We are closing in on the 58th anniversary of Woody Guthrie’s death; complications from Huntington’s Disease finally sealed his fate on October 3rd, 1967. Despite the lengthy time that has passed, his fingerprints are still felt on many musicians performing today.
A true folk music legend, he has inspired artists such as Bob Dylan, Billy Bragg, Bruce Springsteen, Dropkick Murphys and Ani DiFranco, to name but a few. Then there are those no longer with us like Johnny Cash, Joe Strummer, Pete Seeger, Jerry Garcia and Phil Ochs. They form quite a list, and certainly not an exhaustive one.
So, why is Guthrie held in such high regard? For me, it is three key reasons: honesty, simplicity and integrity. In the true folk singer tradition, he was a storyteller first and foremost. The tales he told were often about the disenfranchised, those who were suffering, historic events, ubiquitous capitalist greed and the foul stench of fascism. Sadly, his music is still entirely relevant today – so much for progress, eh? While some artists have taken up the musical mantle to hold a mirror up to the world, few can do it quite like Woody. He certainly left an indelible mark on music, politics and culture.
In the current political climate, it seems an excellent moment to release some new work from Woody’s archive. Woody At Home Volumes 1 & 2 presents us with twenty-two previously unreleased recordings, including thirteen songs not heard on any of Guthrie’s other releases. There are also three spoken word tracks included in this collection. The audio was recorded at his home in Brooklyn, New York, using one microphone and a reel-to-reel tape recorder during the early months of 1951 and 1952. The home setting is given away at times as you hear the opening of a door, or Guthrie’s kids are present in the background during songs.
This is an album that flips between a collection of demos and a form of audio notebook. It feels like a stream of musical consciousness from Guthrie’s fertile mind. The fact that it has been able to become a commercial release is thanks to GRAMMY-winning producer Steve Rosenthal, with restoration and mastering by GRAMMY nominee Jessica Thompson. They have stayed true to the homemade, analogue spirit of the original tapes but have utilised some clever software, along with antique tape machines, to allow it to become a coherent collection of songs good enough for release. For those who love the technical aspects, a little more detail is included in the sleeve notes.
Woody At Home Volumes 1 & 2 is a fascinating listen. It is like opening a time capsule from the early ’50s and being utterly intrigued by what you have unearthed. We are made to feel comfortable as the first track begins, only to be thrown off-kilter. ‘This Land Is Your Land’ is one of Guthrie’s most well-known songs – an alternative national anthem for the United States of America. You quickly realise this version is different as he experiments with new verses. This says a lot about Guthrie. No song could ever be considered finished. There was always potential to tweak or adapt as the world changed or beliefs transformed.
This album contains the only recording by Guthrie of ‘Deportee’ (also known as ‘Plane Wreck at Los Gatos’). Originally written as a poem, it has been covered by a wide range of artists such as Joan Baez, The Byrds, Pete Seeger, Christy Moore and Billy Bragg. To hear Guthrie deliver this song for the first time on record gave me goosebumps. Sadly, I wasn’t around to hear him perform this live. This is the closest I can get. It is a privilege to hear it.
‘Jesus Christ’ tackles issues we see all too commonly today. It seems the world has not moved on quite so much in 75 years. “All the people held their breath when they heard of Jesus’ death/Everybody wondered why/It was the rich landlord and the soldiers that he hired/To nail Jesus Christ in the sky”, Guthrie croons with suitably pointed feeling. He continues along a similar vein elsewhere, including the songs ‘Backdoor Bum and the Big Landlord’ and ‘I’ve Got To Know’.
“You keep me in jail and you lock me in prison/Your hospital’s jammed and your crazy house full/What made your cop kill my trade union worker?/You’ll have to talk plain, ‘cause I sure got to know!”, delivers Guthrie in almost a state of disbelief in ‘I’ve Got To Know’. He had an ability to deliver his message in a simple but impactful way, getting his thoughts and views across to all sections of society. As Pete Seeger once said, “Anything worth discussing was worth a song to Woody”. There was a lot to discuss as Guthrie penned over 3,000 songs in his lifetime, drawing inspiration from a wide range of sources. A worthwhile obsession, I feel.
Some of the best work on this album isn’t his music. That’s not to say the music is terrible. Quite the opposite is true. However, the inclusion of some spoken word tracks helps us to lift a lid on Guthrie at this time in his life. Listening to his soft, southern drawl describing what he’s up to and giving us a tiny glimpse of his day-to-day life is absorbing. The tapes from which this album is created are intimate and raw. I’m thankful they still exist.
Guthrie voiced his hatred of fascism on many occasions, and there are songs here that attest to this. ‘I’m a Child Ta Fight’ and ‘You Better Git Ready’ highlight the desperate need to beat the fascists down. “My toes are made of pig iron/My hands are tempered steel/Grab me a ‘zooky and a war tank, yes/And stop that Hitler heel”, Guthrie passionately announces. His guitar was emblazoned with the phrase “This machine kills fascists” – it was his weapon of choice. As fascism continues its vile expansion across the globe today, played out via social media and dubious media outlets, the words of Woody still pack a punch.
“A songwriter should more or less be the recording machine for other people’s worries, blues, mix-ups and fights”, Guthrie once proclaimed. ‘Buoy Bells from Trenton’ is an excellent illustration of this belief. Examining the injustices suffered by the ‘Trenton Six’ in 1948, Guthrie sings, “I sailed home past bells of warning/And I find you marked to die/Just for being born with a dark skin on your face”. Listening to songs such as this is uncomfortable. Not only because of the discrimination suffered by the six men involved, but also as similar stories still occur in our so-called advanced, more understanding society. I’m sorry, Woody, too many people still ain’t listening and choosing not to fight for a fair society, for whatever reason.
Woody At Home Volumes 1 & 2 gives a great overview of Woody Guthrie as a songwriter. His lyrics can be direct, barbed and angry. They can also be soft, caring, loving and with humour. That’s a lot to balance, but Guthrie did well. Author John Steinbeck possibly said it best – “Woody is just Woody”. There were no heirs and graces. He communicated well with anyone who would care to listen. He worked and lived amongst those who struggled the most, especially during the Dust Bowl years in the USA and Canada. He was one of them. His songs were their voices being given a platform. Guthrie was born to fight against oppression.
This is not an album you will necessarily pop on and have playing in the background whilst you cook your tea or wash the cat. You want time to sit and listen to every sound that emanates through your speakers (or headphones if you prefer). The finger picking of Guthrie on his guitar, pinging and vibrating like an electric charge. You find yourself listening to every breath Guthrie takes. You can picture him bobbing his head, tapping his hands on his thighs, shuffling his feet on the floor as he sings and plays. Not every track has his legendary guitar sound. A few are just him singing, his voice swirling around his apartment.
This time capsule deserves a moment of your time. If you have any interest in music, social and political history, Guthrie’s works on offer here are on the essential reading/listening list. You will see how his influence has echoed through the ages. I sincerely hope more volumes can follow in due course.
So, transport yourself to the Guthrie home at 49 Murdock Court, within the Beach Haven complex, Brooklyn. Pull up a chair, get yourself comfortable, shoot the breeze, and immerse yourself in his company. You’ll feel enriched by the experience.
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