
Please make my dream of you come true
Don't make me cry a tear for you

*Hard Times In Babylon- The California Supreme Court Gay Marriage Decision

Click Title To Link To California Supreme Court Gay Marriage Decision Article

Commentary

The result of the California Supreme Court's decision on the validity of Proposition 8 banning gay marriage in California is in. Not good, for sure. Moreover, as I pointed out in a recent commentary, until states like California get it right then while the tide is turning for the better on this important democratic question it will continue to be a rather "New Englandish" kind of right (No, I haven't forgotten Iowa). I have reposted that commentary because it really makes the key points that I want to make on this issue.

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

*Another Small Victory For Gay Marriage Rights-Vermont Legalizes Gay Marriage With Veto Override

Here are a few paragraphs from the Associated Press report of April 7, 2009 on the Vermont legislative actions that legalized gay marriage in that state.

******

MONTPELIER, Vt. — Vermont on Tuesday became the fourth state to legalize gay marriage — and the first to do so with a legislature's vote.

The House recorded a dramatic 100-49 vote, the minimum needed, to override Gov. Jim Douglas' veto. Its vote followed a much easier override vote in the Senate, which rebuffed the Republican governor with a vote of 23-5.

Vermont was the first state to legalize civil unions for same-sex couples and joins Connecticut, Massachusetts and Iowa in giving gays the right to marry. Their approval of gay marriage came from the courts.

Tuesday morning's legislative action came less than a day after Douglas issued a veto message saying the bill would not improve the lot of gay and lesbian couples because it still would not provide them rights under federal and other states' laws....

*****

Commentary

Full Marriage (And Divorce) Rights For Gays And Lesbians In Every State!

As I noted just last week in this space (see “A Small Victory For Gay Marriage Rights- The Iowa Case”, dated April 4, 2009) I have, more often than I would like, noted that on some key democratic questions, here the question of equal access to the marriage bureau for gays and lesbians, we get help from some unlikely sources. As always though, we will take our small but important victories anyway we can get them. In that case it was the Iowa Supreme Court doing yeomen’s work on this issue. Here, in the Vermont case, it is the state legislature that has provided the impetus.

That is indeed unusual as most legislative action has been going in the opposite direction. This has allegedly reflected the social opinions and political desires of the so-called ”silent majority” of heterosexual marrieds who are assumed to feel threatened by opening the marriage bureaus to gays and lesbians, including those here in Massachusetts. Here, unsuccessful attempts were made to override the Massachusetts Supreme Judicial Court’s landmark decision by calling a constitutional convention as the prologue to initiative action like California’s successful efforts to put the issue before the voters. The Vermont decision may not have the same political impact as the Iowa decision as it may seem to be seen as reflecting some exotic New England quirk but the legislative action should nevertheless not be underrated for its value as precedent. In short, a good talking point for further actions as the struggle heads to other states.

As I also mentioned in that Iowa commentary in discussing this issue the core location of the struggle for the democratic right for gays and lesbians to have access to the marriage bureaus now appears to be in the states. The highest courts of three states (Massachusetts and Connecticut, along with this recent Iowa case) and a now overturned fourth, California, have held that such restrictive marriage regulations are unconstitutional in their unequal application and do not serve any rational governmental purpose. Although this represents a small minority (and here is where the initiative defeat in California in November 2008 really slowed down the momentum) there is something of a “snowball” effect to these kinds of judicial decisions as other state supreme courts now have some precedents to hang their hands on. But as I said then that is for later. For now though, another small victory goes into the books. As always our slogan remains- Full democratic rights for gays and lesbians, for the full rights of marriage (and divorce) to all. Everywhere.

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

CD REVIEW

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

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

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

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

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

Skip James
Devil Got My Woman lyrics

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

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

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

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

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

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

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

Skip James
Cherry Ball Blues lyrics

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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


Have Mercy, Rory

Angel Of Mercy, Rory Block, Rounder Records, 1994

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

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

Pure Rory

CD Review

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

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

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

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

Ain't She A Woman

CD Review

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

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

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

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

Once Again, Rory Have Mercy

CD REVIEW

Tornado, Rory Block, Rounder Records, 1996

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

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

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

*Poet's Corner- On The Edge With Charles Bukowski

Click On Title To Link To YouTube's Film Clip Of Charles Bukowski Reciting "The Man With The Beautiful Eyes".

Guest Commentary

This guy speaks for himself. I need add nothing here.

BEER
from: Love is A Mad Dog From Hell

I don't know how many bottles of beer
I have consumed while waiting for things
to get better
I dont know how much wine and whisky
and beer
mostly beer
I have consumed after
splits with women-
waiting for the phone to ring
waiting for the sound of footsteps,
and the phone to ring
waiting for the sounds of footsteps,
and the phone never rings
until much later
and the footsteps never arrive
until much later
when my stomach is coming up
out of my mouth
they arrive as fresh as spring flowers:
"what the hell have you done to yourself?
it will be 3 days before you can fuck me!"

the female is durable
she lives seven and one half years longer
than the male, and she drinks very little beer
because she knows its bad for the figure.

while we are going mad
they are out
dancing and laughing
with horney cowboys.

well, there's beer
sacks and sacks of empty beer bottles
and when you pick one up
the bottle fall through the wet bottom
of the paper sack
rolling
clanking
spilling gray wet ash
and stale beer,
or the sacks fall over at 4 a.m.
in the morning
making the only sound in your life.

beer
rivers and seas of beer
the radio singing love songs
as the phone remains silent
and the walls stand
straight up and down
and beer is all there is.

AS CRAZY AS I EVER WAS
from: Love is A Dog From Hell

drunk and writing poems
at 3 a.m.

what counts now
is one more
tight pussy

before the light
tilts out

drunk and writing poems
at 3:15 a.m.

some people tell me that I'm
famous.

what am I doing alone
drunk and writing poems at
3:18 a.m.?

I'm as crazy as I ever was
they don't understand
that I haven't stopped hanging out of 4th floor
windows by my heels-
I still do
right now
sitting here

writing this down
I am hanging by my heels
floors up:
68, 72, 101,
the feeling is the
same:
relentless
unheroic and
necessary

sitting here
drunk and writing poems
at 3:24 a.m.

ANOTHER BED
from: Love is a Mad Dog from Hell

another bed
another women

more curtains
another bathroom
another kitchen

other eyes
other hair
other
feet and toes.

everybodys looking.
the eternal search.

you stay in bed
she gets dressed for work
and you wonder what happened
to the last one
and the one after that...
it's all so comfortable-
this love making
this sleeping together
the gentle kindness...

after she leaves you get up and use her
bathroom,

it's all so intimate and strange.
you go back to bed and
sleep another hour.

when you leave its with sadness
but you'll se her again
whether it works or not.
you drive down to the shore and sit
in your car. it's almost noon.

-another bed, other ears, other
ear rings, other mouths, other slippers, other
dresses

colors, doors, phone numbers.

you were once strong enough to live alone.
for a man nearing sixty you should be more
sensible.

you start the car and shift,
thinking, I'll phone Jeanie when I get in,
I haven't seen her since Friday.

SHE SAID
from: War All the Time

what are you doing with all those paper
napkins in your car?
we dont have napkins like
that
how come your car radio is
always turned to some
rock and roll station?do you drive around with
some
young thing?

you're
dripping tangerine
juice on the floor.
whenever you go into
the kitchen
this towel gets
wet and dirty,
why is that?

when you let my
bathwater run
you never
clean the
tub first.

why don't you
put your toothbrush
back
in the rack?

you should always
dry your razor

sometimes
I think
you hate
my cat.

Martha says
you were
downstairs
sitting with her
and you
had your
pants off.

you shouldn't wear
those
$100 shoes in
the garden

and you don't keep
track
of what you
plant out there

that's
dumb

you must always
set the cat's bowl back
in
the same place.

don't
bake fish
in a frying
pan...

I never saw
anybody
harder on the
brakes of their
car
than you.

let's go
to a
movie.

listen what's
wrong with you?
you act
depressed.

THE ALIENS
from The Last Night Of The Earth Poems

you may not believe it
but there are people
who go through life with
very little
friction of distress.
they dress well, sleep well.
they are contented with
their family
life.
they are undisturbed
and often feel
very good.
and when they die
it is an easy death, usually in their
sleep.

you may not believe
it
but such people do
exist.

but i am not one of
them.
oh no, I am not one of them,
I am not even near
to being
one of
them.
but they
are there

and I am
here.

BAD TIMES AT THE 3RD AND VERMONT HOTEL
from: You Get So Alone At Times that It Just Makes Sense

Alabam was a sneak and a theif and he came to my
room when I was drunk and
each time I got up he would shove me back
down.

you prick, I tole him, you know I can take you!

he just shoved me down
again.

I finally caught him a good one, right over the
temple
and he backed off and
left.
it was a couple of days later
I got even: I fucked his
girl.

then I went down and knocked on his
door.

well, Alabam, I fucked your women and now I'm going to
kick you all the way to
hell!

the poor guy started crying, he put his hands over his
face and just cried

I stood there and watched
him.

then i left him there, i went back to
my room.

we were all alkies and none of us had jobs, all we had
was each other.


even then, my so-called women was in some bar or
somewhere, i hadn't seen her in a couple of
days.

I had a bootle of port
left.

i uncorked it and took it down to Alabam's
room.

said, how about a drink,
Rebel?

he looked up, stood up, went for two glasses.

THOSE GIRLS WE FOLLOWED HOME
from: You Get So Alone At Times that It Just MAkes Sense

in junior high the two prettiest girls were
Irene and Louise,
they were sisters;
Irene was a year older, a little taller
but it was difficult to choose between
them;
they were not only pretty but they were
astonishingly beautiful
so beautiful
that the boys stayed away from them;
they were terrified of Irene and
Louise
who weren't aloof at all;
even friendlier than most
but
who seemed to dress a bit
differently than the other girls;
they always wore high heels'
silk stockings,
blouses,
skirts,
new outfits
each day;
and'
one afternoon
my buddy, Baldy, and i followed them
home from school;
you see, we were kind of
the bad guys on the grounds
so it was
more or less
expected,
and
it was soomething:
walking along ten or twelve feet behind them;
we didnt say anything
we just followed
watching
their voultuous swaying,
the balance of the
haunches.

we liked it so much that we
followed them home from school
every
day.

when they'd go into their house
we'd stand outside on the sidewalk
smoking cigarettes and talking.

"someday". I told Baldy.
"they are going to invite us inside their
house and they are going to
fuck us."

"you really think so?"

"sure."

now
50 years later
I can tell you
they never did
-never mind all the stories we
told the guys;
yes, it's a dream that
keepds you going
then and
now.

*They Will Be Coming Around That Mountain- The Muisc Of The New Lost City Ramblers

Click On Title To Link To New Lost City Ramblers Wikipedia entry.

CD REVIEWS

The Roots Of Urban Folk

Outstanding In Their Field, Volume II, 1963-73, The New Lost City Ramblers, Smithsonian/Folkways, 1993

Recently I was listening to a local talk show here in Boston in which the subject was which way at least part of the American music scene was headed. One of the premises of the show was that roots music, you know, the blues, jazz, and the mountain music presented here in this album was once again going to form the new “in " music. Fair enough. These genres have been mined before for their expressions of Americana and they can be mined in the future for that same purpose. But here is the question that I have that underlies that above-mentioned radio show premise. How is it that “roots” music, and here I want to concentrate on mountain music and other traditions genres, transmitted?

Well, one answer to that question, before the last “dust-up’ a few years ago with the movies "The Song Catcher" and George Clooney’s "Brother, Where Art Thou", was the folk revival of the early 1960’s. And one of the key groups that consciously sought to find and play that music in its old form was the group under review, The New Lost City Ramblers. Needless to say, having Mike Seeger the legendary Pete’s Seeger's half-brother involved meant that there is going to be a very deep respect for those traditions. And it shows here in this compilation of their work from 1963-73. There is pure mountain music, some ragtime, some elemental jazzy things, some impromptu jug music, a little talking blues, Cajun; in short everything one needs to investigate the music of the folk before the arrival of serious technology changed the regional nature of folk and traditional music forever. Listen here for thoughtful renditions of these types of music and respect for the instrumentation of the times.

The Genesis of The Folk Revival

The New Lost City Ramblers: The Early Years, 1958-1962, The New Lost City Ramblers, Smithsonian/Folkways, 1991

Recently I was listening to a local talk show here in Boston in which the subject was which way at least part of the American music scene was headed. One of the premises of the show was that roots music, you know, the blues, jazz, and the mountain music presented here in this album was once again going to form the new “in " music. Fair enough. These genres have been mined before for their expressions of Americana and they can be mined in the future for that same purpose. But here is the question that I have that underlies that above-mentioned radio show premise. How is it that “roots” music, and here I want to concentrate on mountain music and other traditions genres, transmitted?

Well, one answer to that question, before the last “dust-up’ a few years ago with the movies “The Song Catcher” and George Clooney’s “Brother, Where Art Thou”, was the folk revival of the early 1960’s. And one of the key groups that consciously sought to find and play that music in its old form was the group under review, The New Lost City Ramblers. Needless to say, having Mike Seeger the legendary Pete’s Seeger's half-brother involved meant that there is going to be a very deep respect for those traditions. And it shows here in this compilation of their work from 1963-73. There is pure mountain music, some ragtime, some elemental jazzy things, some impromptu jug music, a little talking blues, some politics of the liberal FDR kind; in short everything one needs to investigate the music of the folk before the arrival of serious technology changed the regional nature of folk and traditional music forever. Listen here for thoughtful renditions of these types of music and respect for the instrumentation of the times.

HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE ?

Blind Alfred Reed - 1929

There once was a time when everything was cheap,
But now prices nearly puts a man to sleep.
When we pay our grocery bill,
We just feel like making our will --
I remember when dry goods were cheap as dirt,

We could take two bits and buy a dandy shirt.
Now we pay three bucks or more,
Maybe get a shirt that another man wore --
Tell me how can a poor man stand such times and live?
Well, I used to trade with a man by the name of Gray,

Flour was fifty cents for a twenty-four pound bag.
Now it's a dollar and a half beside,
Just like a-skinning off a flea for the hide --
Tell me how can a poor man stand such times and live?

Oh, the schools we have today ain't worth a cent,
But they see to it that every child is sent.
If we don't send everyday,
We have a heavy fine to pay --
Tell me how can a poor man stand such times and live?

Prohibition's good if 'tis conducted right,
There's no sense in shooting a man 'til he shows flight.
Officers kill without a cause,
They complain about funny laws --
Tell me how can a poor man stand such times and live?

Most all preachers preach for gold and not for souls,
That's what keeps a poor man always in a hole.
We can hardly get our breath,
Taxed and schooled and preached to death --
Tell me how can a poor man stand such times and live?

Oh, it's time for every man to be awake,
We pay fifty cents a pound when we ask for steak.
When we get our package home,
A little wad of paper with gristle and a bone --
Tell me how can a poor man stand such times and live?

Well, the doctor comes around with a face all bright,
And he says in a little while you'll be all right.
All he gives is a humbug pill,
A dose of dope and a great big bill --
Tell me how can a poor man stand such times and live?


We've Got Franklin Delano Roosevelt Back Again Lyrics

WE'VE GOT FRANKLIN DELANO ROOSEVELT BACK AGAIN

Just hand me my old Martin for soon I will be startin'
Back to dear old Charleston far away
Since Roosevelt's been re-elected, we'll not be neglected
We've got Franklin D. Roosevelt back again

Back again, back again
We've got Franklin D. Roosevelt back again
Since Roosevelt's been re-elected
Moon liquor's been corrected
We've got legal wine, whiskey, beer and gin

I'll take a drink of brandy and let myself be handy
Good old times are coming back again
You can laugh and tell a joke, you can dance and drink and smoke
We've got Franklin D. Roosevelt back again
We've got Franklin D. Roosevelt back again
We'll have money in our jeans
We can travel with the queen
We've got Franklin D. Roosevelt back again

No more breadlines, we're happy to say the donkey won election
day
No more standing in the blowing, snowing rain
He's got things in full swing, we're all working and getting our
pay
We've got Franklin D. Roosevelt back again

We've got Franklin D. Roosevelt back again
Since Roosevelt's been re-elected
Moon liquor's been corrected
We've got Franklin D. Roosevelt back again

No Depression In Heaven

For fear the hearts of men are failing,
For these are latter days we know
The Great Depression now is spreading,
God's word declared it would be so

I'm going where there's no depression,
To the lovely land that's free from care
I'll leave this world of toil and trouble,
My home's in Heaven, I'm going there

In that bright land, there'll be no hunger,
No orphan children crying for bread,
No weeping widows, toil or struggle,
No shrouds, no coffins, and no death

This dark hour of midnight nearing
And tribulation time will come
The storms will hurl in midnight fear
And sweep lost millions to their doom

My Sweet Farm Girl - Clarence Ashley
Lyrics:

My sweet farm girl, she's jolly of my pride
My sweet farm girl, she's jolly of my pride
She knows I know how to keep her satisfied

So early in the morning I cut her grass you bet
So early in the morning I cut her grass you bet
Pull up the hose; I keep her lawn all wet

I close her fire; I shake her ashes down
I close her fire; I shake her ashes down
We eat our breakfast, then we ride on back to town

I keep her garden all free from bugs and weeds
I keep her garden all free from bugs and weeds
I plow her land, and then I sow my seeds

I trim her hedges; I clean out her back yard
I trim her hedges; I clean out her back yard
She loves her daddy because I'm long and hard

Notes:
Recorded on December 1, 1931 in New York City. Ashley plays guitar and sings, with Gwen Foster on guitar and harmonica. The sexual connotations are rather obvious.


Battleship Of Maine - Lyrics & Chords

C

Mc Kinley called for volunteers,

Then I got my gun,


F
First Spaniard I saw coming
C
I dropped my gun and run,
G7 C
It was all about that Battleship of Maine.

Chorus:


C
At war with that great nation Spain,

When I get back to Spain I want to honor my name,


G7 C
It was all about that Battleship of Maine.

Why are you running,
Are you afraid to die,
The reason that I'm running
Is because I cannot fly,
It was all about that Battleship of Maine.


The blood was a-running
And I was running too,
I give my feet good exercise,
I had nothing else to do,
It was all about that Battleship of Maine.


When they were a-chasing me,
I fell down on my knees,
First thing I cast my eyes upon
Was a great big pot of peas,
It was all about that Battleship of Maine.


The peas they were greasy,
The meat it was fat,
The boys was fighting Spaniards
While I was fighting that,
It was all about that Battleship of Maine.

*Obama's Afghan War Budget Update- This Is Not Your Father’s War- But It May Be Your Children’s

Click On Title For Link To Associated Press story on Obama's Afghan War Budget.

The Democratic Party-controlled United States has passed the Obama Administration's Afghan/Iraq supplementary war budget. I repost my comments from May 15, 2009 after the United States House of Representatives originally passed the budget. I stand by those comments.

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

This Is Not Your Father’s War- But It May Be Your Children’s- Obama’s Afghan War- Vote No With Both Hands On The War Budget!

President withholds torture photos as national security measure. President revives military tribunals. Congress gets ready to pass President’s supplementary Afghan/Iraq war budgets. Correct me if I am wrong but is this May 15, 2008 or May 15, 2009. These are headlines formerly associated with the Cheney/Bush Administration. For those who are ready to shed a few dogmatic illusions the contours of the Age of Obama are starting to come into focus. And it isn’t pretty. The streets are not for dreaming now. Read on.


Commentary

Sometime soon, perhaps as this commentary is being written on Friday May 15, 2007, the Democrat Party-controlled Congress will have passed the latest supplemental war budget appropriations asked for by the Obama Administration (actually more that they asked for, nice right?). I have already noted previously in a commentary earlier this year, as this issue surfaced, that such supplementary war budgets were a hallmark of the …Bush Administration. But we will let that little issue pass because the “big deal” here is how little opposition (and press coverage) there has been now that the “good guys” are in charge. The epitome of such servile non-opposition (Ouch! Sorry for this awkward expression.) is exemplified by the lack on efforts to oppose this war budget by the so-called “anti-war’ Progressive Democratic Caucus. The “highlight” of Democratic opposition centers on a bill by left-liberal Massachusetts Democratic Congressman James McGovern to “require” the Pentagon to come up with an “exit” strategy for Afghanistan by the end of this year. So much for the vaunted parliamentary opposition. Hence the title of the headline of this commentary.

Such innocuous and, frankly, baffling legislation does not even come close to rising to the occasions in the past where the likes of Congressman McGovern at least voted against the war budget. If Congressman McGovern represents the most extreme left expression within the Democratic Party on war issues, and I believe that he does, one hardly needs a crystal ball to realize that the already almost eight year American presence in Afghanistan has just gotten a lot longer. Add to that the recent decisions to have “Shoot first, and let god sort the rest out” General McChrystal replace the old-line armchair General McKiernan and you now know why at the very beginning of this Obama Administration I stated that he has staked his place in history on the outcome of that war. For those who despair that their children will be fighting in Afghanistan I do have a simple solution. Fight around this slogan- Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan (and Iraq). Do it for the kids.


********

House Passes War Funds As 51 Democrats Dissent

By Perry Bacon Jr.
Washington Post Staff Writer
Friday, May 15, 2009


The House passed a bill yesterday that would provide more than $96 billion in funding for the wars in Afghanistan and Iraq through Sept. 30, as President Obama had requested, but a bloc of 51 Democrats opposed it.

Democratic opponents are accusing Obama of the same charge they leveled against his predecessor: escalating a war without a clear exit strategy.

The bill passed 368 to 60, with 200 Democrats and all but nine Republicans supporting it.

Democratic opponents did not attack Obama by name, but some likened his increase of 21,000 troops and billions of dollars to win the war in Afghanistan to President George W. Bush's efforts in Iraq.

"When George Bush was president, I was on this floor saying we need an exit strategy," said Rep. Jim McGovern (D-Mass.). "The same applies with Afghanistan. I'm tired of wars with no deadlines, no exits and no ends."

Rep. Maxine Waters (D-Calif.), who also voted against the bill, said that "this bill simply amplifies and extends failed policies."

The vote came the same day that another part of Obama's security agenda -- closing the detention facility at Guantanamo Bay, Cuba -- drew criticism from his party. The Democratic-controlled Senate Appropriations Committee passed a bill that includes $50 million to close the prison, as Obama promised during the campaign.

But the measure bans Obama from using the money to bring any of the 241 detainees to the United States, a move that administration officials have suggested might be necessary to get other countries to accept prisoners. The measure also requires the administration present Congress with a detailed plan on closing the prison before the money can be used.

Senate Democratic leaders criticized Obama for not having presented such a plan, as Republicans continue to highlight the issue and accuse the administration of putting Americans at risk with its proposal to bring potential terrorists to the United States.

Obama defended his strategy for Afghanistan in a meeting late last month with the Congressional Progressive Caucus, a group of more than 70 liberal members, many of whom opposed the funding bill. But most House Democrats indicated they want to give Obama's strategy a chance to succeed.

"The questions that were not being asked are now being asked," said Rep. Tom Perriello (D-Va.), who voted for the supplemental funding.

House Democratic leaders refused to back an effort by McGovern and other antiwar legislators that would require Obama to provide Congress a detailed exit strategy for Afghanistan by the end of the year.

Some Democratic senators, particularly Russell Feingold (Wis.), have also criticized Obama's proposal, but the funding is expected to be approved there, possibly as soon as next week. Republicans have said they might oppose increased funding for the International Monetary Fund, a request that has been inserted in the Senate version.

Some liberal activist groups, such as MoveOn.org, which sharply criticized Bush's efforts to increase troops in Iraq two years ago, have said little about Obama's troop increase in Afghanistan.

The failed effort to amend the House bill illustrated the ineffectiveness of some of the House's most liberal members. While the caucus of conservative Democrats known as the Blue Dogs has effectively blocked some of Obama's proposals, such as a ban on assault weapons, liberal Democrats have struggled with two of their biggest priorities: establishing a commission to investigate allegations of violations by the Bush administration; and greater reductions of troops in Iraq and Afghanistan.

McGovern said he remains concerned about Obama's policy in Afghanistan but is not sure exactly what he and others could do.

"I like Barack Obama; I thank God he's president; I think he will be a great president," McGovern said. "But sometimes great presidents make mistakes."

Lenin On The Three Sources Of Marxism

Markin comment:

As almost always these historical articles and polemics are purposefully helpful to clarify the issues in the struggle against world imperialism, particularly the “monster” here in America.

Workers Vanguard No. 937
22 May 2009


“The Three Sources and Three Component Parts of Marxism”

By V.I. Lenin

(From the Archives of Marxism)

V.I. Lenin’s “The Three Sources and Three Component Parts of Marxism,” which we reprint below, was first published in March 1913 in the Bolshevik journal Prosveshcheniye to commemorate the 30th anniversary of the death of Karl Marx, who, along with Friedrich Engels, founded scientific socialism. The following translation is taken from Volume 19 of the Collected Works of Lenin (Foreign Languages Publishing House, Moscow 1963).

Throughout the civilised world the teachings of Marx evoke the utmost hostility and hatred of all bourgeois science (both official and liberal), which regards Marxism as a kind of “pernicious sect.” And no other attitude is to be expected, for there can be no “impartial” social science in a society based on class struggle. In one way or another, all official and liberal science defends wage-slavery, whereas Marxism has declared relentless war on that slavery. To expect science to be impartial in a wage-slave society is as foolishly naïve as to expect impartiality from manufacturers on the question of whether workers’ wages ought not to be increased by decreasing the profits of capital.

But this is not all. The history of philosophy and the history of social science show with perfect clarity that there is nothing resembling “sectarianism” in Marxism, in the sense of its being a hidebound, petrified doctrine, a doctrine which arose away from the high road of the development of world civilisation. On the contrary, the genius of Marx consists precisely in his having furnished answers to questions already raised by the foremost minds of mankind. His doctrine emerged as the direct and immediate continuation of the teachings of the greatest representatives of philosophy, political economy and socialism.

The Marxist doctrine is omnipotent because it is true. It is comprehensive and harmonious, and provides men with an integral world outlook irreconcilable with any form of superstition, reaction, or defence of bourgeois oppression. It is the legitimate successor to the best that man produced in the nineteenth century, as represented by German philosophy, English political economy and French socialism.

It is these three sources of Marxism, which are also its component parts, that we shall outline in brief.

I

The philosophy of Marxism is materialism. Throughout the modern history of Europe, and especially at the end of the eighteenth century in France, where a resolute struggle was conducted against every kind of medieval rubbish, against serfdom in institutions and ideas, materialism has proved to be the only philosophy that is consistent, true to all the teachings of natural science and hostile to superstition, cant and so forth. The enemies of democracy have, therefore, always exerted all their efforts to “refute,” undermine and defame materialism, and have advocated various forms of philosophical idealism, which always, in one way or another, amounts to the defence or support of religion.

Marx and Engels defended philosophical materialism in the most determined manner and repeatedly explained how profoundly erroneous is every deviation from this basis. Their views are most clearly and fully expounded in the works of Engels, Ludwig Feuerbach and Anti-Dühring, which, like the Communist Manifesto, are handbooks for every class-conscious worker.

But Marx did not stop at eighteenth-century materialism: he developed philosophy to a higher level. He enriched it with the achievements of German classical philosophy, especially of Hegel’s system, which in its turn had led to the materialism of Feuerbach. The main achievement was dialectics, i.e., the doctrine of development in its fullest, deepest and most comprehensive form, the doctrine of the relativity of the human knowledge that provides us with a reflection of eternally developing matter. The latest discoveries of natural science—radium, electrons, the transmutation of elements—have been a remarkable confirmation of Marx’s dialectical materialism despite the teachings of the bourgeois philosophers with their “new” reversions to old and decadent idealism.

Marx deepened and developed philosophical materialism to the full, and extended the cognition of nature to include the cognition of human society. His historical materialism was a great achievement in scientific thinking. The chaos and arbitrariness that had previously reigned in views on history and politics were replaced by a strikingly integral and harmonious scientific theory, which shows how, in consequence of the growth of productive forces, out of one system of social life another and higher system develops—how capitalism, for instance, grows out of feudalism.

Just as man’s knowledge reflects nature (i.e., developing matter), which exists independently of him, so man’s social knowledge (i.e., his various views and doctrines—philosophical, religious, political and so forth) reflects the economic system of society. Political institutions are a superstructure on the economic foundation. We see, for example, that the various political forms of the modern European states serve to strengthen the domination of the bourgeoisie over the proletariat.

Marx’s philosophy is a consummate philosophical materialism which has provided mankind, and especially the working class, with powerful instruments of knowledge.

II

Having recognised that the economic system is the foundation on which the political superstructure is erected, Marx devoted his greatest attention to the study of this economic system. Marx’s principal work, Capital, is devoted to a study of the economic system of modern, i.e., capitalist, society.

Classical political economy, before Marx, evolved in England, the most developed of the capitalist countries. Adam Smith and David Ricardo, by their investigations of the economic system, laid the foundations of the labour theory of value. Marx continued their work; he provided a proof of the theory and developed it consistently. He showed that the value of every commodity is determined by the quantity of socially necessary labour time spent on its production.

Where the bourgeois economists saw a relation between things (the exchange of one commodity for another) Marx revealed a relation between people. The exchange of commodities expresses the connection between individual producers through the market. Money signifies that the connection is becoming closer and closer, inseparably uniting the entire economic life of the individual producers into one whole. Capital signifies a further development of this connection: man’s labour-power becomes a commodity. The wage-worker sells his labour-power to the owner of land, factories and instruments of labour. The worker spends one part of the day covering the cost of maintaining himself and his family (wages), while the other part of the day he works without remuneration, creating for the capitalist surplus-value, the source of profit, the source of the wealth of the capitalist class.

The doctrine of surplus-value is the corner-stone of Marx’s economic theory.

Capital, created by the labour of the worker, crushes the worker, ruining small proprietors and creating an army of unemployed. In industry, the victory of large-scale production is immediately apparent, but the same phenomenon is also to be observed in agriculture, where the superiority of large-scale capitalist agriculture is enhanced, the use of machinery increases and the peasant economy, trapped by money-capital, declines and falls into ruin under the burden of its backward technique. The decline of small-scale production assumes different forms in agriculture, but the decline itself is an indisputable fact.

By destroying small-scale production, capital leads to an increase in productivity of labour and to the creation of a monopoly position for the associations of big capitalists. Production itself becomes more and more social—hundreds of thousands and millions of workers become bound together in a regular economic organism—but the product of this collective labour is appropriated by a handful of capitalists. Anarchy of production, crises, the furious chase after markets and the insecurity of existence of the mass of the population are intensified.

By increasing the dependence of the workers on capital, the capitalist system creates the great power of united labour.

Marx traced the development of capitalism from embryonic commodity economy, from simple exchange, to its highest forms, to large-scale production.

And the experience of all capitalist countries, old and new, year by year demonstrates clearly the truth of this Marxian doctrine to increasing numbers of workers.

Capitalism has triumphed all over the world, but this triumph is only the prelude to the triumph of labour over capital.

III

When feudalism was overthrown and “free” capitalist society appeared in the world, it at once became apparent that this freedom meant a new system of oppression and exploitation of the working people. Various socialist doctrines immediately emerged as a reflection of and protest against this oppression. Early socialism, however, was utopian socialism. It criticised capitalist society, it condemned and damned it, it dreamed of its destruction, it had visions of a better order and endeavoured to convince the rich of the immorality of exploitation.

But utopian socialism could not indicate the real solution. It could not explain the real nature of wage-slavery under capitalism, it could not reveal the laws of capitalist development, or show what social force is capable of becoming the creator of a new society.

Meanwhile, the stormy revolutions which everywhere in Europe, and especially in France, accompanied the fall of feudalism, of serfdom, more and more clearly revealed the struggle of classes as the basis and the driving force of all development.

Not a single victory of political freedom over the feudal class was won except against desperate resistance. Not a single capitalist country evolved on a more or less free and democratic basis except by a life-and-death struggle between the various classes of capitalist society.

The genius of Marx lies in his having been the first to deduce from this the lesson world history teaches and to apply that lesson consistently. The deduction he made is the doctrine of the class struggle.

People always have been the foolish victims of deception and self-deception in politics, and they always will be until they have learnt to seek out the interests of some class or other behind all moral, religious, political and social phrases, declarations and promises. Champions of reforms and improvements will always be fooled by the defenders of the old order until they realise that every old institution, however barbarous and rotten it may appear to be, is kept going by the forces of certain ruling classes. And there is only one way of smashing the resistance of those classes, and that is to find, in the very society which surrounds us, the forces which can—and, owing to their social position, must—constitute the power capable of sweeping away the old and creating the new, and to enlighten and organise those forces for the struggle.

Marx’s philosophical materialism alone has shown the proletariat the way out of the spiritual slavery in which all oppressed classes have hitherto languished. Marx’s economic theory alone has explained the true position of the proletariat in the general system of capitalism.

Independent organisations of the proletariat are multiplying all over the world, from America to Japan and from Sweden to South Africa. The proletariat is becoming enlightened and educated by waging its class struggle; it is ridding itself of the prejudices of bourgeois society; it is rallying its ranks ever more closely and is learning to gauge the measure of its successes; it is steeling its forces and is growing irresistibly.