by Mitch Myers
It’s true; we had actually stumbled onto four forgotten performances by the great Woody Guthrie. The first two compositions were entitled “Rollin’ Ocean” and “Roll on Waters.” The third song was an end-of-the-war tune called “Wear My Ribbon,” which dates back to at least 1951 and may have been cowritten by Woody and his old running buddy, Cisco Houston.
The fourth song, which we found at the very end of our last reel of tape, was a version of “This Land Is Your Land.”
Now, history tells us that Woody Guthrie wrote “This Land Is Your Land” as a populist response to Irving Berlin’s “God Bless America.” While there is certainly a standard version of this iconic folk song, Woody had been known to add an extra verse or two as he sang the tune repeatedly over the years.
So, as our newfound recording of “This Land Is Your Land” played that day in the studio, good old Ben wondered aloud if the tape might contain one of those mythical, unknown verses that Woody occasionally sang.
We listened and held our breath.
But the tape ran out before Woody finished singing. And although we did find a few different lyrics in the first part of the song, we’ll never know if there was yet another, never-before-heard verse to Mr. Guthrie’s most enduring composition.
Still, the tapes had provided us with some extremely rare Woody Guthrie performances, which we gladly donated to Nora Guthrie and the Woody Guthrie Archives in Manhattan, where they are now safe and sound.
Our friends at the Guthrie Archive think that Woody’s performances may have been recorded by the legendary record label guy, Moe Asch—perhaps even before Moe had started the Folkways Records label back in 1948.
Anyway, no rare Gram Parsons demos and no cool record deal.
But…Smithsonian Institute—here we come!
Acknowledgments
Undying thanks to Peg (editor in chief), Liz (for the photo idea and squeezing into the jeans), Rick, Tsipora, Lulu and Twinkie, Sarah, Matt, and Gino.
Special thanks to Hap Mansfield. Extra thanks to Michael Dorr for instigating the project and to the late David Walley for his unwavering support. Gracious thanks to Maureen O’Brien for believing, Stephanie Fraser for the awesome list, and everyone else at HarperCollins.
Thanks to Harvey Kubernik, Colin Berry, John Draper and Laura Sandlin, Ben and Tina Hunter, Holly George-Warren and Robert Burke Warren, Shirley Halperin and Thom Monahan, Cecille Kramer and Kevin Calaguiro, Jerry Goldner, Mike Rowe, Felicia Kelly, Scott and Debbie Cohen, Pat Thomas and Sonia Clerc, Bob Boilen, Steven Bernstein and the Sex Mob, Betsy Palmer, Billy Martin, Paul S. Williams, Richard Meltzer, Dave Marsh, Jaan Uhelzski and Matthew Kaufman, Scott and Ali Giampino, John Humphrey, Michael and Paula Fracasso, Al Rose and Rhonda Welbel, Harlan and Rachel Wallach, Michael Carr and Linda Fiore, Tom Asch, Martin Northway, Dave Segal, Chris Handyside, Dave Chamberlain, Frank Sennett, Eric Miller and Kim Merritt, Matt Fritch, Hugh Hefner, Mary O’Connor, Randy Haecker, Michael Bloom, Tom Welch, Scott Vingren, Meredith Ochs, David Siegfried and Donna Seaman, Dennis Morgan, John Morthland, Bill Bentley, the late Scott Morrow, Eddie Jemison, Rich Sparks, Ellen Philips, Tim Ford, Paul and Laura Milne, Claude Solnik, Mars Williams, Susan Nadler, Victor Pashuku, Geoff Osbourne, Ben Neill, Michelle Mercer, the late Stew Albert, Noel Olken, Brian Coleman and Margot Edwards, Howard Mandel, Scott Crawford, Blaise Barton, Joel and Adam Dorn, Billy Altman, Michelle Engert, Steve Bloom, John Strausbaugh, Duane and Denise Jarvis, Susan Katz, Kate Jackson, Dennis Locorriere, Martha Wayman and Jim Arndt, John and Nancy Flannery, Jason Koransky, Susan Schiffman, Kim and Rainer Turim, Jim Carlton, the late Al Aronowitz, Sharon and J. R. Zumwelt, Dave Zaworkski, Dean Blackwood, Mark Kemp, Steve Duda, Irwin Chusid, Hal Wilner, Greg B. Johnson, Stuart Brand, Chet Flippo, Kevin Grizzard, Andy Gilbert, Ian Gilchrist, Joy Kingsolver, Jerry Foust, Ric Addy, Bruce Dinsmor, Laura Grover, Steve Dollar, Jim O’Rourke, Richard Henderson, Dave Cirilli, Neil and Dawn Reshen, Bobbi Cowan, Jerry Wexler, Chris Nickson, John Swenson, Carol Kaye, Bob Sarles, Nora Guthrie, Judy Bell, Larry Richmond, Joe D’Angelo, Jeff Braun and Sachi Enochty, Jorey and Beth Schallcross, Lou Reed, Skip Taylor, Shawn Sahm, Alecks Ignjatovic and Mila Troytsky, Mike Saunders, Ashley Kahn, Vince Kamin, Ben Schafer, Paul Bresnick, Kathryn Frazier, Gary Lucas, Edite Kroll, Juan Rodriguez, Daevid Allen, Mike Chamberlain, Bob Blumenthal, Ali Benis, Miles Harvey, Legs McNeil, Jeff Rougvie, J. C. Gabel, Michael Simmons, Paul Krassner, Donald Hamburg and Jan Prokop, Jeff McCord, Michelle Ferguson, Paula Batson and Bob Neuwirth, Terry Riley, Mick and Diane Aryman, Matt Groening, Brad Rempert, Chuck Prophet, Charles Hiatt, the late John and Marie Hartford, Liam Hayes, Bill Milkowski, Jim Fouratt, Ray Pride, Lee Nagin, Terri Hinte, Tina Pelikan, Theresa Norman (for the jeans!), Brian Hieggelke, Josh Mills, Chuck Eddy, Bill Meyer, James Kahle, Eric Ward, Bill McKeen, Scott Harding, Bobby and Jeannie Bare, Shannon Bare and Bare Jr., Cathy McGinley, Victor McCombe, Gil Kaufman, Van Dyke Parks, Denny Bruce, Jimmy and Nancy Margolis, Paula Gremley, Glen and Cheryl Majewski, Jon Langford, Jim Fanizza, Cem Kurosman, Adam Korn, Terry Ware, Leo Kottke, Melvin Van Peebles, the late Arif Mardin, Kelly Hogan, Pete Kastis, J. J. Jackson, Karen Gullo, Michael Fremer, Auntie Joyce and Cousin Fran, Rob Bleetseen, Tim Anderson, Dave Dunton, Mary Jones, Sarah Apfel, James Porter, Nat Hentoff, Eric Amble, Peter Black-stock, Susan Jasica, Ann Hornaday, Toni Markiet, Marcia Resnick, Tad Henrickson, Versa Manos, Jason Fine, Kevin Calabro, Victor Bockris, Tony Conrad, Greg Kot and Jim DeRogatis, Steve Albini, Elizabeth Derczo, Rick Reger, Deb Stern, Tracey and Laura Dear, Paul D. Miller, Al Cronin, Roy Nathanson, Filippo Salvadori, Bob Gulla, Michael Jackson, David Gans, Tom Rapp, Paul Shapiro, Steve and Sally Parker, Mary Huhn, Aaron Cohen, Nick Baily, La Monte Young, Felice Ecker, Kathleen Mock, Tim and Katie Tuten, J. R. Jones, Kim Smith, Steve Wynn, Barney Hoskyns, Doug Wolk, Dave Royko, Margaret Davis, David Billing, Juini Booth, Royce and Mary Racinowski, Kristin Sherman, Lida Husik, Matt Hanks, Ernie Medeiros, Michael Cuscuna, Charles Lloyd, Chip Porter, Brian Carpenter, Alejandro Escovedo, John Feins, Ben Young, Jim and Betty Kramer, Fred Simon and Sarah Allen, Patty Natalie, Richard Gehr, R. U. Sirius, Stanley Booth, Mark Rakstang, Fred Mills, Billy James, Nile Southern, Gail Zappa, Kurt Kellison, Joe Travers, Kim Fowley, Ken Vandermark, Bobby Reed, Michael Cameron, Jeremy Tepper, Anthony DeCurtis, John S. Hall, John Corbett, Elizabeth Hardwick, Paul Schutze, Bill Laswell, Mike Lach, Howard Reich, Byron Coley, Lee Froelich, Mike Watt, Willie Flower, Bob Irwin, Roz Calvert, Sam Andrew, Paul Cox, Bob Palmieri, Nick Tosches, Heather Mount and Matthew Covey, David Peel, Harold Platt, Bill Murphy, Dave Razowsky, Neil Tesser, and Robert Wyatt.
Credits
The Introduction used a quote from the lyrics of “Do You Believe in Magic?” by John Sebastian, Trio Music/Alley Music.
Prelude: “A Rock & Roll Fable” is fiction. Portions of this essay originally appeared in Newcity, November 1998, and were performed on National Public Radio, All Things Considered, August 2002.
“River Deep” benefited from the author’s discourse with Harvey Kubernik. Resources include He’s a Rebel: Phil Spector—Rock and Roll’s Legendary Producer, by Mark Ribowsky; I, Tina: My Life Story by Tina Turner with Kurt Loder; and Phil Spector: Back to Mono (1958–1969) on ABKCO Records. Inspiration gained from listening to the song, “River Deep Mountain High” by Ike and Tina Turner. Thanks to Musicians Local Union 47 in Hollywood, California. Portions of this essay were performed on National Public Radio, All Things Considered, June 2002.
“Hellhound on My Trail” benefited from the listening of Robert Johnson: The Complete Recordings on Columbia Records. Portions of this essay appeared in Newcity, May 1999, and in comic-strip form in Crawdaddy!, June 2001. Portions of this essay were also performed on National Public Radio, All Things Considered, Halloween 2001.
“Nuggets” benefited from the listening of Nuggets: Original Artyfacts from the First Psychedelic Era 1965–1968 on Rhino Entertainment. Portions of this essay appeared in Smug Magazine, October 1998.
“The Sound and the Fury” included quotes from
the author’s discussions, interviews, and correspondence with John Holmstrom, Richard Henderson, Steve Albini, Jim O’Rourke, Jon Langford, Bob Neuwirth, the late Robert Quine, Bill Bentley, Glen Branca, David Thomas, Steve Wynn, Sylvia Reed, Kramer, Penn Jillette, Paul Williams, Lee Ranaldo, and Paul Schutze. There is also a quote from Lou Reed’s liner notes in Metal Machine Music. Inspiration was gained from the book Psychotic Reactions and Carburetor Dung by Lester Bangs. References include Lou Reed by Peter Doggett and Transformer by Victor Bockris. Portions of this essay appeared in Magnet Magazine, April/May 2000.
“Endless Boogie” includes a quote from Hellfire by Nick Tosches, and a quote from the lyrics of “Boogie Chillun” by John Lee Hooker and Bernard Bessman, BMG Music Publishing. The essay also references The Rolling Stone Encyclopedia of Rock & Roll and Forbidden American English by Richard A. Spears. Portions of this essay appeared in Harp Magazine, December 2004.
“When Harry Met Allen” included quotes from the author’s discussions, interviews, and correspondence with Hal Wilner, Ed Sanders, Tuli Kupferberg, Steven Taylor, John Feins, Bob Rosenthal, and Harvey Kubernik. There are quotes from Allen Ginsberg, found in This Is Rebel Music by Harvey Kubernik. The essay also used a quote from the lyrics of “Nothing” by Tuli Kupferberg, Heavy Metal Music. References include American Magus Harry Smith: A Modern Alchemist by Paola Igliori and Think of the Self Speaking: Harry Smith, Selected Interviews by Harry Everett Smith, Daniel Darrin, Steve Creson, and Rani Singh. Portions of this essay appeared in the liner notes for the CD reissue of First Blues: Rags, Ballads & Harmonium Songs by Allen Ginsberg, on Locust Music, 2002.
“The Power of Tower” benefited from the listening of Goodbye 20th Century by Sonic Youth on SYR Records. Portions of this essay appeared in Smug Magazine, June 2000.
“Who Will Save the World?” is fiction.
“Something Freaky This Way Comes” benefited from the listening of “Songs in the Key of Z” on Which? Records, and the reading of “Songs in the Key of Z: The Curious Universe of Outsider Music” by Irwin Chusid. Portions of this essay appeared in Smug Magazine, September/October 2000, and in a comic-strip version in Newcity, October 2000.
“The Monk and the Messenger” benefited from the listening of Art Blakey’s Jazz Messengers with Thelonious Monk on Atlantic Records. Portions of this essay appeared in the liner notes for the LP reissue of Art Blakey’s Jazz Messengers with Thelonious Monk, on Four Men with Beards, 2002.
“Captain’s Orders” benefited from the listening of the music of Captain Beefheart. Portions of this essay appeared in Smug Magazine, October/November 1999.
“It’s How You Play the Game” benefited from the listening of Live at Max’s Kansas City ’79 by Johnny Thunders and the Heartbreakers on Reachout International Records. Portions of this essay appeared in Tracking Angle, Fall 1998.
“Back to the Fillmore” is fiction and used a quote from the lyrics to “The Eleven” by Robert Hunter, copyright Ice Nine Publishing. Used with permission.
“The Steel-String Trilogy”
(a) “A Man Out of Time” used quotes from the author’s discussions, interviews, and correspondence with Denny Bruce and Dean Blackwood. Additional insight gained from the reading of How Bluegrass Destroyed My Life by John Fahey. Rigorous editing courtesy of Chuck Eddy and Michelle Mercer. Portions of this essay appeared in the Village Voice, May 2003.
(b) “The Strength of Strings” benefited from the author’s discussions and interviews with Leo Kottke and Denny Bruce. Inspiration was gained from the listening of 6- and 12-String Guitar by Leo Kottke.
(c) “Bundy K. Blue’s Dance with Death” is fiction. Portions of this essay appeared in Newcity, August 1998.
“Roundabout” is fiction.
“War All the Time” used quotes from the author’s discussions, interviews, and correspondence with Richard Meltzer, Paul Williams, Marty Balin, Mike Watt, Dave Alvin, Robert Christgau, Greil Marcus, Dave Marsh, David Walley, and Nick Tosches. It also used a quote from the essay “As I Lay Dead” by Richard Meltzer, which is included in A Whore Just Like the Rest: The Music Writings of Richard Meltzer. Portions of this essay appeared in Magnet Magazine, November/December 2000.
“Erector Set” benefited from the listening of the music of the Mekons. Portions of this essay appeared in Tracking Angle, Summer 1998.
“Classics Vs. Anthems” used a reference from The Concise Oxford Dictionary (9th edition). Portions of this essay appeared in Newcity, October 1999, and were performed on National Public Radio, All Things Considered, January 2002.
“Oh Happy Day” benefited from discussions and correspondence with Paul Williams and the reading of his book, The 20th Century’s Greatest Hits. Inspiration gained from the listening of “Oh Happy Day” by the Edwin Hawkins Singers. Portions of this essay were performed on National Public Radio, All Things Considered, Christmas Day 2002.
“A Lone Star State of Mind” used quotes from the author’s discussions, interviews, and correspondence with Eugene Chadbourne, Brian Henneman, Ernie Durawa, Johnny Perez, Jack Barber, Augie Meyers, Steve Earle, Denny Bruce, George Rains, Jay Farrar, Bill Bentley, Jerry Wexler, Shawn Sahm, Shandon Sahm, Flaco Jimenez, Kevin Russell, Chet Flippo, and Joe “King” Carassco. It also used a quote from the lyrics of “At the Crossroads” by Doug Sahm, Southern Love Music. Portions of this essay appeared in Magnet Magazine, October/November 2002, which was reprinted in Da Capo Best Music Writing 2003.
“Taking Tiger Mountain” benefited from the listening of Music for Airports by Bang on a Can, on Point Music. The essay included a quote from Edgard Varèse.
“The Sweltering Guy” is fiction.
“The Ballad of John Henry and the Wheels of Steel” is fiction. It includes a quote from the lyrics of “John Henry” (traditional). This piece was performed on National Public Radio, All Things Considered, March 2004, and deemed a “Driveway Moment” by its listeners.
“Need for Speed” benefited from the listening of Hot Rods & Custom Classics: Cruisin’ Songs and Highway Hits on Rhino Entertainment. Portions of this essay appeared in Newcity, March 1999, and were performed on National Public Radio, All Things Considered, October 2001.
“Respect Due” benefited from the author’s correspondence with Dave Marsh and the late Al Aronowitz and used quotes from the author’s interviews with Jerry Wexler and the late Arif Mardin. Portions of this essay appeared in the liner notes of the LP reissue of Aretha Franklin Live at Fillmore West on Four Men with Beards, 2003.
“Closer to Home” benefited from the listening of the music of Grand Funk Railroad. Portions of this essay appeared in Smug Magazine, January 2000, and in a comic-strip version in Stop Smiling, 2001.
“Diminuendo and Crescendo” benefited from the listening of Ellington at Newport by Duke Ellington on Columbia/Legacy Records. Portions of this essay appeared in Tracking Angle, Fall 1998, and Strong Coffee, September 2000. The piece was also performed on National Public Radio, All Things Considered, November 2001, and deemed a “Driveway Moment” by its listeners.
“World’s Biggest Gong Fan” used quotes from the author’s interview with Daevid Allen. Thanks to (Word Services) Apple Events Spells-well 7. Portions of this essay appeared in Magnet Magazine, October/November 1999.
“What Can You Do That’s Fantastic?” used quotes from the author’s discussions, interviews, and correspondence with Tom Fowler, Roy Estrada, Jimmy Carl Black, Elliot Ingber, Carol Kaye, Kim Fowley, Don Preston, Bunk Gardner, Mike Keneally, Bruce Fowler, Napolean Murphy Brock, George Duke, Chester Thompson, Denny Walley, Terry Bozzio, Adrian Belew, Patrick O’Hearn, Arthur Barrow, Bob Harris, Ike Willis, Vinnie Colaiuta, Chad Wackerman, Gail Zappa, and Aynsley Dunbar. Additional insights were gained from discussions with David Walley and Matt Groenig. Special assistance from Billy James. Portions of this essay appeared in DownBeat Magazine, January 2004.
“A Chance Encounter” is fiction. Portions of this essay appeared in Strong Coffee.
“High Noon” ben
efited from the listening of the music of Alejandro Escovedo and visiting Austin, Texas, repeatedly.
“This American Life” used quotes from the author’s discussions, interviews, and correspondence with Pauline Oliveros, La Monte Young, Henry Kaiser, Terry Riley, David Harrington, Tony Conrad, Mixmaster Morris, and Stuart Brand. Key assistance was received from Tom Welch. Portions of this essay appeared in Magnet Magazine, April/May 2001.
“House of the Rising Son” is satire. Portions of this essay appeared in Tracking Angle, Fall 1998.
“Requiem for a Cowbell”: Portions of this essay appeared in Harp Magazine, March 2004. The piece was also performed on National Public Radio, All Things Considered, deemed a “Driveway Moment” by its listeners, and included on NPR’s 2-CD set, Driveway Moments 3, 2005.
“Tie-Die!” is fiction and included a quote from the lyrics of “The End” by the Doors, Nipper Music.
“Almost” benefited from the listening of the Almost Famous soundtrack on DreamWorks.
“A True Story” benefited from the listening of the music of Jeff Beck. Portions of this essay appeared in Newcity, October 1999, and were performed on National Public Radio, All Things Considered, December 2001.
“Spirits, Ghosts, Witches, and Devils” used quotes from the author’s interviews with Sonny Simmons, Rashied Ali, Roswell Rudd, Carla Bley, John Tchicai, Sunny Murray, Burton Green, Gary Peacock, Henry Grimes, Bernard Stollman, Alan Silva, Nat Hentoff, Juini Booth, and Steve Tintweiss. The essay also benefited from the author’s discussions and correspondence with Ben Young and Brian Carpenter. Albert Ayler is quoted from his 1969 essay in The Cricket: Black Music in Evolution. References include Ayler’s Holy Ghost on Revenant Records, As Serious As Your Life by Valerie Wilmer and The Autobiography by Leroi Jones/Amiri Baraka. Portions of this essay appeared in Magnet Magazine, October/November 2004.
