"Madhouse on Castle Street" - (1962 ) BBC-2 Bob Dylan, Andrew Loog Oldham, David Warner

In late1962 Albert Grossman brought Bob Dylan over to England to perform in a beatnik style drama called "Madhouse on Castle Street" for BBC 2.  The play was written by Evan Jones and directed by Philip Saville. The production featured a  young Bob Dylan, who was soon to become a major star. (You can find the full 57 minute documentary on You Tube. I was unable to upload it here.)

The original film was made between December 18th,1962 and finished by January 3rd, 1963 and broadcast on January 13th. Starring David Warner, Maureen Pryor, James Mellor, and Ursula Howells, the play was about a young man who is so disillusioned with society that he decides to lock himself in his room until society changes. That part was supposed to be played by Bob Dylan, but his inability to learn his lines changed that. Another problem was keeping him on the set. He kept wandering off to smoke pot. 

The play was made with electronic video cameras, but recorded onto film rather than tape. No full copy of the show survives because in those days BBC erased the tapes for re-use. Britain was still suffering shortages of everything due to the Second World War. There were just 2 copies left, but these, too, were destroyed in 1968, which is odd because by that time Dylan was a world wide sucess. 

Peppered with hits of the time, the archival footage provides an insight into the winter of 1962, which was one of the coldest on record. 

Dylan performed 2 songs,  "Ballad of a Gliding Star" and "Blowing in the Wind." His "minder" for the week was Andrew Loog Oldham. He earned £5 for the trouble. This was just before he began to manage the Rolling Stones. 

"Hill Country Girl" - Will Kimbrough (2010)

Corn flower blue were her eyes and her hair
Spinning gold in the hot summer wind.
Soft were the words which she used when she told me
She wanted to still be my friend.

I said don't misunderstand me
She said I don't as she turned
Into the haze of the twilight and walked
down the road without shame or concern.

Her name was Martha and her mama died
the year before, she'd been sick for awhile.
I helped her Daddy that summer with work
on the farm, she was shy with her smile.

One night we talked until sun up
The next night we kissed until the dawn
These days I dream of my Martha
'til daylight comes hard now that Martha is gone.

Her daddy was quiet like men get to be
But his eyes said he knew everything.
One afternoon he put his arm round my shoulder
And said don't get hurt son you're still green.

That night I asked her to marry,
she laughed out loud until she wept
She said you saved my heart with your kindness and comfort
and care but I will not be kept

Some say she ruined me forever
Left me heartbroke and stubborn with pride.
Some say she made me the loner I am
I say her memory keeps me alive.

Now I keep up with her as she moves through the world
With a grace I admire from afar.
From Austin to Nashville to LA and back
to the farm in her dirty old car.

Her eyes are still my horizon
and her smile still a fine rope of pearls.
I can't  help it I guess though it's made me a mess
I'm in love with the hill country girl.

And though she don't love me yet I will never regret
All my love for the hill country girl.

Pete Seeger, PS 197 and Kindergarten - "If I Had a Hammer"

This post is for my Kindergarten teacher at PS 197 in Brooklyn,Mrs. Gerber. Read on and you will find out why.

Of all the songs we learned as kids, few have had as many obstacles thrown in its way as was the case with the iconic song “If I Had a Hammer.” Most folks will remember the song as being a smash hit for Peter, Paul and Mary in the late 1950’s. But the songs beginnings were steeped in controversy when the Weavers did their original version of it in 1949 at the Peekskill concert with Paul Robeson, and then when the song was published in the “Sing Out” collection of songs the following year. People actually cancelled their subscriptions over this song.

Pete Seeger had spent the war years working as a Merchant Mariner aboard cargo vessels. After the war; in 1948; he founded the folk group known as the Weavers. They did folk songs along the line of Woody Guthrie, along with some original compositions and other folk ballads from around the world.
 

Their first hit was a 45 RPM with “Tzena, Tzena”as the A side; a song much heralded at the time by Israeli soldiers; backed with “Goodnight Irene”, written by Leadbelly, on the B side. It was a hit on Decca Records, which couldn’t press the record fast enough to keep up with the demand.

By 1957 they were banned from most radio stations and all of TV. Seeger would not be seen on a major network again until 1968 when he appeared on the Smothers Brothers Show. It all began with “If I Had a Hammer.” The House of Un-American Activities; which they clearly were; was in the middle of its decade long sweep of the entertainment industry looking for subversives; or Communists, when they set their sights on The Weavers and Pete Seeger.

HUAC was not only aimed at the Hollywood crowd; they were also involved with policing the meaning of song lyrics such as “The Rock Island Line”; and later on even “Louie, Louie”. For “Louie, Louie” the FBI infamously spent over one year and 100 agents in order to come to the conclusion that they had no idea what the lyrics were; let alone what they meant. With “If I Had a Hammer” their job was much simpler.

The song speaks about a hammer; the Soviet Union used one in its flag. The song spoke about “the danger” and “the love between my brothers” all across this land. (Peter, Paul and Mary added and my sisters to the lyrics for their recording, in addition to some changes in the melody.) Surely these “brothers” were comrades in the sense that they were allied with communism. And, as if that weren’t enough, the HUAC committee was very concerned just what was meant by “freedom” and “justice”.  (You have to laugh when you think that hey actually had to ask that last question!)

Seeger was charged with 10 counts of Contempt of Congress in 1955; a badge which he wore proudly; and was sentenced to 10 years in prison. His appeals went on in a court fight which lasted until 1962. And, although his career was interrupted, his fight was celebrated by his many loyal fans. In 1969 he launched the Clearwater Campaign to clean up the Hudson River in New York and was an activist until his death.

Here he is in 1956; already charged and being tried for Contempt; singing the song anyway. This is one of the earliest versions in which he sings “my brothers and my sisters.”

https://www.youtube.com/watch?v=Rl-yszPdRTk

Now, here’s the part which will explain why this is dedicated to Mrs. Gerber;

We were actually singing this is Kindergarten at PS 197 in Brooklyn. It was 1959 and HUAC was still going and the blacklist had just been "broken" with Dalton Trumbo being listed as a screenwriter on "Spartacus". I have to wonder what risk the teacher was taking by using that song in class. New York's Feinberg Law of 1949 placed a security officer in charge of each school district. Their job was to know the politics of every teacher. Reading the wrong book could preclude your being hired. And voting the wrong way could get you fired.  

In 1955; only 4 years before my Kindergarten teacher sang this song with us; New York City teachers were required to inform upon their colleagues political views. Refusal meant dismissal. Of 40 teachers who were ordered to do so; 35 submitted and the remaining 5 were actually fired. In all, 60,000 public school teachers in NYC alone were investigated and 500 were forced to resign or were fired for political views. One actually committed suicide. That Mrs. Gerber sang this song with the class is a tribute to her individuality. The Board in charge of the Feinberg investigations remained in force for 2 more years; disbanding in 1961.

"Rainbow Quest" - Pete Seeger and Guests

There was nothing on television to hold my interest the other night and so I turned to You Tube. There are so many things I would like to watch on there that I never take time for. And, with so many new things to discover on there, I will never catch up. Contrasted with the constant clicking associated with channel surfing, it was kind of nice to settle into something different for almost an hour.

The Pete Seeger "Rainbow Quest" series ran for 1 season on Channel 47, the UHF mostly Spanish speaking TV station, from 1965-66. I ran into it a couple of times by accident while fooling with the UHF antenna when; you guessed it; nothing worthwhile was on regular TV. So, how ironic is it that I should run into the same problem 50 years later and find the same solution in Pete Seeger both times?

This show is typical of all 39 52 minute episodes. There is no audience; which adds to the stark quality; I mean Pete was the "sing along with guy". He was the Mitch Miller of folk music. Actually, Miller took that page from Pete's book.

The list of gusts on the Rainbow Quest shows will knock you out. Everyone from Donovan to June Carter and Jonhny Cash, Judy Collins, Buffy St. Marie, Sonny Terry and Brownie McGhee are just some of them.

Naturally the show didn't make it. How many of you actually fooled with UHF at all in New York City? Actually I had forgotten all about the shows until I read the book "Red Scare" a few; well, several years ago. That book deals with the McCarthy Era and the blacklists; which included Pete Seeger. If you don't know about his role in that shameful episode of government overreach you should look it up sometime.

But it wasn't until I was re-reading it last year that I took the time to watch any of the shows again on You Tube. Maybe it's the passage of time; or the passing of the people on these shows; but time has made them even better than I remembered. If you're bored, take a listen and see.

"Ill Fly Away" - Gillian Welch and David Rawlings (2011)

I first posted this a few years ago. It's such a beautiful performance of the old standard that it deserves to be posted again. I listen to this one often in the car. Sue will have to tell you about me driving over the mountains one foggy and rainy night, singing this song and trusting in the Lord to take us home! She made me stop and get a motel room, which only led me to question her faith; and earning me no points at all....

Gillian Welch is one of the modern gospel singers who, along with guitarist, and real life partner David Rawlings; have been keeping that good old time gospel music alive for the past decade, or so. They are part of an independent music scene that increasingly draws upon the resources of our American past, particularly the so-called Appalachian sound, borne of the poverty and hopelessness of the Great Depression.

The main thing which attracts me to this type of music is that it is easily played by just about anyone with a guitar; including me. With just a few simple chords, the amateur guitarist can soar with the angels. Watch David Rawlings on the solo and see how he is at one with his instrument. That's an old 1936 National guitar and he never plays anything else that I've seen. And his sound and approach to music are as unique as that guitar.

Music is a balm which soothes the soul. And gospel music is one of the main roots to American music in general; even being somewhat of the basis for jazz; and certainly the father of rock and roll. I like playing this song- it relieves me of my troubles and pains. Sometimes music can transport you beyond this world and all of its shortcomings, hinting at a better place. Kind of like Judy Garland and “Somewhere Over the Rainbow.” It’s all about hope. 

"Valley of Tears" - Solomon Burke with Gillian Welch and David Rawlings

This is one of the most beautiful performances of this song you will ever hear. Gospel music is a balm for the pain in life. It gives hope when all seems to be lost. The sorrow turns to hope and joy when set to music. In the world of gospel music, there is Aaron Neville, and then everyone else. The only one, in my opinion, who even comes close, is Solomon Burke. You Tube him sometime and treat yourself to an incredible wealth of music from his 6 decades of recording.

In this beautiful spiritual;  written by Gillian Welch and David Rawlings; Solomon Burke teams with the writers to deliver a beautiful performance of a haunting song, while all the while holding out hope that he will overcome his troubles. There is another gospel song by the same name as this one, written by Antoine "Fats" Domino and Dave Bartholomew. It was also recorded by Buddy Holly as well as Solomon Burke. But this is the one that really hits "home" for me.

Lamenting that people “stand in line- just to hear me cry” underscores the sorrow which the singer feels deeply, yet the audiences hunger to see his suffering lifts him up spiritually. He will not go to the valley. Instead, he sings his way through the pain, all the while praying for the deliverance of those who would rather see him suffer, if only to assuage their own pain.

The intersection of Solomon Burke with Gillian Welch gives further credence to our ability to overcome our superficial differences when we concentrate on our mutual emotions and needs. And music is such a great place to begin that journey.

Note: real life partners Gillian Welch and David Rawlings have been quietly influencing American independent music for several decades now. Her singing and writing, along with his deep love of playing guitar, combine together in such a way so as to communicate their love for one another to the audience without ever saying a word to one another. They are among my favorite musical artists. 

Valley of Tears” by Gillian Welch and David Rawlings

I've been riding high, but i don't know why

everybody wants to send me down to the valley of tears.

It's a sunny day and i'm on my way

but everybody wants to send me down to the valley of tears.

People stand in line just to hear me cry.

I wanna know the other side

but everyone i choose only brings bad news.

Everybody wants to send me down to the valley of tears.

People stand in line just to hear me cry.

I wanna know what's on the other side.

I've been riding high, but i don't know why

cause everybody wants to send me down to the valley of tears.

It's a sunny bright day and i'm on my way

but everybody wants to send me down to the valley of tears.

Johnny Hartford - Gentle on My Mind

It seems like each spring I re-discover the music of John Hartford. I suppose it has to do with the river. The Mississippi was Mr. Hartford's place. He even held a river pilot's license for the Big Muddy. Its waters ran through his veins. And each year when spring arrives I picture that river coming back to life after a long, hard winter. I see the old riverboats in my minds eye; and Mr. Hartford is always on board, playing the banjo, or guitar, or mandolin to entertain the passengers.

Most of us became aware of this incredibly talented musician/singer/songwriter/historian/poet/storyteller/foot dancing minstrel during the opening moments of The Glen Campbell Show on Sunday nights. Mr. Hartford was the lanky, long haired fellow in a vest who stood up in the audience each week playing his banjo as Glen Campbell sang "Gentle On My Mind", which was written by Mr. Hartford. And for many folks, that's as far as it went.

I was captivated the first time I saw this guy with sleeve garters and a vest, looking as if he'd just stepped out of a saloon circa 1870. And with time I realized that that's exactly who he was. He was just born in the wrong century. He had a passion for Civil War era music and what has come to be called Americana in general.

His version of "Lorena", the most popular song from the Civil War, is probably the best ever recorded, in that it captures so well what the music must have sounded like at the time it was written. Many people have recorded the song; some before Mr. Hartford; but none have captured the song as it was originally written, as Mr. Hartford has. But then again, I may be a wee bit biased.

The most incredible thing about Mr. Hartford as a performer was that he used his whole body to create the music he loved so well. For example, in the above video of Mr. Hartford performing "Gentle On My Mind" you will hear a tapping sound and wonder where it is coming from. That's his feet. By the end of the song you will be able to see those feet in action beneath the bell bottoms, but at first you can only hear the sound.

There are times when he would use those same feet to slide on the stage floor to create a shuffling sound to accompany himself. He was like a train. He pulled the weight of all the music which defined America in the years before and after the Civil War. And when he played a song from the Civil War, he didn't do "Dixie" or the "Battle Hymn of the Republic". He did the one song which soldiers on both sides of that conflict sang each evening around fires, thinking of the loved ones they had left behind.

"Lorena" was a favorite of both sides in the war simply because it spoke to every man. It was universal in its expression of longing for home and the fear that when you returned all would not be the same. Lovers move on and hearts are broken.But through it all there is an acceptance of that failed love. When he sings the verse about "We loved each other then Lorena", he sings about what might have been but never could be again. And then accepts it without bitterness. The pain was the price payed for the memories, and was well worth it. It was also written in 1857, before the war began, and so served as a powerful and common reminder of better days for both sides.

Here is Mr. Hartford playing "Lorena" dressed as I will always remember him;

"Winters Come and Gone" - Gillian Welch and David Rawlings

The music of Gillian Welch and David Rawlings always makes me feel warm. And this song is perfect for the dead of winter. With storm after storm dumping on half of the country, even people unaffected by the storms can get a bit antsy from waiting for spring.

In this beautiful ballad Ms. Welch, along with some help from longtime partner David Rawlings, takes on the woes of winter. With her beautifully nuanced voice, along with David Rawlings poignant guitar work, she coaxes on the arrival of spring while melting away the frigid weather. It’s an art.

Oh little red bird

Come to my window sill

Been so lonesome

Shaking that morning chill

Oh little red bird

Open your mouth and sing

Been so lonesome

Just about flown away

So long now I've been out

In the rain and snow

But winter's come and gone

A little bird told me so

Oh little blue bird

Pearly feather breast

Five cold nickels all I got left

Oh little blue bird

What am I gonna do

Five cold nickels

Ain't gonna see me through

So long now I've been out

In the rain and snow

But winter's come and gone

A little bird told me so

Oh little black bird

On my wire line

Dark as trouble

In this heart of mine

Poor little black bird

Sings a worried song

Dark as trouble 

'Til winter's come and gone 

So long now I've been out

In the rain and snow

But winter's come and gone

A little bird told me so

So long now I've been out

In the rain and snow

But winter's come and gone

A little bird told me so

Note: There was no live video of this song by the artists, just cover versions by other performers.

"Pocahontas" - Performed by David Rawlings and Gillian Welch

Of all the versions of this Neil Young song which have been recorded I enjoy this one the most. It probably has more to do with the interaction of long time partners Gillian Welch and David Rawlings than anything else. The song itself is beautiful; full of imagery recounting the last days of the Indian Wars. I never have figured out the Marlon Brando verse and its relationship to the rest of the song, but somehow it all works out.

David Welch is one of the most underrated of guitarists. When you watch him you’ll notice that he uses his hip to steady his 1935 National guitar while he performs, particularly when playing lead. His whole body is inside of each note. And, that fret board is like a second home; while his ears picks up on any key changes, his fingers following instinctively.

For her part, Gillian Welch is one of the most gifted vocalists of her genre. Her haunting voice can bring new scope and meaning to anything she sings. Together the two are among my favorite musical performers.  I think it has to do with the intimacy between the two, which spills out unintentionally and becomes part of the performance.

Music is a force, just as love is. And when you love the music you perform; and the person you are performing with; you can take that music to new heights. Gillian Welch and David Rawlings prove that point time and time again.

"I'll Never Find Another You" - The Seekers Live (1968)

The Seekers were one of those groups from the early 1960’s who were acceptable to the younger and older viewers on Sunday night TV shows, such as Ed Sullivan, or the more edgy Smother’s Brothers Comedy Hour. The truth of that statement is in this video from a July, 1968 performance at the BBC in London. They had been singing the song for about 5 or 6 years already, since before the Vietnam War had really begun in earnest, dividing a generation.

The Seekers were able to bridge that divide with their beautiful harmonies and a non-threatening selection of material, which usually included songs about love, family and flowers. Who, on either side of the day’s political issues could argue with that? This was the group that parents loved, saying such things as “Why don’t those other groups sing like that?” We kids would roll our eyes, thinking, “They just don’t get it, do they?” But, still, there was something unifying about these songs. They could be sung in the car with the family. That doesn’t happen much anymore. I mean, my folks never could remember the words to “In a Gadda Da Vida Baby.”

Though most folks think of The Seekers, and this record, as American folk music, both really Australian in origin, having formed there in 1962. The song itself is an adaptation of that genre. Even the original recording of the record was done at Abbey Road studios in London, in November 1964, at just about the same time the Beatles had finished working on “Beatles for Sale”,  which had been recorded there and was scheduled for release only weeks later. “I’ll Never Find Another You”; composed by Tom Springfield; became The Seekers first #1 hit in the United Kingdom and America.

Though the original group disbanded in the late 1960’s, the New Seekers were formed in 1969, and they continue to unite generations with this wonderful song.

"The Blue Tail Fly" - Politically Incorrect?

We learned this song in elementary school. The other day I was playing it on guitar, getting ready to play it for my granddaughters Molly and Julia, when I stopped as I realized the words and their full import. This song was sung far and wide when I was growing up, and in some places it is still a staple of childhood rhyme schemes. I have no problem with it, as the children singing it usually have no idea of what the lyrics mean. Some folks even think that the lyrics are two separate songs.

The above live performance by Burl Ives is a bit out of synch. I could have used another clip, but this one from 1964 shows just how out of synch most of America was regarding race relations at the same time as the country was experiencing massive racial unrest. The Civil Rights Act of 1964 had yet to be passed, and the events in Selma, Alabama were still a year away.

Some folks have objected to this songs continued use in schools due to the racial overtones of the lyrics. The main character is a slave who tends to his masters every need. Some find that offensive. But listen more closely and you will realize that this song makes sport of the master’s dependence upon his servant, which actually plays a small part in his own unfortunate demise. The last verse is the best, and if you remove the quotation marks from the epitaph the meaning is completely changed. Instead of an epitaph it becomes a confession by the young servant.

As the world evolves, changes get made and things get lost. I hope that the people who object to this song will stop and really hear it for what it is; it’s a satire about the people who only think that they are in charge, but haven’t got a clue. If they did, then the blue tail fly could never hurt them.

“The Blue Tail Fly” by Elie Siegmeister and Walter F. Kerr

When I was young I used to wait

On my master and hand him his plate

And Pass the bottle when he got dry

And brush away the blue-tail fly.

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

My master's gone away.

And when he'd ride in the afternoon

I'd follow after with my hickory broom

The pony being rather shy

When bitten by the blue-tail fly.

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

My master's gone away.

One day he ride around the farm

Flies so numerous they did swarm

One chanced to bite him on the thigh

The devil take the blue-tail fly.

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

My master's gone away.

The pony run, he jump, he pitch

He threw my master in the ditch

He died and the jury wondered why

The verdict was the blue-tail fly.

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

My master's gone away.

He lay under the 'simmon tree

His epitaph is there to see

"Beneath this stone I'm forced to lie

The victim of the blue-tail fly."

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

Jimmy crack corn, and I don't care

My master's gone away.

"Home Grown Tomatoes" - Guy Clark (1983)

Here's a really great song by Guy Clark about one of nature's most delectable delights- the home grown tomato. We all have neighbors and co-workers who grow; and even share; their bumper crop during the summer months. There really is nothing sweeter than a home grown tomato, lightly salted, eaten in the field where it was just picked.

Guy Clark was one of the original members of the group of musicians who can be found in "Heartworn Highways", an indie music film from 1975. Rodney Crowell, Guy Clark, Townes Van Zandt and Steve Earle; all of whom would become legendary songwriters in their own right; really give the viewer an inside peek on what it's like to live and work outside the "norm" as they create some of the best music in decades, launching the independent country movement which would help return the genre back towards it's original roots. If you have never seen the film, you're missing out.

"Life Is Like a Mountain Railroad" - Jerry Lee Lewis (1983)

Jerry Lee Lewis grew up in a religious atmosphere. His two cousins; the legendary Mickey Gilley and Jimmy Swaggart,  also made their fortunes entertaining people using the gospel; Mickey as a performer, and  Jimmy as a preacher; entertaining people in his own unique way. But  Jerry Lee took a slightly different path, and wound up entertaining people by playing rock and roll, with gospel music, also making a fortune in the bargain. See the difference? Neither do I.

This recording of the iconic country ballad “Life Is Like a Mountain Railroad” was evidently inspired by Mr. Lewis knowing the song; which was written in 1890; coupled with his having just recently seen the TV movie “Mr. Horn”, with David Carradine and Richard Widmark. That film was made for TV and later remade into the feature film “Tom Horn” with Steve McQueen. It’s the story of an overly idealistic frontiersman, cavalry scout and bounty hunter who takes things too far, and is hung for his excesses in 1903.

The book was originally written as a novel by William Goldman and found its way to television in the late 1970’s. Apparently, Mr. Lewis had seen the film and remembered the old gospel song from his youth. The song was written by a Baptist Minister named M.E. Abbey as a hymn, with the only written part being the chorus. The other lyrics were added later by Eliza R. Snow. Curiously the song was copyrighted in 1890 by Abbey and Tillman, with no mention of Ms. Snow’s contribution. The song has been a staple in country music for almost a century now, with recordings by just about everybody from the Carter Family to Linda Ronstadt.

The message in the song is pretty clear; life is like a mountain railway, with cliffs on one side and a steep wall of rock on the other. That’s the path of the “straight and narrow”. No room for error. The engineer is all of us, who must work hard at keeping the train on the track against the overwhelming obstacles which life constantly heaps in our path. And of course, there is always someone who watches over us, lending an unseen hand when the going gets too rough for us to handle.

"Life Is Like A Mountain Railroad"

Life is like a mountain railroad

With an engineer so brave

We must make this run successful

From the cradle to the grave

Watch the curves, the fills the tunnels

Never falter, never fail

Keep your hand upon the throttle

And your eye upon the rail.

Oh, blessed Savior, thou wilt guide us

Til we reach that blissful shore

Where the angels wait to join us

In God's grace forever more.

As you roll across the trestle

Spanning Jordan's swelling tide

You behold the union depot

Into which your train will glide

There you'll meet the superintendent

God the Father, God the Son

With a hearty, joyous greeting

Weary pilgrim, welcome home.

"Ruby" by David Rawlings with Gillian Welch

If you haven’t noticed, I’m a big fan of Gillian Welch and David Rawlings. The two partners; in life as well as music; have given me more joy through their music than you can imagine. Their music is pure Americana, drawing on the roots of gospel, rhythm and blues, folk and a touch of bluegrass thrown in for good measure. They are the archetypical troubadours of their time.

In this song from 2009, Ruby’s lover laments that he has been unable to climb her golden stairs, which lead to the paradise he feels could be theirs if only she would let him in. But he also realizes that she is surrounded by her luxuries; indeed she is trapped by them, inside a tower that hasn’t got a door. So, not only can’t she get out, he can’t get in, unless she “lets down her golden hair.”

He compares himself to an old time telegraph man, with a single purpose in mind; to repair that which is broken. Sadly, he realizes that certain things; once broken; can never be fixed. A beautiful, haunting song, this one makes you marvel at what can be done with 4 simple chords. This performance is from an NPR “Tiny Desk” concert which aired on February 5^th, 2010. The song was written by Ms. Welch.

Two Guitars - Nesting?

I am not the greatest guitar player in the world; although I probably do enjoy it more than most. Never had a lesson; and it shows; which limits me to simple songs and ballads, along with lots of folk and gospel; but I am capable of figuring out alternative approaches to some of the big band stuff and movie soundtracks; which always amazes me when I do it well, since that happens so rarely.

The other day was a frosty and sleet driven day and I had been out for a few hours in the teeth of the weather. When I came home, one of my guitars; the ash Washburn D-11; was not in its usual place. So, I went looking for it, mainly because all of my things are usually in the place where I last left them, so this was kind of a mystery.

Strolling from room to room yielded no quick answer to this puzzle, which was fast becoming more than a bit annoying. So, I decided to check the one place I was sure I wouldn't find it. The downstairs computer room! Knowing that if the guitar was indeed in that room it was there of its own accord, I crept up as quietly as I could, until I was just outside the slightly ajar door. Quietly, and as softly as possible, I swung the door open and caught them “nesting”. They were a bit embarrassed to be caught in such a compromising state; even musical instruments enjoy their privacy; but apart from the Washburn being a little out of tune from making such an arduous journey; we were soon making music again.

The only thing that bothers me about the whole mysterious affair is that theWashburn is starting to show; so I would guess that we’re expecting a little ukulele anytime now.

"Chronicles" by Bob Dylan (2004)

 

 

When I was about 5, or 6 years old, my parents used to take me to the Village; as in Greenwich Village in New York City. It was the thing to do then, back around 1960. The Beatniks were still in presence, and with their goatees and bohemian clothes, made quite an impression on me. These people were exciting in a mysterious, yet non-threatening way. There was a current of change in the air which was almost palpable. I didn’t know it then, but I was sharing the same streets with Bob Dylan as he explored this new world. He was 19 years old and the village would become his home for many years.

Writing in pastel tones, sometimes giving only the flavor of a particular encounter with another musician, Mr. Dylan writes of a time when singers and songwriters, the likes of The Clancy Brothers, Brownie McGhee, the Monk and everyone you can possibly think of, even Tiny Tim, who was working the Village scene as a novelty act, singing 1920’s songs with his ukulele.

He writes vividly of the frigid winters I remember in the city as a child, using phrases that evoke the chill and recall the brilliant starlit nights. In almost poetic fashion he recreates the sordid New York of better years, before the corporations took over, and art was still in the very air.

Moondog; the landmark street poet who roamed the city; usually to be found further uptown from the Village; was present in Mr. Dylan’s world. Dylan; the name. Where did he get it? We all know it came from Dylan Thomas, but what was the creative thinking that changed Robert Zimmerman into Bob Dylan? In an age of Bobby Vee, and Bobby Vinton, what made the author chose his new cognomen? Who was he when he arrived in New York and what was he trying to achieve? All valid questions concerning one of the most influential artists to emerge from the tail end of the “beat” scene.

Drawing on his memories of Dave Van Ronk, Ramblin’ Jack Elliott, and even the revered Woody Guthrie himself, Mr. Dylan paints a living literary portrait of one of the most creative eras of the 20^th century. He weaves back and forth through the decades of his life in poetic fashion, drawing no attention to the shifts in the narrative from one era to another. He moves ethereally, just as with the visions he created in his own songs.

Unabashedly candid in his recollections; and not always casting himself in the best light; the author lays bare his true sentiments concerning what constitutes “art”, folk music and reality in general. Pushing the boundaries of folk lyrics; while helping to create “folk-rock” music in the bargain; would have been enough for most. With this book, he has established himself as a true craftsman of the memoir as a genre. I should have read this 8 years ago.

Putumaya - World Music Series

Fot 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 flashdrive. I just don't want to lose it! Here's the link to the site if you care to hear some of the tracks;


http://www.putumayo.com/en/catalog_item.php?album_id=243

"The Mountain of the Women" by Liam Clancy

In a striking contrast to books such as "Angelas Ashes" and "Teacher Man" by the brothers McCourt, which were both excellent books, Liam Clancy, of Clancy brothers fame, has done what would seem impossible. He has created an Irish memoir that, while it acknowledges the rationing and illnesses that plagued Ireland in the 1940's and on into the 1960's, does not leave the reader worn and depressed. With a simple and engaging style he takes us through the stages of his life and career, duly giving note to all the Irish myths and songs that came before him.

Born in Carrick on Suir in the shadow of the Slievenamon Mountain, the area Mr. Clancy grew up in was rife with the history of man. The ruins and burial sites which abound the place predate the Pyramids of Egypt. These are humble beginnings.

The most amazing thing about this book is the complete honesty in which the author presents his life. While acknowledging all of the poverty he never dwells upon it, instead he is always looking forward to a future. He has dreams to fulfill.

His descriptions of the harsh education in Catholic School make you think about, rather than recoil at, the injust and archaic practices that passed for education.

Music has always been part of the Clancy family tradition. As the youngest of the clan he tries to enter into the insurance business like his Dad, but it holds no interest for him. His brother and wife send home recordings from America and Greenwich Village that spark his love for folk music and his lust to travel.

At the age of 19, and hardly been kissed, he meets American heiress Diane Guggenheim, who falls in love with him. She makes several trips to Ireland to record local folk songs for Alan Lomax. Mr. Clancy soon finds himself traveling with her on a journey of musical discovery. And shortly after that he finds himself in New York, where he meets the elder Mr. Guggenheim and begins the life of a troubadour in Greenwich Village.

Although his relationship with Ms. Guggenheim eventually fades away, she has begun Mr. Clancy on a journey that will earn him fame and adulation as a member of the Clancy Brothers as well as his work with Tommy Makem. Their adventures in the Greenwich Village scene of the late 1950's will thrill you. It was a time of beatniks and hipsters, poets and folksingers. The thrill of the music and art was in the air. The brothers Clancy and the brothers McCourt are no strangers to one another as they inhabit, and dominate, this small enclave of art.

Filled with stories of, as well as keen insights into, the folk scenes of both Ireland and America, this book gives the reader a wonderful portrait of a very vibrant period. Through the music they were playing, The Clancy Brothers would help give rise to a fusion of sounds that would blossom into the Folk Music Scene and even the Civil Rights Movement of the 1960's.

A pleasant read with just the right balance of pathos and joy. Makes me want to shout "Erin Go Braugh."