Museum of Memories 1972–2002 Executive Producers Ed Becker and John Yuelkenbeck (July, 2002)

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Tom Russell Museum of Memories 1972–2002 Executive Producers Ed Becker and John Yuelkenbeck (July, 2002)

Ed Becker is the father I never had: kind, intelligent, fun, and all that, to be sure ... but just as important is that he’s even more of a music snob than I am. I hear about a new disc being released—he’s already had the promo for a week. I mention a hot new band—he tells me who’s in it, who discovered them, who’s producing the record, and which label it’s coming out on. And then he goes into the details. I first met Ed ten years ago. After interviewing Tom Russell for the late, great Sound magazine, my publisher Corky Carrel and I arranged to sponsor a Kansas City gig for Tom and his band. I was impressed enough to tag along with them the next night to their St. Louis show. On the trip across the state, Tom told me all about “Digger,” the funeral home director from Mt. Olive, Illinois, and how he had been Tom’s biggest fan since way back. We hit it off immediately. A couple of years later, Ed hired Tom to play a birthday party for his wife, Shelley. He invited me and offered to let me stay at the funeral home. Things had moved rapidly in those two years: I was now managing Tom’s mailing list and had designed the cover for Box of Visions. Tom had sent me a couple of unreleased demo tapes, and I was feeling like part of the inner circle. Little did I know. Ed and I were headed out to check out the concert site when he stopped and said, “Let me grab a couple of things to listen to on the drive up.” He pulled a handful of tapes out of a cardboard box, and for the next half hour he was popping tapes in and out of the car’s cassette deck. “Shipwreck Kelly,” “The Glutton,” “Mineral Wells,” one after another, they just kept coming. “Here’s one I think you’ll like . . .” Astounding. Tom winced when I raved about all his great unreleased material. As with all artists, he’s always moving on to new territory and not interested in revisiting his past. Too bad for him. That day, Ed and I teamed up on a crusade. Well, let me clarify: I joined Ed on his crusade. For the past decade, we’ve both been pestering Tom to release a collection of rarities and outtakes. “Busting my chops” is how Tom refers to it. With 2002 marking thirty years since the release of the 1972 Mule Train 45, we finally wore Tom down and he reluctantly agreed to let Ed and I compile this disc. The hardest part has been in deciding which tracks to use. There is easily enough strong material for additional releases—the second volume is pretty much in the can already, if this one is successful. Just don’t ask Tom to play any of these in concert; that won’t help the cause. In fact, don’t even mention that you like any of these songs. My first inclination wasn’t to go the chronological route. That style of compilation conveys a sense of history, but doesn’t always play well on its own. I often prefer sequencing like Dylan’s Biograph, where the tracks might be scrambled by date, but provide more interesting juxtapositions and give the project its unique flow. In Tom’s case, these songs vary in style and performance so much that they worked well on both levels, so I left them in the order recorded: a survey of thirty years in the business. Tom only refused a couple of our choices. I argued that Dylan hadn’t released “Blind Willie McTell” because he didn’t think it was good enough, but didn’t get very far, so a few classics will have to remain locked away. As is, it took some convincing before he agreed to let us use “Strung Out,” because he’s embarrassed by his early vocals. “Shipwreck Kelly,” recorded for a planned third Hardin & Russell album that never materialized, was chosen to represent Tom’s years with Patricia Hardin. For you latecomers: she’s no relation to Andrew—he met up with Tom in New York after Robert Hunter urged Tom out of retirement. “Cross of Guadalupe” is from Tom and Andrew’s first live gig together, opening for Hunter at the Lonestar in New York. The tape made from the show wasn’t the best quality, but definitely a moment worth preserving. Besides “Strung Out,” the only other previously released track is the Springsteen cover, “Shut Out The Light,” the b-side of a European single. O.K., for you sticklers, “La Galué” was released on As The Crow Flies, a tape sold at early gigs, and some of these songs have been covered by other artists, most notably “The Heart” by Sarah Elizabeth Campbell and “Biggest Bordertown” by Bob Neuwirth. The first time I interviewed Tom, I blathered on about Neuwirth’s great version of “Bordertown” without a clue that he had co-written it. Tom’s take is a rejected Box of Visions demo, as is “Ten Cent Lemonade,” possibly the only Tom Russell song with a happy ending. Can’t have that! A duet with Katy Moffatt of “Mineral Wells,” from which this disc’s title comes, was released on The Long Way Around, but this version is a Tom Russell Band rehearsal take. You can tell by the flubbed “heard her stories” line that it was never intended as a final, but it represents an interesting glimpse of the band at work. Speaking of Katy, those are her backup vocals and co-write with Tom on “Big Fool,” live from Austin’s Cactus Café. “Hank & Audrey,”released as a duet on Katy’s Midnight Radio, is performed here live by Tom, accompanied by Andrew and the Skeletons’ Bobby Lloyd Hicks. Several other buried gems from the prolific Tom Russell Band have made it on here, naturally, but the band was a thing of the past in 1995 when Fats Kaplin’s wife, Kristy Rose, opened for Tom in St. Louis on St. Patrick’s Day. Fats joined Tom and Andrew for the traditional “Roddy McCorley,” a special reunion moment for those of us lucky enough to be there. Not quite as memorable: cited my first speeding ticket at 5 a.m. that morning, rushing Fats to the airport on his way to a Tractors gig. I’ve received e-mails requesting that we include Tom’s version of a Man From God Knows Where song that he didn’t sing on his folk opera. Others wanted to hear one of Tom’s famous in-concert raps, so we’ve “topped off” his wistful performance of “When Irish Girls Grow Up” with a hilarious extended intro. Specifically for this collection, Tom provided his Borderland outtake of the old George Jones classic, “Open Pit Mine.” He also gave us permission to use a new song that he’s been performing at recent shows, “The Dogs Bark But The Caravan Moves On.” That’s Tom, always moving on. But Becker and Son appreciate his giving us this opportunity to bust his chops. —John Yuelkenbeck the dying days of August, 2002

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Wilde More d r th an W S U N Doodstock! ange S U N D SUNDrous than Loude SUND Alta r th an L mont! When we left Tiny Montgomery and Tom on that. The rest of the collec- ollapalooz “I started out even, you know. Now I’m five million in Russell last month, they had just begun tion is some of my older a! the hole . . . forty-one number one records and five OLL O discussing Tom’s popularity in Europe: songs and some newer ones R VER, million dollars down. How does that compute? If I BILL G with cowboy themes. RAHA thought we could get wealthy enough that you could People in the U.S. don’t realize country M beat cancer and AIDS and all the other things that are What attracts you to so many It’s of music is as big as it is over there. ficial: S after our asses, then I’d be worried about finances of these “fallen angel” types Tom Russe OUND is sp Definitely. That part of Europe has liked ll Band in conce onsoring t real seriously. I don’t really care if I’m broke or not of characters? Grand Emporium he country music for about ten years. Scandi- rt May 5th at t because I can walk down the street and get me a I approach songs more or show at 8 . Iris DeMent navia is probably the hippest audience in P he goddamn hamburger with a song.” less from an individual .M. (sharp!) opens the the world, even hipper than the U.S. They $8 (plus l Tickets are a oathsom speak English very well, and they also know standpoint rather than e servi mere —Merle Haggard, Journal of Country Music ce charge a tremendous amount about American making any big political or ) at all outl “I’m very country influenced, from quite young . . . roots music, especially the Norwegians, message thing out of it. So if ets. Merle Haggard.” and they’re really into singer-songwriters, some striking character has a story that your —Mick Jagger, Guitar Player so it’s the perfect market for me. interests me and I chew on it for a while . . . take brings out more pas- with Faulkner, sion and empathy for the character, and it for instance, I’m also stresses the irony of the situation better. not that much His version is a little rougher. I had basi- in to him as a cally the story and Dave helped me flesh writer per se, it out and check out some of the facts. I like SSUNDU N D I was into the writing with writers like Alvin and Peter situation he got Case, Dan Zanes of the Del Fuegos . . . they himself into, take me into another area musically, to like with Fitz- write more of that ballsy kind of roots deal. gerald, having HREE YEARS AGO I SANG to go to Holly- Tell me more about the co-writing process. writing, performing, and singing up to snuff— his footing, like Archie Moore in his two – final installment – wood to make Besides Peter Case, Bob Neuwirth is also Twith Dave Alvin at the Ritz in New still creative—but radio ignores you. The busi- hundredth fight. The yuppies and drunk money to do listed on “Beyond The Blues.” How did that York when he opened for Merle ness folks in Nashville act like they’d be happy lawyers began shouting requests half way real art, and yet come about? Haggard. Merle performed for over two to embalm and box-up Merle and George through the second song. Haggard looked that experience Neuwirth barged in when we were hours; a flawless waltz through his catalog. Jones and Cash, and put them away on a shelf baffled and twenty years older than at the destroyed him writing that song in Santa Monica. It was No bullshit. No set list. He picked out a in the Hall of Fame. Ritz show. Another night, another bad gig. in a way. a nice day, about sunset—I love Neuwirth, song, counted it off, sang soulfully and I talked to Haggard for a minute before the I thought of Lefty Frizzell playing out but he barged in and said, “let’s go watch pointed out all of the solos. I’d grown up show. He looked past me with that hundred his final years, drunk, on Army bases in Someone who the sunset on the beach,” and as we were listening to Merle on the West Coast in the yard stare. The death row smile. He warmed Greenland and Guam. The Tramps gig was fought against 60s. I was struck again by the quality of up when he found out I was from California. like seeing Mozart playing piano in a border You often draw on real-life characters in writing “Beyond The Blues,” he started his situation was the early black boxer Jack the material and the depth of that singing He started in on some blues stories about whorehouse . . . something like that. Pick your songs . . . William Faulkner, Edith Piaf throwing lines in and some of them Johnson, a hero who’s a little bit different from voice. The audience, mostly under thirty, Johnny Cash and the Collins Kids. He was just your own metaphor. Haggard is the one be- ...I assume the down and out jailbird in How’s the weather in Winnipeg? Turn to page 4 some of the other characters you’ve sung about. seemed to be discovering Haggard for the getting into it when the road manager pulled lievable heir to Hank Williams and Lefty “Blue Wing,” [from Poor Man’s Dream] is a Racism was a part of that story . . . first time. They’d discovered Johnny Cash a him away. They handed him his telecaster and Frizzell; so here’s Haggard at Tramps and real character? INSIDE few years before. pointed to the stage. Garth Brooks is playing stadiums. I’m not He’s a combination of characters with [Interrupting] Because of his association with Merle did an encore and Two years later he returned out to demean hard working artists, but real-life facts. I hate to say anything more white women? FARM AID V: packed up. The audience to New York. I took a girlfriend Brooks, in the interviews I’ve read, seems about it [laughter]. Yeah, he used to chase a lot of white women, WORDS FROM THE FRONT INSIDE wouldn’t leave. They kept to see him at Tramps. She was more concerned with the quality of the t- and back in the early 1900s that was a big piss- Page 5 stomping. The roadies had to a big Lefty Frizzell fan; I knew shirts he sells than actually crafting lasting And Ian Tyson recorded your song about the off to a lot of people. But what got me on to PASS THE set up the drums again and she’d love Merle. Tramps is a country songs. (Haggard: “I don’t really outlaw Claude Dallas. that song was a line from Leadbelly who NOTHING ABOUT THE POGUES PICANTE: DUG Yeah, I just recorded that on the cowboy bring Merle off the bus for loud, obnoxious New York understand the Garth thing . . . he’s a nice wrote some kind of song about the Titanic Page 7 HEADS SOUTH TO collection called which will another encore. He seemed “roots” bar with inflated drink kid, but he’s not turning my crank.” Amen.) Cowboy Real where he said, “Jack Johnson went down to also be out on Rounder. Eleven songs genuinely moved and amazed OLD EL PASO prices, wired waitresses, and a A few weeks later, I talked to Dave Alvin get on board and the captain said, ‘sorry boy YOU GOTTA LOVETT based around cowboy stuff. It has “Claude that anyone in New York really page 5 fifty thousand dollar sound about co-producing a Haggard tribute we ain’t hauling coal’” because of the color of Page 10 Dallas,” which is a true story, and “Navajo gave a shit. Here was a man system that feeds back all record. A group of roots writers singing his skin . . . CHRISTMAS CASH: Rug,” which I co-wrote with Tyson—we do INGÉNUE: INGENIOUS OR caught up in that legendary night. It was a step down for Merle songs. It would have to be a good ONE MORE ROUND it as a duet on this one. “Gallo de Ciello,” an [Rudely interrupting again] I can’t forget Bill INJUDICIOUS? rut Johnny Cash had experi- Haggard. Merle stumbled on one, with believable artists. The tribute Page 12 old song of mine about cock fighting that Haley along with these others. Dave Alvin’s Page 12 enced: what does a legend do stage, wavered, slid into “Mis- record concept has been done to death and he recorded on a CBS album, we did a duet version of “Haley’s Comet” is pretty good, but in the later years? You’re still ery and Gin,” and tried to find You don’t have very far to go to page

Sound magazine (April, 1992) Sound magazine (Winter, 1994) Interview with Tom and ad for Final issue—Tom writes the cover ﬁrst Kansas City gig—opening story on Merle Haggard and the act, hometown girl Iris DeMent making of Tulare Dust

Rejected cover designs for Box of Visions (1993) and The Early Years (1994) The Dark Angel Story: “Dark Angel” is released here for the ﬁrst time as a bonus track. With the help of his friend Jon Polk, Tom’s Poor Man’s Dream CD was originally self- released on the “800 Dark Angel” label in an allusion to the song. That disc was marketed exclusively through the toll-free 800-DARKANG number, with Jon Polk’s mother, Doris, temporarily handling Tom’s mailing list after long-time fan Germaine L’eveque had become unable to maintain the records. When John Yuelkenbeck and Corky Carrel picked up Tom’s database and merchandising duties, they opted to keep the “Dark Angel” name and phone number. John subsequently had a blue wing tattooed on his shoulder, and used the same artwork in the Dark Angel logo. The name has no satanic implications. Proceeds from the sale of this disc help pay for newsletter and postcard mailings, as well as help in maintaining Tom’s website, http://www.tomrussell.com.

HERE’S MUD IN YOUR EYE FROM TOM RUSSELL & CO.

owboy Real came out of an idea C NEW to sit down in front of a micro- ALBUM! phone, with an acoustic guitar, “COWBOY and sing a few old cowboy tunes. REAL” It was recorded a year ago in March at Bones Tones Studio in Brooklyn. Bones Tones is a fine little room where we previously recorded “Northern Towns” and where I co-produced Katy Moffat’s next record that may be called The Greatest Show On Earth. Look for that one—it’s got at least eight songs I co-wrote with Katy. It should be out in the fall on Rounder. Cowboy Real contains eleven songs; a blend of new, old, and reconsidered. There are two duets with Ian Tyson, a great influence as well as a great singer and cowboy song writer. He swaps verses with me on a new

version of “Navajo Rug” and “Gallo del Cielo.” I also recorded an HT:DVDGAHR DAVID PHOTO: outlaw ballad I wrote with Ian—“Claude Dallas.” There are two cowboy poems I wrote the music for, a couple of new songs, and covers of Joe Ely’s “Indian Cowboy” and Blackie Farrell’s “Sonora’s Death Row.” This one is an acoustic record with some fine picking by Andrew Hardin and Fats Kaplin. The reaction in Europe and Canada has been great. We hope to be back in the studio before the end of the year for another band album. Rounder/Philo has released Road To Bayamon, Hurricane Season, Poor Man’s Dream, and Cowboy Real. Round Tower (in Ireland and the U.K.) has released a sixteen track compilation titled Beyond St. Olav’s Gate which has opened the door for us over there . . . The last year has seen a lot of touring; co-production of Sylvia Tyson’s new album Gypsy Cadillac and Katy Moffatt’s next album; and also the success of Suzy Bogguss’ version of “Outbound Plane.” Keep in touch on future events through the 800 number, or order through the P.O. Box in Boca Raton. See you soon.

First “Blood Shots” newsletter The Tom Russell website (Summer 1992)

Analog to digital conversion and mastering by Whirlwind Studios, Kansas City.All selections from Ed Becker’s cassette and vinyl archives, except “Shut Out The Light,” “Mineral Wells,” and “Roddy McCorley,” from the collection of John Yuelkenbeck; “Open Pit Mine” from a digital ﬁle provided by Tom Russell; and “The Dogs Bark,” a combination of soundboard CD and VHS tape provided by Todd Garren. Packaging: Coleridge Design, Kansas City Printing: MPress, Kansas City

Sincerest thanks to: Shelley Becker; Bill, Marilyn, Joe, and Beth Camarata at Off Broadway; Swallow Hill; Cactus Café; Todd Garren; Bill Lavery & Corky Carrel at VillageRecords.com; Larry Weir at KDHX; Johnny Babcock; Carol, Greg, Brice, Roger, and Amy at Coleridge; and a special thanks to Tom Russell, Andrew Hardin, Fats Kaplin, Billy Troiani, Richard Crane, Charles Caldarola, Mike Warner, Barry Ramus, Patricia Hardin, Susan Pillsbury, Katy Moffatt, and all the other talented musicians playing on these songs. Cover: Illinois State Fair (August 20,1988) Billy Troiani, Fats Kaplin, Ed Becker, Tom Russell, Andrew Hardin, Charles Caldarola

All songs written by Tom Russell except: “Shut Out The Light”(Springsteen) “The Heart” (Russell/Trooper) “Big Fool” and “Hank & Audrey” (Russell/Moffatt) “Ten Cent Lemonade” (Russell/Rhody) “Biggest Bordertown” (Neuwirth/Russell) “Roddy McCorley” (traditional) “Open Pit Mine” (Gentry) “Dark Angel” (Russell/Young)

Dark Angel P.O. Box 16083, Shawnee, KS 66203 1-800-327-5264 www.tomrussell.com

Norwegian single: Tom Russell, vocals, guitar; Andrew Hardin, lead guitar, vocals; Fats Kaplin, Tex-Mex accordion; Billy Troiani, bass, vocals; Richard Crane, drums, vocals (1986) Robert Johnson by Tom Russell Paint on two layers of cardboard; gift to Andrew Hardin (1990) Publicity bio—the back lists contact info and discography in baseball card Initial inspiration notes for The Man From God Knows Where, written stats format; Hobbies listed: reading, drawing alligators (1990) on the hotel stationery where Tom was staying in Ireland (1997)