You ask me what’s a coyote fence? A crooked line of cedar poles Surrounding our adobe, our refuge from the road Some nights we can see light of fires as Indians dance And the eyes of God shine through the coyote fence.
— from “The Light Beyond the Coyote Fence” by Tom Russell
Tom Russell posted the following on Facebook and I felt a need to share it — a collaborative effort of three great singer-songwriters:
“Exciting news….we were walking through the old Greenwich Village this afternoon, vastly changed, and I thought – “it would be great to do an album release show at The Bitter End.” So we walked into The Bitter End, and out walks the owner. He warms up to us and I tell him I used to work there every Sunday…so we might hook the opening gig there for the next album release tour. Maybe a return to The Bitter End! Lets make Greenwich Village great again! This is Lucinda Williams and myself doing Bob Dylan‘s “A Hard Rain’s Gonna Fall” off of the record “Mesabi.” All records and books: www.fronterarecords.com Your reporter for Nova Beat at the corner of Bleecker and MacDougal….”
Ronstadt Generations Live at Teri’s Bistro, Alamos, Sonora (January 26, 2016)
— Images and Video by kenne
(Short Video Clip by kenne)
Pulled these images and video clip out of my January travel archives in memory of Mike Ronstadt
(August 25, 1953 – August 7, 2016)
Beyond the shadows, beyond the rain Beyond the darkness and all the pain When you’re walkin’ in circles with holes in your shoes Love is the road that leads beyond the blues
Old man on the corner, he’s been gone for years And the guitar and the knife blade are rusty with tears But there’s a song that he left us, we’ll never lose That love is the road that leads beyond the blues
She is reaching out her arms tonight,
Lord, my poverty is real
I pray roses shall rain down again,
from Guadalupe on her hill
and who am I to doubt these mysteries?
Cured in centuries of blood and candle smoke
I am the least of all your children here,
but I am most in need of hope.
She appeared to Juan Diego,
she left her image on his cape
five hundred years of sorrow,
cannot destroy their deepest faith
so here I am, your ragged disbeliever,
old doubting Thomas drowns in tears
as I watch your church sink through the earth,
like a heart worn down through fear
While reading the poetry of Writers in Performance Series presenters this morning, I became distracted by an email message from the Tom Russell@yahoogroups.com Re: A Cover Song Request in Memory of Warren Zevon. Russell seems to have great respect for Zevon’s work, but probably none more than “Carmelita,” which he combines with Charles Bukowski’s, “Crucifix In A Deathhand,” on his Modern Art CD. By putting the two together, Russell demonstrates his appreciation and understanding of Bukowski’s words and the lyrics of Warren Zevon. “Crucifix In A Deathhand” is my favorite Bukowski poem.
Crucifix In a Death Hand
yes, they begin out in a willow, I think
the starch mountains begin out in the willow
and keep right on going without regard for
pumas and nectarines
somehow these mountains are like
an old woman with a bad memory and
a shopping basket.
we are in a basin. that is the
idea. down in the sand and the alleys,
this land punched-in, cuffed-out, divided,
held like a crucifix in a deathhand,
this land bought, resold, bought again and
sold again, the wars long over,
the Spaniards all the way back in Spain
down in the thimble again, and now
real estaters, subdividers, landlords, freeway
engineers arguing. this is their land and
I walk on it, live on it a little while
near Hollywood here I see young men in rooms
listening to glazed recordings
and I think too of old men sick of music
sick of everything, and death like suicide
I think is sometimes voluntary, and to get your
hold on the land here it is best to return to the
Grand Central Market, see the old Mexican women,
the poor . . . I am sure you have seen these same women
many years before
arguing
with the same young Japanese clerks
witty, knowledgeable and golden
among their soaring store of oranges, apples
avocados, tomatoes, cucumbers –
and you know how these look, they do look good as if you could eat them all
light a cigar and smoke away the bad world.
then it’s best to go back to the bars, the same bars
wooden, stale, merciless, green
with the young policeman walking through
scared and looking for trouble,
and the beer is still bad
it has an edge that already mixes with vomit and
decay, and you’ve got to be strong in the shadows
to ignore it, to ignore the poor and to ignore yourself
and the shopping bag between your legs
down there feeling good with its avocados and
oranges and fresh fish and wine bottles, who needs
a Fort Lauderdale winter?
25 years ago there used to be a whore there
with a film over one eye, who was too fat
and made little silver bells out of cigarette
tinfoil. the sun seemed warmer then
although this was probably not
true, and you take your shopping bag
outside and walk along the street
and the green beer hangs there
just above your stomach like
a short and shameful shawl, and
you look around and no longer
see any
old men.
– – Charles Bukowski (Source: Oldpoetry.com)
There’s a video on YouTube of Russell in a live performance talking and singing about Charles Bukowski, Warren Zevon and Dave Van Ronk that will give you a better feel for this morning distraction.
Thinking of Edward Abbey On This Christmas Morning — Image by kenne
“If a man can’t piss in his own front yard, he’s livin’ too close to town.”
— Edward Abbey, re Tom Russell
“Ed died one day at sundown, in his Tucson writing shack They wrapped him in a sleeping bag, and drove him way out back Beneath the wild Saguaro, the coyotes chewed Ed’s bones And on the hidden marker, was “No comment” carved in.”
— from “The Ballad of Edward Abbey” by Tom Russell
Benediction: Edward Abbey, by Tom Russell
Be loyal to what you love, be true to the earth, fight your enemies with passion and laughter. ~Edward Abbey
I love the music of Tom Russell, he is a singer-songwriter who is in touch with those who ramble the earth. In the introduction to his 2012 book, “120 Songs” Russell writes about how songs beckon you to move a little closer, “Let me tell you a story.”
“They beguile us with their sing-song rhyme and tinkle-down melodies, yet they are imbued with trued feel for human history, poetry, emotion and cold hard facts of life, than a thousand dusty tomes from social scientists, poets, politicians, theologians and academic historians. Songs travel.”
Russell’s songs are about real people, their suffering and survival, and times when whiskey needs to be drank like wine — songs for as long as forever is.
GUADALUPE
There are ghosts out in the rain tonight, high up in those ancient trees Lord, I’ve given up without a fight, another blind fool on his knees and all the Gods that I’d abandoned, begin to speak in simple tongue and suddenly I’ve come to know, there are no roads left to run
Now it’s the hour of dogs a barking, that’s what the old ones used to say It’s first light or it’s sundown, before the children cease their play when the mountains glow like mission wine, then turn gray like a Spanish roan ten thousand eyes will stop to worship, then turn away and head on home
She is reaching out her arms tonight, lord, my poverty is real I pray roses shall rain down again, from Guadalupe on her hill and who am I to doubt these mysteries? Cured in centuries of blood and candle smoke I am the least of all your children here, but I am most in need of hope
She appeared to Juan Diego, she left her image on his cape five hundred years of sorrow, cannot destroy their deepest faith so here I am, your ragged disbeliever, old doubting Thomas drowns in tears as I watch your church sink through the earth, like a heart worn down through fear
She is reaching out her arms tonight. . .
When you read the words in Russell’s songs, you can see the influence of Woody Guthrie, Bob Dylan, Dave Van Ronk, Ramblin’ Jack Elliott, Federico Garcia Lorca and Charles Broskoski. The words and songs, “. . . suck us in, slap us around, kick us in the belly and heart, and then push us back out into the world with a memory we’ll never purge from our blood.”
Although times are rare when I’m not listening to music, or when it’s not the sound in my space, 2005 has afforded little opportunity to review and buy new music.
I could blame it on my iPod, now containing my complete collection of CDs making for easy listening. Whatever the reason, I still feel qualified to share my pick for album of the year, Tom Russell’s “Hotwalker.”
Tom has written and produced a Ken Burns-style audio journey in an America where misfits, the other side of Steinbeck’s “Grapes of Wraft,” troubadours, lost heroes, street people and poets, bemused by corporate America, provide a scene of what remains of our soul.
A soul trying to exist in “ . . . a system
where our guts and heart and creativity
are wrenched from us and we become
a nation of domesticated animals.”
kenne
Post Script — December 19, 2008
The Hotwalker release was the second part of a planned “Americana trilogy”. The first part was “The Man From
God Knows Where” released in 1999. Recently, Russell released, The Tom Russell Anthology – Veteran’s Day, and as it did with Lawrence Ferlinghetti, one song again rang true to my ear – “Man from God Knows Where.”
“I’ve always said the real poets in this country are the folk
singers like Woody Guthrie, Pete Seeger, Johnny Cash,
Bob Dylan, John Denver, Tom Russell– not the poets of
the written word. I’ve just listened again to your
“Man from God Knows Where,” and it’s a true American classic.
It’s the real voice of the American experience, down on
the ground, sounding through old time America.” – Lawrence Ferlinghetti
Oh, they hung me in Downpatrick,
Up near St. Patrick’s tomb,
But my ghost rose up in the peat fire smoke
Toward the rising of the moon.
Now as I drift through your villages,
All the maidens stop and stare,
‘There goes old Tom, the vagabond,
The Man From God Knows Where.’
To learn more about Russell’s first “folk opera” read Bill Nevins’s 1999 interview with Tom Russell. then listen to Phil Coulter – The Man from God Knows Where –
Tom Russell, 1798 Rebellion.
Tom Russell still remains one of my favorite folk musicians and even more during these times of challenge for so many.
Tom Russell wrote a song about a destitute young man named Carlos Saragosa who steals a prize-fighting rooster named Gallo del Cielo. As the story goes, Saragosa wagers his sister’s locket, trying to win enough money to buy back the land stolen from his father.
“The song is meant to be about Saragosa, his struggle, and his defeat, but when Ely sings it, you can tell that he’s not relating the protagonist. How could he relate to someone who is crushed after only one defeat? No, Ely isn’t Saragosa. He’s the rooster, Gallo Del Cielo. You won’t see him giving up, he’ll fight until he no longer can, and whether it’s his heart that gives out or his fingers, it sure as hell won’t be his spirit.” — Wolff
The article immediately brought back memories of when we first saw Joe Ely at “Rockefeller’s” in Houston. To this day, Joe remains one of our favorite Texas musicians, and his rendition of Russell’s song is legendary.
Although times are rare when I’m not listening to music, or when it’s not the sound in my space, 2005 has afforded little opportunity to review and purchase new music.
I could blame it on my iPod, now containing my complete collection of CDs made for easy listening. Whatever the reason, I still feel qualified to share my pick for album of the year, Tom Russell’s
“Hotwalker.”
Tom has written and produced a Ken Burns-style audio journey in an America were misfits, the other side of Steinbeck’s “Grapes of Wraft,” troubadours, lost heroes, street people and poets, bemused by corporate America, provide a scene of what remains of our soul.
A soul trying to exist in “. . . a system where our guts and heart and creativity are wrenched from us, and we become a nation of domesticated animals.”
— kenne
Post Script — December 19, 2008
The Hotwalker release was the second part of a planned “Americana trilogy.” The first part was “The Man From God Knows Where” was released in 1999. Recently, Russell released, The Tom Russell Anthology – Veteran’s Day, and as it did with Lawrence Ferlinghetti, one song again rang true to my ear – “Man from God Knows Where.”
“I’ve always said the real poets in this country are the folk singers like Woody Guthrie, Pete Seeger, Johnny Cash, Bob Dylan, John Denver, Tom Russell– not the poets of the written word. I’ve just listened again to your “Man from God Knows Where,” and it’s a true American classic. It’s the real voice of the American experience, down on the ground, sounding through old-time America.”
— Lawrence Ferlinghetti
The song tells of Tom Russell and the 1798 Rebellion. Oh, they hung me in Downpatrick, Up near St. Patrick’s tomb, But my ghost rose up in the peat fire smoke Toward the rising of the moon. Now, as I drift through your villages, All the maidens stop and stare, ‘There goes old Tom, the vagabond, The Man From God Knows Where.’
To learn more about Russell’s first “folk opera,” read Bill Nevins’s 1999 interview with Tom Russell. then listen to Phil Coulter – The Man from God Knows Where – Tom Russell, 1798 Rebellion.
Tom Russell remains one of my favorite folk musicians and even more during these times of challenge for so many. Here’s one of Russell’s latest songs: “Whose Gonna Build Your Wall.” Russell’s Houston fans will be at the Mucky Duck on February 7, 2009.
“If a man can’t piss in his own front yard, he’s livin’ too close to town.”
— Edward Abbey, re Tom Russell
“Ed died one day at sundown, in his Tucson writing shack
They wrapped him in a sleeping bag, and drove him way out back
Beneath the wild Saguaro, the coyotes chewed Ed’s bones
And on the hidden marker, was “No comment” carved in.”
— from “The Ballad of Edward Abbey” by Tom Russell
Benediction: Edward Abbey, by Tom Russell
Be loyal to what you love, be true to the earth, fight your enemies with passion and laughter. ~Edward Abbey
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