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15 of 16 people found the following review helpful:
5.0 out of 5 stars
Overdue Compilation from a Master, May 24, 2005
In this day of proliferation of boxed sets from even marginal figures, we are fortunate to finally have a collection of Utah's work from the early '70s through the '90s, mostly recorded in live performance from a variety of sources, together with one disc containing performances of his songs by others. Utah's studio albums are still availiable, so this is no "greatest hits" repackaging of available material, but consists in the main previouly unavailable work. The exceptions are 5 cuts from "Loafer's Glory," and one from Legends of Folk. Similarly, a few of the covers are from an albumn by Kate Brislin and Jody Steicher.
Liner documentation could be better, as there is no information on the other performers on the cuts where Utah is not solo, although recording dates and locations are given. My only real beef, however, is the absence of a version of what I believe is his greatest song, "I Remember Loving You," either by Utah, or by others who have covered this such as Priscilla Herdman. But I'm most thankful for the live performances of all of his other great train, polictical and love songs. The spoken intros. to each cut are great to have, particularly for those who have not heard Utah in concert. Utah, I ran into you a couple of years ago near Union Station in Chicago; thanks again for this and I hope you keep writing and performing.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
A People's Troubadour, January 30, 2006
Although this space is mainly dedicated to reviewing political books and commenting on past and current political issues as a way to orient today's alienated radical youth on the lessons of the past literary output is hardly the only form of political creation. Occasionally in the history of the American and international left musicians, artists and playwrights have given voice or provided visual reminders to the face of political struggle. With that thought in mind, every once in a while I will use this space to review those kinds of political expression.
My musical tastes were formed, as were many of those of the generation of 1968, by `Rock and Roll' music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.
That said, in the early 1960's there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960's cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians' respective agendas proved inadequate and/or short-lived does not negate their affect on the times.
My leftist political consciousness, painfully fought for in my youth coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960's. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review Utah Phillips Songbook while he is very much alive.
Many of the folksingers of the 1960's attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. Bob Dylan's work became more informed by the influences of Rimbaud and Verlaine and the French Symbolists of the late 1800's and thus moved away to a more urban, sophisticated vision. From the start and consistently throughout his long career Utah has acted as a medium giving voice to the troubles of ordinary people and the simpler ethos of a more rural, Western-oriented gone by day in the American experience. He evokes in song the spirit of the people Walt Whitman paid homage to in poetic form and John Dos Passos and John Steinbeck gave in prose. He sits comfortably in very fast company. Therefore, Utah Phillips can justly claim the title of a people's troubadour.
A word about politics. Generally, one rates music without reference to politics. However, Utah has introduced the political element by the way he structured the Songbook. Each song is introduced by him as to its significance heavily weighted to his political experiences, observations and vision. Thus, political comment is fairly in play here. Utah is a long time anarchist and unrepentant supporter of the Wobblies (Industrial Workers of the World, hereafter IWW). Every militant cherishes the memory of the class battles led by the IWW like the famous Lawrence strike of 1912 and honors the heroes of those battles like Big Bill Haywood and Vincent St. John and the militants they recruited to the cause of the working class in the first part of the 20th century. They paved the way for the later successful organization drives of the 1930's.
Nevertheless, while Utah and I would both most definitely agree that some old-fashioned class struggle by working people in today's one-sided class war would be a very good thing we as definitely differ on the way to insure a permanent victory for working people in order to create a decent society. In short, Utah's prescriptions of good moral character, increased self-knowledge and the creation of small intentional communities are not enough. Under modern conditions it is necessary to take and safeguard political power against those who would quite consciously deny that victory. History has been cruel in some of the bitter lessons working people have had to endure for not dealing with the question of taking state power to protect their interests. But, enough said. I am more than willing to forgive the old curmudgeon his anarchist sins if he'll sing `I Remember Loving You' the next time he tours the Boston area.
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10 of 12 people found the following review helpful:
4.0 out of 5 stars
Icon of Folk Songs & Storytelling, August 18, 2005
This is a great box set by a true master of folk songs and stories. I've been to many a Utah concert.
Yet I can't give it 5 Stars. How can a 4 CD compilation omit two of his classics? :
Hallelujah I'm A Bum, and Moose Turd Pie.
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