I have waited too long to get to this one.
John Hartford is one of the greatest of all country music exponents.
And, if you come from a indie rock, punk, experimental or otherwise adventurous musical background he is possibly the greatest.
Check out my other comments for biographical and other detail on him.
I'm in danger of repeating myself from earlier comments, but it's worth saying that Hartford's music is full of humour, drama, tragedy and observation. It is both extremely traditional and ultra modern in out look.
Hartford wasn't afraid of anything. Perhaps the royalties he was getting from one of the greatest of all country and pop songs "Gentle on My Mind" (a hit for Glen Campbell and Dean Martin and covered by Elvis Presley and many others) meant he could do whatever he wanted,
And, that can be dangerous if the person is a one trick pony, but Hartford had a fine, inquisitive and adventurous mind.
That financial security (of sorts) meant he can wear his music on his sleeve and be completely honest (though I suspect it would have been anyway). Given that, (after 1970), perhaps to the dismay of his record labels, he has no need to pander to an audience and by not doing so he creates a whole new audience of devoted country afficionados.
Even today, his music still comes as a bit of a shock.
I'm not saying this is some sort of crazy free from jazz (though he does write a song about "John McLaughlin") but if you like country music and understands its structures, symbols and history he will come as a shock or, perhaps, a heretic.
By the same token those who love old country, the music that was around before country became country, love the references and homage-like gracenotes to old Americana, love hippie like anarchy, or have a sense of humour will love this.
In another comment, "I called Hartford "Progressive" or "Weird" country. He is still that, but as I said then he is also much more. I said: He has also been referred to as literary folk music and "MOR romantic nostalgia told from the perspective of a homeless man remembering days of perfect love"…. I like that …. He has also been called Americana/Appalachian Folk/Country-Rock/Old-Timey/Progressive Bluegrass/Progressive Country/Progressive Folk/String Bands/Traditional Country … take you pick …but I like all those also'.
Even today with all the cross fertilisation that has gone on in country and bluegrass music , Harford, still, sounds distinctly quirky.
At the time of this album John was invigorated. His mainstream high point had come with Aereo-Plain (1971) and Morning Bugle (1972) which didn't sell well. He signed with Flying Fish and released the wonderfully quirky "Mark Twang" (1976) before releasing this, and then going on to release an album a year for the next five years and lots thereafter (quite a few with Flying Fish).
Flying Fish suited Hartford. The label based in Chicago was founded in 1974 by Bruce Kaplan the former president of the University of Chicago's Folklore Society. His aim was to please the hardcore aficionados but also to get the music to a wider audience. "Essentially, he located a niche between the hit-based promotion model of the major labels and the faith of the small independents that the music would find its own audience" https://www.discogs.com/label/94384-Flying-Fish-2
The records did reach a wider public (or rather were available to the wider public) but you won't find any top of the pops amongst them.
The playing is excellent as you would expect from a bunch of country, bluegrass (including Mac Wiseman on one track) and session legends (including Elvis semi-regular, David Briggs).
This album has everything a Hartford devotee wants and expects. Some say it perhaps isn't the place to start but that depends entirely on your musical personality and tastes.
To me it is aural nirvana.
And the cover art is fantastic, perfectly rustic with John in the pilot house of one of his beloved paddle steamers.
Tracks (best in italics)
Side One
- You Don't Have To Do That – as country rock as John is likely to get … and it, only just, sounds like country rock. But it has a gentle, beautiful bounce with John breaking the musical fourth wall (is there one?) which he often does.
- Didn't Want To Be Forgotten – an instrumental with marvellous fiddle work and country skat-ish singing sounds.
- In Tall Buildings – shades of Mr Bojangles. Anyone who has walked in a tall building (office worker) but yearned for something simpler from their past will understand this song. Wonderful romantic melancholia.
Someday, my baby, when I am a man,
And others have taught me the best that they can,
Sell me a suit, cut off my hair,
And send me to work in tall buildings.
CHORUS: So its goodbye to the sunshine, goodbye to the dew,
Goodbye to the flowers, and goodbye to you.
I'm off to the subway. I must not be late.
I'm going to work in tall buildings.
- John McLaughlin – another instrumental and an ode to jazz guitarist (and Miles Davis sidekick) McLaughlin. Very odd, and not free form jazz but well played.
- Granny Wontcha Smoke Some Marijuana – No one will ever suggest that John didn't have a sense of humour. A traditional country fiddle hoedown with a non-traditional lyric. Bluegrass legend Mac Wiseman provides some harmony vocals on this.
- The False Hearted Tenor Waltz – lovely contorted vocals in a semi comedic song about the tenor of the title.
- Joseph's Dream – The story of Joseph from the Bible's Book of Genesis (the Amazing Technicolor Dreamcoat one)… lovely, matter of fact storytelling.
Side Two
- Down – another country hoedown instrumental.
- The Golden Globe Award – a song about err golden globe awards. Or, breasts. Perfect, though unlikely to be recorded in 2018. "You can put them in my face just any old time" …harr
- Sly Feel – another instrumental though this one has some electric shenangans. It lives up to its name.
- Somewhere My Love – (Maurice Jarre) / We'll Meet Again Sweetheart – (Flatt – Scruggs) – Maurice Jarre's love theme from the film Dr Zhivago (1965), "Lara's Theme" became the basis to the vocal song, "Somewhere my Love". The first vocal versions were by Connie Francis (not a hit in the US but a hit internationally) and Ray Coniff (#8US Pop) in 1966. We'll Meet Again Sweetheart was first released by Lester Flatt & Earl Scruggs and The Foggy Mountain Boys in 1949. Hartford shows his new / old everything is compatible philosophy, here taking 60s schmaltz and medley-ing it with an old bluegrass song. It's like some old guy singing stream of consciousness songs from his musical memory. Wonderful. https://en.wikipedia.org/wiki/Lara%27s_Theme
- Nobody Knows What You Do – a statement of faith and perhaps a statement on his musical position. Great fun.
And …
…. I'm keeping it.
Chart Action
nothing
Sounds
You Don't Have To Do That?
https://www.youtube.com/watch?v=fWvosfqDhkw
In Tall Buildings
mp3 attached
The False Hearted Tenor Waltz
https://www.youtube.com/watch?v=sPRKgwB0QGE
Joseph's Dream
https://www.youtube.com/watch?v=oaCR3n8tvrY
The Golden Globe Award
https://www.youtube.com/watch?v=Hekm2QXZ_wU
Nobody Knows What You Do
https://www.youtube.com/watch?v=b7wjd0Gg93c
Others
https://www.youtube.com/watch?v=rN0iOkMNZqQ
https://www.youtube.com/watch?v=G8HvNot3ZbY
with Glen Campbell
https://www.youtube.com/watch?v=7Bon3WIhDq4
Review
https://www.allmusic.com/album/nobody-knows-what-you-do-mw0000088794
http://nodepression.com/article/holy-trinity-john-hartford
Bio
http://www.allmusic.com/artist/john-hartford-mn0000221603
http://en.wikipedia.org/wiki/John_Hartford
Website
Trivia
- Personnel – John Hartford – banjo, guitar, fiddle, vocals, harmony vocals / Sam Bush – mandolin, vocals, harmony vocals / David Briggs – piano / Jim Colvard – guitar / Dalton Dillingham – bass / Buddy Emmons – dobro, pedal steel guitar / Roy M. "Junior" Husky – bass / Kenny Malone – drums / Benny Martin – fiddle, guitar, harmony vocals / Dale Sellers – guitar / Mac Wiseman – vocals, harmony vocals / Producer: Michael Melford.
- The paddle steamer on the cover (and back) is the towboat W.P. Snyder …. for you paddle steam "spotters".
RIP: Tony Joe White 1943 – 2018
