*If You Like Your T-Bone Rare This Is Your Stop- The Electric Blues Guitar Of T-Bone Walker

Click On Title To Link To YouTube's Film Clip Of T-Bone Walker Doing "Don't Throw Your Love On Me So Strong"

CD REVIEW

Back On The Scene Texas 1966: T-Bone Walker, T-Bone Walker, Castle Music, 2003

Okay, ask around. Here is the question. Who was (and maybe still is) the most influential electric blues guitarist of the post- World War II period. From casual listeners you may get a variety of answers, all of them somewhat worthy of consideration like Muddy Waters and B.B. King or from a later period , perhaps Eric Clapton. But down at the soul of the electric blues you will find one name that all the other choices will gladly agree (if they are honest) is the max daddy of the electric blues guitar, T-Bone Walker. He owns the thing. It is part of his physical person and combined with that plaintive sweet but catlike menacing voice presents a strong case for his place in the blues pantheon. In short, if you hear someone today playing electric blues guitar that sound like they are gently running the piano keyboard and with a sense that the player has been through some kind of hell that person was influenced by Walker. No doubt.

That said, this is not his strongest work but is a better than average primer considering that it represents the latter part of T-Bone’s career. Still just listening to the way he introduces a sing and then goes through his paces will set the mood for you. Try the ironic “Good Boy” for starters. And the title track “Back On The Scene”. Close out with “ Afraid To Close My Eyes” and you will start looking for earlier T-Bone CDs right away.

alimony blues lyrics

It's a cold-blooded world when a man has to pawn his shoes
It's a cold-blooded world when a man has to pawn his shoes
That's the fix I'm in today, I swear I've been abused

Yes, the woman is a devil, she will trick you if she can
Yes, the woman is a devil, she will trick you if she can
She will tell you that she love you, an work out some other plan


"Call It Stormy Monday"

They call it stormy Monday, but Tuesday's just as bad
They call it stormy Monday, but Tuesday's just as bad
Wednesday's worse, and Thursday's also sad

Yes the eagle flies on Friday, and Saturday I go out to play
Eagle flies on Friday, and Saturday I go out to play
Sunday I go to church, then I kneel down and pray

Lord have mercy, Lord have mercy on me
Lord have mercy, my heart's in misery
Crazy about my baby, yes, send her back to me


Got those alimony blues an I sure got to pay some dues
Got those alimony blues an I sure got to pay some dues
And if I run short of cash, it's the road camp, I've got to choose


"Midnight Blues"

Well, the clock is strikin' twelve, somebody's got to go
Well, the clock is strikin' twelve, somebody's got to go
Gee, but I'm going to miss ya baby, this is one thing I'm sure you know

When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's twelve o'clock in Memphis, it's one o'clock in San Antone
When it's midnight in California, I'll be so all alone

Midnight is an awful hour, why does it come so soon?
Midnight is a awful hour, why does it come so soon?
It never bring me happ'ness, it always leave me filled with gloom

Don't ever gamble buddy, unless you're sure that you can't lose
Don't ever gamble buddy, unless you're sure that you can't lose
You better take my advise, unless you want this midnight blues

"Put it away!"


"T-Bone Shuffle"

Let your hair down baby,
Let's have a natural ball.
Let your hair down baby,
Let's have a natural ball.
Cause when you're not happy,
It ain't no fun at all.

You can't take it with you,
That's one thing for sure.
You can't take it with you baby,
That's one thing for sure.
There's nothing wrong with ya baby,
That a good T-Bone shuffle can't cure.

Have fun while ya can,
Fate's an aweful thing.
Have fun while ya can,
Fate's an aweful thing.
You can't tell what might happen,
That's why I love to sing.

*A Salute To Mountain Music- "O Brother, Where Art Thou?"

Click On Title To Link To YouTube's Film Clip Of The Persall Sisters Doing "Angel Band". Ya, I know they were not on this CD reviewed below but I am doing a separate review of Ralph Stanley (and his brother) elsewhere and will put their version of "Angel Band" there. The sisters, in any case, do a great job on this.

CD REVIEW

O Brother, Where Art Thou?: Music from the movie “O Brother, Where Art Thou?, various artists, UMG Recordings, 2000.

Sometimes a revival of a musical form, like the "talking blues", that highlighted the urban folk revival of the early 1960's is driven by a social need. In that case it was to provide a format for the "glad tidings" that a new political and social movement was a-bornin'. In the case of the revival several years ago of what is called "mountain music" it was the films "The Song Catcher" and, more importantly, the very popular movie starring George Clooney, " O Brother, Where Art Thou?". The CD under review is a compilation of music from that movie, a not unnatural tie-in in the modern entertainment business. The movie deserves a separate review, however, this CD can stand on its own as a very nice cross section of "mountain music", some familiar most not so.

Without straining credulity "mountain music" is the music of the simple folk of Appalachia, those who worked hard in the coal mines, on the hard scrabble farms and in the isolated mills of the region. This was their Saturday night entertainment and with the advent of radio was a unifying cultural experience. The songs "speak" of hard and lonely lives, the beauty of the then pristine countryside, the usual vagaries of love and lost and the mysterious ways of a very personal, if arbitrary, god. Throw in a few upbeat tunes reflecting the love of "corn" liquor, women and the sometimes funny side of coping with life's trials and tribulations and you have the mountain version of the folk experience. Sound familiar? Sure it does, except, it is done with simple guitar, a blazing fiddle and, hopefully, a full-bodied mandolin.

Here you have all the above types of songs mentioned above in one spot. The cadence of the work in hard prison life gets a nod in "Po Lazarus". The hobo's national anthem (Great Depression era version) "Big Rock Candy Mountain" is also here. The vagaries of love get spelled out in "Didn't Leave Nobody But The Baby". For uplift try the one everyone knows- "You Are My Sunshine". Norman Blake, worthy of a separate review of his own as a master of mountain music, provides a very rich instrumental "A Man Of Constant Sorrow". Finally, no recent compilation of mountain music is complete without Ralph Stanley's eerie "O Death" and "Angel Band". If you need a primer for learning about mountain music here you are.

Soggy Bottom Boys - I Am A Man Of Constant Sorrow Lyrics

I am the man of constant sorrow
I've seen trouble all my days
I bid farewell to ol' Kentucky
The place where I was born and raised.

The place where he was born and raised

For six long years I've been in trouble,
no pleasure here on earth I've found
For in this world, I'm bound to ramble,
I have no friends to help me now.

He has no friends to help him now

It's fair thee well, my old true lover,
I never expect to see you again.
For I'm bound to ride that Northern Railroad,
perhaps I'll die upon this train

Perhaps he'll die upon this train

You can bury me in some deep valley,
For many years where I may lay.
And you may learn to love another
while I am sleeping in my grave.

While he is sleeping in his grave

Maybe your friends think I'm just a stranger
My face you never will see no more
But there is one promise that is given,
I'll meet you on Gods golden shore

He'll meet you on God's golden shore

Big Rock Candy Mountain

One evening as the sun went down and the jungle fire was burning
Down the track came a hobo hiking and he said boys I'm not turning
I'm headin for a land that's far away beside the crystal fountains
So come with me we'll go and see the Big Rock Candy Mountains

In the Big Rock Candy Mountains there's a land that's fair and bright
Where the handouts grow on bushes and you sleep out every night
Where the boxcars are all empty and the sun shines every day
On the birds and the bees and the cigarette trees
Where the lemonade springs where the bluebird sings
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains all the cops have wooden legs
And the bulldogs all have rubber teeth and the hens lay soft boiled eggs
The farmer's trees are full of fruit and the barns are full of hay
Oh, I'm bound to go where there ain't no snow
Where the rain don't fall and the wind don't blow
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains you never change your socks
And the little streams of alcohol come a-trickling down the rocks
The brakemen have to tip their hats and the railroad bulls are blind
There's a lake of stew and of whiskey too
You can paddle all around 'em in a big canoe
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains the jails are made of tin
And you can walk right out again as soon as you are in
There ain't no short handled shovels, no axes saws or picks
I'm a goin to stay where you sleep all day
Where they hung the jerk that invented work
In the Big Rock Candy Mountains

I'll see you all this coming fall in the Big Rock Candy Mountains


Ralph Stanley - O Death Lyrics

O, Death
O, Death
Won't you spare me over til another year
Well what is this that I can't see
With ice cold hands takin' hold of me
Well I am death, none can excel
I'll open the door to heaven or hell
Whoa, death someone would pray
Could you wait to call me another day
The children prayed, the preacher preached
Time and mercy is out of your reach
I'll fix your feet til you cant walk
I'll lock your jaw til you cant talk
I'll close your eyes so you can't see
This very air, come and go with me
I'm death I come to take the soul
Leave the body and leave it cold
To draw up the flesh off of the frame
Dirt and worm both have a claim

O, Death
O, Death
Won't you spare me over til another year
My mother came to my bed
Placed a cold towel upon my head
My head is warm my feet are cold
Death is a-movin upon my soul
Oh, death how you're treatin' me
You've close my eyes so I can't see
Well you're hurtin' my body
You make me cold
You run my life right outta my soul
Oh death please consider my age
Please don't take me at this stage
My wealth is all at your command
If you will move your icy hand
Oh the young, the rich or poor
Hunger like me you know
No wealth, no ruin, no silver no gold
Nothing satisfies me but your soul

O, death
O, death
Wont you spare me over til another year
Wont you spare me over til another year
Wont you spare me over til another year

The Stanley Brothers - Angel Band Lyrics

The latest sun is sinking fast, my race is nearly run
My strongest trials now are past, my triumph is begun
O come Angel Band, come & around me stand
O bear me away on your snowy wings to my immortal home
O bear me away on your snowy wings to my immortal home
I know I'm near the holy ranks of friends & kindred dear
I've brushed the dew on Jordan's banks, the crossing must be near
I've almost gained my Heavenly home, my spirit loudly sings
The Holy ones, behold they come, I hear the noise of wings
O bear my longing heart to Him who bled & died for me
Whose blood now cleanses from all sin & gives me victory

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes- "The Basement Tapes"

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tears Of Rage"

CD Review

Strictly For Aficionados

The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975

Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Five

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Spanish Is The Loving Tongue"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Four

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "You Aint Going Nowhere"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Three

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tiny Montgomery"

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume One

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Hills Of Mexico".

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes

Click On Title To Link To YouTube's Film Clip Of Bob Dylan(And The Band) Doing His "Sign Of The Cross".

CD REVIEWS

As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.

Dylan 'Exotica'

The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.

SIGN ON THE CROSS

Words and Music by Bob Dylan
1971, 1973 Dwarf Music

Now, I try, oh for so awf'ly long
And I just try to be.
And now, oh it's a gold mine
But it's so fine.
Yes, but I know in my head
That we're all so misled,
And it's that ol' sign on the cross
That worries me.

Now, when I was just a bawlin' child,
I saw what I wanted to be,
And it's all for the sake
Of that picture I should see.
But I was lost on the moon
As I heard that front door slam,
And that old sign on the cross
Still worries me.

Well, it's that old sign on the cross,
Well, it's that old key to the kingdom,
Well, it's that old sign on the cross
Like you used to be.

But, when I hold my head so high
As I see my ol' friends go by,
And it's still that sign on the cross
That worries me.

Well, it seems to be the sign on the cross. Ev'ry day,
ev'ry night, see the sign on the cross just layin' up
on top of the hill. Yes, we thought it might have
disappeared long ago, but I'm here to tell you, friends,
that I'm afraid it's lyin' there still. Yes, just a
little time is all you need, you might say, but I don't
know 'bout that any more, because the bird is here and
you might want to enter it, but, of course, the door might
be closed. But I just would like to tell you one time,
if I don't see you again, that the thing is, that the sign
on the cross is the thing you might need the most.

Yes, the sign on the cross
Is just a sign on the cross.
Well, there is some on every chisel
And there is some in the championship, too.
Oh, when your, when your days are numbered
And your nights are long,
You might think you're weak
But I mean to say you're strong.
Yes you are, if that sign on the cross,
If it begins to worry you.
Well, that's all right because sing a song
And all your troubles will pass right on through.

QUINN, THE ESKIMO

Words and Music by Bob Dylan
1968,1976 Dwarf Music

Ev'rybody's building the big ships and the boats,
Some are building monuments,
Others, jotting down notes,
Ev'rybody's in despair,
Ev'ry girl and boy
But when Quinn the Eskimo gets here,
Ev'rybody's gonna jump for joy.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

I like to do just like the rest, I like my sugar sweet,
But guarding fumes and making haste,
It ain't my cup of meat.
Ev'rybody's 'neath the trees,
Feeding pigeons on a limb
But when Quinn the Eskimo gets here,
All the pigeons gonna run to him.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

A cat's meow and a cow's moo, I can recite 'em all,
Just tell me where it hurts yuh, honey,
And I'll tell you who to call.
Nobody can get no sleep,
There's someone on ev'ryone's toes
But when Quinn the Eskimo gets here,
Ev'rybody's gonna wanna doze.
Come all without, come all within,
You'll not see nothing like the mighty Quinn.

GOIN' TO ACAPULCO

Words and Music by Bob Dylan
1975 Dwarf Music

I'm going down to Rose Marie's
She never does me wrong.
She puts it to me plain as day
And gives it to me for a song.

It's a wicked life but what the hell
The stars ain't falling down.
I'm standing outside the Taj Mahal
I don't see no one around.

Goin' to Acapulco
Goin' on the run.
Goin' down to see fat gut
Goin' to have some fun.
Yeah
Goin' to have some fun.

Now, whenever I get up
And I ain't got what I see
I just make it down to Rose Marie's
'Bout a quarter after three.

There are worse ways of getting there
And I ain't complainin' none.
If the clouds don't drop and the train don't stop
I'm bound to meet the sun.

Goin' to Acapulco
Goin' on the run.
Goin' down to see some girl
Goin' to have some fun.
Yeah
Goin' to have some fun.

Now, if someone offers me a joke
I just say no thanks.
I try to tell it like it is
And keep away from pranks.

Well, sometime you know when the well breaks down
I just go pump on it some.
Rose Marie, she likes to go to big places
And just set there waitin' for me to come.

Goin' to Acapulco
Goin' on the run.
Goin' down to see some girl
Goin' to have some fun.
Yeah
Goin' to have some fun.

Strictly For Aficionados

The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975

Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.

In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:

“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”

And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.

That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.


TEARS OF RAGE

Words by Bob Dylan and Music by Richard Manuel
1968,1970 Dwarf Music

We carried you in our arms
On Independence Day,
And now you'd throw us all aside
And put us on our way.
Oh what dear daughter 'neath the sun
Would treat a father so,
To wait upon him hand and foot
And always tell him, "No"?
Tears of rage, tears of grief,
Why must I always be the thief?
Come to me now, you know
We're so alone
And life is brief.

We pointed out the way to go
And scratched your name in sand,
Though you just thought it was nothing more
Than a place for you to stand.
Now, I want you to know that while we watched,
You discover there was no one true.
Most ev'rybody really thought
It was a childish thing to do.
Tears of rage, tears of grief,
Must I always be the thief?
Come to me now, you know
We're so low
And life is brief.

It was all very painless
When you went out to receive
All that false instruction
Which we never could believe.
And now the heart is filled with gold
As if it was a purse.
But, oh, what kind of love is this
Which goes from bad to worse?
Tears of rage, tears of grief,
Must I always be the thief?
Come to me now, you know
We're so low
And life is brief.

YOU AIN'T GOIN' NOWHERE

Words and Music by Bob Dylan
1967,1972 Dwarf Music

Clouds so swift
Rain won't lift
Gate won't close
Railings froze
Get your mind off wintertime
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

I don't care
How many letters they sent
Morning came and morning went
Pick up your money
And pack up your tent
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

Buy me a flute
And a gun that shoots
Tailgates and substitutes
Strap yourself
To the tree with roots
You ain't goin' nowhere
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!


Genghis Khan
He could not keep
All his kings
Supplied with sleep
We'll climb that hill no matter how steep
When we get up to it
Whoo-ee! Ride me high
Tomorrow's the day
My bride's gonna come
Oh, oh, are we gonna fly
Down in the easy chair!

Guest Commentary

I have mentioned in my review of Martin Scorsese's "No Direction Home; The Legacy Of Bob Dylan" (see archives) that Dylan's protest/social commentary driven lyrics dovetailed with my, and others of my generation's, struggle to make sense of a world at war (cold or otherwise)and filled with injustices and constricting values. Here are the lyrics of three songs-"Blowin' In The Wind", "The Times They Are A-Changin'" and "Like A Rolling Stone" that can serve as examples of why we responded to his messages the way we did. Kudos Bob.


The Times They Are A-Changin'

Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.

Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.

Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.

Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.

The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.

Copyright ©1963; renewed 1991 Special Rider Music

Blowin' In The Wind

How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many years can a mountain exist
Before it's washed to the sea?
Yes, 'n' how many years can some people exist
Before they're allowed to be free?
Yes, 'n' how many times can a man turn his head,
Pretending he just doesn't see?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many times must a man look up
Before he can see the sky?
Yes, 'n' how many ears must one man have
Before he can hear people cry?
Yes, 'n' how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

Copyright ©1962; renewed 1990 Special Rider Music


Like A Rolling Stone

Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you?
People'd call, say, "Beware doll, you're bound to fall"
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.

How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?

You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

You never turned around to see the frowns on the jugglers and the clowns
When they all come down and did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Princess on the steeple and all the pretty people
They're drinkin', thinkin' that they got it made
Exchanging all kinds of precious gifts and things
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Copyright ©1965; renewed 1993 Special Rider Music

*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

*The "Jelly Roll Baker" Is In The House- The Blues Of Lonnie Johnson

Click On Title To Link To YouTube's Film Clip Of Lonnie Johnson Doing "Got The Blues For Murder Only".

CD REVIEW

Steppin’ The Blues, Lonnie Johnson, Columbia Records, 1990.

Parts of the following have been used in a review of Lonnie Johnson Blues and Ballads CD (hereafter B&B).

Okay, Okay those of you who have been keeping tabs know that I have spend much of the last year, when not doing political commentary or book or movie reviews, reviewing many of the old time blues artists that were the passion of my youth (and still are). So this writer, who thought he had heard virtually all the key blues men and women of the old days, got his comeuppance a while back when the name of Lonnie Johnson and his version of the classic double-entendre song “Jelly Roll Baker” came up. To name drop just a little, the occasion was a local reunion of Geoff Muldaur and Jim Kweskin of the old Jim Kweskin Jug Band from the 1960’s (that also included Geoff’s ex-wife and great performer in her own right, Maria Muldaur). They did a stirring rendition of the song and attributed it to the performer under review here. After scratching my head I ran out to get some more of Brother Lonnie’s work and as noted above I have fulsomely praised his B&B CD in this space.

Although this CD has merit musically and certainly has historical worth as a comparison of young Lonnie Johnson in the 1920’s to the later B&B Lonnie this is one time when aging seems to have created a better body of work. A comparison of “I’m Nuts About That Gal” (really an early version of his classic “Jelly Roll Baker”) and the “Jelly Roll Baker” of the B&B make my point succinctly. That said, the noted Johnson guitar work is highlighted on “Guitar Blues”, the novelty sassy song in two parts “Toothache Blues” and “Deep Blue Sea Blues”. That is why you want this album.

The Fire Next Time- Keb' Mo'

CD REVIEW

February Is Black History Month

Keb’ Mo’, Keb’ Mo’, Okeh Records, 1994

This reviewer has spent much ink in this space over the past year or so touting various old time country blues singers like Bukka White, Skip James and, of course, Son House. I have noted that their music reflected the rural southern, mainly Mississippi Delta. plantation life of hard toil (picking that damn cotton), hard living and hard loving from an earlier part of the last century. That age effectively ended on an economic level with the vast increases in the mechanization of agriculture and the migration of blacks north (mainly to Chicago and other Midwest industrial stops) in the period leading up to World War II. Musically it ended with the electrification of the blues guitar as the music headed north. That, however, begs an important question. Who would, if anyone, continue that old blues tradition?

Well we know part of the answer. The various white (mainly) urban folk revivalists of the 1960’s, including the likes of Dave Van Ronk and Eric Von Schmidt and British rock aficionados like Eric Clapton of that same period held the tradition together by physically “discovering” the remnants of the old time singers like the above-mentioned artists. And by creating their own blues tradition. But what of now. That is where the artist under review, Keb’ Mo’, comes into the picture. He has gone back to the roots with some sassy, saucy, sexy songs (mainly of his own creation) that would do his predecessors proud. In the age of the ‘hip-hop nation’ the sheer number of those who are committed to the maintenance of this music is surely much too small but the quality, as represented by Keb’, makes up the difference.

So what is good here? “Anybody Seen My Girl” deserves a listen as does “Dirty Low Down and Bad” but if you have only time to listen to one give a listen to the old Robert Johnson tune “ Kindhearted Woman” then you will know why the old blues tradition is still in capable hands. Kudos Keb’.

Note: I first heard of Keb’ through part one of Martin Scorsese’s six part 2003 PBS series on the history of the blues. I recommend that series for those who want a primer on the history of this music-then push on from there.

*The Hoochie Coochie Man- The Blues of Muddy Waters -"He's Got His Mojo Workin'"

Click on title to link to YouTube's film clip of Muddy Waters in Performance mode.

DVD Review

Muddy's Got His Mojo Working

Muddy Waters: Got My Mojo Working, German Cinema, 2003

Recently I watched this German cinema produced film concert documentary compilation as a companion piece to the documentary of Muddy’s life- “Muddy Waters Can’t Be Satisfied”. If you need background about the life and work of this important blues artist and innovator check out my review of it in this space (above). And get the film. If you just need a flat out “short course” in the electric blues of Mr. Muddy Waters and his various bands then this is the ticket. Some of the concert material is so-so, some is excellent. What you want to get this one for though is his incredible extended version of “Mannish Boy”. Hoochie Coochie Man, indeed.

*The Hoochie Coochie Man- The Blues of Muddy Waters

Click on title to link to YouTube's film clip of Muddy waters Performing "He's Got His Mojo Workin'".

DVD Review

Anytime Is Blues History Month

Muddy Waters Can’t Be Satisfied, Muddy Waters, various band members and other artists, Productions,1997

Over the past year I have made some effort to trace back the roots of the blues by highlighting various seemingly forgotten blues artists, mainly from the country blues branch. I have also mentioned that the huge black migration of blacks in the 1930’ sand 1940’s from the South to the North, mainly up the river to Chicago, called for a different kind of energy and so the blues got plugged in to reflect that change. One would think that well before now I would have covered the great Muddy Waters, a seminal figure in that transformation of the blues. There are a few reasons what this has not been done previously. For one, I have tried to concentrate on the country blues artist, many who have been unjustly neglected. For another, I was aware that “Cadillac Records”, essentially the story of Muddy and his relationship to Chicago’s Chess Records, the key outlet for electric blues during its rise, was to be released at the end of 2008. But the main reason is that when it comes to the question of the “King of Chicago Blues” Howlin’ Wolf is my choice and I have felt no urgency to get to Muddy’s work, as important as it is to my project.

That said, this well made production highlighting the career and work of Muddy Waters is well worth the watch whatever your sympathies. As usual with these kinds of efforts there are many “talking heads” that inevitably populate this format. These include, importantly, various musicians that worked with Muddy over the years, like James Cotton and Charlie Musselwhite, and provide insight into his musician style, his personal habits including his womanizing and drinking, his on-and- off stage presences, a tour of various spots in Chicago where the music was made in the old days and a hint at his personality. There are also the appreciations by various later musicians influenced by Muddy, including Bonnie Raitt, Eric Clapton and the ubiquitous Keith Richards. Finally there are family members, girlfriends and others giving their, sometimes painful, recollections of the man.

Additionally, this film provides a running commentary through Muddy’s life, of the ups and downs of Chicago blues and the artists that performed that work. We get glances of Muddy’s start as a Delta artist in the late 1930’s, the transformation of his work as he hits Chicago in the war time 1940’s, his fight to be “King of the Hill”, his effect on other artists, the decline of the blues with the onslaught of rock & roll in the 1950’s, the revival in the 1960’s and his ultimate place in the blues pantheon. Along the way we get to hear snippets of his most famous work, including “Can’t Be Satisfied” and “Mannish Boy”. I, personally, do not think they compare to Howlin’ Wolf on “The Red Rooster” or “The Killing Floor” but this film gives those who have Muddy as number one in their electric blues pantheon plenty of ammunition for their position.

*Folk Music 101- There Are Many Rooms In That Mansion

CD REVIEWS

Troubadours Of The Folk Era, Volumes One, Two And Three, Rhino Records, 1992

The generic parts of this review, relating to the 1960's folk revival, have been used in other reviews of musicians from this period.

My musical tastes were formed, as were those of many of the Generation of 1968, by `Rock and Roll' music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us at some other level. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.

That said, in the early 1960's there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960's cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians' respective agendas proved inadequate and/or short-lived does not negate their influence on the times.

My leftist political consciousness, painfully fought for in my troubled youth, coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960's. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review this two volume compilation of songs by the best musicians of the early folk period.

Many of the folksingers of the 1960's attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. The artists here, for the most part, stayed within the broad parameters of the term folk. There are, indeed, many rooms in that mansion as this compilation will demonstrate to the attentive listener. Some of the artists listed here, like Pete Seeger, I have reviewed previously elsewhere in this space. Others, like Eric Von Schmidt, I will do individual reviews of in the future. As a general observation the producers of this CD went out of their way, way out of their way to get the best renditions available of the songs by the individual artists represented and to provide the best range of what folk meant to those who wrote the songs, sang them and listened in. For those too young to have heard it then you have been given a reprieve- use it.

Highlights of Volume One are Joan Baez on "Silver Dagger"; Eric Andersen on "Violets of Dawn", the late Odetta on "John Henry"; Jesse Colin Young on "Four In The Morning": Donovan on "Catch The Wind" and an incredible rendition by the late Eric Von Schmidt of his "Wasn't That A Mighty Storm" (about a flood in Galveston, Texas in the early part of the 20th century).

Highlights on Volume Two are Tom Rush on "The Circle Game"; Judy Collins on " Who Knows Where The Time Goes"; Tom Paxton on "Ramblin' Boy"; and, Jim Kweskin & The Jug Band (that's with Geoff Muldaur and Maria Muldaur along with Jim, by the way) on a very well done version of the old blues classic "Don't You Leave Me Here".

Highlights on Volume Three, which is a little less worthwhile than the first two volumes and, frankly, reflects inclusions of some 'space fillers', are Leadbelly's "Goodnight, Irene"; Woody Guthrie's "Hard, Ain't It Hard" and Sonny Terry's "Rider".

*****

500 Miles by Hedy West

If you miss the train Im on, you will know that I am gone
You can hear the whistle blow a hundred miles,
A hundred miles, a hundred miles, a hundred miles, a hundred miles,
You can hear the whistle blow a hundred miles.

Lord Im one, lord Im two, lord Im three, lord Im four,
Lord Im 500 miles from my home.
500 miles, 500 miles, 500 miles, 500 miles
Lord Im five hundred miles from my home.

Not a shirt on my back, not a penny to my name
Lord I cant go a-home this a-way
This a-away, this a-way, this a-way, this a-way,
Lord I cant go a-home this a-way.

If you miss the train Im on you will know that I am gone
You can hear the whistle blow a hundred miles.

Once I Was- Tim Buckley

Once I was a soldier
And I fought on foreign sands for you
Once I was a hunter
And I brought home fresh meat for you
Once I was a lover
And I searched behind your eyes for you
And soon therell be another
To tell you I was just a lie

And sometimes I wonder
Just for a while
Will you remember me

And though you have forgotten
All of our rubbish dreams
I find myself searching
Through the ashes of our ruins
For the days when we smiled
And the hours that ran wild
With the magic of our eyes
And the silence of our words

And sometimes I wonder
Just for a while
Will you remember me

Ramblin' Boy
Words and Music by Tom Paxton

He was a man and a friend always
He stuck with me in the hard old days.
He never cared if I had no dough
We rambled 'round in the rain and snow.

[Chorus]

And here's to you my ramblin' boy
May all your ramblin' bring you joy
And here's to you my ramblin' boy
May all your ramblin' bring you joy.
In Tulsa town we chanced to stray
We thought we'd try to work one day
The boss said he had room for one
Says my old pal, "We'd rather bum!"

[Chorus]

Late one night in a jungle* camp
The weather it was cold and damp
He got the chills and he got 'em bad
They took the only friend I had.
[Chorus]

He left me here, to ramble on
My ramblin' pal, is dead and gone
If when we die, we go somewhere
I'll bet you a dollar, he's ramblin' there.

[Chorus]

The Circle Game by Joni Mitchell

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star
Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like, when youre older, must appease him
And promises of someday make his dreams
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we con only look behind
From where we came
And go round and round and round
In the circle game.

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him,
Take your time, it wont be long now
Till you drag your feet to slow the circles down
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we can only look behind
From where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur
Coming true
Therell be new dreams, maybe better dreams and plenty
Before the last revolving year is through.
And the seasons they go round and round
And the painted ponies go up and down
Were captive on the carousel of time
We cant return, we can only look behind
From where we came
And go round and round and round
In the circle game

THIS LAND IS YOUR LAND
words and music by Woody Guthrie

Chorus:

This land is your land, this land is my land
From California, to the New York Island
From the redwood forest, to the gulf stream waters
This land was made for you and me

As I was walking a ribbon of highway
I saw above me an endless skyway
I saw below me a golden valley
This land was made for you and me

Chorus

I've roamed and rambled and I've followed my footsteps
To the sparkling sands of her diamond deserts
And all around me a voice was sounding
This land was made for you and me

Chorus

The sun comes shining as I was strolling
The wheat fields waving and the dust clouds rolling
The fog was lifting a voice come chanting
This land was made for you and me

Chorus

As I was walkin' - I saw a sign there
And that sign said - no tress passin'
But on the other side .... it didn't say nothin!
Now that side was made for you and me!

Chorus

In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin' and some are wonderin'
If this land's still made for you and me.

Chorus (2x)

©1956 (renewed 1984), 1958 (renewed 1986) and 1970 TRO-Ludlow Music, Inc. (
BMI)

TOMORROW IS SUCH A LONG TIME lyrics
(Bob Dylan)

If today was not an endless highway
If tonight was not a crooked trail
If tomorrow wasn't such a long time
then lonesome would mean nothing to you at all

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

I can't see my reflection in the mirror
I can't speak the sounds that show no pain
I can't hear the echoes of my footsteps
and can't remember the sound of my own name

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

There's beauty in the silver singin' river
There's beauty in the sunlight in the sky
But none of these, and nothing else
can steal the beauty
that I remember in my true love's eyes

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

JOHN HENRY, STEEL DRIVING MAN

1. John Henry was a railroad man,
He worked from six 'till five,
"Raise 'em up bullies and let 'em drop down,
I'll beat you to the bottom or die."

2. John Henry said to his captain:
"You are nothing but a common man,
Before that steam drill shall beat me down,
I'll die with my hammer in my hand."

3. John Henry said to the Shakers:
"You must listen to my call,
Before that steam drill shall beat me down,
I'll jar these mountains till they fall."

4. John Henry's captain said to him:
"I believe these mountains are caving in."
John Henry said to his captain: "Oh, Lord!"
"That's my hammer you hear in the wind."

5. John Henry he said to his captain:
"Your money is getting mighty slim,
When I hammer through this old mountain,
Oh Captain will you walk in?"

6. John Henry's captain came to him
With fifty dollars in his hand,
He laid his hand on his shoulder and said:
"This belongs to a steel driving man."

7. John Henry was hammering on the right side,
The big steam drill on the left,
Before that steam drill could beat him down,
He hammered his fool self to death.

8. They carried John Henry to the mountains,
From his shoulder his hammer would ring,
She caught on fire by a little blue blaze
I believe these old mountains are caving in.

9. John Henry was lying on his death bed,
He turned over on his side,
And these were the last words John Henry said
"Bring me a cool drink of water before I die."

10. John Henry had a little woman,
Her name was Pollie Ann,
He hugged and kissed her just before he died,
Saying, "Pollie, do the very best you can."

11. John Henry's woman heard he was dead,
She could not rest on her bed,
She got up at midnight, caught that No. 4 train,
"I am going where John Henry fell dead."

12. They carried John Henry to that new burying ground
His wife all dressed in blue,
She laid her hand on John Henry's cold face,
"John Henry I've been true to you."

Reno Nevada

It's a long long way down to Reno Nevada
It's a long long way to your home
And the change in your pocket it's beginning to crumble
And you reap just about what you sow
You can walk down the street
Pass your face in a window
You can go on foolin' around
You can work night and day take a chance on promotion
You can fall through a hole in the ground

Well there ain't no game like the game that you're playing
When you've got a little something to lose
And there ain't no time like the time that you're wasting
And you waste just about what you choose
There's a man at the table and you know he's been able
To return all the odds that you lay
And you can't feed your hunger
And you ain't getting younger
And your tongue it's got nothing to say

It's a long long way down to Reno Nevada
It's a long long way to your home
And the ground underneath you it's beginning to crumble
And the sky up above you has grown
There's a time to be grievin' and a time to be screamin'
And a time just to scroll on the wall
And you ain't got the double
And it ain't worth the trouble
You're feeling you're going nowhere at all

COCAINE BLUES

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

I woke up this mornin', Lord, I had a hunger pain.
And all I want for breakfast is my good cocaine,
Cocaine, aw you ol' cocaine.

Jump out of bed, Mama, run downtown;
Take along the money and look all around.
Find the man, the man that sells cocaine.

Come here, Mama, come here quick;
That ol' coke's got me and I'm feelin' sick.
Cocaine, aw you ol' cocaine.

Get out of here, Mama, I thought you understood;
You got no connections then you're no damn good.
Cocaine.

Well, coke's for horses, Lord, it ain't for men.
They say it kills you, but they don't say when.

C'mon, Mama, let's rent us a boat.
We'll sail down that Gibraltar moat;
Shed a tear every time we pass Tangiers.

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

Donovan » Catch The Wind Lyrics

In the chilly hours and minutes,
Of uncertainty, I want to be,
In the warm hold of your loving mind.

To feel you all around me,
And to take your hand, along the sand,
Ah, but I may as well try and catch the wind.

When sundown pales the sky,
I wanna hide a while, behind your smile,
And everywhere I'd look, your eyes I'd find.

For me to love you now,
Would be the sweetest thing, 'twould make me sing,
Ah, but I may as well, try and catch the wind.

When rain has hung the leaves with tears,
I want you near, to kill my fears
To help me to leave all my blues behind.

For standin' in your heart,
Is where I want to be, and I long to be,
Ah, but I may as well, try and catch the wind.

*Hello In There- The Music Of John Prine

Click on the headline to link to a YouTube film clip of John Prine performing his classic, "Angel From Montgomery".

CD/DVD REVIEWS

Great Days: The John Prine Anthology, John Prine, Rhino Records, 1993

Over the last several months I have done more musically-oriented reviews that I had expected to on this site in order to flesh out the role of some of the 1960's cultural icons on the times. One of the themes that have kept cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. In fact, my first acquaintance with the work of John Prine, at least that I was aware of, was several years ago when I was requested to get a couple of his CDs for a friend for Christmas. Upon listening to those albums, including this compilation, we both agreed that the best bet was to return them and get something else. Go figure.

I had, obviously, heard Bonnie Raitt do Prine's “Angel From Montgomery” long ago but I never associated his name with that song. Then a couple of years ago I happened to listen to his “Hello In There” and “Sam Stone”. Anyone whose has been affected by the Vietnam War experience in any way will gasp after hearing this very personal take of the destructiveness of that war for many of those who fought it, found hard drugs and found the black hole as a result. If you want to hear a real anti-war song rather than something wistful like “Where have All The Flowers Gone?” and the like then listen to this one. Yes, this guy Prine had something to say that I wanted to (and on some songs, needed to) hear.

This compilation represents a very wide selection of his best work, arguably the best representation of that work in one location that you could get. Mr. Prine is a good guitar player, a very, very good wordsmith who has produced some poetic turns of phrases here that will have you thinking for a while. Moreover on, for example, “Dear Abby” he can show his “silly”, nonsensical side. He also frankly, has the wry sense of humor (in the classical Greek sense of that word) of a man who has been pushed around by life, has pushed back; has taken his beatings, dusted himself off and gotten back up again. You know, just the kind of guy that I, and I am sure other guys and gals of a certain age, very definitely can relate to, and in some cases like that above-mentioned “Hello In There” need to relate to. If you have just one John Prine album to get this is the one. Then start saving your dough to get the others.

In addition to the songs mentioned above listen to his cover of “Killing The Blues” and Steve Goodman’s “Souvenirs”. Also Unwed Fathers”, “The Late John Garfield Blues” and “Sweet Revenge”.

The Missing Years, John Prine, Oh Boy Records, 2002

This is a later compilation after his, hopefully, successful bout with cancer. Believe me the above remarks mentioned in the review of 'Great Days" still apply. So what is good here? Listen to "The Sins Of Memphisto", "Picture Show" Train" and "Jesus The Missing Years". Then you will know what I mean by that remark about his wordsmanship mentioned above in the review of “Great Days”.

John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his "Angel From Montgomery" but I never associated his name with that song. Then a couple of years ago I happened to listen to his "Hello In There" and "Sam Stone". Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of "Sam Stone", "Lake Marie" and "Hello in There" not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like "When Two World Collide" he is accompanied by Iris Dement (a powerful singer in her own right who I have reviewed elsewhere in this space. She is also the wife of singer songwriter Greg Brown who is also reviewed elsewhere here). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

*An Appreciation of R & B's Ike Turner

Click On Title To Link To YouTube's Film Clip Of Ike Turner And His Kings of Rhythm In A 1959 Rock Out.

CD REVIEW

The Sun Sessions By Ike Turner and His Kings of Rhythms, Ike Turner, Sun Records, 1959

Needless to say the late Ike Turner’s reputation as a performer has suffered from the revelations about his sexual abuse of the currently still performing Tina Turner (and still wowing audiences with her raucous soulful energies). Tina's revelations in her biography and through the movie "What's Love Got To Do With It" have all but erased any popular knowledge of Ike's seminal role in the R&B aspect of the creation of Rock 'n' Roll in the early 1950's. While one needs to pay due respect to political correctness in this matter and all one's sympathies are with Tina it is nevertheless necessary to pay homage to Ike's pivotal role in that development, warts and all.

One needs to start from Ike's work on 1951's "Rocket 88" (often considered the first rock 'n' roll record although readers of this space know that my preferred candidate is Big Joe Turner's "Shake, Rattle and Roll"), to his piano backings for Little Milton and Junior Parker and his twangy, pre-funk heavy guitar playing throughout the 50s (for Loma, among others). Turner was there, contributing ideas and stretching existing sounds into the new cosmos (and new white teenage music market). However, we all know it always has to get back to that Sun studio in Memphis (and the pervasive Sam Phillips). Right? But where is that classic "Rocket 88" here? Although it is readily available elsewhere it should be in this compilation. I went crazy recently when I heard it for the first time in a long time. That was a time when men and women played hard-driving R&B for keeps.


As others have pointed out and I am beholding to here for the remaining comments as a recording artist Turner hopped around quite a bit, recording for (or having his recordings leased to) a variety of labels throughout the 50s, including RPM, Modern, Chess and Sun. His nomadic wanderings make a label-centric compilation such as this more like a snapshot than a coherent view of his pre-Ike & Tina work. Even the liner notes (from Bill Dahl) have a difficult time providing context for these tracks without alluding to coincidental tracks (on other labels) that aren't here.
Of the actual Sun-cut tracks, there are many stand-outs, including several that weren't released at the time of their waxing. Billy "The Kid" Emerson vocalizes on several of the disc's highlights, including his Sun debut, the tremelo-and-blues "No Teasing Around." Here he mixes R & B crooning (of the sort peaking with Specialty artists like Percy Mayfield and Joe Liggins) with a bit of the rockabilly swagger that would soon flourish. His follow-up, "The Woodchuck," features a lyric that riffs on the childhood rhyme, and is powered by a generous helping of Turner's stinging guitar.

After leaving Memphis and cutting sides for Federal in '56 and '57, Turner self-produced recordings in St. Louis in 1958 and sold them to Sun. New lead vocalist Tommy Hodge had great style, and the Louis Jourdan-like jump-blues of "I'm Gonna Forget About You Baby (Matchbox)" is very catchy. Carlson Oliver's rocking sax solo is a real standout, and Turner's whammy bar gets a full workout on "How Long Will It Last."

Note: Many of the songs by the various artists featured here have been placed on other Sun-related compilations, especially the work of Billy Emerson. However, it is nice to have Ike's early Sun work in one place except that mandatory "Rocket 88".