Showing posts with label Fats Kaplin. Show all posts
Showing posts with label Fats Kaplin. Show all posts

Thursday, September 24, 2015

Darrell Scott – 10 Songs of Ben Bullington; Five albums by Ben Bullington



Last November, I got an email from my friend Rik James, host of the Americana Backroads program on KGLT radio in Bozeman, Montana asking if I knew of Ben Bullington. It was the first time I’d heard of him.

It turned out that Ben, who had died about a year earlier from pancreatic cancer at age 58, was a family doctor in the tiny town of White Sulphur Springs, Montana who also wrote songs – mostly, I assume, for himself, his friends and his family. Between 2007 and 2013, he recorded and self-released five CDs of his songs.

Rik passed my name and address on to Joanne Gardner, a close friend of Ben’s who had helped him put out the CDs and who has continued to spread the word about him and his songs. She sent me the five CDs and they revealed Ben Bullington as one of the finest singer-songwriters I’d ever encountered. Had I heard them when they were first released, each would have been on my annual year-end best-of lists for the years they were released.

DARRELL SCOTT
10 Songs of Ben Bullington
Full Light Records

Nashville-based singer-songwriter Darrell Scott met Ben Bullington toward the end of his life through Joanne Gardner, a mutual friend, and Darrell also discovered what a great songwriter he was. On 10 Songs of Ben Bullington, he offers some fine, often very moving interpretations of 10 of the 50-something songs from his five albums.

The album opens with “The One I’m Still Thinking About,” a beautiful song written with love about a former love. As someone who hosted a folk music radio program for many years (and who still does occasionally), I appreciated the way Ben wrote folk music radio into the song.

Darrell performs solo on the album and other favorite tracks include “Born in ’55,” a narrative that travels through the years calling attention to many of the history-changing events that those of us born in the middle of the last century have been witness to; “Green Heart,” a vivid reminiscence of falling in love for the first time as teenager; and “I’ve Got to Leave You Now,” a poignant song I presume Ben wrote for his sons during his final year after his cancer diagnosis (it was on his final album).

10 Songs of Ben Bullington is a fine album and great tribute from one songwriter to another. The greatest success this album can have – and I’m sure that it will have – would be to inspire listeners unfamiliar with Ben Bullington to search out his own recordings.

BEN BULLIGTON
Two Lane Highway
White Sulphur Spring
Satisfaction Garage
Lazy Moon
Ben Bullington

Two Lane Highway, released in 2007, is a superb introduction to the work of Ben Bullington. Like Darrell’s album, it also opens with “The One I’m Still Thinking About” before continuing with such fine songs as “Sittin’ on the Porch,” a tribute to the great joys found in making music and writing songs; “When the Wind Blows from the East,” written from the perspective of a D-Day soldier; and “Corby Bond,” a story song in which Ben assumes the persona of a travelling oil field worker.

As good as the first album was – and it was, as I said, superb – Ben’s second album, White Sulphur Springs, released in 2008, was even better. Ben’s singing was more confident and the album, recorded in Tennessee, benefitted from some stellar backup work from multi-instrumentalist Fats Kaplin and from a fine duet with Rodney Crowell on “Toe the Line.” Other highlights include the topical commentary of “I’m a Stranger,” featuring lovely harmonies from Tracy Nelson; “Born in ’55,” one of the best songs on Darrell Scott’s tribute CD; and “White Sulphur Springs,” a vivid description of Ben’s home and hometown and the people who live there.

The production values and backup musicians introduced on the second album continued on the third, Satisfaction Garage, released in 2010. And this album also contained a superb set of highlighted by “The Engineer’s Dark Lover,” a lovely song inspired by a lonely scene at a small town train station; “Lester Mays (He Lived the Way He Wanted To),” a tribute to an original character reminiscent of the old man in Guy Clark’s “Desperadoes Waiting for a Train”; and “Would You Walk With Me Tonight?” a courting song filled with vivid imagery.

By 2012, when Ben recorded Lazy Moon, his fourth album. The template was pretty much set in stone. More great songs with simple but compelling arrangements sung in a natural storyteller’s voice. While any of these songs could be picked as a highlight, I’ll mention “I Didn’t See You Maggie,” in which the narrator sings to an old lover with a new life that doesn’t include him; “Lone Pine,” about an Afghanistan War vet back tending the family farm with an appreciation for art, poetry and music; and “Buckles and Leather,” a series of stream-of-consciousness observations.

Ben Bullington got his cancer diagnosis about a year or so before he died in November 2013. It was only then that gave up his medical practice and dedicated his last months to playing music full-time, performing concerts and recording a final album, the self-titled Ben Bullington. I don’t know how many of the 11 songs were written that year but there’s a sense of finality, of saying goodbye to friends and particularly to family in such songs as “I’ve Got to Leave You Now” and “The Last Adios,” and even indirectly in songs like “His Chosen Time.”

There is hardly a weak song on any of Ben Bullington’s five albums. Whether he’s singing of his own life, or of characters inspired by others, or of fictional characters from his own imagination, the songs are timeless vignettes marked by a rare authenticity.

I wished I’d known of Ben Bullington’s work while he was still alive. Each of his albums carries my highest recommendation.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Friday, November 14, 2014

Tom Russell – Midway to Bayamon; Tonight We Ride; The Western Years

Tom Russell – who I’ve often referred to as the finest singer-songwriter of my generation, the songwriters who emerged 10 to 15 years after Bob Dylan – will release his latest folk opera, The Rose of Roscrae, next year. It’s an album I fully expect to be one of the major folk-rooted or folk-branched releases of 2015. This year’s three releases from Tom are trips into the archives – one of them an essential addition to the Tom Russell discography; the other two fine introductions or reminders of his contributions to contemporary cowboy culture.


TOM RUSSELL
Midway to Bayamon
Frontera Records
fronterarecords.com 

The essential release is Midway to Bayamon, a 25-song, 80-minute, collection of rarities recorded between 1982 and 1992. Most of the tracks on Midway are taken from two cassette-only releases that were sold at gigs back in the day, As the Crow Flies from 1985 and Joshua Tree from 1987, both featuring the Tom Russell Band, a crackerjack unit that included such great musicians as guitarist Andrew Hardin and multi-instrumentalist Fats Kaplin. There are also a couple of tracks released as 45s back in the day, a Kerrville Folk Festival campfire recording, and some previously unreleased recordings.

While I know many of these songs from other Tom Russell albums, it’s a treat to hear first versions of such great songs like “The Road to Bayamon,” “Navajo Rug” and “Mezcal,” and several songs I’d never heard before including “Common Strangers,” “A Cajun Lullaby,” “The Lady Loves the Gambler,” which could have been a sequel to Mary McCaslin and Jim Ringer’s “Ballad of Weaverville,” “Lights of Oslo,” which I hear as a different chapter in the story that gave us “St. Olav’s Gate,” and “Juarez, A Polka Town,” a cool Tex-Mex instrumental that foreshadows one of the musical directions Tom would go down years later.

Among the other highlights from Midway to Bayamon are a version of “Denver Wind,” a song from Tom’s duo years in the ‘70s with Patricia Hardin that he sings in duet with Nanci Griffith, and “Amelia’s Railroad Flat,” a song of Tom’s that’s best known through the singing of Katy Moffatt.

TOM RUSSELL
Tonight We Ride: The Tom Russell Cowboy Anthology
Frontera Records 
fronterarecords.com

 Cowboy songs have long been an important facet of Tom’s repertoire and Tonight We Ride: The Tom Russell Cowboy Anthology is a compelling 19-song, 78-minute collection including classics like “Navajo Rug” and “Gallo del Cielo,” both done here as duets with Ian Tyson, “The Sky Above, the Mud Below,” heard here as a duet with Ramblin’ Jack Elliott, the hilarious “Tonight We Ride,” “The Banks of the Musselshell,” “Zane Grey” and “Alkali.”

Also included are great versions of several great songs Tom didn’t write including Lillian Bos Ross and Sam Eskin’s “South Coast,” a song that likely inspired Mary McCaslin and Jim Ringer to write the aforementioned “Ballad of Weaverville,” Joe Ely’s “Indian Cowboy,” and the traditional “El Llano Estacado.”

The version of “El Llano Estacado” is a duet with Brian Burns I’d never heard before. There are also previously unreleased versions of several songs including “The Rose of the San Joaquin,” “Rayburn Crane” and “Alberta Blue,” a song inspired by the province of my birth that I don’t recall ever hearing before.

TOM RUSSELL
The Western Years
RockBeat Records
rockbeatrecords.com

The Western Years is a 2-CD, 34-song collection – including several overlaps from Tonight We Ride – that includes both cowboy songs and other songs set in the west.

Most of the recordings come from Tom Russell albums of the past 15 or so years including several from The Man from God Knows Where, Tom’s 1999 folk opera that I still consider to be the best folk album of the past 25 or more years. There are also live versions of several songs including the always exciting “Gallo del Cielo.”

While most of the songs are Tom’s originals, there are a number of definitive covers including Marty Robbins’ “El Paso,” Woody Guthrie’s “East Texas Red,” Allan Fraser’s “Dance Hall Girls,” a classic from the Montreal folk scene of the early-1970s, Jim Ringer’s rewrite of the traditional “Tramps & Hawkers,” Steve Young’s setting of Steven Vincent Benet’s poem “Ballad of William Sycamore,” Mary McCaslin’s “Prairie in the Sky,” and a pair of great Bob Dylan songs: the relatively obscure “Seven Curses,” which feels like a traditional folk song, and the epic “Lily, Rosemary and the Jack of Hearts,” on which Tom trades verses with Eliza Gilkyson and Joe Ely.

For the uninitiated, either or both of Tonight We Ride and The Western Years will make a great introduction to the cowboy and western sides of Tom’s writing and repertoire. Although not essential to Russell fans who have the original albums these songs are drawn from, they still make for great listening. And the alternate versions of some of the songs make them feel fresh even for folks like me who know these songs backward and forward.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Thursday, September 1, 2011

Tom Russell -- Mesabi


TOM RUSSELL
Mesabi
Shout! Factory

Three years ago, I had the pleasure of writing the booklet essay for The Tom Russell Anthology: Veteran’s Day, Tom Russell’s 2-CD, career spanning retrospective, in which I referred to him as “the best songwriter of my generation.” It’s a conviction I’ve repeated several times since and which is only reinforced by Mesabi, yet another in his long series of masterpiece albums – albums that essentially raise and set the bar for contemporary singer-songwriters.

There are a couple of distinct, but somehow linked, song-cycles on this album. The first explores the nature of the pursuit of art, the nature of legend, and the rewards and the cruelty of fame.

The album begins with about 10 seconds of solo acoustic guitar picking out the melody line to “Don’t Think Twice, It’s All Right” as an intro to “Mesabi,” the album’s folk-rock title song named for the Mesabi Iron Range in Minnesota, the area that Bob Dylan grew up in during the 1940s and ‘50s. The song begins with a description of the kid that was the young Robert Zimmerman in Hibbing and shifts up into the 1960s and the kid who was the young Tom Russell listening to and being inspired by the troubadour kid singing “Don’t Think Twice” on his uncle’s record player.

While “Mesabi” was about the creation of a legend, it leads into “Where the Legends Die,” a literate jazz piece about the realization that legendary figures are just as human and flawed as the rest of us.

Flawed legends are the heart of the next pair of songs. “Farewell Never Never Land,” which shifts from a Stephen Foster-like intro to a folk-rock setting, tells the tragic story of Bobby Driscoll, a Disney child actor – he was the voice of Peter Pan in the classic animated version from 1953 – that grew up to be a drug addicted has-been who died of old age at 31.

Tom sings “The Lonesome Death of Ukulele Ike,” as the song’s title character in a bouncy 1920s or ‘30s pop style. Ukulele IkeCliff Edwards – was a popular singer in those days, and achieved his greatest success as the voice of Jiminy Cricket in Pinocchio. (Who can forget his classic rendition of “When You Wish Upon a Star?”) Ultimately, though, Edwards died penniless, another fallen legend.

“Sterling Hayden” is a tribute, of sorts, to the tough guy actor, author and raconteur who mostly lived life on his own terms, famously expressing one major regret: naming names before the House Un-American Activities Committee during the McCarthy era. “I don't think you have the foggiest notion of the contempt I have had for myself since the day I did that thing,” Sterling Hayden wrote years later. Tom brings a variation of that quote into the song, which he sings as both a third-person narrator and as Hayden himself. Tom’s song refers to seeing Hayden interviewed on the Johnny Carson show. I can also vividly remember a series of fascinating interviews he did in the ‘70s with Tom Snyder on the Tomorrow show.

“Furious Love (For Liz)” follows. It’s a short, sad lament for Elizabeth Taylor sung at the time of her death and recalling many years earlier when Taylor lived with husband Nicky Hilton in El Paso, across from Juarez, Mexico, long before Juarez became a battleground in the Mexican drug wars. The song is also the first hint at the direction Tom will soon move the album in.

In “A Land Called Way Out There,” set to a kind of folk-brass band arrangement featuring members of Calexico, Tom recalls the quick, early death of James Dean and then sings a new version of “Roll the Credits, Johnny,” which Tom first recorded in 2008 as one of the two new songs on The Tom Russell Anthology: Veteran’s Day. The song uses the symbolism of the end of a movie to bring closure to the first of the two major song-cycles on the album.

“Heart Within a Heart,” is a beautiful, spiritual song featuring the gospel harmonies of Regina and Ann McCrary. It provides a few minutes of respite between the album’s two main thematic blocks.

Tom lives near El Paso in the West Texas borderlands just north of Mexico and he’s often written about the back-and-forth exchanges and border town interdependencies of the area. The next song-cycle is about that and is heralded in the first few bars of “And God Created Border Towns,” by the quasi-mariachi sounds of pianist Augie Meyers (legendary for his work with the late Doug Sahm, from the days of the Sir Douglas Quintet to the Texas Tornados), accordionist Joel Guzman and Jacob Valenzuela on trumpets. The song lays bare the realities of the border: migrants looking for a better life are exploited and murdered by the thousands, guns flow south across border to enable the drug wars, and the drugs flow north to the seemingly insatiable American market.

“Goodnight, Juarez” is a Tex-Mex lament for Jurarez’s descent from an open tourist town to the battleground it’s become. Tom looks at contemporary Juarez and remembers the time – not that many years ago – when it was a different place and imagines how it could be again. “Juarez, I had a dream today/ The children danced, as the guitars played/ And all the violence up and slipped away/ Goodnight, Juarez, goodnight.”

“Jai Alai,” named for a once-popular sport, is a brilliant, fast-paced flamenco piece – featuring the guitar Jacob Mossman – about passion: for the game – and for love.

The borderland song-cycle draws to a close with a new version of “Love Abides,” the finale from Tom’s folk-opera, The Man from God Knows Where, an album I still consider the best, the most important, piece of work by any musical artist in the past three decades or so. It’s a beautiful song that looks at a world filled with tragedy but also filled with blessings, hope and love.

The album ends with two songs labeled as bonus tracks but which I think are a kind of restatement of the first theme Tom explores on this album.

Tom's sublime, newly definitive version of Dylan’s “A Hard Rain’s A-Gonna Fall,” is a duet with Lucinda Williams on top of an atmospheric arrangement by the musicians of Calexico that brings us back to the Mesabi Iron Range. The song seems as fresh and as topical now as when the troubadour kid wrote it almost half a century ago.

The finale, “The Road to Nowhere,” written for the new Monte Hellman film, Road to Nowhere (“Roll the Credits, Johnny” is also used in the film), could be about almost any of the fallen heroes and legends in the songs sung earlier in the album – or not yet written about.

I’ve mentioned a few of the musicians Tom uses on this album. Among other great contributors worth noting are pianist Barry Walsh, who co-produced the album with Tom; multi-instrumentalist Fats Kaplin, who played in Tom’s band back in the 1980s; guitarist Thad Beckman, who tours with him now; legendary pianist and studio arranger Van Dyke Parks; and harmony singer Gretchen Peters.

As I mentioned at the top of this review, Mesabi is another in Tom Russell’s long series of masterpiece albums – all of them different from each other, all of them layered to reveal more with each hearing. And, I’ll say it one more time: Tom Russell is the best songwriter of my generation – the generation that followed 10 or 12 years after Dylan.

By the way, I’m not sure how long it will be there, but tomrussell.com is currently giving away free downloads of “A Hard Rain’s A-Gonna Fall.”

Mesabi is scheduled for release on September 6.

--Mike Regenstreif