100th post : A new river ?

Nitty Gritty Dirt Band & Michael Martin Murphey - Lost River (buy) (1989)


Hi,

I'm back from the Briançon area in the Southern Alps where I spent 2 weeks of well-deserved vacations. The town is located at the foot of the mountains, surronded by numerous valleys. The more I come to this place, the more I find it beautiful. Me and my wife took a lot of river pictures while hiking, so this 100th post will be full of images and songs of mountain rivers.

Now september comes with a lot of new ideas. First, I guess I won't be posting as much as I did before. Maybe once a week, sometimes more, sometimes less I guess. I've got a lot of other projects, and especially to start making, recording and writing music again.

Instead of focusing on the roots of popular music as I did in the past few months, I will surf more freely between one era to another; that will mean more music from the sixties and seventies to the present, and possibly new releases if I still receive CDs, and between styles, although I will stick to the "roots" styles : country, blues, world, roots rock.

Now enough said, let's hear more river songs.

Clarence Gatemouth Brown - River's Invitation (buy) (1997)

The very first mp3 I posted here was, of course, the Percy Mayfield version of my blog's title song, but I cherish this recording by Texas guitarist Clarence Gatemouth Brown, from his great album Gatemouth Swings, that he recorded with a big band.

Cephas & Wiggins- Going To The River (buy) (1996)

In contrast with the joyful picture above (yes, that's me with my wife and son), this song, originally written by Dave Bartholomew for Fats Domino is a mournful song of love lost, where the river's invitation is nothing but death calling. I love the way Cephas and Wiggins play it, almost gently, as if to remind us that singing the blues will stop the guy from drowning, as in these beautiful words by Blind Willie McTell :

Now a white man go to the river, take him a seat and sit down
The blues overtake him, he jump overboard and drown
Yes he's weary, weary hearted and blue
And that's why we're cryin' these weary hearted blues

Now a colored man go to the river, take him a seat and sit down
He takes the blues, he come home back to town
And yet he weary, weary hearted and blue
And that's why I'm cryin' these weary hearted blues

Black ballads (1) : John Henry

Ed Cabbell - John Henry (from the Digital Library of Appalachia) (2000)

The Two Poor Boys - John Henry Blues (buy) (1931)

Brownie McGhee and Sonny Terry - John Henry (buy) (1958)

Today we'll start a series of posts about Afro-American ballads, a musical form that came just before the blues. Ballads were derived from European sources (see previous posts about folk songs), but very soon in the 19th century American ballads emerged, and among them, the ballads of black folk-heroes. The songsters and itinerant musicians carried these songs all over the country, and soon they would evolve into blues, the main difference being that in the blues, singers tell their personal story.

John Henry is by far the most popular of the black ballads, and the most covered in many genres, by musicians of all origins.

First of all, if you want to know and hear more about John Henry, go to Gadaya's John Henry post on The Old and Weird America. My fellow French blogger from Britanny has made a wonderful work of picking no less than 100 versions of the song compiled in 4 different playlists that you can download. The result is amazing. You will also find useful links (including this site dedicated to JH) and a great review of the song.

For this blues oriented post, I only chose African American versions. John Henry was a steel driving man and the famous Big Bend episode told in the song, when he competed against a steam-powered drill, might have taken place in West Virginia. This Appalachian origin explains why the song was covered by countless country and bluegrass musicians.

Painting : Palmer Hayden

In the first version I posted, Ed Cabbell mentions this last fact with humor in his spoken intro, before performing the song a capella, the traditional, work-song way. One of the reasons why the song is so popular, beside the symbolism of its lyrics, was the melody, with its short phrases and pauses, that made it an ideal hammer song, as Paul Oliver states. And please click on the guy's name, you'll learn many intersting things (in short he's a scholar, activist and historian of the Afro American community in the Appalachian).

(Almost) Nothing is known about The Two Poor Boys, apart that they came from East Tennessee and recorded one session in 1931. We don't even know for sure if they were black or white, although I ( along with the majority of historians) really think they were the former, contrary to what Wikipedia says. Their version is interesting because it has a strong hillbilly heritage : the mandolin, the singing and the floatin verse "Who's gonna shoe your pretty little feet", taken from old English ballads. The two guys were probably songsters and played material of various origins. Read more about them here at American String Conspiracy, a great blog that sadly has gone dead.

The third rendition by Brownie McGhee and Sonny Terry is an old favorite of mine, because it was in my father's collection when I discovered blues 25 years ago. I guess this is the version I hear in my head when I think about John Henry. The duo was from the Piedmont region, just like our hero.

Mississippi John Hurt - Spike Driver Blues (buy) (1928)

Cephas & Wiggins - Nine Pound Hammer (buy) (1996)

Those are the main 2 variants of the song I also wanted to post. The first is by Mississippi John Hurt, one of the best songsters ever recorded (We will soon come back to his amazing life story). Here the melodyic line, at least in the very first verses is about the same, but the story is a bit different. It's a sort of "post-John Henry" song where the worker prefers to leave than to go on working like this, as if Henry's death had changed something. It's also a symbol of the musician and songster's life, who prefers his freedom and independance to hard labor. Leadbelly did another great version of that song with his "Take This Hammer". Note that Lead used to boast he could pick a bale of cotton a day (an impossible job for one man) in a very John Henry-like attitude.

"Nine-Pound Hammer", first published as a "negro folk-song" in the 20s became a country and bluegrass hit for the Monroe Brothers, Merle Travis or Tennessee Earnie Ford. Cephas & Wiggins, a sort of modern McGhee-Terry duet from Virginia recorded it in 1996 for their beautiful album Cool Down

And what about you ? What's your favorite version of John Henry ? Tell me, please !
Consider checking Gadaya's post on OWA before. Merci Gadaya for your help as the main source of this post.