JOHN HARTFORD – Housing Project – (RCA) – 1968

I love John Hartford.

Every time I find a new John Hartford album I become excited with anticipation.

Perhaps it’s because he has such a vast canon to explore and the fact I didn’t really know who he was till 10 years or so ago has something to do with it. But, as others wait with fetishist anticipation for the next Artic Monkey release (groan) I scour op-shops, records stores, eBay and google generally for Hartford albums I do not have.

There is no cult around Hartford and generally he isn’t that well known in the US, and he is quite definitely obscure outside the US. He has, though, become a cause célèbre for lovers of old time country, obscure Americana, and music which is generally, gentle on your mind (sic).

Hartford’s strengths are his clear vision, a respect for the past, an accommodation of the present and a hope for the future. These philosophical positions he has accommodated in music which perfectly complements them. His music is, then, from the past, of the present and part of the future.

This may sound lofty but all you have to do is listen to a Hartford album and you will get swept up in his narratives. The narratives are in dispersed with (occasionally weird) musical asides which make the albums interesting to listen to with both heart and mind.

Hartford is never “one note” as there is humour, tragedy, and insight in his music. This gives his albums a slice of life feel, with a link to the land (or water), people and the passing of time that is palatable.

He is what Billy Bragg wishes to be if he was sharp,

or what

Mumford and Sons would like to play like if they were creative,

or what

Wilco would like to sound like if they were of the people.

The English “folk” acts are an easy target but even most alt country and Americana would kill to have a recorded resume like Hartford.

That’s not to say he puts out “gold” all the time but there usually (at least on my listening thus far) more hits than misses on his albums.

This album, his fourth, is a good example. The album is of its time and Hartford was still probably playing the game and allowing the record companies to have an influence over his music (but who knows).

There are late 60s light psych trappings on this album but what is really impressive is that Hartford’s song writing craft is fully formed.

The themes he loves have emerged and they are complimented by his voice which is ragged, scrappy, emotive and ultimately endearing. (and didn’t change much through his career)

I don’t know who was behind the contemporary (1968) slight psych and eastern sounds as it certainly wasn’t producer Felton Jarvis style (Elvis’ producer – I assume Felton let Hartford do what he wanted much like he did with Elvis) but these musical trappings actually work for me as they don’t “take over’ the album and remain in the background, largely. Clearly, you won’t look here for Hartford’s old timey or newgrass sounds, though elements, of both, exist.

If you care to listen you will find that Hartford has created a country lounge (or rather porch) psychedelic concept album.

The songs are linked which is made clear in the spoken word intro poem and album title.

After that Hartford both plays with his late 60s audience and also hands up music which could have sat nicely next to The Byrds or The Dillards.

Also I should say that this album really lends itself to a Syrah Dolcetto or red Moscato wine – now there is an idea for a blog …what wines go with what albums.

I can see it now “ “this early Hartford goes well with a Moscato as does an aged sharp cheese, preferably with a pleasant tang to offset the sweetness of the wine”

Hartford would approve, I suspect.

Tracks (best in italics)

Housing Project- spoken word introducing the concept of the album
I’m Still Here- a statement of faith in oneself as the world around him challenges him to withdraw, surrender or retreat. Quite funky with the horns – a little like Lee Hazlewood.
Crystallia Daydream– a beautiful love song if there ever was one. artfordHartford manages to capture the fragility of love like few others.
The Girl with the Long Brown Hair– beautifully humorous …the narrator loves the girl with the long brown hair …. And warns her of curlers, peroxide etc..
I Didn’t Know the World Would Last This Long- another beautiful song
The Sailboat Song– if you love sailboats you will love this song…an ode to a sailboat as a lover (!) which is both graceful and evocative.
The Category Stomp– a piss take on the dance craze song and the wordier folksters. A Hollywood cowboy beat with psych overtones. A hoot.
Go Fall Asleep Now– country lounge ….Lambchop where are you?
My Face- all the action goes on “in back of this face”…get it.
Big Blue Balloon- a carny start with dialogue from “Little Egypt” . the song segways into a child chasing a big balloon. What it’s about I don’t know but clearly there is significance in the big blue balloon
In Like Of– In like of you as opposed to In love with you?
Shiny Rails of Steel- a train song of course with a beat reminiscent of “Gentle on My Mind”