**

Steve Earle–  Born 1955 in Virginia, he grew up in and around Texas.  Steve dropped out of high school in the 9th grade and began his pursuit of breakin’ into the music scene, and becoming a real deal singer/songwriter– like his hero Townes Van Zandt, who he was obsessed with.   Steve often tells of being all of 17 years old in 1972, and playing at the Old Quarter in Houston in front of a handful of patrons– one of them being Townes.  He was petrified up there on that tiny stage with Townes Van Zandt, who he still considers the best there ever was, sitting dead in front of him with his moccasins propped up on the stage right at Earle’s feet– and loudly heckling him between songs.  (Steve Earle unabashedly fesses to going out and buying a pair of said moccasins the very next day…) The two became close, and will always be joined in legend and history– it’s flat-out impossible to talk about one without the other.  Steve moved to Nashville (like alot of the songer/songwriters did in the 1970s after Kris Kristofferson had become a big star there) and played bass with another future legend, Guy Clark. — 1975 studio portrait, Nashville by Jim McGuire

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Townes Van Zandt– One of the great tragic figures of country music, Fort Worth, Texas, native Townes Van Zandt was a folk singer, songwriter, performer and poet. He was particularly influential in the emergence of alternative country in the nineteen-seventies. Steve Earle described him as the greatest songwriter who ever lived, and his influence was felt by many other artists, including Emmylou Harris, Nanci Griffith, and Lyle Lovett. Bob Dylan refers to this Texas native as his favorite songwriter. He wrote hundreds of haunting songs that have been widely recorded, perhaps most notably “Pancho and Lefty” which was a number one hit for Willie Nelson and Merle Haggard in 1983. – 1990 studio portrait, Nashville by Jim McGuire

Texans Guy and Susanna Clark, both singer/songwriters, first came to Nashville at the time that same McGuire did, back in 1972.  They became fast friends when McGuire shot the cover photographs for Guy Clark’s first studio album “Old Number One”, which was released by RCA Records in 1975. During the 1970s, when this photograph was taken, the Clark’s Nashville home was a haven for emerging songwriters and musicians. Guy Clark has served as a mentor to many other songwriters, most notably Steve Earle and Rodney Crowell, and numerous artists have recorded Guy Clark-penned songs. — 1975 studio portrait, Nashville by Jim McGuire

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Another shot of Steve Earle– Singer/songwriter, country rocker, political activist, and the ultimate hardcore troubador.  Steve Earle has been deeply involved in various political causes from the early days of his career, when he allied with anti-Vietnam campaigners. He’s known for penning and performing hard-hitting songs often dealing with strong political and social issues.  His 2002 album “Jerusalem” was chiefly inspired by the US led war on terrorism.  Earle is the subject of a documentary film– “Just an American Boy”, which explores his outspoken political views as well as his epic music. — 1995 studio portrait, Nashville by Jim McGuire

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Kris Kristofferson– An influential singer, songwriter, and actor, he came to Nashville in 1965, fresh out of the army, to pursue his dream of writing country songs. Although best known for such songs as “Me and Bobby McGee” and “Help Me Make it Through the Night,” he became a well respected, much-in-demand film actor after his debut in Dennis Hopper’s “The Last Movie” in 1971. He concentrated on film acting for a time, but in the early 1980s he, along with Willie Nelson, Johnny Cash, and Waylon Jennings, formed “The Highwaymen”, with whom he toured and recorded. A member of the Nashville Songwriters Hall of Fame, and the Country Music Hall of Fame, he continues to write and record. **** –1990 studio portrait, Nashville by Jim McGuire

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Waylon Jennings– A Texas native and self-taught guitarist, Jennings was a disc jockey when Buddy Holly recruited him to play bass in his band. He was famous for giving up his seat to Richie Valens on Holly’s fatal wintertime flight to Mason City, Iowa. Waylon Jennings became a Nashville legend – almost as much for his open rebellion against the constraints of the producer-dominated “Nashville Sound” of the seventies as for his own creative abilities. (Later, he secured creative control of his own recordings, establishing a precedent that is followed still.) He is generally credited with starting the “outlaw” movement in country music – the title track of his 1972 RCA release “Ladies Love Outlaws” lent the movement its name. With his friend and close collaborator, Willie Nelson, he took a career defining step with release of “Wanted: The Outlaws!” in 1976. Later, Waylon and Willie collaborated on their biggest hit, “Mamas, Don’t Let Your Babies Grow Up to Be Cowboys”. Plagued by addiction and ill-health, Waylon left the road in 2001 and succumbed to diabetic complications at the age of 64. *–1985 studio portrait, Nashville by Jim McGuire

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Johnny Cash and Dr. Billy Graham– Two legends in their own fields of endeavor, they were great friends for many years. –1978 studio portrait, Nashville by Jim McGuire

**

About Jim McGuire–

Born and raised in New Jersey, Jim McGuire was an unlikely country music-lover, but one song changed all that. McGuire was twelve years old on the day he heard Hank Snow’s “Spanish Fireball” for the first time, and he instantly fell in love with country music forever. Music has since been a huge part of McGuire’s life — a muse for his photography.

He became a photographer at the request of an Air Force captain who “volunteered him” for an aerial reconnaissance mission in 1964, which entailed photographing Vietnamese villages while hanging out of a single-engine plane. McGuire then enlisted the help of a Vietnamese portrait photographer, who showed him how to construct a makeshift darkroom in an old army tent, process film in muddy water, and make bad black and white prints that were actually used by helicopter pilots to plan missions. He became the camp photographer and began a photographic document of the war that he continued until his honorable discharge in 1965.

Realizing photography might serve as a suitable career, McGuire moved to New York to explore the photography opportunities and learn his craft. There, he landed a job assisting fashion photographer John Foote, who introduced McGuire to the strongest photographic influence of his life, Irving Penn.

“Penn’s small trades series was the most honest and powerful visual thing I had ever seen…still is…transporting real, working people to stand in front of a timeless canvas in their ‘work clothes’ and with their ‘tools’ was such a simple and honest approach it opened up a whole new way of looking at people,” commented McGuire.

He was so taken by the power of those plain images that he had to try it myself. He painted a canvas that looked like Penn’s backdrop and invited a local teenage bicycle gang to come in for a portrait — exactly copying one of Penn’s photographs. Thirty-five years later he is still using the same, hand-painted canvas backdrop for his Nashville Portraits.

McGuire went freelance, which gave him the freedom to travel and photograph the bluegrass and folk festivals that were then making their way east as part of the folk revival of the late 1960s. This led to a stint writing reviews of new records and live concerts for The Village Voice.  It was during this time his interest in music and photography merged as he spent more and more time at festivals and writing reviews of New York’s emerging country music scene.

Then, in 1971, McGuire caught a performance in the Village by John Hartford and the Aereo-Plain Band– consisting of Hartford, Vassar Clements, Tut Taylor, and Norman Blake. With the help of friend and record producer David Bromberg, he was able to get them all back to his Gramercy Park studio for some late night, impromptu portraits. The portraits of Hartford, Tut and Vassar shot that night, were the beginning of what evolved into the Nashville Portraits.

*

– from Nashville Portraits: Photogaphs by Jim McGuire

Top Albums of December 2009

This month saw the return of the “Cool Ruler” Gregory Isaacs with his new album Brand New Me. And on the Texas side of things Norah Jones released The Fall.

1. Gregory Isaacs – Brand New Me [Tad’s Records 2009]
2. Norah Jones – The Fall [Blue Note 2009]
3. Various Artists – KGSR Broadcast Volume 17 [2009]
4. Bost & Bim - The Bombing: The Very Best of Bost & Bim [Bombist 2009]
5. Brother Ali – Us [Rhymesayers 2009]
6. The Senior All Stars – Hazard [Skycab 2009]
7. Chezidek – I Grade [Tabou Records 2009]
8. Kiddus I – Rocking Rebel [2009]
9. Various Artists – Strictly The Best Vol. 40 [VP Records 2009]
10. Blackroc – Blakroc [Blackroc Project 2009]
11. Various Artists – Strictly The Best Vol. 41 [VP Records 2009]
12. Various Artists - Joe Gibbs 12 Inch Reggae Disco Mixes, Volume 3 [17 North Parade 2009]
13. Various Artists – Joe Gibbs 12 Inch Reggae Disco Mixes, Volume 1 [17 North Parade 2009]
14. Various Artists – Joe Gibbs 12 Inch Reggae Disco Mixes, Volume 2 [17 North Parade 2009]
15. Black Sheep Dres – From The Black Pool Of Genius: The Prelude [Bum Rush/T-Stylz Wreck 2009]
16. Guy Clark – Somedays The Song Writes You [Dualtone 2009]
17. Various Artists – Strange Things Riddim [Ire Ites 2009]
18. Gift of Gab – Escape 2 Mars [Cornerstone Ras 2009]
19. Junior Dan – Reggae Road Map [Hi-Try 2009]
20. Various Artists – Sugar Riddim [Sugar 2009]

You got to sing like you don’t need the money
Love like you’ll never get hurt
You got to dance like nobody’s watchin’
It’s gotta come from the heart if you want it to work

- Guy Clark, “Come from the Heart”

“There is nothing more sacred to me than songs and songwriters.” After two and a half days of immersion in writing and listening to songs I felt proud to hear Rosanne Cash say this to our intimate group of songwriters. But I also felt a responsibility to be worthy of it and the example set by Rosanne — hit songwriter and daughter of Johnny Cash, Grammy winner, multi-gold recording artist and author whose career took a brave turn with the release of Interiors and The Wheel in the early 1990s.

In 2001 I was among sixteen songwriters selected from over 200 applicants to attend another of Rosanne’s “Essence of Songwriting” workshops at Omega Institute in upstate New York. Many of us had participated in the workshop before and were good friends by now. It was my second time, and to borrow singer-songwriter Caroline Aiken’s words to an audience at the Northeast Regional Folk Alliance conference, I felt like I had truly “found my tribe.”

It was a diverse group. Only a few of the nine women and seven men were professional musicians or songwriters; some were new to writing while others had been at it for decades. Some, like me, were just emerging as soloists while others wrote for bands; some had been having trouble writing, not writing much or not at all, and others wanted to simply be where writing and listening was the priority. Rock, pop, folk, country and more were represented.

We began by sitting in a circle of chairs in a comfortable room with an electric piano, many guitar cases, bright windows and lots of pillows. By the end of the weekend all of us would be sitting on the floor, lying on the pillows, sometimes in tears and often convulsed with laughter. I would have three revelations, would hear many intense, funny, and powerful songs, and I would write a song that would teach me a lot about myself as a person and as a songwriter.

Right away Rosanne said, “I cannot teach you how to write songs, I can only be with you as you try to discover your own voices.” She urged us to approach this experience with a beginner’s mind. “I have a lot of opinions about songwriting. A lot,” she said, explaining that her teachers — writers like Guy Clark, Rodney Crowell and Townes Van Zandt — held songwriting as the highest form of honesty, honor and self-respect. She questioned the notion that songwriting is a craft, the word craft suggesting the songwriter is not as serious as the poet or the novelist. She asked us to listen as closely to each other’s songs as we would want them to listen to ours.

After making the wry disclaimer “I’m not much for new-agey stuff,” Rosanne led us in a guided meditation intended to remove the internal negative critic. The negative critic is that inner voice which scolds this isn’t any good, you can’t finish that, this line sucks, you’re hopeless, etc. The useful part of the negative critic, said Rosanne, the part that is honest and faithful in editing songs, would remain behind.

I had my first revelation at this point. I recognized the negative critic: fear, self-conscious and familiar.

A letter from Rosanne sent to us a week or so before the workshop asked us to bring a song for feedback and copies of the lyrics for the group. It said, “Please do not pick a song you feel really good about, as tempting as it may be to show your best stuff. Rather, bring a song that you feel has a lot of potential.”

While we listened to the songs each songwriter had brought, we made notes on our copies of the lyrics, discussed specific points after each performance, and returned the lyrics with our comments back to the songwriter. Many of the issues raised were familiar, such as avoiding the use of words that evoked grand themes: love with a capital “L,”  Life, Pain, even My Heart, because they have become meaningless clichés with overuse.

We heard three songs that night. The topic of the first song was a grown son’s lingering grief for his mother. Rosanne liked this unusual subject but urged the writer to cut unnecessary adjectives and syllables. The second song had lots of minor chords in both the verse and chorus. Rosanne told us that in old-school country music the writer’s rule was to save your minor chord for the chorus. For this song she suggested doing the opposite. Either way, the tension built in the verses should be released in the chorus. We returned to this structural principle often.

I loved this song’s opening line (“this is the last drink where I swallow my pride”) and I hadn’t found anything to criticize until Rosanne made her suggestions. My second revelation: I could insist that a song rise to it’s highest obligation without sacrificing my joy in it.

The third song described a sexual assault. Rosanne commented on how difficult it is to write about “issue” topics without sounding self-righteous. The story was harrowing but the song offered redemption in the chorus, “a baby changes everything.”

There were thirteen more songs to hear the next day plus a writing exercise. But before that there was the traditional late night song circle. It was good to be back in the tribe!

Go to Part 2

©  Patti Witten

Two recent releases by Sam Bush and Ricky Skaggs – two superstars of Americana, roots, and bluegrass music – show both artists coming home in ways that bring them full circle with their own artistic travels.

Bush’s Circles Around Me is a return to the bluegrass and early progressive newgrass of his youth in Bowling Green, Kentucky.  The album opens with the title track, a tune that celebrates “being thankful that you’re here” according to Bush.  His terrific road band – Byron House on bass, Chris Brown on drums, the amazing Scott Vestal on banjo and Stephen Mougin on guitar – plays on the majority of the 14 tracks, stretching out their musical chops on tunes such as the instrumental Blue Mountain and the old New Grass Revival song Souvenir Bottles. This latter tune, along with Whisper My Name written by original NGR bassist Ebo Walker and featured on their very first album, brings Bush back to the band where he made his name and helped shape a whole new genre of music – Newgrass.

But there’s also a strong traditional bluegrass strain on the album, especially on the tunes where Del McCoury joins in on vocals.  Roll on Buddy, Roll On is a fine piece of straight-ahead grass.  Songwriter extraordinaire Guy Clark, Bush and Verlon Thompson co-wrote the haunting Ballad of Stringbean and Estelle about the real-life tragedy of the murder of old-time country music star David “Stringbean” Akeman and his wife Estelle.  Midnight on the Stormy Deep and Out on the Ocean are solid bluegrass tunes where Bush keeps his newgrass tendencies in check.  In addition to McCoury, guests artists include Dobro wizard Jerry Douglas, McArthur genius and bassist Edgar Meyer and his family, and (posthumously) original NGR banjoist Courtney Johnson on the sweet fiddle/banjo duet Apple Blossom.

Sam Bush has put together a thoughtful yet entertaining album that should keep his fans happy while finding some converts among the traditionalists who are not as attracted to his recent solo work.

Ricky Skaggs, photo by Erick Anderson

Ricky Skaggs has been moving in a more traditional direction for a good many years since his dip into mainstream country stardom in the 1980s and 90s.  His band Kentucky Thunder is arguably the best band in bluegrass, with Skaggs showcasing some of the music’s best young talent much as his mentor, Bill Monroe, did through the years with the Bluegrass Boys.

But on his most recent album, Songs My Dad Loved, Skaggs goes solo.  That doesn’t mean you’ll just hear Ricky and a guitar or mandolin, because he plays and overdubs a dizzying array of instruments:  acoustic guitars, resonator guitar, round hole and f hole mandolins, mandocello, octave mandolin, steel string banjo, gut string fretless banjo, fiddle, piano, bass, Danelectro electric baritone guitar and percussion.

Songs My Dad Loved is an obvious labor of love for Skaggs.  There are old-time fiddle/banjo duets (Colonel Prentiss), Roy Acuff and Fred Rose-penned old country tunes (Foggy River), gospel (City That Lies Foursquare) and mountain bluegrass (Little Maggie) among the selections.  Songs My Dad Loved is dialed back from the breakneck bluegrass that Skaggs and Kentucky Thunder are known for.  But it is a little gem of an album, reminding me – as one other reviewer noted – of the classic Skaggs and Rice duet album.

Two great Americana musicians, circling back to their roots.  When you reach your 50s and have been playing professionally since you could hold an instrument, this isn’t a bad place to be.

And to give you a taste of the music, there’s a nice video of Sam and his band recording Circles Around Me with commentary by Sam interspersed.  Enjoy.

More to come…

DJB

Hollywood Goes Down Like Honey – Hollywood Taste Like Money

An Interview with Guy Clark

L.A. Freeway

Guy came out of the blue for me. In the past few weeks, his name kept coming up. Giving me pause and asking, “Where in the Hell have I been? How did I ever miss this Guy?

I know I’ve seen and heard him, but I guess I just wasn’t paying attention. Damn!

Another wonderful Guy Clark song – though I seem to recall he may have had a co-writer for this one. Anyway, as an immigrant myself, and a lucky grandson to boot, this song tugged at my heart strings. Emmylou Harris also has a stunning version of this song.

Gear used:

Ovation Elite T
Kentucky KM-675 mandolin
TC Helicon Harmony G

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*

“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://buffettswake.wordpress.com/2009/11/14/merging-wakes/ Sat, 14 Nov 2009 20:30:47 +0000 jaxsonq http://buffettswake.wordpress.com/2009/11/14/merging-wakes/

When I think back to my waterskiing years (so many years ago), I seem to remember crowded days on The River (that would be the Colorado River) when the river was full of boats trying to beat the heat of the day. Some times it was hard to deferential between all the wakes; merging together as they’re prone to do.

So, as we look at how Jimmy Buffett’s World has effected some of us, here’s an example of other people’s wakes merging with Jimmy’s:

In Johnny Cash’s autobiography Cash, he admitted “I don’t listen to music much at the farm, unless I’m going into songwriting mode and looking for inspiration. Then I’ll put on something by the writers I’ve admired and used for years (Rodney Crowell, John Prine, Guy Clark, and the late Steve Goodman are my Big Four)…

So, these wakes merging, is kind of like the Six Degrees of Kevin Bacon, or the Seinfeld episode when “George’s World’s Collide.” Let’s take a look at the four gentlemen that were such a big part of Jimmy’s life that Johnny Cash eluded to:

Rodney Crowell

Rodney wrote “Stars On the Water”

John Prine

John, Jimmy & Steve Goodman spent a lot of time together

Album Cover for Steve Goodman’s “Somebody Else’s Troubles”

(Jimmy is standing between John Prine and Goodman’s wife, Jesse. The Credits list him as “Marvin Gardens.”)

Guy Clark

Jimmy has Covered Guy’s “Boats to Build”

Steve Goodman

Steve was a close friends of Jimmy’s and he covered a number of Steve’s songs including

“Where’s The Party” / “This Hotel Room” / “Down to the Banana Republics”

Steve’s “How Much Tequila Did I Drink Last Night” – I’m surprised Jimmy never recorded a cover of this song

(Notice Jimmy in a Group Photo towards the end of the Video)

A Tribute to Steve Goodman

Arlo Guthrie sings Steve’s Best Know Song

“Lucky Break” by Hank Dogs from “Bareback”
“The Dozens,” “Caroline Herring, “Golden Apples of the Sun.”
“These Sunday Nights, “Greg Trooper, “The Williamsburg Affair.”
“The Story I Heard,” Blind Pilot, “3 Rounds & A Sound”
The Guitar,” “Guy Clark, “Somedays the Song Writes You.”
“Decimate,” David Ford, “Songs For the Road.”
“Homecoming (Walter’s Song),” Vienna Teng, “Warm Strangers.”
“It Makes Me Wonder,” Blue Rodeo, “Small Miracles.”
“The Man Behind the Drums,” Robert Earl Keen, “The Rose Hotel.”
“You Can Be the Rain,” Randall Bramblett, “Thin Places.”
“True Colors,” Caroline Herring, “Golden Apples of the Sun.”
“Mississippi River Runnin’ Backwards, Tom Russell, “Blood and Candle Smoke.”
“Kingdom of Days,” Bruce Springsteen, “Working on a Dream.”
“Can’t Hardly Wait,” Justin Townes Earle, “Midnight at the Movies.”
“Stuck in the Middle,” Nitty Gritty Dirt Band, “Speed of Life.”
“Tales of the Islander,” Caroline Herring, “Golden Apples of the Sun.”
“Beautiful Road,” Kate Taylor, “Beautiful Road.”
“Dance Me To The End of Love (Live),” Leonard Cohen, “Essential.”
“Widescreen World,” Peter Holsapple & Chris Stamey, “Here And Now.”
“I Don’t Want A Lover,” Texas, “Southside.”
“French Navy,” Camera Obscura, “My Maudlin Career.”
“Heavy Weather Traffic,” Katydids, “Katydids.”
“Turn On A Dream,” Box Tops, “Ultimate Box Tops.”
“O My Soul,” Big Star, “Big Star – #1 Record.”
“All I Want (Is Everything,” Boo Hewerdine and Darden Smith, “Evidence.”
“The Wolves (Act 1 & 2),” Bon Iver, “For Emma, Forever Ago.”
“The Kid From Spavinaw,” Tom Russell, “Modern Art.”
“Something That I Do,” Robert Earl Keen, “The Rose Hotel.”
“Sometimes I Dream of Willie Mays,” The Baseball Project, “Vol. 1: Frozen Ropes and Dying Quails.”
“December Skies,” Greg Trooper, “Floating.”
“Going Up The Country,” Nitty Gritty Dirt Band, “Speed of Life.”
“Standing Still,” Jeff Black, “Mining.”

Caroline Herring’s “Tales of the Islander.”

Just stumbled across this footage of  Townes Van Zandt And Guy Clark, when they were just kids. Described as “1970’s film clips which were part of a motion picture homage to West Texas troubadours titled ‘Heartworn Highways.’”

Loved the old guy’s tears during ‘Waitin’ around to die.’

Also available on the Internets from the same film, Van Zandt performing his scary great Pancho and Lefty and a sloppy session with Rodney Crowell and a skinny Steve Earle from Christmas Eve, 1975.

This is the first in what I hope will be a series of endorsement type blog posts. I don’t get any sort of payment for endorsing anything, but this will just be a post about random things that make my life easier or things I just like.  I’m naming them after a Guy Clark song that works for me.

Enjoy.  Or don’t.

I love my car.  I have a 2000 Subaru Forester with nearly 170,000 miles on it.  The downside to having a care that is a little, um, “aged” is that sporadically there are minor problems that arise.

I was having some trouble with a coolant leak.  I spoke with my amazing mechanic (Human’s BP on Western).  He told me that as long as I kept coolant in it, I wouldn’t have any problems but that repairing the leak would be costly.

After a couple of months of checking my coolant levels and spending an insane amount of money on antifreeze and coolant (I was filling it up about twice a week), I looked into some options like Fix-a-flat for tire leaks but for radiators.  I found quite a few but settled on Bars Pelletized Radiator Stop Leak.

It seemed easy enough.  Pour the stuff in there and then fill radiator.  Surely I can do that.  I didn’t pay very much attention and didn’t realize that the pellets might not be melted.  When I poured it into the radiator, I saw that the pellets had indeed not melted and assumed I had screwed up the process.  It said not to force the pellets into the radiator, so I gave up and added water to the radiator and called it a day.  I assumed I’d have to repeat the process in a week or so and do it right.

Fast forward a month and I still haven’t had any leaking.  I’ve been keeping a close eye on it because I thought I had screwed it up.  Evidently this stuff is near idiot proof, if you have a radiator leak, I’d recommend it.

Tyckte det var på sin plats att dagen till ära bjuda på liten hyllning till alla pappor ackompanjerad av country musik. Country är i mångt och mycket en hyllning av familjen, ursprunget och kärleken till det som är äkta. Möjligen vinner “mom” över “dad” i antal hyllningslåtar i genren, men det råder ingen brist på män med gitarr som uttrycker sin kärlek till sin far till tonerna av några typiska countryackord.

Så har ni inget köpt, ladda ner listan, maila hem den till far (som väl har Spotify?), skicka med en stor kram och låt Emmylou Harris, Alan Jackson, George Strait, Guy Clark, Loretta Lynn och alla de andra göra jobbet.

Listan hittar du här.

Det ska tydligen vara nåt med Townes Van Zandt i år. Som jag skrivit om tidigare har Steve Earle släppt ett helt album där han tolkar folksångaren Van Zandt. När nu Lyle Lovett släpper “Natural Forces” är Van Zandt högst närvarande i såväl sound som känsla och representerad genom låten “Loretta”.

Lyle Lovett är folk- och countrymusikartisten från Texas, USA, som även har gjort små gästspel i Hollywood,. För den lite större publiken är Lovett förmodligen mer känd för sitt äktenskap med Julia Roberts i början av nittiotalet, än för sin konstnärliga insats. Lovett släppte sitt debutalbum “Lyle Lovett” 1986 som blev tämligen framgångsrikt, inte minst genom låtar som “Cowboy man” (min ringsignal på mobilen) och “This Old Porch”.

Lovetts nya är i många stycken en tillbakagång till ett lugnare sound efter förra albumet “It’s Not Big, It’s Large”, där Lovett med sitt storband, givetvis kallat The Large Band, stundom gör storbandscountry. Men eftersom Lovett är en berättelsernas man skymmer inte arrangemangen historierna, och “It’s Not Big, It’s Large” är smyckad med ett antal timida countryballader av högsta rang. Inte minst “South Texas Girl” med magisk intro- och outrosång av legendaren Guy Clark (vars The Guitar var Dagens låt häromdagen).

Men nu var det senaste “Natural Forces” det skulle handla om, och främst “Loretta”. På sitt nya album bjuder Lovett på ett par uptempospår som inte gör fans av förra skivan besviken. “Natural Forces” är emellertid främst ett balladalbum där den akustiska gitarren ackompanjerar Lovetts historier med stor närvaro. Fiol, elektrisk gitarr och ett och annat munspel, ibland ett piano har tagit ett steg tillbaka och agerar stämningssättande medspelare med den äran.

“Natural Forces” har många starka spår som lämpar sig väldigt väl till kvällsteet i soffan en ruggig höstkväll. Lovetts version av Van Zandts “Loretta” är tveklöst ett av dessa spår, som Lovett gör med bibehållen respekt utan att kopiera rakt av. Där Van Zandt slår an strängarna till sin akustiska gitarr för att berätta historien om Loretta, kvinnan i baren utan sorger eller bekymmer som förmodligen är lite för bra för att vara sann, inleds Lovetts version istället med piano och fiol som på ett ögonblick får din uppmärksamhet.

Du kan lyssna på alla spåren från Lyle Lovetts “Natural Forces” på skivbolaget Lost Highways hemsida här.

Med Spotify kan du lyssna på förra albumet “It’s Not Big, It’s Large” här.

Nedan spelar Lyle Lovett “Loretta” live tillsammans John Prine på en Bluegrass-festival i San Francisco i början av oktober i år:

Wenn jemand wie Nanci Griffith ein neues Album vorlegt, hält die Country/Folk Szene US-Amerikas zunächst mal kurz den Atem an; schließlich handelt es sich bei Mrs. Griffith nicht um irgend jemanden, sondern um eine der Ikonen des US-Folks schlechthin – sowohl als Songwriterin als auch als Interpretin.

Im Laufe ihrer Karriere hat sie sich nicht nur als brilliante Texterin und wunderbare Musikerin einen Namen gemacht, sie hat sich auch ihre Lorbeeren als Sängerin und Interpretin von Fremdmaterial verdient. Und so ist es nicht verwunderlich, dass sie sich nach vielen Jahren Bühnen- und Studioarbeit die Zeit nimmt, ein ganz persönliches Potpourri von Songs zusammenzustellen – Songs von Weggefährten, von Wegweisern und Freunden. Mit einer erstaunlichen Auswahl an Songs und einer noch erstaunlicheren Auswahl an Gastmusikern beglücken Griffith und ihr Produzent Jim Rooney uns auf dem Album “Other Voices | Other Rooms” (nicht umsonst nach Truman Capotes erstem Roman benannt).

Als Musiker hören wir: Nanci Griffith (Gitarren, Vocals, String Arrangements), Lee Satterfield (Gitarren, Vocals), Emmylou Harris (Vocals), Pete Kennedy (div. Gitarren), Fran Breen (Percussion, Drums), Pat McInerney (Percussion, Dinner Bell), James Hooker (Piano, Keyboards, B-3, Barrel House Piano, Vocals), Stuart Duncan (Mandolin, Violin), Frank Christian (Gitarre), Edgar Meyer (Bass Strings), Alison Krauss (Violin), John Catchings (Cello), Andrea Zonn (Viola), Arlo Guthrie (Vocals), Bob Dylan (Harmonica), John Prine (Vocals), Philip Donnelly (Gitarren), Pete Cummins (Vocals), Carolyn Hester (Vocals), Guy Clark (Gitarre, Vocals), Pat Flynn (Gitarre), Roy Huskey Jr (Upright Bass), Bela Fleck (Banjo), Iris DeMent (Vocals), Don Edwards (Jodler), Chet Atkins (Gitarren), Leo Kottke (12-Seiten Gitarre), Mary Ann Kennedy (Percussion), John Hartford (Banjo, Tap Dance), Chor auf “Wimoweh”: Roy Huskey Jr, John Hartford, Odetta, Nanci Griffith, The Indigo Girls, Kennedy-Rose, John Prine, James Hooker, Holly und Barry Tashian, John Gorka, Dave Mallett, Marlin Griffith, Jim Rooney.

Als nächstes möchte ich aus den weisen Worten zitieren, die Nanci für das Booklet zu diesem wunderbaren Album geschrieben hat:

This recording project has been the dream of a lifetime come true for me both as an artist and songwriter. No other producer could have lent the knowledge and the compassion to this music with the patience and dedication Jim Rooney has put into this body of work. Nor do I feel we could have found two engineers, Mark Miller in Nashville and Brian Masterson in Dublin, who had better ears for acoustic instruments and instinctively knew that the secret of capturing Folk Music, if indeed it can be captured, is to let it roll and keep your hands off the wheel.

Nanci schreibt in diesem wunderbaren Vorwort zum Album, wie sie zu dieser Auswahl an Songs gekommen ist, und welche Künster sie noch gerne für dieses Projekt gewonnen hätte, deren enge Zeitpläne es aber nicht zuließen. Und eingedenk der Tatsache, dass das erste Stück des Albums eine wundervolle Aufnahme von Kate Wolfs “Across the Great Divide” ist, verwundern diese Zeilen Griffiths nicht: In Memory of Kate Wolf, Malvina Reynolds and Bob Claypool … please save me and Emmy a seat at the bar.

Song 1: Kate Wolf – Across the Great Divide

Eine Verbeugung vor einer anderen großen und völlig zu Unrecht vergessenen Dame des US-Folks, Kate Wolf. Nanci hat schon früher verschiedene Versionen dieses Songs aufgenommen, doch auf diesem Album legt sie ihre beste vor. Einfühlsam, schlicht und atemberaubend ruhig erzählt sie die Geschichte, die Wolf verfasste. Stuart Duncan steuert wunderbare Mandolinen-Einlagen zu den ohnehin über jeden Zweifel erhabenen Gitarren von Nanci und Lee Satterfield bei, dazu Pete Kennedys Lead Guitar. Kate Wolfs Song ist ein Paradebeispiel klassischen Folk-Songwritings, und Griffiths Interpretation mehr und etwas anderes als das “Ausschlachten” einer Cash-Cow, sondern eine zutiefst ehrfürchtige Verbeugung vor dem Vorbild, ehrlich und solide. (5/5)

Song 2: Vince Bell – Woman of the Phoenix

Zu diesem Stück steuert Nanci ein geschmackvolles aber nicht übertriebenes Streicher-Arrangement bei, gespielt von Edgar Meyer, Alison Krauss, John Catchings und Andrea Zonn. Und es scheint mir schon sehr interessant zu sein, wenn Alison Krauss sich für ein einziges Stück auf einem Album ins Studio begibt, um eine “Nebenrolle” zu spielen, was wieder zeigt, welchen Einfluss und Bedeutung Nanci Griffith hatte, und zweifellos auch heute noch hat. Ansonsten gibt es an diesem Song weder etwas besonders auszusetzen, noch zu bemerken. Wie das gesamte Album ruhig, schlicht und unaufgeregt produziert, eher zurückhaltend instrumentiert – was auch nicht verwundert, liegt doch Nanci Griffiths Interesse bei allen Songs auf diesem Album nicht in der Musik in erster Linie, sondern vor allem in den Geschichten, die die Songs erzählen. (4/5)

Song 3: Townes Van Zandt – Tecumseh Valley

Bei einer Erinnerungen-Kollektion darf natürlich eine Verbeugung vor Townes van Zandt nicht fehlen. Und wie immer schafft Griffith es, einem Song, den schon jeder kennt (oder zumindest kennen sollte), ihren ureigensten Stempel aufzudrücken, ohne ihn zu vergewaltigen – ein Balanceakt, der in unserer Zeit angesichts Casting-Bands und Cover-Bands en Masse schon fast unmöglich geworden ist. Nanci und Arlo Guthrie erzählen die Geschichte von Caroline, der Tochter des Minenarbeiters derart eindringlich und fast schon gespenstisch gut, dass man meinen möchte, das Lied hätte sich immer schon so angehört wie hier. Weniger ihr Verdienst als der von van Zandt ist der geniale Einfall, die erste Strophe zum Schluss zu wiederholen, was der Geschichte eine emotionale Dimension verleiht, die man sonst kaum wo findet. (5/5)

Song 4: Frank Christian – Three Flights Up

Christian ließ es sich nicht nehmen, für dieses Album auf mehreren Songs in seine Saiten zu picken, und auch hier übernimmt er in seinem eigenen Song die Lead Gitarre – was herrlich klappt. James Hooker greift diesmal nicht in die Tasten des Pianos sondern in die des Keyboards, und verpasst dem Song einen zusätzlichen Akkordeon-Sound. Erstaunlich gelungen ist die Verbindung von Percussion und Gitarren in diesem Stück. Wer allerdings hier Bass spielt, ist fraglich, denn in den Credits steht nichts davon (vielleicht hat James Hooker diesen auf seinen Tasten nachgereicht). Erfrischend, herzig und wie immer einfach gelungen. (5/5)

Song 5: Bob Dylan – Boots of Spanish Leather

Ausnahmsweise überlässt Nanci die Gitarre Frank Christian und Pete Kennedy alleine und beschränkt sich hier aufs Singen. Ob Bob sich gedacht hätte, dass sein Song auch so klingen kann? Was er sich natürlich auch von Sophie B. Hawkins Interpretation von “I Want You” hätte denken können. Immerhin hat er Zeit gefunden, schnell mal ins Studio zu kommen, um den Mundharmonika-Part beizusteuern. Es ist schon faszinierend, wenn man Hawkins “I want you” mit dem Original vergleicht: es klingt zwar völlig anders, aber selbst bei Hawkins hört man einfach, dass es ein Bob Dylan Song ist. Nanci Griffith bringt es aber fertig, ihn so klingen zu lassen, als hätte sie oder Patrick Alger ihn geschrieben. Nur ihre gesangliche Interpretation verrät noch, dass hier ein Bob Dylan dahintersteckt. Und auch das ist eine Kunst. (4/5)

Song 6: John Prine – Speed of the Sound of Loneliness

Na hier hat James Hooker es aber etwas mit seinen Keys übertrieben. Etwas weniger Synth-Sound wäre besser gewesen. Vermutlich ist dies der schlechteste Song des Albums, falls man bei diesem Album überhaupt von gut oder schlecht sprechen kann. Schließlich versteht sich dieses Album durchaus auch als Konzeptalbum, bei dem Jim Rooney seine Produktionsmethoden eisern durchzieht. Was grundsätzlich nichts schlechtes ist, verleiht es dem Album als ganzem doch genau den Charme und die Ehrlichkeit, die Nanci Griffith hören wollte. (3/5)

Song 7: Ralph McTell – From Clare to Here

Es war eine weise Entscheidung, nicht McTells Standard-Hit “Streets of London” einzuspielen, sondern diese besonders traurige Ballade, deren Aufnahme hier eine echte Meisterleistung ist, sowohl gesanglich als auch musikalisch. James Hooker unterlegt auf den Keys das Ganze diesmal sehr gelungen mit Bläsern, Pete Kennedy steuert ein paar “Diamonds” bei und das ganze ergibt dann ein Gesamtbild, wie es besser hätte nicht sein können. Langsam sich aufbauend als Ballade mit einem Höhepunkt zur Bridge, melancholisch, traurig-schaurig-schön, ein Song für einsame Abende am Kamin. (5/5)

Song 8: Tom Paxton – Can’t Help But Wonder Where I’m Bound

Nach dem “Tränendrüsendrücker” (aber im Besten Wortsinn) brauchen wir etwas Aufheiterung, und auch Griffith weiß das, und bringt uns nun ein Ständchen von Tom Paxton, Country im ursprünglichsten Sinne vielleicht, nicht ganz stilecht interpretiert natürlich, etwas modernisiert, aber nicht moder-isiert. (4/5)

Song 9: Woody Guthrie – Do Re Mi

Seltsamerweise singt Arlo Guthrie bei diesem Stück nicht mit, warum auch immer. Dafür singt Guy Clark mit ihr. Nanci präsentiert sich und ihre Gitarre aber in gut gelaunter fast-Bestform, und bringt den augenzwinkernden Text perfekt und beschwingt “rüber”. Besonders erwähnenswert sind natürlich die Ragtime-Gitarrensolos zwischen den Strophen. (4/5)

Song 10: Janis Ian & Jon Vezner – This Old Town

Wieder ein Beispiel für die faszinierende Auswahl an Songs, die Nanci getroffen hat. Im stilistischen Gewand eines Country-Standards ein Text, der so politisch ist, dass er heute genauso wichtig erscheint, wie er 1929 gewesen wäre. Man fühlt sich gleich an Griffiths “It’s a hard life wherever you go” erinnert. Da ist die Tatsache, dass Bela Fleck sich für den Banjo-Part eingefunden hat, schon fast eine Nebensächlichkeit. (5/5)

Song 11: Buddy Mondlock – Comin’ down in the Rain

An diesem Song erkennt man vielleicht, wie Griffith die Songs für das Album ausgewählt hat, liest man sich den Text erst durch. Das Faible für schwermütige Texte ist aber nur ein scheinbares, denn dem aufmerksamen Leser wird nicht entgehen, dass die bisherigen Songs – trotz der oft überbordenden Melancholie – einer gewissen “Closure” nicht entbehren, einem “Aufmunterungs-Faktor”, der sich subtil ins Album eingeschlichen hat. Stuart Duncan tut wieder das, was er kann: die Mandoline zupfen, und James Hooker hält sich diesmal auch mit der B-3 zurück. (4/5)

Song 12: Gordon Lightfoot – Ten degrees and getting colder

Dass Griffith nicht nur ihren us-amerikanischen Kollegen Respekt zollt, versteht sich von selbst, und so ist es nicht verwunderlich, einen Lightfoot Song anzutreffen – glücklicherweise nicht “If you could read my mind”. Vocaliter begleitet von Iris DeMent schwingt sich Nanci durch den dankbaren Text. (4/5)

Song 13: Jerry Jeff Walker – Morning Song for Sally

Wunderschön gesungen und gespielt gelingt es Griffith und Rooney, die Stimmung des Textes perfekt musikalisch umzusetzen. Wie überall auf diesem Album ist das Zauberwort “Zurückhaltung” und nicht “da noch eine Gitarre, und dort mehr Percussion, und da noch ein paar Bläser …”. Die Beschränkung auf das Wesentliche macht einen großen Teil des Charmes des Albums aus, und in diesem Stück gelingen den Musikern (vor allem wieder Stuart Duncan und Frank Christian) die “Kleinigkeiten am Wegesrand” besonders gut. (5/5)

Song 14: Michael Burton – Night Rider’s Lament

Schon recht konventionell kommt dieses Stück daher, gemächlich und traditionell, sogar mit Gejodel. Ob das aber eine gute Entscheidung war, mag ich bezweifeln. So recht mag das ganze Stück nicht auf das Album passen. Aber ich bin sicher, Nanci wird sich schon etwas dabei gedacht haben. (3/5)

Song 15: G. P. Cook, Ralph Roland – Are You Tired Of Me Darling

Es ist schon verdächtig, wie ich mit jedem Song auf diesem Album weniger darüber zu sagen habe. Woran liegt das? Dass sich alles wiederholt, weil es schon im vorigen Song zu hören war. Ja, eindeutig. Erstaunlicherweise aber ist das bei einem Album wie diesen geradezu ein Geschenk, dass sich die Songs stilistisch so ähneln – es ist, als hätte man 17 Sonnenblumen nebeneinander hängen, allesamt beeindruckend – und doch so ähnlich. (5/5)

Song 16: Malvina Reynolds, Harry Belafonte, Allen Green – Turn Around

Malvina Reynolds kam erst kürzlich wieder – ohne dass es die meisten überhaupt wissen – in die Ohren vieler junger Fernsehzuseher, und zwar durch das Titellied “Little Boxes” der Serie “Weeds”. Griffith jedoch interpretiert hier eine Art amerikanisches Nationalheiligtum, Turn Around.

Song 17: Wimoweh

Als augenzwinkernden Abschluss präsentiert sich Wimoweh, jenes South African Tradidional, das schon in “The Lion Sleeps Tonight” verge … äh benutzt wurde. Doch so beschwingt wie hier und so geradezu amüsant wurde das Stück in der bekannten Bearbeitung von Paul Campbell wohl selten interpretiert. Neben Griffith und Rooney haben sich unter anderem die Indigo Girls, Kennedy-Rose, John Prine und John Gorka eingefunden, um im Chor zu singen. Als Abschluss für ein rundherum gelungenes Album perfekt. (5/5)

Fazit:

Es fiel mir ziemlich schwer, diese Rezension zu schreiben. Selten habe ich über die einzelnen Stücke eines Album so wenig zu sagen, wie hier. Das liegt an der Konzeption des Albums. Natürlich könnte ich über die Entstehungsgeschichte der jeweiligen Songs nachforschen, oder deren Texte analysieren, um Licht auf die Beweggründe zu werfen, nach denen Nanci Griffith hier ausgewählt hat, aber dann würde diese Rezension eher in eine Dissertation ausarten. Vielmehr als “rundherum gelungen” kann man aber über das Album nicht sagen. Es klingt technisch hervorragend, es ist herzergreifend, es ist bewegend, bei Zeiten komisch, und in jedem Falle jedem ans Herz gelegt, der ein solches hat. Ideal für alle Kaminfeuerabende, für Unterwegs im Kopfhörer, fürs Ausspannen, fürs Zuhören. Nancis Stimme zeigt sich von ihrer lieblichsten Seite, und die Musiker sind allesamt hervorragend. Die einfache, ehrliche aber wunderschöne Produktion von Jim Rooney, gespickt mit “Diamonds” der Musiker, die Kleinigkeiten, die man zwischen den Strophen hört, machen das Album zu einem echten Genuss. Nanci hat das ganz richtig gemacht, in jeder Hinsicht.

5 von 5 Sternen für das Gesamtkunstwerk.

For those who may have followed a similar trajectory, growing up on a diet of Eric, Keith, Jimi, Duane and Frank, the electric guitar used to be king. There was something elevating in the work of great guitar players, and there was no shortage of them. Jimmy Page, Carlos Santana and Richie Blackmore are among the immediately obvious, but then, there was also Peter Green, Jeff Beck, Mick Taylor, Kim Simmons from Savoy Brown, Dave Mason and Steve Winwood from Traffic. For a brief period, Rock guitar and Blues guitar meant pretty much the same thing. Back in the day, great Blues guitarists roamed freely. Eric Clapton can probably take a bow for much of that.

Blues guitars may no longer be at the cultural vanguard but that doesn’t keep the avid from feeding the flame. When the new Tinsley Ellis album recently arrived I remembered his name from a couple of Alligator label compilations, but that was about it. His new album is called, ‘Speak No Evil’, and boasts an extreme close-up of Tinsley’s string-bending digits on the cover.

As soon as the music begins, those digits are flying up and down the neck of that guitar, bending, shredding and machine-gunning their way through the album’s dozen tracks. It is a furious and unrelenting display, with a wealth of flashy technique. Seriously, it almost invites lesser talents to retreat in embarrassment.

At times, Ellis might conjure images of a younger Eric Clapton, in his heady days with Cream, circa 1968. Elsewhere, it might evoke names like Albert Collins, Stevie Ray Vaughan, or Robin Trower. The songs are none too shabby either but I guess when you’re on the road as much as he is, you would want them to be this good.

If there is a downside to ‘Speak No Evil’, it’s that the other elements are so much in the shade of the guitar, they can come off sounding just a notch above serviceable. The rhythm section appears relegated to mere timekeepers behind Tinsley’s unrelenting guitar offensive. The inventiveness, of a potential Jack Bruce on bass or a Ginger Baker on drums, is simply not evident. Tinsley’s vocals seem mostly up to the task but are still not as commanding as that guitar. Though I find it no chore to listen to ‘Speak No Evil’ at the necessary volume, it can be tiring. Tinsley Ellis is not exactly economical with his notes but he sure knows how to fit ‘em all in. For those who miss the blistering Blues Rock of old, you’ll find five songs from ‘Speak No Evil’ on Tinsley’s MySpace page.  http://www.myspace.com/tinsleyellis.

And on the subject of guitarists, here’s another one I need to mention although, this time, coming from a different direction. I can confidently say that, until about a month ago, Verlon Thompson was a name I had never heard. But then I got to hear him play on a song that had me hooked from the beginning. The song is called “The Guitar” and it appears on a new album by the underappreciated, Guy Clark. Vernon is playing the beautiful acoustic licks behind Clark’s whiskey-soaked voice, as a brilliant story song unfolds about a musician, a pawnshop owner and an old beat-up guitar. I don’t want to spoil it for you by saying any more. Just check out the clip:  http://www.youtube.com/watch?v=iHxOego2Sso

As a footnote, I’m including an alternate version of the song by Verlon Thompson alone. For my money, its the Guy Clark version that nails it but this is more for those who play the instrument, and don’t mind taking a closer look at Thompson’s skill.

http://www.youtube.com/watch?v=T_Lkg7GsKQQ

I’m glad that somewhere, songs of this quality are still being written, that people still care about the compositional craft, and that they play them this well, on real instruments. It almost sounds subversive. Incidentally, the Guy Clark album you can find this song on is called, ‘Somedays The Song Writes You’. The album is Guy Clark’s 11^th since 1975, and is literally falling through the cracks even as I write this, for all but his loyal following.

Dublin Blues (Guy Clark cover).

Used my Mandolin (Kentucky KM-675) and acoustic guitar (Ovation Elite T) to record this cover of a beautiful song written by Guy Clark.

The video includes pictures of the Mandolin, and of 2 electric guitars: a Thorn Junior 90 w/ a curly koa top, and a Huber Dolphin Jr made of Korina wood.

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The Roots Music Project # 182 (October 31, 2009)
Host: Jeremy Baldwin
Heard On WEMU 89.1 FM Ypsilanti, MI (Saturdays 12-2pm EST)

1st Hour
Marie Laveaux-RobinElla & The CC Stringband (RobinElla & The CC Stringband-2003)
Boogie Man Boogie-Chet Atkins (Hillbilly Boogie Compilation-2002)
Grim Grinning Ghosts-Los Lobos (Los Lobos Goes Disney-2009)
(Ghost) Riders In The Sky-Johnny Cash (The Legend-2005)
Broke Down Engine-Bob Dylan (World Gone Wrong-1993)
Little Ghost-The White Stripes (Get Behind Me Satan-2005)
One Dime Blues-Woody Pines & The Lonesome Two (Woody Pines & The Lonesome Two-2007)
Motherless Children-Rosanne Cash (The List-2009)
New Country Blues-The Emmitt-Nershi Band (New Country Blues-2009)
Diamond Joe-Sam Bush (Circles Around Me-2009)
Cold Water-Railroad Earth (The Black Bear Sessions-2001)
Turn Up The Bottle-The Steep Canyon Rangers (Deep In The Shade-2009)
Wicked Old Witch-John Fogerty (Déjà Vu All Over Again-2004)

2nd Hour
Nobody’s Fault But Mine-Joan Osborne w/ The Holmes Brothers (Shout, Sister, Shout: A Tribute To Sister Rosetta Tharpe-2003)
Lord, I Feel Like Goin’ On-Marie Knight (Let Us Get Together: A Tribute To Rev. Gary Davis-2007)
There’s A Bright Side Somewhere-Jorma Kaukonen (River Of Time-2009)
Great Change Since I Been Born-Rev. Gary Davis (Harlem Street Singer-1960)
Rockin’ In The Graveyard (Rockin’ Bones: 1950’s Punk & Rockabilly Compilation-2006)
She’s My Witch-Kip Tyler (Rockin’ Bones: 1950’s Punk & Rockabilly Compilation-2006)
Haunted House-John Fogerty (The Blue Ridge Rangers Rides Again-2009)
Haunted Heels-Big Sandy & His Fly-Rite Boys (Turntable Matinee-2006)
One Way Ticket Down-Guy Clark (Sometimes The Song Writes You-2009)
Rise Up Bones-Jo Serrapere (Love Going South-2009)
My Uncle Used To Love Me But She Died-The Sweetback Sisters (Chicken Ain’t Chicken-2009)
Drip Dryin’-The Two Man Gentlemen Band (Drip Dryin’ With The Two Man Gentlemen Band-2008)
Scary Monsters & Super Freaks-David Bowie (ONXRT: Live From The Archives Vol. 8 Compilation-2005)
Graveyard Shift-Steve Earle w/ The Del McCoury Band (The Mountain-1999)
Rattlin’ Bones-Kasey Chambers & Shane Nicholson (Rattlin’ Bones-2008)
Queen’s Confessor-The Goldmine Pickers (Lonesome Gone-2007)

www.rootsmusicproject.com
www.wemu.org

Nyligen släppte den levande countrylegendaren Guy Clark albumet “Somedays the Song Writes You”. Ett synnerligt starkt album som visar att Clark fortfarande besitter en osviklig förmåga att skriva starka countrylåtar med historier som sitter kvar länge efter musiken tystnat. Om nu någon tvekat.

Om Townes Van Zandt var Steve Earles primära mästare, vilket jag skrev om häromdagen, är Guy Clark utan tvekan en annan av Earles förebilder. Precis som han är för många andra svårdmodiga män med gitarr. På nya albumet tolkar förresten  Clark Van Zandt i “If I needed you”.

Men det är låten “The guitar” som får introducera vinjetten Dagens låt på bloggen. Låten berättar historien om en egensinning musiker, måhända Clark själv, som stiger in en pantbutik och finner en gitarr på väggen som väcker tankar och minnen i musikern.

Här framförd live på The Cactus Café i Austin, Texas tillsammans med Verlon Thompson som Clark skrivit detta närgångna och varma stycke countryballad med.

The new CD by SAM BUSH entitled Circles Around Me is featured on Show #43. Also new releases from MALCOLM HOLCOLME, ELLIOTT BROOD and EXENE CERVENKA. The full playlist is posted below.  Here’s the iTunes link to subscribe or download the show and here’s the direct download link to listen right now on your computer. Check the artist’s websites and order their CD’s or downloads and tell ‘em you heard the songs on the FTB podcast. Please  email me with any questions, comments or suggestions for the podcasts.

Show #43

SAM BUSH - You Left Me Alone Circles Around Me
MALCOLM HOLCOLME – Leonard’s Pigpen For The Mission Baby
SONS OF BILL – Broken Bottles One Town Away
EXENE CERVENKA – Trojan Horse Somewhere Gone
(mic break)
RED ROOSTER – Black Point Road Walk
SAMANTHA CRAIN – Scissor Tales Songs in the Night
GUY CLARK - Wrong Side Of The Tracks Somedays The Song Write You
SAM BUSH - Circles Around Me Circles Around Me
(mic break)
SARA PETITE – Doghouse Rose Doghouse Rose
OWEN TEMPLE - Making a Life Dollars and Dimes
THE ROSELINE – Profit Lust for Luster
ELLIOTT BROOD- Without Again Mountain Meadows
(mic break)
SAM BUSH - The Ballad of Stringbean and Estelle Circles Around Me

Bill Frater
Freight Train Boogie

After years of searching, I’ve found my people. And they were all with me at the Star Stage at the 9th annual Hardly Strictly Bluegrass Festival in San Francisco’s Golden Gate Park on Saturday afternoon.

I’m still not sure exactly how it happened, but my wife agreed a weekend getaway to San Francisco, a couple hours by plane, was a good idea. I had an earned day off, she took a holiday day, and within a few hours of making the decision we had booked the rooms and flight.

What a treat! We decided to spend the Friday afternoon of our arrival seeing as much of the city as we could, foregoing John Prine and Lyle Lovett. Our hotel was in the heart of the Haight area- Stanyan Park- and was quite nice, although we were shortly to discover it was a bit like sleeping in a tent. The hotel was right across from the park, but deceptively far from the festival site- it ended up being about a brisk, 30 minute walk to the festival.

None the less, we jumped on the Hop On, Hop Off bus tour that stopped across from the hotel, and within 90 minutes of arriving in the city, were streaming across the Golden Gate Bridge on top of an open-air double-decker bus. I was giddy like a kid! Deana claimed I wasn’t as excited when we were in Greece, which was only partly true- when in Greece, I was constantly exhausted, so it was difficult to show excitement.

Truly a beautiful city, the Hop On tour was a nice way to get a quick overview of the city. An extended stop at Macy’s downtown demonstrated that Starbucks coffee truly tastes the same no matter where you are and that some folks will pay way too much for a sweater. We concluded our city tour unsure of how to spend our evening, and found a nice place for supper around the corner from the hotel- Siam Lotus, I believe.

But before we got there, I saw- in the distance- the glory land that is Amoeba Records! O, gosh. What a place. We don’t have stores like this in Alberta anymore, and likely never did. An unreal selection, and because I was pressed for time, I never made it past the first five aisles. The CD clearance section was bigger than most retail stores in my area! 14 discs and $30 later and we were ready to eat.

We turned in pretty early after the flight and stress of a new city, and made plans for a long day at the festival site. One of us had a long day, anyway.

My wife repeatedly challenges me on why I go to festivals. She points out that I hate crowds, which is generally true. I hold noisy chatterers in disdain. In general, I find port-o-potties psychologically scarring. Now, while I feel she is projecting her feelings a little bit here, in general she has a point. I shouldn’t like festivals for a whole lot of reasons, including the ones mentioned as well as less than ideal sound, excessively priced food, and set changeover times that are usually painfully long. And yet I continue to go. I am pleased to say that on the whole Hardly Strictly exceeded all expectations, and only the port-o-potties cast a pall over my two days on the grounds.

My wife and I decided we didn’t want to run around the grounds capturing every act of appeal. So we had made our selections based on a mutual common ground, and we had most of our day slated for the Rooster Stage. She thought Jorma Kaukonen would be to her taste, and I thought she would enjoy the Boz Scaggs revue as well.

The decision made, we set out for our walk through the park to the festival site. And we walked. And walked. With only a general idea of where we were going- even following a map- we likely added a couple kilometres to our journey, but for the most part it was a very nice walk through a lovely green space. (For the record, if you’re going- walk straight west up JFK Drive…if only we knew!)

We set up our mats at the Rooster Stage, and got ready for a day. Walking across the site of the Banjo Stage, I started to really get a sense of the size of this event- it makes the Edmonton Folk Festival seem quaint, and gives Calgary’s Prince’s Island Park a run as a primo festival site as far as trees, shade, and atmosphere go.

Marshall Crenshaw was up first, and did a fine little set. Not terribly engaging, but that had more to do with how far from the stage we were, not to mention the jerk who set up a normal-sized chair four feet in front of our ground level mats- wearing a freakin’ straw hat to boot. That he and his colleagues seldom paused in their chats did little to temper the holes my eyes were drilling into his mealy wee brain…but I had promised myself not to care about such things, and therefore eased back to listen to the power pop sounds of Crenshaw.

While a fan- I have several of his albums and believe his version of “I’m Sorry (But So Is Brenda Lee)” is a top 100 all-time rock song- I was surprised at how many songs I could mouth-a-long to.

My wife started the Guy Clark jokes before he even hit the stage, and she soon went for a walk rather than listen to his ‘old man’ music. I thought his set was pretty good- he was in strong voice, Verlon Thompson complemented with nice lead work, and Bryn Davies was a nice, unexpected touch on bass and vocals.

Clark did the expected numbers- “L. A. Freeway,” “Home Grown Tomatoes,” and “Let It Roll”- but no “Desperadoes Waiting For a Train” (fine by me, to be honest) or “Texas, 1947” or “Randall Knife” which would have been nice. A few new songs- “Some Days the Song Writes You,” “The Guitar”, and “Hemingway’s Whiskey”- held their own. By the time “Dublin Blues” and “Stuff That Works” were done, I was very pleased that I had forgone some of my other choices for a set from the master.

Mid-set, my plans for the day changed when Deana decided she had already had enough of the people and didn’t want to put up with a day in the wind and dirt; she happily went off to continue her city tour (“You’ll probably enjoy yourself more without me,” she claimed; I denied such, but after almost thirty years, I could tell she wasn’t buying it) and I hastily re-planned my day. O, the bounty of choices I faced!

After a few minutes at a way too crowded Banjo Stage trying to listen to the Tim O’Brien Band, I made the last minute decision to head toward the Star Stage for Dave Alvin & The Guilty Women. The reasons were numerous- I always enjoy Dave Alvin, Laurie Lewis had just appeared in Red Deer so the chance to have her in my city one week and then see her in her’s eight days later was too obviously serendipitous to pass up, and the fact I probably wouldn’t have another chance to see them as a combo also played a part. But mostly, it was sentimental curiosity- with the recent death of Amy Farris, I really wanted to see and hear what the band would do.

Since I arrived a full-set early for the show, I found an almost too good to be real space down front, and even met some folks from Utah and Wisconsin to chat with. All the signs were present that the show may be a bit rough- Dave and Laurie working up a tune with fill-in fiddler Suzy Thompson, a lot of uncomfortable milling about on stage from various musicians. But the smiles were obvious, and soon it was apparent that we were about to witness something quite spectacular.

I’ve seen Dave Alvin several times at various festivals, but never to such an attentive and involved audience. We knew all the words, we were familiar with most of the moves and riffs. After years of searching, I had found my people. And they were all with me at the Star Stage on a glorious and sunny Saturday. Without much formality, the band launched into the Cajun arrangement of “Marie, Marie” that kicks off the recent album. We were on our feet right away, and you could light a small town with the energy the audience and band generated. Powerful doesn’t start to describe it.

Appropriately, Alvin brought things down for moments of somber reflection to acknowledge the absence and passing of Farris. I’ll admit, I blubbered for just a few seconds- it was worse than a Hallmark commercial. Pushing me over the edge were the few bars of “California Bloodlines” Dave sang in honour of Amy as an introduction to “California’s Burning”, bringing to mind not only Farris’s death, but that of the songwriter John Stewart. To be in California, and to be reminded of a true son of that state was just too much for me, and I sat down and teared up. Weird.

But the only burning to be smelled on this day was of the medicinal variety, and sadness was short-lived in this environment. Anyway, the rest of the set was steaming. “Abilene” featured an extended jam and “Boss of the Blues” drew me in to vicariously cruise the bluesy streets of southern California with Dave and Phil. “Potter’s Field” was especially poignant on this day, and the band found a new way to play the blues on “Dry River.” Laurie Lewis really cut loose on the set closer “Que Sera Sera”, tearing up a bit of a hoedown with Alvin on that one.

The surprise of the set? Lisa Pankratz! Wow, she can pound. Really nice. Without doubt, the set of the weekend for me. Everyone sounded at their finest, the band’s energy was very positive, and Christy McWilson only threatened to strangle Dave once.

I stayed at the same stage- listening to the Old 97’s play on the adjoining stage- for the Nick Lowe set to follow. A fine decision, and one that was on my original list of ‘must-sees’. Again, talked to folks about common music interests- including Steve Forbert- and had a fine cookie and coffee to pass the time. Lowe was appearing solo, a bit of a disappointment as I had seen the same in Calgary a few years ago and would have enjoyed a band show. But the calm sophistication of Lowe was a nice palate cleanser after the full-bodied brew that was the Guilty Women.

 By starting the show with “Ragin’ Eyes”, Nick gave me hope that we would hear a few unexpected numbers- perhaps “Time Wounds All Heels” or “Breaking Glass.” Alas, such was not to be as he delivered a solid, well-performed but not especially inspired list of his most familiar numbers. Mood was lighter than last time out, definitely less restrained, and he cracked more than a couple smiles. But the songs were of the expected sort- “What’s Shaking on the Hill,” “Long Limbed Girl”, “Does She Have A Friend”, et al. “Heart” was a nice surprise, but he really needs to retire “All Men Are Liars.” “Cruel to Be Kind” got the sing-a-long treatment, and “The Beast in Me” silenced everyone, as it should.

It was nice to hear “Without Love,” the other song of Nick’s J.R. Cash recorded and one of my personal favourites before he launched into the expected and populist climax of “I Knew the Bride” Staring into the sun, the silhouette that was Nick Lowe concluded with his eternal song- the one that’ll last long after the bride has divorced and she discovers that being cruel is seldom kind; hearing “(What’s So Funny About)” Peace, Love and Understanding” in San Francisco was pretty darn neat for this old man.

Things were starting to cool off a bit, especially in the shade and I wasn’t exactly positive where to go next. I decided to forego the crowd of the Banjo stage- again- and skip Gillian Welch in favour of Marty Stuart & His Fabulous Superlatives. With the best corn dog I’ve ever eaten quickly devoured, and in fine company with Al and his gal Susan, I sat back to enjoy classic country music without worrying about analyzing every nuance.

Some old (“Tempted”), some borrowed (a Buck Owens- Bakersfield instrumental that some may have recognized as “Buckaroo” but that I’m just guessing at, “Long Black Veil”), something blue (“California Blues”), and very little new, Marty and his boys did themselves proud. A strong, unpretentious set highlighted by acoustic gospel vocal tunes such as “Working on a Building” and “A Little Talk with Jesus”, the Osborne Brothers’ “Bluegrass Express”, and a Carteresque guitar instrumental.

By this time, even a Canadian was getting cold, and I needed to move on, and finally gave in to the calling of the Banjo Stage for Steve Earle & the Bluegrass Dukes. That this festival’s biggest and most crowded stage hosts the most traditional bluegrass acts lends this fest a giant heap of credibility. The festival features the gamut of roots and Americana sounds (well, almost- more on that in a moment), and I’m sure would draw even more people if the bluegrass aspect was played down a bit. But, true to their roots, mainstream, progressive, traditional, and contemporary bluegrass acts play to an audience that possibly surpasses 20 000 at this one stage alone. I missed Steve Martin & the Steep Canyon Rangers, Skaggs, Dry Branch, and others who played the stage earlier in the day, but managed to catch much of the Earle set. I’m glad I did.

I had a decent sightline from the side of the stage, away from the hordes, and the sound was still decent. The blowing wind was numbing fingers on stage (and off, for that matter), leading Earle to quip, “I can’t feel them, but it sounds good.” The set wasn’t particularly tight, hardly surprising given the conditions, but I’m glad I can check off the Bluegrass Dukes on my list of Bands to See. This was a particularly charged set of Dukes- O’Brien on mando, Darrell Scott on banjo and such, with Dennis Crouch (bass) and Casey Driessen (fiddle). “Sin City” sounded especially nice, as did “The Hometown Blues”, complete with familiar story about square-headed cowboys named Otto.

They did “White Frieghtliner Blues” and a few songs from the bluegrass album like “Texas Eagle” and “Yours Forever Blue.” Darkness was moving in, and I still had to walk back to the hotel, so I started off on perhaps the second longest walk of my life. Well worth it, though. A terrific day.

A couple random thoughts. Everyone has a dog, and they all come to the festival. Where I come from, dogs don’t go to festivals. It was a nice touch to see all the pets, and several were absolutely gorgeous animals. All appeared to be well-behaved, save the one who bit me! Seriously, all these well behaved, mannerly and docile dogs, and one little yapper jumps out at me and grabs my leg! Fortunately, he/she caught mostly jeans, but I felt its teeth on my leg. Gave my old heart a jump, for sure. The owners were blissfully inattentive and quite taken back that their little Foo-Foo would do such a thing.

For a cosmopolitan city, the festival is very white- both in audience and music. Race doesn’t really enter my thoughts too often, but it was pretty apparent that the weekend lacked colour. True, I didn’t exactly go out on a limb, listening to more than a few aging white guys, but I know my wife would have appreciated more world and blues music; heck, she may have even stayed around for a little while. And yes, Mavis, Allen Toussaint, and others were on the bill- but it still seemed fairly pale.

The festival merch was a bit sparse, with only t-shirts, posters, and blankets on offer. I was hoping to buy a button-down denim or black shirt, but such was not to be found. Both of the major Alberta festivals have extensive merchandise for sale, and I’m surprised HSB doesn’t take advantage of this revenue stream, while fully aware cash flow isn’t a factor here.

The port-o-potties were gross. I’m so glad I’m a man and don’t need to sit to urinate. Come on, with a 1.5 million (or whatever) budget, get the toilets pumped out over night.

Finally, I was shocked at how laid back everything was, for the most part. Little jostling for position, very few folks apparently losing their bearings- the whole festival had a real positive vibe. Even with so many people and being in a foreign land, I felt comfortable leaving my backpack unattended while moving about the stage areas. The whole festival had a very calm mood associated with it. I wonder why?

We needed to catch a late afternoon flight back home, so I knew I would only be able to take in three acts of the Sunday, but I knew which they would be- Darrell Scott, Hazel Dickens, and Doc Watson, all at the Banjo Stage.

Under a warming Northern California sky, the final day of HSB9 opened with the Darrell Scott Band. Having arrived well early, I was able to find a small spot amongst the mammoth and largely abandoned tarps covering the front of the stage area. With Casey, Tim, Bryn and Matt Flinner, Scott delivered a scorching 6-song, 40-minute set.

“Family Tree” was dusted off for a fine performance. On Paul Simon’s “American Tune” Scott again demonstrated his prowess, alternating powerful and rhythmic strumming with carefully chosen, flat-picked notes. A song I don’t remember having previously heard, maybe called “Long Wide Open Road,” featured a great, star-crossed line- “While I was looking for forever, she was looking for the door.”

Flinner did some nice work low on the fret board during “A Memory Like Mine;” the song had a real jam feel with everyone taking the opportunity for extended breaks, Driessen most impressively working the low register. The too-short set concluded with “Long Time Gone.” Time well spent.

Hazel Dickens, truly supported by a cast of trusted sidemen, was who I really wanted to see on this day, and that is no knock against Doc. But Hazel Dickens just makes my bluegrass engine purr. I love her voice, and even knowing the voice isn’t what it once was, it doesn’t hardly matter. She can flat out sing.

Called the Heart and Soul of the festival by its benefactor Warren Hellman, Hazel struggled a bit to find her voice on “Things in Life”, but rounded into form by the time she concluded “Aragon Mill.” “Mannington Mine” was performed, as was the similarly themed “America’s Poor.” (And I tripped over a wee bit on the ‘net that mentions these songs and puts Hellman’s contributions to the festival in a less positive context: http://www.beyondchron.org/news/index.php?itemid=2528)

To ‘appease’ Dudley Connell, Hazel allowed him to sing the Stanley Brothers song “Lonesome Without You.” “Jack and May” had Dudley singing with Hazel, and Marshall Wilborn adding additional harmony. “Mama’s Hand,” “Love Me or Leave Me Alone,” and “Here Today, Gone Tomorrow” were also performed.

Hazel also delivered the line of the weekend when she deadpanned- “I smell pot- someone’s smoking. Shame on you.” A few beats later adding, “You got to pass that around!”

When one considers the esteem in which Hazel Dickens is most obviously held at HSB, and judging from the size of her attentive audience it is considerable, it is hard to fathom why she has yet been made a member of the IBMA Hall of Fame. (Yes, I’ve flogged this old horse before, but I will continue to do so until there is some evidence of someone listening.) Could it be that this collection of liberal, wheat-germ eating, pot smokin’ hippy wannabes and their brethren of the Bay Area are more attuned to the musical contributions made by Hazel Dickens than are those who make such decisions on behalf of the bluegrass industry? I exaggerate, of course, but Hazel remains on the outside looking in at her industry’s highest honour while year after year the male (and largely dead) are recognized. All deserving, I’m sure- but really, there is no rush to get some of these names on the wall as their time has (literally) passed.

She has been a groundbreaking bluegrass performer for nigh on fifty years, and with each year that passes we (the bluegrass community) miss an opportunity to bestow upon her the honour she deserves. Her performance at HSB9 gave ample evidence that she remains a vital component of today’s bluegrass scene. Hazel didn’t perform a dozen or more songs I would have loved to have heard, but what she did perform was stellar, even when it wasn’t.

Also appearing with Hazel was Barry Mittenhoff (mandolin), a fiddler I could not recognize, and a banjo player who may have been Jason Burleson, but more likely was someone else.

Finally, my last act at HSB9 was to be Doc Watson, appearing with David Holt. Their three-disc set of interviews and performances is an absolute favourite; while I would have preferred to hear Doc with Jack Lawrence, I wasn’t about to pass up to here Doc and Holt’s homespun music.

The chosen set wasn’t nearly adventurous- “Way Downtown,” “Shady Grove,” “Whiskey Before Breakfast,” and “Stagger Lee” being the first four tunes played. But Doc gave a finger-pickin’ clinic, and Holt’s clawhammer-style of playing does complement Doc well. I was glad to hear Doc perform “Deep River Blues” before I had to leave the park to catch the plane. As I turned away from the stage area, Richard Watson was joining the duo in “Roll On Buddy.”

If considering a weekend away for roots music, one could do worse than giving Hardly Strictly Bluegrass 10 a spin next autumn. I was only able to catch a fraction of the acts I would have loved to hear- heck, I had to pass up The Knitters, Billy Bragg, Rosie Flores, Todd Snider, Del McCoury, and Emmylou Harris, not to mention Booker T and the DBTs, Richie Havens, Billy Joe Shaver, Elizabeth Cook, Robert Earl Keen…

The hard part will be to not allow this festival to overshadow all which follow.

Thanks for spending some time at Fervor Coulee. Donald

Great to see my lil’ ol’ indie CD hanging in there w/ John Fogerty, Guy Clark, Steve Earle, Wilco, Levon Helm, Delbert McClinton, Patty Loveless, Robert Earl Keen etc! With a whole host of new CD’s by major artists about to be released, I’m not sure how much longer I’ll be able to stay on the chart, but the fact that I even got there at all and stayed there this long is a major accomplishment.

Roger McGuinn of The Byrds continues to be a voice in my corner. Just this week, he posted on his twitter: RogerMcGuinn: Listening to Angela Easterling “American ID” as we head across Kansas into the sun. Great traveling music!

The Spartanburg Herald Journal ran an article about me yesterday. Here’s a link to an online version: http://www.goupstate.com/article/20090930/ARTICLES/909309961/1097/ENTERTAINMENT?Title=Upstate-native-Easterling-to-perform-Sunday-at-Sonny-s

I got a GREAT review in the music blog Country California – you must read this! http://www.countrycalifornia.com/blacktop-road-angela-easterling/

Also, I was featured this month in Talk Magazine’s annual “25 Most Beautiful Women in Greenville” edition. You can look at some of my photos and read about me here: http://talkgreenville.com/apps/pbcs.dll/gallerySite=BS&Date=20091001&Category=TALK01&ArtNo=910010801&Ref=PH&Params=Itemnr=66

Make sure you visit the official Angela Easterling website CLICK HERE