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

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Museum of Memories 1972–2002 Executive Producers Ed Becker and John Yuelkenbeck (July, 2002) 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 inter ’94 W Winter ’94 . 4 4 o o. 2, N , N Vol. Vol. 2 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.
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