Another one of Sturgill’s songs that rested sweetly on my ear this morning.
I’m sorry, but I’m just thinking of the right words to say
I know they don’t sound the way I planned them to be
But if you wait around a while, I’ll make you fall for me
I promise, I promise you I will
The music this man writes has abandoned the standing caricature of country music fans and subject matter, writing instead toward modern grief and joy in all their possibility. Country music of a certain, prior vintage so frequently seemed to conceal a fatalistic, self-administered defeat. Not Sturgill Simpson, y’all. He’s less ‘out in left field’ than somewhere up ahead, making the old ring true when struck by the new.
Let’s have a hand for that young cowboy
And wish him better luck next time
And hope we see him up in Fargo
Or somewhere farther down the line
This time he sure drew a bad one
One that nobody could ride
But by the way he pulled his hat on
You knew he’d be there for the fight
And it’s the classic contradiction
The unavoidable affliction
Well it don’t take much to predict son
The way it always goes
One day she’ll say she loves you
And the next she’ll be tired of you
And push’ll always come to shove you
On that midnight rodeo.
A tip of the hat to Tom Kennedy of 101.5FM The Music Place (Roanoke, VA) for turning me on to this tune. Strongly redolent of Waylon Jennings, Kris Kristofferson, and a little Chris Hillman (from his tenure with The Desert Rose Band) this track deals with Simpson’s personal journey, reserving neither praise nor blame for the drugs he took and experiences he had in the act of landing his feet squarely back on Turtle Island, the Ha-Nu-Nah of the Haudenosaunee.
There’s a gateway in our mind that leads somewhere out there far beyond this plane
Where reptile aliens made of light cut you open and pull out all your pain
Tell me how you make illegal something that we all make in our brain
Some say you might go crazy but then again it might make you go sane.
The 1961 Claude Gray original was one of his biggest hits, reaching #4 on the country charts. This 1961 cover is one of the earliest recordings of the great Ras Robert Nesta “Bob” Marley, his second single after “Judge Not.”
One cup of coffee, then I’ll go;
Though I just dropped by to let you know
That I’m leaving you tomorrow;
I’ll cause you no more sorrow:
One cup of coffee, then I’ll go.
Trojan skinheads (also known as traditional skinheads or trads) are individuals who identify with the original British skinhead subculture of the late 1960s, when ska, rocksteady, reggae and soul music were popular, and there was a heavy emphasis on mod-influenced clothing styles. Named after the record label Trojan Records, these skinheads identify with the subculture’s Jamaican rude boy and British working class mod roots.
Because of their appreciation of music played by black people, they tend to be non-racist, unlike the white power skinheads. Trojan skinheads usually dress in a typical 1960s skinhead style, which includes items such as: button-down Ben Sherman shirts, Fred Perry polo shirts, braces, fitted suits, cardigans, tank tops, Harrington jackets and Crombie-style overcoats.
In the 60s white and black working-class youths came together around their shared love of the phenomenal range of music exploding out of Jamaica and onto the London & Birmingham hi-fis and pirate radio stations of Jamaican immigrants. Discovering reggae, ska, and rocksteady at the same time as the hardcore punk scene it was easy to find welcome musical company in the leaven of traditional Spirit of ’69 skins sprinkled throughout the US & Canadian punk scenes. The early 80s advent of the white power skinhead identity drove countless Trojans –myself included– into the ranks of the hairy to avoid association with a very ugly, very public, and very guilty Western social movement. Rude boys can not fail.
Cause you’ve given up your sanity
For your pride and your vanity
Turns you sad on humanity
And you don’t give a da da da da da…
I had several swell instrumental guitar pieces come across the hi-fi this morning; thought I’d share them here. Bob Wills & the Texas Playboys are old favorites of my kids, who knew how to bop & holler to his ‘Big Ball’s In Cowtown‘ before they could walk. Here’s his ‘Twin Guitar Boogie,’ featuring the smooth-ass picking of Eldon Shamblin and Wills’ lap steel player Leon McAuliffe, whose name Wills himself calls out in his habitually squirrelly style (‘Ah Leon!’).
Chet Atkins requires introduction only among vulgarian music-haters. Well maybe not, but erudite music-lovers are familiar with his picking from riding in elevators or loitering in dentist’s offices. Atkins converts even raucous melodies into gentle, ear-caressing riffs. Here he is offering his version of Dave Brubeck’s ‘Take Five,’ chilling out an already quintessentially mellow melody.
Glaswegian sound artists Mogwai released this song on a 2001 sampler album called ‘The Carve-Up.’ It’s a mournful, quiet little tune in which the guitars call and respond like Sunday morning bells in some foggy, tree-studded lowlands parish.