Missed 2014 Necrology: Jesse Winchester

When Jesse Winchester passed away in April 11, 2014, I didn’t get an opportunity to make a post concerning his passing. In our second week special on missed necrology from 2014, I’m finally getting around to posting a tribute. Winchester died in Charlottesville, Virginia 36 days before his 70th birthday.

One year after graduating from Williams College, Winchester received his draft notice and immediately fled to Canada where he stayed until receiving amnesty from President Jimmy Carter. Since leaving the US in 1967, he was not able to perform in the states until 1977 out of fear of arrest. His first stateside concert after gaining amnesty was in Vermont where he performed to sell out crowd.

Winchester never had as great a commercial success in the US as he did in Canada. This can largely be attributed to him not being able to support his releases with live performances on this side of the border. His biggest record in the US was “Say What” from his 1981 “Talk Memphis” LP. Nationally, the single charged at #32 and I had an opportunity to play it on the air. As a thank-you, Bearsville Records sent me a baseball style “Talk Memphis” tour jacket in 1981.

Unfortunately, I’m not featuring “Say What,” but a cut from his debut album. While his first release on Ampex Record in 1970 earned critical acclaim, it was a commercial failure in the US. The initial single, “Yankee Lady,” failed to chart in the US, but peaked at #20 on the Canadian pop chart and was a bigger adult contemporary hit at #8.

“Yankee Lady” was produced by Robbie Robertson of The Band who played guitar on the cut. He was joined by Levon Helm, a fellow member of The Band, who provided a nice mandolin track. Helm also played drums on the album, but since two other drummers are also credit, I am not sure which one appeared on “Yankee Lady.” Oh yeah, Todd Rundgren was the recording engineer as well. This is nice stuff from 1970.

Tenor Guitar: Blacksmith's Prayer

When Seth Lakeman began performing his song “Blacksmith’s Prayer,” he used a small bodied Martin tenor guitar that appears to be a model 5-15T. It is the same guitar that appears on the cover of his 2011 album “Tales from the Barrel House.” It’s not my favorite tenor guitar, as it looks like a baritone ukulele; but be that as it may, it still sounds great – like many Martin guitars do and always have.

I am not sure if he used the Martin on the studio track, as later live performances of “Blacksmith’s Prayer” and the song’s video show Seth playing an Irish bouzouki. In fact, whether he is playing the tenor or the Irish bouzouki, Seth tunes both instruments to the modal bouzouki tuning of G-D-A-D.

However, you will notice that it appears higher in pitch than either instrument’s typical open string range. Sounding slightly lower than a mandolin, this was accomplished by Seth using a capo on both instruments at the ninth fret. In essence, the “Blacksmith Prayer’s” tuning became E-B-F#-E.

This particular cut was captured live at St. Pancras International Railway Station in London in 2011 and is part of The Station Sessions series of recordings. It gives the full effect of Seth and his Martin tenor guitar as well as his great stage presence.

Bert Jansch: Black Waterside

Last Wednesday, the world lost one of the great acoustic guitarists to cancer at age 67. I first heard of Bert Jansch from the recordings he made with Pentangle in the 1960s. He and his guitar partner John Renbourn were the Lennon/McCartney of English folk music and when the two played together, both with or without Pentangle, it was wonderful.

The man, of whom the general public was not aware, became the favorite of music aficionados and artists everywhere. Rolling Stone placed Jansch at 94 on their list of the top 100 guitarists. He won two BBC Lifetime Achievement Awards – one for his solo work in 2001 and one for his role in Pentangle. In 2007, Edinburgh Napier University awarded Jansch an honorary doctorate based on his contributions to the UK music industry.

Bert Jansch will be greatly missed. To honor him, here’s his rendition of “Black Waterside.”

Mícheál Ó Domhnaill & Kevin Burke: Lord Franklin

In 1978, Kevin Burke and Mícheál Ó Domhnaill released their album “Promenade,” which featured one of the more beautiful renditions of the traditional English folksong “Lord Franklin.” The song from the mid 19th century was also titled “Lady Franklin’s Lament” and details the search for Sir John Franklin who set off to discover the Northwest Passage in 1845.

Franklin never returned nor was his body or final resting place ever discovered. The men of the HMS Erebus and the HMS Terror died from a variety of maladies which include, but are not limited to, the following: scurvy, starvation, hypothermia, tuberculosis, and lead poisoning. Interestingly enough, it is said that my second great grandfather’s first cousin, John Gillon of Leith, Scotland, provided the provisions for Franklin’s voyages; however, I have yet to be able to confirm this.

The late Mícheál Ó Domhnaill is not only joined by fiddler Kevin Burke, but by his sister Tríona Ní Dhomhnaill who sings harmony.

Band of Heathens: Let Your Heart Not Be Troubled

While tune on the surface seems like a gospel song, “Let Not Your Heart Be Troubled” is not. The band’s name as The Band of Heathens is testimony of that. With that aside, it is a great recording by a band whose name was coined via a misprint in the local mistake. The heathen designation stuck. Today’s tune was recorded on the Music Fog Celebrity Coach in Nashville. The original studio version comes from the CD “One Foot in the Ether.”

The lead vocal is provided by Cordy Quist who, I believe, is playing a Gibson Southern Jumbo. Ed Jurdi, who strums a Gibson Hummingbird guitar, provides back-up vocals. Colin Brooks also provides backing vocals and sports an Epiphone MM 50F – a copy of the legendary Gibson F-5. Rounding out the quintet are Seth Whitney on bass and drummer John Chipman on percussion. It’s a nice tune from this Austin, Texas based band.

Appalatin: Shady Grove-Gotita de Lluvia

This coming Monday, it will be a double anniversary for me and it perchance happens, by luck, that my 700th post falls on the second anniversary of “Reading Between the Grooves.” Every once and a while when I inch up towards an anniversary of this blog, I start considering that I cannot possibly continue to do this any longer. When that happens, someone usually writes or calls me explaining what value they have gotten from this simple tome.

This week, I've had two such emails – one was from an old musical friend from the 1970s who played in the Lightning Bar Band in Pittsburgh with the late Nick Brack, the late Rodd Willings, and my brother Chuck. King Richard, the harmonica player, dropped me a line yesterday.

I believe I only had the pleasure of playing with him once and that was at Mann’s Hotel in McKees Rocks, Pennsylvania in 1978. I played my Wurlitzer electric piano at that gig; it was one that I will never forget. To get to this suburban hangout built in 1803 or thereabouts, I rode on the back of Nick Brack’s motorcycle through Pittsburgh until we made it to Mann’s. Nick took the curves hard and I think I lost a few years off my life.

I lost track of King Richard decades ago and he now makes his home in San Diego. His email explains how he found me.

“I read your history of Chuck Owston bio and was hoping to see Lightning Bar Band mentioned. I was bummed, but.......

Anyhow, this last July I came back to Pittsburgh and was determined to find Chuck (hadn’t seen him in 35 years).

I tracked him down on Carson St. at Club Café. My wife and I crept in and sat down in a booth in the back. I saw Chuck sitting in the front row and was stoked. I let him play a couple of tunes and then went over to him and surprised him!

We had a great chat reminiscing old times, and gigs in the Burgh. Ask him about it. I hope to see him again someday when I can get out of San Diego and fly back again.

BTW your web site is the bomb!! Check ours out sometime: http://eveningeclecticmusic.com/”

Richard’s blog deals with all types of music – much like this one and I encourage my visitors to check out his. I hope that I have more than made up for my glaring omission of this band in the aforementioned bio of Chuck. King Richard states that the experience was “one of the coolest things I have done in my life and on the bucket list.”

The other important email deals with my feature artist from last Tuesday: Appalatin and their tune “Canta mi Gente.” Yani Vozos, who plays lead guitar and mandolin and provides vocals for Appalatin, wrote the following:

“We read your blog today about our song Canta mi Gente. Thank you so much for your interest in the music!

We had a great time in West Virginia last weekend and can't wait to come back beautiful people and beautiful landscapes.

WV public radio is doing an extended piece about us this weekend, see here http://www.wvpubcast.org/insideapp.aspx

I am sending you an MP3 version of Shady Grove so that you can listen. It features Fernando Moya from Ecuador on the charango (Andean lute/ukelele) with cajon for percussion and acoustic guitars. I would like to send you a hard copy of our CD as well, it really shows the breadth of musical styles that we cover and how we blend all of the flavors from the Andes to the Carribean to Appalachia.

Please send me your address and I will put one in the mail for you. Until then you can listen on our website, www.appalatin.com.

I got permission from Yani to post “Shady Grove-Gotita de Lluvia.” It is a great little number. He mentions the charnago – an instrument I always wanted to try since I heard a band named Chacabuco feature the instrument in the 1980s. It has double course strings like a mandolin and a total range of a ukulele. The strings are nylon. Some charangos are made from the shells of dead armadillos. For those not familiar with the instrument, it was used by Simon and Garfunkel on “El Condor Pasa.”

Yani also mentions a great little percussion instrument named the cajon. This versatile drum can mimic a number of different types of drums and it takes up little space when packing up the equipment for the evening. I haven’t had an opportunity to try one out – maybe someday.

The first song by Appalatin that I had a pleasure to hear was their rendition of the tradition “Shady Grove,” which shares a kinship to the English folk song “Matty Groves.” I normally don't feature an artist more than once in a month, but Appalatin is worth it. I hope you think so too.

Appalatin: Canta Mi Gente

I believe that it was sometime last week I heard an interview and feature with the band Appalatin on West Virginia Public Radio. They described their music as a fusion between Appalachian and Latino styles and hence their unique name combines both elements of these two divergent musical approaches.

To illustrate how they do this, they played the traditional tune “Shady Grove” using the Andean equivalent to the mandolin – the charango. Unfortunately, this song was not available on YouTube. Most of what was available were live recordings of today’s feature song “Canta Mi Gente.”

While performed well, the audio on these tracks were not of a sufficient quality for me to feature. I was able to find the studio version of this tune and have included it here. While the Appalachian elements are virtually nonexistent, the use of Latin percussion is reminiscent of Tito Puente’s “Oye Como Va.” That is probably where the comparisons stop.

Not having a physical copy of the CD, I can only guess to the nature of the instrumentation. I can hear guitar, bass, congas, timbales, guiro, and what I believe is an Andean flute. My assumption is based on the unique harmonic overtones of the instrument; however, the flautist uses techniques you would expect from someone playing a Boehm transverse flute – so I am not altogether certain.

I sure I am also missing some of the percussion in the song – although the guiro really adds. I have one – and having used it in a variety of settings, it makes a nice addition. Although not proficient in Spanish, Babelfish tells me that the title means “My People Sing.” While verse lyrics are in English, I can make out a few other Spanish words utilized in the bridge such as “quando” – when, mañana – tomorrow, “muchacha” – girl, and “amor” – love. Gee, I almost feel bilingual. Enjoy “Canta Mi Gente.”

Jethro Tull: Requeim

Most people are familiar with the hits and the often played album cuts of Jethro Tull; however, there is a traditional side to this rock band of the 60s onward. Today’s traditional Tuesday cut is an Ian Anderson composition that has a traditional bent.

It features Anderson on guitar and flute and is an excellent example of the other side of this musician. His flute playing is more melodic rather than raucous as we have grown to expect.

“Requiem” was recorded in Monte Carlo for Jethro Tull’s 1975 release “Minstrel in the Gallery.” While it is not usually placed in the pantheon of Tull LPs, it did rather well when released. “Minstrel in the Gallery” peaked at #7 on Billboard’s Album Charts. A remastered version on CD with bonus tracks was released in 2002.

Lyrics

Well, I saw a bird today –
Flying from a bush and the
Wind blew it away.
And the black-eyed mother sun scorched the butterfly
At play – velvet veined.
I saw it burn.
With a wintry storm-blown sigh, a silver cloud blew
Right on by.
And, taking in the morning, I sang – O Requiem.
Well, my lady told me, “Stay.”
I looked aside and walked away along the Strand.
But I didn't say a word, as the
Train time-table blurred
Close behind the taxi stand.
Saw her face in the tear-drop black cab window.
Fading in the traffic; watched her go.
And taking in the morning, heard myself singing –
O Requiem.
Here I go again.
It's the same old story.
Well, I saw a bird today – I
Looked aside and walked
Away along the strand.

Trevor Jones & Randy Edelman: Promentory

In 1992, Trevor Jones and Randy Edelman were commissioned to compose the music for “The Last of the Mohicans.” One of the better known cuts from the soundtrack is the instrumental “Promentory.” The cut gained some additional exposure when it was used as the bed for a Nike commercial in 2007. A mixture of electronic and traditional instrumentation, it is quite a very nice tune. Towards the end of the ¬tune it fades out into silence and after a few moments it returns to its splendor.

Donovan: Tangerine Puppet

Released on his 19th birthday, Donovan’s debut album was known as “What’s Bin Did and What’s Bin Hid” in the UK and “Catch the Wind” in the US. Hickory Records, which held the license from Pye Records in the UK, opted to change the name to match the single release.

On the LP is a short finger style instrumental named “Tangerine Puppet.” I heard this song for the first time on Pandora last week. I thought it might be a nice tune to feature on Traditional Tuesday.

Dan Hicks and His Hot Licks: Milk Shakin' Mama

Here’s a classic TV cut from the Flip Wilson Show from 1972 with one of my favorite bands – Dan Hicks and the Hot Licks. “Milk Shakin’ Mama” was from the band’s second (and best in my opinion) album: “Where’s the Money.” This is the classic lineup of the band as well with Sid Page on violin , Jaime Leopold on bass, John Girton on guitar and of course “The Lickettes”: Naiomi Eisenberg and Maryann Price. This originally aired on September 28, 1972.

“Where’s the Money” was my first Dan Hicks’ LP and I suppose I have four or five more. They are hard to classify – perhaps an acoustic throwback to the 1940s with a hint of bad humor. Who would want anything else? Sid Page plays a mean violin on this cut. Naomi Eisenberg also plays fiddle, but is not featured on this cut.

Ralph McTell: Old Brown Dog

I suppose that this song is a moral story about how people and dogs are much the same – sometimes we appear to have outlived our usefulness; however, we somehow have one last hurrah even in the face of adversaries. Although Ralph McTell sings of an “Old Brown Dog” who is slated to be euthanized, the dog returns to youthful activities and he dies a natural death as his heart ceased its function.

It’s a sad song, but it has a positive ending that the dog went in his own time on his own terms. Something , I hope I get to do and not someone else making that decision for me. The song comes from McTell’s 1971 LP “You Well Meaning Brought Me Here.” I first heard this from a guy who lived in my college dorm. He worked at the local radio station (WGOH) and he procured it as they were ditching some albums.

I got my copy in a similar fashion as WMUL at Marshall University was doing some spring cleaning in 1979. “You Well Meaning Brought Me Here” was headed for the trash heap and I rescued this classic folk-rock LP from a true legend – Ralph McTell.

The song feature the piano of Rick Wakeman and a trio of musicians who would later join Elton John’s band: Davey Johnstone, Caleb Quaye, and Roger Pope. Johnstone plays the very tasteful mandolin parts. The guitar solo that takes the tune out was provided by Caleb Quaye. Its unique tone is courtesy of a Leslie rotating speaker cabinet. Pope, as he would with Elton, handled the back beat.

Lyrics

That old brown dog sleeps in the rain,
Unless the sun has shone.
That old brown dog is all alone,
Since Old Bill been gone.
And sleeping in the rain
Only gives a dog a bad name.
If Bill were alive
Well I know he would decide
To have the same thing done.
-
That old brown dog he smells so bad,
Say the people from the town.
That old brown dog is almost lame,
Someone should put him down.
It would be an act of kindness,
You know it's for the best.
You bring a rope, bring a gun,
And it'll all be over
Before the dog can guess.
-
Could an old brown dog have become wise
Guessed they were all after him.
His hearing was failing, and his eyes
Were fast growing dim.
On the day they came to kill him
He sensed a rabbit on a log.
Did anybody see a rabbit
Chased across the meadows
By an old brown dog.
-
That old brown dog, tail wagging,
As he laid himself down.
It did not seem to matter,
That the rabbit had long gone to ground.
And there in the summer heat,
His old heart ceased to beat.
And high above the meadow
The skylarks singing
As the spark went out.

John Dawson Read: A Friend Of Mine Is Going Blind

I was home on Christmas break during the winter of 1975 and John Dawson Read’s “A Friend of Mine is Going Blind” was being played quite a bit on a station that I discovered while home – WYEP-FM, Listener Supported Radio. There was something about this sad tune that touched me – as many sad songs do.

There are other songs in this same vein that have had a similar effect upon me. To name some, the song “Real People” on Mac McAnally’s debut album that spoke about a school aged boy named John with a brain tumor. Another is Don McLean’s ballad about the self inflicted torture of Vincent Van Gogh that was simply titled “Vincent.” I wrote a college English essay on Van Gogh and that song. Even the internal conflict found in The Who’s “Behind Blue Eyes” made it my favorite song from their “Who’s Next” LP.

I don’t know why I’ve been drawn to these songs over the years, but there is probably something deep in my psyche that causes me to relate. Neither am I depressed or despondent, but perhaps I rid myself of these negative vibes through the music of others via sublimation.

While Read’s album failed to chart, amazingly the single did at #72 on the Hot 100. I bought the album for myself that Christmas. See if you find a touch of pathos in John Dawson Read’s song about his friend, Tommy Davidson, who was suffering from Muscular Dystrophy which began to manifest itself in the form of blindness . . . “but through the dimness, he sees so much better than me.”

Live Version

Lyrics

While the lyrics on this song are beautiful, there are several occasions that will make the grammar police wince. In order to make the rhyme, John Dawson Reed is forced into using the subjective "I" when the objective "me" is the correct form. Just pretend that when he sings "so much better than I" that a "do" follows and everything will be ducky as they say.

A friend of mine is going blind, but through the dimness
He sees so much better than me
And how he cherishes each new thing that he sees
They are locked in his head, he will save them for when
He's in darkness again

He can't read books and he can't paint pretty pictures
But he understands so much clearer than I
For he knows that all he's missing with his eyes
Is more vivid in the mind of the man who's going blind
And that's why he doesn't mind

Won't you sing Tommy Davidson of things that you have seen
Sing of winter's bite and summer nights
And places you have been
Of dew drops and forget-me-nots and silver silky sheen
Lain across the morning meadow on the hillside

And this friend of mine, he plays guitar and sings his song so well
And he sings so much better than I
He can sing you any pictures in your mind
He will sketch them out in rhyme, draw the details in the lines
And he'll colour it in time

And oh how he loves his guitar, and it loves him
And they play so much sweeter than me
As if to say that come the day that he can't see
He will have at his command so much beauty in his hands
That the loss won't come so hard

Won't you sing Tommy Davidson of things that you have done
Sing of silver seagulls sailing into evening's golden sun
Sing of city streets and villages and people on the run
Tell the people how you know it Tommy Davidson

A friend of mine is going blind but through the dimness
He sees so much better than me
And how he cherishes each new thing that he sees
They are locked in his head, he will save them for when
He's in darkness again.

Justin Townes Earle: They Killed John Henry

Two Sundays ago I was listening to Mountain Stage on West Virginia Public Radio and one of the songs that featured guest Justin Townes Earle performed was “They Killed John Henry.” From his 2009 CD release, “Midnight at the Movies” Earle reworks the classic story of the sledge hammer wielding John Henry as he beat the steam drill in a contest of strength. The result was the Big Bend Tunnel and the death of the hero of the story.

Justin Townes Earle, the son of Steve Earle, was named in honor of Townes Van Zandt and he keeps the roots tradition alive and well. Today’s Traditional Tuesday selection features Justin on guitar and vocals and Cory Younts on the clawhammer banjo. The cut comes from KEXP in Seattle from 2009.

Lyrics

Well when John Henry died, he lay lookin’ at the sun
He said Lord take me now my work is done, Lord, Lord
L
ord, take me now my work is done
Yeah, but when they laid him out in that box of pine, boy

They laid that hammer by his side, Lord, Lord

laid that hammer by his side

Yeah Joe Hill, he worked any job he could find, boy

He’d rake your leaves, and pick your vine, Lord, Lord

Rake your leaves, and pick your vine

Yeah and they killed Joe Hill, put a bullet to his name

But that bullet made a martyr of the same, Lord, Lord

That bullet made a martyr of the same

Yeah, and my granddaddy worked his whole damn life,
Well, he never saved a nickel though he tried, Lord, Lord
Never saved a nickel though he tried

And he died in Tennessee but he couldn’t find no rest,
With that long road to Texas lyin’ ahead, Lord Lord,
that long road to Texas lyin’ ahead

Yessir, I ain’t no great man, and Lord I expect to lead
A long life a’workin’ and you’re dead, Lord, Lord
A long life a’workin’ and you’re dead

They killed John Henry, they killed John Henry
They killed John Henry, but they won’t kill me, Lord

They killed John Henry, they killed John Henry

They killed John Henry, but they won’t kill me.

Steve Mitowski & Andy Urban: That's The Way

Here’s a little impromptu jam session of an instrumental version of the Led Zeppelin song “That’s the Way.” Steve Mitkowski is playing a new Collins mandolin while Andy Urban of the band Kashmir is on the double neck 12/6 Ovation guitar. This is a nice version of one of Led Zep’s quieter tunes.

I was looking for mandolin music one night and stumbled on this cut by accident. It is a very nice interpretation of the original tune. This was recorded at Mandolin Brothers on Staten Island in New York City.

Led Zeppelin Original

Alexei Arkhipovskiy: Balalaika Varna

For this Traditional Tuesday, my brother’s recent interest in our ancient ancestry of the Kievan Rus has blossomed into an awareness of Ukrainian and Russian music. He is in the market for a balalaika – an interesting instrument I fell in love with when I saw Dr. Zhivago as a preteen. The shape alone was a fascination to me.

I bought my balalaika at Steel City Pawn in Braddock, Pennsylvania in about 1977; however, I never spent much time playing it. I think I paid $45.00 for it at the time – a little more than it was probably worth at the time – but I really wanted it.

Recently in our move, I pocketed the bridge and lost between our old house and our new one. Needless to say, I will need to get another bridge before I can fool with it again. I may even refinish the painted neck and use some fretboard ebony stain that I bought to use on my fretless bass a while back.

One would think that a three string instrument tuned E-E-A would have much potential, but you then haven’t heard Alexei Arkhipovskiy yet. By amplifying the balalaika, it comes alive and Arkhipovskiy shows that he is the Russian Paganini. The song featured in today’s video is балалайка Ваня or translated as Balalaika Varna.

Norton Buffalo: Hanging Tree

Yesterday, something reminded me of Norton Buffalo’s “Hanging Tree,” my favorite song from his 1977 album, “Lovin’ in the Valley of the Moon.” This is a great album that features the fantastic harmonica work from Steve Miller’s harp player.

Norton as also sings leads and does the voice characterizations. I think this is why I love this song as I have been doing voices since I was a kid. During (and after) my twenty year stint in broadcasting, I often did radio and TV commercials with a variety of voices including Walter Brennan as Norton does twice in this tune.

I don’t think the album was ever released on CD. The vinyl release wasn’t a big seller even though everyone and his brother had heard his work – he just wasn’t a household name. If you can pick this up on vinyl – get it. Providing that you have something to play it.

Sadly, Norton Buffalo succumbed to cancer during the fall of 2009. His talents will be sadly be missed. I dealt ever so slightly with Norton’s talents at http://zeegrooves.blogspot.com/2009/12/steve-miller-band-winter-time.html.

Mumford & Sons: Roll Away Your Stone

This is what I like to call acoustic music with attitude. Mumford & Sons was named in honor of their front man, Marcus Mumford and the “& Sons” was added to give it the flair of an old family business. “Roll Away the Stone” was released as the bands fourth single from their LP “Sigh No More”; earlier this month, it was released in the US as their third single.

Last year their debut LP was the Mercury Prize for the best LP released in Great Britain and Ireland. National Public Radio’s “All Things Considered” rated the album as the eighth best for 2010. Early 2011, saw the band win the BRIT Awards “Best British Album” for the year. In the US, it has been the tenth most downloaded album to date.

Coming from the West London Folk Scene, Mumford & Sons features Mumford on vocals, guitars, mandolin, and drums; Ben Lovett on vocals, keyboards, accordion, and drums; Winston Marshall is featured on vocals, banjo, and Dobro®; and Ted Dwane on vocals, bass, guitar, and drums. This video of “Roll Away Your Stone” was recorded at the Bonnaroo festival in Manchester, Tennessee just a couple weeks ago.

Lyrics

Roll away your stone, I’ll roll away mine
Together we can see what we can find
Don’t leave me alone at this time,
For I am afraid of what I will discover inside

You told me that I would find a home,
Within the fragile substance of my soul
And I have filled this void with things unreal,
And all the while my character it steals.

The darkness is a harsh term don’t you think?
And yet it dominates the things I seek.

It seems as if all my bridges have been burned,
You say that’s exactly how this grace thing works
It’s not the long walk home that will change this heart,
But the welcome I receive with every start.

The darkness is a harsh term don’t you think?
And yet it dominates the things I seek.

The darkness is a harsh term don’t you think?
And yet it dominates the things I seek.

The darkness is a harsh term don’t you think?
And yet it dominates the things I seek.

Stars hide your fires,
And these here are my desires
And I will give them up to you this time around
And so, I’ll be found with my stake stuck in this ground
Marking its territory of this newly impassioned soul.

But you, you’ve gone too far this time
You have neither reason nor rhyme
With which to take this soul that is so rightfully mine.

The Byrds: John Riley

From “Fifth Dimension,” my favorite album by The Byrds, today’s traditional tune based on Homer’s “Odyssey.” Although the story premise is much older, the song dates from 17th century England. “John Riley” is a tale of a sailor who tests the love of the girl he left behind seven years earlier by trying to dissuade her from waiting for John Riley to return.

He argues that Riley may have died in battle, drowned in the sea, or married another in order to tempt the fair young maid; however, she is steadfast in her commitment to John Riley. At the end of the song, the protagonist reveals that he is John Riley of whom she is waiting.

This traditional tune (incorrectly credited on the LP to Bob Gibson and Ricky Neff) was introduced to the band by Roger McGuinn. “Fifth Dimension” was the first LP that was released after the departure of Gene Clark; however, he appears on two of the album’s original tracks and three of the bonus tracks of the CD re-release.

Lyrics

A fair young maid all in her garden,
A strange young man comes passing by
Saying fair maid, will you marry me
And this answer was her reply

No kind sir, I cannot marry thee
For I've a love who sails all on the sea
He's been gone for seven years
But still no man will I marry

Well what if he's in some battle slain
Or drowned in the deep salt sea
Or what if he's found another love
And he and his love both married be?

If he's in some battle slain
I will die, when the moon doth wane
And if he's drowned in the deep salt sea
I'll be true to his memory

And if he's found another love
And he and his love both married be
Then I wish them health and happiness
Where they now dwell across the sea

He picked her up all in his arms
And kisses gave her one two and three
Saying weep no more my own true love
I am your long lost John Riley.

Harp Guitar Gathering V: The Water Is Wide

Here’s an interesting instrumental version of the old English folksong “The Water is Wide” from the Harp Guitar Gathering V. It was the finale performance at the annual harp guitar gathering and everyone eventually comes to the stage to add their harp guitar to the mix.

The song starts with Stephen Bennett on his great-grandfather’s 1909 model harp guitar while he is joined by Gregg Miner playing a harp mandolin. Next John Doan solos and is followed by Andy Wahlberg. Finally before the remainder join in, Andy McKee takes his solo. I think this is largest assembled group of harp guitars I’ve ever seen in one setting.

While it is not flawless, it is still beautiful and unrehearsed. The performance came from October 27, 2007. It is truly something you don’t see every day.