We here at Big And Tall Records got a call from one of the members of Un Grupo de Mexicali informing us that the tour of the U.S. they had planned in late summer has been canceled. They weren't shy about telling us why either. They do not feel comfortable crossing the border right now because of the current administration's policy towards non-citizens, no matter if they are here legally or not. We had a long talk, but he was adamant. No crossing the border until things lighten up or change.
We can't say that we blame them. We're sure that the group has all of their paperwork,passports, visas, and Border Crossing Cards up to date as they have been touring in this country for the past 5 years. But that is little comfort once the actions of the current administration are considered. The group has always given a full itinerary of their tours, along with exact dates to leave the country and have never had an issue. But they won't take the chance now.
That was news that really bummed us out. We like the group and their music, a really friendly bunch who all speak English of varying qualities but quite understandable. But that doesn't mean they aren't sending us recordings! This latest from them The Hombre They Call TACO! is a jab at things the way they are, and we're happy to let their displeasure be known!
Do amigos in the States have a new leader?
We hear of him the other day from all the news feeder
Who is the brand new man we no have heard of before?
Is a strange name, por favore we hear it more and more?
The hombre they call TACO, is he from Mexico?
Is that his real name or not, we really want to know!
Also call him orange chicken, but we don't know what it means?
Is he Mexicanos, and like to eat pinto beans
Heard of the hombre Elon, leader of the doge army
And someone name of Pedro, boss of the real army
But who is orange chicken, it is a mystery?
Is it just a nickname, or is it a secretary?
The hombre they call TACO, is he a real thing
The United States gets stranger, then we ever seen
The latest from Amos Carter and his crew, a simple little song about rubber neckers. You know, thepeople who insist on holding up traffic of one kind or another to gawk at an accident or something else. Admittedly they can be not only annoying, but a danger in themselves. But as Amos warns us all in the song, we all got rubber necker behavior in us. Be aware! Don't become one yourself!
We here at Big And Tall Records didn't know what to expect after we heard Delmar's previous song that expressed his tension and stress over his father's visit to his ranch. We gathered from the song that his father did not agree with him retiring to Arizona and buying a horse ranch, and that they hadn't been very close for quite a while. So we were pleasantly surprised with this new song that relates how his father embraced the change and enjoyed his stay so much that he stayed longer than he expected.
At the end of the song it tells how Delmar has invited his Dad to come live with him on the ranch, so there's not an end to the story yet! Delmar has quite an extended family already, as he's got Marie his housekeeper and cook and her mother living there, along with Doyle and Blanche Harseth, former owner of the ranch, and Amos Carter, ranch hand and double bass player! Not to mention 5 horses, a mule, and two dogs! Evidently Delmar's father likes animals and took a shine to the latest critter addition, Ben the mule!
The Noir Players latest is the second cover of our blues artist Tugboat Jackson's song Changes. This one transforms the blues song into a mini-opera for orchestra and a particularly rich and deep female vocal. It's interesting in that the music is changed considerably while the lyrics are verbatim from the original. The content as well as the lyrical possibilities are myriad, and we at Big And Tall Records are proud of Tugboat's talent and the talent of those who have chosen to make their version of his song. Tugboat himself remains humbled by the experience as he writes:
When I wrote the song, I noodled out words and chords together for a laid back blues tune, something different than my previous few songs that were a lot more intense. The Noir Players version really blows me away, as well as Sonny Hotchkins version does, although it's a hell of a lot different. Tell ya, don't know what it is about the lyrics that speak to other musicians so much that they're inspired to create their own versions. Sure wasn't intentional I can tell ya'll that! I am honored and humbled at the same time!
Tugboat's back after a brief illness that required surgery, but he doesn't sound worse for wear with this new song Lollygaggin'. We pretty much know what the word means, but just for the hell of it we googled it and got this result:
"Lollygagging" is a colloquial term that means to dawdle, waste time, or fool around. It's essentially a playful or informal way of saying someone is not being serious or productive.
That sure seems to be what Tugboat's singing about. An old guy, retired, doin' old retired guy stuff of no consequence. Good one, Tugger!
The third recording from the storyteller Boxcar Bertha. After thirty years riding the rails, she's no doubt has a lot of stories to tell, and when she wants to tell them in song, we'll record them! She now lives in a small efficiency apartment, and is trying to get used to it. We talked to her recently:
I'm lucky to be able to get off the road. Ridin' the rails isn't for old folks, and it's gettin' harder and harder to do. I did work off an on, one time at a two year stretch. Got pretty good pay, socked most of it away for my old age. Got a nice apartment, but I'm feeling hemmed in .When you're used to sleeping wherever you can lay your head, usually under the stars, having a comfortable bed should be a comfort. But there's most night I make a bedroll and go sleep outside. Put some of the other tenants in a dither when I started doing that. They thought I'd died out in the front yard! But they don't bother me any more. But I'm slowly gettin' used to a bed, spoiled, actually. Lots easier to get some rest for my old weary bones on a nice mattress than the hard ground!
The word has gotten out to many of her hobo friends, as there's a constant stream of them coming to her apartment, most looking for a handout. She told us she had to finally cut off giving them anything, as she went through too much money. But there are some true friends that just want to visit.
Many years ago, there was a young man
He had a talent he used to survive
A Bo on the rails since he was full growed
He had the fastest hands, ever alive
Light fingered Moses was his hobo name
His touch was so soft, his hands so nimble
He lived by takin’ things out of folk’s pockets
He wore a tattered hat, was his symbol
Moses was a veteran, of the rails
He sure didn’t look it, with his young face
He kept a small book of where he had been
Many an obscure, and familiar place
Light fingered Moses was his hobo name
His touch was so soft, his hands so nimble
He lived by takin’ things out of folk’s pockets
He wore a tattered hat, was his symbol
He’s go in a store, or gas station
Looked innocent casin’ out the store
He’d swipe stuff out of pockets, off the shelves
Cigarettes and candy, and so much more
Light fingered Moses was his hobo name
His touch was so soft, his hands so nimble
He lived by takin’ things out of folk’s pockets
He wore a tattered hat, was his symbol
Don’t know how he did it, but he sure could
Beat the alarm systems in the big stores
He’d look all around, and find some cool stuff
He’d stuff his pockets, and go out the doors
Light fingered Moses, no one ever caught
Didn’t matter if from a pocket or shelf
Always had something, in his coat to share
Thought about others just not ‘bout himself
He was a thief, but not from a Bo
Had some thought about things, and he took a stand
At last, after months and months of work, the first section of the opera The Barber Of Paducah by Travis V. McGonigle is done (at least in a working copy) and recorded! The composer, a notoriously cranky man in his nineties, has been amazingly productive for his age. He has completely revised both lyrics and music from the original first written in the late 1940's. The music itself is traditionalesque, but definitely quirky like the composer himself. And the lyrics are even more so. But this first scene of Act I shows his determination to get a fully revised copy finished before he goes. His health remains fragile, as is expected for his age, but his resolve is not. Early on, the tenor Luigi Trasudante, the moving force behind the project, tried to ease some of the burden from the composer in various ways, but was promptly put in his place by McGonigle. Everyone working with him found out he is in charge, and any hint of taking away control or decisions from him have been met with scathing replies. This ha resulted in the original conductor removing himself from the project, along with some others. Now the team is devoted to carrying out his wishes, no matter how eccentric they are.
This first recording is of ACT I, Scene 1, and the complete libretto for this section may be found here. The following is a synopsis and commentary on the music and settings:
ACT I
Scene 1: At The Barbershop
Luigi and his brother Antonio have opened a barbershop in Paducah,
Kentucky and offer lots more services than just hair cuts and shaves. There is no overture to open the opera, but the orchestra plays a very small introduction to Luigi the barber's first aria that welcomes new patrons to the shop.
Luigi's aria - Come On Into My Shop
This area shows right away that this opera won't be the rarefied language or atmosphere of a classical opera. It is McGonigle's version of a patter song, although the tempo is not excessive, the words come forth fast and close together. All their services tells why they can only stay in a town for a certain amount of time. The law usually catches up to the sooner or later, and the husband's that figure out what's going on threaten real harm.
Soon their barbershop has a large growing clientele
that enjoy all the amenities the brothers provide. A group of the march to the barbershop after work to relax. A short march in a traditional style.
March of the patrons
When they arrive, they all engage in singing their praises of Luigi and the shop
Chorus - The barbershop, our safe haven
Illegally sold alcohol, illegal gambling, and illegal prostitution is praised by the patrons of the barbershop in this section for men's chorus. It also alludes to Luigi's aid in convincing the wives to let the men stay at the shop. When the wives call, many times Luigi will go to their house to explain, sometimes he's gone for over an hour. Either these guys are dumb or don't care what's going on. This is one area where this opera is like any opera; a certain amount of suspension of reality is needed.
Three months goes by since the opening of the barbershop, and the two brothers are making lots of money. This is portrayed by a waltz.
Luigi's Waltz
A waltz in mixed minor and major keys that leads to Luigi's second aria
Luigi Aria - How Much Better Is It Gonna Get?
Luigi counts the money earned for the day and is amazed at how much they're making, and at the expense of some very 'stupid hilly billies'. This give a further glimpse into the lecherous and deceitful heart that Luigi has.
While Luigi gloats over the money and calls his patrons stupid, his brother Antonio has been mopping up to finish the day before they close the shop. Antonio is a big, lumbering man unlike his brother who is of average stature. McGonigle portrays Antonio mopping the floor with what he calls
Antonio - Mop The Floor Interlude
Horns, trombones, and a tuba portray the rather clumsy Antonio. They lead into an aria by Antonio
Aria - That's all well and good
Antonio is more even tempered and practical, and warns Luigi about his philandering, a warning that has been given many times and to deaf ears.
