Pete Seeger was born on May 3, 1919 in New York City. He grew up to be a great social justice activist and folk singer. His many contributions to the battle against the Vietnam War included his song, “Bring Them Home,” which decades later he also later used to protest U.S. wars in the Middle East.
One of the clever aspects of “Bring Them Home” is that Seeger asserts that he wishes to bring the soldiers home because of his love for his country. Many who favored the war accused anti-war activists of being anti-American. But Seeger reminded them that the truth was far different. The people protesting the war did so because they cared about their country and what their country was doing.
While some of Seeger’s activism made TV executives nervous, such as the time he was censored in 1967 on The Smothers Brothers Comedy Hour, many artists respected him. So, he did find his way onto our televisions, including in this March 1970 appearance on The Johnny Cash Show.
It is pretty amazing to watch Seeger perform “Bring Them Home” on a national television show in 1970. That year, Richard Nixon was in the White House and the war still going on. But Seeger (and Johnny Cash) always sang the truth. Check it out.
One of the signs of a great song is how it can be timeless even if written about a certain moment in time. “Bring Them Home” holds up. During the Iraq War, Bruce Springsteen performed a slightly modified version of the song, called “Bring ‘Em Home,” which was released as a digital download to support his album in tribute to Seeger, We Shall Overcome: The Seeger Sessions (2006).
As long as there are wars, “Bring Them Home” will be sung.
In honor of Seeger’s 100th birthday, Smithsonian Folkways is releasing Pete Seeger: The Smithsonian Folkways Collection. What is your favorite Pete Seeger song? Leave your two cents in the comments.
Bruce Springsteen has released a video for his new single, “Hello Sunshine.” The track will appear on his forthcoming album, Western Stars.
Springsteen has explained that the new solo album features “character driven songs and sweeping, cinematic orchestral arrangements.” And according to the singer-songwriter’s website, the new album contains a “sweeping range of American themes, of highways and desert spaces, of isolation and community and the permanence of home and hope.”
Earlier, Springsteen told Variety that this new record is influenced by 1970s pop music out of Southern California. He listed artists like Burt Bacharach, Jimmy Webb, and Glen Campbell. While one usually does not think of those artists in the same breath as Springsteen, one can hear the influence in the orchestration of the first single, “Hello Sunshine.”
In the new song, the singer asks, “Hello Sunshine won’t you stay?” And while the inquiry may remind one of Springsteen’s “Waitin’ on a Sunny Day,” the new song is not a rousing anthem. Instead, it is a contemplative piano-driven meditation of someone alone on the move. It could be the same subject as the voice in “Born to Run,” only older, slower, and maybe a little wiser.
Son Volt, let by Jay Farrar, tackle many of the issues of our current era with the new album, Union. The result is an admirable attempt to aim high and create important music with something to say.
One hears echos of past activists and the tradition of folk music’s commentary on the times. Clearly, Farrar was trying to connect with that history. The band recorded three of the album’s songs at the Mother Jones Museum in Illinois and recorded four songs at the Woody Guthrie Center in Oklahoma.
Sometimes the earnestness and the weight of trying to connect to Mary Harris (“Mother Jones”) and Guthrie seem to burden the music, with direct lyrics that do not leave much to the imagination. But the band’s playing is great, and Farrar’s voice is in great form. The often-changing cast of the band here includes Mark Spencer, Andrew DuPlantis, Chris Frame, and Mark Patterson. So even lyrics that seem too obvious — “Ninety-nine percent / It’s a trickle-down world” — still come in catchy songs that stick in your head. Other songs like “Lady Liberty” and “While Rome Burns” also land direct punches.
Connecting the Personal to the Universal
The songs that work best connect to personal moments or make you think in ways you may not have thought before. For example, the title track “Union,” recounts Farrar’s father’s belief about the need for something to bind the country together: “He said national service/ Will keep the union together.” Of course, many presidents have shared a similar belief, from Franklin D. Roosevelt to more recent presidents like George W. Bush and Barack Obama.
One of the more powerful songs on the album is “Reality Winner.” A listener may be excused if after an initial listen the chorus makes the person think the song is about the reality TV star as president (“What have you done, Reality Winner?”). But the song tells the story of an Air Force veteran named Reality Winner. She is now in prison for being a whistleblower to let Americans know the Russians affected the 2016 election. While not as epic as Bob Dylan’s “Hurricane,” another song about a prisoner, one may hope that the song helps draw more attention to Winner, who was sentenced to more than five years in prison.
Similarly, “The Symbol” uses a personal tale to make a larger point. Farrar sings in the voice of an undocumented immigrant who has been in the U.S. for ten years and had children in the country. Even though he helped rebuild New Orleans, the immigrant now hears people calling him a criminal.
Not every song is about politics. “Devil May Care” is about a barroom band. Farrar has noted he included the song as sort of a respite from some of the heavier themes on the album. Other less political songs include “Holding Your Own” and “The Reason.”
The band also took an old song and made it new. Activist Joe Hill wrote the lyrics to “Rebel Girl,” and the words were published in the early 1900s in the Little Red Songbook by the Industrial Workers of the World. Farrar added music to Hill’s words. In doing so, he created a wonderful merger of meaningful heartfelt lyrics with beautiful music, forming an instant classic, again connecting something personal and individual to something larger.
That’s the rebel girl, that’s the rebel girl; To the working class she’s a precious pearl; She brings courage and pride to the fighting rebel boy; I will fight for freedom with a rebel girl.
Conclusion
So, what to make of this album that has received mixed reviews ranging fromAmerican Songwriter hearing an “emotionless approach and . . . muted instrumentation” to American Highways finding “new political depth” in the album? Union is far from perfect, but there are near perfect moments. It is difficult for an artist to take on modern political issues while society is still working out those issues and their meaning. But here is a noble attempt. And we should all appreciate that Jay Farrar and Son Volt are using good music to try to tell us something.
What is your favorite song on Union? Leave your two cents in the comments.
Ashley McBryde is a rising country star who was recently recognized with a nomination from the ACM Awards. One of the highlights from her recent debut album Girl Going Nowhere (2018) is the title track (minus a “g”), “Girl Goin’ Nowhere.”
In the lyrics to the song, you hear the voice of someone who has had to deal with a lot of naysayers. She recalls people telling her she would “never be anything.” But then she sees the crowd and realizes she is doing pretty good for a “girl goin’ nowhere.”
I need to thank my daddy For that first set of strings; And all those folks who swore I’d never be anything; It took a whole lot of yes I wills and I don’t care, A whole lot of basement dives and county fairs, To this show right now and y’all sure look good out there; Not bad for a girl goin’ nowhere.
Below, McBryde performs “Girl Goin’ Nowhere” at the Grand Ole Opry. In this spare acoustic performance, you can hear a pin drop as McBryde mesmerizes the crowd.
The Arkansas-born Ashley McBryde sings like she knows the experience. She was born in 1983 and has had her ups and downs professionally, releasing some albums on her own in 2007 and 2011. She earned a bit of a break when Eric Church discovered her. But her talent has made her a rising star since the release of her well-reviewed debut release, Girl Going Nowhere in March 2018.
For one year in 1969, the band Blind Faith existed. After Eric Clapton had left Cream and Steve Winwood had left Traffic, the two formed a “super group” with drummer Ginger Baker and bass-player Ric Grech. They created one self-titled album and did one tour, and that was it. But during that time, they created some great music, including “Presence of the Lord.”
Clapton wrote “Presence of the Lord,” although Winwood handles lead vocals on the recording. The song conveys an image of one finding peace.
Everybody knows the secret, Everybody knows the score. I have finally found a place to live In the presence of the Lord.
Some have written about the spiritual and religious nature of the song. Others have noted that it may have been inspired by Clapton finding peace in his own life after finding a new place to live.
In the fascinating documentary, Eric Clapton: Life in 12 Bars (2017), Clapton explained that the song’s line “I have finally found a place to live” is about his love for Patty Boyd. At the time, she was married to his friend George Harrison, and Clapton’s feelings for her would inspire several songs. The anguish would be reflected a few years later in the Derek and the Dominos song, “Layla.” Clapton and Boyd married a decade later, but the marriage did not last.
Regardless of the true meaning behind the song, Clapton’s guitar playing and Winwood’s voice help take the song to a higher plane. Below, Blind Faith performs “Presence of the Lord” at the band’s first performance, live in London’s Hyde Park on June 7, 1969.
In October of that year, the band released a press release saying they had broken up.
