…or at least we’re finally on CD Baby. After much gentle prodding from Tangleweed‘s Kip Rainey (source of many of the most delightful TweedBlog posts), I finally got my act together and sent in the 5 CDs of 2002’s “Everything for Everyone” that the site needs to start enabling self-distribution.
On our CD Baby page, you can hear significant chunks of all the songs, read a description of the band which, hands down, wins for the highest density of compound adjectives of any of the descriptions I’ve seen, and link to other examples of bands in the Avant Garde: Avant-Americana, Folk: Skiffle, and Lo-Fi categories. As you’ll see, we come in as both a top-7 editor’s pick and a top-7 best seller in the Folk:Skiffle category. Largely because there seem to be only 7 records in that category. Feel free to review the CD if you’ve heard it, and feel even freer to buy it!
I held off actually sending things in until I’d at least tried to cross some of the legal t’s and dot some of the copyright i’s that would make it ok for a commercial CD and downloads to include the covers we did on that recording: “Rhapsody in Blue,” “Pennies from Heaven,” Angie Heaton’s “Pretty Is as Pretty Does,” and Liz Phair’s “Dance of the Seven Veils.” It’s somewhat obscene that Gershwin’s 1924 piece is still under copyright, 88 years after publication, and (given that he died in 1937) now exceeding even the life-plus-70 years of protection that authored works are supposed to get.
“Good Morning, Irene”
As I suppose is obvious, this is an answer song to Leadbelly’s “Goodnight, Irene,” inverting that eve’s hope-tinged despair for the new morn’s despair-tinged hope. I needed a song to help my three-year-old daughter, Irene, wake up as the mornings got colder and darker. I also needed a song for the Paint Branch Bluegrass Boys to learn that we could call our own. Leadbelly’s song is a waltz; this one is in four.* Written during the week of October 21-27, 2007.
Irene, good morning; good morning, Irene
The sun will soon come creeping through
The day ahead I know will be
A day just for me and for you
I told your mother that you were the one
I loved you with all of my heart
I’d love, honor, cherish, obey
And keep you ’til death did us part
I’ll stop all my rambling and staying out late
I’ll sit by the fireside bright
No rambling, no gambling, no bounding, no rounding
No staying away half the night
I’ll live in the country, I’ll live in the town
I’ll live in a land far away
And if I don’t jump in the river and drown
I’ll live anywhere that you say
I’ll take you to Georgia, I’ll take you to Rome
Far from these hills of Tennessee
I’ll take you to Georgia and we’ll make a home
In the land of the sweet what’s-to-be
I love Irene, the Lord knows it’s true
I love her with all of my might
I’ll pack up my morphine and put it all away
‘Til the day that Irene says goodnight
* The chords follow the Leadbelly changes (I-V-V-I, I7-IV-V-I), and the melody approximates his, though in the first half of each verse/chorus the lines are halved and double-timed (i.e., the same rhythm as the lines in the second half).
BELTSVILLE AGRICULTURAL RESEARCH CENTER, EAST FARM
Oktoberfest organized by the Department of Entomology, University of Maryland-College Park
Playing jug and banjo uke with the Paint Branch Bluegrass Boys
- “I’ll Never Love Anybody But You”
- “Long Journey Home”
- “Banks of the Ohio”
- “Ocean of Diamonds”
- “Wildwood Flower”
- “Blackberry Blossom”
- “CC Rider”
- “Kentucky Waltz”
- “Whiskey before Breakfast”
- “In the Jailhouse Now”
- “If I Lose”
- “Jerusalem Ridge”
- “Skip to My Lou”
- “Down Yonder”
- “Old Home Place”
- “Wagon Wheel”
- “In the Pines”
- “I Saw the Light”
- “You Are My Sunshine”
- “Tell It to Me”
- “Hot Corn Cold Corn”
- “Jack’s Red Cheetah”
- “Blue Ridge Mountain Home”
- “The Fox”
- “Ashokan Farewell “
A recent request for a recording of “Das Kapital” from an intrepid ex-colleague of mine from grad school in Champaign-Urbana (thanks Becky) got me thinking about why I’ve made it so hard to find and order the CDs recorded by The Viper and His Famous Orchestra: Everything for Everyone and A Song for All Seasons. Every couple months or so I get a request, but right now you pretty much have to hire a private dick to figure out a) who I am and b) how to reach me.
So as a start on smoothing the flows of the aforementioned capital, I’ve updated the “About the Viper and His Famous Orchestra” page to give my contact information and pricing information on the two recordings. (Soon, I hope to make it even easier to get these without anyone having to deal with me personally at all!)
Those efforts jump-started some other long overdue efforts to give more bio and personnel information for the Orchestra, and to finally scan in some of the fantastic CD cover art that Edward Burch designed. Some of this you are seeing at the top of this entry.
Specifically, feast your eyes on the front cover art for A Song for all Seasons, the 5-song live EP of covers recorded at the Highdive and Mike & Molly’s in Champaign, Illinois, in April of 1999 and February of 2000. Burch, the Orchestra’s suitcase player, is third from left on the cover. His design lovingly recreates the cover art of the 1960s LP of the same title by harpist Robert Maxwell (Decca DL-74609), along with some other borrowed elements (e.g., the “360 Stereo” tag) typical of the era.
The individual photographs were taken by our friend Rachel Leibowitz in a basement classroom of the Music Building at the University of Illinois at Urbana-Champaign. Despite appearances, they were all taken in the same season, on a snow-covered winter day. Pictured, left to right, is bassist Riley Broach, Ryan Jerving (the Viper), Burch, and trombonist Rob Henn. Riley and Ed provided their own costumes, but I’ll have you know that the top half of Rob’s costume came from my wardrobe and is STILL basically the outfit I’ll wear the first day of class in Fall semesters.
HOMEGROWN COFFEE HOUSE, ACCOKEEK, MARYLAND. February 3, 2003. My first real show in quite a long time, and with two full sets clocking in at a whopping two hours of wall-to-wall Viper. You can see the full set list here.
The show was most notable for the rocking-the-mic debut of my daughter, Irene, now just a few weeks over three years old, who handled herself with remarkable aplomb and a stage presence well beyond her years as she shouted out the “Interjections!” in the Lynn Ahrens song of that name.
The covers I played all dated from 1968-1974 and included songs by Norman Greenbaum, Harry Nilsson, Melanie Safka, Badfinger, Tom Lehrer, a number of Joe Raposo’s songs for The Electric Company, and one song from each of Tiny Tim’s first three records. Aside from the songs having in common a historical overlap with my first six, formative years on this mortal coil, they all share a post-Beatles rock aesthetic played against the use of pre-rock – and even pre-swing – pop song forms and arrangements (or is it vice versa?) joined to a Gertrude-Steinian interest in imploding language, melody, and harmony at their simplest, morphemic level. Well, you knew that.
This show also featured a number of newly-completed songs from The Viper’s work-in-progress House Un-American Activies Committee musical, Are You Now, or Have You Ever Been…Blue?, including the eponymous love-that-dare-not-speak-its-name duet intended for Roy Cohn and Langston Hughes; a new barbershop ballad titled “Sing a Song of Texas” to be sung by first HUAC chair Martin Dies; the Sterling Hayden showcase, “My Seafaring Lassie”; and at least one song yet to be placed, the embarassingly folk revivally “Time of the Leaving.” Oh, and my own Schoolhouse Rock-type bid at mnemonic education, the song that promises to teach you the names of the Hollywood 10, “And Sometimes Dmytryk.”