Tag Archives: Demanding To Be Next

When a Guitar & A Piano Play The Blues

PreacherBoy_JonDryden

I have been enjoying so much having the opportunity to perform with Jon “Captain Ahab” Dryden on piano—and when I say “piano,” I mean piano with a capital P. Piano. Acoustic. Wood. Wire. Keys. Life.

Ahab’s abilities are vast, virtually limitless, and beyond classification. His ear is extraordinary, his versatility unrivaled, his grace at the keys sublime. I simply LOVE what he makes of the songs we play together.

We’ve been playing so many different things, and it’s been a total joy. Whether it’s gems from Victoria Spivey, Leroy Car, Jelly Roll Morton, or Bessie Smith with The Westside Sheiks, selections from past Preacher Boy albums like Demanding to be Next or The Devil’s Buttermilk, vintage country blues workout from the likes of Charley Patton, Mississippi John Hurt, or Tommy Johnson, or experiments with brand-new songs, it’s all just been magic.

This past Tuesday night, we pulled a couple of rather groovy rabbits out of the hat. Two debut runs at songs from Estate Bottled Blues, and a rather rollicking Piano-National take on Seven’s In The Middle, Son from The National Blues.

Here are some guerrilla-live bootlegs (mastered, but rough!) to give you an aural snapshot of what was afoot!

Pulling Black Flowers From An Hourglass – LIVE

Seven’s In The Middle, Son – LIVE

Fever Moon – LIVE

Stream ’em, download ’em, share ’em, enjoy ’em, do with them what you will. I just hope you dig!

Lyrics below, should you wish to follow along!

Pulling Black Flowers From An Hourglass

There’s nothing quite so lonesome as an empty Ferris Wheel,
rusting on its hinges in the rain,
save for that feeling when you’re driving down a lonely stretch of 5,
next to tracks that are carrying no train.

And I can see the body of a bird that met its doom,
just another case of roadkill for the highway to consume.
And you know that I’ve been feeling every life that I pass,
pulling black flowers from an hourglass.

I can see the fog come tumbling down the hillside,
like a tree whose will has been broke.
I can hear the raindrops spattering on my hood,
like a playing card pinned to a spoke.

And I can see a scarecrow with nothing to protect,
just another broken phantom in the caverns of neglect.
And you know that I’ve been feeling every life that I pass,
pulling black flowers from an hourglass.

The lake moves left to right, and the old men do the same,
when they take their favorite circuits ’round the shore.
But there’s a mighty hidden shadow looming out over the blissful,
and it’s too hard for the old men to ignore.

Saint Helens had a fire buried well within her soul,
it’s so frightening how the relapse of a saint can take its toll.
And you know that I’ve been feeling every life that I pass,
pulling black flowers from an hourglass.

Seven’s In The Middle, Son

made a deal with a strange man
he could deal his deck with either hand
winked at me and said goodbye
then switched his patch to the other eye
i did my best to play my song
but he stopped me before too long
took my guitar off my lap
tuned it up and then gave it back
rise and shine, and give god the glory, glory
rise and shine, and give god the glory
wrapped himself in an overcoat
silver necklace ’round his throat
rattlin’ keychain in his pants
sounded like bones when he danced
i faced myself in the mirror glass
swear to god i heard him laugh
felt his name rise in my gut
seven years of bad luck
rise and shine, and give god the glory, glory
rise and shine, and give god the glory
he said “seven is in the middle, son
pick a side and ride that one”
like jewels hangin’ on the vine
it’s a pendulum that’s drowning time
i lay my head down window-side
neon lights like a reaper’s bride
i tried to sleep beneath the black
of the space behind that devil’s patch
rise and shine, and give god the glory, glory
rise and shine, and give god the glory
he put a shiver in my soul
shook my hand and froze it cold
walked me ’round that endless shore
’til i knew i’d never been before
i hear him singin’ from the road
it’s a children’s song he knows i know
i lay myself down on the ground
emptied both my ears of sound
rise and shine, and give god the glory, glory
rise and shine, and give god the glory

Fever Moon

i saw grey at the temple
i saw blue in the sky
i saw white at the castle
with a black eye

night sweat, soak, broke, hallucination
not yet doc, i like this prescription
deep pill chill, refill my irrigation
back in the cups, i changed up my station
from pirate to tycoon, fever moon

i saw red at the rose
spreading green on the lawn
i saw brown at the derby
but the gold was gone

night sweat, soak, broke, hallucination
not yet doc, i like this prescription
deep pill chill, refill my irrigation
back in the cups, i changed my station
from pirate to tycoon, fever moon

i saw bronze take an age
i saw silver place
i saw rust take a belt
from an ashen face

night sweat, soak, broke, hallucination
not yet doc, i like this prescription
deep pill chill, refill my irrigation
back in the cups, i changed my station
from pirate to tycoon, fever moon


99 Bottles of Beer on the Wall

 

PreacherBoy_MissionSt

The song was originally written from the back window of a 4-room railroad apartment in Bushwick, Brooklyn, just after 9.11.

It was recorded at RPM studios in Manhattan, which is no longer there.

It was released on “Demanding To Be Next” which is still here.

It was played tonight at Mission St. BBQ, which is over there. I am looking right.

Tonight it wore a harmonica rack around its neck and had a ’36 National in its lap:

Preacher Boy – 99 Bottles [LIVE]

(if you don’t see the embedded audio player above, please click here to stream)

On “Demanding to be Next” it had that same National, but no harmonica. And it went like this:

When you want to sing along, sing it all night long. And it goes like this:

ninety-nine bottles

i think i better kill time
before it kills me
put some silence on a sawed-off
see if anybody hears me
there’s ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
rain is runnin’ off the roof
tick-tockin’ on the fire escape
and i’m pitchin’ pennies at the puddles
and takin’ a drink for every one i make
there’s ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
there’s lights on ‘cross the alley
but everybody’s blinds are drawn
and there ain’t nothin’ stirrin’
and nothin’ is goin’ on
there’s ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
ninety-nine bottles of beer on the wall
i like wine better, but i make do, y’all
(p) PreachSongsMusic/KobaltMusic/BMI
~

(header image by Jake J. Thomas)


One Of The Old Songs

PreacherBoy_GitCase_TrainTracks

I played 3 hours straight, no break. Solo acoustic. Just me and my two Nationals. It was a night of rarities. Preachorum Obscurata. In no particular order, I am pretty sure I played:

De Vamp (from debut album Preacher Boy & The Natural Blues)

Dead, Boy (ditto)

The Cross Must Move (ditto)

Like Me (PBATNB again)

Down & Out In This Town (from 2nd album, Gutters & Pews)

In The Darkened Night (G&P again. Last time I played this live? 2001, in Boulder, CO, methinks …)

Railroad (from G&P. This was my Grandpa’s favorite Preacher Boy song …)

Ugly (G&P)

Old Jim Granger (from The Tenderloin EP)

Black Crow (from Crow)

A Golden Thimble (from The Devil’s Buttermilk)

At The Corner Of The Top & The Bottom (fromTDBM again. Written about a lil’ corner just up the street from Biscuits & Blues in SF)

Friend’s Lament (also from TDBM. As far as I can recall, I only ever performed this song once live before tonight. On a radio show in Brighton, England)

Whistleman (from Demanding To Be Next)

Rock Skipper (also DTBN)

My Gold Canoe (DTBN again. Written with the very great Colin Brooks)

Comin’ Up Aces (DTBN)

Jackson Street (DTBN)

99 Bottles (DTBN)

West of the River (new/unreleased. NEVER performed this live EVER before)

Envelope (I think the last time I performed this live was at Two Boots in Park Slope)

My Car Walks On Water (unreleased)

Down The Drain (unreleased)

Cornbread (unreleased)

A Little More Evil (unreleased)

Blister and a Bottlecap (unreleased)

… and some other things as well, which I cannot currently remember. Other than “Sliding Delta.” I know I played that too …

The show was at Jerry’s Front Pocket in Santa Cruz. The cleanest dirty bar in world. Jerry is fantastic. We talked Nick Cave after the show, and MC 900 Foot Jesus.

PreacherBoy_PreachorumObscurata

 

It was epic.


The Country Blues

In Memory of Samuel Charters

Samuel Charters passed away last week. A man to whom I owe an almost inexpressible debt.

As I read Mr. Charters’ obituary, I was stunned to realize that I first read his book “The Country Blues” 30 years ago. Because of his book, I have been playing this music for 30 years. 30 years! If I read that number in someone else’s bio, I’d immediately assume elder statesman; a grizzled veteran; a lifer. Strange to realize that number 30 applies to me now.

TheCountryBlues_SamuelCharters_1

But that’s how important that book was to me. It literally changed my life. Dramatically. Who knew one seemingly innocuous trip to the library by my mother would result in a 30-year immersion in this music?

PreacherBoy_BlindPig

I signed my first record deal in 1994, with Blind Pig Records. This was approximately 10 years after I first read “The Country Blues.” If you look up my first bio on the Blind Pig Records website, you’ll find the story of the book right there:

“When he was 16, he stumbled upon Samuel Charter’s book entitled The Country Blues, which his mom had brought him from the library, knowing his current fascination with a Howlin’ Wolf record that he had found in the family record collection. Although he had never heard of any of the names in the book, their stories and personalities completely swept him away. He immediately ran to the record store and purchased a compilation album from the Newport Folk Festival, and thus began a lifetime of respect, love and devotion for the music of players like John Hurt, Son House, Fred McDowell, Bukka White, Mance Lipscomb and many others.”

GuttersAndPews

On my second Blind Pig album (Gutters & Pews), we did a version of Catfish Blues, based on a performance from the Newport Folk Festival by Willie Doss that I discovered on that Vanguard album noted above. The Vanguard album I bought because of Samuel Charters.

DemandingToBeNext_1

My album Demanding To Be Next was released in 2004. 20 years after I first read The Country Blues. On it, I did a version of “Death Letter Blues” by Son House. A song I first heard when I was 16 years old. Because of that book by Samuel Charters.

It’s early 2015 now. It is 30+ years since I read “The Country Blues.” And I am going to release a new album this year. (Actually, I’m going to release 3 new albums! But that’s another story …). And that album is going to contain performances of songs I first discovered because of Samuel Charters.

I won’t name names, but there are a lot of writers out there these days trying to make their names by debunking the idea of Country Blues. Writers who seem to think they’re awfully clever for “proving” that the whole story of Country Blues was “invented” by a bunch of misguided young white kids in the 60s who “rediscovered” Mississippi John Hurt, Son House, Skip James, Bukka White, Fred McDowell, and more.

Well, listen. I’m not rendering judgement on the conduct of those individuals. Dick Waterman, Stephan Grossman, John Fahey, Dick Spottswood, et al. But what I will say is this: I don’t care how clever you think your book is, or how deep your research is, or how many myths you think you’ve debunked, or how much you think you know about race issues as they relate to this music. Nothing — I repeat, nothing — can change the truth of those recordings. They exist. They are real. Those performances happened. Those songs were written. Those voices were lifted. Those chords were played. And my life –and the lives of so many others — was changed. Not because of any myth. Not because of some false and over-romanticized narrative. Not because of some imagined and perpetuated legend.

We were changed by the music.

I read the book, and the book took me to the record store. (Tower Records, Seattle). And the book and I, we found that Vanguard Twofer full of names that were in the book. And so the book and I bought it. And then the book and I took ourselves home on the bus. And when we got home the book and I went to the living room and put the album on the record player. And the book and I sat back and listened as Mississipi John Hurt began to play “Sliding Delta.” And my life changed.

And that is a true story.

And I would not have experienced any of this truth if it wasn’t for Samuel Charters. So to him I offer deep bows. Very, very, very deep bows.

Samuel Charters, you changed my life. And I cannot thank you enough.


Preach In The Pocket

Droppin’ into a new venue for the first time tomorrow night (1.4.15): Jerry’s Front Pocket. Gonna run the sound down with a trio: myself, harmonica ace Virgil Thrasher, and Zack Olsen on the skins.

I don’t know the place yet, but they’re pullin’ in some killer talent, including a couple of my ol’ Blind Pig Records stablemates: Debbie Davies & Popa Chubby.

This is gonna be a great chance to reunite with my new fave drummer pardner Zack Olsen, whom you can hear here poundin’ the tubs with me and Big Bones at Biscuits & Blues:

And as to Virgil and I, we were most recently caught together on New Year’s Day at my new weekly musical home Aptos St. BBQ, runnin’ down an alt. blues stomp-off of “If I Had Possession Over My Judgement Day”:

This particular trio format is a pretty odd one (National, Harmonica, Drums), but it’s a gas, with a lot of space for everyone to fill, and big responsibilities for the right hand thump; as there’s no bass …

Gon’ be playin’ tunes from the whole history; pre-Blind Pig, some Blind Pig era cuts, lil’ something from Tenderloin, even a cut from Crow, and of course some things from Devil’s Buttermilk and Demanding To Be Next.

Not to mention a whole slew of Bukka White, Son House, Fred MacDowell, Blind Willie Johnson, Sleepy John Estes, etc.

Gon’ be in the pocket. Dig.


Preacher Boy: FAQs

Q: Where does the name Preacher Boy come from?
A: Well, it started out essentially as a demi-derisive nickname a good friend used to call me when I’d get to soapboxing too much; sort of a Hazel Motes call out.

Q: How many Preacher Boy albums are there?
A: 6, if you include the 4-song Tenderloin EP:

 

Q: Best gigs ever?
A: Too many to count! How about favorite acts I’ve gotten to perform with? Some highlights:

  • Opening for Taj Mahal in Denver, Colorado
  • With Los Lobos at The Catalyst in Santa Cruz, and then with JJ Cale at The Catalyst
  • Opening for Shane MacGowan (The Pogues) at his annual X-mas show in London, ON my 30th birthday!
  • The San Francisco Blues Festival, the same day and stage as John Lee Hooker
  • Guesting in the set with Eagle-Eye Cherry, for his live concert film at Shepherd’s Bush, in London
  • Opening for Clarence Gatemouth Brown at The Great American Music Hall
  • With Sonny Landreth at The Great American Music Hall
  • 4 different shows at Slim’s in SF, opening for Bob Geldof, Peter Wolf, Jimmy Vaughan, and The Texas Tornadoes
  • With AJ Croce at Moulin Blues in The Netherlands
  • Opening for Cracker at The Warfield
  • Playing the Glastonbury Festival on the same bill as Portishead, Nick Cave, and Bob Dylan
  • Opening for CJ Chenier in LA, and for Buckwheat Zydeco at Bimbo’s in SF
  • Opening for Chris Whitley in Portland, OR
  • Playing opposite Chris Isaak at The Paradise Lounge in SF
  • Opening for Charlie Musselwhite at The House of Blues in New Orleans

PreacherBoy_TheNationals

Q: How old is your National?
A: 1936! And actually, I’m so fortunate, I have two now, both from 1936!

Q: What tunings do you use on your Nationals?
A: Well, as I said, I have two, and I use them differently; what I call “The National” (the one my Grandpa gave me) is my slide instrument, so on that one, I use primarily Open G and Open D, and the minors of each as well. My second National (the one that belonged to my Grandpa, and was passed down to me when he passed) I keep mainly in standard, though I’ll occasionally do Drop D or something like that. I have one tune for which I use a really strange tuning (Open C, essentially, but with no 3rd: CGCGCC), and I generally do that on this second National as well.

Q: What do you think about all the Tom Waits comparisons you’ve received over the years?
A: Well, two things, I suppose: 1) High praise, and 2) A lot of people need to go listen to Blind Willie Johnson, Bukka White, Charley Patton, Dave Van Ronk, Lemmy, Louis Armstrong, and Captain Beefheart.

Q: What’s the most successful song you’ve ever recorded?
A: Depends on the criteria for judging, really, so, four answers:

  • If you ask my bank account, it’s “Long Way Around” which I wrote with Eagle-Cherry. We recorded it at The Magic Shop in New York with Rick Rubin producing, and Eagle-Eye’s sister Neneh sung on it, and it went on to be certified Gold in Europe.
  • If you ask iTunes, it’s probably the version of “Old Boyfriends” I did for a Waits tribute album. Per the question above, I was a little put out by the request initially, but decided to do it as I found what I thought was a clever way to circumnavigate the vocal comparisons; Waits never sung “Old Boyfriends,” Crystal Gayle did, on the One From The Heart Soundtrack. So that’s the one I covered!
  • If you ask my discography, it would probably be “I Won’t Be There” from Gutters & Pews, as I think that’s the one that’s been anthologized the most. Or perhaps “This Is New York,” because that made it onto the Approaching Union Square soundtrack.
  • “Dead, Boy!” Because that was the first “professional” song I recorded with my National, and it was for my debut album, for my first record label! Thus, the beginning of it all …

Q: What got you into this music in the first place?
A: Simple. Side 1, song 1, of a Vanguard Twofer that collected all the great country blues performers who had performed at the Newport Folk Festival in the 60s. I put it on my record player with NO idea what to expect, and along came the first song: Mississippi John Hurt playing “Sliding Delta.” And that was it, man. I heard it, and I said, “I’m sorry Joe Strummer, but THAT! I want to be able to do THAT!”


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