We were the opening act on the acoustic stage at the stone arch festival on June 16th. Following us was Jonathan Delahanty, a young singer song-writer that I first met at Java Jack's at 'the Hoot'. At some point he refered to us as doing 'old shool' music. I didn't think much of it as the time, since we are 'old time' musicians. However, this week I saw an Onion headline/article referencing "Old School", the movie (with Will Ferrell) and wondered if there was something more going on. I also looked up the movie on wikipedia and realized that it is one of the few that I have seen in recent years: probably on video with one or both of my sons. Like most old-time musicians I don't watch much TV (on stage, many claim not to own one*) and don't see a lot of movies (too busy playing music or going to hear it!). However, in San Francisco we went with Tommy to see Blades of Glory, another Will Ferrell pic; I thought it was a hoot (of course I don't get out much). Here are the links to the Onion article and Wikipedia (warning: adult language and situations -- and... the ending is given away)
http://www.theonion.com/content/news_briefs/report_fbi_learns_of_plot
http://en.wikipedia.org/wiki/Old_School_(film)
* on stage at the Cedar: Abigail Washburn(Uncle Earl) and Martha Scanlan (formerly of Reeltime Travelers) both said that they do not own a TV. Our TV is in the basement and not watched much at all - according to what I've read it and all other 'analog' TV's will be obsolete in 2009.
Wednesday, June 27, 2007
Monday, June 25, 2007
Danebod
I just got back from a week at 'Danebod Family Camp', in Tyler, MN. This is something we've been going to since 1996 - it's always a lot of fun, but is a bit hard to explain - the Danebod web site has a brief description: http://danebod.org/aboutus.html
This year, I was in charge of the folk band - there were four days of 'rehearsals' plus playing for dances. Most of the key people don't actually rehearse, since we do mostly the same dance tunes every year. However, a number of people who hadn't played with the folk band before showed up and I tried to go over tunes that we might play in a dance that day or evening. During the dances, Dave (who is the 'founder' of the band and a dance caller), did most of the work setting tempos and determining when we cut off, etc. For the most part I'm playing mandolin or banjo in the middle of it all, so it doesn't really work to 'conduct'.
The family dance on Wednesday at 8:00 pm was the 'official' time for the 'family' band to play and I think most people who showed up at rehearsal were on stage at one time or another. Lynn said she counted 15 at one point. (Usually 6 or 7 is sufficient). Our band name that night was 'Bob and his extremely large orchestra'.
I also conducted some extra rehearsal for the 'advanced' band which played for the Wednesday late night dance (about 10:15-11:30 pm). The dances Wednesday were called by Robin, a caller that we've worked with at Tapestry and other venues. She calls mostly contra dances, so we were using tunes from the Danebodium repertoire. Ken, Lynn, Daniel and I (the official members of Danebodium) were all there - plus Peter played guitar on most pieces and Neal played guitar on a few others. Paul played bodhran and Valerie played on a couple of the sets. I received many positive comments on the music and dances for that night and it sure looked like everyone dancing was having a good time.
I'll probably be leader of the band for a couple of more years. I'm thinking of reviving the practice of sending out 'family band' music ahead of time, probably starting with 'classics' rather than new music. It would be nice to do some coordination ahead of time with whomever is doing the family or barn dance on Wednesday. The idea is that newbies would be invited to play on the 'classics' tunes, but should plan to dance on other tunes. Yes, Virginia, there are times when newbies play on tunes that they are not quite up to speed on (both this year and previous). Of course, with an all-volunteer band, you can't really 'enforce' these kinds of rules, but you can offer 'suggestions'.
A big deal for me this year was actually dancing (when the band wasn't playing). For the last two years I've been nursing a pulled leg muscle and although I still limp a bit ( I officially have arthritis in my right hip), I was able to dance for pretty much as long as I cared to. Shira taught 'Turkish Kiss' the first night at late-late night dancing. This is an Israeli line dance that has become a camp classic. Shira's dances are complicated: usually with 3 major sections each of which contain several elements - (for both your arms and legs). Since she did a step-by-step set of instructions I was sort of able to get it. This encouraged me enough to attend her dance workshop on Tuesday morning where I sort of learned two of her new dances. Of course I couldn't do this independently nor did I do all the steps and arm movements perfectly, but I did dance these dances whenever they came up and thoroughly enjoyed myself. The key of course, is to watch Shira or one of the young folk (usually a young woman) and do what they do. In addition from going from 0 to 3 Shira dances, I also learned the 'Salsa' (which was taught last year) and a new dance by Dave (officially called Broken Horse or some such, but we called it the counting dance - you keep switching partners by counting up to 4).
It was Lynn's turn to 'play hurt' - she's been in physical therapy for her shoulder (too much piano playing this winter) -then the Friday before we left she developed a 'floater' in her eye (she called the opthamologist on call on Saturday who assured it was part of the normal aging process). Then on Sunday, as we were packing, she stubbed her toe - when the swelling subsided on Wednesday, she also was pretty she had broken it (and stopped dancing on it!). Still, like a few other things, an imperfect week at Danebod sure beats the hell out of not going.
She did comment that I looked to be thoroughly enjoying myself. I do believe that part of it was that we were so busy performing prior to going, that I had didn't have any time to set up any expectations. There are some people who anticipate events like these and set themselves up for disappointment - often, they expect some mystical, magical, transcendent experience that reality can never match. (I am usually but not always immune from this type of behavior.) This year, my focus was on several 'big' bob-i-lynn performances culminating in the MBOTMA homegrown kickoff at the beginning of June and a performance at the Stonearch festival the day prior to leaving for camp. I thus had zero time to think about the ideal Danebod experience before we were on the road on Sunday. Not sure if I can manage it every year, but its a good wapproach to take. I also think that my emerging 2nd (or is it 3rd) career as a working musician means that more of my everyday life is Danebod-like and I'm not looking at it as a point of salvation for an otherwise crappy life (lets hope I can keep that attitude as well).
In any event, by the last dayI was ready to go home and sleep in my own bed (with only a few feet to the bathroom).
This year, I was in charge of the folk band - there were four days of 'rehearsals' plus playing for dances. Most of the key people don't actually rehearse, since we do mostly the same dance tunes every year. However, a number of people who hadn't played with the folk band before showed up and I tried to go over tunes that we might play in a dance that day or evening. During the dances, Dave (who is the 'founder' of the band and a dance caller), did most of the work setting tempos and determining when we cut off, etc. For the most part I'm playing mandolin or banjo in the middle of it all, so it doesn't really work to 'conduct'.
The family dance on Wednesday at 8:00 pm was the 'official' time for the 'family' band to play and I think most people who showed up at rehearsal were on stage at one time or another. Lynn said she counted 15 at one point. (Usually 6 or 7 is sufficient). Our band name that night was 'Bob and his extremely large orchestra'.
I also conducted some extra rehearsal for the 'advanced' band which played for the Wednesday late night dance (about 10:15-11:30 pm). The dances Wednesday were called by Robin, a caller that we've worked with at Tapestry and other venues. She calls mostly contra dances, so we were using tunes from the Danebodium repertoire. Ken, Lynn, Daniel and I (the official members of Danebodium) were all there - plus Peter played guitar on most pieces and Neal played guitar on a few others. Paul played bodhran and Valerie played on a couple of the sets. I received many positive comments on the music and dances for that night and it sure looked like everyone dancing was having a good time.
I'll probably be leader of the band for a couple of more years. I'm thinking of reviving the practice of sending out 'family band' music ahead of time, probably starting with 'classics' rather than new music. It would be nice to do some coordination ahead of time with whomever is doing the family or barn dance on Wednesday. The idea is that newbies would be invited to play on the 'classics' tunes, but should plan to dance on other tunes. Yes, Virginia, there are times when newbies play on tunes that they are not quite up to speed on (both this year and previous). Of course, with an all-volunteer band, you can't really 'enforce' these kinds of rules, but you can offer 'suggestions'.
A big deal for me this year was actually dancing (when the band wasn't playing). For the last two years I've been nursing a pulled leg muscle and although I still limp a bit ( I officially have arthritis in my right hip), I was able to dance for pretty much as long as I cared to. Shira taught 'Turkish Kiss' the first night at late-late night dancing. This is an Israeli line dance that has become a camp classic. Shira's dances are complicated: usually with 3 major sections each of which contain several elements - (for both your arms and legs). Since she did a step-by-step set of instructions I was sort of able to get it. This encouraged me enough to attend her dance workshop on Tuesday morning where I sort of learned two of her new dances. Of course I couldn't do this independently nor did I do all the steps and arm movements perfectly, but I did dance these dances whenever they came up and thoroughly enjoyed myself. The key of course, is to watch Shira or one of the young folk (usually a young woman) and do what they do. In addition from going from 0 to 3 Shira dances, I also learned the 'Salsa' (which was taught last year) and a new dance by Dave (officially called Broken Horse or some such, but we called it the counting dance - you keep switching partners by counting up to 4).
It was Lynn's turn to 'play hurt' - she's been in physical therapy for her shoulder (too much piano playing this winter) -then the Friday before we left she developed a 'floater' in her eye (she called the opthamologist on call on Saturday who assured it was part of the normal aging process
She did comment that I looked to be thoroughly enjoying myself. I do believe that part of it was that we were so busy performing prior to going, that I had didn't have any time to set up any expectations. There are some people who anticipate events like these and set themselves up for disappointment - often, they expect some mystical, magical, transcendent experience that reality can never match. (I am usually but not always immune from this type of behavior.) This year, my focus was on several 'big' bob-i-lynn performances culminating in the MBOTMA
In any event, by the last dayI was ready to go home and sleep in my own bed (with only a few feet to the bathroom).
Wednesday, June 13, 2007
Farewell to Mr. Wizard
At Cuppa Java this morning, the TV had a picture of a man named Don Herbert who had just died. I was trying to figure out who he was but didn't make the connection untilI got home and read the paper: Mr Wizard died at age 89 - NBC was showing a picture of him as an older man, but here's the picture I remember:
He was on from 1951-1964 in "Watch Mr Wizard" and I know I watched it a bunch, but don't recall many details. There was usually a couple of kids (at least one girl and one boy), and at some point in every show one would say to the other: "Let's ask Mr. Wizard". This makes me wonder if this influenced my life-long interest in science: I never took any Physics, Chemistry or Biology past high shool but I do subscribe to (and read) Scientific American. The Strib account describes the show as a 'fond Baby Boomer memory' so I am sure I'm not alone. He was born in Waconia, MN where my dad had a sailboat for a number of years.
update - here's a posting with much more detail than I could manage: http://www.huffingtonpost.com/marty-kaplan/watch-mr-wizard_b_51964.html
He was on from 1951-1964 in "Watch Mr Wizard" and I know I watched it a bunch, but don't recall many details. There was usually a couple of kids (at least one girl and one boy), and at some point in every show one would say to the other: "Let's ask Mr. Wizard". This makes me wonder if this influenced my life-long interest in science: I never took any Physics, Chemistry or Biology past high shool but I do subscribe to (and read) Scientific American. The Strib account describes the show as a 'fond Baby Boomer memory' so I am sure I'm not alone. He was born in Waconia, MN where my dad had a sailboat for a number of years.
update - here's a posting with much more detail than I could manage: http://www.huffingtonpost.com/marty-kaplan/watch-mr-wizard_b_51964.html
Monday, June 11, 2007
Tentative Set List for Stone Arch Festival (11:15, Sat. June 16th)
Little Annie: One of our newer songs. I've got versions by the Carter Family and Laurie Lewis - we sound more like the Carter family, but we're using Laurie's words. (The Carter family's version has the 'bees' returning to the trees. I picked Lauries version where "the leaves" return to the trees in the spring time). Got the idea from Bruce Johnson who suggested I learn this after I sang another Carter family song at a Homestead Picking Parlor Jam.
When First Onto This Country: This is from the New Lost City Ramblers. Mike Seeger sings it with autoharp, so of course I have to do it with the 12th string in order to get that slightly out of tune effect that multiple strings bring. My 1971 Martin 12 String is certified for 'old time' music since I bought it at the Homestead Pickin' Parlor. Lynn plays guitar and calls it her 'Zen' piece.
Been in the Lowlands Too Long: This is by Gillian Welch. Her version has a bass and drums, so I bring out the 12 String and bang on it pretty hard, while Lynn plays fiddle.. Lynn grew up in the mountains of Washington State and Montana, so I think of her when I sing this song. (When we can't get to the mountains we escape the lowlands to go up to Lake Superior). Key of F. (It'll look like I'm playing in G, but the 12 String is tuned a step low -- I learned this the hard way: Michelle at Hoffman's Guitar repaired a totally collapsed neck stemming from tuning it up to standard pitch).
Key of C. Guitar/fiddle.
Bonaparte Crossing the Rhine: I am flatpicking this in A (it's usually in D). I got the idea from an early Norman Blake recording, although its mostly my own arrangement. This is one of the tunes I'll do at the flatpicking contest (it's on my B-list, so this year only if I make the final 5). Lynn is accompanying on guitar.
I Truly Understand: based on Bruce Molsky's version, although we have a couple of other recordings as well. He uses all fiddle, we use two guitars: Key of E.
That should close out the set - however, we have the following in reserve:
Ain't Gonna Work Tomorrow: From the Carter family - I turned the last 'verse' into a chorus as this is my current career goal. I'm at the age where a visit to the financial planner includes discussion of 'retirement' - he wants us to fill out forms to help us 'create' a full life etc during our golden years. I'm thinking I'll just be quitting the day job... Foghorn String Band did this the last time they were in town, but I don't think they've recorded it yet. Key of B with guitars.
Lonesome Pine Special: This is a Carter family song which I first heard on a Hazel Dickens Album. Norman & Nancy Blake were backing her up. 2 Guitars, Key of F
When First Onto This Country: This is from the New Lost City Ramblers. Mike Seeger sings it with autoharp, so of course I have to do it with the 12th string in order to get that slightly out of tune effect that multiple strings bring. My 1971 Martin 12 String is certified for 'old time' music since I bought it at the Homestead Pickin' Parlor. Lynn plays guitar and calls it her 'Zen' piece.
Been in the Lowlands Too Long: This is by Gillian Welch. Her version has a bass and drums, so I bring out the 12 String and bang on it pretty hard, while Lynn plays fiddle.. Lynn grew up in the mountains of Washington State and Montana, so I think of her when I sing this song. (When we can't get to the mountains we escape the lowlands to go up to Lake Superior). Key of F. (It'll look like I'm playing in G, but the 12 String is tuned a step low -- I learned this the hard way: Michelle at Hoffman's Guitar repaired a totally collapsed neck stemming from tuning it up to standard pitch).
Key of C. Guitar/fiddle.
Bonaparte Crossing the Rhine: I am flatpicking this in A (it's usually in D). I got the idea from an early Norman Blake recording, although its mostly my own arrangement. This is one of the tunes I'll do at the flatpicking contest (it's on my B-list, so this year only if I make the final 5). Lynn is accompanying on guitar.
I Truly Understand: based on Bruce Molsky's version, although we have a couple of other recordings as well. He uses all fiddle, we use two guitars: Key of E.
That should close out the set - however, we have the following in reserve:
Ain't Gonna Work Tomorrow: From the Carter family - I turned the last 'verse' into a chorus as this is my current career goal. I'm at the age where a visit to the financial planner includes discussion of 'retirement' - he wants us to fill out forms to help us 'create' a full life etc during our golden years. I'm thinking I'll just be quitting the day job... Foghorn String Band did this the last time they were in town, but I don't think they've recorded it yet. Key of B with guitars.
Lonesome Pine Special: This is a Carter family song which I first heard on a Hazel Dickens Album. Norman & Nancy Blake were backing her up. 2 Guitars, Key of F
Thursday, June 7, 2007
Reviving a Couple of Songs
I've been revisiting a couple of songs I've done for a long time and trying them out as 'bob-i-lynn' possiblities. One is a 60's folk song, the other is a jamming song usually done by a bunch-of-guys.
I first learned I Can't Help Wonder Where I'm Bound in college. This is 60's 'folk standard' by Tom Paxton - when I first did it, I finger-picked it - I switched it to a more flat-picky version after hearing Bill Cagley and others perform it in a 'bluegrassy' way. I did in D (using C position with Capo on 2nd fret). I recently heard it done by the Country Gentlemen or some such group (late 60s or 70s) - they had changed the melody etc, not the way I did it at jams etc.. In any event I hadn't played it much at all for the last few years, until a month or two ago I tried in on the [insert drum roll here!] ... the 12 String. Of course, it's now in the key of F. Lynn and I tried it at a recent rehearsal and we'll probably perform it at some point when we do multiple sets at a coffee shop (when its worth it to bring the 12-string and the old-time purists are not around).
More Pretty Girls Than One is an old time song that I learned a long time ago, probably from a Doc Watson recording. This is standard jam fare and I used to do it at Noel Johnson's Ground Hog Day Jams among others. I recently picked up a version (in mp3 format) done by the Prarie Ramblers (originally on a 78). Their version added the following verse:
Little girl, you turned me down,
You left me all alone
So I'm leaving you this lonseome song
To sing when I am gone.
This verse made me consider it for bob-i-lynn purposes since it takes the song in a different direction from the swaggering way I had always interpreted it (based on the following):
Look down that lonesome road,
Hang down your head and cry,
'Cause I'm thinking about all the pretty girls
and hoping that I never die.
We're played it a couple times in D (I have capo on 2nd fret using C position) with Lynn on fiddle. I had usually done it in C, but for preforming a little higher should work - there is an A minor chord that I will probably leave as C (makes it a little more old-timey without the minor). Since this in 3/4 time it looks to be a good addition to our mostly 4/4 repertoire.
I first learned I Can't Help Wonder Where I'm Bound in college. This is 60's 'folk standard' by Tom Paxton - when I first did it, I finger-picked it - I switched it to a more flat-picky version after hearing Bill Cagley and others perform it in a 'bluegrassy' way. I did in D (using C position with Capo on 2nd fret). I recently heard it done by the Country Gentlemen or some such group (late 60s or 70s) - they had changed the melody etc, not the way I did it at jams etc.. In any event I hadn't played it much at all for the last few years, until a month or two ago I tried in on the [insert drum roll here!] ... the 12 String. Of course, it's now in the key of F. Lynn and I tried it at a recent rehearsal and we'll probably perform it at some point when we do multiple sets at a coffee shop (when its worth it to bring the 12-string and the old-time purists are not around).
More Pretty Girls Than One is an old time song that I learned a long time ago, probably from a Doc Watson recording. This is standard jam fare and I used to do it at Noel Johnson's Ground Hog Day Jams among others. I recently picked up a version (in mp3 format) done by the Prarie Ramblers (originally on a 78). Their version added the following verse:
Little girl, you turned me down,
You left me all alone
So I'm leaving you this lonseome song
To sing when I am gone.
This verse made me consider it for bob-i-lynn purposes since it takes the song in a different direction from the swaggering way I had always interpreted it (based on the following):
Look down that lonesome road,
Hang down your head and cry,
'Cause I'm thinking about all the pretty girls
and hoping that I never die.
We're played it a couple times in D (I have capo on 2nd fret using C position) with Lynn on fiddle. I had usually done it in C, but for preforming a little higher should work - there is an A minor chord that I will probably leave as C (makes it a little more old-timey without the minor). Since this in 3/4 time it looks to be a good addition to our mostly 4/4 repertoire.
Wednesday, June 6, 2007
New Songs
For upcoming gigs, Lynn and I are learning some new songs. Two of them are on 12 String:
Been in the Lowands Too Long: this is by Gillian Welch - I picked it for Lynn because she sometimes misses the mountains of Washington State and Montana (sometimes going to the North Shore helps). Gillian's version has drums and electric bass, so a 12-string treatment seems to fit. Lynn is adding fiddle and singing harmony on the chorus. We are working this up for the Stone Arch Festival Performance on the 16th - so far, I seem to remember the words. This isn't exactly old-time, so we'll mostly be doing at coffee house and other non-oldtime-bluegrassy events. (Actually, when we play old time, I leave the 12 String at home).
Story of the Might Mississippi: Mike Seeger does this on an Folkways LP I got on EBay : FA 2325 Oldtime Country Music (1962). He does it on the autoharp, which led me to do this on the 12 string. I do another autharp song he does on the 12 string, When First Onto This Country. I'm still working on learning the words; Lynn is playing guitar and will probably sing harmony, although we are still working out the arrangement. As far as I know this song came out of the 1927 Mississippi flood and has some resonance with the Katrina flooding. I'm not sure what the orignal source is (At some point I might check the LP and update this blog... or not).
On the 6 String (using finger picks), I am working on :
What Are They Doing in Heaven Today: I am basing this on the version by Riley Baugus (Tim O'Brien is playing guitar and doing fiddle.) This is in F - I am using Drop D tuning with the Capo on the 3rd Fret (sounds like Tim did the same). Lynn is adding a fiddle part and singing harmony on the chorus: on the chorus she is playing the fiddle while singing (fiddle is doing the 3rd harmony part). We hope to learn this well enough to do it at the gig in Milbank, SD at my cousin's Methodist church. Unlike most gospel songs concerning heaven, you don't have to die to re-unite with your family and friends - this one is just wondering 'but, what are they doing there now'. At Lanesboro, we picked up a CD by Washington Phillips that has the version that is Riley's source. I haven't had a chance to listen to it. This was written by Charles Tindley in the early 1900s. He also wrote Stand by Me and I Shall Overcome (which became the civil rights anthem We Shall Overcome).
Another song that I might learn is Bear Creek by the Carter Family. I have their version, plus several others by Reeltime Travellers, Jody Stecher/Kate Brislin, Big Medicine and maybe one or two more. This is one of those songs that on first hearing I didn't particulary think of as a bob-i-lynn tune, but then the original Carter Family version came up on 'random-play' on my ipod and I was struck by it. Maybelle's guitar part is kind of funky (and doesn't come through in the other verisons). They appear to do it in E, although I'm thinking that she may doing it in G position with her Gibson L-5 tuned low. I am trying to keep it in E with the capo on the 4th fret. If Lynn plays guitar using open E, we might get the right sound So far I don't really have the guitar part the way I want it but I'll keep working on it. The fact that there is a reference to Jesse James means we might do it at some point with the Rhubarbarians - I do the bluegrassy version of Jesse James and Bob Estes has an original song referencing Jesse as well.
Been in the Lowands Too Long: this is by Gillian Welch - I picked it for Lynn because she sometimes misses the mountains of Washington State and Montana (sometimes going to the North Shore helps). Gillian's version has drums and electric bass, so a 12-string treatment seems to fit. Lynn is adding fiddle and singing harmony on the chorus. We are working this up for the Stone Arch Festival Performance on the 16th - so far, I seem to remember the words. This isn't exactly old-time, so we'll mostly be doing at coffee house and other non-oldtime-bluegrassy events. (Actually, when we play old time, I leave the 12 String at home).
Story of the Might Mississippi: Mike Seeger does this on an Folkways LP I got on EBay : FA 2325 Oldtime Country Music (1962). He does it on the autoharp, which led me to do this on the 12 string. I do another autharp song he does on the 12 string, When First Onto This Country. I'm still working on learning the words; Lynn is playing guitar and will probably sing harmony, although we are still working out the arrangement. As far as I know this song came out of the 1927 Mississippi flood and has some resonance with the Katrina flooding. I'm not sure what the orignal source is (At some point I might check the LP and update this blog... or not).
On the 6 String (using finger picks), I am working on :
What Are They Doing in Heaven Today: I am basing this on the version by Riley Baugus (Tim O'Brien is playing guitar and doing fiddle.) This is in F - I am using Drop D tuning with the Capo on the 3rd Fret (sounds like Tim did the same). Lynn is adding a fiddle part and singing harmony on the chorus: on the chorus she is playing the fiddle while singing (fiddle is doing the 3rd harmony part). We hope to learn this well enough to do it at the gig in Milbank, SD at my cousin's Methodist church. Unlike most gospel songs concerning heaven, you don't have to die to re-unite with your family and friends - this one is just wondering 'but, what are they doing there now'. At Lanesboro, we picked up a CD by Washington Phillips that has the version that is Riley's source. I haven't had a chance to listen to it. This was written by Charles Tindley in the early 1900s. He also wrote Stand by Me and I Shall Overcome (which became the civil rights anthem We Shall Overcome).
Another song that I might learn is Bear Creek by the Carter Family. I have their version, plus several others by Reeltime Travellers, Jody Stecher/Kate Brislin, Big Medicine and maybe one or two more. This is one of those songs that on first hearing I didn't particulary think of as a bob-i-lynn tune, but then the original Carter Family version came up on 'random-play' on my ipod and I was struck by it. Maybelle's guitar part is kind of funky (and doesn't come through in the other verisons). They appear to do it in E, although I'm thinking that she may doing it in G position with her Gibson L-5 tuned low. I am trying to keep it in E with the capo on the 4th fret. If Lynn plays guitar using open E, we might get the right sound So far I don't really have the guitar part the way I want it but I'll keep working on it. The fact that there is a reference to Jesse James means we might do it at some point with the Rhubarbarians - I do the bluegrassy version of Jesse James and Bob Estes has an original song referencing Jesse as well.
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