Folsom Prison Blues is a song written and recorded by American country music artist Johnny Cash. The song combines elements from two popular folk genres, the train song and the prison song, both of which Cash would continue to use for the rest of his career. It became one of Cash’s signature songs. It was the eleventh track on his debut album With His Hot and Blue Guitar but was also included (same version) on All Aboard the Blue Train. Folsom Prison Blues was in the country Top Five in 1956, though Cash had written it while in the Air Force somewhere before 1954.
I was born right here on Randolph Street in Freehold Here right behind that big red maple in Freehold Well I went to school right here Got laid and had my first beer In Freehold
Today we have found a great “story-song” from Bruce Springsteen that has never been officially released.
This is a sweet and funny song that appeared for the first time live on 8 Nov 1996 in Freehold, NJ. Freehold/ In Freehold is never officially released and I think it has only been played live (not recorded in studio). It is a song in the same vein as Growing Up, but set at an earlier age and in a less serious tone.
The debut of the song was at The Ghost Of Tom Joad Solo Acoustic Tour (Freehold 8 Nov) and it has been played around 20 times after that. It is speculated that the song was written specifically for this event. It was a sort of homecoming show in the sense that he grew up in Freehold, but hadn’t played there since 1967. Bruce Springsteen left Freehold in 1968.
Today we present one of the best of the still unreleased tracks from the Nebraska sessions, The Losin’ Kind. The song started out as The Answer an early home demo with slightly different lyrics.
The melody is reminiscent of Highway Patrolman (Nebraska) and the story is about the same as in the song Highway 29 (The Ghost of Tom Joad), and I’m guessing that these similarities will keep the song in Springsteen’s vault.
As I said the song started out as The Answer before it became The Losin’ Kind and both versions are in circulation:
The Answer (The Losin’ kind acoustic demo) was recorded in fall 1981 (sometime between September and December), at Thrill Hill Recording in Colts Neck.
The Losin’ Kind (the “finished” version) were probably taped on 03 Jan 1982 at Thrill Hill Recording. There are records of a third version, but I’ve not heard it and I don’t think it floats around the web.
Let us hear the song.
The Losin’ Kind:
Incredibly good ! …and will hopefully be included on Tracks part 2 (if that is ever released…)
The Nebraska sessions were never conceived to result in a commercially released album. Bruce’s intention was to create a batch of multi-channel, professional sounding, finished solo demos to demonstrate to The E Street Band at sessions for the follow-up to The River album due to start in New York City in February 1982. By creating professional demos Springsteen felt the band sessions would progress faster than they had for his previous three albums.
To achieve his goal in December 1981 Springsteen asked his guitar technician, Mike Batlan, to set up a no frills “porta-studio” in a spare room of Bruce’s Colts Neck, NJ home. Some modification work was done to the room to make it more receptive to achieving a decent sound. Batlan purchased a Teac Tascam (Series 144) 4-track cassette recorder, 2 x Shure SM57 mics and 2 x mic stands. The sound was mixed through an old Gibson Echoplex and an old Panasonic boom box acted as the mix-down deck.
Springsteen recorded during the first few days of January, with the bulk of the songs recorded in one all day/night session on January 3, 1982. There were 15 songs recorded and some of them were recorded 2 or 3 times in slightly different arrangements. However two or three months later, with a few of these 15 songs by-then earmarked for coverage by the E Street Band, Springsteen recorded 2 additional songs (“My Father’s House” and “The Big Payback”) at home on the same equipment – thus making a total of 17 different songs…
Townes Van Zandt have been chosen, along with Bob Morrison, Beth Nielsen and Aaron Barker, to be included in the Nashville Songwriters Hall of Fame 9th of October this year.
The Nashville Songwriters Hall of Fame was founded in 1970 and have 199 inductees today.
We think Van Zandt’s inclusion is long overdue and here are 11 reasons why. There are many more, but these gems really shine.
Marie she didn’t wake up this morning She didn’t even try She just rolled over and went to Heaven My little boy safe inside
I laid them in the sun where somebody’d find them Caught a Chesapeak on the fly Marie will know I’m headed south So’s to meet me by and by
Marie will know I’m headed south So to meet me by and by
– Townes Van Zandt
Townes Van Zandt is one of the greatest songwriters in music-history. To narrow down my choice to just 11 songs is a pain. His 9 studio albums, and some compilations released after his death in 97 are so full of great songs that my task has been nearly impossible. I could pick 11 other songs in his songbook that are just as good, but today this is my list.
Marie:
Kurt Wolff (allmusic): Townes Van Zandt’s music doesn’t jump up and down, wear fancy clothes, or beat around the bush. Whether he was singing a quiet, introspective country-folk song or a driving, hungry blues, Van Zandt’s lyrics and melodies were filled with the kind of haunting truth and beauty that you knew instinctively. His music came straight from his soul by way of a kind heart, an honest mind, and a keen ear for the gentle blend of words and melody. He could bring you down to a place so sad that you felt like you were scraping bottom, but just as quickly he could lift your spirits and make you smile at the sparkle of a summer morning or a loved one’s eyes — or raise a chuckle with a quick and funny talking blues. The magic of his songs is that they never leave you alone.
Spread your wings
Come on fly awhile
Straight to my arms
Little angel child
You know you only
Lonely twenty-two story block
–
I was in San Francisco one time in 1966 and I was attracted to the city. It was the first time I had been there, and I was sitting in this hotel and all these things were going through my head, and I had a flash about an actress in an opera house appearing in a ballet, and I think that’s where the song came from.
-Van Morrison (to Ritchie Yorke)
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If anyone ever argues that Morrison cannot sing – an unlikely scenario anyway – then simply play them this. All human emotion is crystallised here, and subtly vocalised: desire, joy, hope, world weariness, consolidation, awe & anticipation. The “angel child” here is also a fully mature woman. What sounds like a penny whistle comes in just at the end, almost subliminally. Van´s Celtic phase starts here.
-Brian Hinton (Celtic Crossroads)
Ballerina was recorded during the last Astral Weeks session on October 15, 1968 at Century Sound Studios in New York City. Lewis Merenstein was the producer.
He has performed it live 180 times according to the brilliant website ivan.vanomatic.de.