I had to think of Porcupine Tree's song "Every Home is Wired", but I really like your interpretation of the "electric soldier" as well. As you said: the strongest pictures are those for which every viewer can make up their own story.
Ohh yes, Neil Young (that is if you dig Neil) did the music for the "Where the Buffalo Roam' film. Though i can not recall, but i recall that he did it at least I know Porcupine Tree and will check that song out. Thanks. I have a buddy who is a big fan and got me years ago to check them out. In art, i like to leave some for the viewer who often have no vision and has no clue, but for the ones that really look and see, the ones that desire to see, for them you leave the mystery that they can unravel.
Yes, I recall the 'Dead Man' soundtrack and will have to check Neil's work on "Where the Buffalo Roam' as i have no real memory of that soundtrack. I do like Neil's most recent lp, "Americana,' an unusual cover lp of old songs i grew up hearing as a kid. All done in that buzzy electric Crazy Horse style.
I can dig what you say. And music is what can lift us, help us through good and tough times. whatever one likes, as long as it works i guess. So on that score Here is the file and plenty of info below. Of course delete if i added to much here. File is a zip, just download from Media Fire. Pretty easy. This is a fun lp. And i have always been a Crazy Horse fan. Something new from Neil and Crazy Horse.
Neil Young & Crazy Horse Americana 2012 "Oh Susanna" "Clementine " "Tom Dooley" " Gallows Pole " "Get A Job " "Travel On " "High Flyin’ Bird " "She’ll Be Comin ’Round The Mountain" "This Land Is Your Land " "Wayfarin’ Stranger " "God Save The Queen"
Neil Young and Crazy Horse will release their new LP Americana on June 5th. It's their first album together since Greendale in 2003, and their first album with the full Crazy Horse line-up of Billy Talbot, Ralph Molina and Frank "Poncho" Sampedro since Broken Arrow in 1996. The songs on Americana are all classic American folk songs, including "This Land Is Your Land," "Gallows Pole," "Tom Dooley" and "Clementine."
At the Slamdance Film Festival earlier this year, Young talked about the album. "A very young choir of children plays with Crazy Horse [on the album,]" he said. "They're songs we all know from kindergarden, but Crazy Horse has rearranged them, and they now belong to us."
"What ties these songs together is the fact that while they may represent an America that may no longer exist," says a press release announcing the new album."The emotions and scenarios behind these songs still resonate with what’s going on in the country today with equal, if not greater impact nearly 200 years later. The lyrics reflect the same concerns and are still remarkably meaningful to a society going through economic and cultural upheaval, especially during an election year. They are just as poignant and powerful today as the day they were written."
The disc was recorded at Audio Casa Blanca and was produced by Neil Young and John Hanlon with Mark Humphreys.
Neil Young and Crazy Horse made their first live appearance since 2004 last month at the MusicCares tribute to Paul McCartney in Los Angeles. They played "I Saw Her Standing There" that many critics called a highlight of the star-studded show, though the band has released no touring plans. "I honestly have not heard a solitary thing about touring," Crazy Horse drummer Ralph Molina said later over drinks at a local bar.
"The Maid Freed from the Gallows" is one of many titles of a centuries-old folk song about a condemned maiden pleading for someone to buy her freedom from the executioner. In the collection of ballads compiled by Francis James Child, it is indexed as Child Ballad number 95; eleven variants, some fragmentary, are indexed as 95A to 95K. The ballad existed in a number of folkloric variants from many different countries, and has been remade in a variety of formats. It was recorded in 1939 as "The Gallis Pole" by folk singer Huddie "Leadbelly" Ledbetter, but the most famous version was the 1970 arrangement of the Fred Gerlach version by English rock band Led Zeppelin, which was entitled "Gallows Pole" on the album Led Zeppelin III.
Although it exists in many forms, all versions recount a similar story. A maiden (a young unmarried woman) about to be hanged (for unknown reasons) pleads with the hangman, or judge, to wait for the arrival of someone who may bribe him. The first person (or people) to arrive, who may include the father, mother, brother, and sister, have brought nothing and often have come to see her hanged. The last person to arrive, often her true love, has brought the gold to save her. Although the traditional versions do not resolve the fate of the condemned one way or the other, it may be presumed that the bribe would succeed. She may curse all those who failed her.
The typical refrain would be:
"Hangman, hangman, hangman / slack your rope awhile. I think I see my father / ridin’ many a mile. Father, did you bring any silver? / father, did you bring any gold, Or did you come to see me / hangin’ from the gallows pole?" "No, I didn’t bring any silver, / no I didn’t bring any gold. I just come to see you / hangin’ from the gallows pole." It has been suggested that the reference to "gold" may not mean actual gold for a bribe, but may instead stand for the symbolic restoration of the maiden's honor, perhaps by proof of her virginity or fidelity. Such an interpretation would explain why a number of variations of the song have the maiden (or a male condemned) asking whether their visitors had brought them gold or paid their fee. In at least one version, the reply comes that "I haven't brought you gold / But I have paid your fee."
The song is also known as "The Prickly Bush", a title derived from the oft-used refrain lamenting the maiden's situation by likening it to being caught in briery bush, wherein the brier prickles her heart. In versions carrying this theme, the typical refrain may add:
O the prickly bush, the prickly bush, It pricked my heart full sore; If ever I get out of the prickly bush, I'll never get in any more. Variants
In some versions, the protagonist is male. This appears to be more prevalent in the United States, where hanging of women was uncommon. The crime for which the protagonist faces hanging is occasionally mentioned. The woman may be being held for ransom by pirates; or, she has stolen something from her employer. Other instances tell of her having lost a treasured golden ball, or indicate that she is being hanged for fornication.
The most extensive version is not a song at all, but a fairy story titled "The Golden Ball", collected by Joseph Jacobs in More English Fairy Tales. It encompasses the theme of the song. The story focuses more on the exploits of the fiancé who must recover a golden ball in order to save his love from the noose; the incident resembles The Story of the Youth Who Went Forth to Learn What Fear Was. Other fairy tales in the English language, telling the story more fully, always retell some variant on the heroine being hanged for losing an object of gold.
In the Bob Dylan song "Seven Curses", the maiden is not the one to be hanged but her father, for stealing a stallion. The woman offers to buy her father's freedom from the judge, who responds: "gold will never free your father/ the price my dear is you instead". The maiden pays the judge's terrible price but wakes the next morning to find that her father has been hanged regardless.
The song likely originated in a language other than English. Some fifty versions have been reported in Finland, where it is well known as Lunastettava neito. It is titled Den Bortsĺlda in Sweden, and Die Losgekaufte in German. A Lithuanian version has the maid asking relatives to ransom her with their best animals or belongings (sword, house, crown, ring etc.). The maiden curses her relatives who refuse to give up their property, and blesses her fiancé, who does ransom her.
In a Hungarian version called "Feher Anna," collected by Béla Bartók in his study The Hungarian Folk Song, Anna's brother Lazlo is imprisoned for stealing horses. Anna sleeps with Judge Horvat to free him, but is unsuccessful in sparing his life. She regales the judge with 13 curses.
Francis James Child found the English version "defective and distorted", in that, in most cases, the narrative rationale had been lost and only the ransoming sequence remained. Numerous European variants explain the reason for the ransom: the heroine has been captured by pirates. Of the texts he prints, one (95F) had "degenerated" into a children's game, while others had survived as part of a Northern English cante-fable, The Golden Ball (or Key). Child describes additional examples from the Faroe Islands, Iceland, Russia, and Slovenia. Several of these feature a man being ransomed by a woman.
The theme of delaying one's execution while awaiting rescue by relatives appears with a similar structure in the classic fairy tale "Bluebeard" by Charles Perrault in 1697 (translated into English in 1729).
"Gallows Pole" and the era of recorded music
Lead Belly version
"In the Shadow of the Gallows Pole", a Lead Belly album featuring the song as "The Gallis Pole".
Legendary folksinger Huddie "Lead Belly" Ledbetter, who also popularized such songs as "Cotton Fields" and "Midnight Special" first recorded "The Gallis Pole" in the 1930s, and set the stage for the song's popularity today. Lead Belly's rendition, available through Folkways music and recently re-released by the Library of Congress, differs from more familiar recordings in several notable ways. The Lead Belly version is performed on acoustic twelve string guitar, and following an introductory phrase reminiscent of the vocal melody, Lead Belly launches into a furious fingerpicking pattern. His haunting, shrill tenor delivers the lyrical counterpoint, and his story is punctuated with spoken-word, as he "interrupts his song to discourse on its theme".[
Judy Collins and Bob Dylan versions
Judy Collins performed the song "Anathea" throughout 1963 (including a rendition at the 1963 Newport Folk Festival), credited to Neil Roth and Lydia Wood. It is thematically similar to the Hungarian "Feher Anna" cited above, even to the detail of the name of the brother (Lazlo). It appeared on her third album, released in early 1964. Dayle Stanley's folk album "A Child Of Hollow Times," from roughly this era, included an uncredited version of this song ("of Greek origin"), under the name "Ana Thea." Bob Dylan recorded a thematically similar "Seven Curses" in 1963 during the sessions for his Freewheelin' album. The song tells a similar story, but from the point of view of the condemned's daughter. Dylan's song has been recorded by many artists. The definitive folk version of the song is probably that by Nic Jones recorded as 'Prickly Bush' which he performed live and is featured on the 'Unearthed' album. The song has also been played by Spiers & Boden.
Led Zeppelin version
"Gallows Pole" begins as a simple acoustic guitar rhythm; mandolin is added in, then electric bass guitar shortly afterwards, and then banjo and drums simultaneously join in. The instrumentation builds up to a crescendo, increasing in tempo as the song progresses. The acoustic guitar chord progression (in standard tuning) is simple with a riff based on variations of the open A chord and the chords D and G occurring in the verse. Page played banjo, six and 12 string acoustic guitar and electric guitar (a Gibson Les Paul), while John Paul Jones played mandolin and bass.This plotline is followed in perhaps the most familiar version today. English band Led Zeppelin recorded the song for their album Led Zeppelin III in 1970. The album is a shift in style for the band towards acoustic material, influenced by a holiday Jimmy Page and Robert Plant took to the Bron-Yr-Aur cottage in the Welsh countryside. Led Zeppelin guitarist Jimmy Page adapted the song from a version by Fred Gerlach. On the album the track was credited "Traditional: Arranged by Page and Plant".
Page has stated that, similar to the song "Battle of Evermore" which was included on their fourth album, the song emerged spontaneously when he started experimenting with Jones' mandolin, an instrument he had never before played. "I just picked it up and started moving my fingers around until the chords sounded right, which is the same way I work on compositions when the guitar's in different tunings."
Led Zeppelin would perform the song a few times live during Led Zeppelin concerts in 1971. Singer Plant would sometimes also include lyrics in live performances of the Led Zeppelin song "Trampled Under Foot" in 1975.
The Led Zeppelin version of the song is unique in that, despite the bribes, which the hangman accepts, he still carries out the execution.
Oh yes, you got a fine sister, she warmed my blood from cold, She warmed my blood to boiling hot to keep you from the Gallows Pole, Your brother brought me silver, and your sister warmed my soul, But now I laugh and pull so hard to see you swinging on the Gallows Pole
As in the Dylan "Seven Curses" and many other renditions, the Led Zeppelin version is based on a variant in which the convict is male. This is evident when the convict's brother addresses the convict as "brother" rather than "sister" in the line, "Brother, I brought you some silver, yeah."
Robert Plant: lead vocals Jimmy Page: six and twelve string acoustic guitars, electric guitar, banjo John Paul Jones: bass guitar, mandolin John Bonham: drums Other versions Led Zeppelin members Page and Plant later recorded a version of this song for their 1994 release No Quarter: Jimmy Page and Robert Plant Unledded. They also released this track as a single. The song was performed regularly on the subsequent tour and featured a hurdy gurdy.
In 2005, Robert Plant and his band Strange Sensation performed the song on the television show Soundstage. The performance was released the following year on the DVD Soundstage: Robert Plant and the Strange Sensation.
A few lines of the song are sung by a woman strumming a guitar in a 1949 John Wayne movie, The Fighting Kentuckian. The song is chronologically appropriate to the film, which is set in 1818.
The song has been recorded by numerous other artists, including Odetta, Lead Belly, Great Big Sea, The Kingston Trio, Peter, Paul and Mary, Nic Jones, Almeda Riddle, Uriah Heep, the Pine Valley Cosmonauts, Alvin Youngblood Hart, Steeleye Span, and The Merry Wives Of Windsor.
American folk singer John Jacob Niles recorded a version under the title "The Hangman"; the song was featured in the Harmony Korine film Mister Lonely.
Spiers and Boden recorded two variations: "Derry Gaol" and "Prickle Eye Bush". The latter was also recorded with Bellowhead.
Jasper Carrott performed a comedy version in which the narrator is hanged before he can finish the first verse.
German folk metal band In Extremo has a version of this song called "Der Galgen".
Neil Young and Crazy Horse recorded a version for their new album "Americana," set to be released on June 5, 2012.
The 1951 Shirley Jackson novel Hangsaman takes its name from the folk song, and draws on its theme of a female protagonist seeking rescue from peril--in this case of a spiritual, existential or psychological nature.
In addition to "The Maid Freed from the Gallows", "The Prickly Bush" and the more recent "Gallows Pole", variations of the song have been recorded or reported under more than a dozen names. These include:
"The Gallis Pole" "The Gallows Tree" (Bert Jansch) "The Prickilie Bush" "Hangman" "Hangman, Slacken" "Hangman, Slack on the Line" "Gallows" "Freed from the Gallows" "Maid Saved" "By a Lover Saved" "Down by the Green Willow Tree" "Girl to be Hanged for Stealing a Comb"
"Ropeman" "Ropeman's Ballad" "Prickle Holly Bush" "Derry Gaol" "Hold Your Hands, Old Man" "Old Rabbit, the Voodoo" "The Briery Bush" "The Golden Ball" "Mama, Did You Bring Any Silver?" "Prickle-Eye Bush (Bellowhead and Spiers and Boden) "The Sycamore Tree"
The Child ballad "Geordie" also features a rescue from the gallows by a payment. The song "Hallowed Be Thy Name", originally interpreted by English heavy metal band Iron Maiden, describes the feelings of a condemned just before the execution and briefly gives an interpretation about life after death. The way of execution, as mentioned in the song, is represented through the motif "Gallows Pole".
"Oh! Susanna" is a minstrel song by Stephen Foster (1826-1864), first published in 1848. Incorporating European, white American, and African American musical traditions, it is among the most popular American songs ever written.
In 1846, Stephen Foster moved to Cincinnati, Ohio, and became a bookkeeper with his brother's steamship company. While in Cincinnati, Foster wrote "Oh! Susanna", possibly for his men's social club. The song was first performed by a local quintet at a concert in Andrews' Eagle Ice Cream Saloon in Pittsburgh, Pennsylvania on September 11, 1847. It was first published by W. C. Peters & Co. in Cincinnati, Ohio in 1848, Other minstrel troupes performed the work, and, as was common at the time, many registered the song for copyright under their own names. As a result, it was copyrighted and published at least 21 times from February 25, 1948, through February 14, 1851. Foster earned just $100 ($2,686 in 2012 dollars) for the song, but its popularity led the publishing firm Firth, Pond & Company to offer him a royalty rate of two cents per copy of sheet music sold, convincing him to become America's first fully professional songwriter.
The name Susannah may refer to Foster's deceased sister Charlotte, whose middle name was Susannah.
The first two phrases of the melody are based on the major pentatonic scale.The song blends together a variety of musical traditions. The opening line refers to "a banjo on my knee", referring to a musical instrument with African origins, but the song takes its beat from the polka, which had just reached America from Europe. Glenn Weiser suggests the song was influenced by an existing work, "Rose of Alabama" (1846), with which it shares some similarities in lyrical theme and musical structure.
The lyrics are largely nonsense, as characterized by lines such as "It rain'd all night the day I left, The weather it was dry, The sun so hot I froze to death..." (first verse) and "I shut my eyes to hold my breath..." (second verse). It is one of the few songs by Foster that use the word "nigger" (others are "Old Uncle Ned" and "Oh! Lemuel", both also among Foster's early works), which appears in the second verse ("De lectric fluid magnified, And killed five hundred nigger.").
The song is not only one of Stephen Foster's best-known songs, but also one of the best-known American songs. After its publication, it quickly became known as an "unofficial theme of the Forty-Niners", with new lyrics about traveling to California with a "washpan on my knee". A traditional Pennsylvania Dutch version uses Foster's melody but replaces the lyrics entirely.
A 1955 novelty recording of the song by The Singing Dogs reached #22 on the US Billboard Pop Singles chart. A humorous recording of "Oh! Susanna" was the last track on the second album by The Byrds, Turn! Turn! Turn!, in 1965. James Taylor also included a version of the song on his second album, Sweet Baby James, in 1970.
In 1963, The Big Three recorded Tim Rose's new arrangement of the song as "The Banjo Song". The Dutch band Shocking Blue, in turn, used the new arrangement with completely different lyrics for their 1969 hit "Venus", which has subsequently been covered by many other musicians.
I came from Alabama Wid my banjo on my knee, I’m g’wan to Louisiana My true love for to see, It rain’d all night the day I left, The weather it was dry, The sun so hot I frose to death; Susanna, don't you cry.
Chorus: Oh! Susanna, Oh! don't you cry for me, I’ve come from Alabama, wid my banjo on my knee.
I jumped aboard de telegraph, And trabbelled down de ribber, De Lectrie fluid magnified, And killed five hundred Nigger De bullgine bust, de horse run off, I realy thought I’d die; I shut my eyes to hold my breath, Susanna, don't you cry.
Oh! Susanna, Oh! don't you cry for me,
I’ve come from Alabama, wid my banjo on my knee.
I had a dream de odder night When ebery ting was still; I thought I saw Susanna, A coming down de hill. The buckwheat cake war in her mouth, The tear was in her eye, Says I’m coming from de South, Susanna, don't you cry.
Oh! Susanna, Oh! don't you cry for me,
I’ve come from Alabama, wid my banjo on my knee.
I scon will be in New Orleans, And den I’ll look all round, And when I find Susanna, I’ fall upon the ground. But if I do not find her, Dis darkie ’I surely die, And when I’m dead and buried, Susanna, don't you cry. Oh! Susanna, Oh! don't you cry for me,