Stranger Songs with Mike Regenstreif – CKCU – Tuesday April 26, 2022: Inspired by Harry Smith’s Anthology of American Folk Music

Stranger Songs with Mike Regenstreif finds connections and develops themes in various genres. The show is broadcast on CKCU in Ottawa on Tuesday afternoons from 3:30 until 5 pm (Eastern time) and is also available 24/7 for on-demand streaming.

CKCU can be heard live at 93.1 FM in Ottawa and https://www.ckcufm.com/ on the web.

This episode of Stranger Songs was prerecorded at home and can already be streamed on-demand by clicking on “Listen Now” at … https://cod.ckcufm.com/programs/595/56020.html

Theme: Inspired by Harry Smith’s Anthology of American Folk Music

Harry Smith was a filmmaker who compiled 84 songs recorded commercially by various artists between 1926 and 1933. The Anthology of American Folk Music was released by Folkways Records in 1952 and reissued as a 6-CD boxed set by Smithsonian Folkways in 1997. Generations of artists have been inspired and influenced by the Anthology over the past 70 years. This show showcases contemporary versions of some of the songs from the Anthology recorded between the 1960s and 2020s. Some of these versions are faithful to the ones included on the Anthology while others take the songs in new directions.

Kate & Anna McGarrigle & Roma Baran- Willie Moore
Tell My Sister (Nonesuch)
Michael Jerome Browne- The Coo Coo
Michael Jerome Browne & The Twin Rivers String Band (Borealis)
Ian & Sylvia- Old Blue
Ian & Sylvia (Vanguard)
Happy & Artie Traum- Penny’s Farm
Hard Times in the Country (Rounder)

Peter Keane- Stack O’Lee
Blues/Ballads/Cowboy Songs (Peter Keane)
Jim Kweskin & Geoff Muldaur- Frankie
Penny’s Farm (Kingswood)
Odetta- Sail Away Ladies
Movin’ It On (Rose Quartz)

Colin James- See That My Grave is Kept Clean
Miles to Go (True North)

“Philadelphia” Jerry Ricks- James Alley Blues
Deep in the Well (Rooster Blues)
Robin Greenstein- The Wagoner’s Lad
Images of Women, Vol. 1 (Windy)
Marc Nerenberg- I Wish I was a Mole in the Ground
On the Street Again (Marc Nerenberg)
Buffy Sainte-Marie- House Carpenter
Little Wheel Spin and Spin (Vanguard)

Arnie Naiman & Chris Coole- John Hardy
5 Strings Attached with No Backing (Merriweather)
Hannah Shira Naiman- Train On the Island
Know the Mountain (Merriweather)
Dave Van Ronk & The Ragtime Jug Stompers- K.C. Moan
Ragtime Jug Stompers (Oldays)
Rory Block- Spike Driver Blues
Avalon: A Tribute to Mississippi John Hurt (Stony Plain)

David Johansen & The Harry Smiths- Kassie Jones
Shaker (Chesky)
The Haden Triplets- Single Girl, Married Girl
The Haden Triplets (Third Man)
Guy Davis- Minglewood Blues
Call Down the Thunder (Red House)
Taj Mahal & The Hula Blues Band- Fishin’ Blues
Live from Kauai (Kuleana)

Kate & Anna McGarrigle- Sugar Baby
The Harry Smith Project: Anthology of American Folk Music Revisited (Shout! Factory)

Next week: Songs of – and songs inspired by – Jesse Winchester.

Find me on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Jim Kweskin & Geoff Muldaur – Penny’s Farm

JIM KWESKIN & GEOFF MULDAUR

Penny’s Farm

Kingswood Records

jimkweskin.com

geoffmuldaur.com

When I started collecting records obsessively in the 1960s, the LPs by Jim Kweskin & the Jug Band were – and remain – among my favorites. Drawing on folk songs, blues, jazz and early pop and novelty songs, the LPs were filled with fun, deceptively sophisticated, and an entrée into the older traditions and source artists they were drawing on. Well over 50 years after the Kweskin Jug Band got together and 40-something years since they broke up, Jim Kweskin and band stalwart Geoff Muldaur have reunited for the sublime Penny’s Farm, an eclectic collection of folk-rooted and folk-branched songs played by a couple of masters whose interpretive skills have aged like fine whiskey. Jim and Geoff each take the lead vocal on about half the tracks.

The album opens with Jim’s version of the traditional “Diamond Joe,” a song Alan Lomax collected from Big Charlie Butler at the Parchman Farm prison in Mississippi in 1939, and that has become familiar through countless interpretations by artists ranging from Cisco Houston to Ramblin’ Jack Elliott and Bob Dylan. Jim begins singing a cappella and is then joined by Suzy Thompson’s powerful fiddling, Jim and Geoff’s guitars, Cindy Cashdollar’s Weissenborn guitar and Geoff’s harmonies.

Jim continues to shine whenever he takes the lead vocal. Among his highlights are “Down on Penny’s Farm,” one of several songs on the CD drawn from Harry Smith’s seminal Anthology of American Folk Music, on which Jim plays banjo and Geoff is heard on pennywhistle; the infectious African song “Guabi, Guabi,” which he first recorded on a solo LP, Relax Your Mind, in 1965; a haunting version of “The Cuckoo,” also drawn from the Harry Smith Anthology and also a reprise from Relax Your Mind; and a couple of Mississippi John Hurt songs, “Louis Collins (Angels Laid Him Away) – which Philadelphia Jerry Ricks once told me was John Hurt’s very favorite of his own songs – and “Frankie,” a variant of “Frankie and Johnny (or Albert).”

Geoff’s first lead vocal is on “The Boll Weevil,” another folk song collected by Lomax that has become a folk music standard in countless versions. This version is among the best I’ve heard. Geoff is playing six-string banjo and is ably supported by Jim on harmony vocals and guitar, Suzy on fiddle, Cindy on Dobro and Kevin Smith on bass.

Geoff, too, shines, whenever he’s at the lead vocalist’s mic. His highlights include Henry Thomas’ “Fishing Blues,” also drawn from the Harry Smith Anthology; “Just a Little While to Stay Here,” a New Orleans funeral song Geoff recorded earlier on his wonderful album, The Secret Handshake; a couple of Beale Street Sheiks numbers, “Sweet to Mama” and “Downtown Blues” (Geoff first recorded “Downtown Blues” in 1967 on the Kweskin Jug Band LP See Reverse Side for Title); and a fun version of Mississippi John Hurt’s “C-h-i-c-k-e-n.”

My very favorite of Geoff’s tracks, though is his version of Bobby Charles’ beautiful “Tennessee Blues,” a song he recorded more than 40 years ago on Geoff Muldaur is Having a Wonderful Time. Van Dyke Parks joins the ensemble on accordion on this version of the song.

And while Geoff may have been having a wonderful time on that long-ago solo LP, I’ve been having a wonderful time listening to Jim and Geoff both having a wonderful time on Penny’s Farm.

I’ll also mention that the CD package includes an appreciation of Jim and Geoff and the Jim Kweskin Jug Band by John Sebastian and informative song notes by Mary Katherine Aldin.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Various Artists – God Don’t Never Change; Mr. Rick Sings About God + Booze

VARIOUS ARTISTS

God Don’t Never Change: The Songs of Blind Willie Johnson

Alligator Records

alligator.com

Like many, my first exposure to Blind Willie Johnson was via his recording of “John the Revelator,” included on Harry Smith’s Anthology of American Folk Music, a monumental collection of recordings from the 1920s and ‘30s that was so influential on the generations of folk-rooted artists that came to the fore in the 1950s, ‘60s and beyond. The artists on the Anthology – including Johnson – are the anchor of what Greil Marcus has termed the “old weird America.”

Johnson could have been one of the deepest sounding of the early bluesmen but was devoutly religious and only sang the gospel and spiritual songs he wrote or adapted from earlier sources. He recorded 30 tracks in all between 1927 and 1930 when the Great Depression effectively killed his recording career – the 2-CD set, The Complete Blind Willie Johnson (Columbia/Legacy) is highly recommended – but many of those songs have become standards of revival folk and blues artists from Bob Dylan and Peter, Paul & Mary to Eric Clapton.

God Don’t Never Change: The Songs of Blind Willie Johnson is a set of 11 of Johnson’s songs performed by an interesting group of contemporary artists.

Tom Waits – whose voice on some of his later recordings seems almost genetically descended from Johnson’s – leads off the set with a compelling version of “The Soul of a Man,” that is built on a sampled guitar track taken from a field recording of Smith Casey recorded by John Lomax and featuring Waits’ wife, Kathleen Brennan, on background vocals and their son, Casey Waits on drums. Waits returns later in the album with “John the Revelator.”

Lucinda Williams, who has a deep understanding of traditional southern music running through much of her own music, also turns in effective performances on two songs: “Nobody’s Fault but Mine,” and the title track, “God Don’t Never Change.”

Interestingly, the only African American artists on the album, the Blind Boys of Alabama, turn in the single performance that seems least influenced by Johnson. Their infectious version of “Mother’s Children Have a Hard Time” is done in their time-honored style reflecting the religious joyousness that is always at the heart of their performances.

Among the other highlights are the call-and-response version of “Keep Your Lamp Trimmed and Burning” by Derek Trucks & Susan Tedeschi; a deeply felt rendition of “Light from the Light House” by Maria McKee; and a subdued, thoughtful reading of “Dark was the Night, Cold was the Ground” by Rickie Lee Jones that effectively brings in a New Orleans-funeral-style horn arrangement near the end of the song.

MR. RICK

Mr. Rick Sings About God + Booze

mrrickmusicamericana.com

One of the Blind Willie Johnson standards not included on God Don’t Never Change was “You’ll Need Someone on Your Bond.” However, Mr. Rick – a.k.a. Rick Zolkower – does a nice, rockabilly-flavored version on Mr. Rick Sings About God + Booze, a mostly upbeat collection of traditional and contemporary Saturday night and Sunday morning songs.

Mr. Rick and his musical friends draw on all manner of roots styles in creating irresistible versions of such God songs as “Hush,” Blind Lemon Jefferson’s “One Kind Favor,” and “I’ll Fly Away,” and such boozers as Eric Von Schmidt’s “Champagne Don’t Drive Me Crazy,” Sleepy John Estes’ “Liquor Store Blues” and Mr. Rick’s own “Don’t Put My Bourbon Down.”

Perhaps my favorite track is “Two Little Fishes,” a biblical story song I first heard sung by Josh White, that takes on a klezmer feel thanks to Jono Lightstone’s clarinet playing.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Thad Beckman – Streets of Disaster

THAD BECKMAN

Streets of Disaster

Thadzooks Records

thadbeckman.com

I first became aware of Thad Beckman several years ago when he began working as Tom Russell’s back-up guitarist. Knowing Tom as I do, particularly after 25 years with the great Andrew Hardin as his primary accompanist, there was no doubt in my mind that Thad would be a great guitarist. And he certainly proved that to me when I first saw them play together in 2012. Listening to Thad’s two previously released CDs, Me Talkin’ to Me and Blues Gone By, I also found out that Thad was a good singer-songwriter, and a particularly fine interpreter of traditional blues, in his own right.

As good as the songs were on Me Talkin’ to Me, released on 2008, Streets of Disaster is a giant step forward. Seamlessly working in blues, country and contemporary folk styles, Thad’s songwriting – and his fine performances – now seems classic and timeless.

 “Street of Disaster,” the quasi-title track, opens the album. Using a traditional blues mode, the song is a compelling commentary on the state of the contemporary world.

Other highlights include “Blues in My Blood” and “Stirring Up Some Ashes,” a couple of country songs that seems like Merle Haggard at his best; “If Only My Heart Had a Brain,” a look back at romantic history set to a lovely solo guitar arrangement; “200 Dollars,” a witty blues tune in a Mississippi John Hurt mode; and “A Soldier Returns Home,” an extended, impressionistic blues guitar instrumental.

Thad Beckman, Mike Regenstreif, Tom Russell (2012)

In addition to nine of his own compositions, Thad also includes a slinky version of Richard “Rabbit” Brown’s “James Alley Blues,” one of my all-time favorite blues songs (the original was included on Harry Smith’s legendary Anthology of American Folk Music), in which Thad’s vocals are very effectively complemented by Mike Emerson on organ, Kurtis Piltz on harmonica, and Thad on electric lead guitar; and a terrific live duet with Tom Russell on Tom’s enduring, “Blue Wing.”

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif