For example, in April I spent two evenings with my good friends Mustachio and the White Rabbit recording in a chapel at Framingham State College. They were casual evenings that resulted in a set of recordings that I very much enjoy. One track that I was immediately enamored with was the Rabbit’s version of Amazing Grace.

The night this was recorded I came home and played the track for my wife through a set of headphones. She fell asleep listening to it before the track was finished playing. I then took the headphones off her sleeping head, and put them on mine, hit play… was hypnotized by droniness of the concertina, and fell asleep.

The next evening, being inspired by the recording, I sang Amazing Grace to my boys as I was tucking them into bed. They both fell asleep before I was done singing. I can assure you, this never happens and is a small miracle of sorts. Usually I can’t get them to quit the yackin’.

In the morning I was telling my Wife and children that I thought it was funny, not to mention a bit odd, that all four of us fell asleep to Amazing Grace. My animated son quickly replied, ‘Dad, That’s why it’s amazing’.

So, what does it all mean? I have no idea. But sometimes events happen that just mystify you a bit, you’re not sure why and you can’t let them go.

He was right, it is amazing. This popular song was originally published over two hundred thirty years ago and still has the power to move us. Quite amazing.

Amazing Grace by baconworks

When I first learned this song I was hesitant to play it because I thought the guitar part sounded cheap. I told Mustachio how I felt and he replied, “Don’t worry, I’ll make it sound more expensive”. He was right.

Here it is – straight from soundcloud – give it a try:
Pretty Fair Maid by baconworks

Somewhere close to five years ago I was playing a seisiún at The Skellig in Waltham where I heard an Irishman named Tony sing a song. An amazing song. For ten minutes he sang for the Skellig patrons, entirely acapella. His voice strained as he reached for notes describing his childhood, his loving parents, becoming bound to a butcher, a merchant sailor, a slave trader, a pirate, a condemned outlaw denouncing piracy and whiskey. It was a sprawling song that wove a tapestry of imagery, some beautiful, some appalling. I was stunned.

I had to have this song. After buying him a pint or two I asked him to repeat the melody for me while I scratched the notes onto the back of a napkin. He kindly agreed to email me the lyrics the following day, which he did.

The moment I picked up a guitar to try the melody I knew what to play. That part unfolded quickly. But the lyrics were another story. Tony’s version had thirteen verses and some renditions have up to nineteen verses. Far too many for me to a) remember and b) be able to retain anyone’s attention. I had learned this lesson from another well known song that I sing called Arthur McBride, which has, depending on how you count them, eight to sixteen verses. That is a long time to keep people interested.

The original song, often called The Flying Cloud, has a mysterious origin. The real Flying Cloud is a famous clipper merchant ship that made a miraculously speedy run in the 1850’s from New York, around the horn and to San Francisco in 81 days and 21 hours. Her speed record stood until 1989. The song, however, speaks of piracy and slave trade, which is not part of the Flying Clouds true history. It is, therefore assumed, that the song grew like any great tale. The story gets bigger and better as time passes, which may account for the vast ground the song tries to cover. So many themes in one song are rarely found in modern music, especially without a repeating chorus.

So, I was faced with a dilemma. How do I distill the song down to capture its essence and do so in a manner where I am capable of selling the performance? For years I have mulled over this question. I have tried dropping verses and rewriting verses but have never really been happy.

The version that I’ve recorded here is my first real demo of it with newly revised lyrics. Like other projects that I’ve posted on baconworks, I expect that this is going to take on a life of its own and that this version will not be the last. And, true to the form of folk music, will continue to evolve.

…I was going to post the above earlier today, but before I got a chance my fellow musical Junkie Luke broke into my office, stole the track and worked his bass magic. Take a listen to how the bass changes to reflect the story of each verse, brilliant.

Also, there are already plans in the works to add Mustchio’s killer bouzouki part, and Beave’s bodhran.
William Hollander by baconworks

While I was playing I decided to try my hand at another old Dr. Hook song that I have grown to enjoy during the last few weeks. This time there were no new lyrics. No spoof. Just a straight cover. Also, no multitracking. One mic, one track, one take. Just playing.

Thanks to Sylvia’s Mother, I can now move on.
Sylvias Mother by baconworks

Thanksgiving Day is coming
And Mr. turkey said
how very careful I must be
or I will loose my head.

[chopping off of the head sound]

The pumpkin heard the turkey
I’m frightened to, oh my
With sugar and spice, and everything nice
I’ll be pumpkin pie.

 

 
Happy Thanksgiving

While many will not freely admit they like John Denver, I have proof that most people actually do. I recorded this impromptu version of Country Roads Saturday evening at a friend’s house along with thirty other friends. We played lots of tunes and sang lots of songs. Irish tunes, sea chanties, classic rock, English ballads, drinking songs, songs about ale, songs about dog fat, songs about war, songs about trombones … but John Denver’s Country Roads is always the song people sing the loudest at parties. Always.

While the recording quality is not great I hear something wonderful in it. I hear friends. I hear family. I hear joy. And it brings me right back to being a child, playing in my living room with my family, my father trying to find the notes on his Goya while the record played. And I can only assume, when I listen to this, that the other players and singers have similar unspoken memories and feelings. The music brings them back, like a country road, to a peaceful and happy place, and in that space and time, it unites us. It completely transcends pop music and becomes folk music, which is really what music was meant to be in the first place.
 
Country Roads by baconworks

As the seasons passed barley would be found growing above the croppy holes and came to symbolize the regenerative nature of Irish resistance to British rule.

In the nineteenth century the Irish poet, Robert Dwyer Joyce wrote a ballad entitled Wind that Shakes the Barley, which repeatedly references the barley as a young lad has to decide between the love of his lady or the love of his country.

As our last track on the 1999 Amadán album, Sarah Kennedy sang a A cappella version of this haunting song.
 
Wind That Shakes the Barley by baconworks

Along the journey of musical development it is important to have mentors and role models. And it is important for the mentors to remind those following behind that everyone starts at the beginning, and that the most important key to getting better is to follow the path of your interests. Practice all you want, if you are not doing what you want, you ain’t gettin’ better. And if you’re not getting better, it is likely you are getting worse.

One of the things I like most about mentors or roll models is their war stories. What was the path they followed? What inspired them to work so hard and get so good? What hurdles did they have and how did they get out of their ruts? I also love seeing evidence of their own humble beginnings. It reminds me that they are just people and that they really did have to make their way around similar obstacles.

One of my role models is Paul Brady. The man is simply a brilliant guitar player and I am stuck in a rut behind him. One of my hurdles is to find my way out of that rut and cut my own path. For those that don’t know, Paul Brady took a traditional song called Arthur McBride in the mid seventies and made it famous.

Recently I was poking around YouTube and found this live version of the song from 1977 which, aside from a few amusing mistakes, is identical to the recorded version that drew so much acclaim. Check out the gorgeous base line that serves as its own melody. Listen to the finger picking…especially in the solo. Whewww! Classic stuff.

Now, you want to see something really cool? Check out Paul singing the same song in seventyfour. It sounds hokey by comparison. No beautiful base line. Very little finger picking. Mostly strumming. The singing has no character. Man he sucks! O.k., not really, but you get the point. To get from ‘74 to ‘77 he had some real work to do. If he had stopped in ‘74 I don’t think we would be talking about this song.

So, I don’t know about you, but I’ve got to get back to practice. I’ve got ruts to get out of.

Damon, our fiddle player, and I had never heard Caledonia, which is a romantic name for Scotland (thus the photo above from flickr), until that day. So, we improvised all the instrumental bits. For the instrumental break I asked the engineer to play the song while a worked out a flute part. Once I figured out what I wanted to do I asked him to roll tape. He said “I’ve been rolling all along, do you want to take a listen?” I did and decided my job was done.

Not long after this recording Amadán parted ways and I have not heard from Miss Kennedy since. Hopefully she is still singing.