DOCSLIB.ORG

That Same Old Obsession Excerpts from a Life

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
That Same Old Obsession Excerpts from a Life That Same Old Obsession - The Millennium Project That Same Old Obsession Excerpts from a life: 1949-1999 The Millennium Project That Same Old Obsession - The Millennium Project I started collecting music when I was 11 years old. Having been brought up on a diet of classical and banal pop music we inherited an old Dansette autochange record player which came with someone else’s collection of 45s. Pat Boone's April Love/When The Swallows Come Back To Capistrano got a good hammering in our house for a while. But in 1958 I was ready for something fresh and new. When I visited my sister Sheila during the school holidays, my new brother-in-law suggested that rather than just go out and buy records 'willy nilly' (£1 birthday money went a long way in those days!) I should collect a particular artiste. I had been thrilled by Lonnie Donegan's 'Grand Coulee Dam' and loved that acoustic sound he got so he was top of my hit list for a while. Then I heard 'All I Have To Do Is Dream' by the Everly Brothers (we didn't have a TV in those days and I thought they were black!) and my life changed from that moment on. So take a bow John Benfield, you changed my life and everyone else's who has come into contact with me since! From a few scratchy 45s in 1958 my collection had grown by a few scratchy EPs (3 x EP = 1 LP on a newsboys wages) by 1960, and (lo and behold) a stack of scratchy (mono) LPs a couple of years later. Gradually I added stereo versions, I never got rid of anything, and the scratches became slightly more acceptable. Then I taped them and played them in the car. I even experimented with Digital Audio Tape in the mid-80s but it was the commercial acceptance of Compact Discs that really changed my life. Over the past 10 years, the last decade of the 20th Century, I've been acquiring my record collection all over again. I've added a lot of things I didn't get first time around and of course discovered many hidden gems I never knew existed. The idea for this project came to me on 22nd May 1999 as I was on my way to my friend Roger Pearl's shop in Worthing. We talked about it and agreed a target date of 31 July for completion. What was intended as a quick visit to buy some recordable CDs turned into a mini-shopping spree which included a second minidisk player and a stack of blank MDs. "One small step for man……… " - the Millennium Project was under way! I have tried a number of times to get my life story down in words and music but always been left dissatisfied with the result. Now for the first time I could rifle through my racks of CDs and dump the highlights onto a series of compact digital music carriers, play around with the running order, add things, delete things at will. I probably drove the family mad during that time but what's new? Hazel and Patrick had bought into the idea of a 'Millennium Tape' but Hazel was convinced I was already losing focus. I convinced her that it was a necessary process. I went through the lot, even dug out a bit of vinyl and a few tapes! And that is what this project is all about. My life story in 74 minutes of music, with a few explanatory notes thrown in. All of the musical energy my family and I have experienced over the past 40-odd years is captured onto one 74-minute CD. I've only allowed myself one track per artiste although as I set the rules I've also broken them in a couple of small places. It's had a couple of working titles. "Thank You For The Music" I liked but it had too many ABBA connotations. 'That Same Old Obsession' is a Gordon Lightfoot song and one of my favourites although the track itself is not included. That Same Old Obsession - The Millennium Project On 7 August – a week late but we each took some blame for that – Roger and I swapped the first cuts of our Millennium Projects. I again felt guilty that I had not included an Elvis track on mine (‘I’m Left, You’re Right, She’s Gone’ is on Volume 2!). However I really didn’t get into Elvis proper until much later on and I think Roger will forgive me because we talked about early and late influences. On the other hand……….. Early Days Faure - Requiem My first memory is from my 3rd birthday, sitting at the bottom of our stairs at 7 Highland Croft, Steyning. That’s why the sub-title of this project is ‘Excerpts from a life: 1949-1999’, which of course belies my true age! Ours was not an especially musical family but we did have a piano in the lounge and my two sisters played it reasonably well. I can remember lying in bed as a small child and going to sleep to the sound of the piano and a recorder wafting up the staircase. I suppose my one regret is that I didn't persist with the lessons myself, and I continue to struggle with the 3 basic chords on my Everly-copy guitar. My father had a passion for church music and I was enrolled into the church choir at a very early age. This piece reminds me of harvest festival, I don't know why, but I can smell fresh-baked bread and freshly- picked apples every time I hear it. Mendelssohn - The Hebrides, Op 26 Having been brought up on church music, light classics and banal pop (how much was that doggie in the window?), I was ready for this by the time we 'studied it' at Steyning Primary School. I seem to remember an accompanying film all about Fingal's Cave but on reflection I'm sure they weren't that technologically advanced in those days so perhaps we just had a very good imagination! That Same Old Obsession - The Millennium Project The Fifties The Sun Keeps Shining - Everly Brothers As I'm only allowed one Everly track let's start (almost) at the beginning. In November 1955 when this was recorded, I was 9 years old and had certainly not heard of the Everly Brothers. But in 1958 when I was already heavily into their music I was enthralled to learn that there was this single that I had never heard. It became something of an obsession until I bought it for myself as a very expensive Christmas present one year. How bizarre that the producer, Don Law, calls out '1998' as the master number just as the young Don (18 at the time) and Phil (16) finally get the intro right. This was my first 'credit' on a record sleeve as I collaborated briefly in 1981 with Richard Weize of Bear Family Records when he issued a maxi-single which contained the four tracks recorded at that session. Two of them were previously thought to have been destroyed. Leave My Woman Alone - Ray Charles Through the Everlys I got to know the music of Ray Charles. They recorded two of his songs, this one included, on their very first Cadence LP and continued to re-arrange some of his classics on a number of their albums over the following 10 years. Later on of course 'Brother Ray' revisited his own Country roots and in 1962 he cut a couple of stunning albums which were really his (rather brassy) interpretations of modern country classics, including 'Bye Bye Love'. He continued to feature country songs in his performances and on his albums and 'Wish You Were Here Tonight', recorded in 1982, remains one of my all-time favourites. I got back into Ray's music in a big way at Bob Rosemurgy's house in September 1998 when we discussed the links between his and Mickey Newbury's music. The Sixties Sweet Dreams - Don Gibson When this was recorded in 1960 I didn't know there was a type of music called 'country'. Even when I got to hear Don Gibson singing 'Sea Of Heartbreak' a year later, it was just another form of pop to me. It took Patsy Cline, Jim Reeves and of course the Everlys to educate me and I've never looked back. This song has always been special to me - the Everlys' version on their 1963 album, 'Great Country Hits', has to be the best with Don's rhythmic lead, Phil's soaring harmonies and that wonderful combination of electric and pedal steel guitar on the bridge. Then Don re-worked it for his first solo album in 1970 (an arrangement that was faithfully adopted by Emmylou That Same Old Obsession - The Millennium Project 6 years later on 'Elite Hotel') - Gibson himself repaid the tribute by inviting Don to sing back-up on his version of 'Maybe Tomorrow' in 1975. And of course there is a link to the previous track on this collection as Ray Charles included no less than 3 Don Gibson songs on his 'Modern Sounds' albums in 1962. Teensville - Chet Atkins From 1958 onwards I was into guitar heroes, and have been ever since - of course the Everlys with their matching black Gibsons, but also Buddy Holly and Eddie Cochran who's guitar playing was as important to me as their vocals.
Load more

Recommended publications
  • Biography Emmylou Harris
    BIOGRAPHY EMMYLOU HARRIS A 13-time Grammy winner and Billboard Century Award recipient, Emmylou Harris’ contribution as a singer and songwriter spans 40 years. She has recorded more than 25 albums Photo: Veronique Rolland Veronique Photo: and has lent her talents to countless fellow artists’ recordings. In recognition of her remarkable career, Harris was inducted into the Country Music Hall of Fame in 2008. Harris is known as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Admired through her career for her talent as an artist and song connoisseur, Harris shook up country radio in the 1970s, and established herself as the premiere songwriter of a generation selling more than 15 million records and garnering 13 Grammy Awards (this year she and Rodney Crowell won the Grammy for "Best Americana album"), three CMA Awards, and two Americana Awards. Harris is one of the most admired and inuential women in music. She has recorded with such diverse artists as Linda Ronstadt, Daniel Lanois, Bob Dylan, Mark Knoper, Neil Young, Gram Parsons, Willie Nelson, Dolly Parton, Roy Orbison, Ryan Adams, Beck, Elvis Costello, Johnny Cash, Lucinda Williams, Lyle Lovett and most recently Rodney Crowell. Few artists have achieved such honesty or have revealed such maturity in their writing. Forty years into her career, Harris continues to share the hard-earned wisdom Photo: Jack Spencer Photo: that—hopefully if not inevitably—comes with getting older, though she’s never stopped looking ahead. A longtime social activist, Harris has lent her voice to many causes. She has performed at Lilith Fair, helping promote feminism in music and organizing several benet tours to support the Vietnam Veterans of America Foundation.
    [Show full text]
  • Country Music and the Expression of Loss
    Country Music and the Expression of Loss THE RECIPIENT OF CSW’S 2008 CONSTANCE COINER GRADUATE AwARD TALKS ABOUT HIS by Marcus Desmond Harmon CURRENT RESEARCH ON GRIEF, LOSS, AND MOURNING IN THE MUSIC As a doctoral candidate in the Department of Musicology at UCLA, I have OF EMMYLOU HARRIS had the opportunity to work with a variety of scholars studying the intersection between music and cultural practice. In my research and my classroom teaching, I work to bring a class-aware, feminist perspective DEC08 14 CSupdateW Since the meaning of musical gestures is so often the result of individual experience artists of any ideological affiliation and how they contribute to the larger eschew the religious and patriotic American discourse about trauma, interacting with broader social and cultural norms, I’ve taken a psychoanalytic signifiers that make many secular critics grief, and memory. Since the meaning approach to interpretation–looking not just at what artists and audiences say about uncomfortable, but artists deploy of musical gestures is so often the result the music they listen to, but also the ways in which that music evokes (or resists) them in a number of complex ways. of individual experience interacting other artifacts and institutions. For example, it would be hard to discuss the age- In any case, working-class concerns with broader social and cultural norms, worn last albums of Johnny Cash without understanding the particular beliefs about have rarely been of great interest to I’ve taken a psychoanalytic approach to sin, punishment, and redemption that stem from his Southern Baptist cosmology.
    [Show full text]
  • Jerry Williams Jr. Discography
    SWAMP DOGG - JERRY WILLIAMS, JR. DISCOGRAPHY Updated 2016.January.5 Compiled, researched and annotated by David E. Chance: [email protected] Special thanks to: Swamp Dogg, Ray Ellis, Tom DeJong, Steve Bardsley, Pete Morgan, Stuart Heap, Harry Grundy, Clive Richardson, Andy Schwartz, my loving wife Asma and my little boy Jonah. News, Info, Interviews & Articles Audio & Video Discography Singles & EPs Albums (CDs & LPs) Various Artists Compilations Production & Arrangement Covers & Samples Miscellaneous Movies & Television Song Credits Lyrics ================================= NEWS, INFO, INTERVIEWS & ARTICLES: ================================= The Swamp Dogg Times: http://www.swampdogg.net/ Facebook: https://www.facebook.com/SwampDogg Twitter: https://twitter.com/TheSwampDogg Swamp Dogg's Record Store: http://swampdogg.bandcamp.com/ http://store.fastcommerce.com/render.cz?method=index&store=sdeg&refresh=true LIVING BLUES INTERVIEW The April 2014 issue of Living Blues (issue #230, vol. 45 #2) has a lengthy interview and front cover article on Swamp Dogg by Gene Tomko. "There's a Lot of Freedom in My Albums", front cover + pages 10-19. The article includes a few never-before-seen vintage photos, including Jerry at age 2 and a picture of him talking with Bobby "Blue" Bland. The issue can be purchased from the Living Blues website, which also includes a nod to this online discography you're now viewing: http://www.livingblues.com/ SWAMP DOGG WRITES A BOOK PROLOGUE Swamp Dogg has written the prologue to a new book, Espiritus en la Oscuridad: Viaje a la era soul, written by Andreu Cunill Clares and soon to be published in Spain by 66 rpm Edicions: http://66-rpm.com/ The jacket's front cover is a photo of Swamp Dogg in the studio with Tommy Hunt circa 1968.
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] KÜNSTLER George McCormick and Earl Aycock TITEL Better Stop, Look And Listen Gonna Shake This Shack Tonight LABEL Bear Family Records KATALOG # BCD 17121 PREIS-CODE AH EAN-CODE ÆxAKABMRy171214z ISBN-CODE 978-3-89916-541-8 FORMAT 1 CD Digipack mit 40-seitigem Booklet GENRE Country / Rockabilly ANZAHL TITEL 29 SPIELDAUER 66:06 G Endlich die erste CD-Wiederveröffentlichung von George und Earl, einem der klassischen Hillbilly-Duos! G 29 Top-Titel aus den 50ern, eingespielt in Nashville mit Musikern u.a. aus der Band von Hank Williams und des A-Teams! G Mit allen sechs 78er-Platten von George McCormick und Earl Aycock sowie sechs Singles von George McCormick. G Sweet Little Miss Blue Eyes und If You Got Anything Good werden häufig als zwei der besten Country-Duette aller Zeiten bezeichnet. G Drei der Songs sollte eigentlich Hank Williams aufnehmen, der dann aber starb. G George McCormick war musikalischer Kopf von Porter Wagoners Wagonmasters und Dolly Partons erster Duettpartner in Wagoners TV-Show. G Earl Aycock arbeitete später als DJ in Texas und Louisiana. G Zur CD gehört ein 40-seitiges Booklet von Martin Hawkins; es enthält unveröffentlichte Interviews mit George McCormick. INFORMATIONEN Diese CD präsentiert zwei sehr unterschiedliche Sänger und Musiker, die in nur zwei Jahren einige der besten und interessante- sten Aufnahmen der 1950er-Jahre eingespielt haben. Der damals noch vorherrschende Hank-Williams-Sound machte nur lang- sam Platz für neue Strömungen innerhalb der populären Country Music und des aufkommenden Rockabilly.
    [Show full text]
  • North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84
    North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84 Abbott, Douglas L. 1-Sep-82 12A 30-Aug-82 Abbott, Helen Hartsook 3-Dec-82 9A 2-Dec-82 Abbott, Molly Jeane 3-Nov-81 8A 31-Oct-81 Abbott, Nora Johnson Mitchell 14-Oct-83 12A 13-Oct-83 Abbott, Roger 1-Aug-84 6A 31-Jul-84 Abercrombie, Dodd 5-Oct-80 6A 3-Oct-80 Abernathy, Ray Paul 29-Jun-80 8A 28-Jun-80 Abernathy, Shaun Travis 24-May-83 8A 24-May-83 Abrams, Reagan Vincent 28-Sep-80 6A 26-Sep-80 Abston, Thomas Earl 30-Dec-82 10A 29-Dec-82 Ackerman, Elsie K. 20-Apr-82 8A 19-Apr-82 Acree, Una Mae Phillips 6-Jul-81 6A 5-Jul-81 Adams, Anna Threadgill 9-Dec-85 9A 8-Dec-85 Adams, Annie Vaughn 12-Mar-85 6A 11-Mar-85 Adams, Bernice Hooper 6-Jul-82 8A 5-Jul-82 Adams, Dora Carrick 13-Jun-80 10A 12-Jun-80 Adams, Edward Vance 23-May-83 6A 23-May-83 Adams, Herman Hugh Sr. 29-Oct-81 8A 27-Oct-81 Adams, James Clifton 18-Sep-84 9A 17-Sep-84 Adams, John Edwin 1-Mar-84 10A 29-Feb-84 Adams, T.B. 15-Oct-82 10A 14-Oct-82 Adams, Velma D. 11-Aug-81 8A 10-Aug-81 Adcock, Plackard C. 6-Jul-82 8A 5-Jul-82 Aderholt, Daniel H. 17-May-85 10A 13-May-85 Adkins, Clarence Odell 1-Jan-85 7A 1-Jan-85 Adkins, E.G.
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST/ A: John Wayne, Dean Martin & Ricky TITLE Nelson: My Rifle, My Pony And Me Lee Marvin: Wand’rin’ Star B: Johnny Cash: Bonanza Gene Pitney: The Man Who Shot Liberty Valance LABEL Bear Family Productions CATALOG # BLX 006 PREIS-CODE BFEP EAN-CODE ÇxDTRBAMy000065z FORMAT 7” VINYL EP in picture sleeve • Limited Edition Direct Metal Mastering • 500 numbered copies GENRE Country G Four classic Western songs from the golden era of Western movies. G A vinyl single in legendary EP-size: 45 RPM, four titles – and a picture sleeve! G Includes Johnny Cash’s vocal version of the ‘Bonanza’-theme tune. G With Lee Marvin’s notorious vocal debut Wand’rin’ Star! INFORMATION “We’ll have western films as long as the cameras keep turning“ said John Wayne – and the Duke personally presents Dean Mar- tin and Ricky Nelson singing My Rifle, My Pony And Me from ‘Rio Bravo.’ There is a long tradition of movie themes sung by con- temporary Pop or Country singers: Frankie Laine and Roy Rogers, Marty Robbins, Eddy Arnold and Willie Nelson – they all interpreted the themes from Western movies and TV series. And actors such as Clint Eastwood or Kirk Douglas also made some (more or less convincing) attempts as singers. Here BEAR FAMILY presents – for the first time on vinyl since decades – an exceptional collectors item: the theme tunes from three Western classics (‘Rio Bravo,’ ‘Paint Your Wagon’ and ‘Bonanza’) plus Gene Pitney’s ballad about The Man Who Shot Liberty Va- lance, inspired by the movie of the same name featuring James Stewart.
    [Show full text]
  • Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
    MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me​ is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away.
    [Show full text]
  • Course Description, Class Outline and Syllabus Instructor: Peter Elman
    Course description, class outline and syllabus Instructor: Peter Elman Title: “A Round-Trip Road Trip of Country Music, 1950-present: From Nashville to California to Texas--and back.” Course Description: An up close and personal look at the golden era of American country music, this class will explore key movements that contributed to the explosive growth of country music as an industry, art form and subculture. The first half of this course will focus on three major regions: Nashville, California and Texas, and concentrate on the period 1950-1975. The second half will look at the women of country, discuss the making of a country song and record, look at the work of five great songsmiths, visit the country music of the 1980’s, and end with an examination of Americana music. The course will do this through lectures, photographs, recorded music, film clips, question and answer sessions, and the use of live music. The instructor will play piano, guitar and sing, and will choose appropriate examples from each region, period and style. - - - - - - - - - - - Course outline by week, with syllabus; suggested reading, listening and viewing Week one: The rise of “honky-tonk” music, 1940-60: Up from bluegrass—the roots of country music. Roy Acuff, Ernest Tubb, Hank Williams, Kitty Wells, Lefty Frizzell, Porter Wagoner, Jim Reeves, Webb Pierce, Ray Price, Hank Lochlin, Hank Snow, and the Grand Old Opry. Reading: The Nashville sound: bright lights and country music Paul Hemphill, 1970-- the definitive portrait of the roots of country music. Listening: 20 of Hank Williams Greatest Hits, Mercury, 1997 30 #1 Country Hits of the 1950s, 3-disc set, Direct Source, 1997 Viewing: O Brother Where Art Thou, 2000, by the Coen brothers America's Music: The Roots of Country 1996, three-part, six episode documentary.
    [Show full text]
  • 1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
    Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J.
    [Show full text]
  • Robert Johnson, Folk Revivalism, and Disremembering the American Past
    The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II.
    [Show full text]
  • STEVE EARLE How a Singer-Songwriter, Actor and Activist Learned to Be a Novelist
    MARCH/APRIL 2011 ISSUE MMUSICMAG.COM Q&A Ted Barron Ted STEVE EARLE How a singer-songwriter, actor and activist learned to be a novelist SINGER AND SONGWRITER STEVE stay clean is to not fool yourself about form. I’m much more old-fashioned, and Earle will soon release both a new T Bone what you’re in control of. Why hire T Bone that comes from songwriting—a beginning, Burnett–produced album and his first Burnett and then try to tell him how to put middle and an end. I had to learn novel—both named for the Hank Williams the record together? how to get a lot of information out and classic “I’ll Never Get Out of This World to develop some sort of narrative in Alive.” Earle struggled with drug addiction Did you know during recording three to four minutes. in the late 1980s and early 1990s, but his that the album and book would be high these days is productivity: He’s also companions? Did having a baby infl uence you? writing a play, acting on HBO’s Treme Not until I sequenced it. I did know the Probably. It’s the ultimate expression of and adjusting to life as a new father—he album was about pushing things as far optimism to have a baby in your mid-50s. and wife Allison Moorer welcomed a baby past the decimal point as possible literarily. Now I want to be in shape to throw a baseball boy into their New York home last year. The book was always going to be called in six or seven years.
    [Show full text]