*Who Will Keep The Lamp Light Burning? - The Folk Music Of Caroline Herring

Click on title to link to YouTube's film clip of Caroline Herring performing from her "Lantana" CD.

CD Review

Golden Apples Of The Sun, Caroline Herring, Signature Sounds, 2009

Okay, today I am under the influence of the children of the moon. Or is it that this weekend I went to a folk music concert (featuring the jug music of Maria Muldaur of the old time 1960s Jim Kweskin Jug Band and sidekick John Sebastian of The Lovin’ Spoonful) and noticed that the ages of the majority of the patrons could have permitted the session to double up as an AARP meeting. This brings me to the subject at hand. Who will, if anyone, carry on the old folk traditions that we helped revive in the 1960s?

Every musical genre needs its revivalists, or it will merely past out of history. Folk (or, more properly, traditional music) has always had boosts: sometimes from surprising sources like Francis Child and his incessant ballad collecting in the 19th century, the father and son Lomaxes, John and Alan, the father, sons and daughter Seeger, Charles, Pete, Mike and Peggy. They, and others, carried the tradition through to the 1960s (and beyond) but I do not now see, and that concert audience's composition kind of confirmed a long held suspicion of mine, the younger blood that will preserve the tradition.


We know, however, that it will continue as long as people want to make ad hoc music for themselves and their circle. Moreover, that future folk music will, maybe, sound unlikely to our ears. That has always been the case though. Who would have thought that, let’s say, Harry Smith’s “Anthology Of American Folk Music” with its eclectic mishmash of styles and forms like mountain music, gospel, country blues and the like would have the seminal influence that it had on an urban, educated, for the most part upscale and upwardly mobile population that came of age in the 1960s.

That said, I have no answer about whom, or what whirlwind, will ultimately set the new agenda for folk music but I would take time here to point out one candidate whose CD I am reviewing as part of this commentary, Caroline Herring. Her latest CD "Golden Apples Of The Sun” seems to be me to set the right tone for what the future of folk might look like. Obviously it will continue to depend on guitars, fiddles, mandolins and whatever low or high tech instrumental developments come along. But it will, like the revival of the 1960s, depend as well on the mix of old time music with some new, fresh material that will response to the needs of a new audience.

In that sense this CD fits a right balance. Three excellent compositions on this CD “Tale of The Islander”, “The Dozens”, and “Abuelita” (as well as a couple of others) are Ms. Herring’s own work, and influenced by ideas that stem from her experiences and worldview. “See See Rider”, a classic old time tune that I first heard Mississippi John Hurt do back in the days, the much covered mournful ballad “Long Black Veil”, and the poem by William Butler Yeats set to music “Song Of The Wandering Aengus” reflect that tip of the hat to tradition. Of course in this space anyone who has the forethought to set a Yeats poem to music will have me eating out of their hand, no question. But that is a story for another day. What is for today is that this is what the future of folk looks like.

See See Rider Lyrics

Oh see, See See Rider
Girl see, what you've done
Oh, oh, oh See See Rider
See what you've done now
You've gone away and left me,
Lord, now and now the blues have come, oh yes, they do

Oh, well I'm goin', goin' away baby
And I won't be back till fall
Oh yes I am, going away baby
And I won't be back till fall
If I get me a good lookin' woman
No, no, no, I won't be back at all, all right

And I see, See See Rider, I love you, yes I do
And there isn't one thing darlin'
I would not do for you
You know I want you See See
I need you by my side
See See Rider, ough, keep me satisfied

Oh See See Rider, See See Rider, See See Rider
See See Rider, See See Rider, See See Rider
You keep on ridin', keep on riding
Here I come baby, look out, beat it, all right
Don't lose it now, come one, come on, yeah

Here she comes, she's all right,
She's so fine, she's all mine
See See, come on, can we take a ride now, hey

Well, I'm goin, goin' away baby
And I won't be back till fall
Oh yes I'm goin', going away baby
And I won't be back till fall
If I find me a good lookin' woman
No, no, no, I won't be back at all
And that's the truth baby
Listen, I'm going, all right
Somebody told me, somebody told me
I'm Joe Jackson, I'm leavin'
All right, all right, ough!

Happy Birthday-*Tribute Album Potpourri- A Tip Of The Hat To Mississippi John Hurt- "Did You Hear John Hurt?"

Click On Title To Link To YouTube's Film Clip Of Mississippi John Hurt On Pete Seeger's Television Show "Rainbow Quest".

This Is Part Of A Four Artist Tribute Album Potpourri- A Tip Of The Hat To Hank Williams, Mississippi John Hurt, Bob Dylan and Greg Brown.

CD REVIEW

A musical performer knows that he or she has arrived when they have accumulated enough laurels and created enough songs to be worthy, at least in some record producer's eyes, of a tribute album. When they are also alive to accept the accolades as two out of the four of the artists under review are, which in these cases is only proper, that is all to the good. That said, not all tribute albums are created equally. Some are full of star-studded covers, others are filled with lesser lights who have been influenced by the artist that they are paying tribute to. As a general proposition though I find it a fairly rare occurrence, as I have noted in a review of the “Timeless” tribute album to Hank Williams, that the cover artist outdoes the work of the original recording artist. With that point in mind I will give my “skinny” on the cover artists here.


Did You, You Hear John Hurt?

Avalon Blues: A Tribute To The Music Of Mississippi John Hurt, various artists, Vanguard Records, 2001

If one were to ask virtually any fairly established folk music singer in, let’s say 1968, what country blues musician influenced them the most then the subject of this review would win hands down. The list would be long- Dave Van Ronk, Geoff Muldaur, Maria Muldaur, Phil Ochs, Chris Smithers, Joan Baez and on and on. Hell, Tom Paxton wrote a song about him-“Did You Hear John Hurt?” That song still gets airplay on the folk station around where I live.

So what gives? Why the praise? What gives is this- Mississippi John Hurt and his simple country blues were 'discovered' at a time when many young, mainly white urban musicians were looking for roots music. This search is not anything particularly new-John and Alan Lomax went on the hustings in the 1930’s and recorded many of the old country blues artists that were ‘discovered’ in the 1960’s. Hell, you can go back further to the 1920’s and the record companies themselves were sending out agents to scour the country looking for talent- they found the likes of the Carter Family and Blind Willie McTell along the way.

That is the tradition that the artists covering Brother Hurt’s songs are paying homage to in this CD. For the most part these are lesser known artists who, however, provide a sense of what old John was trying to convey in his slow, clear low-down style. Outstanding in that regard are Chris Smither’s interpretation of the super-classic 'man done wrong' story “Frankie and Johnnie”, Lucinda Williams’ sorrowful “Angels Lay Him Away”, Geoff Muldaur’s humorous “Chicken”, Taj Mahal’s eerily deep-throated “My Creole Belle” and Gillian Welch’s mournful “Beulah Land”. Listen on.

Did You Hear John Hurt?

Words and Music by Tom Paxton
It was a frosty night. It was beginning to snow,
And down the city streets, the wind began to blow.
We all came to the cellar. We all emptied the bar,
To hear a little fellow, play a shiny guitar.

[Cho:]
Did you hear John Hurt play the "Creole Bell,"
"Spanish Fandango" that he loved so well?
And did you love John Hurt? Did you shake his hand?
Did you hear him sing his "Candy Man?"

On a straight back chair, with his felt hat on,
He tickled our fancy with his "Avalon."
And everyone passing down on MacDougle Street,
Cocked their heads and listen to the tappin' feet.

[Cho:]

[Repeat first verse and Chorus]


Ain't no tellin

Don't you let my good girl catch you here.
Don't you let my good girl catch you here.
She might shoot you, may cut ya and starve you too.
Ain't no tellin, what, she might do.

I'm up the country where the col' sleet and snow.
I'm up the country where the col' sleet and snow.
Ain't no telling how much further I may go.

Eatin' my breakfast here, my dinner in Tennessee.
Eatin' my breakfast here, my dinner in Tennessee.
I tol' you I was comin', baby, won't you look for me.
Hey, hey, such lookin' the class.

The way I'm sleepin' my back and shoulders tired.
Way I'm sleepin' babe, my back and shoulders tired.
Gonna turn over, try it on the side.

Don't you let, my good girl catch you here.
She, might shoot you, may cut you and starve you too.
Ain't no tellin', what, she might do.
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Avalon Blues

written by: Mississippi John Hurt

Got to New York this mornin', just about half-past nine
Got to New York this mornin', just about half-past nine
Hollerin' one mornin' in
Avalon
, couldn't hardly keep from cryin'
Avalon is my hometown, always on my mind
Avalon is my hometown, always on my mind
Pretty mama's in Avalon want me there all the time
When the train left Avalon, throwin' kisses and wavin' at me
When the train left Avalon, throwin' kisses and wavin' at me
Says, "Come back, daddy, and stay right here with me"
Avalon's a small town, have no great big range
Avalon's a small town, have no great big range
Pretty mama's in Avalon, they sure will spend your change
New York's a good town, but it's not for mine
New York's a good town, but it's not for mine
Goin' back to Avalon, near where I have a pretty mama all the time
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Candy Man Blues

written by: Mississippi John Hurt

Well all you ladies gather 'round
That good sweet candy man's in town
It's the candy man
It's the candy man
He likes a stick of candy just nine inch long
He sells as fast a hog can chew his corn
It's the candy man...
All heard what sister Johnson said
She always takes a candy stick to bed
Don't stand close to the candy man
He'll leave a big candy stick in your hand
He sold some candy to sister Bad
The very next day she took all he had
If you try his candy, good friend of mine,
you sure will want it for a long long time
His stick candy don't melt away
It just gets better, so the ladies say
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Casey Jones

written by: Mississippi John Hurt

Casey Jones was a brave engineer,
he told his fireman to not to fear
Says, "All I want, my water and my coal
Look out the window, see my drive wheel roll"
Early one mornin' came a shower of rain,
'round the curve I seen a passenger train
In the cabin was Casey Jones,
he's a noble engineer man but he's dead and gone
"Children, children, get your hat"
Mama, mama, what you mean by that?"
"Get your hat , put it on your head,
go down in town, see if your daddy's dead"
"Mama, mama, how can it be?
My daddy got killed on the old I.C.
"Hush your mouth and hold your breath,
you're gonna draw a pension after your daddy's dead"
Casey's wife, she got the news,
she was sittin' on the bedside,
she was lacin' up her shoes
I said, "Go away, children, and hold your breath,
you're gonna draw a pension after your daddy's dead"
Casey said, before he died,
fixed the
blinds so the boys can't ride
If they ride, let 'em ride the rod,
trust they lives in the hands of God"
Casey said again, before he died,
one more road that he wanted to ride
People wondered what road could that be?
The Gulf Colorado and the Santa Fe
Casey Jones was a brave engineer,
he told his fireman to not to fear
Says, "All I want, my water and my coal
Look out the window, see my drive wheel roll"
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Coffee Blues

written by: Mississippi John Hurt

(spoken:
This is the "Coffee Blues", I likes a certain brand
- Maxwell's House - it's good till the last drop,
just like it says on the can. I used to have a girl
cookin' a good Maxwell House. She moved away.
Some said to
Memphis
and some said to Leland,
but I found her. I wanted her to cook me some
good Maxwell's House. You understand,
if I can get me just a spoonful of Maxwell's House,
do me much good as two or three cups this other coffee)
I've got to go to Memphis, bring her back to
Leland
I wanna see my baby 'bout a lovin'
spoonful
, my lovin' spoonful
Well, I'm just got to have my lovin'
(spoken: I found her)
Good mornin', baby, how you do this mornin'?
Well, please, ma'am, just a lovin' spoon,
just a lovin' spoonful
I declare, I got to have my lovin' spoonful
My baby packed her suitcase and she went away
I couldn't let her stay for my lovin',
my lovin' spoonful
Well, I'm just got to have my lovin'
Good mornin', baby, how you do this mornin'?
Well, please, ma'am, just a lovin' spoon,
just a lovin' spoonful
I declare, I got to have my lovin' spoonful
Well, the preacher in the pulpit, jumpin' up and down
He laid his bible down for his lovin'
(spoken: Ain't Maxwell House all right?)
Well, I'm just got to have my lovin'


Corrina, Corrina

traditional

Corrina, Corrina, where'd you stay last night?
Corrina, Corrina, where'd you stay last night?
Come in this morning, clothes ain't fittin' you right
I left Corrina, way across the sea
I left Corrina, way across the sea
She wouldn't write me no letter, she don't care for me
Oh Corrina, Corrina, where you been so long?
Oh Corrina, Corrina, where you been so long?
She wouldn't write me no letter, she don't care for me
Corrina, Corrina, where'd you stay last night?
Corrina, Corrina, where'd you stay last night?
Come in this morning, clothes ain't fittin' you right



Got The Blues, Can't Be Satisfied

written by: Mississippi John Hurt

Got the blues, can't be satisfied
Got the blues, can't be satisfied
Keep the blues, I'll catch that train and ride
Yes, whiskey straight will drive the blues away
Yes, whiskey straight will drive the blues away
That be the case, I wants a quart today
I bought my baby a great big diamond ring
I bought my baby a great big diamond ring
Come right back home and caught her
shaking that thing
I said, "Babe, what make you do me this a-way?"
I said, "Babe, what make you do me this a-way?"
Well, that I bought, now you give it away
I took my gun and broke the barrel down
I took my gun and broke the barrel down
I put that joker six feet in the ground
You got the blues, and I still ain't satisfied
You got the blues, and I still ain't satisfied
Well, some old day, gonna catch that train and ride

I'm satisfied

I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

First in the country, then in town. I'm a total old shaker from my navel on down.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

I pull my dress to my knees, I give my total all to who please.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.

I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
I'm satisfied, tickled, too. Old enough to marry you.
I'm satisfied it's going to bring you back.
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Louis Collins

Mrs Collins weeped, Mrs. Collins moaned
To see her son Louis leavin' home.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.

Oh kind friends, oh ain't it hard?
To see poor Louis in a new graveyard.
The angels laid him away.

Oh Bob shot once and Louis shot, too [two]
Shot pOor Collins, shot him through and through.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.

Mrs. Collins weeped, Mrs. Collins moaned
To see her son Louis leavin' home.
The angels laid him away.

The angels laid him away.
They laid him six feet under the clay.
The angels laid him away.

Oh, when they heard that Louis was dead,
All the people, they dressed in red.
The angels laid him away.

The angels laid him away,
They laid him six feet under the clay.
The angels laid him away.
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Make me down a pallet on your floor


Make me down a pallet on your floor.
Make me down...
Make me down a pallet down, soft and low
Make me a pallet on your floor.

Up the country, 20 miles or more.
I'm going up the country where the cold, sleet and snow.
I'm going up the country, where the cold, sleet and snow.
No tellin' how much further I may go.

Just make me down ...
Make me down...
Make me a pallet, down, soft and low.
Make me a pallet on your floor.

Way I'm sleeping, my back and shoulders tired.
Way I'm sleeping, my back and shoulders tired.
The way I'm sleeping, my back and shoulders tired.
Goin' to turn over and try it on the side.

Repeat first verse.

Don't you let my good girl catch you here.
Don't let my good girl catch you here.
Oh she, might shoot you, liable to cut and starve you too.
No tellin' what she might do.

Repeat first verse.

Make it baby, close behind your door.
Make it baby, close behind the door.
Make me a pallet, close behind the door.
Make it where your good man will never go.

Repeat first verse.
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Monday morning blues

I woke up this morning... I woke up this morning...
Woke up this morning, with the monday morning blues.

I couldn't hardly find... I couldn't hardly find...
I couldn't hardly find, my monday morning shoes.

Monday morning blues... Monday morning blues...
Monday morning blues, searched all through my bones.

Monday morning blues... Monday morning blues...
Monday morning blues, made me leave my home.

I've been laying in jail... I've been laying in jail...
I've been laying in jail, six long weeks today.

Lord, tomorrow morning... Lord, tomorrow morning...
Lord, tomorrow morning, gonna be my trial day.

Lord, I asked the judge... Well, I asked the judge...
Well, I asked the judge, what might be my crime.

Get a pick and shoveL.. Get a pick and shovel...
Get a pick and shovel, let's go down in the mine.

That's the only time... That's the only time...
That's the only time, I ever felt like cryin'.

Well, my heart struck sorrow... Well, my heart struck sorrow...
Well, my heart struck sorrow, tears come rolling down.

I woke up this morning... I woke up this morning...
Woke up this morning, with the monday morning blues.
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My Creole Belle

written by: Mississippi John Hurt

My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
When the stars shine I'll call her mine,
my darlin' baby, my Creole Belle
My Creole Belle, I love her well,
I love her more anyone can tell
My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
When the stars shine I'll call her mine,
my darlin' baby, my Creole Belle
My Creole Belle, I love her well,
my darlin' baby, my Creole Belle
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Oh Mary don't you weep

Oh, Mary don't you weep, don't you mourn.
Pharoah's army got drownded,
Oh, Mary don't you weep.

If I could, I surely would,
Stand on the rock where Moses stood.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Mary weep, Martha moaned,
All around God's holy strong.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Well, God told Noah about the rainbow sound.
No more water but the God makes...
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.

Sinners don't come by the ...
No need to come when the train done gone.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.
One of these days about 12 o'clock,
This 0l' world gonna reel and rock.
Pharoah's army got drownded,
Oh, Mary don't you weep.

Repeat first verse.

Richland's Woman Blues

written by: Mississippi John Hurt

Gimme red lipstick and a bright purple rouge
A shingle bob haircut
and a shot of good boo'
Hurry down, sweet daddy, come blowin' your horn
If you come too late, sweet mama will be gone
Come along young man, everything settin' right
My husbands goin' away till next Saturday night
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Now, I'm raring to go, got red shoes on my feet
My mind is sittin' right for a Tin Lizzie
seat
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
The red rooster said, "Cockle-doodle-do-do"
The Richard's' woman said, "Any dude will do"
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
With rosy red garters, pink hose on my feet
Turkey red bloomer, with a rumble seat
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Every Sunday mornin', church people watch me go
My wings sprouted out, and the preacher told me so
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Dress skirt cut high, then they cut low
Don't think I'm a sport, keep on watchin' me go
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
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Salty Dog

written by: Mississippi John Hurt

(spoken: "
Salty Dog
")
Hey-hey, you salty dog
Hey-hey-hey, you salty dog
Said, the little fish, big fish swimmin' in the water
Come back, man, and gimme my quarter
Hey-hey-hey, you salty dog
Said, the scaredest I ever was in my life
Uncle Bud like to caught me kissin' his wife
Hey-hey, you salty dog
Says, God made woman, made 'em mighty funny
The lips 'round her mouth, just as sweet as any honey
Hey-hey, you salty dog
Hey-hey, you salty dog
Hey-hey-hey, you salty dog
(spoken: Well!)
Well, little fish, big fish swimmin' in the water
Come back here, man, gimme my quarter
Hey-hey-hey, you salty dog
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See See Rider

written by: Mississippi John Hurt

You see, see, rider, you see what you have done?
You made me love you
Made me love you, now your man done come
You made me love you, now your man have come
Ain't no more potatoes, the frost have killed the vine
Well, the blues ain't nothin' but a good woman on your mind
The blues ain't nothin' but a good woman on your mind
The blues ain't nothin' but a good woman on your mind
You see, see, rider, you see what you done?
You done made me love you
You made me love you
I've told you, baby and your mama told you, too
"You're three times seven, you know what you wanna do,
three times seven, you know what you wanna do,
you're three times seven, you know what you wanna do"
If I had-a listened to my second mind,
Lord, I wouldn't -a been sittin' here and wringin' my hands and cryin'
I wouldn't been sittin' here, wringin' my hands and cryin'
I wouldn't been sittin' here, wringin' my hands and cryin'
You see, see, rider, you see what you have done?
You done made me love you
You made me love you
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Spike Driver Blues

written by: Mississippi John Hurt

Take this hammer and carry it to my captain, tell him I'm gone, tell him I'm gone, tell him I'm gone
Take this hammer and carry it to my captain, tell him I'm gone, just tell him I'm gone, I'm sure is gone
This is the hammer that killed John Henry, but it won't kill me, but it won't kill me, but it won't kill me
This is the hammer that killed John Henry, but it won't kill me, but it won't kill me, ain't gonna kill me
It a long ways from East Colarado, honey to my home, honey to my home, honey to my home
It a long ways to East Colarado, honey to my home, honey to my home, that where I'm going
John Henry he left his hammer, layin' side the road, layin' side the road, layin' side the road
John Henry he left his hammer, all over in red, all over in red, thats why I'm gone
John Henry was a steel driving man, but he went down, but he went down, but he went down
John Henry was a steel driving man, but he went down, but he went down, that's why I'm gone
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Stack O'Lee Blues

written by: Mississippi John Hurt

Police officer, how can it be?
You can 'rest everybody but cruel Stack O' Lee
That bad man, oh, cruel Stack O' Lee
Billy de Lyon told Stack O' Lee, "Please don't take my life,
I got two little babies, and a darlin' lovin' wife"
That bad man, oh, cruel Stack O' Lee
"What I care about you little babies, your darlin' lovin' wife?
You done stole my Stetson
hat, I'm bound to take your life"
That bad man, cruel Stack O' Lee
...with the forty-four
When I spied Billy de Lyon, he was lyin' down on the floor
That bad man, oh cruel Stack O' Lee
"Gentleman's of the jury, what do you think of that?
Stack O' Lee killed Billy de Lyon about a five-dollar Stetson hat"
That bad man, oh, cruel Stack O' Lee
And all they gathered, hands way up high,
at twelve o'clock they killed him, they's all glad to see him die
That bad man, oh, cruel Stack O' Lee

*The Brown Hills Of California- The Music Of Kate Wolf

The Brown Hills Of California- The Music Of Kate Wolf

CD Review

Gold In California-A Retrospective, Kate Wolf, Rhino, 1986

Well, what goes around comes around, as they say. I have spend much time this year in on this site going through a litany of roots performers, folk revivalists of the 1960s performers and more contemporary performers, folk, root or rock. I have not, as yet, uttered the name, Kate Wolf, in any previous reviews. I make that omission right here.

Kate Wolf is a name that is well known among my musical acquaintances, although frankly, before I reviewed a Utah Phillips album, "Starlight On The Rails", a few years ago I was not familiar with her work at all. And that Phillips connection, my friends, is the key to why Ms. Wolf is being reviewed here today. The imprimatur of the late Utah Phillips, an old Wobblie (IWW) singer/songwriter/storyteller and general gadabout was enough to get me to listen to her. And although I cannot say that she is at the top of my musical list she certainly, based mainly on her lyrics, has my attention.

Unlike Utah, with whom she traveled with to various folk venues when she was getting her start and who cadged her a few of his songs (or ideas for songs), she did not write many overtly political songs (except maybe for some antinuclear ones, dear to the hearts of many Californians at the time, when they were trying to shut down the nuclear power plants there in the late 1970s-early 1980s) that I know of. Mainly, as here, she wrote of love, longing for love, the misunderstandings of love, the traps and travails of love set out in, for the most part, the West, and particularly in those brown hills of California where she called home. Unfortunately, she died young so we will never know how good she really could have been, but off of this compilation of material we surely missed something. Stick outs here are “The Trumpet Vine,” Across The Great Divide,” and “Here In California”.

"Across The Great Divide"-Kate Wolf

I've been walkin' in my sleep
Countin' troubles 'stead of countin' sheep
Wher the years went I can't say
I just turned around and they've gone away

I've been siftin' through the layers
Of dusty books and faded papers
They tell a story I used to know
And it was one that happened so long ago

Chorus:
It's gone away in yesterday
Now I find myself on the mountainside
Where the rivers change direction
Across the Great Divide

Now, I heard the owl a-callin'
Softly as the night was fallin'
With a question and I replied
But he's gone across the borderline

Chorus

The finest hour that I have seen
Is the one that comes between
The edge of night and the break of day
It's when the darkness rolls away

Chorus

*"Our Side of Town – A Red House Records 25th Anniversary Collection”- A CD Review

"Our Side of Town" – A Red House Records 25th Anniversary Collection”- A CD Review

CD Review

“Our Side of Town – A Red House Records 25th Anniversary Collection”
Various Artists, Red House Records, 2008


I have, except as the occasion called for it as in the case of Sun Records or Chess Records, not spent much time discussing the various ups and downs of particular record labels and their attempts to corner a piece of the music market. There is certainly history there, sometimes very interesting history as in the cases of those labels mentioned above, but I leave that for others to toil over. I prefer to concentrate on various musical influences that flow through the folk world, except that here one can not avoid, or should not avoid, paying some respect to the Red House Record label that has been a mainstay of post-1960s folk revival folk music and artists.

Frankly, I know Red House mainly as the long time vehicle for one of the artists performing on this anniversary CD, Greg Brown. And also for a few late efforts by Rosalie Sorrels, especially her tribute to Utah Phillips last year. Of course, those two names tell you much about what this label is about and about the musical traditions of not just the past 25 years of folk and folk rock but the last half century.

This label has also been the launching pad for some lesser known names like Jimmy LaFave, Lucy Kaplansky, Eliza Gilkyson, and the Wailin’ Jenny’s. What you have here, my friends, are tributes by the performers who have struggled, and sometimes struggled in lonely spots, to keep the folk genre part of the great American songbook. So match up the performers and the label and you have quite a piece of history and a primer of the latter-day folk scene. Listen up.

The Anniversary Of The Summer Of Love- California Dreamin’- The Music Of The Mamas And The Papas

The Anniversary Of The Summer Of Love- California Dreamin’- The Music Of The Mamas And The Papas

The Best of the Mamas and the Papas, The Mamas and the Papas, SPA, 1998

Over the past couple of years I have reviewed a fair number of performers from the folk revival of the 1960s. Looking over quickly the names of those reviewed discloses a personal predilection for individual performers, although there were plenty of good to excellent groups around at the time, like the New Lost City Ramblers, The Greenbriar Boys, The Chambers Brothers, The Clancy Brothers, and other such groups who did traditional folk music.

As folk evolved, in the mid-1960s, a little away from those more traditional forms and into something like folk rock, younger groups picked up on the spirit of the movement with their own more modern lyrics and more harmonic works. The classic example in this genre would probably be Peter, Paul and Mary but the group under review, the Mamas and the Papas, also fits that description as well. Led vocally by big-voiced "Mama" Cass and with lyrics written by lead male singer "Papa" John Phillips the group had a number of hits in that folk rock moment, many of them on this compilation.

So what is still good almost half a century later? Well, "California Dreamin" still holds its own as a signature song for the foursome. As does "Monday, Monday" and "Words Of Love". The real surprise is their cover of the old Benny King classic (written by Jerry Leiber and Phil Spector), "Spanish Harlem". That song also displays the great harmonics, the feel and balance, as well as the understated performance that was the M&P hallmark.

California Dreamin' Lyrics-John Phillips, Michelle Phillips

All the leaves are brown
(All the leaves are brown)
And the sky is gray.
(And the sky is gray).
I've been for a walk
(I've been for a walk)
On a winter's day.
(On a winter's day).

I'd be safe and warm
(I'd be safe and warm)
if I was in L.A.
(If I was in L.A.)
California dreamin'
(California dreamin') on such a winter's day.

Stopped in to a church I passed along the way.
Well I got down on my knees
(got down on my knees)
And I pretend to pray.
(I pretend to pray).
You know the preacher likes the cold.
(preacher likes the cold).
He knows I'm gonna stay.
(knows I'm gonna stay).
California dreamin'
(California dreamin') on such a winter's day.

(Bridge)

All the leaves are brown
(All the leaves are brown)
And the sky is gray.
(And the sky is gray).
I've been for a walk
(I've been for a walk)
On a winter's day.
(On a winter's day).

If I didn't tell her
(If I didn't tell her)
I could leave today.
(I could leave today).
California dreamin' (California dreamin')on such a winter's day,
California dreamin' on such a winter's day,
California dreamin' on such a winter's day.

*Once More Into The Time Capsule, Part Two- The New York Folk Revival Scene in the Early 1960’s-BonnieDobson

Click on title to link to YouTube's film clip of Tim Rose (co-writer of the song) performing "Morning Dew".



CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001



Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:



Disc Two: Dave Van Ronk on “He Was A Friend Of Mine” and You’se A Viper”, The Chad Mitchell Trio on “Last Night I Had The Strangest Dream”, Hedy West on “500 Miles”, Ian &Sylvia on “Four Strong Winds”, Tom Paxton on “I Can’t Help But Wonder Where I’m Bound”, Peter, Paul And Mary on “Blowin’ In The Wind”, Bob Dylan on “Boots Of Spanish Leather”, Jesse Colin Young on “Four In The Morning”, Joan Baez on “There But For Fortune”, Judy Roderick on “Brother, Can You Spare A Dime?”, Bonnie Dobson on “Morning Dew”, Buffy Sainte-Marie on “Cod’ine” and Eric Von Schmidt on “ Joshua Gone Barbados”.



Bonnie Dobson on “Morning Dew”. Bonnie Dobson would not be a female singer that would have made my previously mentioned lists of ‘not Joan Baez’s’ but off of this recording she could have been. That high soprano voice and mournful delivery was the epitome (for worshipful males, and maybe females as well) of how we wanted our “love” songs done. Some female folk singers have lasted, including Baez herself. I do not know the fate of Bonnie Dobson but the musical world is filled to overflowing with one-hit Johnnies and Janie’s. Folk is no exception to that rule but this song has now gained, rightly, a measure of immortality.



"Morning Dew"



Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I can't walk you out in the morning dew my honey,
I can't walk you out in the morning dew today.

I thought I heard a baby cry this morning,
I thought I heard a baby cry this today.
You didn't hear no baby cry this morning,
You didn't hear no baby cry today.

Where have all the people gone my honey,
Where have all the people gone today.
There's no need for you to be worrying about all those people,
You never see those people anyway.

I thought I heard a young man moan this morning,
I thought I heard a young man moan today.
I thought I heard a young man moan this morning,
I can't walk you out in the morning dew today.

Walk me out in the morning dew my honey,
Walk me out in the morning dew today.
I'll walk you out in the morning dew my honey,
I guess it doesn't really matter anyway,
I guess it doesn't matter anyway,
I guess it doesn't matter anyway,
Guess it doesn't matter anyway.

*Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Bob Gibson

Click on title to link to YouTube's film clip of Bob Gibson performing "Where I'm Bound".

CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

"Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."

Bob Gibson and Bob Camp on “Betty And Dupree”. I have promised elsewhere in reviewing a CD of a trio including Tom Paxton and Bob Gibson done in Chicago the early 1980s (I think) that knocked me to review more of Bob Gibson’s work. I have not done so as yet but this version of the old country blues classic of a man who done wrong to do right by his woman only makes me think that I had better get to it soon. Bob Gibson, the more I read and hear, is one of those seminal figures who had much more talent that he could usefully use and therefore burned himself up in other pursuits. However, along the way everybody and their brother (or sister) wanted to know every single thing that Gibson knew. Hell, I think I do too.

Betty And Dupree
Lyrics: Traditional
Music: Traditional

This is only listed as having been played once by the Dead, in 1966, but was probably played on other occasions then.

Betty told Dupree, honey I will be your wife
Betty told Dupree, honey I will be your wife
Well we will be married, be happy all of our life

Wake up Betty, see what tomorrow brings
Wake up Betty, see what tomorrow brings
Well it might bring sunshine, and then it might bring rain

Betty told Dupree, honey I want a diamond ring
Betty told Dupree, honey I want a diamond ring
Dupree said Betty, honey I'll buy you anything

Betty told Dupree, honey I will be your wife
Betty told Dupree, honey I will be your wife
Well we will be so happy for the rest of our lives

Wake up Betty, see what tomorrow brings
Wake up Betty, see what tomorrow brings
Well it might bring sunshine, and then it might bring rain

It was also recorded by Pigpen with Jorma in 1964 (Jorma on vocals and guitar, Pig on harp).
Jorma/Pigpen version

Oh Betty told Dupree, I want a diamond ring
Now Betty told Dupree, I want a diamond ring
Dupree told Betty, Lord I'll get you most anything

He got himself a pistol, it was a forty-four
He got himself a pistol, it was a forty-four
Now to get that diamond ring, Lord he had to rob that jewellery store

Now the police caught him, carried him back to that county jail
Oh yes the police caught him, carried him back to that county jail
And they said go call your sweetheart, tell her to come and go your bail

Now Betty came to see him, but his face she could not see
Now Betty came to see him, but his face she could not see
And she said, mister jailer, give him this note from me

Oh babe I came to see you, but I could not see your face
Now babe I came to see you, but I could not see your face
You know I love you baby, just can't take your place

For completeness, here is another, fuller, traditional version.
Traditional version

Betty told Dupree, "I want a diamond ring"
Betty told Dupree, "I want a diamond ring"
Dupree told Betty, "l'Il give you most anything"

He said, "Lie down, little Betty, see what tomorrow brings"
He said, "Lie down, little Betty, see what tomorrow brings"
It may bring sunshine, may bring you that diamond ring

Then he got his pistol, went to the jewelry store
Then he got his pistol, went to the jewelry store
Killed a policeman and he wounded four or five more

Then he went to the post office to get the evening mail
Then he went to the post office to get the evening mail
Sheriff caught poor Dupree and put him in that old Atlanta jail

Dupree's mother said to Betty, "Look here what you done done"
Dupree's mother said to Betty, "Look here what you done done"
Made my boy rob and steal, now he is gonna be hung

Betty went to the jailhouse, she could not see Dupree
Betty went to the jailhouse, she could not see Dupree
She told the jailer, "Tell him these words for me"

I come to see you, baby, I could not see your face
I come to see you, baby, I could not see your face
You know I love you, but I cannot take your place

Sail on, sail on, sail on, Dupree, sail on
Sail on, sail on, sail on, Dupree, sail on
You don't mind sailing, you'll be gone so doggone long

* Another Peep At The British Side Of Contemporary Folk /Rock- Richard Thompson’s “You? Me? Us?-“Voltage Enhanced”/”Nude”

Click on title to link to YouTube's film clip of Richard Thompson performing "Put It There Pal".

CD Review

You? Me? Us?-Voltage Enhanced/Nude, 2 CD set, including lyrics booklet, Richard Thompson, Capitol Records, 1996

This review has also been used to review another Richard Thompson CD.

Recently in this space I went through a chronology of how I happened to come across certain musical selections to review. In that case it was tracing the roots of country blues through well-known old time country bluesman Charley Patton via Bob Dylan tribute, “High Water Everywhere” on his latest “Bootleg” volume. Here, the route to reviewing folk/rock lyricist and singer Richard Thompson, known back in the day as part of the well-thought of British folk group Fairport Convention, is a cover of his classic working class love song, “1952 Vincent Black Lightning’ covered, and covered very well, by American folksinger Greg Brown. But that is where the comparisons end. In the case of Dylan’s tribute I was able to review Patton’s early work very favorably. Here I am, frankly, stymied.

I was not particularly a fan of Fairport Convention back in the days, although anytime I heard them then (or now, when played on a local oldies folk radio program) I was always impressed by their harmonics. When I asked others about Richard Thompson as a solo artist I thought I was confronting the Second Coming with the profuseness of the praise for his work. And that is where the problem is. His lyrics, as “1952 Vincent” shows, are incredibly well thought out and richly evocative. (How about that combination, right?) However, his presentation, mainly the result of over-production, leaves me flat. So, I guess, and it will not be the first time this has happened, Google for Thompson’s lyrics and find out who covers his material. Here I will say that these songs really stick out- From “Voltage”- “She Steers By Lightning” and “Am I Wasting My Love On You?” From “ Nude”- “Burns Supper” and “Woods Of Darney”

Am I Wasting My Love On You? lyrics

Oh I can't get started, and I'm broken hearted
You smile so sweet but you're fast on your feet
Do you want me to catch you, or just get near?
Should I chase you forever? I think I got the idea

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

Oh I went to a party, you were standing there
You looked so retiring with that fruit in your hair
I said "What gives?" and you said "I do"
And that was the last sense I ever got from you

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

Well I'm wasting my love, wasting my love, wasting my love on you
Wasting my love, wasting my love, wasting my love on you

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do

I went to your house, and I drank your tea
We were getting very cosy on Greek philosophy
You chewed on my ear and when I begged for more
You went off to bed, barricaded the door

Am I wasting my love on you?
Am I wasting my love on you?
Am I wasting my love on you?
Must be better things I can do
Than wasting my love, wasting my love, wasting my love on you
Am I wasting my love, wasting my love, wasting my love on you
I'm wasting my love, wasting my love, wasting my love on you
Am I wasting my love, wasting my love, wasting my love on you

*A Peep At The British Side Of Contemporary Folk /Rock- Richard Thompson’s “Sweet Warrior”

Click on title to link to YouTube's film clip of Richard Thompson performing "Daddy's Going To Kill Me".

CD Review

Sweet Warrior, including lyrics booklet, Richard Thompson, Shout Factory, 2007

Recently in this space I went through a chronology of how I happened to come across certain musical selections to review. In that case it was tracing the roots of country blues through well-known old time country bluesman Charley Patton via Bob Dylan tribute, “High Water Everywhere” on his latest “Bootleg” volume. Here, the route to reviewing folk/rock lyricist and singer Richard Thompson, known back in the day as part of the well-thought of British folk group Fairport Convention, is a cover of his classic working class love song, “1952 Vincent Black Lightning’ covered, and covered very well, by American folksinger Greg Brown. But that is where the comparisons end. In the case of Dylan’s tribute I was able to review Patton’s early work very favorably. Here I am, frankly, stymied.

I was not particularly a fan of Fairport Convention back in the days, although anytime I heard them then (or now, when played on a local oldies folk radio program) I was always impressed by their harmonics. When I asked others about Richard Thompson as a solo artist I thought I was confronting the Second Coming with the profuseness of the praise for his work. And that is where the problem is. His lyrics, as “1952 Vincent” shows, are incredibly well thought out and richly evocative. (How about that combination, right?) However, his presentation, mainly the result of over-production, leaves me flat. So, I guess, and it will not be the first time this has happened, Google for Thompson’s lyrics and find out who covers his material. Here I will say that three songs really stick out- “Needle And Thread”, “She Sang Angels To Rest”, and “Sunset Song”.

Lyrics to Needle And Thread :
(Richard Thompson)

I see young girls with old faces
I see good girls in bad places
I see plain girls in finery
And every one be the death of me

Needle and Thread, Needle and Thread
Hand me down my Needle and Thread
Hey Hey Hey
Hey Hey Hey
Going to thread up my needle and then
Gonna sew my soul back together again

Now pretty Caitlin she went too far
Shaking all she had at the topless bar
Right in the face of Ben and Bob
Put a little too much into the job

Now sweet Myfanwe she took a shine
Dumped me for Dai worked down the mine
I was a temp, Dai was a keeper
He knew how to dig that little bit deeper

Now Bonnie Jean meant everything
But she threw back my hard-earned ring
Said she had other men who dig her
She was holding out for something bigger


Lyrics to Johnny's Far Away :
(Richard Thompson)

Johnny's joined a ceilidh band,
They're known quite well throughout the land, The Drones
The Drones are signed up on a cruise
While Tracey's laying in the booze back home
She's got herself another man, a smoothie
While the kids are in the front room watching movies
She's got him in a head lock, in an arm lock, in a jam
She says, I can't express myself with my old man

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea

Johnny's cruising out to sea
And he believes in chastity - for some
The wealthy widows bill and coo
He fends off one or two, and then succumbs
As they're turning hard-a-port in the Bahamas
He's turning her right out of her pyjamas
He's turned her every which way to the rhythm of the sea
He says, I can't express myself with my old lady

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea

Johnny's home, he opens up his door
While someone's sneaking out the back
And Tracey says, you look so poorly
Sores and all, you need to see the quack
She wipes the snot from off the kiddies' noses
He charms her with eleven battered roses
And by and by they get down to the job of man and wife
Back to the old comforts of the missionary life

While Johnny's Far away on the Rolling, Rolling
Johnny's Far Away On The Rolling Sea


Lyrics to Sunset Song :
(Richard Thompson)

With you or without you, love,
I must be moving
Never meant to linger here so long
With you or without you,
Though it breaks my heart
To hear the Sunset Song

Wasn't that a time we had,
And bless you for it
But I'm a stranger here, I don't belong
The band's down on the jetty,
If you cup your ear
You'll hear the Sunset Song

You said, if I hold my breath
Dive down deep enough
I might grow fins
Seems to me I've held my breath
Held my breath to please you
Ever since

Early morning, that's the time
For fare-thee-wells
Slip out of the warm sheets and gone
But I want to hear it as I walk along
Hear the Sunset Song

In your waking, in your dreams,
I won't be martyred
On that cross where some say
I belong
Opinions are coffins, I'll just trust my feet
To find the Sunset Song

Every day I'll wear your memory
Like a favourite shirt upon my back
In the hallway, there's my suitcase
By the door, I never did unpack

With you or without you, love,
I must be moving
Never meant to linger here so long
With you or without you,
Though it breaks my heart
To hear the Sunset Song

*Average Folk- The Second Tier Of The Folk Revival Of The 1960's

Click On Title To Link To YouTube's Film Clip Of Arlo Guthrie Doing "Buffalo Skinners"



CD REVIEW



Here is a late addition to the course, from Folk 101



Folk Classics: Roots Of American Folk Music, various artists, CBS Records, 1989



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

This compilation reflects the results of that search with a selection maybe not of the best versions, best done or best representative of the genres but a good sampler nevertheless. Stick outs here include Lead Belly’s "Alberta" (although his has done that song under other female names); Pete Seeger’s "Jesse James" (although it is long past time to correct the historical record concerning this craven outlaw who, moreover, for this Northern unionist and abolitionist was on the wrong side in the American Civil War); Ramblin’ Jack Elliot’s “Buffalo Skinners”; Carolyn Hester’s “Swing and Turn Jubilee” (what a voice she projected when she was on); and, an interesting combination of Johnny Cash and the Carter Family on “The Banks Of The Ohio”. Not filled with a lot of my folk favorites but very good as a cross-section of what the 1960’s folk revival was all about.

*Hello, In There- The Music Of John Prine

Click on title to link to YouTube's film clip of John Prine performing "Hello, In There".

DVD Review

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 (wife of the folksinger/songwriter Greg Brown). 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.

John Prine, Hello in There Lyrics

We had an apartment in the city,
Me and Loretta liked living there.
Well, it'd been years since the kids had grown,
A life of their own left us alone.
John and Linda live in Omaha,
And Joe is somewhere on the road.
We lost Davy in the Korean war,
And I still don't know what for, don't matter anymore.

Chorus:
Ya' know that old trees just grow stronger,
And old rivers grow wilder ev'ry day.
Old people just grow lonesome
Waiting for someone to say, "Hello in there, hello."

Me and Loretta, we don't talk much more,
She sits and stares through the back door screen.
And all the news just repeats itself
Like some forgotten dream that we've both seen.
Someday I'll go and call up Rudy,
We worked together at the factory.
But what could I say if asks "What's new?"
"Nothing, what's with you? Nothing much to do."

Repeat Chorus:

So if you're walking down the street sometime
And spot some hollow ancient eyes,
Please don't just pass 'em by and stare
As if you didn't care, say, "Hello in there, hello."

John Prine, Sam Stone Lyrics

Sam Stone came home,
To his wife and family
After serving in the conflict overseas.
And the time that he served,
Had shattered all his nerves,
And left a little shrapnel in his knee.
But the morphine eased the pain,
And the grass grew round his brain,
And gave him all the confidence he lacked,
With a Purple Heart and a monkey on his back.

Chorus:
There's a hole in daddy's arm where all the money goes,
Jesus Christ died for nothin' I suppose.
Little pitchers have big ears,
Don't stop to count the years,
Sweet songs never last too long on broken radios.
Mmm....

Sam Stone's welcome home
Didn't last too long.
He went to work when he'd spent his last dime
And Sammy took to stealing
When he got that empty feeling
For a hundred dollar habit without overtime.
And the gold rolled through his veins
Like a thousand railroad trains,
And eased his mind in the hours that he chose,
While the kids ran around wearin' other peoples' clothes...

Repeat Chorus:

Sam Stone was alone
When he popped his last balloon
Climbing walls while sitting in a chair
Well, he played his last request
While the room smelled just like death
With an overdose hovering in the air
But life had lost its fun
And there was nothing to be done
But trade his house that he bought on the G, I. Bill
For a flag draped casket on a local heroes' hill

Repeat Chorus


John Prine, Angel from Montgomery Lyrics

I am an old woman named after my mother
My old man is another child that's grown old
If dreams were lightning thunder was desire
This old house would have burnt down a long time ago

Chorus:
Make me an angel that flies from montgom'ry
Make me a poster of an old rodeo
Just give me one thing that I can hold on to
To believe in this living is just a hard way to go

When I was a young girl well, I had me a cowboy
He weren't much to look at, just free rambling man
But that was a long time and no matter how I try
The years just flow by like a broken down dam.

Repeat chorus:

There's flies in the kitchen I can hear 'em there buzzing
And I ain't done nothing since I woke up today.
How the hell can a person go to work in the morning
And come home in the evening and have nothing to say.

Repeat chorus:

*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly-Rory Block

Click On Title To Link To YouTube's Film Clip Of Rory Block In Concert.

Have Mercy, Rory

Angel Of Mercy, Rory Block, Rounder Records, 1994

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

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

***North Carolina Picking- Elizabeth Cotten and Etta Baker

Elizabeth Cotton

Etta Baker
CD REVIEWS

Freight Train and Other North Carolina Folk Songs and Tunes, Elizabeth Cotton, Smithsonian-Folkways, 1989




There is something about these North Carolina style guitar pickers that is very appealing. And here I am thinking not only of the artist under review, the legendary Elizabeth Cotton, but also another female picker extraordinaire Etta Baker, as well. It is different from the Delta pick, for sure. They pick cleanly, simply but with verve. Ms. Cotton shows her stuff here on her first album from Folkways. Here we have the folk classic, no super-classic, Freight Train that was a rite of passage for every one from Peter, Paul and Mary to Dave Van Ronk to Tom Rush to record in the early 1960’s. Along with that tune we have some nice renditions of I Don’t Love Nobody and a few medleys like Sweet Bye and Bye combined with What A Friend You Have in Jesus (that I believe Blind Willie Johnson first recorded, or variation of it at least). Listen away but also save your money up to get the album with Shake Sugaree (get the one with her granddaughter singing along)on it. That’s the ticket.


One-Dime Blues, Etta Baker, Rounder Records, 1991

Recently I mentioned in reviewing Elizabeth Cotton’s Freight Train album from Folkways that there was something appealing about these North Carolina style guitar pickers. It is different from the Delta pick, for sure. They pick cleanly, simply but with verve. The Delta is a little more heavy-handed reflecting, I think, the woes of picking that cotton all week. Damn, I would be guitar picking like Keith Richards under those conditions. Ms. Baker shows her stuff here on this almost exclusively instrumental album from Rounder Records. The one vocal that she does do here –Broken-Hearted Blues- makes me wish that she had done more vocals but the guitar can carry her through on this album- no problem. Highlights here include some old country blues classics-John Henry, Crow Jane, Railroad Bill, Spanish Fandango and so on. Nice, nice touch. Nice, nice music.

*Keeping The Blues/Folk Lamp Burning- Les Sampou's "Lonesomeville"

Click On Title To Link To YouTube's Film Clip Of Les Sampou performing.

CD Review

Lonesomeville, Les Sampou, 2009

The substance of this review was originally used in the review of Les Sampou’s “Borrowed And Blue” album. I have revised that review and most of the points made apply to the other three CD’s reviewed in this space as well, including this recent 2009 beauty, "Lonesomeville':

"The name Les Sampou most recently came up in this space, in passing, as part of a review of blues/folk stylist/ songwriter Rory Block’s work. I made the point there that Rory (and Les, Bonnie Raitt, Maria Muldaur and precious few others) were performing a great service by keeping the female blue singer tradition alive (and, for that matter, male-witness the songs covered by all four). And along the way doing the same for the more amorphous contemporary folk tradition with their own fair share of masterful songwriting efforts. Since I placed Les Sampou in such august company it was, thus, only a matter of time before I got around to giving her a few kudos of her own. The following paragraph from the Rory Block review can serve here for Les as well:

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

As For “Lonesomeville” here is the ‘skinny’:

I will make the same point I made in reviewing the previous albums, especially "Borrowed and Blue" because that same spirit pervades this effort. There are a lot of way to be “in” the contemporary folk scene. One way is to write some topical songs of love, longings for love, maybe, a little politics thrown in and maybe some snappy thing about the vacuity of modern life. Yes, that is the easy stuff and Les can, if the occasion calls for it, summon up some very powerful lyrics to make those points. Witness “Holy Land ” and “Home Again”. But, something more is going on here. This is a woman who has been through the emotional wringer, and survived. Listen up.

Ramblin' Boy- Tom Paxton And Friends

CD REVIEW

Best Of Friends, Tom Paxton, Anne Hill, Bob Gibson, Appleseed Records, 2004

The following paragraphs are from a review of Tom Paxton’s Greatest Hits CD that I reviewed in this space last year and that is germane to a review of this album- at least to Tom Paxton’s role in it.

“If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Tom Paxton is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Tom Paxton as well. I do not know if Tom Paxton, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong) voice to fit the lyrics of love, hope, longing and sometimes just sheer whimsy, as in the children’s songs, that he was singing about at the time. I would venture however, given what I know of his politics and the probably influence that his good friend the late folksinger and historian Dave Van Ronk had on him, that the answer above is probably no.”

Well, those points made above apply to him here as well. Except that instead of just posing the question to Tom Paxton it is also a question that one can ask of the late Bob Gibson who, arguably, was as influential as anyone in the early 1960’s folk revival. I will, when I can find some of his material, do a separate review on his work. Added here as well is the very fine voice of Anne Hall whom I was very unfamiliar with prior to listening to this CD. I will also make up for that lack at a later time. For now though, this is a very fine CD based on collective work that this trio did for a short time on the Chicago folk circuit in the mid-1980s. Most of the material was written by Paxton, including works containing his funny political slant, but the real treat is the almost seamless harmony done on the songs.

Outstanding here are “The Death Of Stephen Biko (a black activist murdered while in custody in South Africa in the 1970’s); “And Loving You”; “She Sits On The Table” (a gripping and compelling tale of domestic abuse and the sometimes no way out dead end that women find themselves in with abusive men); and, Tom’s classic “Ramblin’ Boy”. Nice stuff, and you will be seeing more about all of these artists in this space this year.

In Honor Of Newport 1965-Bob Dylan- Unplugged, Again

Click on the headljne to link to a "YouTube" film clip of ob Dylan performing "John Brown".

DVD REVIEW

Bob Dylan: Unplugged, Bob Dylan in a 1995 MTV Concert, Sony Records, 2004

Not intentionally, a least I do not think that is the case, I watched this Bob Dylan MTV Concert from 1995 directly after watching his Bob Dylan: The Other Side of The Mirror: Live at The Newport Folk Festival 1963-1965, Bob Dylan and various other artists, 2007. I have reviewed that documentary separately in this space. However, comments, and of necessity, comparisons between the two are in order here. I will not go on and on about hair styles and clothing as I did in the earlier film, in order to draw contrasts, because except wearing some sunglasses his persona has not changed dramatically from the 1965 Concert where he set himself on his own personal rock and roll (or better, I think) folk rock path.

Obviously, there cannot be a complete comparison between play lists for the two films because in 1965 some of the material covered in the 1995 film had not been created like Knockin’ On Heaven’s Door or things like that. Others are older works, like a well- done "John Brown", which had not been released earlier. Or the 1990’s-created "Dignity". One can, however, compare certain material covered in both films like "The Times They Are A- Changin’" , the classic "Like a Rolling Stone" and "Love Minus Zero, No Limit" (hereafter, No Limits).

Two things are clear by 1995. One is that Dylan, either by design or happenstance, had changed the mood and the manner in which he sang those songs, some for the better, some not. I believe that his newer version of "Like a Rolling Stone" geared to the musical tastes of a new generation works, "No Limits" does somewhat and "Times" not at all. First, I had to get over the sentimentally of knowing how these songs were played in my youth and wanting to cling to that notion, especially on a favored love anthem like "No Limits". Still the changed-up in rhythm only partially works to demonstrate the original pathos of that song.

Second, and this is something I had also observed in a live concert that I attended in the early 1990’s, old Bob had lost his voice and had adjusted some of his material to that new fact. Here comparison with the strong vibrant voice of 1965 is truly amazing. His adjustments worked best on a then new song like "Dignity" that has lyrics like in the old days but reflected his new vocal range. Nice. So is this thing worth seeing and hearing. Sure. But I would get that old "The Other Side of the Mirror" documentary – on purpose- to check out why, for a minute anyhow Dylan was the voice of my generation, the generation of ’68.

In Honor Of Newport 1965-The Not Joan Baez Female Folkies- The Music Of Carolyn Hester

Click On Title To Link To YouTube's Film Clip Of Carolyn Hester Doing " The Praties They Grow".

CD REVIEW

Carolyn Hester At Town Hall 1965, Carolyn Hester, Bear Family Records, 1990

Earlier this year I posed a question concerning the fates of a group of talented male folk singers like Tom Rush, Tom Paxton and Jesse Colin Young, who, although some of them are still performing or otherwise still on the musical scene have generally fallen off the radar in today’s mainstream musical consciousness, except, of course, the acknowledged “king of the hill”, Bob Dylan. I want to pose that same question in this entry concerning the talented female folk performers of the 1960’s, except, of course, the "queen of the hill” Joan Baez. I will start out by merely rephrasing the first paragraph from the reviews of those male performers.

“If I were to ask someone, in the year 2008, to name a female folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Joan Baez (or, maybe, Judy Collins but you get my point). And that would be a good and appropriate choice. One can endlessly dispute whether or not Baez was (or wanted to be) the female voice of the Generation of ’68 but in terms of longevity and productivity she fits the bill as a known quality. However, there were a slew of other female folk singers who tried to find their niche in the folk milieu and who, like Baez, may today still quietly continue to produce work and to perform. The artist under review, Carolyn Hester, certainly had the talent to challenge Baez to be “queen of the hill.”

Carolyn Hester wrote a number of good songs (“Three Young Men” here, among others), sang like a nightingale, filled Town Hall in New York City on several occasions, was political and had long, straight hair(presumably ironed as was the fashion started by Ms. Baez then) hair. Oh, yes, and was beautiful and wistful. That sounds like the formula for success in the 1960’s folk scene, right? But, and I pose this as a query as much as a statement, where is she now? Certainly off this CD (produced in 1990 from the 1965 Town Hall performances) she had a voice to die for. Listen to her on Tom Paxton’s “Outward Bound” or the classic “Summertime” or the nice musical rendition of Walt Whitman’s Lincoln tribute poem, “Captain, My Captain” or “Jute Mill Song” and several others here. Then you will be asking the same damn question that I have posed above.

O Captain! My Captain!

Walt Whitman

1

O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart! 5
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

2

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills; 10
For you bouquets and ribbon’d wreaths—for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
It is some dream that on the deck, 15
You’ve fallen cold and dead.

3

My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchor’d safe and sound, its voyage closed and done;
From fearful trip, the victor ship, comes in with object won; 20
Exult, O shores, and ring, O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.

In Honor Of Newport 1965-The 1960's Cambridge Folk Scene- The Work Of Eric Von Schmidt

CD REVIEWS

Baby, Let Me Lay It On You, Eric Von Schmidt, Gazell Productions, 1995

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of '68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, continued to produce work and to perform beyond the 1960's. The artist under review Eric Von Schmidt was one such singer/songwriter.

I have been posing a question, in reviewing the work of a number of male folk singers from the 1960's, about whether their dream was to be 'king of the hill' on the folk scene and it is certainly an appropriate question to ask of Eric as well, although in this case I may know the answer. I do not know if Eric Von Schmidt, like his contemporary Bob Dylan(and early friend in the Cambridge folk scene), started out wanting to be the `king of the hill' among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting voice to fit the lyrics of the kind of traditional songs of the sea, the Caribbean and the like that he was singing about at the time.

In Eric's case though, I believe, I can partially answer the question for, according to a couple of long time friends that I ran into a few years ago, he just flat-out did not care for success in the folk field. For him it was about fun and carrying traditional music forward, and besides, they argued, he was as interested in becoming a painter as a singer. Fair enough.

As for the songs here, most of which were written by Eric early on, he does a very nice rendition of "Joshua Gone Barbados" a song covered by both Tom Rush and Dave Van Ronk. But here is a surprise the best cover version I have heard was recently on Volume Five of Bob Dylan's "Genuine Basement Tapes" done in an upstate New York studio in 1967 with The Band for kicks. It blew me away. Eric's "Light Rain" and "Rule the Road" also should get a listen.

Roy Cahn and Eric Von Schmidt, Eric Von Schmidt, Roy Cahn, Smithsonian Folkways, 2007

As for the songs here, most of which were covered by Eric early on he does a very nice rendition of "Wasn't That A Mighty Storm" (about the Galveston, Texas flood in the early 20th century) a song covered by both Tom Rush and Dave Van Ronk. "Buddy Bolden's Blues" (used by August Wilson in one f his plays) and "He Was A Friend Of Mine" need a listen. But you are getting this one for the archival value and for "Wasn't That a Mighty Storm"- a rare treat.