Coca-Cola Cowboy: Dan's Comments

Through my explorations in the past few years, I may be about as much of an "expert" in the country music realm as there is in the Coalescence. I feel like I have a pretty good basic understanding of how the music form emerged, evolved, and spun off in its various forms from the early part of the last century to today.

In that view, it does seem that, while maybe not quite as extreme as lumping together a collection and saying "here is rock," it is still quite a genre-alization to grab a variety of songs that sort of span the a good part of the breadth of country. I'm not taking a shot at the song selection approach at all, since I understand there is a unifying theme here, which is Cory's emotional/nostalgic response; but I definitely think the degree to which other CMC members like/dislike Country music can hardly be judged on our reaction to such a small representative sample. Duh, right? Nevertheless, I found myself, while listening to these songs, feeling an intense need to clarify to everybody ("but...but...this is not a good sample of Willie", or "Marty Robbins had a rich and wonderful history of music prior to this collection's late 70s indication that the well was nearly dry").

The other thing I feel kind of obliged to say is that Cory simply has a different approach to song selection and/or apprecation than I do. I almost can't not deconstruct a song and evaluate different musical parts & how they work together; but Cory, for the most part, eliminates any discussion of songs' musicality entirely from his comments. I realize that he's normally from the classic "I know what I like" or "if it sounds good to me, I like it" camp, which is fine & good, and there's definitely evidence of that in comments he makes on others' collections.

But on his own collection, there's almost no discussion whatsoever of what in the songs, musically, trip his trigger. Everything is about personal association. Powerful stuff, these associations. We all have them, and they profoundly influence how we interpret the world around us. It's also fun to read the comments-as some are a funky trip down memory lane and others give us a unique peek into the history of young 'klausky. But once it gets time for us to make our remarks on the collection, we're like astronauts with our oxygen cord snipped off. We're on our own. With no guidelines as to what Cory likes in the songs or what we might listen for, and without any personal associations of our own, we are truly alone. That's fine-I can evaluate these songs devoid of that starting point. But it's something to think about, Cory, in future collections. If there is anything beyond the association, fill us in. It's a good jumping off point for discussion. If you tell us that you used to sing "Rhinestone Cowboy" in the back of a pickup topper with your cousins all the way up to Lake Woebegon, the only way to really respond to that is to say, "Good Lord!"

So now...

1. Good Ole Boys - Waylon Jennings: I love this song! Representing just about everything that was good about the "Outlaw Movement" in the 70s, this song-and for some reason, I'm not having too much of a problem disassociating it with the TV show of which I was a huge fan-has it all: sparse arrangements with a real kick; rollicking, deceptively good musicianship; and a tongue-n-cheek humour to accompany it all. It's so short & sweet. The harmony-how great! And yes, Mixdorf, the "yeah"s, as well as the laugh. Great! I love the funky little responsoral(?) honky tonk piano, the solo, & the fingerpicking. I love it all, and I can't get enough.

2. Poncho and Lefty - Merle Haggard and Willie Nelson: (Gosh, per discussion, shouldn't the two names really be reversed in the billing?) Funny! St. Elsewhere! Wonderful fantastical tale. I love how Lefty ends up in Ohio-kind of unexpected. I know this is a favorite song of the Johnsons, though I'm almost certain they know & prefer the TVZ version. We actually performed this song twice: once at the Daniel Guitarra CD release party and once in a church, which is kind of where you imagine Poncho might have dragged himself into for a little confessional before he drew his final breaths. Though perhaps not in South Minneapolis. Interesting trivia: I transcribed the chords & lyrics myself, and the Johnsons had to inform me that it was "the federales say" rather than "federals always say." Duh! Definitely from a bit of an "overproduced" phase for Willie, which is a far cry from most of what he did up until about 1976, and then again after 1990. I like the song & the version, though perhaps I'm beginning to get a bit sick of it.

3. Till the Rivers All Run Dry - Don Williams: Ah-the gentle giant. Most of, no-all of his songs were gentle offerings, some not boring. This one is pretty nice. The words are rather trite, but he seems such a nice guy, it's very possible they were written from the heart. What is that-just a slide guitar? Kind of a nice effect, but it wears a little thin by the end. I like a couple of times where his voice "leads" the chord progression. Like, he's been spot-on key for the first part of the song, then when he goes to "I know sometimes, you may wonder" at 0:46 or "there's no need for you to wonder" at 1:04 when he's not right on for a second but the music resolves. That sounds really nice and shows, I think, a neat singer's flair.

4. Me & My Uncle: John Denver: I was familar with this song, only because a version by some other guy was set up to play (inexplicably) during unfilled commercial spots during our local Air America radio stream during the Al Franken Show. For, like, 9 months in a row. Jesus, I got sick of it. But Pat & Pat-what's the deal? I get the idea you guys both hate this song because the guy in it is too mean. What the hell? Haven't you ever heard of a narrative? How about the guy in "The Mariner's Revenge Song?" or any one of a number of gunfighter ballads in country. Isn't there a lesson in it all? Anyway, I can kind of get into & appreciate the tale, though the music doesn't do a lot for me. I can see how a live version-listening to one or playing one, might be kind of fun.

5. El Paso City - Marty Robbins: Sigh. This is definitely a low point for Marty Robbins. He's still got the beautiful tone & vibrato in his voice; and the chorus in the song is even a really nice-the "El Paso Ci-teeeee" yodel. He could have even taken an approach-singing about this town still haunting him. But the whole thing about "a singer sang a song" and so on....yuck.

6. Rhinestone Cowboy - Glen Campbell: I have some pretty damned early memories of this song, as well. One of a select few soft rock/pop/70s a.m. adult radio standards that used to accompany my family on trips to Kansas in the mid to late 70s. Me riding in the back of my dad's station wagon listening to "Something," "You Light Up My Life," and this song. And how can you not love this song as a 7 year old boy? It's hard. Fast forward nearly 30 years and how can you not love this song? Not so hard. And-was this said in a phone conversation with Gibbons, or did I imagine it...someone making the statement that this may be the least funky song in the history of the world.

7. Highwayman - The Highwaymen: I still think it's hilarious, Gibbons remark that each singer should be introduced with "ladies and gentlemen," and still think it's almost inexplicable, the denouncement of the "bad lyrics." I can understand some of the oddities that Mixdorf points out as far as anachronisms & odd placement of outlaw & space & so on, but I think there's some good imagery in there as well, in addition to an interesting concept. Also-a wild thing that I touched on in my comments to Mixdorf's post, about the introduction of the topic of reincarnation-it seems an odd fascination with the topic was finding it's way into Willie Nelson's art over a period of years. Witness these odd moments from his 1971 "Yesterday's Wine. I like the song as a whole, anyway. And I respect the fact that Willie has the guts to say "those bastards hung me" even as Charlie Daniels balks from releasing the version of "Devil Went Down to Georgia" with "son of a bitch" in it.

8. Streets of Bakersfield - Dwight Yokam & Buck Owens: OK, this is one guy (Dwight Yokam) I've been meaning to dig into a little more. From everything I've heard, he's been a bright spot of songwriting and arrangement over the past 15 years or so of the basically crappy world of popular country. His traditional style has resulted in him never quite attaining the popularity of some of the bigger, brighter stars of the period, but has ultimately given him more staying power, as there are still those people out there yearning for something that's not an attempt to sell sex, chest-thumping, and pale imitations of shitty 50s rockabilly as "country." I like his voice, twang-included, and the cachaca feel of the accordion; makes you feel like you could be in a catana in Mexico. I also like the harmony. I'm not quite sure what the song's driving at, though. Is this a narrative sort of thing, as though he is walking the streets of some 1800's Bakersfield, or some remark about yuppies & preppies in modern Bakersfield who look at him askance because of his cowboy-hat? For what it's worth, the legendary Buck Owens is among a group of artists, I believe who pioneered something known as the "Bakersfield sound." Though I'm still not sure how that fits in...

9. Folsom Prison Blues - Johnny Cash: I can appreciate the ballsy move of writing & performing this song live in front of Folsom prisoners more than I actually like the song. Words much better than music, in my opinion. I wish we could have gotten that live version here, which is kind of a treat to hear. A seminal moment in the history of pop music, I'd even say.

10. That's the Way Love Goes - Merle Haggard: Boy, I've had a hard time forgiving ole Merle for his infamous Okie from Mukogee-seriously. But he seems to have reconciled himself with the long & shaggy hair types, as well as the stoned-out-of-their-gourd culture, having worked with Willie Nelson on many occasions (indeed, on this collection alone). This particular song is pretty. Kind of bland word-wise, but I like the chord progression and resolve, and his goofy sort of kermity voice works well. I also think the electric guitar lead is really smooth & cool.

11. Ghost Riders (live) - Willie Nelson and Johnny Cash: Gosh, these two guys sound rough here. This couldn't have been long before Johnny died-was it? Definitely some Willie soloing there. What Gibbs said about the cowboy fantasy being kind of cool-right on. I remember the story in this song getting me off as a 10-year old. Music doesn't do a ton for me. Kind of funny-remember the old "musical communication" topic of early 44, Gibbs? It's a fact that some people can "feel" music and talk through their instruments. Some can't. But even as 70-some-odd year old Willie noodles around, seemingly aimless and trailing a half-step beyond the main rhythm section, you know he's feeling something, even if it's high. On the Escalante trip, Cory expressed some concern about the conversation at the end of the song-I think it's hilarious, as you hear Johnny Cash talking about meeting this guy in Jamaica, the guy telling him he was a "worried man," and then Johnny Cash going back home to "write this song." Right then, the CD loops over and Waylon Jennings kicks in with "Good Ole Boys."

Recap? As a cohesive collection, it was really hot & cold for me. Really enjoyed some stuff, but the thing didn't flow for me a heck of a lot. Can't really say much beyond what I have. Thanks, as always, for laying it all on the line, man.

BS: Good Ole Boys
SIWHI: so many...Geez...anything from country? how about somewhat overproduced, and we have found memories: Linda Ronstadt's Blue Bayou.

I Can't Quit These Songs: Mix Reviews Volume 11

Having read Mighty Tom's review I can state with some certainty that I like country music more than he does, including these songs, though I don't chalk these songs up as the best that the vast country genre has to offer. In music, I'm a sucker for a good melody, though that's never enough to make a good song. Lyrics are the missing piece to finish the whole. All the great melodies are not great songs, and bad lyrics is the principal reason why. The specifics of arrangement and musical treatment then put on the final polish to give the best songs of glorious luster to last through the ages.

My first listens to this collection occured en route to the wilds of Escalante, the story of which is enfolding here. Riding down Interstate 35 through the heart of Iowa, with me proceeding each song with a reading aloud of the 'liner notes' provided by TClog. The three of us would listen to a song and make general comments and then do the same for the next one. In this way was I introduced to the Coca Cola Cowboy. Far different from my usual method, namely loading it into my Ipod and listening to it repeatedly while walking the dog, and then ultimately over and over as I compose my comments (this last part remains the same - go John Denver go).

There's no doubting or minimizing the importance of specific experiences in relation to individual songs and TClog shows us once again how deeply he feels the songs he chooses. Inevitably the rest of us will be hard pressed to put ourselves into such an extreme state of empathy that we can feel the same as our friend, but we should try. Mighty Tom does a good job of relating one such experience and we all know TClog to wear his emotions like a poncho, or like Pancho, your choice. So as I listen to these songs I am reminded of many miles travelled on the interstates of our fair country, and my friend TClog crooning his way through his memories of these songs. But still.... I remain fervently objective.

And with that I shall begin:

Track One
Good Ole Boys - Waylon Jennings

As we discussed in the Sombrero, there's no way to disassociate this song from The Dukes of Hazard, a tv show that inspires fond memories for most males my age, but not me. I really did not like Bo and Luke or anything they stood for. Yeah, even an 8 year old me knew Daisy was hot, but where was that going to get me? She was long gone before I was going to do anything with that imagery. Mostly what DoH represents to me was a reason for the other kids in the neighborhood to be inside on Friday evenings when I would have rather been outside for another hour. Ahh well.

But I can get past that and just listen to the song. A funny little ditty, and blessedly 'pure' in arrangement (unlike some of the songs that follow) The lyrics don't blow me away, but they're fun enough and get the job done. The melody is also fun and the musicianship is certainly good enough resulting in a pleasant little ditty. Pretty much a middle of the road venture if I can forget my DoH past.

Can't forget to mention the occasional 'yeah' in the song. Better in context with the DoH opening credits.

Is it Waylon Jennings that does the 'Are you ready for some football?' shit? Seems like that's his voice. A strike against him there.

Track Two
Pancho and Lefty - Willie Nelson with an assist from Merle Haggard

If I didn't know Willie a bit better than the songs on this collection I would accuse him of doing most of his recording in a basement with a Casio keyboard. The intro to this song is BAD, with its really cheesy St. Elsewhere keyboard riff and possibly programmed drums. It's almost as if some producer got a hold of this between Willie and the record company and 'filled it out' a bit, perhaps believing it would go over better with the Miami Vice crowd. Luckily, most of the song is free from the worst of this crap and allows, what is a nice little story, to take over.

With a different arrangement, something simpler generally, I could REALLY like this song. A good melody, some well written and touching lyrics in a classic country style, are set up for a very good song. But the bullshit is tough to get around. I'd like to here the TVZ version to see if it's better, though Willie's got a great voice and that would be missed.

As for Mr. Haggard, what the hell IS he doing here? Possibly the worst implemetation of a duet ever. I almost imagine Willie singing along, finishing his verse expecting Merle to pick up the chorus and then.....nothing.... still just Willie. And then the verse....of course!....Merle will do the second verse and second chorus, and then we'll do the third verse together. But no. Merle just stands there with his arms folded still smarting from Willie's crack earlier about looking 'a little haggard'. "Hey everybody, Merle's looking a 'litte haggard'! Haa haa haa. Apparently that's a sore point going back to his childhood. How would Willie know?

Or it could be that Merle Haggard sounds a little like Fozzy Bear at times and Willie tried to limit the damage. Not sure.

Lots of potential in this song, just not great follow through.

Track Three
'til the Rivers All Run Dry - Don Williams

Lovely, though not mind blowing. Lovely melody and very pleasant lyrics. I can understand how TClog can find emotional appeal in this song. It's universal and far more satisfying than many other possibilities.

Track Four
Me and My Uncle - John Denver

I loved John Denver as a child. This song is not a good one, and I don't think that it would be better in another version, or by another person. Maybe if I was being orally pleasured while listening to this could I develop a positive attachment. Until then, I remain unimpressed.

The musicianship seems fine, but it's such a cynical and mean-spirited song that it just leaves me flat, limp even.

Track Five
El Paso City - Marty Robbins

From thirty thousand feet above the desert floor I see it there below
A city with a legend, the West Texas city of El Paso
Where long ago I heard a song (it was by MEEEEE) about a Texas cowboy and a girl
And a little place called Rosa's where he used to go and watch this beauty whirl

I don't recall who sang the song ('cause I'm a drunk, but it was MEEEE) but I recall a story that I heard
And as I look down on this city I remember each and every word
The singer (that was MEEE) sang about a jealous cowboy and the way he used a gun
To kill another cowboy, then he had to leave El Paso on the run

El Paso City
By the Rio Grande
The cowboy lived and rode away but love was strong he couldn't stay
He rode back just to die in that El Paso sand
El Paso City
By the Rio Grande
I try not to let you cross my mind but still I find
There's such a mystery in the song that I don't understand (even though the writer was MEEEE)

My mind is down there somewhere as I fly above the badlands of New Mexico
I can't explain why I should know the very trail he rode back to El Paso (that rider was maybe MEEE)
Can it be that man can disappear from life and live another time
And does the mystery deepen 'cause you think that you yourself lived in that other time

Somewhere in my deepest thoughts familiar scenes and memories unfold
These wild and unexplained emotions that I've had so long, but I have never told (except in that other song, sung by MEEE)
Like everytime I fly up through the heavens and I see you there below
I get the feeling sometime in another world I lived in El Paso (yeah MEEEE)

El Paso City
By the Rio Grande
Could it be that I could be the cowboy in the mystery (it was MEEE)
That died there in that desert sand so long ago
El Paso City
By the Rio Grande
A voice tells me to go and seek, another voice keeps telling me
Maybe death awaits me in El Paso (MEEEEE)

My dad was a Marty Robbins fan, though my distrust (ignorant hatred) of country music kept me from listening to it. It all seemed to be about rural life and that held no appeal to me, what with Flocks of Saegulls to watch. He has a pleasant voice and I occasionally find my self singing that OTHER song about El Paso quietly to myself, at least the first verse, but this is too much. A song about another song, that HE WROTE? Hilarious, and seemingly one trip back to the well too many.

Just can' t get into this one, though stripped to its constituent parts I could like some of them.

Track Six
Rhinestone Cowboy - Glen Campbell

Oh lord. As previously mentioned this song is SO SO SO Neil Diamond it's amazing. Anyone check to see if Neil was invilved - this would have been from his heyday. Apparently not, though that Allmusic review is worth checking out.

I may have loved this song when I was 4. I certainly remember it clearly. But it's so cartoony to me now that it leaves me bewildered. Seems to come from the Midnight Cowboy/Urban Cowboy cowboy aesthetic, not the height of cowboy aesthetics. Polished production leaves me dazzled as if staring into a hat full of rhinestones.

Track Seven
Highwayman - Highwayman

Another one of those productions run amuck. Holy crap the effects in this one are CRAZY. Although unlikely, I could see Brian Eno heading this up.

Some very strange things about this song lyrically:

Willie's version of the Highwayman seems to be from England, circa 1700 maybe. Pistol AND blade? Baubles?

Glen Campbell returns as a 'Sailuuuur' rounding the 'horn of Mexico?' Does anyone refer to Mexico as having a horn? Maybe they do, but it'd be new to me. Did Glen Campbell have a stroke on that 'sailuuur'.

And Waylon again, as a dam builder. Hardly the romantic vision conjured by the other three. And steel plus water equals rust.

Johnny Cash. IN SPACE? Wow.

This song was written by Jimmy Webb, who brought us the lovely Wichita Lineman, Galveston, McCarthur Park (metaphorical cake in the rain anyone?) and songs by lots of others. This one is weird, though it has potential. Might have been better in the hands of The Decemberists.

I want to like this song. I do. But between the production weirdness and the lyrical incongruities, I can't get all the way there.

Track Eight
Streets of Bakersfield - Dwight Yoakam and Buck Owens

With a classic country voice DY dellivers my favorite of the songs I didn't know on this collection. Surprising I would guess, but there you have it. It's gotten a hopping little tune and some clever lyrics and I'm a sucker for accordion when used well.

I'm not sure if there's a Bakersfield other than the one in CA (there is one in England, but that seems even weirder). Since he mentions SF I assume it is CA. An odd setting for a country song. Even though it experienced most of the western expansion pangs of lots of other cities, it doesn't strike me as having the reputation of a place to compare one's life experiences to, as he suggests.

Track Nine
Folsom Prison Blues - Johnny Cash

Great song. And California again. And NV. And TX.

Track Ten
That's the Way Love Goes - Merle Haggard

Similar to Track Three, though I like it less.

Track Eleven
Ghost Rider - JC and WN

Blessedly free from the overproduction seemingly always lurking behind Willie (on this collection) thanks to VH1, this is a song that I knew, though not well. I would like to hear a better version of this song, with both gentlemen in better shape, particularly JC.

I like it. It's got that true ballad feel that marks a lot of my favorite country songs.


Wrap Up
I liked this collection better than Mighty Tom, regardless of how my comments come across. TClog can continue exposing us to the songs that trip his trigger (better those than his balls) with no fear of excommunication. Let it out, and keep letting it out. We're all partially shaped by the music we grew up with and sharing that gives insight.

SIWHUI (song I would have used instead) Wichita Lineman over Rhinestone Cowboy
SIWHI - these are your memories
BS - Folsom Prison Blues
BSIDK (best song I didn't know) Streets of Bakersfield

So who's next? Me?

Into the West We Go

Coca-Cola Cowboy - Volume 11, A T-Clog Mix

Eventually there would be a country-tinged compilation brought forth by T-Clog, and it has been brought forth in the month of the trek to Escalante, July.

It is nothing new to say that I am not a fan of country music, nor is it new to say that Cory has been and is a fan of country music. For the most part, this equation has remained intact.

As we all have grown, in our own ways, as fans of music there has been a fair share of subtle swerves in each of our views towards different types of music. This could be from our experiences with CMC to our own personal musical explorations. Certainly Dan has explored a great deal of classic country or classic country western and its spawn, alt-country and is probably much more informed and familiar with the artists and songs from Volume 11. Myself, and possibly Mixdorf, have undoubtedly been exposed to such music on account of discussions and shared listens with Cory and Dan, and have come to know some of the songs and/or artists through such correspondence, but have perhaps remained more on the perimeter of this genre.

Genre is used rather loosely here and I am sure Dan will be able to make many specific distinctions between where each of the artists fall, and I understand, to an extent that there are indeed great differences in what is called ‘Country Music,’ as there are in ‘Pop’ or ‘Rock’n’Roll’ music. Aaron seems to also have an appreciation for some styles of country music and it will be interesting to read what he likes and dislikes from this collection. It appears to be a varied collection from this loosely based genre known as country music.

Music is so inter-connected and country influences can be found through-out my collection. Country has influenced Rock, Rap, Pop - everything, and in turn it has been influenced by the blues, Rock, Pop, and even Jazz. You could say that all music is the same, but you would be wrong.

So, I do not deny the existence or influence of country music, I like and love some songs that fall into the country music category, and, I recognize Volume 11 as a compilation of country songs. That said, I remain on the perimeter of country music, occasionally intrigued by a song or an artist, but simply not a fan of this genre.

My low point in terms of country music include mopping the floors at the Oak-Elm Cafeteria at Iowa State University with the very bad early nineties wildly fancy colored supposedly cowboy shirted so-called heroes of country toughies singing extremely crappy songs with way too much fucking treble.

My recent high point includes a love of Cash’s song ‘I Walk the Line.’



The Cover

I loved the cover. I though it was hilarious and well constructed, it looked professionally done.


The Songs

1-The Good Ole Boys

Yes, the story of Cory and the Bar Scene of Terre Haute. We were watching ND and I was starting to lose him to sleep. He was stretched out comfortably on the couch and I was probably crouched on the floor rubbing his feet, anyway, I was suddenly struck by the idea to wind this guy up and take him to a bar. What could be more wild than that? I did literally slap his ass awake and we poured ourselves into the Rescort and off we went. Our ‘partying’ was delayed after good ole Cory pointed out I had an anti-freeze problem, which was corrected in the parking lot of a famous grocery store.

And yes I first took him to a place called ‘The Verve,’ where your more alternative college bands would play, the band was actually pretty good, but turning, I saw a somber and slightly disoriented friend in a stupor caused not by alcohol and hard drugs, but by loud noise, heat from his coat (although I‘d swear he was wearing a vest) , and ciggy smoke. So off we went to the Bally Hoo where we fetched a few beers and settled against a wall listening to a cover band and scoping for hot chics. The creature, known as T-Clog, was stiff, quiet, turning his head like Batman. But then…it started to happen.

Yes…Pink Houses got his blood going a bit. His cheeks turned a healthy red, his balls dropped a quarter of an inch, and a smile started to creep across his face that would have kept a family of Eskimos warm for an entire season. And yes, when The Good Ole Boys began, not only was he instantly transformed into a party animal to rival the greatest Greeks this University had to offer, he performed a move that may be difficult to describe with words, at least in terms of how amazing it was. With his beer and his vest he went down. This is what I mean, this creature, once stiff as a Cory Mundane in a nudist colony, bent his knees and went down to the floor slowly, he never lost his footing, he never spilled his beer, he never lost his smile, and he went down SO LOW! A crowd gathered to see if he would be able to rise again. He stayed down for what seemed like 20 seconds and then shot up triumphantly to cheers and applause. A beaming smile topped a loose and limber body moving smoothly and confidently to the music. He belted out the words like a prayer and his eyes spilled their thanks down his cheeks. That night would ever be known as ‘The Time of Greatest Downness.’ Never before has anybody gotten so well down.

The song itself is pretty clever and well written. Short and slick. Interesting alternate take on the meaning: one could take it to refer to corporate America, or Senators, or the White House, or any other unit where power resides in the rich or in the male, or both. The Law never will…They are above the law, or they are the law.

I do not know anything about Waylon Jennings except that he is/was a member of The Highwayman, and I only know that from information provided by Volume 11. I have heard of him and I think his voice would be somewhat alarming if I wasn’t so familiar with this song.


2-Poncho and Lefty

I have heard Dan and Cory refer to this song many times. I was surprised to find that I actually have never heard it, except once from a compilation given to me from Aaron. A compilation that I need to give more attention. I am not sure I know or understand the story completely. There are some rather beautiful melodic moments in the song. I liked it OK, I guess.

At three minutes you get your classic Willie guitar type solo(I’m not sure if that was Willie, but Dan will know what I’m talking about) and then oddly enough Merle Haggard, who has been sitting in the corner drinking gin, gets the last minute and a half to sing his bit. Not a fan of Merle’s voice, so the whole ending of the song starts to shake for me. Does this type of singing arrangement occur often in country music?

Willie is larger than life with a very unique voice and an ancient and storied career. Cory and Dan and maybe Aaron probably know a whole lot more about him, but I do love Dan’s story about Willie causing an outbreak of ear bloods at a Cattle Congress. Willie is a fixture in popular music, no doubt.


3-TillThe Rivers All Run Dry

Not a bad song. I can appreciate the musical arrangement much more than some of the more recent country song recordings on this CD. Nice singing voice. Some of the guitar reminds me of George Harrison.



4-Me & My Uncle

I did not like this song. The words, music, and the sound of the guitar - no. It seemed very odd and regular all at the same time. It didn’t strike me as very John Denver like.



5-El Paso City

I like the horns and kept wanting to hear more of them. Not a bad voice. I’ve heard of Marty Robbins, but do not know much about him. I like the melody and can hear him singing Christmas songs very well. Much El Paso, Santa Fe, and Mexico. Unless…could this possibly be about El Paso Illinois, it is close to the Rio Grande when compared to Siberia.


6-Rhinestone Cowboy

I winced when I saw this among the song titles. Could it be that song? Yes, and I winced when I heard it. Sorry man. That chorus, I actually receive the anti sprinkles, like watching Vanilla Ice perform. I wince.

“riding out on a horse in a star spangled rodeo” ouch.

There is a weird Neil Diamond quality to the song, I love Neil, but nonetheless I sense his presence.

Like many of the songs, I really appreciate the connection that you have between these songs and memories.

That said, I can place the feelings I have for this song aside and crack up imagining you riding the bull and flirting with forestry girls!


7-Highwayman


Synths and pan flutes and distant electric guitars and bad lyrics. I think each singer should have been introduced with a “ladies and gentleman….”


8-Streets of Bakersfield

I do not like this one either, sorry dude.




9-Folsom Prison Blues


This is the one song that I have, as part of a Superhits collection. I really like this song. Did you know this was sampled in a Beastie Boys song? I love the simplistic guitar solo. So simple and it is played twice!

I like the words, they remind me of what the tree trimmers used to say - in their own way they were in a prison, or at least that is the way they felt down deep underneath it all. It would come to the surface when the rich homeowner would return, they would bow down - do anything for him, hoping for a piece of his nickel, but hating him all the same, pure, simple, deeply rooted jealousy concerning the class unto which they were born.

10-That’s The Way Love Goes

Your memory and connection to this song is special and I think that is truly wonderful, however, I just cannot get into this one.

11-Ghost Riders (live)

Live? How can Ghost Riders be live?

OK, what is this melody? A variation of something on the tip of my tongue…

Very familiar. And of course the Willie guitar bit just under two minutes, and then again later. I can’t really get into this one. Is it really just a cowboy fantasy inspired by an incoming storm front, if so that’s pretty cool.


BS: Folsom Prison Blues

SIWHI: My Sweet Annette by Drive By Truckers


Even though I am not a fan of country music, I appreciate your willingness to put yourself out there. A group of songs that affect you deeply and emotionally. Thank you for the CD and comments.

Three Trolls - Response to da Cory Comments

As stated in da Dan comments, I was surprised at how high Three Trolls scored in Cory's system.

I figured JR would wet his pants a bit.

LFZ - you must have meant Wall Street at night, at least, right?

Snowman - I like your bit about his jaws working as a snakes, how awful to witness him swallowing an old lady whole in the market.

GC - I think everyone got it about his 'everyday topics' even Dan and his Brad Roberts mention seems to grasp a bit of JRs MO. I agree with your assessment about the vocals coming in at the end, a very VU like technique that enhances the song, building it up for a nice ending.

JC - not the Jew, but the Welshman...Glad you like JC.

Fear - so funny. Not "Safe is a man's best friend" but "Say Fear is a Man's Best Friend" I can see how that would be VERY confusing. I can see the Rocky Horror Show connection now that you mention it. Must be the time period, at least in terms of a particular production.

Char - I love this line from you, "I like the lyrics a lot. I feel there is a lot of meaning behind them." A CMC classic.

Paris 1919 - I feel your Beatles vibe in this one. No one has cared to join me on any Holy Grail possibilities with this one? Speaking of which. If there should be another adventure...a la Escalante (by the way, instead of Cory Levendusky, how about Cory Escalante!)in however many years, imagine the huge amounts of fun we could have if we launched.. our very own... search for The Holy Grail....

LC

Sistahs of Mercy - set back on your chair for a minute or two - love it! was there slobber! And Fisher Price toys - hilarious! I could just see the studio, having hired the best Fisher Price toy shaker they could find,..."and I want fresh water, two pre-opened packs of Marlboro reds, and a ceramic tub of saffron"

Thank you for the comments. I am really glad that you found so much joy in Three Trolls.

Three Trolls - Response to da Dan comments

I'll begin by offering the following comparisons to the other Troll responses so far. For fun. Mixdorf, Dan, and Cory (Aaron's still to come). I did not guess that Mixdorf would not have liked JC, but I am not surprised, the lyric thing comes up occasionally for some artists and it is hard to tell which lyrics will make sense to Mixdorf and which ones will not. I did figure that he would not have liked the end of 'Fear'. I was pleasantly surprised at how much he likes JR and tickled to tears at his choosing of 'The Guests' by LC as a tie for his BS. Amazing! I was pleasantly surprised at how much Cory liked all three artists, I figured he would have loved JR, but thought that maybe he would not have liked JC as much as he indicated.

But on to Dan, since after all, this is a response to his comments.

I thought you would have liked JR a bit more than indicated. I thought you may have appreciated the approach JR took to song writing in general, a zeal and spontaneous approach which I have sometimes seen in yourself. Sounds like you like LFZ alright and bored with Snowman and appreciate the humor of GC. I am not sure what you mean by missing some of the lyrics concerning 'ledger'. If you are referring to the lyrics I posted, they were placed there as a reference, they are not authorized, or obviously correct - I placed them with some attitude and I apologize if it has confused thee.

Also, I did make mention of the 'I Think We're Alone Now' connection in my original comments, but thanks.

JR

JR is my favorite of the Three Trolls, and I'll say it here because of Dan's comments. I am glad you like him and I would be more than happy to further discuss his trollness.

Not only did I think you were clear, I loved your bit: "Who's to say whose interpretation of great works and events is right or wrong, particularly if such topics are used as inspiration for a completely new work" Perfect. No absolutes.

Fear is my second favorite song on this collection - I love your take on "Say." Very funny. As is Cory's lovely misinterpretation of the very same word. But yes, "Say it bastard! Say it!!" Like Picard and the Cardassian. "Fear is a Man's Best Friend!" Ooh that naked Picard butt spilling milky white all over that floor!

On Char, glad you dig the harmony, and the piano and bass and drums reminds me a bit of an arrangement that you might have written.

Paris 1919 - my favorite on the collection, and possibly yours as well. I think bird, but will listen to it as a spaceship the next time I have a listen.

LC

I am still sorting out LC, so much LC, I really tried to keep a certain cohesive feel to the three chosen for 3 Trolls. Your Troubadour comparison makes pretty good sense for these three songs. I do not understand the Carl Kassell reference.

On The Guests, 'the fluidity of life' comes from 'Life is Fluid' a statement that Mixdorf said to me a while back. It had a profound effect on me. Something that I love and cannot shake. I've said it here. And there it is. An interesting example of such fluidity. The comments and comments about comments on this here song suggesting a proof to such a statement.

I am glad you enjoyed Three Trolls. It makes for interesting comments and comparisons. Who is going to like who? Who will dislike who? Who will be turned on? Off? Will anybody know some of the songs? Will anybody share some of the same feelings? The answer to that - YES. I've been able to relate to everyone so far on at least some of the songs. And that is cool.

The Trolls shift position and possibly grumble, but secretly, there hearts are warmed.

Dispatches from the Wild Vol.3 - CMC Vol. 11 The Coca Cola Cowboy

Dispatches from the Wild Vol.2 - TClog Reviews Three Trolls

It's not clear how these documents came to be as they are. Were they written by some Unabomber like character living in a shack far from civilization? Are the real? Can their provenance be truly determined? Regardless of these questions and although dirt stained and torn, the value of theses artifacts is incalculable.

A Tale of Three Trolls: Three Trolls Comments by Dan

Ah-this misunderstood and unwanted cadre of artists, long in on the radar and CaseLogic of our red-sweatpanted friend. I remember them being on his musical scene since the days of rooming with Mark Anderson, and I always suspected that he was the reason for them being there. I would submit that, in addition to their decidely "un-idol-like" appearances and chronic fringe status in terms of popular appeal, there are also "troll-like" aspects to their lyrics, themes, and even performances. Words that range from playfully irreverant (but not hip like Cake or Weezer) to dark and almost inscrutable (Cale) (but not hip like Beck). Arrangements that you could almost swear are held together, timing-wise, by scotch tape and hopes; and vocals that, while carried with an odd timbre, are on tune....or are they??? Side note: if the lyrics were even more off-beat, the arrangements even looser, and the singing even more off-key, the recordings would actually be by Mark Anderson, the troll beneath the bridge the trolls walk on.

So, the trolls and tunes:

Johnathan Richman. I gotta say, I've never been a big fan. In the vein of the never-ending disconnect between Mixdorf & me, I feel that, in almost all cases, words alone cannot make a song. And I feel, when listening to J.R. (the songs here, and the ones I somewhat recall), that is what I am expected to let it do. I feel like simplistic (as being distinct from "simple") melodies are conjured up to underscore a playful flight of fancy. Overly complex musical progression and arrangements would only detract from the silly, irreverant ramble and it is clear to which of the two Mr. Richman wants to direct your attention. If others are getting a ton more out of the music, than so be it; but for me, I have a hard time distinguishing between it an a majority of children's music I've heard. Simple, memorable, hummable tunes that leave no indelible mark on me, and generally do not leave me wanting for more.
1. Lonely Financial Zone: By far, I guess, my favorite of the three songs. I do appreciate the slow march of the arrangement. I think the way the guitar plucks come in are pretty neat, and I like the "da da da da dum" strum. I like the words here, and I think the arrangement creates a neat mood. You can picture him walking alone down those streets-even almost see through his eyes, as he accumulates the experiences that lead him to write this song.
2. Abominable Snowman in the Market: Wow-Richman plays hardball. The dude makes it tough to criticize him. How can you hate a guy that writes such irreverant, playful words? You can't! He appears a totally fun-loving guy, with a voice that sounds like he can barely surpress the mirth he has over his own jokiness, and a lovely, innocent Brad Roberts-style perspective on life. That said, am I really missing the boat here? Why does it seem to me that the both music and words could have been composed during a one-take jam? I remember hearing this song live. People were bopping around, and by the end I was sort of looking around like, "...okay...." It just seems like every song sounds like "the novelty" on an album that you eventually debate with yourself about whether to skip over. This song really, really bores me.
3. Government Center: OK, lest I start getting myself a repuation as a grumpy killjoy, let me mention that I totally, totally get and appreciate the humour in this song. Hard not to imagine the Augsburg Fortress mailroom retards cranking away in the manner described within these lyrics. Funny, funny words. Particularly neat: Well we've got alot alot alot of hard work today/We gotta rock at the government center and We put the stamps on the letter/Then we write it down in the ledger. By the way, Gibbs; you missed the whole "ledger" part multiple times in your transcription of the lyrics. But again, it's like somebody recording a funny joke to CD. Great and bringing a smile to your face the first time through, but how many times you gonna listen to it? Side note: anyone notice how the beginning guitar (first four seconds or so) is identical to Tommy James' I Think We're Alone Now?

Johnathan Cale: I know of him, obviously, as a result of his VU involvement, but very little about him. This collection of three really whets my appetite! I am fascinated by his arrangements, avant-garde (or alternative, or whatever) in the truest sense of the word. I love his used of piano, and I love the passionate (if esoteric) words, and the arrangements that are really born of a free and open approach to the studio. I love your comments about his infusion of classical material. Reminds me of the documentary on British history I just saw. Who's to say whose interpretation of great works and events is right or wrong, particularly if such topics are used as inspiration for a completely new work. Not sure if I'm clear on that, but I'm trying to say that anything that some of the most worthwhile art can be inspired by some of the most skewed interpretations of the real world. Note to world: Off Cale's back!!!

4. Fear is a Man's Best Friend: A great example of the arrangements I love. POWER CHORDS to start off. I love piano chords. Strongly hit piano chords. Baba O'Riley chords. I love the juxtaposition between the softer verses and those chords. How Gibbons-esque, the hesitating, bendy guitar. Building suspense. I love the When I'm on the prowl... line. So what's the deal with Say fear's a man's best friend? Is is a sudden realization: Say, (know what?) fear's a man's best friend!" or a demand a raving Cale screams at you while holding a knife to your throat (C'mon, you'd better) Say fear's a man's best friend! (or you're dead)? I lean towards the latter interpretation, especially following that tirade-ish end of the song. Great one one here.
5. Charlemagne: You title a song "Charlemagne" and the literary police are gonna be in your underpants. Guaranteed. But it definitely does seem to be the tale of some sort of turn of the 18th century Louisiana French, aritocratic landowner. Wonder if it's based on a true story, or if Cale just had an inspiration after spending time in that region of the world or coming across a story from those times. If the story was a little easier to grasp, it could almost be a song by the Decemberists. In any event, this song is a lot less likely to be used during a post-Hurricane Katrina rebuilding documentary than is Willie Nelson's version of "City of New Orleans." I love the slow canter of the piano & bass. I, too, love the harmonies. Another great one!
6. Paris 1919: I'm starting to think Cale is a master-arranger. Again, great piano base to this song. Wonderful, tension building piccicato (sp?) string section. I love how the descent of the strings (particularly the cellos) becomes a counter-melody to the vocals, during the verses but particularly during the final set of "la la la las" during each delectable chorus(?). Again, I have no firm grasp of what Cale truly intends this song to be about, but I'd love to know if anyone has any theories. The image I have in my mind is some French Revolution thing. Some member (perhaps already dead) laughing, insane, as his dynasty burns and falls to ruins about him. Of course, Paris 1919 kind of ruins that line of thinking. Perhaps it's like Tommy and he's just trying to throw us off? William Rogers calls up no likely references in trusty Wiki. Question for ya: Bird during that departure, or spaceship?

Leonard Cohen: In terms of stature & acclaim, certainly the least troll-like of the assembled. I love your "Incredible, but I believe it to be true" statement. We should all use method of positioning our wild theories. Not a huge preface to my other comments-only to say that he is an artist about which I knew pretty much only Roberta Flack's version of "Hey, That's No Way to Say Goodbye" and his amazing reputation. That, and that the aforementioned Mark A. was a fan. This collection of makes me feel that he is a troubadour, in the truest sense of the word. But the not the kind of troubadour that dances around your party of adventurers while he plays his lute. More the kind that asks you if you'd mind sitting down for a bit to listen to him, as he "really needs to take a load off."
7. Sisters of Mercy: Beautiful, beautiful poem, if it were not lyrics. But is is. And thus, the makings for a beautiful song. The music is very pretty, recorded very intimately with all the lip-smacking and throat clacking of a Carl Kassell blow job.
8. Hey, That's No Way to Say Goodbye: Also intimate & beautiful in its simplicity. Too bad, I'm familiar with Flack's rendition. As such, it's tough for the original to compete. But a great one. Weird, I'm not having too much to say about these songs. I think they're great, but it's sort of like after listening to "Boots of Spanish Leather," all you can really do is sit back and appreciate it all. I will mention that I think those "bom! balalalala" girls' vocals are kind of funny when they come in. It works, but it's kind of like, "Whoa!" They're probably tripping on the same shit as Cohen.
9. The Guests: I've found it a little tougher to get my head around the music in this song-but I think I can appreciate it for the fluid, flowing group of strains that it is. Seems like it borrows from a number of different world styles, from flamenco to Zep-styled Middle Eastern, to Italian gondola. Worlds are pretty neat-I think your remark about "the fluidity of life" help it make some sense to me. Weird sounds in the background as though he took some people who didn't have a lot of experience on basses & guitars and just turned them loose.

Overall: Truly a tale of three Trolls for me . Holy cow, but I was harsh on Richman & loving up the other two (especially Cale). I really appreciate what you did here, and I am so, sooo interested in exploring Cale some more, but I'll look to you for guidance.

BS: Probably Paris 1919. Maybe Charlamagne.
SIWHI: n/a I know no others by these guys.