Showing posts with label Hazard Kentucky. Show all posts
Showing posts with label Hazard Kentucky. Show all posts

Wednesday, February 8, 2012

***The Hills And Hollows Of “Home”- “The Hills Of Home: 25 Years Of Folk Music On Rounder Records”- A CD Review

Click on the headline to link to a YouTube film clip of Hazel Dickens performing her classic hills and hollows mountain classic, The Hills Of Home.

The Hills Of Home: 25 Years Of Folk Music On Rounder Records, two CD set, various artists, Rounder Records, 1995

Rumor, family rumor anyway, has it that I was in the womb when my parents went back down south to my father’s birthplace in Kentucky, Hazard, Kentucky to be exact, a place storied in song and hard class struggle. I “rebelled” against listening to that old-time nasal drear mountain music that my father used to play back in childhood days, much preferring first be-bop, doo wop, Elvis, Jerry Lee and Chuck rock, then the blues, urban and country, and then urban-based folk music. A few years back, maybe more now, I heard some old-time sounds on the radio coming from Hazel Dickens, probably Working Girl Blues or the title cut from this CD, The Hills Of Home. And, strangely, I was “home.” Home down in the wind-swept ragged old hollows (yes, I know the correct word is hollas but what can you do), the coal-dusted hills, and the tar paper shacks that my forbears called their place in the sun.

So naturally, as is my wont when I am on to something seriously, I had to run out and buy some mountain music. And having been familiar, very familiar, with the efforts of the people at local Rounder Records to do in modern times what Charles Seeger and John and Alan Lomax did in their times-preserve the basic American songbook- I picked up this 25th anniversary compilation. Partially because it had The Hill of Home on it but also to give a good cross-section of what this “down home” music looked like to a novice, eager or not. And that is good place to end. Except to note several very good stick outs in this two CD set.

They include: Norman Blake’s Church Street Blues; Rory Block’s Joliet Bound; Mississippi John Hurts’ Worried Blues; Etta Baker’s One Dime Blues; the above-mentioned The Hill of Home by Hazel Dickens; Woodstock Mountain Revue’s Killing The Blues; and Laurie Lewis’ Who Will Watch The Home Place. Okay.

Sunday, October 9, 2011

***Labor’s Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-"Our Mother, The Mountain- The Music Of Jean Ritchie"

Our Mother, The Mountain- The Traditional Mountain Music Of Jean Ritchie

CD REVIEW

Mountain Hearth And Home, Jean Ritchie, Rhino Handmade, 2004

The last time that the name of traditional mountain folk singer Jean Ritchie was mentioned in this space was as part of the lineup in Rosalie Sorrel’s last concert at Harvard University that spawned a CD, The Last Go-Round. At that concert she, as usual, she performed, accompanied by her sweet dulcimer, the mountain music particularly the music that she learned in the mountains of Eastern Kentucky and that she has been associated with going back at least to the early 1960’s. Here, in the CD under review, Mountain Hearth and Home, we get a wide range of those traditional mountain songs from those parts that provide something for every palate.

The songs, simple songs of the mountains that befit a simple folk with simple lyrics, chords and instrumentation representing what was at hand, many of which have their genesis back in the hills of Scotland and Ireland, never fail to evoke a primordial response in this listener. The songs speak of the longings created by those isolated spaces; and, occasionally of those almost eternal thoughts of love, love thwarted, love gone wrong or love disappearing without a trace. Or songs of the hard life of the mountains whether it is the hard scrabble to make a life from the rocky farmland that will not give forth without great struggle or of the mines, the coal mines that in an earlier time (and that are making a comeback now out west) represented a key energy source for a growing industrial society. Many a tale here centers on the trails and tribulations of the weary, worked-out mines and miners. Add in some country lullabies, some religiously-oriented songs representing the fundamental Protestant ethic that drove these people and some Saturday dancing and drinking songs and you have a pretty good feel for the range of experience out there in the hills, hollows and ravines of Eastern Kentucky.

Several time over the past year or so I have mentioned, as part of my remembrances of my youth and of my political and familial background, that my father was a coal miner and the son of a coal miner in the hills of Hazard, Kentucky (a town mentioned in a couple of the songs here) in the heart of Appalachia. I have also mentioned that he was a child of the Great Depression and of World War II. He often joked that in a choice between digging the coal and taking his chances in war he much preferred the latter. Thus, it was no accident that when war came he volunteered for the Marines and, as fate would have it, despite a hard, hard life after the war, he never looked back to the mines or the hills. Still this music flowed in his veins, and, I guess, flows in mine.

My Boy Willie

Traditional

Notes: This song has the exact same tunes as the song "The Butcher Boy" and is of a similar theme.

It was early, early in the spring
my boy Willie went to serve the king
And all that vexed him and grieved his mind
was the leaving of his dear girl behind.

Oh father dear build me a boat
that on the ocean I might float
And hail the ships as they pass by
for to inquire of my sailor boy.

She had not sailed long in the deep
when a fine ship's crew she chanced to meet
And of the captain she inquired to
"Does my boy Willie sail on board with you?"

"What sort of a lad is your Willie fair?
What sort of clothes does your Willie wear?"
"He wears a coat of royal blue,
and you'll surely know him for his heart is true".

"If that's your Willie he is not here.
Your Willie's drowned as you did fear.
'Twas at yonder green island as we passed by,
it was there we lost a fine sailor boy".

Go dig my grave long wide and deep,
put a marble stone at my head and feet.
And in the middle, a turtle dove.
So the whole world knows that I died of love.

"The L & N Don't Stop Here Anymore"

When I was a curly headed baby
My daddy sat me down on his knee
He said, "son, go to school and get your letters,
Don't you be a dusty coal miner, boy, like me."

[Chorus:]
I was born and raised at the mouth of hazard hollow
The coal cars rolled and rumbled past my door
But now they stand in a rusty row all empty
Because the l & n don't stop here anymore

I used to think my daddy was a black man
With script enough to buy the company store
But now he goes to town with empty pockets
And his face is white as a February snow

[Chorus]

I never thought I'd learn to love the coal dust
I never thought I'd pray to hear that whistle roar
Oh, god, I wish the grass would turn to money
And those green backs would fill my pockets once more

[Chorus]

Last night I dreamed I went down to the office
To get my pay like a had done before
But them ol' kudzu vines were coverin' the door
And there were leaves and grass growin' right up through the floor

[Chorus]


Come All Ye Fair And Tender Ladies

Come all ye fair and tender ladies
Take warning how you court your men
They're like a star on a summer morning
They first appear and then they're gone

They'll tell to you some loving story
And they'll make you think that they love you well
And away they'll go and court some other
And leave you there in grief to dwell

I wish I was on some tall mountain
Where the ivy rocks were black as ink
I'd write a letter to my false true lover
Whose cheeks are like the morning pink

I wish I was a little sparrow
And I had wings to fly so high
I'd fly to the arms of my false true lover
And when he'd ask, I would deny

Oh love is handsome, love is charming
And love is pretty while it's new
But love grows cold as love grows older
And fades away like morning dew

"BLACK IS THE COLOUR"

Black is the colour of my true love's hair
Her lips are like some roses fair
She's the sweetest face and the gentlest hands
I love the ground wheron she stands

I love my love and well she knows
I love the ground whereon she goes
But some times I whish the day will come
That she and I will be as one

Black is the colour of my true love's hair
Her lips are like some roses fair
She's the sweetest face and the gentlest hands
I love the ground wheron she stands

I walk to the Clyde for to mourn and weep
But satisfied I never can sleep
I'll write her a letter, just a few short lines
And suffer death ten thousand times

Black is the colour of my true love's hair
Her lips are like some roses fair
She's the sweetest face and the gentlest hands
I love the ground wheron she stands

Blue Diamond Mines

I remember the ways in the bygone days
when we was all in our prime
When us and John L. we give the old man hell
down in the Blue Diamond Mine

Well the whistle would blow 'for the rooster crow
full two hours before daylight
When a man done his best and earned his good rest
at seven dollars a night

In the mines in the mines
in the Blue Diamond Mines
I worked my life away
In the mines in the mines
In the Blue Diamond Mines
I fall on my knees and pray.

You old black gold you've taken my lung
your dust has darkened my home
And now I am old and you've turned your back
where else can an old miner go


Well it's Algomer Block and Big Leather Woods
now its Blue Diamond too
The bits are all closed get another job
what else can an old miner do?


Now the union is dead and they shake their heads
well mining has had it's day
But they're stripping off my mountain top
and they pay me eight dollars a day


Now you might get a little poke of welfare meal
get a little poke of welfare flour
But I tell you right now your won't qualify
'till you work for a quarter an hour.

Wednesday, October 5, 2011

***Labor's Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-At One Remove

Click on title to link to a YouTube film clip of Iris Dement performing Pretty Saro in the film Songcatcher. This song is presented just an example of her singing style as I could not find a film clip of her doing These Hills which, as will be explained below, was the song I was thinking of as background for what I am writing about in today's commentary. (I have placed the lyrics to These Hills below but the written words hardly do justice to her performance and mood of the song.)

As I end, for this year, the over month long series entitled Labor's Untold Story in celebration of our common labor struggles I am in something of a reflective and pensive mood. Well you know that every once in a while that happens even to the most hardened politico, right? I have heard that even President Obama had such a moment about four years ago although it literally was just one moment, sixty-six seconds according to one inside source, an anonymous source because he, or she, is not authorized to give such classified information in the interest of national security, the bourgeoisie’s national security to be exact. Rumor also has it that leading Republican presidential contender, former Massachusetts governor, Mitt Romney, thought about having a pensive moment for a moment and then changed his mind when some Tea Party-ers declared that pensive moments were against god’s will. I, on the other hand, as an intrepid communist propagandist can freely admit to such moments in politics, and as here reflecting on my roots.

What has gotten me into this reflective state is thinking about my father's background of coming from the hard-scrabble hills of Kentucky. That, my friends, means coal country, or it did in his time. The names Hazard, near Harlan County (the next county over to be exact) but, more appropriately "bloody Harlan" have, I hope, echoed across this series as a symbol for the hard life of many generations of workers and hard-scrabble tenant farmers who came out of those hills-some place. Some place in Appalachia, that is.

I have mentioned my father and his trials and tribulations, previously, when I did a series on the evolution of my youthful political trajectory from liberalism to communism. His hard-bitten, no breaks, no luck life was not a direct influence on that evolution, that is for sure. He was a strong anti-communist, if only of the reflexive kind coming out of that so-called “greatest generation” who survived the Great Depression of the 1930s and then, rifle over one shoulder, fought World War II. But something in the genes and in his character left an imprint. Let me sum up his life's experience this way- the tidbit that he imparted to me early on in life I will always remember and is probably why I am still struggling for our communist future to this day.

My father was certainly no stranger to hard times as a youth thrown into the coal mines early (or, as it turned out, in his work travails as an adult). My father, perhaps like yours, was a child of the Great Depression of the 1930's, scratching and clawing his way from pillar to post and entered into his manhood as a Marine in combat in World War II. Hard combat in the Pacific, and as anyone who has studied the period will know, where no quarter was given, or taken. Those two facts are important. Why? As a very young kid I asked him why he became a soldier, excuse me, a Marine. Well, the short answer was this- between the two alternatives, starve or fight, he was glad, no more than glad he was ecstatic, to quickly sign up at the Marine recruiting station in order to get out of the hills of Kentucky. And he, moreover, whatever happened later, never looked back.

That, my friends, is why I entitled part of the headline to today's entry- "at one remove". Those hills are in my blood, no question, no question now as much as I might have resisted such feelings before, but also the notion that those terrible choices had to be made by an honest working-class stiff. And that is why today I am in this mood thinking about how desperately we need to get down that socialist road. Pronto. And why I hear Iris Dement's voice singing of her own longings in These Hills, my father’s hills, as I write this, down deep in my own being.
*****
I have put together and reposted separately all the related entries around this many generational struggle to get away from the "coal"

"These Hills"-Iris Dement

Far away I've traveled,
To stand once more alone.
And hear my memories echo,
Through these hills that I call home.

As a child I roamed this valley.
I watched the seasons come and go.
I spent many hours dreaming,
On these hills that I call home.

The wind is rushing through the valley,
And I don't feel so all alone,
When I see the dandelions blowing,
Across the hills that I call home.

Instrumental Break.

Like the flowers I am fading,
Into my setting sun.
Brother and sister passed before me:
Mama and Daddy, they've long since gone.

The wind is rushing through the valley,
And I don't feel so all alone,
When I see the dandelions blowing,
Across the hills that I call home.

These are the hills that I call home.

Tuesday, October 4, 2011

***Labor’s Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-"Our Lady Of The Mountains-The Music Of Hazel Dickens"

Click on the headline to link to a YouTube film clip of Hazel Dickens performing the evocative, haunting Hills Of Home.

CD Review

It’s Hard To Tell The Singer From The Song, Hazel Dickens and other artists, Rounder Records, 1987


A few years ago I spent some time "running the table" on the mountain music genre. From the pioneer work of the venerable Carter Family, who leader A. P. Carter scoured the hills and patches of Appalachia, black tenet farmer, and hard-bitten coal miner, searching for material once RCA gave his trio their big break in 1927, or so through to Ralph Stanley, Doc Watson and other legendary figures and on to the “revival” brought forth in the early part of this decade by such movies as Brother, Where Art Thou? and Songcatcher I have paid more than passing tribute to this quintessential American musical form, complete with fiddle, mandolin and lonely Saturday nights gathering in the folk in some hardly built, or half- abandoned barn out in the hills and hollows of Appalachia and other rural environs. And, moreover, in the process ‘discovered’ that yankee boy I that I am, my roots are firmly steeped through my father down in the wind-swept hills and hollows. That said I have, thus, pretty much exhausted the milieu, right? Wrong. No homage to the modern mountain music scene can be complete without paying tribute to the work of singer/songwriter Hazel Dickens (and, at times, musical companion Alice Gerrard, among others).

There was time when, if one was given a choice, the name Hazel Dickens would be the first to come up when naming the most well known voice of the modern mountain music tradition. Her voice spoke of the hardships of the rural life and of ticky-tack, no window, hell, no door tar-paper cabins; the trials and tribulations of trying to eke out an existence on some hard- scrabble rocky farmland probably played out generations ago in the first treks west; or, more likely, sweated, underpaid labor in the coals mines or textiles factories that dominated that landscape for much of the second half of the 20th century. Hers was the pure, almost primordial voice that spoke of the sorrows of hill life, but also the joys of coming to terms with a very personal (and, apparently) angry god by way of singing away those working women blues, and you can add in a few tunes for those hard-bitten farmers and coals miners as well.

So, needless to say, this little Rounder CD from 1987 is filled with original work and covers on just those subjects mentioned above. From a cover of Bob Dylan's Only A Hobo to the classic haunting Hills Of Home that evokes, passionately, the roots in those hard life hills and on to the necessary religious- themed Will Jesus Wash The Bloodstains From Your Hands that has formed the underpinning for the mountain ethos for eons this is what mountain music is like when it is done right. Listen and see if you agree.
******
Hazel Dickens - A Few Old Memories lyrics

Lyrics to A Few Old Memories :

Just a few old memories
Slipped in through my door
Though I thought I had closed it
So tightly before
I can't understand it
Why it should bother my mind
For it all belongs to another place and time

Just a few old keep-sakes
Way back on the shelf
No, they don't mean nothin'
Well I'm surprised they're still left
Just a few old love letters
With the edges all brown
And an old faded picture
I keep turned upside-down

Just a few old memories
Going way back in time
Well I can hardly remember
I don't know why I'm cryin'
I can't understand it
Well I'm surprised myself
First thing tomorrow morning
I'll clean off that shelf

Just a few old keep-sakes
Way back on the shelf
No, they don't mean nothin'
Well I'm surprised that they're left
Just a few old love letters
With their edges all brown
And an old faded picture
I keep turned upside-down

Hazel Dickens, West Virginia My Home Tabs/Chords
Hazel Dickens is one of my favorite singers, and one of my favorite people. I
have had the pleasure of meeting and singing with her several times at
Augusta, and she is as genuine a person as you're likely to encounter. Her
testimonial to her home state is my all-time favorite song, one that I sing
every day. I learned it from her album entitled "Hard-Hitting Songs for Hard-
Hit People," and I am constantly amazed that a lifelong Illinoisan like myself
can identify so strongly with the bittersweet reverence with which she packs
this powerful ballad. Just as the Everly Brothers, Louvin Brothers, and Blue
Sky Boys did with "Kentucky," Hazel evokes a universal sentiment with this
geographically specific song.

John (a.k.a. "West Virginia Slim")
Chicago

WEST VIRGINIA MY HOME by Hazel Dickens

Chorus:
D G
West Virginia, oh my home.
D A
West Virginia, where I belong.
D
G
In the dead of the night, in the still and the quiet I slip away like a bird
in flight
D A D
Back to those hills, the place that I call home.

It's been years now since I left there
And this city life's about got the best of me.
I can't remember why I left so free what I wanted to do, what I wanted to see,
But I can sure remember where I come from.

Chorus-----

Well I paid the price for the leavin'
And this life I have is not one I thought I'd find.
Just let me live, love, let my cry, but when I go just let me die
Among the friends who'll remember when I'm gone.

Chorus-----

Bridge:
G A D A
Home, home, home. I can see it so clear in my mind.
G A D
A
Home, home, home. I can almost smell the honeysuckle vines.

[Repeat last two lines of chorus.]

Thursday, September 22, 2011

***Labor’s Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-"Once Again, Hard Times In Babylon- Growing-Up Working Poor"

Click on title to link to my blog entry of September 27, 2007 reposted here in honor of the struggle in Kentucky coal country entitled Once Again, Hard Times In Babylon for a link to information from that period.

Once Again, Hard Times in Babylon-revised

Markin comment:

I had, several years ago, received a recent comment (not on this site) concerning my take on the labor movement these days. (See my entry at the American Left History blog, The AFL-CIO bureaucracy and the 2008 elections, dated September 25, 2007). The gist of the comment concerned my argument on the necessity of organizing (or rather, in effect, re-organizing) the coal miners, in the eastern and western sections of America (and elsewhere as well). As part of that comment I noted that one of the problems in such organization is the geographical and physical isolation of the mines. I also noted that the miners tend to be a parochial lot and mistrustful of outsiders, as a result. That seemed to have set the reader off. In short, that person questioned my ‘credentials’ to speak on the question. He or she, apparently, missed the sentences about my father’s experiences as a young coal-miner in Eastern Kentucky. That does not qualify me to be president of the United Mineworkers Union (which, I believe, at last look required five years in the mines before one could run for that office) but I know the ‘coal’ in an indirect way. Here’s a little bio sketch on that point.

GROWING UP DIRT POOR IN THE 1950’S



Several years ago I wrote a personal commentary about a childhood friend from back in the old neighborhood in North Adamsville where I grew up in the 1950’s who had passed away.(see An Uncounted Casualty of War,, May 8, 2007 archives). I had also at that time been re-reading the then recently deceased investigative journalist David Halberstam’s book, The Fifties, that covers that same basic period. Halberstam’s take on the trends of the period, in contrast to the reality of my own childhood experiences as a child of the working poor that missed most of the benefits of that ‘golden age,’ rekindled some memories, a few painful. It is no exaggeration to say that those were hard times in Babylon. Not so much for individual lacks like a steady (and reliable) family car to break out of the cramped quarters, house on house, where we lived once in a while. Or the inevitable hand-me-down clothes (all the way through high school, almost), or worst the Bargain Center bargains that were no bargains (the local “Wal-Mart” of the day to give you an idea of what I mean). Or even the always house coldness in winter (to save on precious fuel even in those cheap-priced heating oil times) and hotness in summer (ditto, save on electricity so no A/C, or fans).

They, and other such lacks, all had their place in the poor man’s pantheon, no question. No, what, in the end, turned things out badly was the sense of defeat that hung, hung heavily and almost daily over the household, the street, the neighborhood at a time when others, visibly and not so far away, were getting ahead. Some sociologist, some academic sociologist, for, sure, would call it the death of “rising expectations.” And for once they would be right, or at least on the right track. Thinking back on those times has also made me reflect on how the hard anti-communist politics of the period, the “red scare” left people like my parents high and dry, although they were as prone to support it as any American Legionaire. The defeat and destruction of the left-wing movement, principally pro-communist organizations, of that period has continued to leave a mark, and a gaping vacuum on today’s political landscape, and on this writer.

There are many myths about the 1950’s to be sure. However, one cannot deny that the key public myth was that those who had fought World War II and were afterwards enlisted in the anti-Soviet Cold War fight against communism were entitled to some breaks. The overwhelming desire for personal security and comfort on the part of those who had survived the Great Depression and fought the war (World War II just so there is no question about which in the long line of wars we are talking about) was not therefore totally irrational. That it came at the expense of other things like a more just and equitable society is a separate matter. Moreover, despite the public myth not everyone benefited from the ‘rising tide.' The experience of my parents is proof of that. Thus this commentary is really about what happened to those, like my parents, who did not make it and were left to their personal fates without a rudder to get them through the rough spots. Yes, my parents were of the now much ballyhooed and misnamed ‘greatest generation’ but they were not in it.

I will not go through all the details of my parents’ childhoods, courtship and marriage for such biographic details of the Depression and World War II are plentiful and theirs fits the pattern. One detail is, however, important and that is that my father grew up in the hills of eastern Kentucky, Hazard, near Harlan County to be exact, coal mining country made famous in song and story and by Michael Harrington in his 1960s book The Other America. This was, and is, hardscrabble country by any definition. Among whites these “hillbillies” were the poorest of the poor. There can be little wonder that when World War II began my father left the mines to join the Marines, did his fair share of fighting in the Pacific, settled in the Boston area and never looked back.

By all rights my father should have been able to take advantage of the G.I. Bill and enjoyed home and hearth like the denizens of Levittown (New York and elsewhere) described in Halberstam’s book and shown on such classic 1950s television shows as Ozzie and Harriet and Leave It To Beaver. But life did not go that way. Why? He had virtually no formal education. And moreover had three young sons born close together in the immediate post-war period. Furthermore he had no marketable skills usable in the Boston labor market. There was (and is) no call for coal-miners here. My father was a good man. He was a hard-working man; when he was able find work. He was an upright man. But he never drew a break. Unskilled labor, to which he was reduced, is notoriously unstable, and so his work life was one of barely making ends meet. Thus, well before the age when the two-parent working family became the necessary standard to get ahead, my mother went to work to supplement the family income. She too was an unskilled laborer. Thus, even with two people working we were always “dirt poor.” I have already run through enough of the litany of lacks to give an idea of what dirt poor meant in those hard times so we need not retrace those steps.

Our little family started life in the Adamsville housing projects, at that time not the notorious hell-holes of crime and deprivation that they later became but still a mark of being low, very low, on the social ladder at a time when others were heading to the Valhalla of the newly emerging suburbs. By clawing and scratching my parents saved enough money to buy an extremely modest single-family house. Hell, why pussyfoot about it, a shack. The house, moreover, was in a neighborhood that was, and is, one of those old working class neighborhoods where the houses are small, cramped, and seedy, the leavings of those who have moved on to bigger and better things. The neighborhood nevertheless reflected the desire of the working poor in the 1950’s, my parents and others, to own their own homes and not be shunted off into decrepit apartments or dilapidated housing projects, the fate of those just below them on the social ladder. This is social progress?

But enough of all that. Where in this story though is there a place for militant left-wing political class-consciousness to break the trap? Not the sense of social inferiority of the poor before the rich (or the merely middle class). Damn, there was plenty of that kind of consciousness in our house. A phrase from the time, and maybe today although I don’t hear it much, said it all “keeping up with the Jones.’” Or else. But where was there an avenue in the 1950’s, when it could have made a difference, for a man like my father to have his hurts explained and have something done about them? No where. So instead it went internally into the life of the family and it never got resolved. One of his sons, this writer, has had luxury of being able to fight essentially exemplary propaganda battles in small left-wing socialist circles and felt he has done good work in his life. My father’s hurts needed much more. The "red scare" aimed mainly against the American Communist Party but affecting wider layers of society decimated any possibility that he could get the kind of redress he needed. That dear reader, in a nutshell, is why I proudly bear the name communist today. And the task for me today? To insure that future young workers, unlike my parents in the 1950’s, will have their day of justice.