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PostPosted: Mon April 22nd, 2013, 03:16 GMT 
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Joined: Sun September 16th, 2012, 12:31 GMT
Posts: 92
Location: cincinnati ohio
do u? i been trying more and more. here's one

"hallelujah, i'm ready to go now"

holdin' hands and makin' a vow
hallelujah, i'm ready to go now

not gonna hitch the highway
headin' down below
gonna make a home
on the streets paved with gold

holdin' hands and makin' a vow
hallelujah, i'm ready to go now

the white dove hung its head
with the willow
in the snow they hung
in blue blue sorrow

holdin' hands and makin' a vow
hallelujah, i'm ready to go now

http://www.reverbnation.com/elliottruth ... -to-go-now
recorded in Historic Herzog - where Hank Williams cut "I'm So Lonesome I Could Cry"


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PostPosted: Wed April 24th, 2013, 23:26 GMT 
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Joined: Sun September 16th, 2012, 12:31 GMT
Posts: 92
Location: cincinnati ohio
So, this "Practicing Revisionist Art" for me, is kinda like finding my own way to visit Mr. Guthrie at the Brooklyn State Hospital - and then making something with it, and dare i say, transfigure it. my "hospital", however, is located in Cincinnati OH.

it is a place over-filled, bountiful, and splendid with rock and roll, hillbilly, funk, hip-hop, bluegrass, blues, gospel, doo-wop, and country treasures. they are everywhere. the rhythm section who played on the original Little Willie John "Fever" and hundreds of King Records classics, plays jazz in a downtown hotel bar, yet, rather obscurely. Syd Nathan and Tiny Bradshaw are buried in neighboring grave yards. the last standing building in the world where Hank Williams cut his label releases still stands. Hiram cut eight there in including I'm So Lonesome Could Cry, Lovesick Blues, Lost on The River, and My Bucket's Got A Hole In It. the buildings where King Records was headquartered is still standing. a lot more to say, and to be found.

all of these Cincinnati treasures are pretty much buried. it took until 2008 before a historical marker was made for King Records at 1540 Brewster Ave, even though it was making history from 1943-1971. i was humbled to be a part of facilitating such a thing, with The Rock Hall, Bootsy Collins, the City of Cincinnati and others. The New York Times did a piece on it http://www.nytimes.com/2009/01/25/arts/ ... d=all&_r=0. we had a show that night the marker was dedicated with our local "grammys" called the CEAs and featured all sorts of King alumni - former Flames, Midnighters, and more. the show was bookended with Bootsy and the original JBs and Ralph Stanley and His Clinch Mountain Boys.

thru that experience i got to know Dr. Stanley's longtime guitarist and road manager, James Shelton, who stayed in touch with me as some of us did other things to try and breath life in, and take inspiration from, Cincinnati-tied music. the next year we held a series of celebrations to mark Hank Williams' landmark recordings at Herzog and erected a two-sided marker there.http://www.citybeat.com/cincinnati/arti ... round.html as i am a co-founder and officer in a non-profit dedicated to preserving and celebration such history (Cincinnati USA Music Heritage Foundation), i was amazed how that led to some support to lease the former Herzog space to further our mission.

while all this is happening, i would continue to find new depths of inspiration of encouragement through my Dylan engagement - whether The Lost Notebooks of Hank Williams, the Syd Nathan recordings played on Theme Time, or hearing Dylan practice Blues Stay Away from me with The Dead before they toured. or, when we unveiled the Herzog marker, the youngest daughter of Alton Delmore of The Delmore Brothers came up from Alabama and shared with me how Bob paid her direct respects for his appreciation of her dad and uncle. i was even blessed enough to hear from James Shelton about the session he was on with Bob when The Lost River was cut in 1997.

so, when Ralph Stanley came back to town last fall for the MidPoint Music Festival to play again at the historic Emery Theater, not only was i humbled to be a part of a Mayoral proclaimed "Ralph Stanley Day", but was struck to find how many songs and versions of songs Bob has been doing over the years that were by The Stanley Brothers and cut in Cincinnati.

i started back-tracking all the songs he was doing before The Lost River session, imagining he knew it was coming, as he was doing White Dove. i also saw, what appeared as an increase of Stanley Brothers songs in his sets. reading that Ralph's wife declared The Lost River as her favorite cut and Bob citing it as a career-high, or something like that, gave me pause to think how meaningful of an experience it was for him. with that, i made a cd that put original Stanley Brothers cuts next to Bob versions (thanks in large part to the sharing on expectingrain - thank u).

ordering them in sequence and meditating over the tracks, it occurred to me that Bob's process of performing these songs, plays a real role in Bob coming up with a song like Ain't Talkin'. while the song is obviously one that brings many sources together, Highway of Regret, is clearly there. yet, it is not a cheap lift. it is more, uplifted and presented with reverence and makes something completely new, while paying deep homage to the source(s).

so, with all that as a backdrop, coupled with a personal matter to address, came the inspiration to respond to ALL that. this is one of my offerings, albeit small, to the world of Revisionist Art. my next step, i think, must be to make the song "work" as Bob might say. or, in other words, it must be practiced.

So, to my original question with this thread, does anyone else here practice revisionist art?

A Syd Natanic Ritual
Ingredients:
1 PART Stanley Brothers songs cut in Cincinnati: White Dove, I’ll Not Be a Stranger, I’m Ready to Go, Somebody Touched Me, Pass Me Not, Searching For A Soldier’s Grave, Man of Constant Sorrow, Highway of Regret, Rock of Ages, Rank Stranger, Stone Walls and Steel Bars
1 PART Ralph Stanley songs: I am the Man, Thomas
1 PART Bob Dylan privately performing and recording Stanley Bros. and Ralph songs: (all listed above in order of concert appearance, except Highway of Regret)
1 PART Bob and Ralph together: The Lonesome River
1 PART Bob song birthed in part from his Stan. Bros. respects: Ain’t Talkin’
1 PART meditation on mix of all songs which starts with Lonesome River then orders Bob covers next to originals in touring order, then end with Ain’t Talkin
1 PART perform and record songs from mix in Herzog
1 PART reflection on personal engagement with Ralph and Bob camps
1 PART response to body of songs and Bob’s response to Ralph’s
1 PART write new song
1 PART record song in sacred song space - Herzog
ALL PARTS serve as offering to transfigure personal need

New song:
“Hallelujah, I’m Ready To Go Now”


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PostPosted: Sat April 27th, 2013, 14:37 GMT 
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Joined: Sun September 16th, 2012, 12:31 GMT
Posts: 92
Location: cincinnati ohio
syd natanist wrote:
reading that Ralph's wife declared THE LONESOME RIVER as her favorite cut and Bob citing it as a career-high, or something like that, gave me pause


how do u edit posts? thru control panel?


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PostPosted: Sun April 28th, 2013, 07:49 GMT 
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Joined: Wed June 6th, 2007, 20:48 GMT
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Location: In the land of the midnight sun
syd natanist wrote:
syd natanist wrote:
reading that Ralph's wife declared THE LONESOME RIVER as her favorite cut and Bob citing it as a career-high, or something like that, gave me pause


how do u edit posts? thru control panel?


If someone quotes your post, you'll be unable to edit it.
It's also time-limited.


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