folk

Joni Mitchell | My Old Man

“Joni Mitchell’s ‘My Old Man’ is quintessentially Joni: whimsically metaphorical, groundedly realistic, and fiercely independent with its laissez-faire approach to long-term, committed relationships,” (American Songwriter). “She wrote the iconic track, which she included on the 1971 album Blue while living on Lookout Mountain in the Laurel Canyon neighborhood of Los Angeles. At the time, Mitchell was in a whirlwind relationship with Graham Nash—a relationship that, although doomed from the start, produced other enduring tracks like ‘Our House’ and ‘A Case of You,’ the latter of which is also on ‘Blue.’

A definitive musical power couple, Mitchell and Nash’s relationship was bigger than either party and, as the song clearly states, antiquated ideas of legal domesticity through marriage. Within the context of Joni Mitchell and Graham Nash’s relationship, the opening lines of ‘My Old Man’ paint a clear picture of the creative duo: My old man is a singer in the park; he’s a walker in the rain; he’s a dancer in the dark. Almost immediately, Mitchell asserts the fact that neither party feels the need to validate their bond through traditional means of marriage. We don’t need no piece of paper from the City Hall keeping us tied and true, she sings in the chorus. “

The intro and choruses are built in A major; the melody soars to Mitchell’s legendary high range as she details times spent together with her partner. From 1:17 -1 1:42, a verse (bridge?) cycles through several keys, all providing vivid contrast to A major! After another chorus, the verse/bridge (which returns at 2:17 – 2:42), which recounts the couple’s time apart, features a lower melody and more complex, darker harmonies.

B+B Project | Cheremshyna

“B+B Project” is a Ukrainian ensemble named for its instrumentation (button accordion and bandura, an instrument which combines qualities of the zither and the lute). “The bandura is a traditional Ukrainian instrument … the B+B Project is bringing back the popularity of this fine instrument!” (EthnoCloud). “The group was created (in) 2015. They play a diverse repertoire: original songs, cover versions, rock, classical music, dubstep, Ukrainian music, and many others … The collective has toured extensively in Ukraine and around the world.” The B&B Project is now one of the most famous instrumental groups in Ukraine.

The group released “Cheremshyna” in 2022. After beginning in A minor, there’s a shift up a full step to B minor at 1:53. At 2:27, the tune returns to the original key.

The Indigo Girls | Reunion

“The Indigo Girls … have been friends singing together since they were kids in 1970s Atlanta,” (New York Times). “They make a good living as working musicians, touring regularly to delight a loyal fan base … But their music — songwriterly, acoustic-forward, aggressively emotional — hardly seems a good fit for our strange and cynical times. They are, as the kids would say, cringe … Cringe: the ultimate insult of our era. It implies a kind of pathetic attachment to hope, to sincerity, to possibility.

I asked (film director Greta) Gerwig why the Indigo Girls were in Barbie. ‘The Indigo Girls were part of my growing up … ‘Closer to Fine’ is just one of those songs that meets you where you are, wherever you are. It has spoken to me throughout my life, like a novel you revisit,’ … This is what the Indigo Girls are all about. Sincerity coupled with wisdom, which is a recipe for something durable: solidarity. A sense that we are in this together. The Indigo Girls are great. Cringe but true. That’s because the kernel of who we are is cringe. That is what it means to be open to the world. To be open to the possibility of a future different from who you are now.”

“Reunion” is a track from the duo’s fifth studio album Swamp Ophelia (1994). Tim Paul, a first-time contributor to MotD, explains that “the song is in A major until the instrumental interlude around 2:21; they modulate to B major, then back to A major at 2:51.” Many thanks, TP, for this wonderful submission — doubly good because it marks the Indigo Girls’ (long overdue) MotD debut!

Grateful Dead | Let Me Sing Your Blues Away

“The self-produced Wake of the Flood … originally came out in October 1973,” (Americana Highways). “… when you compare Wake of the Flood with the group’s most recent previous studio efforts, 1970’s Workingman’s Dead and American Beauty, those earlier LPs found the group forsaking extended psychedelic jams and improvisation in favor of succinct, country-flavored rock statements that relied heavily on vocals and acoustic instruments.

You’d never describe Wake of the Flood that way, which is not to say that it takes off in a wholly new direction. Yes, there are horns and there’s also more jazz influence as well as funk and ragtime, but the album is less of a reinvention than a vinyl presentation of the sort of music the Dead had been performing in concert for years. It also retains some elements of earlier studio albums.”

“Let Me Sing Your Blues Away,” the second track on Wake of the Flood, features an consistent level of intensity throughout, which seems to be one of the band’s trademarks. There are no buildups, no quiet bridges, no intense shout choruses … rather, an eternal “now” for which the band was well known. But a more unusual quality of the track is its frequency of unconventional, generally unprepared key changes. After a start in Bb major, there’s a cavalcade of unceremonious keys of the moment starting at 0:50 leading into a section in A major at 1:15, B major at 1:30, C# major at 1:45, and some frequently shifting key of the moment connective tissue leading to a return to Bb major at 1:56. Finally, here’s a shift to G major at 2:21 and a chromatic lead-in back to Bb major at 2:47.

Dougie MacLean | Ca’ the Yowes

“Technically, Dougie MacLean is a ‘Scottish singer-songwriter.’ But that minimal moniker doesn’t tell half the tale … the Perthshire native can look back on a hugely successful recording career with more than 15 albums,” (Seven Days). “MacLean toured as a member of the rocking Scottish folk supergroup the Tannahill Weavers in the 1970s and was briefly a member of Silly Wizard, another legendary traditional band from Scotland. But his popularity was assured in the early 1980s with his solo album, Craigie Dhu. This recording contains MacLean’s ballad ‘Caledonia,’ a love song to his homeland that has become a veritable Scottish national anthem.

… MacLean sings and plays his own pretty compositions as if each song were a lullaby for a loved one, or for his own pleasure, as if he doesn’t have a care in the world. His vocals are silky and crystal-clear, his guitar work unhurried and graceful. His is not music for the cynical. If you dislike the texture and sentiment of, say, James Taylor’s ‘Sweet Baby James’ or Cindy Kallet’s ‘Working on Wings to Fly,’ MacLean’s sound may not be for you. He has a deep sentimental streak, which seems indigenous in Scotsmen who write folk songs — or folk ballads, or something more acoustic-music specific than just ‘songs.’ But to his fans, that sweetness is one of the reasons so much of his work is memorable. His recordings could also function as master classes in how to accompany a voice with acoustic guitar.”

“Ca’ the Yowes,” from 1995’s Tribute, indeed features a gentle lullaby feel, starting in C minor. At 1:59, the tonality shifts to D minor underneath an instrumental interlude. At 2:58, the tune passes back into C minor in advance of more vocal verses; the beginning of the D minor section seems more difficult to discern than its end. According to the Scottish Country Dancing Dictionary, ca’ the yowes tae the knowes means ‘drive the ewes to the knolls.’ The tune was based on a poem written by Robert Burns in 1789.

Spiers + Boden | Bluey Brink

“Spiers + Boden have been at the forefront of the English traditional folk scene for 25 years both as a ground breaking duo and as founder members of folk phenomenon Bellowhead,” (Bristol Beacon). “After a seven-year hiatus to concentrate on their Universal Records-signed big band Bellowhead, Spiers + Boden returned in 2021 with the critically acclaimed album Fallow Ground and have been taking their brand of high octane, no nonsense acoustic folk song and music to packed UK venues ever since.

Spiers + Boden first rocketed onto the music scene in 2001, quickly winning a clutch of BBC Radio 2 Folk Awards, and went on to become one of the best loved duos on the English folk scene and beyond.”

Starting in D major, “Bluey Brink” (2024) transitions to E minor at 0:25 before the first verse starts. 2:26 – 2:36 brings an interlude in G minor, where a return to E minor drops. 4:10 brings a return to D major, with the outro mostly mirroring the intro.

Judy Collins | The Moon Is a Harsh Mistress

Judy Collins “has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism,” (JudyCollins.com). “In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.”

Collins is likely best known for her distinctive cover versions of Joni Mitchell’s “Both Sides Now” and Stephen Sondheim’s “Send in the Clowns” and for inspiring artists including Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen (who highlighted her legacy with the 2008 album Born to the Breed: A Tribute to Judy Collins). But her versatile musicality and flawless soprano have also supported memorable performances of scores of lesser-known songs.

One example of such a song is Jimmy Webb’s “The Moon is a Harsh Mistress.” The legendary “Wichita Lineman” is likely the songwriter’s most prominent creation, but “Moon” features the same level of songcraft. Webb recalls ” … (it) became a standard without ever becoming a hit and was symbiotic of that decade of my life, my struggle, my failure, my angst, my pride and even scorn,” (Songfacts) ” … recorded by Judy Collins, Joe Cocker, Joan Baez, Linda Ronstadt, Shawn Colvin, Pat Metheny, Glen Campbell. A list of people who got it.” Starting in Bb major, the 1975 track transitions upward to Db major via a tiny yet assiduous instrumental bridge (1:41 – 1:45). Once in the new key, the gorgeous melody and haunting lyrics are at center stage.

We Five | You Were On My Mind

“In 1965, We Five was near the top of the charts, with a great tune, ‘You Were On My Mind’ … I’d rate it among the best songs of the 60s,” (Brad’s All-Vinyl Finds). ” The band had a few other minor hits, but nothing else like this … (Lead singer Bev) Bivens’ voice starts out rather quietly; then there is the signature strum … Folk-rock was about to begin.

… singing the song took everything (the band) had. The released version … is take 13, with an earlier take of the shout-out-loud ending vocals spliced on from an earlier, less fatigued take … Today’s bands can multitrack and digitize their way to an essentially perfect song. But in 1965, We Five keep singing it until they exhausted themselves. They performed.“

After a start in E major, the tune shifts up a whole step to F# major at 1:25. Originally written by Sylvia Fricker and perfomed by her duo, Ian + Sylvia, in 1961, the tune was subsequently covered several times by artists in several countries. But We Five’s version was by far the most prominent version of the tune, hitting #3 on the Hot 100 chart and reaching #4 on Billboard’s year-end list of 1965’s best songs.

Many thanks to Paul G. for reminding us about this distinctive tune!

Carole King | Tapestry

“Tapestry” is the title track from singer-songwriter Carole King’s second studio album, released in 1971 and one of the best-selling albums of all time. In 2020, the record ranked 25th on Rolling Stone’s list of the “500 Greatest Albums of All Time.”

The track, for which King wrote the music and lyrics, begins in F and modulates up a half step at 2:15.

Holly Near | I Am Willing

“Holly Near has had an amazing, exemplary life of artistry, performance, songwriting, and activism,” (The Progressive). “The arc of her professional life has spanned more than five decades in a most unique fashion, singing for a more peaceful, equitable, just, and feminist world. Through her music, she has been an insightful storyteller, consistently committed to keeping her work rooted in contemporary activism. Respected around the world for her music and activism, Near has released more than thirty albums and performed in many countries.

Near was born in 1949 in Ukiah, California, into a family that encouraged creativity. At age twenty-three, a half-century ago, she wrote her first feminist song, ‘It’s More Important To Me.’ About the same time, she started Redwood Records to support the release of her first album, Hang In There. Near was one of the first women to create an independent record company, paving the way for others in what had been a completely male-dominated industry … Near been recognized many times for her lifelong work promoting social change, including with honors from the American Civil Liberties Union, the National Lawyers Guild, the National Organization for Women, and the National Academy of Recording Arts and Sciences, Ms. magazine, and the Legends of Women’s Music Award.”

“I Am Willing,” released on Near’s 2006 album Show Up, draws on an elegantly simple melody and chord progression. Its gradually burgeoning power and anthemic, gospel-influenced contemporary folk sound carry the day, particularly after its whole-step key change (1:44). Many thanks to Amy C. for this submission (her second)!