Please keep in mind that I haven’t written a protest song in well over half a century, and I wouldn’t do it now, except that we now have sitting in the White House a real louse, who insists on robbing us of our freedoms, and setting back the Civil Rights clock over a century into the past.
I don’t care about Trump personally, or politically. I’m just taking this opportunity to show my guitar and folksong writing classes how to write a protest song — that’s my entire agenda.
Is Trump traumatic? Is he intolerable? You bet he is, but I really don’t care. I’ve lived under worse dictators, and they always get theirs, in the end. Usually, the people who put them in power become disgusted and they take matters into their own hands — not a good plan, these days.
De-stabilizing Amerika is what both Putin AND Trump have in mind. Trump is looking for ANY excuse to call in the National Guard and declare a State of Emergency in which he assumes full dictatorial powers.
Think it can’t happen here? It already did, in the administration of Franklin Delano Roosevelt, who served a THIRD TERM and would have remained in office for LIFE had he been given the opportunity.
As you know, I don’t have a regular guitar player in the band, so I’m forced to learn more guitar than I ever wanted to know, and in accordance with that aim, I also need my own songbook with our own songs and arrangements in some sort of usable order, and with the songs playable and singable by me.
I am therefore announcing the imminent publication of my Prosperity Path Songbook, which has in it songs we wrote as a group, at Meadow Vista, Grass Valley and Penn Valley, over the past 45 years or so. I want to especially thank all the folks who made it possible. All the credits I know of are listed on each song sheet. I tried to limit the size of the songs to a single page, except in the case of the Government Meltdown Blues, so it’d be easy to use at a gig, recording session, or at band practice.
These songs are licensed for busking where a tip jar is used. If you charge admission or want to record these songs, you MUST have permission, but we’re easy — just ask. We want to know where our songs are going and who is covering them, wouldn’t you???
NOTICE: I have rewritten these songs, to make them easier for me to play.
I have more than 50% rewritten these songs, for which I take full responsibility. If I’ve lost the feel or sense of a song, you can blame me for it. I’ll listen to complaints, but my musical skills are limited to standard open chords, so take it easy on me — a lot of those songs were unplayable by anyone except Parker, Meg, or Jimmi, and that’s a fact.
I’ve made them easy FOR ME to play and sing. If you want the original formats, the original meters, timing and chords as they were, and the original songs as they were sung by Parker more than 35 years ago, you can send for a xerox copy of the Angel Songbook from Iven at, I believe, $35. It does not contain about half the songs my new songbook features.
Myself, I can’t sing them or play them EXACTLY as Parker or Meg or Jimmi or Menlo did — not even remotely like what they did. I just don’t have the guitar and singing skills that they do, so I reworked the songs for my own use, put them in keys that I can easily play, worked out rhythm, meter, rhyme, sense and chord progression changes that are easy, easy, easy for me to play — so easy that even YOU might be able to play them!
I’ve put a solid two months of work into getting this song book together, having already worked on the songs off and on over the past decades, and today, I’m sharing the results of this effort with you. You’ll be able to buy my signed songbook as of today, with our projected shipping date only two weeks away.
I hope you’ll enjoy my collected songs in this new wirebound spiral edition, at only $35 a copy on regular copy paper, and you can make that $45, if you want it printed on heavy card stock. I’ll keep that price as long as I can hold the costs down — printing and paper costs are going up again, and I can’t promise that costs will ever go down to where they were 50 years ago. Things don’t tend to get cheaper and cheaper. Inflation eats everything. Continue reading →
The necklace in the photo above looks deceptively easy to acquire, but it isn’t. You can’t buy this necklace at any price. It is a “School Artifact”. Relics like these can be reconstructed from ancient materials. In this case, note that the maker of all the lapis beads is the same, from the same workshop. This is not the case with beads acquired through the ordinary marketplace. Matched sets of ancient beads is exceedingly rare.
The wonderful Hand-Crafted Bali Style Copper Beads available to me now makes an authentic reconstruction of ancient pieces more possible than ever before, although how long those handmades will be available is anybody’s guess in this mechanized world.
Copper and bronze were the Metals of Choice in antiquity, but they, along with silver, tend to corrode rapidly, oxidizing into oblivion in the wet soils of time-soaked earth. Gold doesn’t oxidize, at least pure or nearly pure gold doesn’t, so it tends to survive where the silver, bronze or copper items of daily use don’t.
I prefer to use copper in the reconstruction process for two reasons. Firstly, it is more like the ancient piece than the occasional royal piece produced for the ruling class. Secondly, it is less likely to get melted down for the metal than pure gold.
Reconstructed ancient necklaces are not as expensive as you might think, starting at a very affordable $450 for a Roman Glass Necklace powered by EMO beads, to $35,000 for a stunning Egyptian Broadcollar, up to $350,000 (how much I need to buy my 70-homesite Ashram, fully licensed for community living and ready for occupancy now) for the incredible Ancient Eye Bead Necklace of Protection & Power, reconstructed with some of the very first glass beads ever made, dating to around 1200 B.C. in Western Asia, making it unique in the field of privately-held ancient magical devices. Continue reading →
Came across this yesterday when searching amongst the youtube Strange Parallel Worlds. The juxtaposition of characters and the song’s intent and direction certainly qualify for the heading, “Strangely & Weirdly Unique”, which is the idea when targeting a parallel world for travel.
You pick up a TARGET in cyberspace. This QUANTUM TARGET is then duplicated. you place a TARGET at the point where you want to land. Continue reading →
I have seventeen hours of video of Harry and myself, recording a “next album” as far as Harry was concerned, putting down basic tracks for Harry, with guest musicians Jimmi Accardi, Menlo Macfarlane, Bob Bachtold and more, and the engineering talent of world-famous audio engie Oz Fritz. Some of the songs we sang at those sessions were a few of my new songs that Harry and I talk about before recording them, some of them were Jimmi’s songs, and some were just blues from Kansas City & thereabouts. Continue reading →
If there are any Official Secrets to Music, these are they:
1. Tell a Story — this simply means any story about the simple nursery song that you’ve selected for this exercise (such as “Mary Had a Little Lamb”, or “Jack & Jill” or “Sing a Song of Sixpence” — any story will do, including that there isn’t one, ie; a rambling exploration of random notes and measures. Usually it means a story, pure & simple, describing the song’s major points, such as the fact that the farmer lived in a dell, had a wife, many chicks, ducks, geese, horses, cattle, swine, and a couple of wild and crazy dogs with a penchant for handouts. A story like that generally begins with a beginning, goes on a while in the middle, and stops at the end. The MIDDLE part is generally about the obstruction, the pain, the misery or the angst of it all. A typical song story is “my baby done left me”, whether you hear it in blues, folk, pop, ballad, country-western, jazz or classical, it’s always about relationships of one kind or another. That’d be human/human (read as: “human over human”) and bottle/human and a whole chain of seductions that read more or less the same. The story is told verbally before the instrument is sounded. The STORY should NOT take more than 1 minute to tell, especially the “Boy Meets Girl, Girl Gets Drownded, Boy Gets Hanged sort of murder-ballad you’ll find commonly in folk music.
This you hafta see. I was thinkin’ of some way to do this song — our band is nowhere near the skill level needed to even sing the thing in public, but this 2 million hit single in palm-farts takes the cake. I mean, how can you top this???
I thought I’d weigh in on the subject of the most recent government shutdown as a result of a few nasty people in the well-publicized “Caucus Suicide Pact”, a power-hungry political conspiracy which is currently holding the rest of the country hostage.
Couldn’t resist posting this; not only is it a terrific method for taking it easy on the guitar, but the instructions contain the most basic secret of guitar I know — don’t bust yer chops where you don’t have to! Uncle Raggy expresses perfectly the most fundamental guitar principles I hold dear — where we differ is in the area of regret. He says he made a mistake in not mastering the guitar correctly. I always had a clear choice and carefully and consciously selected the path of “what sounds good to me” and what doesn’t bust my chops to make happen. Like Uncle Raggy, I never play the same song twice, even though I know it well enough to do so, because I follow the Navajo Rule of Music: “Listen to the whole, and adjust yourself accordingly.”.You would do well to watch Uncle Raggy’s videos — there’s more wisdom there than meets the eye directly. Somebody asked Uncle Raggy if he was familiar with a 60s song, and his reply echoes mine: “Does it look as if I missed the sixties???” Join us at the ICW, where we’ll explore some of the ideas behind the song. You can catch me at Club Leger from time to time the next few days — breaking in a new routine.