Anthology of American Folk Music

  Folk, as in for the people and by the people, and not from the 50's or 60's.  This anthology all stems from the late 20's and early 30's.  There are three volumes and six records, all released in 1952.  As far as the music goes there is a large cross-stream of styles, genres and sub-genres, which I am not going to get into, better just leave it as Folk.

  The grapevine says, and you can hear, were all the famous folkies, you know which ones, have drawn inspiration from this Anthology.  Every single Old Timey tune is taken from eccentric weirdo Harry Smith's personal 78 collection, making it the highest profile bootleg put out, there was no way to get the rights for all this stuff ... just imagine going all over the country side, not only to find the records, but to find the people or someone related to buy the rights to a song that was randomly recorded ... plus it came with a very interesting zine style notes booklet, which was purchased separately for a dollar in 1952, and downloaded for free in 2012, giving you all kinds of information on each and every song. 

  The set is cut into three volumes: Ballads, Social Music and Songs.  Volumes one and three sound very much alike, but have two very different lyrical themes.  The Ballads are either versions of old European Folk songs, meaning Demons, Devils, Folklore, or are about some kinda historical narrative, meaning there could be a song about why the shoe factory closed, or a song about a drought.  Social Music, Volume two, my least favorite, is the music you'd hear at any kind of gathering, from the music at a drunken barn dance to what you'd hear in a gospel church.  I doubt Smith chose these songs whether they were good or not, but chose the music that would best serve as example to what the real experience would have sounded like.  The third volume, Songs, are about everyday personal life from marriage to prisons.

  Rock music would have been totally different if Smith didn't go on his historical crusade, imagine what music might be like without Bob Dylan?  I think there might have been a sound progression similar to what we have had now ... maybe ... but lyrically I think we'd be stuck with dumbass glamourized funtime bullsh*t, which isn't the real world.  These volumes are a look into music in it's purest form, there was no hope of fame, the idea of a hit single hadn't even been invented yet, these people were making music because they had to, like an artist just has to paint.  Some of this music is hard to listen to, but imagine how hard it was to live it ....

Six Finger Satellite -- Paranormalized

  Loud, crazy and totally awesome, Paranormalized is a mix of Joy Division colliding forces with The Mummies, a sorta apocalyptic Electro Garage Wave?  Maybe?  80's style Keyboard Classic, Coke And Mirrors, could and should have been some kinda major hit, I'm sure it'll pop up in some hipster movie soundtrack, or eventually find it's fame in a Volkswagen commercial, dammit maybe I just gave those suits the idea, just remember I said it first!

The Coasters -- Young Blood

  There are a couple of 1968 stinkers on this double LP anthology set, otherwise the rest is killer music and a true testament to Rock 'n' Roll.  The Coasters get bunched in the whole Doo Wop thing because they're a vocal group, but I think their sound is more drenched in Rhythm and Blues.  Almost every tune is penned and produced by the illustrious team of Leiber and Stroller, which at the time if those guys have got your back you've got some sure fire hits and major talent!  Who's that in the back playing that wicked Yakety Sax, but the man himself -- King Curtis!

Joy Division -- Unknown Pleasures

  One of the most dark, dismal and brilliant records ever made ... Eno meets Punk Rock!  Joy Division's short career produced some of the most game changing music.  There's a Kafkaesque bleak futuristic sound to their music, like a band from dystopia ... unfortunately Ian Curtis practiced what he preached, but fortunately their producer extraordinaire Martin Hannett, was able to capture the group at their best, whether they liked it or not!

U-Brown -- Weather Baloon

 Dub Reggae, early Rapper, known in Jamaica as a Toaster, Classic U-Brown.  The back cover tells me that U Brown replaced U Roy during a stint with illness, he became such a good DJ/ Toaster, he started his own thing.  As far as Dub Reggae goes this album doesn't even touch anything by the likes of King Tubby or Lee Perry, it has it moments but I can't say I was crazy about it ... just too damn long, with the same thing over and over, U Brown blabbering in nonsensical rants, which at some points I wasn't even sure if he was even saying words or just blabbering sounds that he might have thought were cool -- who knows?  Point is this record was OK,  but a 45 would have been enough ...

Circle Jerks -- Group Sex

  Classic 1980's Punk record, and probably the shortest, just over 15 minutes, but those minutes are jam packed with the best Hardcore there is ...  it's perfect!  The lyrics feel like social critique themed Punk haiku's.  I definitely prefer Morris's Circle Jerks material over his stint in Black Flag, which was very good, but he sounded more like Johnny Rotten ... here he really finds himself and unleashes the Hardcore masterpiece he was always meant to make!

Willie Nelson -- Red Headed Stranger

  Me neither, I can't believe I'm reviewing a Willie Nelson record, but I've heard about this album around the camp fire a so many times -- I couldn't resist it.  Willie is playing back to the basics American country Folk music, which at the time was unheard of for a commercial artist, who was just given complete freedom by the industry.  The record is a concept album, about a Red Headed Stranger, aka, the preacher who catches his wife in an infidelity, kills her and new lover out of blind rage, he flees and becomes an outlaw ... eventually our anti-hero is an old man with a new life, wife and grandchild, picnicking in the sun.