Regina Spektor – Hotel Song
Tom Williams – Hotel Song
Out of the weekly batch of mp3s I download from various blogs, Tom Williams’ version of the Hotel Song caught my attention among many crooner with a guitar tracks. The sweet tune sung with such an optimistic sound really makes the ‘dark’ lyrics resonate. Actually, I hadn’t even realized that is was a cover until I found the original in Regina Spektor’s album, which by its own merits is full of wicked lyrics and angelic sound.

Christian Wallumrod Ensemble: Fabula Suite Lugano (ECM 271 1269)
With each release by his ensemble, the Swedish keyboardist and composer seems to have widened his stylistic scope even further. The group started out as a quartet, expanded to a sextet with their previous CD The Zoo Is Far, and maintains that size here with just one personnel change: Eivand Lonning in for Arve Henriksen on trumpet.

So, with the other instruments being cello, violin or Hardanger fiddle, harp and percussion, the palette of sounds remains intriguing and capable of a wide range of moods, which is just how Wallumrod likes it. And this is very much ensemble music, with no particular attention given to individual soloists.

The music picks up influences from the near avant garde classical and experimental composers like Morton Feldman, and from the distant Baroque past of Domenico Scarlatti.

The most immediately compelling pieces are the two versions of Jumpa, which in their strangely stately ways conjure up two very serious circus processions at the court of some 17th-century Swedish king. But then you get a piece like Dancing Deputies which is like a minimalist free jazz work-out full of played echoes. Quote Funebre, Wallumrod claims, is based on a few chords from Olivier Messiaen.

And what textures! On Snake there is the piano in the distance, plucked notes from harp and cello, the cymbals stroked with a bow, and the odd tinkle of a bell.

There is a lot of silence on this recording, and a lot of quiet interaction between the instruments – the listener is left with a fascinating sense of both the spaces between the instruments in the studio and also between the centuries of time which separate the interweaving strands of this music.

Wallumrod creates the equivalent of a coldly-lit Vermeer in sound, and a certain sense of human isolation, too. Both chilling and lovely. And triumphantly unclassifiable.

Lloyd Cole – Live!

A filthy night in Brighton is not for the fainthearted, but Lloyd Cole is a talent worth braving the elements for. For those not in the know, Cole’s star burned brightly in the eighties when he was lauded by the music press as one of the most distinctive and literate songwriters around. A string of hit singles and albums followed until seemingly at the height of his success, he disbanded the Commotions and decamped for New York. Predictably the press turned on him and although he continued to record exceptional albums, he was denied the recognition he deserved. Stung by the experience, Cole has spent a decade crafting immaculate songs, releasing the results on a series of self financed albums and touring solo.

To the show then. Two sets, about 35 songs including covers of Leonard Cohen’s ‘Tower of Song’, Kris Kristofferson’s ‘Please Don’t Tell Me How This Story Ends’ and surprisingly, The Killer’s ‘Human’. Cole’s dry, self deprecating wit lifts the audience and the voice being intact, his reworked arrangements of his own extensive catalogue, including a dusting of new material combine to produce a truly remarkable gig. Cole’s is an enviable talent, as a songwriter he leaves other more feted musicians in his dust, as a lyricist he is quite simply untouchable. That he has decided to reject the trappings of the industry allows his music to speak for itself. That it does, eloquently, is no mean achievement in a business where for most performers such a decision would result in at best, a ghastly silence. About time for a critical reappraisal in my opinion…

The treasures of Youtube!  Since losing the last relative of my family’s communist generation a few weeks ago, I’ve been feeling a little bit nostalgic.  I was raised on this music.

The first is a rare clip from the late 40s or early 50s, before their blacklisting, probably 1949 when the song was a national hit.

This one is from the documentary Wasn’t that a Time (available from Amazon on VHS – not yet DVD unfortunately), filmed in the early 1980’s.  Same song. The performance at Carnegie Hall was Lee Hays’ last.  He died of diabetes related complications before the documentary was released.

I don’t know when this was recorded.  I suspect it’s from the Carnegie Hall performance.  I’ve heard Ronnie Gilbert sing Venga Jaleo live on several occasions, and it’s something to hear.  Her voice was so powerful, she had to be careful so she didn’t drown out everyone else.  Lots of Weavers in the VALB youtubes.

Gilbert, Hellerman, and Seeger are all in their 80s and 90s now.  Probably won’t be any more reunions.

Friday, November 20th 2009
The Cave
Chapel Hill, NC.

I can’t believe it’s already been five months since I moved from NC to Atlanta. I was invited back to NC to be a guest on NPR’s “The State of Things” which I was super excited about. What an honor (listen to it here: http://wunc.org/tsot/archive/sot1120c09.mp3/view) and I was so excited. The best part about it was having a gig later that night at The Cave.

Right as I entered The Cave with James, Mouse came up to me and gave me a huge hug telling me how proud of me he was and that I sounded really good on the radio. He just smiled and said, “Welcome Home Don de Leaumont!” It really felt like I was coming back home actually. My good friend and former partner in crime Elana joined me on cello. I just couldn’t think of a better compliment to my music than the sound of her cello. I’ve always loved how it complimented the songs and her over all aura and spirit is something that always inspires me and puts me at ease. I don’t have to think about anything when she’s there. I don’t have to worry about anything. I just know it’ll all be good and it was.

The Cave was absolutely packed and when we started out with “Another Cowboy Song”, everyone cheered really loud. It was really an amazing feeling to hear everyone cheer over their favorite songs. It was something that hadn’t happened at shows before this one but it was so fun to hear. The energy level was really high and I felt like Elana and I were delivering that energy right back to them. We did have about 4 minutes of technical difficulties after “The Rain” but we got it together (thanks to Greg!) and we moved forward. I reminded everyone about our little slogan and said, “Have a good time…” and they yelled “ALL THE TIME” back so loud that it gave me goosebumps. It just felt so good to have all the love and support of everyone that night.

Elana and I played REALLY well and the connection between the two of us was stronger than it had been in a long time. The last time I felt this connected with her was when we did the duo show at the Berkeley Cafe last summer which was so much fun. We pulled off a brand new song called “Motel Arizona” that I wrote just two weeks ago. It had never been played live and we had no rehearsals for the song and yet we pulled it off flawlessly and Elana did some really amazing things to that song that just had me smiling ear to ear. The audience got quiet for this one as if to take it in and when we finished it they cheered so loud that, again, I just laughed and got goosebumps.

The rest of the set was a bunch of classics like “Crescent City Girl”, “Rest Stop” and the new arrangement for “Back To When” which really captured everyone’s attention. We closed it out old school with “Take Me Back Home” and everyone was just smiling and cheering really loudly. Elana and I just looked at each other, laughed and knew that we had just played a really fucking amazingly fun show.

Elana was amazing and our musical bond felt amazingly strong and connected. People told us that they were so happy to have heard us in this format and that we rocked as hard as we ever did. This is something I’m REALLY proud of and I have to say that I’m so proud of us for pulling it off.

This was an amazing night for me. I was surrounded by the best people I know. Some of my favorite people in the world were there to show their undying love and support for me and I honestly couldn’t be happier. There wasn’t a single thing that I would’ve done different this night. It was a perfect night in all sense of the word!

Thanks to everyone for making it so magical and so special. I love you all!

What an amazing weekend.  I left on Thursday morning with the iPhone full to capacity with music, my guitar and all my gear and hit the road for Chapel Hill.  I was so excited to be heading back after being gone for 5 months.  Wow, has it really already been 5 months?  The drive was great and I was singing along with Cat Power, Drive By Truckers and Dio as I made my way down there.  Catching up with Jammin’ Jaymz was great and he put me up for a few nights.  We gorged ourselves sick at 35 Chinese just like I hoped to do and then visited our friend Greta at work who wasn’t going to be making it to the show the following night.  Jaymz and I drank beer, caught up and laughed until it was time to crash out.

The next morning I set out for WUNC radio for my appearance on “The State of Things”.  This is a REALLY great show that is broadcast all over North Carolina and worldwide online.  It was a huge honor to be invited to be the musical guest.  I was pretty nervous and didn’t know what to expect.  When I got there, I was escorted to the green room where I was treated like a celebrity.  Coffee, water, lots of hand shakes and friendly greetings had me feeling very welcomed and relaxed and then I got to meet the host, Frank Stasio.  Frank greeted me and let me know that he really enjoyed my songs and had some really sweet things to say to me.  We exchanged some fun conversation and he told me a humorous story about Gregg Allman that I found really hillarious.  I waited for 12:30 to roll around and then next thing I knew I was being escorted into the studio.

Frank started out with a really great intro about me and then the interview started.  It was over before I knew it and I felt really amazing.  There was something about the whole experience that kind of made me feel validated.  It made me feel like a real professional.  It was really a great experience and everyone that tuned in to it had really great things to say about it.  If you missed it, you can check it out here: DON FOLKS UP NPR!

Later that night was my show at The Cave.  I was so excited to have Elana sitting in with me on this set.  I always loved the way she complimented my songs with her cello so it just seemed like a natural thing to ask her to accompany me for this special set.  The result was nothing short of fantastic.  The reaction from the packed house at The Cave was amazing and everyone had a good time… ALL THE TIME!  You can read more about the show by heading over to the SHOW JOURNAL and reading all about it.

The entire weekend was capped off by staying with my great friends Chris and Anita (and kids!) so it was a great way to close out an amazing weekend.  I literally got to see all of my favorite people.  To be surrounded by so many great and wonderful friends was a real treat.  To be surrounded by so much positivity and love was just what I needed.  I felt rejouvenated and happy and ready to take on the world back in Atlanta.  I am a lucky guy to have all the love and support that I have.  This weekend was a REALLY special weekend for me and it has really motivated me and inspired me to keep moving forward and continuing to do what I do best: share my music with all who will listen!

One of my favorite old acoustic numbers. The orchestration adds a beautiful touch. This is a true story of the life and death of one of Shawn’s friends. I was lucky enough to see this live.

Sometimes music and the stories behind the music can change lives. The story below was forwarded by Shawn Phillips’ manager, Arlo Hennings. Wonderful story.

Hello Arlo -

I was hoping that you could get a very short message to Shawn Phillips for me -

 I am no one that he knows, but in a way, he saved my life and the life of my daughter – you see, I was a single parent in 1978 – my daughter was everything – but I had no one – no husband – parents wouldn’t speak to me – no one would hire me, because I was pregnant and would be leaving – and being pretty naive, I had no idea there was this ’social services’ thing that would help me out -

however, while we were struggling and starving – I read a posting on the side of a building calling for people to attend open stage nights at a place called Studio One.

fortunately – it was *technically* a restaurant, because I had no sitter for my daughter, and took her with me – I was almost ill, because I was so nervous – but if Kelsey and I were going to survive – I had to find something -

that something turned out to be Ballad of Casey Deiss – a capella (I didn’t know how to play a guitar) and I won the open stage – I went back every week – sometimes 2 or 3 times a week if an unexpected expense came up – and although my list of songs got longer and longer – it was still ‘the ballad’ that made the *entire* place quiet down so that there wasn’t even a whisper. I won the open stage so many times with that song, that I could raise my daughter and by the time the place had closed down, a few years down the line – I had been singing enough to pick up gigs with people for backup and such -

that was a lifetime ago – 31 years – but, I am grateful that Mr. Phillips wrote/recorded a song that affected me so strongly, that I could pass that emotion and feeling to others through singing it and they responded to it -

my apologies for taking up your time – and I really do hope that you see fit to pass this along – thank you very much for your consideration – and most especially to Shawn Phillips for an amazing song

Sincerely,

MaryLee

This is the Vaughn family from Salem Missouri. I look forward to seeing them at this year’s Katy Days celebration.

[Click on the image to see a full-size version]

Here’s a thing that could use some words alongside it.

The story goes: I listen to music like everyone else, and some of that music is from a long time ago. I’m interested in the history of American music, of blues and folk and country, the rural stuff from before the 1950’s, before everything went electric.

Context is everything. In music and art. The context of this music is pretty fascinating stuff, and I try to read what I can on the subject. Over the last few years it’s created this landscape in my head, this semi-fictional place full of imagery, full of scenery and characters and stories.

Drawing can be very interesting if you look at it in a stream-of-consciousness. All imaginative practice is, I suppose, instinctive by nature.

You draw what feels right where it feels right.

I don’t like approaching a composition that’s carved in stone. I like to start with a vague idea and just let it sort of unfold at it’s own pace.  It’s the same with collage art. The process is a bit like playing with a Ouija board: you gather all the pieces and just push them around the page until something happens.

I was once lucky enough to hear a lecture by German illustrator Thomas Fuchs (www.thomasfuchs.com) who said a number of things that got under my fingernails, particularly about the suggestive nature of the visual image. He said that most of the time you don’t even need to think of an idea: if you know where to look, and how to look, those ideas suggest themselves to you. They impose upon you.

And I think that’s about right. Some ideas really do give themselves to you. The shape of something, the texture, the colour, the size; in context, they tell you what to think. These things suggest ideas that are guilty by association. And then it’s so obvious you can’t believe you didn’t see it before.

The context of this image is: the music of the rural South, and what I associate with that environment. Not just from the music. But from the culture, and history. Especially prevalent is the religious association –  the rural American South of the 1920’s and 30’s lies in the shadow of church steeples and burning crosses.

Gospel music and blues music are brother and sister, one sacred and the other profane.  

The Lord’s music versus the Devil’s.

We are Holy, they are Pagan.  

In this context, the blues musicians are atavistic mutants from the ancient Greek woodlands, a physical perversion of carnal sin. Their songs were about lust, about genitals and intercourse and adultery. Make no mistake: half of these songs, these songs from the age of our grandfathers, these songs from an age we are always told was more innocent, these songs are about pussy.

So the players become satyrs, and the juke-joint dances they played become Dionysian frat parties in some Hellenistic myth.

From there it becomes a call and response thing. You look at the pagan religions of the ancients and the associations flow freely: the landscape becomes Mesopotamia, the Mississippi River becomes the Jordan, the Euphrates; the biblical inundation becomes the great flood of 1927 that crushed the levees; the death cults and slavery of Pharaonic Egypt become the mortality rate and servitude of post-Reconstruction existence.

Eventually you end up with this semi-mythological place, a surreal landscape where Hieronymus Bosch meets the cotton gin culture. 

Here’s some detail…

Alrighty….this ones for the lil Canucks out there (or anyone who answers properly!)

Have you ever heard a song with lyrics such as this:
I’ve got Canada in my pocket
A little bit of history
A penny, and a nickel
And a quarter and a dime
Mean a lot to you and me
It’s more than pocket money
They’re the symbols of our land
They’re pictures of important things
For which this country stands

No? You really should give this a listen:

I went to a performance @ Jai’s school a couple YEARS back and loved it.  The performer was, Michael Mitchell .  He is a well known and respected performer of songs of stories about Canada (some catchy tunes!!) My favorite is posted above….I like tons of others however I find myself humming that one a fair bit.  I told ya its catchy.  What a better way for kids to learn money too!  Jai loves the music too.  He constantly cranks his CD…I’m surprised we’ve had no complaints.  LOL!! I have a video on youtube of Jai….I won’t link it here just because.  However if you have my acct info, feel free to check it out.  He’s a shy boy, but behind closed doors that kid can sing.

Michael Mitchell is a pretty well rounded person…no, I’m not talking size (no worries, I’m not mean, Michael!) I’m talking about all the things he does or has been connected with.  A few this are, He gives 20% from all products sold at, or by, any school which hosts one of his shows, right back to that school, has donated a huge amount of colouring books to a school in the Central African Republic so that they could learn about Canada,the list goes on.  Did I mentioned he is very knowledgeable about our BEAUTIFUL country??!! There is a house nearby, a rather unique one.  Infact, its the only one I’ve ever seen like it.  It is a white house with PINK polka dots.  I kid you not!!!!! I was beyond baffled when Michael Mitchell mentioned it during his show.  Seriously, if you have the chance to see him live (check dates/places here!!) go!!! You/your family would have a blast.  We sure did. He visits tons of school per year, as well as other events.  You can tell the kids/families love his music/shows by just reading the comments under the youtube videos or the letters from fans.

After sharing Jais video with Michael Mitchell, he generously offered one of my readers the chance to download 5 (FIVE) songs from his site for FREE: http://www.michael-mitchell.ca/

How cool is that??! From listening to these songs, playing the Canadian games, or just shopping around for some cool stuff, you can do it all there.  Kids/Parents can even write to him.  Jai has enjoyed spending time on this site, your lil one would too.  (or even YOU!)

The music isn’t just for kids, there are some other tracks available.  Go take a listen…

Go ahead, pop on by http://www.michael-mitchell.ca You might even learn something new.

Now that I have shared my thoughts…… heres the “goods”.

2 ways to get the music,

===============================================================

BUY IT:

You can purchase the individual song dl’s (cd dl’s too) , cd’s, tattoos, other misc Canadian gear @ Michael’s site. There are all sorts of things.

WIN IT:

You can enter to win 5 songs via download by answering the following:

***Where in CANADA is your favorite place to be and why???

You must answer this to enter, no answer, all entries void.

To gain some extra entries you can do one or all of the following.  Just make sure you make a separate comment for EACH action.  Show links too pls!

*go to Michael Mitchell’s site and tell me what your favorite song is.  (listen to music clips and see!)

*Subscribe to A NEW DAY IN MY WORLD

* tweet about this giveaway

*tell me how many independently produced CDs Michael Mitchell has. (note, check his site.)

*Answer – What is the next line in this song? :

A penny, and a nickel
And a quarter and a dime

Have fun, learn about our beautiful country.  Canada IS for kids!!!

CONTEST ENDS ON DEC 7TH 2009, @ 12PM.   WINNER WILL BE CHOSEN ON DEC 8TH, 2009.(By random.org)

Have a great day, Canadians near and far!!!!!

enter, enter, ENTER!!!! Get friends to enter. 

-A

Open to Everyone as long as the above question is answered about CANADA.

Robert Pattinson
London, England
Unsigned
Folk Blues
Various songs: 2007 – 2008
http://www.youtube.com/watch?v=BJcfBmBP8Nk&feature=related
Li Brown Wolf
mousagenrepromotions@gmail.com

I was in a London pub for Open Mic Night the first time I witnessed, the actor/singer/songwriter/musician, Robert Pattinson’s craft. His voice immediately screams out old soul and becomes one with his guitar. This isn’t the first time that I have heard of Pattinson; he has shown that he has the ability to do anything he sets his mind to, when he played King Gunther’s and Princess Kriemhild’s young brother, Giselher ,in the fantasy film and mini-series ‘Ring Of The Nibelungs in 2004; based on the Germanic epic poem Nibelungenlied.

Pattinson’s songs feature impressive guitar playing and strong vocal tonality. The song “I Was Broken” composed by singer/songwriter/musician, Marcus Foster, gives a strong impression of an old-school blues-indie sound but quickly becomes a gospel influence. Which Pattinson lays it down and bares his soul out to the world, by the midst of the song, practically everyone in the audience was near tears.

Robert has such a compelling Jonny Lang, Van Morrison, and Jeff Buckley vocal blend; more-so in the smoky, rough-edged song, “To Roam”. He doesn’t just play the guitar, the music; he becomes the music, the guitar; it all connects as one. He states, “In Your Head” is about his friend’s father; such deep compassion, it is what true soulful music is all about. I loved this song …among the others.

In interviews, he states that music is a back-up career plan if acting fails, I personally think his acting career is not going to fail and neither will his music. He has an enormous chance of making a successful career in music; I truly hope he continues with both passions. Pattinson has something that I haven’t heard from an Indie Folk musician in quite some time.

Recommended tracks: I was Broken, Stray Dog, To Roam, and Never Think

Track listing:
01. I Was Broken
02. I’ll Be Your Lover, Too
03. Let me Sign
04. Never Think
05. Stray Dog
06. To Roam
07. In Your Head
08. I Don’t Mind

5/5

More songs from Robert Pattinson:
http://www.youtube.com/watch?v=55oaptqtsi0&feature=related
http://www.youtube.com/watch?v=ZRfnSEabtes

Thanks for visiting this week. In Friday’s Red Deer Advocate I was fortunate to review two exceptional roots music releases; I’ve listened to both countless times this autumn and discover something new to appreciate each time. Kent McAlister & the Iron Choir recently released How I’ll Remian and it is a splendid collection of songs. Meanwhile, Steve Dawson & Co. have done it again with a fabulous tribute to the music of the Mississippi Sheiks. I’ve been spending a bit of time of late listening to old blues and jug band collections I’ve found myself tripping across and much of the impetus to do so has come from this remarkable album. You can find the column at http://tinyurl.com/yhpvy2v

Thanks again for dropping in, and I hope you’ll find some music to investigate- support the artists and the labels…no one is getting rich on our music! Donald

There’s not a whole lot to say about this song: Highway 51 will never be the highway Dylan is best remembered for. As I mentioned last week, Bob Dylan only wrote two of the tracks on his debut album—“Song to Woody” and “Talkin’ New York.” On some of the folk standards that he includes, Dylan took a songwriting credit for the musical arrangement he came up with, but on this song, only Curtis Jones is credited. The song itself is rather simple—Dylan recorded it in one take while recording the album.

It’s debatable, really, what the significance of an album comprising mostly standards is for an artist most renowned as a songwriter. In some ways, it is most appreciated as an artifact, as sign of what the 20-year-old Bob Dylan was like and what kind of folk music he was drawn to. “Highway 51” is a great example of Dylan trying to embody a tradition. His voice doesn’t sound natural—it sounds a little like someone trying to do an impression of a folk singer.

But the appeal of this kind of folk music is the sense of tradition, of taking and personalizing something external. What’s telling about Dylan on this track is that his way of “personalizing” standards is to completely embody the voice of the song. In the early songs, this sounds like imitation, the flattery of a kid for his idols. Later on, though, this would allow Dylan to write and sing songs that were wholly his own.

That’s right.  Yours truly has been invited to perform on the WUNC radio show The State of Things in Durham, NC.  I literally had forgotten that I submitted music to them a while ago so imagine my surprise when I got an email inviting me to be part of their show.  Wow.  Lil ol’ me on NPR.  Who would’ve thunk it.

So here I am in Chapel Hill, NC crashing at my buddy James’ house and getting ready to head out and be on the radio.  I’m nervous and full of butterflies.  I’m also very excited and very proud to be a part of this.  What a great honor and treat to be invited to play on the radio.  It’s not everyday that this happens so I’m pretty psyched about it!  Keep yer fingers crossed for me that I don’t bring down NPRs ratings too terribly low.

Also, I’m performing at The Cave tonight in Chapel Hill which is going to be REALLY fun.  This whole trip just really became an adventure and I’m so excited to not only perform as an opening act for Nikki Meets The Hibachi but to have my old partner in crime Elana on cello tonight.  We haven’t played together for almost 5 months but I’m confident we’ll pull it off.  We’re even doing two songs that we’ve never played together so hopefully it will go without a hitch.  I’m really just looking forward to a fun night of music and seeing some good friends that I’ve missed dearly.  It’ll be a great night and I can’t wait!

Ok, time to shower!  Later folks!

Before I sound like a totally disrespecting tart, I’m going to make a list acknowledging the kick ass people who have created bard-like work.

This all came about as I was hanging out with my very courteous, thoughtful and methodic friend Jessica.  She does an amazing job making sure whenever I enthusiastically share my ideas, I go about it in a way that is not needlessly inconsiderate of what other people have done.  When I told her about my blog and what it’s about, she suggested I make sure to be considerate of other people out there who may be bards already.  I dismissed this as absurd and irrelevant seeing as if I haven’t heard of these people yet, I’m not concerned about what the hell they think now.  Besides, I’ve yet to hear of a person who truly blends harp music, song, poetry, story, healing and mysticism in performance.  In my opinion, I’m the first to come along in a very, very long time.

Later on in the night while we were out partying in the West Village listening to cabaret singers and the quaint piano bar named The Duplex, I was struck by how hard working these entertainers were.  As each one got up to put their dreams in musical theater song, I couldn’t help but put my ego in place a little bit.  Although I’m sure these people couldn’t give a shit if they were considered bards, I thought I could not do this blog with out first acknowledging how much they’ve inspired me.  So, over a six AM dinner breakfast, I made it a priority to do a post of thanks to those who made my work possible.

Cabaret Artists
The Beatniks
Loreena McKennitt
Tales & Scales
Seamus Ennis
Tori Amos
Eamon Kelly
Benjamin Bagby
Most folk artists from the 50’s to the early 70’s
Elementary school music teachers
Lady Gaga
Neo-Pagans
Salieu Suso (and other African Griots)

The list really does go on and on.  In the comments, please do include anyone you feel I may have missed.

Utah Phillips

A good friend (Max) told me about this guy and I just found some stuff from him. He’s so cool so I thought maybe it’s worth posting something.

First, it’s good to know who he was. From Wikipedia:

• Bruce “Utah” Duncan Phillips (May 15, 1935 – May 23, 2008) was a labor organizer, folk singer, storyteller, poet and the “Golden Voice of the Great Southwest”. He described the struggles of labor unions and the power of direct action, self-identifying as an anarchist. He often promoted theIndustrial Workers of the World in his music, actions, and words.

Then, I found a nice interview on DemocracyNow (the best or one of the best news programs):

• The “Golden Voice of the Great Southwest”: Legendary Folk Musician, Activist Utah Phillips, 1935-2008

However, you might have a problem watching the video, mine stops before it finishes. I downloaded the whole video since their website’s player is not good at all. I can tell you how you can do it if you want.

I found these parts of the interview very attractive so I thought posting them here might be a good idea. However, I encourage you watch the whole interview.

• “It takes a long time to shut up and listen.”
• “I would encourage young people to understand, what—that was Germany before the Second World War, the rise of Hitler, the rise of Nazism. Why didn’t people do anything? You know, the big question that young Germans are asking their grandparents: “Why didn’t you do something?” Read about the Weimar, compare the rise of fascism in Germany from the 1920s to what’s happening right here right now.”
• “The long memory is the most radical idea in America. That long memory has been taken away from us.” “You haven’t gotten it in your schools. You’re not getting it on your television. You’re not getting it anywhere. You’re being leapfrogged from one crisis to the next. You know, you can’t remember what happened last week, because you’re locked into this week’s crisis.”
• “I decided that I would learn the trade. The trade is a fine, elegant, beautiful, very fruitful trade. In that trade, I can make a living and not a killing, and that was very important to me, to make a living and not a killing, to live reasonably well. I found a world of folk music.”

• “I don’t want to make money writing songs. There are people who make money writing songs; I can’t fault that. I’m an anarchist. I don’t make rules for other people. I make rules for myself.”

And when he’s talking about a guy called Ammon, he says:

• “You couldn’t tell him he hadn’t voted. He said, “Yes, I did vote. I just didn’t assign responsibility to other people to do things. I accept responsibility and saw to it that something got done.” It’s a different way of looking at voting, isn’t it? And you can do that all the time. You could have your life. And that’s the way I live my life. My body is my ballot.”

Regarding to the point about Weimar, I found these two brief and decent: “German Police: From Weimar Republic to Nazi dictatorship” and “German Police in the Nazi State”

P.S: So how did we end up to Utah phillips? I shared some videos from Pete Seeger that is another very cool folk singer and Max recommended Utah. Check these videos for sure: Which side are you on, Last Train to Nuremberg, Waist Deep in the Big Muddy and his interview with DemocracyNow

P.S2: I’m completely ignorant in all of these stuff so I would really appreciate any comments to improve this post to make something useful out of it!

*

*

“You know when Robert Johnson said ‘you gotta move’ — I figured that out. It’s like, you’re happily floating through nothing– you know, nothingness.  All of a sudden, a big giant fish, they way I picture it… grabs you and… puts you in a form, and slams you on the face of this veil of tears, and says– You’ve gotta move! “

–Townes Van Zandt

*

*

From Waitin’ Around to Die–

*

For the first 14-15 years of his life Townes Van Zandt was a happy, healthy, athletic young man from a prestigious background. As Guy Clark put it–

’He was being bred to be Governor of Texas– seriously, it was that kind of family.’

In his mid to late teens he started to develop a bi-polar disorder and was diagnosed ‘manic depressive with schizophrenic tendencies’. By the age of 19 he was thought to be a danger to himself, a suicide/OD waiting to happen, and his adoring parents took the hard decision to have their eldest son hospitalised and treated. They used the best doctors, the most advanced therapy in the leading facility in the country .

The combination of electricity and chemicals helped temporarily to alleviate Townes symptoms, possibly saved his life,but they also wiped out most of his childhood memory, and his subsequent attempts to settle down were constantly derailed by his depression and the addictions that accompanied it.

Five years, one album, a marriage and a little boy later, the blues having taken hold for good, Townes hit the road. He spent the next 30 years self medicating with drugs, firewater and a dark sense of humour, to somehow survive long enough to create a collection of the greatest contemporary folk songs America has produced.

‘How close can you cut it to your own bone? Did you break your own heart?  Did you scare the shit out of yourself? That’s what matters.  Townes went for the passion not a bunch of clever bullshit.  He sounded like himself.’

–Guy Clark

*

*

‘Everything is not enough

Nothing is too much to bear

Where you been is good and gone

All you keep is the getting there.’

*

*

‘Time shes a fast old train

Shes here then shes gone

And she won’t come again

Won’t you take my hand’

*

*

‘When will she see

That to gain

Is only to lose

All that she offers me

Are her chains,

I got to refuse’

*

*

‘Lay down your head poor boy

Feel how the ground does move

Hear how them drivers sing

What now my darling one

Go find a little fun

You are not needed now’

*

*

‘My days they are the highway kind

They only come to leave

But the leavin’ I don’t mind

It’s the comin’ that I crave.

Pour the sun upon the ground

Stand to throw a shadow

Watch it grow into a night

And fill the spinnin sky’

*

*

‘Ride the blue wind high and free

She’ll lead you down through misery

Leave you low come time to go

Alone and low as low can be’

*

*

‘Tomorrow the mountains will be sleeping

Silently the blanket green and blue

And I shall hear the silence they are keeping

I’ll bring all their promises to you’

*

*

‘Chained upon the face of time

Feelin’ full of foolish rhymne

There ain’t no dark till something shines

I’m bound to leave this dark behind’

*

*

‘Goodbye to all my friends

It’s time to go again

Think of all the poetry

And the pickin’ down the line’

– Townes Van Zandt

*

]]> http://gentledove3.wordpress.com/2009/11/16/tehmill/ Mon, 16 Nov 2009 01:41:23 +0000 The Totton linnet http://gentledove3.wordpress.com/2009/11/16/tehmill/ http://jenthepen.wordpress.com/2009/11/16/in-search-of-albion/ Mon, 16 Nov 2009 00:11:24 +0000 Jen http://jenthepen.wordpress.com/2009/11/16/in-search-of-albion/

What to say about this wee book? It was good, I liked it. It was full of many, many, many eccentric English customs, some I knew about and some I didn’t. The constant references to lack of navigation skill got a bit annoying after a while though.

I wasn’t expecting such a focus on folk music, which is perhaps a bit daft of me on reflection, or perhaps not. Music kind of stands by itself I think. People don’t necessarily associate it with ‘custom’, but then that’s kind of Irwin’s point. It used to be part and parcel of everyone’s daily life – why isn’t it anymore?

This would certainly be a great book for someone wanting not just an introduction, but background to the folk revival, but then whether they’d be interested in the meanderings across England is unknown. But I like it for that, for not sticking to the point, or at least making the point as wide as possible and not being limited by which bookshop shelf it’ll sit on.