Reviews of books that have held my interest. And things that happen along the way.
I have made it simpler to leave a comment. Just hit the comment selection and choose anonymous at the bottom- Or at my yahoo;
robertrswwilliams@yahoo.com
And let's not forget my friends at the Public Libraries!Most of my selections come from the Libraries listed on my sidebar. They are a great resource and a wonderful use of our tax dollars.
Have you hugged a Librarian today?
This is the story of Reverend Gary Davis, the blind preacher who gave up blues and jazz to play gospel music on the streets of New York City. He lived in Jamaica,
Queens in the 1960’s when I was growing up. Along with Moondog; the Viking poet of 6th Avenue; he was an iconic figure in the life of the city.This is the story of how he came to
be there and his influences upon modern folk music and even bluegrass.
If you
are a Jorma Kaukonen fan then you are already familiar with Reverend Davis’
work; though you might not even know it. His guitar style was completely his own and his delivery of contemporary classics such as "Hesitation Blues" is a spontaneous romp. While the rest of the country was "discovering" many of the old Delta Blues players like Sun House and John Hurt, Reverend Davis was championing the old time gospel music of his youth.
Instead of the usual review of the book by me, here’s Reverend Davis; let him tell you
the story in his own way.
For those not familiar with the Putumaya Series of World
Music I should explain that this album is but one of many. There are Putumaya
albums for virtually every type of music, and I have them all, courtesy of my
local Public Library. As a matter of fact, these CD's represent world music in
such a way that even the Mooresville Public Library, which does not have CD's,
has these CD's. They are, literally, that valid, almost as much so as
literature.
This album, "Americana", draws on every genre
of American music, from the jazzy sound of Nora Roberts singing with The Little
Willies, to the gospel sound of Terri Hendrix, all the sounds of American music
are on display. The playlist may contain some names you have not heard before,
such as The Little Willies, but these are the sounds that really drive the
creativity of today's musicians.
1 Robinella • Down the Mountain
2 Mulehead • Frankie Lee
3 The Little Willies • It's Not You It's Me
4 Robert Earl Keen • Ride
5 Eliza Lynn • Sing a New Song
6 Old Crow Medicine Show • Wagon Wheel
7 Chip Taylor & Carrie Rodriguez • Sweet Tequila
Blues
8 Tim O'Brien • House of the Risin' Sun
9 Alison Brown • Deep Gap
10 Terri Hendrix • Prayer for My Friends
11 Josh Ritter • Harrisburg
12 Ruthie Foster • Hole In My Pocket
It's interesting to note that many of the progressive
sounds we listen to in music are derived from the basic folk and bluegrass
scenes, with a touch of jazz thrown in. And when it's all lumped together it
becomes a uniquely American sound.
This album is so good that I keep a copy in each car and
on my flash drive. I just don't want to lose it!
Bobby Darin lived like a man on fire. With so much talent
and so little time to nurture it, he had to do it all as quickly as he could.
And he succeeded brilliantly, entertaining us all for too short a time, as he
went from night club performer, to dancer, folk singer and composer.
This song really caught my attention when I was about 13 or
so. It seems that there was a prison farm in Arkansas where the inmates were
disappearing at an alarming rate. When all was said and done I believe there were
over 100 bodies found beneath the grounds of the prison farm.
The movie “Cool Hand Luke” had just come out the year
before, in 1967, just before Mr. Darin went into seclusion in a trailer in Big Sur after RFK's assassination (he was present that night) to write songs and re-invent himself yet again.
The subject matter in this song
may seem more suited to Bob Dylan than the usually shark skin suited Bobby
Darin, but watch and listen. Check out those dance moves. And notice that in
introducing Mr. Darin, the usually flippant Dean Martin doesn’t have a whole
lot to say…
To hear the original studio recording of this record, hit
this link; and be sure to follow the bass line.
Not much to say today, except enjoy this NPR Mini Desk
Concert. Patty Griffin sings about things other performers don’t. With her
fluid style of guitar playing she brings life to each song which she performs. If
I had to compare her to anyone it would be Grace Potter or The Trishas. Both
vocally and musically she is in that same category of folk-rock artists.
I like the independent artists featured on NPR’s Tiny
Desk series because I almost always come away with a new song to play. Acoustic
music is my favorite, mainly because I can play the stuff I hear later on. Most
of the songs I enjoy can be easily played by even an amateur guitarist like me.
That’s easy. The real talent lies in creating the songs themselves.
The songs which Ms. Griffin performs here are; "Faithful
Son", "That Kind Of Lonely" and "Get Ready Marie",
Accompanying Ms. Griffin are John Deaderick on accordion;
Dave Pulkingham on guitar; and Craig Ross on the baritone guitar.
I never really know what to post for Sundays. For awhile I was posting old country variety shows; then I switched to something spiritual each week; and for a while it was gospel music. Got some nice feedback; kicked up some old memories for a few folks; but I was casting about today (Thursday) to find something for Sunday, when I came upon this "mini-concert" performed solo by Neil Young in 1971.
I actually listened to it; as well as downloaded it for my car; and found it covers a good portion of Mr. Young's early career. There is some of his coffee house sound still evident in his vocals, which never quite came through when he was singing harmony with Crosby Stills and Nash. Something got lost; although the resultant sound created by CSN&Y was anything but unpleasant.
So, here he is, on Rooftop's stage for the very first time; that incredibly talented bacon lover from North of the Border; Mr. Neil Young at Shepherd's Bush Studios in 1971.
The Town of Shelby; home to the Don Gibson Theater; has a new attraction at the old County Courthouse. The long awaited Earl Scruggs Center has opened. Saturday marked the trial run with a "sneak preview" allowing a limited number of visitors to enter on a "timed" basis for about 45 minutes at 15 minute intervals. Nobody was disappointed.
The town of Shelby is usually a bit sleepy on weekends, but with the opening of the Earl Scruggs center that is about to change. The Old County Courthouse sits in the center of downtown Shelby and is surrounded by restaurants and shops, all of whom will be happy with the additional traffic the Center will create.
The Center is well organized, beginning with a short 15 minute film about Earl Scruggs and his rise to fame. Lester Flatt is equally represented in the film, which is as it should be. The two names go together like salt and pepper.
If you love guitars and banjos, then this is the spot for you. Gibson's and Martin's abound; some are even made with gold fittings. These are priceless instruments with a solid history of having changed the direction of a musical genre, even while creating a new one in the hands of Earl Scruggs, with his pioneer style of banjo picking which would set him apart from all the rest. His Foggy Mountain Breakdown is as potent today as the day it was first written over 50 years ago.
The statue above is life sized and sports one of Mr. Scruggs hats as well as a real banjo. If it were done in color you would feel like you were meeting the great man himself. The whole museum is filled with interactive exhibits accessible by using the "ear buds" given at the door. This allows the visitor to roam at will, plugging in wherever their desire might take them.
For instance, there is a room devoted entirely to Mr. Scruggs radio days, where you can plug in and listen to the early broadcasts which came to define his style. Then you can move on into the TV room and plug in there.
But, for me at least, the best part was the plethora of musical instruments once held by the gods of bluegrass, including the 1970 electric Ibanez shown below which belonged to Mr. Scruggs son. The history behind each and every one of the instruments is breathtaking, considering that they have all been well traveled, bringing the gift of music to millions worldwide.
The only sad part of the event for me was that these instruments, encased in glass, will sing no more. But then again, out of the hands of their original owners, could they ever sing as beautifully again?
For more about the great musicians from North Carolina, visit the North Carolina Music Hall of Fame in Kannapolis. Their website is at; http://northcarolinamusichalloffame.org/
Chet Atkins made his mark upon music many years ago, yet he
never stopped playing and singing; always pushing the boundaries of the genre
he was currently engaged in just one step further. His musical talent knew no
boundaries, and he seemingly pulled ideas from thin air, effecting change each
time he did so.
In business dealings, he was only equaled by Ahmet Ertegun,
the famed head of Atlantic Records. Both men had an ear for what the public
wanted to hear, as well as buy. Both men were unafraid to take chances. And, neither
one ever seemed to age. Take this album by Chet Atkins from 1997, when he was
well into his 70’s.
Granted that the concept was not his own; the original
version of this satirical song was first released as “The Day the Bass Players
Took Over the World”, a song written by Emily Kaitz and Dave Pomeroy, extolling
the virtues of the oft neglected bass players.
From the cover art, to the
actual execution of the song, Mr. Atkins shows his wit and talent with this
primarily jazz oriented album. You know, it’s hard to pigeon hole some-one like
Chet Atkins. He did it all, from writing, performing and producing; to acting
as an agent for other artists. There aren’t many artists like Chet Atkins in
any one lifetime. But that’s understandable; he was just getting started when
he passed away at age 77 in 2001.
This is for the person, or persons, responsible for the carnage in Boston last week. Johnny Cash, who was an anti-war activist during Vietnam, expresses his outrage here over those who work so hard to make our existence in this life a hell on earth. Sometimes, a little fire and brimstone is appropriate.
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God'll cut you down
Sooner or later God'll cut you down
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler, the gambler, the back biter
Tell 'em that God's gonna cut 'em down
Tell 'em that God's gonna cut 'em down
Well my goodness gracious let me tell you the news
My head's been wet with the midnight dew
I've been down on bended knee
talkin' to the man from Galilee
He spoke to me in the voice so sweet
I thought I heard the shuffle of the angel's feet
He called my name and my heart stood still
When he said, "John go do My will!"
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler, the gambler, the back biter
Tell 'em that God's gonna cut 'em down
Tell 'em that God's gonna cut 'em down
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God'll cut you down
Sooner or later God'll cut you down
Well you may throw your rock and hide your hand
Workin' in the dark against your fellow man
But as sure as God made black and white
What's done in the dark will be brought to the light
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God'll cut you down
Sooner or later God'll cut you down
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler, the gambler, the back biter
Tell 'em that God's gonna cut you down
Tell 'em that God's gonna cut you down
Tell 'em that God's gonna cut you down.
It’s not too often that I write about the same artist, or
any subject, two days in a row. But while looking at videos of Tennessee Ernie
Ford for yesterday’s post reviewing “River of No Return” by Jeffrey Buckner
Ford, I ran across this video of Odetta performing on the Tennessee Ernie Ford
Show sometime in the 1950’s. It’s so good that I did not want it to get “lost”
in the review. So, I decided to wait and post it separately, which also gives
me a kind of day off.
Tennessee Ernie Ford was pigeon holed as a performer, and is
remembered largely for his pea-picking songs, and of course “16 Tons.” But the
man literally knew no bounds, and was equally comfortable in all genres, from
jazz, blues and pop, to classical music. In 1960 he even did a half hour
version of Gilbert and Sullivan’s “Mikado” on TV, giving me my first taste of “musicals.”
In this film from his show, Mr. Ford sits down with the
legendary Odetta, and together they perform Merle Travis’ “Nine Pound Hammer”,
and Woody Guthrie’s “Pastures of Plenty”. Early television was filled with
moments of uncertainty, error, and sometimes pure brilliance. This performance
was one of the latter.
Happy 70th Birthday to Paul McCartney. He has
given us quite a few songs to remember in his 6 decade career as one of the
most prolific songwriters of our time. This little gem, originally released on
the album “Revolver” in 1966, is performed here solo by Mr. McCartney for his 1984
film “Give My Regards to Broad Street.” That movie is based on the premise that
he is about to finish the final touches on his latest album, only to find that
the master tapes are missing, or have been stolen. On the original album
version from 1966, the song is done with piano and a French horn. In this take
there is only Mr. McCartney and his guitar. The French horns are recreated
vocally in a really beautiful way. In many ways Mr. McCartney was the creative force behind the
Beatles. Although John Lennon was the founder of the group, it was McCartney
who came up with so many of the ideas which defined the band. “Sgt. Pepper’s
Lonely Hearts Club Band” was his idea. That was a great success.“Magical Mystery Tour” was also his idea;
maybe not a good one; undertaken just after the death of their manager
Brian Epstein, when the group was temporarily without a rudder.
This song is easily played on the guitar using basic chords,
beginning with a C and Em. The rest is all centered about Am and a variation of
Cm. You just have to play with it a bit. If I remember correctly, this was the
2nd song on the first side of the album, which was released in the
United States in the fall of 1966, just after the Beatles had finished their last
live tour.
Still touring today, at age 70, Mr. McCartney continues to thrill
audiences everywhere he performs. He can rock and roll with the best of them;
and when he feels like it; he can still move the audience with a beautiful
ballad. Many Happy returns to him, and thanks for the music!
I'm just taking it easy for a day or so. But I ran across this gem on You Tube. I was going to post something more about the universal appeal of music, and the perceived threat that it poses to organized governments. Really, I have it all laid out in my head, but am too lazy to do it today.
But basically, you take a song like "What Wonderful World", which has been done by so many artists over the years, and explore the general societal circumstances under which is was written, and the different cultures, in which it turns up. And you begin to see the universality of music.
Louis Armstrong recorded the song first. It was recorded in New York City, where Mr. Armstrong lived, in 1967, at the height of the Vietnam War. The song itself was written by Bob Thiele and George David Weiss that same year. George Douglas is also sometimes listed as a co-writer. It didn't get a lot of mainstream airplay at the time, though it did "chart".
The song was about just what the title said - "What Wonderful World" it could be. Not a great record for the radio to be playing while the listeners were viewing the daily "Body Count" of the war on the evening news. The song was recorded on August 16, 1967,and went to number one in Europe. It did moderately well among the jazz set of the time in America, but didn't really hit it's stride until it was featured in the film "Good Morning Vietnam".
The composers, Bob Thiele and George David Weiss were both long known in the jazz circle as writers and producers. Bob Thiele was with Impulse Records, and had worked with many of the legends of his time, including John Coltrane, Charlie Mingus, and Charlie Haden.
David Weiss, was strictly a songwriter, having penned some great songs in his time. If he had only written Elvis Presley's "Can't Help Falling in Love", that song alone would've cemented his place in music history forever.
George Douglas is somewhat of a mystery, so I have nothing to say about him.
Then ukelele atrist Israel Kamakawiwo'ole, known simply as IZ, took it to a whole new level when he re-recorded the song as a medley with "Somewhere Over the Rainbow" in Hawaii on the album "Ka 'Ano'i" in 1993. I have posted that video here before, it is truly a moving portrait of a very unusual artist. In a way, he has made that song his own epitah, as it was recorded shortly before he passed away in 1997.
Watch the video through to the end. It really is a stunning piece of work. By coupling "What a Wonderful World" with "Somewhere Over the Rainbow" he has completed the circle of thought. His message is that, although it "could" be a wonderful world down here, there is someplace waiting where that dream has already been achieved. In short, there is always hope.
And I think that's why music is such a threat to certain groups. Whether you believe that or not, it's still a very comforting thought. The scenes after 2 minutes and 40 seconds are of IZ's funeral, in the blue waters of his beloved Hawaii.
There will always be people who can't stand hope. It makes them feel threatened. Sometimes they have used music for propaganda, but it doesn't work for long. Real hope is hard to fake. So, this one's for them!
