Showing posts with label folk music. Show all posts
Showing posts with label folk music. Show all posts

Thursday, November 11, 2010


MUSIC:
FAMOUS ANTI-WAR SONGS:

It's almost time to close out another Remembrance Day, but just to leave you with something a little less dry here's a couple of songs that give something other than a glorification of militarism. Yeah I know, just when you thought you were finally really and truly free of 'Molly's Poetry Corner'. Well I promise you no 'high culture' this time. No promises for the future.
♫♪♫♪♫♪♫♪♫♪♫♪

'AND THE BAND PLAYED WALTZING MATILDA'

It seems like this should be the granddaddy of them all, but this was actually written in 1971 by singer songwriter Eric Brogle. It tells a story of an old Australian veteran and his bitter thoughts at the commemoration of ANZAC Day, the Australian version of Remembrance Day and Veterans' Day. You can hear this song sung by Marjorie Roswell at this link.


AND THE BAND PLAYED
WALTZING MATILDA
When I was a young man I carried my pack
And I lived the free life of a rover
From the Murrays green basin to the dusty outback
I waltzed my Matilda all over
Then in nineteen fifteen my country said Son
It's time to stop rambling 'cause there's work to be done
So they gave me a tin hat and they gave me a gun
And they sent me away to the war
And the band played Waltzing Matilda
As we sailed away from the quay
And amidst all the tears and the shouts and the cheers
We sailed off to Gallipoli

How well I remember that terrible day
How the blood stained the sand and the water
And how in that hell that they called Suvla Bay
We were butchered like lambs at the slaughter
Johnny Turk he was ready, he primed himself well
He chased us with bullets, he rained us with shells
And in five minutes flat he'd blown us all to hell
Nearly blew us right back to Australia
But the band played Waltzing Matilda
As we stopped to bury our slain
We buried ours and the Turks buried theirs
Then we started all over again

Now those that were left, well we tried to survive
In a mad world of blood, death and fire
And for ten weary weeks I kept myself alive
But around me the corpses piled higher
Then a big Turkish shell knocked me arse over tit
And when I woke up in my hospital bed
And saw what it had done, I wished I was dead
Never knew there were worse things than dying
For no more I'll go waltzing Matilda
All around the green bush far and near
For to hump tent and pegs, a man needs two legs
No more waltzing Matilda for me

So they collected the cripples, the wounded, the maimed
And they shipped us back home to Australia
The armless, the legless, the blind, the insane
Those proud wounded heroes of Suvla
And as our ship pulled into Circular Quay
I looked at the place where my legs used to be
And thank Christ there was nobody waiting for me
To grieve and to mourn and to pity
And the band played Waltzing Matilda
As they carried us down the gangway
But nobody cheered, they just stood and stared
Then turned all their faces away

And now every April I sit on my porch
And I watch the parade pass before me
And I watch my old comrades, how proudly they march
Reliving old dreams of past glory
And the old men march slowly, all bent, stiff and sore
The forgotten heroes from a forgotten war
And the young people ask, "What are they marching for?"
And I ask myself the same question
And the band plays Waltzing Matilda
And the old men answer to the call
But year after year their numbers get fewer
Some day no one will march there at all

Waltzing Matilda, Waltzing Matilda
Who'll come a waltzing Matilda with me
And their ghosts may be heard as you pass the Billabong
Who'll come-a-waltzing Matilda with me?


♫♪♫♪♫♪♫♪♫♪♫♪
Here's another one, 'I Ain't Marching Anymore' by Phil Ochs. This was originally released in 1965 for the album of the same name during a period of time when America's war in Vietnam was building up. This song became Ochs' most famous piece. It takes the point of view of a soldier from all the wars in American history from 1812 on. You can see a video of Ochs performing this song at this link.
♫♪♫♪♫♪♫♪♫♪♫♪

Phil Ochs
I Ain't Marching Anymore


Oh I marched to the battle of new orleans
At the end of the early british war
The young land started growing
The young blood started flowing
But I ain't marchin' anymore

For I've killed my share of indians
In a thousand different fights
I was there at the little big horn
I heard many men lying
I saw many more dying
But I ain't marchin' anymore

It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the sabre and the gun
Tell me is it worth it all

For I stole california from the mexican land
Fought in the bloody civil war
Yes I even killed my brother
And so many others
And I ain't marchin' anymore

For I marched to the battles of the german trench
In a war that was bound to end all wars
Oh I must have killed a million men
And now they want me back again
But I ain't marchin' anymore

(chorus)

For I flew the final mission in the japanese sky
Set off the mighty mushroom roar
When I saw the cities burning
I knew that I was learning
That I ain't marchin' anymore

Now the labor leader's screamin' when they close the missile plants,
United fruit screams at the cuban shore,
Call it "peace" or call it "treason,"
Call it "love" or call it "reason,"
But I ain't marchin' any more.

♫♪♫♪♫♪♫♪♫♪♫♪
Finally we have Buffy Ste. Marie's 'Universal Soldier'. A little local patriotism here. Ste. Marie was born a mere 20 miles or so from where I grew up in the Quapelle Valley. this song debuted in 1964. it gathered little attention at first but took off when it was rerecorded by folk singer Donovan in 1965. You can see various videos of Ste. Marie performing this song at this link.
♫♪♫♪♫♪♫♪♫♪♫♪

Universal Soldier
Buffy Sainte-Marie
He's five feet two and he's six feet four
He fights with missiles and with spears
He's all of 31 and he's only 17
He's been a soldier for a thousand years

He's a Catholic, a Hindu, an atheist, a Jain,
a Buddhist and a Baptist and a Jew
and he knows he shouldn't kill
and he knows he always will
kill you for me my friend and me for you

And he's fighting for Canada,
he's fighting for France,
he's fighting for the USA,
and he's fighting for the Russians
and he's fighting for Japan,
and he thinks we'll put an end to war this way

And he's fighting for Democracy
and fighting for the Reds
He says it's for the peace of all
He's the one who must decide
who's to live and who's to die
and he never sees the writing on the walls

But without him how would Hitler have
condemned him at Dachau
Without him Caesar would have stood alone
He's the one who gives his body
as a weapon to a war
and without him all this killing can't go on

He's the universal soldier and he
really is to blame
His orders come from far away no more
They come from him, and you, and me
and brothers can't you see
this is not the way we put an end to war.

Sunday, June 13, 2010


ANARCHIST MUSIC:
JOEY ONLY ON WESTERN CANADA TOUR:



The ever irrepressible Joey Only Outlaw Band will be doing a summer western Canada tour to promote their new album 'Transgression Trails" Here's the info from Joey.

AMAMAMAMAMAMAM
Transgression Trail - JOEY ONLY western Canada Summer tour!!‏
---for immediate release
...May 31st 2010
---all tour dates posted
--------------------------------
VANCOUVER'S ROCKABILLY REBELS: JOEY ONLY OUTLAW BAND!!!

TRANSGRESSION TRAIL WESTERN CANADA SUMMER TOUR: 2010
.....tour starts June 17th through to August 28th.....

-------------------------------

!!!45 SHOWS IN TWO MONTHS!!!-Vancouver, Nelson, Winlaw, Sirdar, Lethbridge, Regina, Brandon, Winnipeg, Edmonton, Canmore, Calgary, Fernie, Twin Butte, Nanton, Black Diamond, Banff,Edson, Jasper, Mackenzie, Grande Prairie, Bruno, Saskatoon, Olds, Driftpile, Wells, Spences Bridge, Lytton, Under the Volcano, Neskonlith Reserve, Prince George, Fort St. James!!!

--------------------------------

AND MUCH MUCH MORE...AND MUCH MUCH MORE...AND MUCH MUCH MORE...

--------------------------------

...THE STORY...

Joey Only and his gang of rebel outlaws are hitting the road again this year to promote a brand new record, Transgression Trail. The album is already getting radio airplay and is by far the best thing Joey Only has accomplished. The album features 12 new originals all uniquely northern, this record is a testament to the thousands of miles he has logged playing shows. The album is available in stores across Canada through Scratch Records.



The Outlaw Band is at its peak, they are putting on a psychedelic show unlike any other folk-country band. The Outlaws are putting on relentless shows refusing to stop for set breaks, playing all night long until the venue is whipped up into an alcohol fueled frenzy. The Outlaws aim to outplay every country band in Canada.



The Outlaws will be on the mainstage of festivals such as Under the Volcano, Winlaw Music Fest, Music on the Mountain Fest, Morfree Mountain Music Fest, Artswells Festival and they look forward to meeting Buffy St.Marie at the Brandon Folk Fest. They are opening for Fred Eaglesmith a bunch of times and American recording artist Austin Lucas. They will be seen at Neskonlith Reserve prior to the PowWow and Kumsheen Rafting Adventures with opening act Gerry Hannah of the Subhumans.



The Outlaws are proving to everyone that they have what it takes to move up in the world, leaving naysayers in the dust. Hear the new album TRANSGRESSION TRAIL:(http://radio3.cbc.ca/bands/Joey-Only-Outlaw-Band )(www.myspace.com/xjoeyonlyx ) For publicity related info: joelle@modmaypromotions.com See how you can help the Outlaws info@joeyonly.com

DATES...TOUR DATES...TOUR DATES...TOUR DATES...TOUR DATES..
------------------------------
JUNE15:

VANCOUVER BC: LITTLE MOUNTAIN GALLERY - 195 East 26th Avenue,

8:30PM:

Wells Aid fundraiser for the Artswells Festival.There are 17 shows in 17 Canadian cities hoping to raise $17,000 for the Artswells Festival. Vancouver show features Outlaw Band, Creaking Planks and more. (http://www.artswells.com/ )

-JUNE17:

NELSON BC: THE ROYAL HOTEL:

9PM

-JUNE18: WINLAW BC:

SLEEP IS FOR SISSIES:

9PM

-JUNE19:

SIRDAR BC: SIRDAR PUB:

9PM

-JUNE20:

NELSON BC: THE ROYAL HOTEL:

12PM.

The Outlaws play an acoustic show for Sunday brunch patrons.

-JUNE21:

LETHBRIDGE AB: THE SLICE:

9PM

-JUNE23: REGINA SK: BUSKWAKKERS:

9PM

-JUNE24: BRANDON MB: LADY OF THE LAKE TRADING COMPANY.

6pm-9pm, early show for the dinner crowd.

-JUNE25: BRANDON MB: THE DOUBLEDEKKER:

9pm. With opening act,Cheering for the Bad Guy.

-JUNE26: WINNIPEG MB: THE RUDOLPH ROCKER CULTURAL CENTRE:

8pm.$10 suggested donation. With opening acts Fire This Time and Audio Rocketry, both from Edmonton.

-JUNE29: EDMONTON AB: THE HAVEN SOCIAL CLUB:

The Outlaws are opening for American recording artist Austin Lucas

-JUNE30: CANMORE AB: THE CANMORE HOTEL:

10PM.

No door charge.

-JULY1: EDMONTON AB: HOOLIGANZ:

9PM.

With Whiskey Wagon and The Give Em Hell Boys.

-JULY3: EDMONTON AB: THE BLACKDOG:

3PM.

Saturday afternoon matinee.

-JULY7: CALGARY AB: VERNS TAVERN:

9pm.

With the Epitomees from Vancouver BC.

-JULY8: FERNIE BC: BULLDOGS PUB NORTH:

9pm.

-JULY9: TWIN BUTTE AB: TWIN BUTTE GENERAL STORE.

9pm.

-JULY10: NANTON AB: NANTON AUDITORIUM HOTEL.

9pm. No cover charge.

-JULY11: BLACK DIAMOND AB: THE STOP:

2PM afternoon matinee.

-JULY11: CALGARY AB: THE PALOMINO:

7pm.

The FRED EAGLESMITH show, featuring Joey Only Outlaw Band.

-JULY12:

CALGARY AB: THE PALOMINO:

9PM.

Official Alberta CD release of TRANSGRESSION TRAIL.

-JULY13-14: BANFF AB: THE ROSE AND CROWN:

10PM.

Two nights of the Joey Only Outlaw Band! No cover charge.

-JULY15: EDSON AB: MOJO'A JAVA:

8pm

-JULY16: JASPER AB: THE LEGION:

9PM

-JULY17: MACKENZIE BC: 4th ANNUAL MORE FREE MOUNTAIN MUSIC FESTIVAL. (http://www.morfreemountainmusicfest.ca/ ).

July 16-18. -JULY18: GRANDE PRAIRIE AB:

BETTER THAN FRED'S:

8PM

-JULY20: BRUNO SK: ALL CITIZENS CAFE: With Ghosts of the Highway

-JULY21: REGINA SK: BUSHWAKKERS PUB:

9pm,

with Ghosts of the Highway.

-JULY22: SASKATOON SK: LYDIA'S:

9pm.

-JULY23: BRANDON MB: BRANDON FOLK FEST.

Four day festival featuring some great acts such as BUFFY ST. MARIE!

-JULY28: CALGARY AB: VERN'S TAVERN:

9pm.

With special guests, Brooke Wylie and the Coyotes.

-JULY29: OLDS AB: TRACKS PUB: Opening for FRED EAGLESMITH

-JULY30: DRIFTPILE AB: NORTH COUNTRY STOMP. It's a new minifestival that's happening because of the huge success that is North Country Fair!

-JULY31: WELLS BC: ARTSWELLS FESTIVAL OF ALL THINGS ART:

Joey Only and Melissa DeVost host the 1st Annual Tempest Memorial at the Artswells Festival. Finally we can all come together as one and say good-bye to our friend who was murdered last November.

-AUGUST2: WELLS BC: ARTSWELLS FESTIVAL OF ALL THINGS ART:(http://www.artswells.ca/ ). Joey Only Outlaw Band is going to close the festival for the 3rd time in 5 years.

-AUGUST6: SPENCES BRIDGE BC: THE PACKING HOUSE: with special guest Gerry Hannah of the Subhumans doing an acoustic set.

-AUGUST7: LYTTON BC: KUMSHEEN RAFTING ADVENTURE RESORT:

The Outlaw and Gerry Hannah entertain all the White Water Rafters.

-AUGUST8: NORTH VANCOUVER BC: 20th Annual UNDER THE VOLCANO FESTIVAL: Gates Park. The Outlaws will be playing the mainstage in the late afternoon.

-AUGUST19: NESKONLITH RESERVE/CHASE BC: NESKONLITH COMMUNITY HALL: The Outlaws are putting on a community dance with the help of Secwepmc Radio to kick off the big PowWow weekend.

-AUGUST20: NELSON BC: THE ROYAL HOTEL:

9pm

-AUGUST21: WINLAW BC: 2nd ANNUAL WINLAW MUSIC FESTIVAL:

The Outlaws will be headlining the festival again this year which will be held in the field behind SLEEP IS FOR SISSIES.

-AUGUST27: PRINCE GEORGE BC: THIRD:

9PM

-AUGUST28: FORT ST.JAMES BC: MUSIC ON THE MOUNTAIN FESTIVAL:

Murray Ridge Ski Area Lodge. Outlaws play Friday night right after FRED EAGLESMITH. Tickets for the entire weekend are $80, kids under 12 get in free. Show features Mamaguroove, Aurora Jane, Fish and Bird, Raghu Lokanathan, Scott Dunbar and more.(http://www.momfestival.weebly.com/ )

-SEPTEMBER11: VANCOUVER BC: PRINCETON PUB:

9PM.

The Outlaws return to Vancouver and play all night long.

-------------------------

NEW ALBUM: TRANSGRESSION TRAIL available in stores across Canada through Scratch Records. (http://radio3.cbc.ca/bands/Joey-Only-Outlaw-Band )(www.myspace.com/xjoeyonlyx )(www.reverbnation.com/xjoeyonlyx )(http://www.imradio.com/xjoeyonlyx )(twitter.com/joeyonly)

♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪
And here's further info on Joey's appearance here in Winnipeg.
♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪
Joey Only Outlaw Band & Audio Rocketry
Date: Saturday, June 26, 2010
Time: 8:00pm - 10:30pm
Location: Mondragon Bookstore & Coffeehouse
Street: 91 Albert
Winnipeg, MB


Description.
The Joey Only Outlaw Band is storming into town Saturday June 26th! Come out and stomp your feet to some awesome radically themed folk music.

http://www.joeyonly.com/

also Edmonton's Audio Rocketry, don't miss this band they rule! (in a non-hierarchical manner)

http://www.myspace.com/audiorocketrymusic

Monday, June 02, 2008


PEOPLE:
UTAH PHILLIPS- ANOTHER TRIBUTE:
Today was the day that Utah Phillips' friends and family held their memorial down Nevada City, California, way. It seems like an appropriate time for yet another tribute to the man and the artist. So here it is, republished from the website of the IWW that Phillips gave so much of time efforts to. The writer is David Rovics, another anarchist troubador and wobbly (see our Links section under 'Anarchist Music').
..............................

Some Thoughts on Utah Phillips
By David Rovics - May 25th, 2008
I wouldn't want to elevate anybody to inappropriately high heights, but for me, Utah Phillips was a legend.
I first became familiar with the Utah Phillips phenomenon in the late 80's, when I was in my early twenties, working part-time as a prep cook at Morningtown in Seattle. I had recently read Howard Zinn's A People's History of the United States, and had been particularly enthralled by the early 20th Century section, the stories of the Industrial Workers of the World. So it was with great interest that I first discovered a greasy cassette there in the kitchen by the stereo, 'Utah Phillips Sings the Songs and Tells the Stories of the Industrial Workers of the World'.
As a young radical, I had heard lots about the 1960's. There were (and are) plenty of veterans of the struggles of the 60's alive and well today. But the wildly tumultuous era of the first two decades of the 20th century is now (and pretty well was then) a thing entirely of history, with no one living anymore to tell the stories. And while long after the 60's there will be millions of hours of audio and video recorded for posterity, of the massive turn-of-the-century movement of the industrial working class there will be virtually none of that.
To hear Utah tell the stories of the strikes and the free speech fights, recounting hilariously the day-to-day tribulations of life in the hobo jungles and logging camps, singing about the humanity of historical figures such as Big Bill Haywood, Joe Hill or Elizabeth Gurley Flynn, was to bring alive an era that at that point only seemed to exist on paper, not in the reality of the senses. But Utah didn't feel like someone who was just telling stories from a bygone era -- it was more like he was a bridge to that era.
Hearing these songs and stories brought to life by him, I became infected by the idea that if people just knew this history in all it's beauty and grandeur, they would find the same hope for humanity and for the possibility for radical social change that I had just found through Utah.
Thus, I became a Wobbly singer, too. I began to stand on a street corner on University Way with a sign beside me that read, "Songs of the Seattle General Strike of 1919." I mostly sang songs I learned from listening to Utah's cassette, plus some other IWW songs I found in various obscure collections of folk music that I came across.
It was a couple years later that I first really discovered Utah Phillips, the songwriter. I had by this time immersed myself with great enthusiasm in the work of many contemporary performers in what gets called the folk music scene, and had developed a keen appreciation for the varied and brilliant songwriting of Jim Page and others. Then, in 1991, I came across Utah's new cassette, I've Got To Know, and soon thereafter heard a copy of a much earlier recording, Good Though.
Whether he's recounting stories from his own experiences or those of others doesn't matter. There is no need to know, for in the many hours Utah spent in his troubled youth talking with old, long-dead veterans of the rails and the IWW campaigns, a bridge from now to then was formed in this person, in his pen and in his deep, resonant voice. In Good Though I heard the distant past breathing and full of life in Utah's own compositions, just as they breathed in his renditions of older songs.
In I've Got To Know I heard an eloquent and current voice of opposition to the American Empire and the bombing of Iraq, rolled together seamlessly with the voices of deserters, draft dodgers and tax resisters of the previous century.
In reference to the power of lying propaganda, a friend of mine used to say it takes ten minutes of truth to counteract 24 hours of lies. But upon first hearing Utah's song, "Yellow Ribbon," it seemed to me that perhaps that ratio didn't give the power of truth enough credit. It seemed to me that if the modern soldiers of the empire would have a chance to hear Utah's monologues there about his anguish after his time in the Army in Korea, or the breathtakingly simple depiction of life under the junta in El Salvador in his song "Rice and Beans," they would just have to quit the military.
Utah made it clear in word and in deed that steeping yourself in the tradition was required of any good practitioner of the craft, and I did my best to follow in his footsteps and do just that. I learned lots of Utah's songs as well as the old songs he was playing. Making a living busking in the Boston subways for years, I ran into other folks who were doing just that, as well as writing great songs, such as Nathan Phillips (no relation). Nathan was from West Virginia, and did haunting versions of "The Green Rolling Hills of West Virginia," "Larimer Street," "All Used Up," and other songs. In different T stops at the same time, Nathan and I could often be found both singing the songs of Utah Phillips for the passersby.
Traveling around the US in the 1990's and since then, it seemed that Utah's music had, on a musical level, had the same kind of impact that Zinn's People's History or somewhat earlier works such as Jeremy Brecher's book, Strike!, had had in written form -- bringing alive vital history that had been all but forgotten. With Ani DiFranco's collaboration with Utah, this became doubly true, seemingly overnight, and this man who had had a loyal cult following before suddenly had, if not what might be called popularity, at least a loyal cult following that was now twice as big as it had been in the pre-Ani era.
I had had the pleasure of hearing Utah live in concert only once in the early 90's, doing a show with another great songwriter, Charlie King, in the Boston area. I was looking forward to hearing him play again around there in 1995, but what was to be a Utah Phillips concert turned into a benefit for Utah's medical expenses, when he had to suddenly drastically cut down on his touring, due to heart problems. I think there were about twenty different performers doing renditions of Utah Phillips' songs at Club Passim that night. I did "Yellow Ribbon."
Traveling in the same circles and putting out CDs on the same record label, it was fairly inevitable that we'd meet eventually. The first time was several years ago, if memory serves me, behind the stage at the annual protest against the School of the Americas in Columbus, Georgia. I think I successfully avoided seeming too painfully star-struck. Utah was complaining to me earnestly about how he didn't know what to do at these protests, didn't feel like he had good protest material. I think he did just fine, though I can't recall what he did.
Utah lived in Nevada City, and the last time I was there he came to the community radio station while I was appearing on a show. This was soon after Katrina, and I remember singing my song, "New Orleans," and Utah saying embarrassingly nice things. I was on a little tour with Norman Solomon speaking and me singing, and we had done an event the night before in town, which Utah was too tired to attend, if I recall.
Me, Utah, Norman, and my companion, Reiko, went over to a breakfast place after the radio show, talked and ate breakfast. Utah did most of the talking, and I was pleasantly surprised to find that his use of mysterious hobo colloquialisms and frequent references to obscure historical characters in twentieth-century American anarchist history was something he did off stage as well as on.
I've passed near enough to that part of California many times since then. Called once when I was nearby and he was out of town, doing a show in Boston. Otherwise I just thought about calling and dropping by, but didn't take the time. Life was happening, and taking a day or two off in Nevada City was always something that I never quite seemed to find the time for. Always figured next time I'll have more time, I'll call him then. It had been thirteen years since he found out about his heart problems, and he hadn't kicked the bucket yet... Of course, now I wish I had taken the time when I had the chance, and I'm sure there are many other people who feel the same way.
In any case, for those of us who knew his music, whether from recordings or concerts, for those of us who knew Utah from his stories on or off the stage, whether we knew him as that human bridge to the radical labor movement of yesterday, or as the voice of the modern-day hobos, or as that funky old guy that Ani did a couple of CDs with, Utah Phillips will be remembered and treasured by many.
He was undeniably a sort of musical-political-historical institution in his own day. He said he was a rumor in his own time. No question, one man's rumor is another man's legend, but who cares, it's just words anyway.
Related Links
Utah Phillips

Tuesday, May 27, 2008


PEOPLE:
UTAH PHILLIPS- ANOTHER TRIBUTE:
Since the recent death of Utah (Bruce) Phillips the memories and tributes have continued to pour in. Molly's only personal memory of Phillips is when she tortured him for over three hours for an interview for an anarchist magazine she used to write for. To say the least he was getting twitchy at the end of the interview. A great and immensely polite individual if I have ever met one. Anyways, here's another of the many tributes, this time from The Bureau of Public Secrets.
..........................

Farewell to Utah Phillips‏
From:
Bureau of Public Secrets (
knabb@bopsecrets.org)

Folksinger and storyteller Utah Phillips, a "national treasure" if there ever was one, died last Friday, May 23.
His performances featured the songs, jokes and lore of hobos, tramps,cowboys, migrant workers and Wobblies. Although he made a number of fine recordings, he was most truly in his element in live performances, where he knew how to draw the audience into a song or story and would leave us cracking up with laughter at some outrageous punch line that would unexpectedly pop up in the middle of his apparently rambling reminiscences. You can get a little taste of this experience from this video of one of his last performances, posted on line in eight parts (totaling about an hour) --
Here is his famous "Moose Turd Pie" story --
A few more video clips can be found here, along with various other performers doing some of his songs --
For more recordings and links, see http://www.utahphillips.org/
The obituary below is drawn from that site.
* * *
"Folksinger, Storyteller, Railroad Tramp Utah Phillips Dead at 73 "Nevada City, California:
Utah Phillips, a seminal figure in American folk music who performed extensively and tirelessly for audiences on two continents for 38 years,died Friday of congestive heart failure in Nevada City, California, a small town in the Sierra Nevada mountains where he lived for the last 21 years with his wife, Joanna Robinson, a freelance editor.
Born Bruce Duncan Phillips on May 15, 1935 in Cleveland, Ohio, he was the son of labor organizers. Whether through this early influence or an early life that was not always tranquil or easy, by his twenties Phillips demonstrated a lifelong concern with the living conditions of working people. He was a proud member of the Industrial Workers of the World, popularly known as "the Wobblies," an organizational artifact (???-No more an "artifact-Molly)of early twentieth-century labor struggles that has seen renewed interest and growth in membership in the last decade, not in small part due to his efforts to popularize it.
Phillips served as an Army private during the Korean War, an experience he would later refer to as the turning point of his life. Deeply affected by the devastation and human misery he had witnessed, upon his return to the United States he began drifting, riding freight trains around the country. His struggle would be familiar today, when the difficulties of returning combat veterans are more widely understood, but in the late fifties Phillips was left to work them out for himself. Destitute and drinking, Phillips got off a freight train in Salt Lake City and wound up at the Joe Hill House, a homeless shelter operated by the anarchist Ammon Hennacy, a member of the Catholic Worker movement and associate of Dorothy Day.
Phillips credited Hennacy and other social reformers he referred to as his"elders" with having provided a philosophical framework around which he later constructed songs and stories he intended as a template his audiences could employ to understand their own political and working lives. They were often hilarious, sometimes sad, but never shallow.
"He made me understand that music must be more than cotton candy for the ears," said John McCutcheon, a nationally-known folk singer and close friend.In the creation of his performing persona and work, Phillips drew from influences as diverse as Borscht Belt comedian Myron Cohen, folksingers Woody Guthrie and Pete Seeger, and Country stars Hank Williams and T. TexasTyler.
A stint as an archivist for the State of Utah in the 1960s taught Phillips the discipline of historical research; beneath the simplest and most folksy of his songs was a rigorous attention to detail and a strong and carefully-crafted narrative structure. He was a voracious reader in a surprising variety of fields.
Meanwhile, Phillips was working at Hennacy's Joe Hill house. In 1968 he ran for a seat in the U.S. Senate on the Peace and Freedom Party ticket. The race was won by a Republican candidate, and Phillips was seen by some Democrats as having split the vote. He subsequently lost his job with the State of Utah, a process he described as "blacklisting."
Phillips left Utah for Saratoga Springs, New York, where he was welcomed into a lively community of folk performers centered at the Caffé Lena, operated by Lena Spencer.
"It was the coffeehouse, the place to perform. Everybody went there. She fed everybody," said John "Che" Greenwood, a fellow performer and friend. Over the span of the nearly four decades that followed, Phillips worked in what he referred to as "the Trade," developing an audience of hundreds of thousands and performing in large and small cities throughout the United States, Canada, and Europe. His performing partners included Rosalie Sorrels, Kate Wolf, John McCutcheon and Ani DiFranco.
"He was like an alchemist," said Sorrels, "He took the stories of working people and railroad bums and he built them into work that was influenced by writers like Thomas Wolfe, but then he gave it back, he put it in language so the people whom the songs and stories were about still had them, still owned them. He didn't believe in stealing culture from the people it was about.
" A single from Phillips's first record, "Moose Turd Pie," a rollicking story about working on a railroad track gang, saw extensive airplay in 1973. From then on, Phillips had work on the road. His extensive writing and recording career included two albums with Ani DiFranco which earned a Grammy nomination. Phillips's songs were performed and recorded by Emmylou Harris ,Waylon Jennings, Joan Baez, Tom Waits, Joe Ely and others. He was awarded a Lifetime Achievement Award by the Folk Alliance in 1997.
Phillips, something of a perfectionist, claimed that he never lost his stage fright before performances. He didn't want to lose it, he said; it kept him improving.
Phillips began suffering from the effects of chronic heart disease in 2004,and as his illness kept him off the road at times, he started a nationally syndicated folk-music radio show, "Loafer's Glory," produced at KVMR-FM,and started a homeless shelter in his rural home county, where down-on-their-luck men and women were sleeping under the manzanita brush at the edge of town. Hospitality House opened in 2005 and continues to house 25t o 30 guests a night. In this way, Phillips returned to the work of his mentor Hennacy in the last four years of his life.
Phillips died at home, in bed, in his sleep, next to his wife. He is survived by his son Duncan and daughter-in-law Bobette of Salt Lake City; son Brendan of Olympia, Washington; daughter Morrigan Belle of Washington,D.C.; stepson Nicholas Tomb of Monterrey, California; stepson and daughter-in-law Ian Durfee and Mary Creasey of Davis, California; brothers David Phillips of Fairfield, California, Ed Phillips of Cleveland, Ohio and Stuart Cohen of Los Angeles; sister Deborah Cohen of Lisbon, Portugal; and a grandchild, Brendan. He was preceded in death by his father Edwin Phillips and mother Kathleen, and his stepfather, Syd Cohen.
The family requests memorial donations to Hospitality House, P.O. Box 3223, Grass Valley, California 95945
(530) 271-7144
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BUREAU OF PUBLIC SECRETS
P.O. Box 1044,
Berkeley CA 94701, USA
"Making petrified conditions dance by singing them their own tune."