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Sugar Hill Records has made available a stream of Marty Stuart’s upcoming album, Nashville, Vol. 1: Tear the Woodpile Down
On Stuart’s website, you may also get a free download of “Tear The Woodpile Down” (“Taxpayer dollar ain’t worth a dime / Government’s got us in a bind”) by providing your email address.
Check it out.
What do you think of Marty Stuart’s new album? Leave your two cents in the comments.
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In a previous Thanksgiving post, we examined one of my favorite albums, Marty Stuart’s The Pilgrim (1999). But in celebrating Thanksgiving, we cannot forget that sitting across from the Pilgrims at that first Thanksgiving, were Native Americans. And, fortunately for us, Marty Stuart recorded Badlands: Ballads of the Lakota (2005). Yes, I realize that the Lakota Sioux were not the Native Americans at the first Thanksgiving, but neither was the Pilgrim from The Pilgrim. But we are using the holiday as an excuse to discuss these two excellent CDs.
On Badlands, Stuart interweaves country music with Native American themes and music to tell about the the Lakota culture and the betrayal by white men. AllMusic describes Badlands as “an album that is unsettling, provocative, morally instructive, and deeply satisfying musically as a country record that sets the bar higher than it has been set in a long, long time.”
Stuart clearly intended the album as a tribute to the spirit of the Lakota, who adopted him into their tribe. In “Trip to Little Big Horn,” he tells the story of Custer’s Last Stand as a dialogue with a ghost. “I saw 100 years of Indians, dancing in the sun / I felt the Indian power. The battle is still won / The battle is still won.”
The title song of the album is excellent, as Stuart predicts, “Well it’s a church without a steeple / But in the heart of its people / Good will come again, to the Badlands.” The three men referenced by the song “Three Chiefs” are Red Cloud, Sitting Bull, and Crazy Horse. Stuart uses the song to find a connection between Native American spirituality and his own beliefs. After recounting the suffering of the “prophets to their people,” he recounts, “The truth is hard to find./ No cross, no crown.”
Another song, “Casino,” addresses a more recent Native American issue: “Card sharks take my money, whiskey puts me in jail/ An oasis of misery, I know it so well.”
The CD covers a broad span of history, including Little Big Horn, Wounded Knee, casinos, and even a visit to the reservation by President Clinton in “Broken Promise Land.” But Stuart also remembers that it is an album, not a book, and the story and the music augment each other, never interfering with the other. While the album has not captured me the way that The Pilgrim has, Badlands shows that Marty Stuart is one of the best writers and performers in country music today. He continues the legacy of artists like his friend Johnny Cash, who recorded his own concept album about Native Americans in Bitter Tears: Ballads of the American Indian
Badlands received overwhelmingly positive reviews. It is a very good album that also tells an important story. While it really has nothing directly to do with Thanksgiving, the holiday is a good time to also remember the Sioux and the other Native Americans across the continent on that first Thanksgiving day, waiting for the force that would sweep across the land.
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Stuart, Marty – The Pilgrim (Act I) (featuring Emmylou Harris) “The Pilgrim (Act I)” — featuring Emmylou Harris
With Thanksgiving approaching in the U.S., it seems appropriate to discuss one of my all-time favorite CDs, Marty Stuart’s The Pilgrim (1999). In another post, we discuss another Marty Stuart CD that covers the other side of the original Thanksgiving table.
Although we often associate the word “pilgrim” with the English colonists who sailed on the Mayflower ship, settled in Plymouth, and dined on the first Thanksgiving meal, the word in its broader meaning applies to any traveler or more specifically, “one who embarks on a quest for something . . .sacred.”
It is in this sense that Marty Stuart’s concept album uses the word “pilgrim.” On the album, we first hear the word in Emmylou Harris’s voice on one of the first songs on the CD (above): “I am a lonesome Pilgrim, far from home/ . . . I might be tired and weary, but I’m strong / ‘Cause pilgrims walk, but not alone.”
The Pilgrim is based on a true story about people Stuart knew in his hometown of Philadelphia, Mississippi. Over the years, Stuart continued to think about the tale, and after attending Bill Monroe’s funeral, he began putting the story into an album.
The Pilgrim begins with the words of a man — the Pilgrim — who is in love with a friend, Rita. But unknown to the Pilgrim, Rita was married to Norman, who was jealous of his former beauty queen wife.
In the song “Harlan County,” bluegrass legend Ralph Stanley, reveals Norman killed himself because he believed he had been betrayed. In “Reasons,” Marty Stuart recounts Norman’s suicide note, where Norman explained, “I keep looking for reasons.”
Norman’s suicide sends the Pilgrim on the road as he struggles with how his love for Rita led to Norman’s death. He drowns his troubles in alcohol (“Red, Red Wine and Cheating Songs“) and travels as a hobo, heading west for the Pacific Ocean and “trading sorrows for tomorrows,” while “Goin’ Nowhere Fast.”
During the Pilgrim’s travels, an observant crow sees the Pilgrim passing by in “Observations of a Crow”:
Take a look at that pilgrim, passing by;
He’s looking for love, I can see it in his eyes;
He’s running ’round in circles, you can take it from me;
His shadow begs for mercy of every lost and found,
In city after city, town after town,
Tortured by the memory of a love he thought was supposed to be.
Eventually, across the miles, in “The Greatest Love of All Time” and “Draggin’ Round These Chains of Love,” the Pilgrim thinks back on Rita. He considers his love for her despite everything that has happened.
The Pilgrim visits a small graveyard where his mother is buried. At his mother’s grave, in “Redemption,” he says, “I keep hearing her and Jesus say ‘Surrender son and rest.'” The Pilgrim finally is able to forgive himself and accept his love for Rita. He returns home to marry her and raise a family.
Of course, an album would not be great with just a good story. The music on the album is wonderful too, covering a number of styles of country music, including rockabilly, a drinking song, and some excellent short bluegrass instrumentals. While the songs together tell a story, they each may stand on their own outside the story too.
Marty Stuart’s voice tells most of the tale, but a few friends show up to help out, including Ralph Stanley, Earl Scruggs, Pam Tillis, and George Jones. The music fits the Pilgrim’s tale perfectly throughout.
Unfortunately, the album did not do well in sales when it was first released, even though critics gave it good reviews. Because of the poor sales, MCA Nashville dropped Stuart from his record deal at the time.
In retrospect, Stuart has accepted the loss well, realizing he created something worth more than a sales number. Stuart recognizes, “But when all of those plastic things that came out around that time are gone, The Pilgrim will still be around.”
The Pilgrim is one of the great overlooked country CDs of recent decades. Johnny Cash called it “a fabulous journey.” You might discount Johnny’s statement because he was friends with Stuart. Also, he helped with the album, as his deep booming voice provides the final words on the album, quoting Alfred Lord Tennyson’s “Sir Galahad.”
But if you do not trust Johnny’s assessment, you can trust me.
I am a lonesome Pilgrim, far from home,
And what a journey I have known.
I might be tired and weary, but I’m strong;
‘Cause pilgrims walk, but not alone.
May your journeys this Thanksgiving and throughout the holiday season all be safe and happy ones.
What do you think of The Pilgrim? Leave your two cents in the comments.
(Some Related Chimesfreedom Posts)
To those who celebrate Easter, Happy Easter! This post concludes for now the Chimesfreedom series on Best Gospel Songs by Pop Singers. Today, we feature a timeless pop hit, a relatively new country gospel song, and one of the most powerful performances ever recorded on film.
“People Get Ready” was written by Curtis Mayfield. Mayfield performed the song well, as have others like Al Green, Eva Cassidy, Rod Stewart, Alicia Keys, Crystal Bowersox, and Bob Dylan. But the original version by the Impressions, with Mayfield on guitar, is what sticks in one’s mind when you think of the timeless song.
“People Get Ready” was released in 1965, and we associate the call for change with the social and Civil Rights movements. Indeed, the song was inspired by the 1963 March on Washington. But Mayfield’s music is straight from gospel, and the lyrics are also a testament to faith: “Faith is the key / Open the doors / and board them / There’s room for all / Among the loved and lost.”
In a Curtis Mayfield
The Impressions and Mayfield also performed something of a miracle in creating a hit record that also became a gospel standard covered by so many artists. Bob Marley incorporated the guitar riff and some of the lyrics into “One Love.” And Bruce Springsteen incorporated part of “People Get Ready” into his moving “Land of Hope and Dreams.”
Rolling Stone Magazine ranked the song as the twenty-fourth greatest song of all time. And one cannot really argue with that.
Marty Stuart has an interesting position in country music. He stands between the generations of authentic classic country music and the newer pop country music. As he has aged, he has generally chosen to reside in the former, paying tribute to the talented old guard of country, like Johnny Cash, while many other modern country singers try to emulate Billy Joel more than the Louvin Brothers.
Marty Stuart has recorded some excellent concept albums in recent years that are mostly overlooked. “Can’t Even Walk” is a beautiful song off his album of gospel songs, Souls’ Chapel
I thought that I could do a lot on my own;
I thought I, I thought I could make it all alone;
I thought, I thought of myself
As a mighty, mighty big man;
But I realize I can’t even walk
Without You holding my hand
Unfortunately, there is only the above amateur video of Marty Stuart’s “Can’t Even Walk,” but give it a listen. Also, if you like the song, check out this very sweet version of the song sung by what appears to be a talented grandmother and grandson [2016 Update: Unfortunately, the video is no longer available]. I love it and would have posted it here, but it would not be fair to put them adjacent to the next powerful professional performance. . .
Critics often give bad reviews to In Concert
Here is Elvis, two months before he died. Overweight, sweating, with a body about to give out on him, but he still gave his gospel performances his all. The glitter on his jumpsuit seems inconsistent with the message of the song, and Elvis’s faith could not save him from his fated death.
But in his performance he finds something deep within himself to cry out for help in an incredible despairing voice. Starting at around 2:20, he builds to a note that will send chills down your spine. If you only watch one video in this series, watch this one.
There is nothing more to say after that.
Check out our other posts in the series, Gospel Songs by Pop Artists.
What are your favorite gospel recordings by popular artists? Leave a comment.
(Some Related Chimesfreedom Posts)
This post continues the Chimesfreedom discussion of Best Gospel Songs by Pop Singers. In this series, we consider some great recording of gospel songs that were made by popular singers. This post includes songs recorded by Patty Griffin, Aretha Franklin, and George Harrison.
I finally got around to buying Patty Griffin’s CD of gospel music, Downtown Church
“House of Gold” was originally written and performed by Hank Williams. The song works here because her voice echos above the restrained instrumentation. And the song has some of the best gospel lyrics ever:
I’d rather be in a deep, dark grave
And know that my poor soul was saved
Than to live in this world in a house of gold
And deny my God and doom my soul
Like Sam Cooke, Aretha Franklin has many great Gospel recordings, including the album, Amazing Grace: The Complete Recordings
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“My Sweet Lord” may not technically qualify as a gospel song (and some Christians have objected to the “Hare Krishna” chants). But it is a beautiful song about one’s relationship with God, so it qualifies for me.
George Harrison originally wrote the song for Billy Preston but ended up having a big hit with it on his own as part of his first post-Beatles album, All Things Must Pass
But Harrison managed to come out ahead anyway, eventually buying the rights to “He’s So Fine.”
Check out other posts in our series of Best Gospel Songs by Pop Singers.
Photo of church (Ireland) by Chimesfreedom. What are your favorite gospel recordings by popular artists? Leave a comment.
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