Rosalie Sorrels Passes At 83 (2017)- The Long Labor Memory, Indeed- The Music Of Rosalie Sorrels and Utah Phillips
CD REVIEWS
Every Month Is Labor Month
The Long Memory, Indeed
The Long Memory, Rosalie Sorrels and Utah Phillips, Red House Records, 1996
The first paragraph here has been used in reviewing other Rosalie Sorrels CDs in this space.
“My first association of the name Rosalie Sorrels with folk music came, many years ago now, from hearing the recently departed folk singer/storyteller/ songwriter and unrepentant Wobblie (IWW) Utah Phillips mention his long time friendship with her going back before he became known as a folksinger. I also recall that combination of Sorrels and Phillips as he performed his classic “Starlight On The Rails” and she his also classic “If I Could Be The Rain” on a PBS documentary honoring the Café Lena in Saratoga, New York, a place that I am also very familiar with for many personal and musical reasons. Of note here: it should be remembered that Rosalie saved, literally, many of the compositions that Utah left helter-skelter around the country in his “bumming” days.”
That said, what could be better than to have Rosalie and Utah on the same CD (although not together) singing and telling stories about the old days in the labor movement, mainly the labor movement of the American West that was instrumental in creating the Industrial Workers Of The World (IWW, Wobblies). Listen to Rosalie on the story of Aunt Molly Jackson and the National Miners’ Union (NMU) (a Stalinist ‘third period’ “red union” that took over when John L. Lewis’ UMW left the miners in the lurch-sound familiar). Or the saga of a mill closing in an earlier version of runaway factories (then mainly to the south of this country) in “Aragon Mills”.
A nice story told by Utah is that of the genesis of soap box oration as is his singing of his classic “All Used Up”. Utah here pays tribute to the heroic exploits of Mother Jones, one of our early real militant labor leaders (by example, I should add). And also notes what happens when there are no (or few, as today) militant unions to fight for decency and justice in “No More Reds In The Union”. I give special attention here to “Nevada Jane” a song that Utah wrote based on stories told to him in Butte, Montana about the legendary “Big Bill” Haywood , probably the best labor leader, pound for pound, produced by the American labor movement I the 20th century and his wife Nevada Jane. Whether the stories were true and the song has it right about the relationship between the pair is separate question but I still like it. While Utah and I had a very wide political gap between us we shared one thing in common- a long, long memory about the fate of the international labor movement. Adieu, Utah.
If I Could Be The Rain-"Utah Phillips"
Everybody I know sings this song their own way, and they arrive at their own understanding of it. Guy Carawan does it as a sing along. I guess he thinks it must have some kind of universal appeal. To me, it's a very personal song. It's about events in my life that have to do with being in love. I very seldom sing it myself for those reasons.
If I could be the rain, I'd wash down to the sea;
If I could be the wind, there'd be no more of me;
If I could be the sunlight, and all the days were mine,
I would find some special place to shine.
But all the rain I'll ever be is locked up in my eyes,
When I hear the wind it only whispers sad goodbyes.
If I could hide the way I feel I'd never sing again;
Sometimes I wish that I could be the rain.
If I could be the rain, I'd wash down to the sea;
If I could be the wind, there'd be no more of me;
If I could hide the way I feel I'd never sing again;
Sometimes I wish that I could be the rain.
Copyright ©1973, 2000 Bruce Phillips
THE TELLING TAKES ME HOME
(Bruce Phillips)
Let me sing to you all those songs I know
Of the wild, windy places locked in timeless snow,
And the wide, crimson deserts where the muddy rivers flow.
It's sad, but the telling takes me home.
Come along with me to some places that I've been
Where people all look back and they still remember when,
And the quicksilver legends, like sunlight, turn and bend
It's sad, but the telling takes me home.
Walk along some wagon road, down the iron rail,
Past the rusty Cadillacs that mark the boom town trail,
Where dreamers never win and doers never fail,
It's sad, but the telling takes me home.
I'll sing of my amigos, come from down below,
Whisper in their loving tongue the songs of Mexico.
They work their stolen Eden, lost so long ago.
It's sad, but the telling takes me home.
I'll tell you all some lies, just made up for fun,
And the loudest, meanest brag, it can beat the fastest gun.
I'll show you all some graves that tell where the West was won.
It's sad, but the telling takes me home.
And I'll sing about an emptiness the East has never known,
Where coyotes don't pay taxes and a man can live alone,
And you've got to walk forever just to find a telephone.
It's sad, but the telling takes me home.
Let me sing to you all those songs I know
Of the wild, windy places locked in timeless snow,
And the wide, crimson deserts where the muddy rivers flow.
It's sad, but the telling takes me home.
--------------------------------------------------------------------------------
STARLIGHT ON THE RAILS
(Bruce Phillips)
I can hear the whistle blowing
High and lonesome as can be
Outside the rain is softly falling
Tonight its falling just for me
Looking back along the road I've traveled
The miles can tell a million tales
Each year is like some rolling freight train
And cold as starlight on the rails
I think about a wife and family
My home and all the things it means
The black smoke trailing out behind me
Is like a string of broken dreams
A man who lives out on the highway
Is like a clock that can't tell time
A man who spends his life just rambling
Is like a song without a rhyme
--------------------------------------------------------------------------------
ALL USED UP
( U. Utah Phillips)
I spent my whole life making somebody rich
I busted my ass for that son of a bitch
He left me to die like a dog in a ditch
And told me I'm all used up
He used up my labor, he used up my time
He plundered my body and squandered my mind
Then he gave me a pension, some handouts and wine
And told me I'm all used up
My kids are in hock to a god you call Work
Slaving their lives out for some other jerk
And my youngest in 'Frisco just made shipping-clerk
He don't know I'm all used up
Some young people reach out for power and gold
And they don't have respect for anything old
For pennies they're bought, for promises sold
Someday they'll be used up
They use up the oil, they use up the trees
They use up the air and they use up the seas
But how about you, friend, and how about me
What's left, when we're all used up
I'll finish my life in this crummy hotel
It's lousy with bugs and my God, what a smell
But my plumbing still works and I'm clear as a bell
Don't tell me I'm all used up
Outside my window the world passes by
It gives me a handout, then spits in my eye
And no one can tell me, 'cause no one knows why
I'm still living, but I'm all used up
Sometimes in a dream I sit by a tree
My life is a book of how things used to be
And the kids gather 'round and they listen to me
They don't think I'm all used up
And there's songs and there's laughter and things I can do
And all that I've learned I can give back to you
And I'd give my last breath just to make it come true
And to know I'm not all used up
They use up the oil, they use up the trees
They use up the air and they use up the seas
But as long as I'm breathing they won't use up me
Don't tell me I'm all used up
@aging @work
Nevada Jane
I've been told that I'm wrong about this song. I don't know whether I am or not, since Bill Haywood, who was with the Western Federation of Miners and was the first Secretary-Treasurer of the Industrial Workers of the World, never mentioned his wife in his autobiography except very briefly, so I can't tell whether he really loved his wife or not.
I do have stories from old-timers who tell me about when Bill Haywood was working in a mine camp, basically doing a job of de-horning. His wife, Nevada Jane, had been crippled by a fall from her pony, so she couldn't walk. Bill had a house on the edge of town, and he would carry his wife down to the railroad station every morning. She would sit there and talk to the women of the town about what they could do to help organize the town, while Bill was brawling at the bars. He'd come back at the end of the day, pick Nevada Jane up, hang one of their kids off of each shoulder, and every night you'd see him carrying the wife and kids up to the house.
Most of the songs about labor struggles are full of loud shouting and arm-waving and thunder and rhetoric. It's good for me, every now and then, to try to take a look at the human side of it, right or wrong.
The tune is by one of my favorite songwriters, Stephen Foster. I first heard "Gentle Annie" from Kate McGarrigle of Canada. The tune has too many wide-apart changes in it for me to sing the way Stephen Foster wrote it, so I changed it some.
And when he stumbles in with blood upon his shirt,
Washing up alone, just to hide the hurt,
He will lie down by your side and wake you with your name,
You'll hold him in your arms, Nevada Jane. (Chorus)
Nevada Jane went riding, her pony took a fall,
The doctor said she never would walk again at all;
But Big Bill could lift her lightly, the big hands rough and plain
Would gently carry home Nevada Jane.
The storms of Colorado rained for ten long years,
The mines of old Montana were filled with blood and tears,
Utah, Arizona, California heard the name
Of the man who always loved Nevada Jane. (Chorus)
Although the ranks are scattered like leaves upon the breeze,
And with them go the memory of harder times than these,
Some things never change, but always stay the same,
Just like the way Bill loved Nevada Jane. (Chorus)
Copyright ©1973, 2000 Bruce Phillips
If I Could Be The Rain I Would Be Rosalie Sorrels-The
Legendary Folksinger-Songwriter Has Her Last Go Round At 83
By Music Critic Bart Webber
Back the day, back in the emerging folk minute of the 1960s
that guys like Sam Lowell, Si Lannon, the late Peter Paul Markin and others
were deeply immersed in (and the former two never got over since they will
still tell a tale or two about the times if you go anywhere within ten miles of
the subject-I will take my chances here because this notice is important) all
roads seemed to lead to Harvard Square, the Village down in NYC, North Beach
out in San Francisco, and maybe Old Town in Chicago. That is where names like
Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers who
sat at the feet of guys like Woody Guthrie and Pete Seeger.
But there was another important strand that hovered around
Saratoga Springs in upstate New York, up around Skidmore and some other
colleges. That was Caffe Lena’s where some of those names played but also where
some upstarts from the West got a chance to play the small crowds who gathered
at that famed (and still existing) coffeehouse. Upstarts like Bruce “Utah”
Phillips (although he could call several places home Utah was key to what he
would sing about). And out of Idaho one Rosalie Sorrels who just joined her
long-time friend Utah in that last go-round at the age of 83.
Yeah, out there in the West, not the West Coast west that is
different, where what the novelist Thomas Wolfe called the place where the states
were square and you had better be as well if you didn’t want to starve or be
found in some empty arroyo un-mourned and unloved. A different place and a
different type of subject matter for your themes.
The last time I saw Rosalie perform in person was back in
2002 when she performed at what was billed as her last go-round, her hanging up
her shoes from the dusty travel road. She was on fire that night except the
then recent death of another folk legend, Dave Von Ronk, who was supposed to be
on the bill (and who was replaced by David Bromberg who did a great job) cast a
pall over the proceedings. I will always remember her cover of Old Devil Time that night -yeah, give me one more chance, one
more breathe. But I will always think of If
I Could Be The Rain whenever I hear her name. RIP Rosalie Sorrels
CD REVIEWS
Every Month Is Labor Month
The Long Memory, Indeed
The Long Memory, Rosalie Sorrels and Utah Phillips, Red House Records, 1996
The first paragraph here has been used in reviewing other Rosalie Sorrels CDs in this space.
“My first association of the name Rosalie Sorrels with folk music came, many years ago now, from hearing the recently departed folk singer/storyteller/ songwriter and unrepentant Wobblie (IWW) Utah Phillips mention his long time friendship with her going back before he became known as a folksinger. I also recall that combination of Sorrels and Phillips as he performed his classic “Starlight On The Rails” and she his also classic “If I Could Be The Rain” on a PBS documentary honoring the Café Lena in Saratoga, New York, a place that I am also very familiar with for many personal and musical reasons. Of note here: it should be remembered that Rosalie saved, literally, many of the compositions that Utah left helter-skelter around the country in his “bumming” days.”
That said, what could be better than to have Rosalie and Utah on the same CD (although not together) singing and telling stories about the old days in the labor movement, mainly the labor movement of the American West that was instrumental in creating the Industrial Workers Of The World (IWW, Wobblies). Listen to Rosalie on the story of Aunt Molly Jackson and the National Miners’ Union (NMU) (a Stalinist ‘third period’ “red union” that took over when John L. Lewis’ UMW left the miners in the lurch-sound familiar). Or the saga of a mill closing in an earlier version of runaway factories (then mainly to the south of this country) in “Aragon Mills”.
A nice story told by Utah is that of the genesis of soap box oration as is his singing of his classic “All Used Up”. Utah here pays tribute to the heroic exploits of Mother Jones, one of our early real militant labor leaders (by example, I should add). And also notes what happens when there are no (or few, as today) militant unions to fight for decency and justice in “No More Reds In The Union”. I give special attention here to “Nevada Jane” a song that Utah wrote based on stories told to him in Butte, Montana about the legendary “Big Bill” Haywood , probably the best labor leader, pound for pound, produced by the American labor movement I the 20th century and his wife Nevada Jane. Whether the stories were true and the song has it right about the relationship between the pair is separate question but I still like it. While Utah and I had a very wide political gap between us we shared one thing in common- a long, long memory about the fate of the international labor movement. Adieu, Utah.
If I Could Be The Rain-"Utah Phillips"
Everybody I know sings this song their own way, and they arrive at their own understanding of it. Guy Carawan does it as a sing along. I guess he thinks it must have some kind of universal appeal. To me, it's a very personal song. It's about events in my life that have to do with being in love. I very seldom sing it myself for those reasons.
If I could be the rain, I'd wash down to the sea;
If I could be the wind, there'd be no more of me;
If I could be the sunlight, and all the days were mine,
I would find some special place to shine.
But all the rain I'll ever be is locked up in my eyes,
When I hear the wind it only whispers sad goodbyes.
If I could hide the way I feel I'd never sing again;
Sometimes I wish that I could be the rain.
If I could be the rain, I'd wash down to the sea;
If I could be the wind, there'd be no more of me;
If I could hide the way I feel I'd never sing again;
Sometimes I wish that I could be the rain.
Copyright ©1973, 2000 Bruce Phillips
THE TELLING TAKES ME HOME
(Bruce Phillips)
Let me sing to you all those songs I know
Of the wild, windy places locked in timeless snow,
And the wide, crimson deserts where the muddy rivers flow.
It's sad, but the telling takes me home.
Come along with me to some places that I've been
Where people all look back and they still remember when,
And the quicksilver legends, like sunlight, turn and bend
It's sad, but the telling takes me home.
Walk along some wagon road, down the iron rail,
Past the rusty Cadillacs that mark the boom town trail,
Where dreamers never win and doers never fail,
It's sad, but the telling takes me home.
I'll sing of my amigos, come from down below,
Whisper in their loving tongue the songs of Mexico.
They work their stolen Eden, lost so long ago.
It's sad, but the telling takes me home.
I'll tell you all some lies, just made up for fun,
And the loudest, meanest brag, it can beat the fastest gun.
I'll show you all some graves that tell where the West was won.
It's sad, but the telling takes me home.
And I'll sing about an emptiness the East has never known,
Where coyotes don't pay taxes and a man can live alone,
And you've got to walk forever just to find a telephone.
It's sad, but the telling takes me home.
Let me sing to you all those songs I know
Of the wild, windy places locked in timeless snow,
And the wide, crimson deserts where the muddy rivers flow.
It's sad, but the telling takes me home.
--------------------------------------------------------------------------------
STARLIGHT ON THE RAILS
(Bruce Phillips)
I can hear the whistle blowing
High and lonesome as can be
Outside the rain is softly falling
Tonight its falling just for me
Looking back along the road I've traveled
The miles can tell a million tales
Each year is like some rolling freight train
And cold as starlight on the rails
I think about a wife and family
My home and all the things it means
The black smoke trailing out behind me
Is like a string of broken dreams
A man who lives out on the highway
Is like a clock that can't tell time
A man who spends his life just rambling
Is like a song without a rhyme
--------------------------------------------------------------------------------
ALL USED UP
( U. Utah Phillips)
I spent my whole life making somebody rich
I busted my ass for that son of a bitch
He left me to die like a dog in a ditch
And told me I'm all used up
He used up my labor, he used up my time
He plundered my body and squandered my mind
Then he gave me a pension, some handouts and wine
And told me I'm all used up
My kids are in hock to a god you call Work
Slaving their lives out for some other jerk
And my youngest in 'Frisco just made shipping-clerk
He don't know I'm all used up
Some young people reach out for power and gold
And they don't have respect for anything old
For pennies they're bought, for promises sold
Someday they'll be used up
They use up the oil, they use up the trees
They use up the air and they use up the seas
But how about you, friend, and how about me
What's left, when we're all used up
I'll finish my life in this crummy hotel
It's lousy with bugs and my God, what a smell
But my plumbing still works and I'm clear as a bell
Don't tell me I'm all used up
Outside my window the world passes by
It gives me a handout, then spits in my eye
And no one can tell me, 'cause no one knows why
I'm still living, but I'm all used up
Sometimes in a dream I sit by a tree
My life is a book of how things used to be
And the kids gather 'round and they listen to me
They don't think I'm all used up
And there's songs and there's laughter and things I can do
And all that I've learned I can give back to you
And I'd give my last breath just to make it come true
And to know I'm not all used up
They use up the oil, they use up the trees
They use up the air and they use up the seas
But as long as I'm breathing they won't use up me
Don't tell me I'm all used up
@aging @work
Nevada Jane
I've been told that I'm wrong about this song. I don't know whether I am or not, since Bill Haywood, who was with the Western Federation of Miners and was the first Secretary-Treasurer of the Industrial Workers of the World, never mentioned his wife in his autobiography except very briefly, so I can't tell whether he really loved his wife or not.
I do have stories from old-timers who tell me about when Bill Haywood was working in a mine camp, basically doing a job of de-horning. His wife, Nevada Jane, had been crippled by a fall from her pony, so she couldn't walk. Bill had a house on the edge of town, and he would carry his wife down to the railroad station every morning. She would sit there and talk to the women of the town about what they could do to help organize the town, while Bill was brawling at the bars. He'd come back at the end of the day, pick Nevada Jane up, hang one of their kids off of each shoulder, and every night you'd see him carrying the wife and kids up to the house.
Most of the songs about labor struggles are full of loud shouting and arm-waving and thunder and rhetoric. It's good for me, every now and then, to try to take a look at the human side of it, right or wrong.
The tune is by one of my favorite songwriters, Stephen Foster. I first heard "Gentle Annie" from Kate McGarrigle of Canada. The tune has too many wide-apart changes in it for me to sing the way Stephen Foster wrote it, so I changed it some.
And when he stumbles in with blood upon his shirt,
Washing up alone, just to hide the hurt,
He will lie down by your side and wake you with your name,
You'll hold him in your arms, Nevada Jane. (Chorus)
Nevada Jane went riding, her pony took a fall,
The doctor said she never would walk again at all;
But Big Bill could lift her lightly, the big hands rough and plain
Would gently carry home Nevada Jane.
The storms of Colorado rained for ten long years,
The mines of old Montana were filled with blood and tears,
Utah, Arizona, California heard the name
Of the man who always loved Nevada Jane. (Chorus)
Although the ranks are scattered like leaves upon the breeze,
And with them go the memory of harder times than these,
Some things never change, but always stay the same,
Just like the way Bill loved Nevada Jane. (Chorus)
Copyright ©1973, 2000 Bruce Phillips
