RIGHT: FATE'S RIGHT HAND/Rodney Crowell

Couldn't resist. Or at least I think I couldn't, but maybe not. Fate. Kismet. Call it what you will, it's all pre-destined, yeah? Maybe.

In keeping with my last posting, I thought I would again follow on the dextrous direction that began with red and was followed by the devil. In truth, I am not sure of what fate's right hand, or indeed left, might mean, or how they may differ, unless the former is the butter side up, the latter, butter side down. Indeed, is luck the same as fate? Is fate the same as luck? I am uncertain whether this metaphysical troubled Rodney Crowell much when writing the song. It just sorta sounds good, the lyric then being one of those stream of consciousness lists like Reasons to be Cheerful (right hand) or We Didn't Start the Fire (left hand), the words as important for their order and sound as their meaning, yet entirely also dependent thereupon. Clever, if confusing.

Rodney Crowell feels to have been around forever in my musical lifetime, first as the callow youth alongside Emmylou Harris in her Hot Band, writing the knock-out (and album stand-out) side one closer, Till' I Gain Control Again, on Elite Hotel. That was back in 1975, and he has kept on keeping on. Marrying into country royalty, becoming husband to Roseanne, daughter of Johnny, Cash in 1979, until 1992, will have done no harm either, but he was already successfully penning material for a range of significant other artists, including Bob Seger, as well as a roster of more typical country performers. Having had limited success with his solo records, he effectively put his career on hold to helm her own, writing much of the material and producing. In the 80's he hit his own paydirt, with a run of records that cemented his reputation. 1988's Diamonds and Dirt managed 5 (country) number ones alone. Here's one of 'em.

However, for me it is his later trio of recordings, starting with The Houston Kid, in 2001, that hold the strongest appeal. Biographical in style, I strongly commend these three, with Fate's Right Hand, containing the eponymous song of this piece, and The Outsider making up the triad, now commonly referred to as the Houston trilogy. This period of his life also produced his book, the commendable and likewise autobiographical Chinaberry Sidewalks: a Memoir, covering the same somewhat tumultuous childhood as do the songs. Wonderful stuff. Here's a song:

Into the last decade he has again teamed up with Emmylou Harris, producing a brace of duet albums and going on tour with her, still managing other output as well. This years Close Ties reveals him now to be an elder statesman, performing alongside ex-wife Cash and Sheryl Crow, amongst others. I have seen him twice within the last five years, once with Emmylou, and once as a featured singer with the celebrated Transatlantic Sessions, the show that brings together the best of scots/irish with american musicians, held every year over here in the UK. On both occasions he shone, the grittier counterpoint to Emmylou at the one, and an altogether americana tour de force at the other.

A final word, lest all this talk of country be off-putting. This isn't and never has been any saccharine "& western": his genre has always been in those slightly rougher roadhouses, where rockabilly meets western swing, leaving always room for a weeping steel barroom ballad, ahead of another rousing rocker. I'd like to shake his hand. Right hand.

Choose Rodney!

Shutdown: Allentown

Billy Joel: Allentown [purchase]

My second post for Star Maker Machine, back in 2008, was about the difference between a protest song and a political song. The song then was Deportees, by Woody Guthrie. Like Deportees, Billy Joel’s Allentown is a political song. It attempts to persuade by humanizing a situation and thereby eliciting our sympathies. In this case, the issue was the plight of the steel industry in the United States in the early 1980s. This was the first appearance of what is now the trend called outsourcing. Joel in his lyrics cites the fact that the coal to fire the steel mills of Pennsylvania was becoming harder to find and mine, but it is also true that steel companies were starting to find that they could produce steel more cheaply overseas.

Joel takes for his narrator a generation of workers without work in Allentown Pennsylvania. Because this is a Billy Joel song, his sentimental streak shows up in his idealized depiction of how the generation before the current one lived. Joel contrasts this with the shattered hopes and dreams of the unemployed steel workers at that time. They not only haven’t achieved their own dreams, they also haven’t lived up to the hopes their parents had for them. Joel doesn’t assign blame for this, but he leaves us with the feeling that, whoever’s fault this is, it is not the hard working people of Allentown.

The video also attempts to be socially relevant, but the results are mixed. It begins well enough, although the impact is somewhat blunted by the stylized way the humanity of these unemployed steel workers is depicted. But the year was 1982, and when the song reaches the bridge, all of a sudden we start seeing these dancers doing eighties music video moves. At one point, they appear to be worshiping an American flag made out of Christmas lights. Huh? The dance sequences, in short, are best ignored. Billy Joel was, in 1982, a commercial songwriter and musician, but this song shows that something bigger than himself had moved him. The video shows that his label approved, but didn’t completely understand this.

Summertime / New York: Summer, Highland Falls

Billy Joel: Summer, Highland Falls

[purchase]

Halfway between Yonkers and Poughkeepsie, just an hour from the bustling crowds of New York City, the Hudson narrows to a narrow ribbon. And there on the river's west side lies the small town of Highland Falls, gateway to the West Point area and points north. It's a quiet hamlet, practically a pass-through, known for little save as the origin of actor Charles Durning, and only recognizable to most folks outside the region as a setting for this Billy Joel song, written about his summer there in the mid-seventies, and the fleeting sentiment that plagues the tiny towns and the peak-and-valley moments of our lives and hearts.

Today, it serves as another pass-through blip on the radar, as we transition from our Summertime theme to a week of songs framed around the various hamlets, cities, towns and landmarks of New York State.

Early: The Late Edition

Unlike some of my fellow Star Makers, I do not have a collection of rarities to draw upon. So I have had to approach this theme differently. But just as rarities have their stories, so, sometimes, do first albums. Before we leave our early theme, let’s hear some of those stories.

Michelle Shocked: (Don‘t You Mess Around With) My Little Sister

[purchase]

Michelle Shocked made her recording debut, quite by accident, in 1987. She never knew she was making an album until she heard that, not only had it been released, but it was charting in England. The album was The Texas Campfire Tapes. Shocked attended the Kerrville folk festival in 1986. She brought her guitar, and was singing and playing for her own pleasure when she was overheard by a producer named Pete Lawrence. Lawrence asked Shocked if he could record her, and made a tape of 21 songs with Shocked’s comments. Given that the recording was made on a cheap cassette recorder, (with low batteries, it turned out!), Shocked had no reason to think the tape would ever be released.

But Lawrence chose a sampling of the songs, left out all of the comments, made up his own titles to songs he didn’t know the names of, and released the album without Shocked’s consent. Eventually, Shocked gained possession of the tapes. And in 2003, she released the full recording, with the sound adjusted to compensate for the low batteries, and with all of her comments restored, as The Texas Campfire Takes.

One song included in both versions was (Don’t You Mess Around With) My Little Sister. If you are familiar with Shocked’s career, you may know the full band version she recorded on the album Captain Swing.

Billy Joel: Falling of the Rain

[purchase]

Billy Joel made his debut as a solo artist with Cold Spring Harbor in 1971. He had previously been in two unsuccessful bands, The Hassles and Atilla. His bad luck would continue a little longer. There was a mistake in the mixing of Cold Spring Harbor. It was released at the wrong pitch, giving Joel’s voice a high whiny sound. The album was the first of a ten album contract with Family Records. Family owner Artie Ripp, (who I hasten to add is no relative of mine), owned the master tapes. Cold Spring Harbor, as originally released, went out of print fairly quickly, and remained that way for many years as Joel’s popularity grew. Finally, in 1983, Joel’s contract with family was running out. Ripp decided to capitalize by releasing a remastered version of Cold Spring Harbor. Ripp stripped out the original orchestration and added synthesizer and drum machine parts to “give the album a more up to date feel”. This was done without Joel’s consent, and is the version of Cold Spring Harbor that we have today. Despite this, the songs are worth hearing. The album features the original recording of She’s Got a Way, as well as Falling of the Rain and several others that are as good as anything Joel ever wrote.

Jane Siberry: The Mystery at Ogwen‘s Farm

[purchase]

Jane Siberry is a Canadian artist. Far too many worthy Canadian artists never have there work released here in the United States. Others have their work released here, but without real marketing support. Siberry was luckier than most. Her self titled debut, which includes The Mystery at Ogwen’s Farm, was originally released only in Canada. She debuted in the United States with her second album, which established her here as an artist with a “cult following”. And her third album cemented this status. Her American label decided that that was enough to justify releasing her Canadian debut here, and I for one snapped it up immediately.

The debut is different from anything else of hers that I have heard. It is mostly acoustic, and has an innocence and simplicity to it that I find quite refreshing. Where her later work would often make my jaw drop in amazement, this one always makes me smile. And sometimes, that is all that is needed.

Fifty States: New York

Billy Joel: New York State Of Mind

[purchase]


I never dreamed my birth state wouldn't be chosen by now, so I'm glad to have at it. This song is definitely an easy choice, but I won't let that stop me.

Billy Joel started playing in Long Island cover bands in 1965, he went solo in 1971. Captain Jack was his first song that caused a buzz, 1972's Piano Man was his break out number. I was a fan all the way to 52nd Street, which I feel is a much overlooked album. New Wave hit and in an attempt to jump on the bandwagon, Joel released Glass Houses - this is where I got off the boat. After that, I feel Joel focused on commercially oriented albums to make money. There's nothing wrong with getting paid, but if at an artistic cost, the music loses conviction. We'll always have his back catalog to listen to, so all is not lost.

Some folks like to get away
Take a holiday from the neighborhood
Hop a flight to Miami Beach
Or to Hollywood
But I'm taking a Greyhound
On the Hudson River Line
I'm in a New York state of mind