Mythology and Folklore: Casey Jones

Grateful Dead: Casey Jones
Pete Seeger: Casey Jones
[purchase Grateful Dead version]
[purchase Pete Seeger version]

Earlier this week J.David posted about the railroad, and here is yet another perspective on what was once a great American institution.

I’ve been reading a lot of “Westerns” recently on my Palm Tungsten. Yes, I reject the iPad/Kindle because of the in-built DRM and prefer to  download my DRM-free books from manybooks.net. Whatever. My latest read has been “The Taming of Red Butte Western” by Francis Lynde, but I am now on yet another of his works. IMDB says that Lynde was also the writer behind the film “Across the Burning Trestle” (which I know little about, but the title clearly fits the subject).

The Francis Lynde books I mention revolve around characters involved with the train companies in the US ca 1900. This is the material of legends such as Casey Jones.

Legends, Myths, Folklore: the lines that separate them are somewhat blurred: all are stories about things that may or may not have been. The popularity of the TV show “Myth Busters” certainly doesn’t help to clarify the distinction: the show seems to get us thinking that a myth is likely incorrect.

While there truly appears to have been a railroad engineer named Casey Jones, the details we are left with are a mix of Folklore, Myth and Legend. This Wikipedia link provides the basics, but it is the music that should concern us most here. Briefly: Casey Jones was the engineer of a fateful train-wreck in which he died while saving the lives of his passengers.

Mississippi John Hurt, Pete Seeger and The Grateful Dead are our main musical references for this song. The first two follow the traditional path: that of the folk song. The Grateful Dead veer away from the classical folk version to create their own song which has begat its own tradition (linking Jones’ penchant for driving fast with the “speed” of the late 60s and 70s). Pete Seeger’s version has the facts all mixed up, but it sticks to the popular version. He’s got Jones way out West in Reno whereas he worked the tracks back East and died in Tennessee.

 

 

 

Mythology and Folklore: Werewolves of London

Warren Zevon: Werewolves of London

[purchase Warren Zevon: Excitable Boy]

This week’s theme got me immediately thinking about unicorns, magic dragons, banshee, leprechauns and even the Japanese tengu (long-nosed goblins). Then I pondered the songs written about Greek Gods and Goddesses such as Venus, Athena, Aphrodite and Zeus. Finally, my mind flew back to a memory of how I celebrated Halloween this year – watching the classic 1941 horror flick “The Wolf Man” starring Claude Rains, Evelyn Ankers, Béla Lugosi, and Lon Chaney, Jr. as the big hairy and scary guy. It seems that Chaney’s portrayal of this mythological creature (or is it?) greatly influenced future Hollywood depictions of the legend.

Throughout the film, we hear villagers recite this poem whenever the subject of werewolves comes up:

Even a man who is pure in heart,
And says his prayers by night,
May become a wolf when the wolfbane blooms,
And the autumn moon is bright.

Not based in legend, these lines were the screenwriter’s invention. We hear them in several other classic werewolf films of yesteryear although later films change the last line to "And the moon is full and bright” to cultivate the idea that a werewolf is transformed under a full moon. That’s often how stories of folklore evolve and are embellished over the years. 1941’s “The Wolf Man” was the second Universal Pictures werewolf movie, preceded six years earlier by a less commercially successful “Werewolf of London.”

I can’t help but wonder if Warren Zevon might’ve watched one of these movies before writing one of his best known songs, “Werewolves of London.” As you’ll hear him sing in the last verse:

I saw Lon Chaney, Jr. walking with the Queen,
Doing the Werewolves of London.
I saw a werewolf drinking a pina colada at Trader Vic's,
And his hair was perfect.

Zevon began as a session musician backing artists like The Everly Brothers and Manfred Mann. His solo career took off with his second album, Warren Zevon, featuring collaborations with Jackson Browne. Zevon is best known for "Werewolves of London," "Lawyers, Guns and Money," "Roland the Headless Thompson Gunner," and "Johnny Strikes Up The Band," all on his third album, Excitable Boy, released in 1978. The title tune was about a juvenile sociopath's murderous prom night. As Zevon played piano and sang, “Werewolves of London" also featured Waddy Wachtel (guitar), Mick Fleetwood (drums) and John McVie (bass). The successful song was paradoxical with Zevon’s signature lighthearted wry humor and macabre outlook.

Diagnosed with cancer in 2002, Warren Zevon died at age 56 at his Los Angeles home on September 7, 2003. With a great big “Aaooooooo!,” let’s remember and pay tribute to this rock and roller for his great material and contributions to music.

Mythology and Folklore: The Day John Henry Died

[purchase the Drive-By Truckers’ version with Jason Isbell on lead]
[purchase Jason Isbell’s live album being released on November 19, 2012, even though this song isn’t on it]

The story of John Henry is probably one of the most popular American folktales, and it has been the subject of many books and songs. I have 41 John Henry related songs on my iPod, and that just scratches the surface (and some of the recordings also are old enough that they have scratched surfaces). One of my kids’ favorite books when they were younger was a version of the story by Julius Lester and illustrated by one of the best, Westchester resident Jerry Pinkney, which everyone with children should own. [purchase]

In short, the story tells of an African-American “steel-driving” man who defeats a steam drill in a contest to dig a railroad tunnel. He beats the machine, but dies from his exertion. For way more background on the story, including a discussion of its factual basis, check out this website created by four grad students at the University of North Carolina: [John Henry The Steel Driving Man]

The issues raised by this song—the effects of industrialization on human workers—have been struggled over by humanity for a very long time. The Luddites of the 19th century gave a name to the view that technology was generally negative, and the labor movement has also agonized over the balance between allowing technology to advance and the fact that it often puts workers out of work. I recently engaged in a debate on Facebook about whether the self-scanners at our new Stop & Shop were good or bad because they put cashiers out of work, on one hand, but created jobs for security workers and manufacturers, installers and maintenance workers for the new machines. I don’t know, and I doubt there can ever be an “answer.”

Jason Isbell’s song, “The Day John Henry Died,” is an updated version that was originally recorded when he was still with the Drive-By Truckers. Although it gives an outline of the tale, it isn’t a direct narrative like so many of the versions I have heard. And at the end, there is a reference to sleeping on an airplane, which seems to indicate that Isbell thinks that the issues raised by the John Henry story continue to exist today. In his commentary on the Truckers’ website, he notes that he “was always intrigued by the fact that John beat the steam engine, but didn't live to enjoy his victory.” And in the live version in the video posted above, he says that the song is about “winnin’ the battle but losing the war.”

Elected Officials: Hollow Man

Mark Erelli: Hollow Man

[purchase]

Chuck E Costa: Hollow Man (Mark Erelli cover)

[purchase]

I grew up in a house where it was common practice not to speak of politics, and especially not of politicians; as an adult, I continue this practice, registering as an independent and preferring to keep my vote private from everyone, even my own spouse, no matter how many times my inner-city students might dismiss such machinations as an attempt to hide what they suppose to be a natural affinity for the white man's party.

But the political process, and the way it plays itself out, has a public immediacy for me nonetheless. For one thing, I am an elected official myself, mid-way through a second three-year term on the local School Board, which is no small practice in a small rural town where the schools consume roughly half of the town budget, and where the five elected board members have to negotiate carefully with town selectmen and finance committee to be able to afford basic services while preserving as much as we can of the ever-shrinking pool of electives and extra-curriculars which townspeople desperately want but will not pay for. And in my day job as a media teacher, I have long used the study of politics and media as a mechanism to illuminate the ways that living in a show business world obfuscates and denigrates the potential for genuine public discourse.

In the last two weeks alone, I have appeared in a televised meeting wearing a jacket and tie and talking policy and procedure, taught political cartoons, debates-as-genre, and the archetype of the presidential in modern society to my tenth graders, and spent two full days at a conference discussing new laws and regulations which will affect the students in my classroom and my district. For this, I get paid a pittance in one venue, and not a dime in the other, and in all cases, find myself most often booed for my efforts - even when I do good, and do it well.

And so, even with the election over, I find frustrating familiarity in Mark Erelli's 1999 political screed, which too-easily compares the elected official to a pumpkin-headed scarecrow. For even as my media mind knows that there is no small occasional truth in the stuffed-shirt empty-mind party politician which Erelli portrays, the public servant in me - unpaid, unloved, unfairly scapegoated, and too-often lonely in the act of trying to do the best thing with the meager resources the town grudgingly votes for us to apply each year - knows that to paint this image with such a broad and common brush is dangerous twice over: first, in the way it unfairly releases the citizen from the lion's share of responsibility for this sad state of affairs, and second, in that the common and casual pass-along of this sometimes-truth as a generalization taints even the best politicians and public servants with suspicion, making it that much harder for the democratic process to work in even the best of times, with the best of officials.

Don't get me wrong: it's a good song, and Erelli is a great artist, and a helluva nice guy; Connecticut State Troubadour Chuck E Costa, who is an equally sweet guy in person, does a solid cover, too. But while such sentiment sounds good on paper, and riles up the crowd, those of us who straddle the inside and the outside of the electoral process know that it is too easy, too cheap, to make generalizations like this outside of the three minute folkpop song.

And so I offer my insider's view as a sort of temperance, in hopes that the political songs never fade, but that the political minds never, ever stop there, either. We get what we deserve, if we do not learn how to effectively demand and receive better. And so ends today's civics lesson, for better or worse.

Elected Officials: You Got Away With It

Todd Snider: You Got Away With It
[purchase]

WARNING—VITRIOL AHEAD:

I wasn’t fast enough to make this a transitional post from “Disasters” to “Elected Officials,” which I wanted to do, because I do believe that George W. Bush, the subject of this song, was a disaster. In my opinion, his regime was responsible for hugely inflating the deficit by fighting two wars, one of which was based on completely phony intelligence, while cutting taxes to mostly benefit wealthy people, by being complicit in the outing of an undercover agent, encouraging the politics of greed, appointing right wing Supreme Court justices, using 9/11 as a pretext to curtail civil liberties (which admittedly hasn’t been fixed by President Obama), discouraging marriage equality, leading the country to the precipice of economic ruin, instituting policies that were damaging to the environment, mishandling the Katrina response and worst of all, in the big picture, contributing to the increasing rejection of fact–based decisionmaking and the mocking of the “reality based community” in favor of perpetuating a series of “Big Lies.”

For starters.

Even Richard Nixon, who was a crook and liar, and made a mockery of the office of the President, supported the Equal Rights Amendment, reopened diplomatic relations with China, established the EPA, supported the Clean Air Act and OSHA, signed Title IX into law and ended the draft. I feel like taking a shower now, after writing this paragraph, but I have trouble thinking of any positives from G.W. Bush.

I’ve always had the impression that Bush was a spoiled, feckless frat boy, who muddled through an undistinguished career at Andover and Yale, and then in business and politics, mostly riding his father’s coat tails. As best as I can tell, he avoided service in Vietnam by using family connections to get into the National Guard, and then rarely, if ever, performed his duty. Despite his personal cowardice, as President he had no compunctions about sending other people to die based on false information, and he only criticized the attempts by the swift boaters to disparage John Kerry, an actual war hero, after the advertisements stopped running. And, to make matters worse, he once pulled down the goal posts at Princeton after a Yale victory. His popularity among Republicans is so great that he was invisible during the Republican convention and the campaign. As if even they were embarrassed by him (as they should be).

Clearly, Todd Snider’s opinion of Dubya is at least as low as mine, if not lower. Initially, the song, which is in the form of a message from one frat brother to another. The narrator recounts a number of incidents of wrongdoing, and remarks that his subject regularly got away with it. The song does not make it clear who it is about, until the last verse:

You never did tell me what happened with you and your brother down there in Florida
I heard they gave you a hell of a time
Everybody around here was afraid you might lose
I told them not to worry cause I knew you'd be fine
Had me out here to Camp David a few times over the years
I think the first time we were teenagers sneakin' beers
Look at you now you old son of a bitch
You got the run of this place
Unbelievable

And then, all is clear.

Elected Officials: Grandpa Was A Carpenter

John Prine: YouTube version of Grandpa Was A Carpenter
John Prine: [download it @ Amazon]

A few weeks back, we were looking at Leonard Cohen, and most of our posts noted how dismal we felt when we listened to his music. In addition to Tom Waits, the third musician I would categorize as representative of “bleak” would be John Prine, but for reasons I cannot explain, I much prefer Prine’s negative outlook to that of the other two. Several of his songs deal with political issues of the day: the Vietnam war comes to mind.

It must be Prine's way with his lyrics that attracts me. In "Grandpa Was A Carpenter", Prine gets me thinking about the pendulum effect: over time, parties, individuals and corporation find themselves faced with the need to adjust their stance, and end up swinging away from their extreme positions. This need for realignment is what the Republican party seems to be debating in the wake of their defeat this week.

Grandpa Was A Carpenter includes in the lyrics, references to Presidents Eisenhower and Lincoln as candidates of the Republican party: “… [grandpa] voted for Eisenhower ‘cause Lincoln won the war…”

Now, it is hard to picture fully the mentality of the populace in either of these times: just what did the Republican party represent to voters then? Could it be that even with 100 years separating these two candidates, the GOP stood for the exact same set of values?

There are several versions of John Prine playing the song at YouTube, but I chose this one because of the treble: I like my music crisp, and even if the sound quality of this version fades in places, you’ll have to admit that the  guitars are “sharp”.

Elected Officials: We've Got Franklin D. Roosevelt Back Again

Norman and Nancy Blake: We've Got Franklin D. Roosevelt Back Again

[purchase New Lost City Ramblers: Songs from the Depression]

I always breathe a big sigh of relief when Election Day is over, even if all of my candidates didn’t win. KKafa offered up a song commemorating FDR’s 1936 visit to Trinidad. That got me thinking about a song recorded by Billy Cox one week after the election in that same year. “We've Got Franklin D. Roosevelt Back Again” was also recorded by the New Lost City Ramblers on their “Songs from the Depression” album. On there, it’s titled “Franklin Roosevelt's Back Again.”

For this exercise, I’m linking to an old video from a Norman and Nancy Blake concert. I don’t know if they ever put this song out on an LP or CD. If you like the music of Norman and Nancy, here’s even another song they wrote and sang with a political message called “Don’t Be Afraid of the NeoCons.”

Elected Officials: FDR in Trinidad

YouTube link to FDR in Trinidad (Attila the Hun)
YouTube link to FDR in Trinidad (Ry Cooder)
Amazon link to purchase Ry Cooder version from Into the Purple Valley

I was wondering why some of our elected officials end up being well-remembered by their initials. You don’t have to be a great historian to know who JFK, LBJ or FDR are, but no one knows Lincoln (arguably equally well-known) as AL. You may well know Bush senior as George H.W. Bush, but you’d be among the elite who could tell us what both the H and W stand for, I suspect.

Name-“plays” related to my posting this week don’t end there. My choice of song this week is a song originally composed by a Fizt MacLean (and that is not a typo). You would be forgiven for wanting to go searching for a “Fritz”. In fact, there is a YouTube take of the great musicologist Ry Cooder getting the name wrong just before he performs one of MacLean’s songs with David Lindley. [after the fact edit: it wasnt Ry with D Lindley and it wasnt Fizt Maclean: It was "Fizz" Fuller and Jackson Browne with David Lindley, but the FDR info appears to remain correct. Sorry.]

Ry Cooder performed the first version I ever heard of my choice of song this week on “Into the Purple Valley”, and other sources indicate that, among others, Van Dyke Parks has also done the song. However, Attila the Hun (nee Raymond Quevedo), calypso musician from Trinidad, first popularized the song in order to commemorate FDR’s 1936 visit to Trinidad. Wikipedia tells us that Attila the Hun championed the poor and eventually made it into politics in Trinadad. It isn’t too hard to see from the lyrics of the song why Quevedo might have latched on: (for the suffering humanity) and attention from the foremost republic espousing it (to make the world safe for democracy).

Elected Officials : Vote For Me

The Move: Vote For Me

[Purchase]

Bad officials are the ones elected by good citizens who do not vote. 

 George Jean Nathan

It would have been punk for The Move to have released "Vote For Me" in 1967, the year it was recorded. The band had just been sued for libel by Prime Minister Harold Wilson for producing a cartoon showing Wilson in bed with his secretary in a promotional postcard for their hit single "Flowers In The Rain". 

                               Prime Minister Harold Wilson

    The band lost in court. Badly. Every penny they made off the UK #2 single went to the charities of Mr. Wilson's choice. The band probably lost millions of pounds. 

      Again it was 1967. Not 1977. So in a manner that could hardly be considered punk, The Move shelved this delightfully edgy pop tune until it appeared on a compilation in 1997.

Elected Officials: Bread Line Blues

Bernard “Slim” Smith : Breadline Blues (1932)

Del McCoury Band with Mac Wiseman, Tim O'Brien, Gillian Welch and David Rawlings: Breadline Blues (2008)

[purchase Various Artists: Hard Times Come Again No More ]

[purchase New Lost City Ramblers: Songs from the Depression ]

[purchase Del McCoury Band: Moneyland ]

The Del McCoury Band released their 2008 “Moneyland” album with only one intention in mind – to send a clear message to Washington’s politicians. “Over the last couple of decades, you have turned Rural America into a scene of devastation which can best be described as 'Forgotten America.' Not only do we believe it 'un-American' for Washington to be blind to the problems of small towns and rural America, we believe it immoral ... and there are an ever-growing number of us out here who are ready to stand up against this corrupt neglect of our culture and people."

McCoury’s album opens with an excerpt from one of Franklin D. Roosevelt’s Depression-era fireside chats espousing a "broader definition of liberty" that allows more freedom and security for the average man than ever known before. Then, the advice in Bernard "Slim" Smith's 1932 rendition of "Bread Line Blues" is to “Vote away those blues, the bread line blues.” It’s great advice, and we have until next Tuesday to have our say on which direction we take for the next four years.

Think about what it was like in the 1920s and 30s. Following the 20s’ economic boom, our country experienced the Great Depression. As many rural Americans hadn’t exactly prospered during the boom years, they’d been hit with a double whammy. In this day and age a century later, it’s fun to relate to those songs recorded before and after the 1929 market crash. In many cases, their messages are still relevant. You certainly don’t need to wear a size-8 hat to understand straightforward lyrics like:

The mule said, “Elephant, it ain’t no joke.
We gotta do somethin' or we're all gonna croak.”
Ain’t got nothin' but a car load of tax,
And the doggone load is just breakin’ our backs.
We got the blues, the bread line blues.

Songs like “Bread Line Blues” don’t deserve to be relegated to historical musical archives full of wax and cylinders. That’s exactly why groups like the New Lost City Ramblers and Del McCoury Band have recorded this kind of material in more recent times. McCoury’s 2008 remake also featured Mac Wiseman, Tim O'Brien, Gillian Welch and David Rawlings along with additional lyrics.

After listening to the newer remake of "Breadline Blues 2008," we’re still left wondering about various moral dilemmas and whether there are any clear-cut answers. Some folks despair and remain pessimistic, but I’d just say that songs like “Bread Line Blues” are a call to action. Tongue-in-cheek social commentary of "Bread Line Blues" between the long-eared mule and the big-mouthed elephant is still relevant today. The message to all politicians is clarion. Start talking, collaborating, compromising and working on our Nation’s problems. Whether you’re "red" or "blue," think about the current state of all Americans, their communities, and their livelihoods. We need more than corn that’s “all cob.” FDR was optimistic, and we should be too. Still timely today, FDR's advice was to overcome our arduous burdens and economic calamities by retaining our faith in our ability to master our own destiny.

As politicians tout their respective visions for America, most of us just want a small piece of opportunity to achieve the American dream. By getting to the ballot box, you’ll help the country determine the way ahead. As the original "Bread Line Blues" stated so profoundly eighty years ago, "And when you place your vote / Please don't vote wrong / Vote away those blues / The bread line blues." Moreover, when the general election is all over and done with, I look forward to that time again when we can “all have fun and better home brew.”

Disasters: It’s The End of the World as We Know It (And I Feel Fine)

Link removed at the request of the copyright owner.

I’m sitting here in my house in suburban New York, unable to get to work because the trains aren’t running. It’s raining and windy and I’m watching the President of the United States addressing emergency issues sharing a split screen with a video of churning waves. So far, things are OK here, but it is early in what is supposed to be a massive, long lasting and dangerous storm. I’m working remotely today, but am taking a break to post.

“Disasters” is a good theme for this week. The media and government officials have been talking about the potential dire effects of this storm for days, and in our current environment, if they are right, no one will give anyone credit, and if they overstated the risk, they will be mocked, and the next time, more people will ignore the warnings and put themselves in danger. This morning, I saw a report on the news about people who have ignored “mandatory evacuation orders.” Then, I guess, it really wasn’t mandatory, was it?

I had a bunch of different ideas for this week, from natural disasters—floods, hurricanes, cyclones, to man-made disasters—wars, famine, genocide, to alien and zombie attacks. But, when you come down to it, there is no bigger disaster than the end of the world, as we know it. I’ve been posting here for almost a year without repeating artists, and I did post an R.E.M. cover of Leonard Cohen a couple of weeks ago. But I’m going to argue that the Cohen cover was a “bonus” song, and not the focus of the previous post, so this isn’t a repeat. (As Marshall Eriksen, of How I Met Your Mother would say, “Lawyered!!”)

This is a great song, although the lyrics, in typical R.E.M. style, are difficult to make sense of. But the brilliance of R.E.M., especially in their early-middle periods, was that they were able to convey a mood or emotion without lyrics that were easily understood. Even the lyrics sites on the Internet don’t agree on all of them. I have a vague recollection of seeing this performed on TV once, and Michael Stipe needed to have a music stand with the lyrics available to him, presumably because there are just so damn many of them.

In the summer of 1988, my then-fiancée and her cousin Hilary were driving up to Connecticut to prepare for our wedding. The temperatures in the northeast that week approached those on the surface of Venus, and they drove together, listening to music and singing, including “End of the World,” which was still a pretty new song. Hilary, who was the maid of honor, cleverly worked the song into her toast at the wedding. So, despite the dire message, the song has some very happy connotations to me.

The wind is picking up, and I’m keeping my fingers crossed. I feel fine.

Disasters: Money For Floods

Richard Shindell: Money For Floods

[purchase]

We're About 9: Money For Floods (Richard Shindell cover)

[purchase]

Sandy is barreling down upon us here in the upper East Coast, and our home is quite rural, with a fragile power grid presence; as such, I may not have much time before the lights go out. But after a major post on songs that use the metaphor of the storm over at Cover Lay Down yesterday, I find myself left with a long list of "other" disaster songs just waiting to be shared. And a quick dip into the archives reveals one of my favorites has never been posted here, though its emotional potency easily rivals the more than a dozen songs we've previously shared from its creator.

Richard Shindell's original version of Money For Floods, recorded and released in 1997 on Reunion Hill, may be couched in the floodwaters, but it isn't so much a natural disaster song as it is a rich, layered tale of poverty and underclass desperation, really - a nuanced complaint about how the obvious and media-ready environmental disaster brings a kind of politicized attention to its victims that others desperately need in their daily lives, but never seem to garner. The fluid bass and guitar run through it like the river of its lyrics, smothering the voice of its narrator as she drowns; the combined effect of instrumentation, arrangement, and narrative is powerful, indeed, and it demonstrates aptly just why we post Shindell's work so much here at SMM.

But We're About 9's a capella take is stark and eerie, stripping away that river, and replacing it with the echoing silences of the deserted soul. Its hopelessness and exhaustion may be framed differently, but they are no less real.

And so I pass along Shindell's sentiment in both forms, as a reminder to us all: disaster comes in all types, to all people; those that watch silently when the trucks pass by their houses are no less needy, and no less ours. May those who weather the storm find community and support, in all cases. And may we remember them, when the storm has passed.

Disasters: They Were Not Alone

GuyMon & McCann : They Were Not Alone

On January 2, 2006, an explosion shook the Sago Mine in West Virginia. Thirteen men were trapped. This song is a tribute to the men who perished in that disaster. The credits at the end of the video indicate that the song called “They Were Not Alone” was recorded in Nashville in 2006 by GuyMon & McCann. That song and video were just their own personal way of remembering and honoring everyday guys like those 12 West Virginians: Martin Toler Jr., David Lewis, Marshall Winans, Alva Martin Bennett, Jesse Jones, George 'Junior' Hamner, Tom Anderson, Fred Ware, Terry Helms, Jerry Groves, Jim Bennett, and Jackie Weaver. Randy McCloy was the sole survivor.

I was similarly moved by the tragedy and wrote a song called “Pitch Black by the Ton.” If interested, you can read more about it here. That song tells about the events that unfolded in the miners’ final hours. As the oxygen dwindled, foreman Toler’s last words, scratched on a note, were “Tell all. I see them on the other side. It wasn’t bad. I just went to sleep. I love you.” Just letting their families know that they didn’t suffer was a blessing.

Songs like these pay homage to these hardworking, proud men. Toler’s wife kindly wrote to thank me for my song and said, “Although days may be lonely, I have the secure knowledge that I will see him again.” With improved safety measures in the mines, let’s hope this kind of tragic event never happens again.

Disasters: The Night They Drove Old Dixie Down

The Band: The Night They Drove Old Dixie Down (YouTube Video link)
[purchase the '69 album @ Amazon]

How about this saying: One man’s misfortune is another man’s gain. Agree?

I got started on this train of thought (no pun initially intended) on account of my choice for a “Disaster” song. Although my current formal US residence is in the Northwest, I spent a fair amount of time in Greensboro, NC. There, I imbibed a certain amount of Dixie air, where no small number of US citizen fly the Confederate flag to this day. As Robbie Robertson (of The Band) remarked: there is a pain, a sadness there [to this day, about the loss to the North].

Robertson says he had the music in his mind, and from there did extensive research about the events he relates in the song. The South had all but lost the war, and Vergil Caine is telling us about the hardships of re-supplying the Confederate army by train in “the winter of ‘65”. Suffering? Certainly. Disaster? Depends on your point of view. For General Robert E. Lee, despite his defeat, it could have been a lot worse: he is still revered as a great American – curiously, even in the North, despite his “treason”. For countless landholders (and young men) of the South, the war and defeat spelled disaster that has not been forgotten or forgiven to this day.

In this YouTube video, we've got drummer Levon Helm doing the lead vocals. As you ought to know, we lost him to cancer this past spring of 2012. Knowing that he grew up in the South, I can't help but wonder if it didn't play at least some role in the strength and conviction behind his rendition of the song.

Disasters: Trinidad Hurricane

Wilmoth Houdini : Trinidad Hurricane

[Purchase]

 To kick off a week of disaster songs, may I present Wilmoth Houdini,  the Calyspo King of New York, and his "Trinidad Hurricane". The song seems to be recorded in the days surrounding a  big storm's arrival on the Caribbean Island Nation just as we, in Star Maker Machine land, anticipate the onslaught of the US East Coast Frankenstorm "Sandy". While we all hope for the best, there is a certain charm in a calypso song that almost cheerfully recounts the 1933 storm that destroyed hundreds of houses and killed 13 people:
               
      My sympathies to those that are going to eternity

"Trinidad Hurricane" can be found on Roosevelt In Trinidad, a collection of reportorial calypso songs from the 1930's  that includes "FDR in Trinidad", a song famously covered by Ry Cooder and Van Dyke Parks.

Costumes and Masks: Behind the Mask

YouTube version: http://www.youtube.com/watch?v=ehLCvd_I3As

I can’t imagine you don’t know Jose Feliciano. Most famous (perhaps) for  “Rain” (listen to the falling rain…) or maybe to you, for “Light My Fire” (c’mon baby light my fire), he hails from Puerto Rico, sings in Spanish, and (for better or worse), is known for being blind, in addition to his guitar chops.

As for this week’s topic, I would be hard-pressed to come up with another musician with credentials that pushed further beyond the subject of masks: who better to perceive beyond the masks we wear everyday than someone who cannot see those masks anyway?

To get to the point of this week’s postings, “Behind the Mask” is a Feliciano work very much in the Santana style to accompany the (short-lived) 2000 TV production of “Queen of Swords”. One YouTube commentator notes, in response to his affability in acting for the video: he is so easy to work with that he even willingly rides a horse – blind!

As for the mask song, there are both English and Spanish versions available online at YouTube. Regardless of the language, what shines through in each is the unique Feliciano vocal skills: 30 years down the line, this is clearly the same vocal powerhouse that belted out the original versions of “Rain” and “Light My Fire”

And in the lyrics, he sings:

Every one of us hides in his own way

Our ways may not be seen …

Behind the mask … there’s a secret life ….

 

Costumes and Masks: Ole John Bell (The Witch’s Curse)

Valerie Smith with Becky Buller : Ole John Bell (The Witch’s Curse)

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I don’t care a whole lot for witches (except when singing along at the top of my lungs with the Eagles’ “Witchy Woman”). If you believe that “spirits walk beside you, can make you cursed, can make you bleed,” then you may also think that a real witch could curse, haunt and trouble you.

Whenever I see a witch in costume at my door on Halloween, I wonder if they’re real and am reminded of the Bell Witch legend. In a story that documents a terrifying, supernatural event in the 1800s, the Bell Witch ("Kate") haunted a pioneer family, murdered patriarch John Bell, and inflicted a reign of terror throughout the Tennessee countryside.

Bell Witch (the movie) premiered on September 24, 2005 at Nashville’s Ryman Auditorium. The soundtrack showcases bluegrass and old-time music from many artists associated with Tennessee’s Bell Buckle record label: Jimbo Whaley, Valerie Smith and Liberty Pike, Jeannette Williams Band, Jeff and Vida Band, Wells Family, and Becky Buller. The movie's premiere was broadcast in high-def via satellite to over 80 theaters throughout the U.S., definitely a first for bluegrass music.

The soundtrack for Bell Witch (the movie) emphasizes songs that bring plenty of apparitions to life. About a month ago, I used one of fiddler/singer/songwriter Becky Buller’s tunes for the birthstones theme. In the Bell Witch movie, she contributed five compositions. She (along with Valerie Smith and Kraig Smith) wrote the song, “Ole John Bell (The Witch’s Curse)” featured here today. Witch Kate's theme is presented in lean, rawboned fashion with only Valerie’s vocals and Becky’s fiddle as the ghost comes to curse, claim and torment Bell's “worthless soul.”

Back in 2005, Kraig Smith speculated that the movie premier was somewhat like “a duck on a pond, cruising serenely on the surface, but paddling like heck underwater.” The Bell Witch movie soundtrack was a big coup for these artists. It may not have had the same impact as “Deliverance,” “Bonnie and Clyde,” “The Beverly Hillbillies,” or “O Brother, Where Art Thou,” but it certainly shows that bluegrass and old-time music belong in the movies on a much more regular basis.

Costumes and Masks: The Moose

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One of the themes that I seem to regularly come back to is whether there is objectively good music or not—why do some people think a song or artist is great, and others are crap. In general, as I have said before, I’ve come to believe that all art is appreciated subjectively, so I try to avoid making pronouncements that something is good or bad. That being said, the comedy routine at issue today, “The Moose,” by Woody Allen, is undeniably funny, and I will brook no dispute on this matter.

I know this isn’t a song, which pretty much puts it outside of the general universe that this blog lives in, but it was the first thing I thought of when I read the theme, and it is, I believe I have mentioned, very funny.

Most people today may think of Woody Allen as a director of films that range from pretty good to not so great, but there was a time that he created some of the best and funniest American films ever. And a time before that when he was a writer of hysterical comedy pieces. And a time before that when he was a standup comedian. And a time before that when he wrote jokes for early TV shows.  And he is also an accomplished jazz clarinetist, so this post isn't completely lacking in music content.

Allen’s persona was at the time, and for years after that, a nebbishy, unathletic city guy, focusing heavily on his stereotypical New York Jewishness, making the premise of “The Moose” funny at the start—that he had actually gone into the woods and shot a moose. Of course, in his later work and life Allen tried to recreate himself—dating and marrying beautiful women and casting himself as a romantic leading man, until it became almost ludicrous. But that came long after “The Moose,” which was performed and recorded in the early 1960’s, at a time when overtly Jewish humor was infiltrating the mainstream, so that simply referring to the moose as “the Solomons” would get laughs. And when the moose locks horns at the party with a married couple dressed as a moose, they are, of course, the “Berkowitzes.”

I won’t spoil the finale, but suffice to say, it also addresses a Jewish issue that was relevant then, if not so overtly now. The video above is slightly different from the version I first heard on record (recorded in New York) in which Allen refers to an actual New York institution, rather than the fictional one in the video, from a performance in England. Maybe he thought that the English audience wouldn’t get the joke the same way that a New York audience would, much as Monty Python changed a reference in their “Nudge Nudge” sketch from Purley to Scarsdale when they performed it in New York.

I strongly recommend tracking down a copy of the vinyl, or the two CD set that contains the full version of the routines (linked to above). I guarantee that you will laugh many, many times. And I think you will agree that “The Moose” is objectively funny.

Costumes and Masks: The Lone Teen Ranger

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We’re celebrating Halloween a week early here this week. This way, anyone who still doesn’t know what to dress up as can benefit from our suggestions. Seriously, Halloween, at least as observed here in the United States, is the time when we give into the urge for a short time to become someone or something else. That urge may be motivated by a desire for secrecy or concealment. Or, it may be a way of projecting a different identity onto someone else. The whole question of identity is rich ground for songwriters, and costumes and masks are a fine way to express that.

That said, our first example is not the finest display of deep songwriting you will ever hear. The Lone Teen Ranger is a 1950’s pop song about jealousy. The masked man in the title is a metaphor for a rival who probably doesn’t wear a mask as he walks the halls of his high school. The song is sometimes credited to Jerry Landis by himself, and sometimes to his group Tom & Jerry. This is itself a disguise for a duo that would later become much better known as Simon and Garfunkle. Landis is Paul Simon, whose songwriting under his own name is of a very different quality than this.

Conversations: Fish Song

Country Joe and the Fish: The "Fish" Cheer @ YouTube

I may be pushing the limits that define “conversation”, but here goes: Many is the live song that includes some form of dialog(ue) between the artist and the audience. In that a “conversation” is defined as a spoken exchange of thoughts and opinions, this leaves our weekly topic open to various interpretations.

I first thought of the Ry Cooder-type of dialogue. Ry manages to embed dialog in many songs; for example, wherein he and his vocalist exchange opinions. Cf: Down In Hollywood, where the dialog includes:

“"Hey, bud. Come here, let me talk to you for a second …”

Or in the back and forth in “Crazy ‘Bout An Automobile”:

“I’ll tell you why.”

“Please tell me why.”

But then my thoughts went back to my original idea: the on-stage dialog between artist and audience. And while there are certainly numerous prior pivotal/historical instances, it occurred to me that one in particular needed our “refreshment” this week. So … back to our hippie days, the Cold War (want some serious perspective?), and the era of protest movements.

In this clip, live at Woodstock back in  ’69, Country Joe McDonald is at his peak. As many as half a million in the audience join him in voicing/responding, and thus conversing: their opinions about the Vietnam War. Gimme an “F”.