A lot of great musicians have come from Kentucky, and one of our favorites is Marty Brown. Chimesfreedom congratulates Brown as the Kentucky Music Hall of Fame and Museum opens up an exhibit about him at 2:30 p.m. on Friday, November 13, 2020.
The unveiling has been delayed for awhile due to the Covid-19 pandemic. But the opening will be covered live, including streaming on Marty Brown’s Facebook page.
As we have covered here, Marty Brown released his first albums in the 1990s before returning to the music stage finding new success many years later. Here is a very young Marty Brown performing one of his first records, “Every Now and Then.”
What is your favorite Marty Brown recording? Leave your two cents in the comments.
Karen O and Willie Nelson put an acoustic spin on “Under Pressure,” the classic song by Queen and David Bowie.
Karen O and Willie Nelson recently recorded a cover of “Under Pressure,” originally written and performed by Queen and David Bowie. Karen O of the Yeah Yeah Yeahs wrote Nelson seeking his help for a letter seeking funding for independent music venues during the COVID-19 pandemic. In her letter, she also raised the possibility of working together. And out of that contact came this collaboration.
Through Nelson’s daughter, Nelson responded to Karen O asking for a suggested song. And Karen O came up with the idea for a new interpretation of the Bowie-Queen classic.
This new version begins with the famous bass line, but it remains quieter and acoustic, focusing on the lyrics for our troubled times. Check out Karen O and Willie Nelson on “Under Pressure.”
And that is our Pandemic Song of the Day. Leave your two cents in the comments.
On an album wrestling with issues of mortality, Bruce Springsteen and the E Street Band join together to create one of their most joyous albums just when we needed them most.
Perhaps touched by the pandemic that has taken so many lives as well as his own advancing years, Bruce Springsteen’s new album Letter to You begins and ends with songs contemplating life’s end. In between those two songs, in an album that serves as a live rousing concert for homebound fans, Springsteen and the E Street Band send a roaring message about what can save America. It is the same message they have been preaching since the 1970s: rock and roll can save our souls. Maybe it is a cliché. But in the hellhole that is 2020, Springsteen and the E Street Band preach, giving us faith and hope. We may not deserve Letter to You after what we have created in 2020, but it is the album we need.
The album begins with the warning of a “Big black train comin’ down the track” followed by the truth that “One minute you’re here / Next minute you’re gone.” It is this statement in the opening track, “One Minute You’re Here,” that permeates through the album and its energy. The album is of a man of advancing years contemplating death and what it means for his life and his art.
Consistent with this theme, the album cover photo by Danny Clinch captures Springsteen in winter. He stands near the location where John Lennon, one of his rock and roll heroes, lost his life at the Dakota. Springsteen’s eyes look into the camera with the determination he brings to facing mortality throughout the album.
For example, on “Ghosts,” Springsteen seems to be recalling the musicians he has known and has lost, perhaps including Clarence Clemons and Danny Frederici. But in the face of the losses, Springsteen shouts against his own impending darkness. “I’m alive!” he bellows. A similar theme runs through “Last Man Standing.”
The album includes three songs Springsteen wrote decades ago, now polished with the help of the band: “Janey Needs a Shooter,” “Song for Orphans,” and “If I Was the Priest.” These songs go back to early in his career, with the latter song famously being played acoustically in 1972 by Springsteen when he was seeking a record contract.
These old songs fit with the new ones perfectly, with Springsteen perhaps realizing he is running out of time to give these early songs a proper release. He also has commented on how it was just plain fun to revisit these old songs written when his lyric writing was much more wordy than in later years.
Whatever the reason, the new version of “If I Was the Priest” rushes forth as one of the highlights on the album, ending with a rare album guitar solo from Stevie Van Zandt. Although I’d heard the acoustic bootlegs many times before, I never realized what a wonderful song it was until this new version (and it’s not just because I like that older wiser Bruce now mostly uses the more grammatically proper “If I were. . . “).
Springsteen wrote most of the songs during a short period of time this year, and based on Roy Bittan’s advice, he avoided creating demos for the songs. Instead, he brought the songs to the full E Street Band, so they all could work out the arrangements together.
Thus, you may notice an energy in Letter to You, a Springsteen record recorded through this process for the first time since the 1980s with Born in the U.S.A. I first noticed the powerful sound of this album subconsciously when I started hearing the opening chords of “Letter to You” and “Ghosts” on the radio when I was not expecting them. If nothing else, give this album time to take you by surprise.
Springsteen seems to be speaking directly to his fans with the lyrics. In the title track, Springsteen tells us that through his music he has been communicating with us all these years, sharing his feelings and thoughts. He reveals that all along he has just been talking with us, as if writing a “Letter to You.”
But current events run through the songs on Letter to You too. “Rainmaker” was partially written three years before Donald Trump became president. And the image of the rainmaker has appeared throughout American culture including in Burt Lancaster’s amazing performance in the 1956 film The Rainmaker, in Tanya Tucker’s “Lizzie and the Rain Man,” and in Steve Martin’s starring role in Leap of Faith. But it is hard not to think Springsteen is thinking of President Trump in invoking the con men of the West who used to promise rain.
Rainmaker, a little faith for hire; Rainmaker, the house is on fire; Rainmaker, take everything you have; Sometimes folks need to believe in something so bad, so bad, so bad, They’ll hire a rainmaker.
A possible reference to Trump also arises in what may be the best song on the album, “House of A Thousand Guitars.” The song begins with references to a “criminal clown” who “has stolen the throne.”
But, like the album, “House of A Thousand Guitars” is ultimately about hope, reminiscent of “Mary’s Place” on Springsteen’s post 9/11 The Rising album. Also harkening back to one of Springsteen’s greatest songs “Land of Hope and Dreams,” the new song takes us not on a train but to someplace here in the (hopefully) near future. Perhaps it is a reference to the pandemic someday ending, when we can all come together to find community in the music at the local bars and the stadiums.
Well it’s alright yeah it’s alright; Meet me darling come Saturday night; Brother and sister wherever you are, We’ll meet in the house of a thousand guitars.
Springsteen told Rolling Stone about how important “House of A Thousand Guitars” is to him : “It’s about this entire spiritual world that I wanted to build for myself,” he says, “and give to my audience and experience with my band. It’s like that gospel song ‘I’m Working on a Building.’ That’s the building we’ve been working on all these years. It also speaks somewhat to the spiritual life of the nation. It may be one of my favorite songs I’ve ever written. It draws on everything I’ve been trying to do for the past 50 years.”
Similarly in singing about “The Power of Prayer,” heaven is found from entering a bar and hearing the voice of Ben E. King.
Yet, as the album began with a slow song contemplating death, the final song “I’ll See You In My Dreams” contemplates a lost friend: “And though you’re gone / And my heart’s been emptied it seems / I’ll see you in my dreams.” Springsteen notes that our human connections live on, through such things as shared memories (records, guitars, books, etc.). And that we will all meet again, if not in another world, then in our dreams and memories of one another, as he asserts, “For death is not the end.”
In the book Denial of Death, Ernest Becker wrote about how humans deal with the inevitability of death. He advised that the best way to live was to confront the fears openly, so that whatever humans do “on this planet has to be done in the lived truth of the terror of creation, of the grotesque, of the rumble of panic underneath everything. Otherwise it is false.”
As he sings in the title track here, Springsteen has always tried to reveal what his “heart finds true.” And for decades, he has been bringing together fans in life-affirming bars, concert halls, and stadiums. Now that the pandemic has tried to take that live human connection from us, Springsteen’s new (and possibly last?) album Letter to You faces the rumble of our terrors and panic. And he comes out preaching. And what he preaches is the power of truth, joy, memories, togetherness, and rock and roll.
What do you think of the Letter to You? Leave your two cents in the comments.
Rosanne Cash engages with the pressing issues we face with her new angry yet hopeful song, “Crawl Into the Promised Land.”
Rosanne Cash has released a timely new song with John Leventhal, “Crawl Into the Promised Land.” The song tackles many of the issues we have been facing in 2020. In a handwritten note accompanying the song on her website, Cash asks about “Why we elected such an unfit person to guide us, Why do we kill Black people with impunity, Why our leaders dismantle and mock every institution. . . .”
Cash adds that the “magnitude of the moment requires time and an ocean of reflection.” Recognizing that an election is approaching, the song lyrics ask us to be delivered from Tweets and lies. But it is deep down a song of hope. I even detect what seems to be a reference to her father Johnny Cash (“The old man surely must have known / To kick the lights and make his stand / Would give us strength back from the brink.”
The video that accompanies “Crawl Into the Promised Land” song is a “visual corollary,” offering images including the Civil Rights, women’s rights movements, and such important figures as the late Justice Ruth Bader Ginsburg. The video was directed by Phyllis Housen and Eric Baker. Check it out.
Early in the movie Raising Arizona (1987), after Hi (Nicholas Cage) and Edwina (Holly Hunter) have kidnapped Nathan Jr., Edwina is heard singing a song to the baby. If you listen carefully, you will notice that it is not a happy lullaby but a song about murder. What is the song?
The song has a long history and was not original to the film. It is called “Down in the Willow Garden,” although it is sometimes entitled after the murder victim, “Rose Connelly.”
“Down in the Willow Garden”
“Down in the Willow Garden” is a traditional Appalachian murder ballad, about a man who kills a woman named Rose Connelly. Much is ambiguous about the song, but it appears she was pregnant. And the singer tells us he killed her because his father offered to pay him.
My father he had told me, His money would set me free, If I would poison that dear little girl, Whose name was Rose Connelly.
And so, the singer “drew a sabre through her” (and apparently poisoned her too). He then throws her body in the river and runs. But then he tells us what happened to him, with the twist that his father now must watch his son be hanged.
My father weeps at his cabin door, Wipin’ his tear dimmed eyes; For soon his only son shall hang From yonder scaffold high.
My race is run beneath the sun, My sentence is waiting for me, For I did poison that dear little girl Whose name was Rose Connelly.
We hear Holly Hunter sing that last verse to the baby Nathan Jr. in Raising Arizona. At the time, Hi has just awakened from a nightmare about the crime he and his wife just committed.
There is a bit of dark humor there in the movie scene: The kidnapper is singing about another crime and about the perpetrator being caught and punished.
Although it may seem odd to sing about a murder to a baby, it is not that unusual for murder ballads to be used this way. And a lot of songs we sing to children have dark undertones that only we as adults appreciate. I often sing “Goodnight Irene” to my newborn, but once you leave the chorus, the song is about a man losing his wife and contemplating suicide. I know others who sing “You Are My Sunshine” to their children. But again, once you leave the chorus, you realize the song is about a woman leaving the singer.
Here, in Raising Arizona, there is something sweet about Hunter singing the song. Its tune is comforting to the baby even as the words speak of something darker. The baby, who only hears the music, is reassured, while the lyrics reflect on the lingering guilt hanging over the adults.
Versions of “Down in the Willow Garden”
Early recorded versions of “Down in the Willow Garden” go back to the 1920s. And the song’s origins most likely go back through Appalachia to Ireland in the 1800s. The tune accompanying the lyrics reportedly come from the song “Old Rosin the Beau.”
In more modern times, the song has been recorded by Flatt and Scruggs, The Stanley Brothers, Jerry Garcia, Ramblin’ Jack Elliot, Art Garfunkel, Nick Cave and the Bad Seeds, and the Chapin Sisters. Bringing it back the Coen Brothers’ movie Raising Arizona, Bon Iver and The Chieftains recorded a version used to close one of the episodes of the second season of The Coen Brothers’ inspired Fargo TV series.
More recently, on an album of songs in tribute to The Everly Brothers, Billie Joe Armstrong (of Green Day) and Norah Jones recorded their harmonious version of “Down in the Willow Garden.” Their version appeared on Foreverly (2013), which they recorded as Billie +Norah.
The timeless song continues to live through these modern recordings. And, as noted above, it has also appeared in movies and TV shows, including recently at the end credits of the HBO show Sharp Objects.
Why is “Down in the Willow Garden” so timeless? We do not know if there was a real Rose Connelly, but the story rings true. It reminds us of the stupidity, foolishness, and cruelty of humans. Something we are reminded of all too often. But it also finds some beauty in the way we do not let the tale be forgetten.
