From the French Quarter back to Congo Square…this episode celebrates a mix of sounds all thrown into a stew that’s been simmering and feeding the soul of the gulf for hundreds of years. Acadian songs, the word Acadian is derived from the French Canadian, were long ballads originating in France and they generally spoke of hard living. Mix that with the Native American and Scots-Irish jigs and reels, and lay it all out in Lousiana where even more influence could be absorbed from the Carribean/Cuban/Haitian populace and there you have it. We’ll share the early century ‘ancestral’ sounds of Blind Uncle Gaspard and Leo Soileau as well as the music of Queen Ida and Beau Jocque. It promises to be uplifting, wild, and your foot will be tapping…
It’s theme time once again on Deeper Roots. We’ve got songs that explore the topic of jails, prisons, work farms, and the incarcerated. There we find the overnighters, the vagabonds, the jealous lovers, the desperate thieves, and the stories of ladies and gentlemen on both sides of the bars. There will be old-timey cowboy classics from Vernon Dalhart and Carl T. Sprague, modern covers by David Johansen and The Byrds, blues from Lightnin’ Hopkins and Blind Boy Fuller, and a whole lot more. Join us for the stories of the songs and performers this week on Deeper Roots.
Just ahead of World War II, a sound began to bubble up through the floorboards. There was the new, brash, swinging sound of big bands, country swing had surfaced, and jazz was alive and well as an evident inspiration to both. But there was a raw, bluesy, expressive, jump sound coming from the barrooms and halls of the urban expanses of Chicago, Kansas City, New York City, and beyond; something that would become known as R&B and would later be the bedrock of rock and roll. Deeper Roots explores the sounds of Big Joe Turner, Wynonie Harris, Buddy Johnson and a host of others, including the ladies: Effie Smith, Nellie Lutcher, Julia Lee, and Viola Wells. This episode has them all and more…
While Bob Dylan’s greatest early influence was likely Woody Guthrie he spent his career exhibiting both love and thievery of the Americana music canon. Love, in the sense that he would pay tribute and admire the story-telling, and theft, in that he would copy old lines for his own purposes or reassemble them into a larger story. His not-so-obvious album release titled “Love and Theft” hints at his own sardonic wit in the matter.
Pablo Picasso has been quoted thusly: “Good artists borrow, great artists steal.” It’s a concept that goes back much further. The works of T.S. Eliot discuss the concept of how artistic theft leads to the creation of new ideas in art and many of the early playwrights, Shakespeare included, would steal in part or in whole. The argument that Dylan’s intentions are somewhat more nefarious in the era of copyrights and royalties is likely misguided because it assumes that no artist would have previously been paid for their ‘pilfered’ works.
In this episode of Deeper Roots, first broadcast on KWTF Sonoma County March 20, 2015, we’ll spend two hours mining through some of those influences with music from Jerry Garcia and David Grisman, Doc Watson, Frank Crumit, Mississippi John Hurt, and the bard himself in an episode titled “Bob Dylan and Tradition”. In keeping with our theme, parts of today’s show are loosely based, or maybe paraphrased, from a wonderful study of Dylan’s career in the context of American tradition including minstrelsy, gospel, folk, country, pop, and blues…all of those things that Dylan has imparted in sometimes not-so-subtle ways in his music. The book, Bob Dylan in America: the book by Sean Wilentz, contributing editor to the New Republic and Professor of History at Princeton. The book was published by Doubleday in 2010.
We return once more to a theme. In this episode of Deeper Roots, we visit the ‘salt mines’ where we toil for our daily bread or made to work off our sins. The old addage, attributed to Thomas Edison: “There is no substitute for hard work.” left out the other side of the coin…that of paydays on Friday and working for the weekend…which, of course, we’ll cover in great detail in a show whose theme is ‘work’. Tune in for roots music from Doc Watson and Flatt & Scruggs, both wicked and lovely R&B from Marva Whitney and Fats Domino, and rebellious rocking from Eddie Cochran and Bo Diddley.
He was from the Piedmont school of blues guitar but would find a wider audience and following through the work of Taj Mahal, Dave Van Ronk,Bob Dylan, Jorma Kaukonen, Dave Bromberg, and Ry Cooder. The majority of those named actually studied guitar with Davis but his own tutelage was under the legendary Willie Walker. He moved to New York in 1944, preaching and singing on the streets of Harlem, resuming his recording career in the 1960s when his appearances at Newport and other folk festivals brought a seemingly brief fame…but by all indications today, an enduring legacy. If you don’t have his classic album, Harlem Street Singer, produced by Rudy Van Gelder, in your collection…you might want to reconsider. We’ll explore a wide selection of pieces by Davis, by those who influenced him, and the many who were influenced by his music. We’ll also share excerpts of interviews and classic Gary Davis stories by others. It’s a very special two hours on Deeper Roots Radio: A Century of America’s Music with your host Dave Stroud.
Take a journey once more into the Golden Age of Country on Deeper Roots. We look at that slice of time when country music took its shape and form as it worked its way into popular and mainstream culture, far from the locales of hillbilly music and southern folkdom. We’ll hear from the storytellers and the ‘country crooners’, including Johnny Horton, Marty Robbins, Buck Owens, Lefty Frizzell, and many, many others as we take the decade of the sixties in a show produced especially for KWTF 88.1 FM Bodega Bay, member-supported community radio for all of Sonoma County.
Fat Tuesday or, translated to French, Mardi Gras, comes but once a year and signals the penitential season of Lent. It also provides us with an outlet for the many things that we do as part of our celebration. One of them involves the backdrop of music. We’ll visit the sounds introduced by the Second Line of “Sugar Boy” Crawford, Fats Domino, and Stop, Inc. We’ll follow with The Meters, Bo Dollis and The Wild Magnolias, Louis Armstrong, and many others in a show that separates our locales by almost 2000 miles. Join Dave Stroud for the big beat coming from the French Quarter, Bourbon Street, and the Mississippi waterfront in our newest episode, another produced exclusively for KWTF, 88.1 FM, member-supported community radio for Bodega Bay, Sonoma County, California.
This week’s edition of Deeper Roots visits the towns of Florence and Sheffield, Alabama, specifically the Fame Records and Muscle Shoals studios, to revel in the production talent that was important to the growth of rock, soul, pop, and gospel in the latter half of the 20th century. You may not be familiar with the history, and that can be easily remedied by watching the fine documentary of the same name “Muscle Shoals” which premiered at Sundance in January, 2013. Or you can tune in to our two hour episode to get a taste of the music (which you, no doubt, know) that was the soundtrack of a lifetime for at least two generations. When you consider that “Love Me Like A Rock”, “Wild Horses”, “Katmandu”, and “Gotta Serve Somebody” are just the tip of the iceberg, then you’ll want to know more about the four (yes, four) session musicians that crafted the very distinct sound that made the music as compelling as any other in the last century of America’s music.
Blind Willie McTell was a gentleman songwriter and musician who could play and sing popular music and storied blues in the same voice. He could bring you into the story and emotion of a song while he picked in the Piedmont style and, with the supporting rhythm of Curley Weaver, painted a picture that could be visceral, or maybe light-hearted, sometimes stern in narrative, or whatever the mood or lyrics demanded. Bob Dylan’s own poetry about Willie is summed up in the verses of his song “Blind Willie McTell”, written in 1983 but not released by Dylan until 1991 on his “Bootleg Series 1-3”:
I can hear them tribes moaning Hear the undertaker’s bell Nobody can sing the blues Like Blind Willie McTell
Join Dave Stroud for a new two hour episode highlighting the life, words, and music of Blind Willie McTell in this week’s episode of Deeper Roots: A Century of America’s Music, produced exclusively for KWTF 88.1 FM, community radio for Sonoma County.
