Posts Tagged ‘Blue Rose’

Another Performer At That Intersection

Tuesday, May 18th, 2010

I don’t know Rosanne Cash’s work all that well. I’ve got a couple of her albums on vinyl and have found a couple of CDs of her recent work, too. I’m still absorbing the work she did on last year’s acclaimed CD, The List, a collection based on a list of one hundred essential American songs her famous father gave her when she was eighteen. In other words, I’ve listened to a fair amount of her music, but I’m no expert, just a fan.

And as I write that, I realize that I’m still absorbing the album that I’ve long thought – from my admittedly limited view – to be Cash’s best: King’s Record Shop from 1987. In a few years, The List may challenge for the top spot in Cash’s catalog, but I think that – as good as last year’s release was (and it was very good indeed) – the best that The List can do for some time is wrestle King’s Record Shop to a draw.

Now, perhaps I think that because King’s Record Shop was the first album by Rosanne Cash I really heard. Before that, I’d likely heard bits and pieces of her work here and there, but I don’t know that I’d considered Cash as someone to take seriously. And – as is true in the case of quite a few performers – it was Dave Marsh’s The Heart of Rock & Soul that persuaded me to listen more closely to Rosanne Cash, when he listed her song “Runaway Train” at No. 590 in his 1989 listing of the top 1,001 singles.

So what did I find when I tracked down King’s Record Shop? Looking back – with the aid of a little bit of listening again last evening – I found a performer and songwriter at that interesting intersection of country, rock, blues and folk, a place where I’ve been pleased to find a fair number of other performers in the past twenty years, maybe chief among them Darden Smith.

My blogging friend Paco Malo once cited in the comments to one of my posts the description given by Levon Helm of The Band of the music he listened to and played growing up in Arkansas. Having lost those comments, I’m paraphrasing, but Helm basically said the music at home was some country, some blues, some gospel, some folk, and they called it rock ’n’ roll. And that was true enough, meaning that Cash and Smith and others at that intersection aren’t creating something new. My point, though, is that for many years as rock, pop and even country music evolved, some of those influences were forgotten or at least at times ignored in mainstream genres. And when I picked up King’s Record Shop not long after reading Marsh’s book, it was, if not quite a revelation, then at least a refreshing reminder of some of the major strains of American popular music.

Now, all that was twenty years ago or so. But King’s Record Shop – along with some of Cash’s other early work (Interiors comes to mind) – remains to my ears as vital and fresh as her more recent work, including The List. And the heart of King’s Record Shop remains “Runaway Train.” The song was written by John Stewart, and Cash’s recording of it peaked at No. 1 on the country charts.

A Six-Pack from the Ultimate Jukebox, No. 17
“Suspicious Minds” by Elvis Presley, RCA Victor 47-9764 [1969]
“My Impersonal Life” by Blue Rose, Epic 10811 [1972]
“China Grove” by the Doobie Brothers, Warner Bros. 7728 [1973]
“#9 Dream” by John Lennon, Apple 1878 [1975]
“Time” by the Alan Parsons Project from The Turn of a Friendly Card [1981]
“Runaway Train” by Rosanne Cash, Columbia 07988 [1987]

A while back, I picked up Suspicious Minds, a two-disc collection of the work Elvis Presley did at American Studios in Memphis in early 1969, the sessions that resulted in Presley’s three greatest singles – “Suspicious Minds,” “Kentucky Rain” and “In the Ghetto” – as well as a wealth of other great material. And I was going to comb through the booklet that came with the collection to find a quote or some other tidbit to use here this morning. But the booklet is printed in small white type on black and is for practical purpose unreadable without using a magnifying glass. I have one of those, but I also have better ways to invest my time. So I’ll just say that “Suspicious Minds” – which went to No. 1 in the autumn of 1969 – is to me the best thing Presley ever recorded during his long and erratic career. That’s a hefty statement to make about someone who had 114 records in the Top 40, but to my ears, the body of work from those Memphis sessions was better – in most cases, far better – than anything Presley had done since the Sun sessions during the mid-1950s. And “Suspicious Minds” was the best of all.

“My Impersonal Life” is likely better known for the cover version done by Three Dog Night. The Blue Rose version – the song was written by Terry Furlong of Blue Rose – came to my attention through a CBS compilation called The Music People, one of those classic collections record labels used to sell cheaply to promote new artists and albums. From there, I found Blue Rose’s self-titled 1972 album, and after I ripped and posted that album – this was almost three years ago – I found myself connecting with Dave Thomson, who’d played bass and guitar for the group. Dave has since passed on, and when “My Impersonal Life” pops up these days, I find myself thinking about connections found and lost and the multiple layers of life and the sheer impermanence of things. And then I hear the first line of the chorus – “Be still and know that everything’s all right” – and I’m okay.

It’s become a cliché, I suppose, to call the Doobie Brothers’ “China Grove” one of the great road trip songs of all time. But it’s still true. If I’m not driving when the song pops up on the player, I wish I were. And if I’m out running errands and the record – which went to No. 15 during the autumn of 1973 – comes on the radio, I generally keep moving until it’s over, even if I have to drive around the block an extra time. I should note that sometime during one of our visits to Texas, the Texas Gal and I will likely go to the little town of China Grove just east of San Antonio with the CD player blaring as we cross the town line. Not like that hasn’t been done a million times since 1973, but I’ve never done it.

The dreamy and mystical soundscape of John Lennon’s “#9 Dream” still captures me, more than thirty-five years after its release. I’m not sure what it all means, but it doesn’t really matter. Evidently Lennon wasn’t sure what it all meant, either: Wikipedia says that, according to May Pang, Lennon’s companion at the time, “the phrase repeated in the chorus, ‘Ah! böwakawa poussé, poussé’, came to Lennon in a dream and has no specific meaning. Lennon then wrote and arranged the song around his dream”. Pang, by the way, provides the whispered female vocals on the record, which went to No. 9 in early 1975.

I don’t know a lot of the work of Alan Parsons, either solo or as the leader of the Alan Parsons Project, which is just another example of the world containing too much music to know. But I recall getting lost in “Time” when it came out of the radio speakers during the summer of 1981 on its way to No. 15. It’s a record that’s perhaps pretty and sentimental to excess – and I perhaps have a weakness for things pretty and sentimental – but it seemed at the time so much better than the music that surrounded it on the radio. (The records that bracketed “Time” when it peaked at No. 15 in July 1981 were “Endless Love” by Diana Ross and Lionel Richie and “Touch Me When We’re Dancing” by the Carpenters.) And I still like it almost thirty years later.

Some Thoughts On March 17

Wednesday, March 17th, 2010

It’s St. Patrick’s Day, and I could post some Irish music, maybe some Clannad or the Corrs or something from deep in the files. But if there are ten thousand music blogs out there, then I would guess that at least one-third of them will mark in just that way the Irish holiday that seems to be far more important in the U.S. than it does in Ireland.

If that’s the case – and I do think from what I’ve heard and seen over the years that St. Patrick’s Day is observed with far more intensity here than it is in Ireland – then why is that so? Well, I think that the central function of those American parades and celebrations over the years has been to maintain a connection to the homeland, a link to the marchers’ Irish heritage. That means, I would guess, that the St. Patrick’s Day parades in Boston and New York and elsewhere are remnants of a time when being Irish in the U.S. was almost as much of a drawback as was being black.

That may sound like overstatement, but in my reading over the years, I’ve seen photos and citations of many Nineteenth Century job postings and notices that clearly indicated that those of Irish and African descent need not apply. The Irish certainly served their time – as a class – on the lower rungs of America’s ladder. I’ve also seen numerous citations in my reading about the American Civil War noting that Union soldiers of Irish heritage were glad to fight to preserve the Union, but when the purpose of the war metamorphosed into freedom for the slaves, the Irish in general were far less than enthusiastic, because freed slaves in the postwar world would mean, basically, greater competition for jobs. Again, that’s an indication that the Irish at the time – especially in the cities – were quite low in the nation’s cultural and social structure.

In such circumstances, then, it’s not unreasonable to have ethnic celebrations like St. Patrick’s Day, celebrations linked to the spiritual and cultural traditions that the emigrants left behind. It’s also worth keeping in mind that in the Nineteenth Century, those who left Ireland or any other foreign shore for the United States were almost certainly seeing their homelands – and the relatives and friends who remained there – for the final time. We tend to take for granted intercontinental travel these days, but in historical terms, the opportunity for an emigrant to return to the homeland is a very recent development. Easy and inexpensive travel by air is a late arrival, spanning at most – depending on one’s definitions of “easy” and “inexpensive” – the sixty-five years since the end of World War II. Until then, memory was all there was.

So for those people who arrived here in years earlier, home was a memory and not a place they could realistically hope to see again. Celebrations like St. Patrick’s Day – or the Swedes’ Svenskarnasdag or any number of other ethnic celebrations – were cultural and spiritual connections to the places and the people left behind. As years passed and the Irish – and similar ethnics groups – were accepted and took their places in the American mosaic, the parades and celebrations became as well an expression of accomplishment and belonging in the New World.

In one sense, it’s sad that over the years, March 17 has evolved into a day of silliness and unrelieved drunkery, of green balloons, green hats and green beer. On the other hand, it’s both interesting and in a way encouraging that vast numbers of Americans gather together to celebrate – even if it’s in the most oblique way – a people and a culture that not all that long ago, as history runs, were considered only a small step above animals.

It’s also worth remembering that – from my interpretation, which I think is well-founded, based on reading over the years – it was a simple thing that the Irish trying to do with those earliest St. Patrick’s Day parades. They were trying to remember what it was like to be home. And that’s something that belongs to everyone.

“Home” by Blue Rose from Blue Rose [1972]