Fairytale of New York: once my traditional Christmas post

If not the greatest, the most widely documented Christmas single of ALL times!

By The Pogues, with Kirsty MacColl

It was Christmas Eve babe
In the drunk tank
An old man said to me, won’t see another one
And then he sang a song
The Rare Old Mountain Dew
I turned my face away
And dreamed about you

Got on a lucky one
Came in at ten to one
I’ve got a feeling
This year’s for me and you
So happy Christmas
I love you baby
I can see a better time
When all our dreams come true

They’ve got cars big as bars
They’ve got rivers of gold
But the wind goes right through you
It’s no place for the old
When you first took my hand
On a cold Christmas Eve
You promised me
Broadway was waiting for me

You were handsome
You were pretty
Queen of New York City
When the band finished playing
They howled out for more
Sinatra was swinging,
All the drunks they were singing
We kissed on a corner
Then danced through the night

The boys of the NYPD choir
Were singing “Galway Bay”
And the bells were ringing out
For Christmas day

You’re a bum
You’re a punk
You’re an old slutt on junk
Lying there almost dead on a drip in that bed
You scumbag, you maggot
You cheap lousy faggot
Happy Christmas your arse
I pray God it’s our last

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells were ringing out
For Christmas day

I could have been someone
Well so could anyone
You took my dreams from me
When I first found you
I kept them with me babe
I put them with my own
Can’t make it all alone
I’ve built my dreams around you

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells are ringing out
For Christmas day

 

The Story of “Fairytale of New York”

The title for this one comes from the novel A Fairytale of New York (1973) by Irish-American author James Patrick Donleavy (b., 1926). The novel itself was based on an earlier short story and a play “Fairytales of New York” (1961) that Donleavy also wrote. He was born in New York to Irish parents and relocated to Dublin following World War II. He became active in the Dublin art scene, traveling in the same circle as Brendan Behan (see Auld Triangle), and eventually gained Irish citizenship. His best known work is probably The Ginger Man (1955). Fairytale is still in print from Atlantic Monthly Press (ISBN: 0-87113-264-8). The imagery of the song doesn’t have any strict parallels with the novel, but the overall theme is similar in that both address the elusive nature of the American dream. In the novel, the narrator reveals that his fairytale of New York was the story he told as an orphaned child: “When I was a little boy. Left in a brand new foster home. I went out playing the afternoon around the block got lost, so busy telling all the other kids a fairy tale of New York. That my real father was a tycoon and my mother a princess…”

It was Christmas Eve babe
In the drunk tank
An old man said to me, won’t see another one
and then he sang a song
The Rare Old Mountain Dew …

The “Rare Old Mountain Dew” is a traditional Irish drinking song, usually done in a very upbeat style (the Pogues recorded a version of it with the Dubliners and released it on the “Irish Rover” 12-inch single). So the scene in the drunk tank was probably not as morose as either the music in “Fairy Tale” would suggest or as the narrator’s flashback may want to admit. This song is also a good example of Shane using his command of the traditional material to illuminate his own lyrics, in that the song is not only a great drinking tune and appropriate for a drunk tank, but the lyrics in the first stanza reappear under a different guise in Shane’s chorus.

“Galway Bay” is another traditional Irish tune. Lyrics reproduced below. The more “traditional” version is printed below. The Clancy Brothers and Tommy Makem have a version that’s funnier, and probably more in line with the sentiments of the opening verse of “Fairytale,” but one which I have a hard time envisioning the NYPD choir singing (The NYPD choir is the New York Police Department choir).

 
Galway Bay

If you ever go across the sea to Ireland
Then maybe at the closing of your day
You will sit and watch the moon rise over Claddagh
And see the sun go down on Galway Bay
Just to hear again the ripple of the trout stream
The women in the meadows making hay
And to sit beside a turf fire in the cabin
And watch the barefoot gosoons at their play.

For the breezes blowing over the seas from Ireland
Are perfumed by the heather as it blows
And the women in the uplands diggin’ praties
Speak a language that the strangers do not know
For the strangers came and tried to teach us their way
They scorn’d us just for being what we are
But they might as well go chasing after moonbeams
Or light a penny candle from a star.

And if there is going to be a life hereafter
And somehow I am sure there’s going to be
I well ask my God to let me make my heaven
In that dear land across the Irish sea.

 

 

Hardly Strictly Bluegrass 2015, Day2

Started my Saturday with an 8 a.m. moving job, not a brilliant idea considering I have a (very) bad back, had done more walking up & down steep slopes getting in & out of the festival (Hellman Hollow, formerly known as Speedway Meadow, named after the founder of Hardly Strictly Bluegrass, Billionaire Venture Capitalist Warren Hellman) than I had done in a couple of years, combined with the standing or sitting on the ground all day on the previous day– especially in light of the fact that I was planning on doing the same that and the following day, but…

After the moving job (which provided badly needed cash, and was extremely easy at that) I went home, showered & changed clothes, packed the bare minimum of supplies for a day at a large music festival, and headed off to the Festival earlier than I probably would have, had I allowed myself to sleep in. But, tired but content (with a few extra shekels from the move), I arrived there shortly before the first act, Chatham County Line.

Talk about “Unplugged”…

Yes folks, that is four musician/vocalists singing and playing into one microphone! This is Chatham County Line, all the Way from North Carolina. How they were able to manage such a clear sound & dynamic range, without benefit of having any of their instruments plugged in, is beyond me, but not beyond this bunch:

I just wish I knew what sort of Omni-Directional Microphone they were using for this. What they were playing wasn’t really Bluegrass per se, but kind of a pop sound playing on traditional bluegrass instruments: guitar, stand-up bass, banjo, mandolin, and violin on one song. I forgot their roundabout introduction for this song, something ironic about “old & traditional” before playing a 60s era Rolling Stones tune, “This could be the Last Time”, They did a great job on it, even covering that edgy, distorted lead guitar figure in the original using mandolin & banjo– and their harmonies on the chorus were much better than on the Stones’ version.

Next up was Laurie Lewis and the Right Hands, which included some local musicians– including a kid (named Max Schwartz, I think) playing stand-up bass from the Berkeley High School Jazz Band– and as she introduced him she cracked he was planning on going on the road with some Bluegrass Group after graduation. She had a more traditional sound, including a cover of Emmylou Harris’ “Orphan Girl”. Of the Bluegrass groups I heard at the festival, her group kept the tightest rhythm, although they never really played at anything resembling a breakneck pace.

Here’s a (very badly recorded, using a hand-held $29 phone camera in a pretty stiff breeze) video of Laurie Lewis and longtime musical partner Tom Rozum (on lead vocals here), and they were joined by a trio making the Bluegrass Circuit this year called the T Sisters, and I was able to record the second verse (which used up most of my phone’s memory, but…

 

This is the point at every HSB Festival where I find it inconceivable that the facilities are not equipped with Space-Time Portals to shuttle you between two acts that you want to see, but who happen to be playing at the same time on another stage. Hot Tuna was coming up next on the Banjo Stage, but I also wanted to see Dave and Phil Alvin who were playing at the very same time a quarter mile away on the Swan Stage. Jorma Kaukonen (Hot Tuna) and Dave Alvin (Blaster, X, Knitters) both have very roots-based styles of guitar, which I very much like listening to: Jorma drawing on the Ragtime finger-picking influence of the Reverend Gary Davis, and Dave Alvin drawing on an Americana/Rockabilly style, filtered through his experience on the LA Punk scene playing with the Blasters and X. I kind of wanted to see Dave & Phil, figuring it would be a lot more high-energy, but plowing through a crowd of a quarter million Festival Goers for a quarter mile just to try to find myself a seat for just one set, before immediately heading back to the Banjo Stage to see Gillian Welch did not strike me as my idea of fun. Between sets I asked my “neighbors” if they would be kind enough to save my seat while I wandered over to the food stands to get some lunch. And being very nice people they said they would.The crowd at Hardly Strictly Bluegrass, which has been estimated to number about a quarter of a million concert-goers per day, is a really relaxed, friendly and courteous crowd for something this big…

So today, after having had the Cajun-style Étouffée the day before, I went to an Indian food stand (right next to the Louisiana food stand as it turns out) and ordered some Tikka Masala Chicken over rice, which was good, and leisurely ate my food off to the side of the concert crown, and then on the way back to my seat passed some people that were eating something that looked pretty darn good, and asked what it was. It was Paella, so I scrapped my plans to have Chicken Shwarma for my Sunday meal, and decided I was going to have the Paella the following day.

Got back to my seat just as Hot Tuna was warming up on stage, and listened to a pretty good, but not particularly inspired (inspiring?) set of well-played… Electric Ragtime, for lack of a better description. Oddly, if there was anyone playing lead “guitar” in this group, it was Jack Cassidy on bass, who drove the rhythm as he added melodic/harmonic complexity to the band’s set.

Next up on the Banjo Stage was Gillian Welch

(who had, by the way, recently received a Lifetime Achievement Award for Songwriting from the American Music Association. she joked “does that mean we’re supposed to be dead?”) For the set she and Dave Rawlings came out in matching Buckskin Leather outfits, and performed a set of somewhat traditional Country Folk, performing songs that were a bit more thoughtful and intelligent than the usual offerings of Country Western. Dave Rawlings guitar solos were especially notable because he played them on an acoustic guitar, and was able to play in registers that are usually confined to the electric guitar.

On the schedule for the next set was Ry Cooder playing with Ricky Skaggs. When they came out, I wasn’t able to recognize Ry Cooder on stage. The group, apparently was Ricky Skaggs, and they started the set with a sort of “Blood of the Lamb” Country-Gospels song, which I wasn’t particularly crazy about, and the guy who took the solo didn’t look anything like Cooder when I saw him once before, and the guitar solo wasn’t very inspired, and didn’t sound anything like I would expect from him. In the weeks before the festival there were rumors that Ry would play, or he wouldn’t play. In any case, if he was there (which I was told he was), I really couldn’t tell.

It was a little after 4 p.m.; I was planning on heading over to the Arrow Stage to see the Flatlanders (Joe Ely, Jimmie Dale Gilmore and Butch Hancock) at 5:30, but right around that time, a decidedly younger crowd was arriving. These were a decidedly an “Entitlement Kiddie” crowd, pushing their way to the front as if the people who were already there were somehow just furniture to be pushed out of their way as they made their way to the front; and even though they were arriving not too long before the end of the program, they all seemed to be carting in enough beer– in 12-packs, cases or full-size coolers on wheels– to last them an entire weekend of dissipation. They seemed like hardened veterans of the Summer Coachella/Outer Lands $200 a ticket Music Festival Circuit and, by God, if their parents shelled out this much money for tickets, they damn well better get the prime seats! Anyway, (again) even though they were arriving near the end of the day’s program, they seemed to be swarming in by the hundreds, over the hills separating Speedway Meadows (or Hellman Hollow, as it has been renamed), taking trails that weren’t even trails– it seemed like something you’d see on the Nature Channel late at night, and I really wasn’t feelin’ it to hang out for an hour and a half to see the Flatlanders, so I decided I’d come back tomorrow to see my favorite band, Los Lobos, the following evening.

Music Videos in this blog

NOTE: I will be updating these links as I finish updating the rest of my blog.

If any of these videos have expired, please let me know. I can usually update them.

B. Blogger

Little Feat w/ Lowell George – Easy to Slip
Bela Fleck and the Flecktones – Sinister Minister
Gin Blossoms – Follow You Down
Elvis Costello, with the Imposters, hosting the David Letterman Show – What’s so Funny About Peace, Love and Understanding?
Townes Van Zandt – Pancho and Lefty
Robert Plant with Fairport Convention – Battle for Evermore
Dead Kennedys – Holiday in Cambodia
Los Lobos – Kiko and the Lavender Moon
Hellecasters – Orange Blossom Special
Lucinda Williams – Passionate Kisses
Richard Thompson – Genesis Hall, 52 Vincent Black Lightning, Waltzing’s For Dreamers, A Heart Needs a Home with Linda Thompson, and Heartbreak Hotel, with John Cale (Velvet Underground) and Shawn Colvin
Joe Ely – Fightin’ for My Life
Emmylou Harris & Nash Ramblers – Other Side of Life
Marianne Faithful – The Ballad of Lucy Jordan
Snakefinger (Philip Lithman) – There’s No Justice in Life
Tom Waits – You are Innocent When You Dream, Tom Traubert’s Blues
Kate Bush – Wuthering Heights, Running Up That Hill (A Deal With God)
Gov’t Mule w/the Dirty Dozen Brass Band Horns – Chameleon
Residents – Teddy Bear
Kirsty MacColl – Don’t Come the Cowboy With Me, Sonny Jim (updated), In These Shoes?, and Belle of Belfast City
Nick Drake – Northern Sky
The Pogues – Dirty Old Town (written by Kirsty MacColl’s father, Ewan MacColl), and Fairytale Of New York (with Kirsty MacColl)

 

Two by Kirsty MacColl

Don’t Come the Cowboy With Me, Sonny Jim

 

In These Shoes?

recorded in Cuba (2000)

This was recorded just before her untimely death in Mexico. Bette MIdler later recorded a cover of this song.