The trees are bending over The cows are lying down The atumn's taking over You can hear the buckshot hounds The watchman said to Reba the loon Was it pale at Manzanita Or Blind Bob the raccoon? Pin it on a drifter They sleep beneath the bridge One plays the violin And sleeps inside a fridge There was a murder in the red barn A murder in the red barn Someone's crying in the woods Someone's burying all his clothes Now Slam the Crank from Wheezer Slept outside last night and froze Road kill has its seasons Just like anything It's possums in the autumn And it's farm cats in the spring There was a murder in the red barn A murder in the red barn Now thou shalt not covet thy neighbor's house Or covet thy neighbor's wife But for some Murder is the only door through which they enter life Now they surrounded the house They smoke him out They took him off in chains The sky turned black and bruised And we had months of heavy rains Now the raven's nest in the rotted roof Of Chenoweth's old place And no one's asking Cal About that scar upon his face 'Cause there's nothin' strange About an axe with bloodstains in the barn There's always some killin' You got to do around the farm A murder in the red barn Murder in the red barn Now the woods will never tell What sleeps beneath the trees Or what's buried 'neath a rock Or hiding in the leaves 'Cause road kill has it's seasons Just like anything It's possums in the atumn And it's farm cats in the spring A murder in the red barn A murder in the red barn Now a lady can't do ntohin' Without folks' tongues waggin' Is this blood on the tree Or is it autumn's red blaze When the ground's soft for diggin' ANd the rain will bring all this gloom There's nothing wrong with a lady Drinking alone in her room But there was a murder in the red barn A murder in the red barn

Welch was born in Manhattan and was adopted when she was three days old. She moved to Los Angeles at the age of four. On her eighth birthday she wished for and got a guitar and lessons, and learned soon to play the guitar. Studying at the University of California, Santa Cruz,[3] Welch discovered bluegrass music through the "mountain soul" stylings of The Stanley Brothers.[4] After a short stint playing bass in a local camp band called Söfa, Welch moved to Boston and studied at the Berklee College of Music.

In Boston, Welch met and began dating David Rawlings, who would become her long-time musical partner. In 1992, they moved to Nashville and began building a career. In Nashville, she met T-Bone Burnett,[5] producer to such artists as Los Lobos, Sam Phillips, Bodeans, Counting Crows, and Elvis Costello. In 1996, Welch released her first album, Revival, which was nominated for a Grammy for Best Contemporary Folk Album in 1997.[2] Since then, she has recorded other albums and collaborated on the songs "Didn't Leave Nobody But the Baby" and "I'll Fly Away" on the Grammy-winning soundtrack of the Coen Brothers hit film O Brother, Where Art Thou?.[6] Welch also had a cameo in the film, as a woman in a record store trying to obtain a copy of the Soggy Bottom Boys' recording of "Man of Constant Sorrow".

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Beginning with a stirring African folk song (Zélié performed by Angélique Kidjo) the roots are established and rapidly swell into a trunk thickened by the hardships of the Great Depression (Gamblin' Man performed by David 'Honeyboy' Edwards) and the oppression of segregation (Jim Crow Blues performed by Odetta). Finally, this Blues family tree shows off vibrant new growth as it reveals the Blues' influence on our modern wealth of talented musicians (Midnight Special performed by John Fogerty and Hound Dog done by Macy Gray). Ruth Brown gives Blll Cosby a full-throttle serenade (and a playful smoldering gaze), along with Mavis Staples and Natalie Cole. Angélique Kidjo persuades Buddy Guy to an unforgettable rendition of 'Voodoo Child,' shortly before Bonnie Raitt and Robert Cray accompany B.B. King and Lucille for the final number, 'Paying the Cost to be the Boss.' This documentary presents to the audience, with authority and candor, an authentic history of this musical form. The highly esteemed elders of this musical family are exemplary in their humbleness toward one another, rich with decades of shared memories; and their performances are of a quality rarely seen in modern times. These men and women are true artisans, yet they continue to generously pass their legacy down to select members of each musical generation. Those who grew up on this music find themselves performing on the stage with the very heroes who served as their earliest inspiration. Legends, such as Ruth Brown, Honeyboy Edwards, Clarence 'Gatemouth' Brown, B.B. King, Howling Wolf, and Buddy Guy, gave the world a double helping of their genius-first with song and secondly as the spirit which supplies the continuation of their art: in such artists as Natalie Cole, Jimmie Vaughan, John Fogerty, Macy Gray, Alison Krause, and Bonnie Raitt. Written by Annie Campos

Homesick James (30 April 1910[1] - 13 December 2006) was a black American blues musician. He is believed to have been born John William Henderson, but later used the name James A. Williamson and was sometimes referred to as Homesick James Williamson.
Contents

* 1 Life
* 2 References
* 3 See also
o 3.1 External links

[edit] Life

He was born in Somerville, Tennessee, the son of Cordellia Henderson and Plez Williamson Rivers, who were both musicians[2]. He developed a self-taught style of slide guitar through playing at local dances in his teens. His early life is uncertain. He claimed to have played with Yank Rachell, Sleepy John Estes, Blind Boy Fuller and Big Joe Williams, among others, and to have been acquainted with Robert Johnson. He also claimed to be the older cousin of Elmore James, to have bought Elmore his first guitar, and to have taught him how to play slide. However, some of these claims are unconfirmed.

By the early 1930s he was based in Chicago, and formed a band called the Dusters that included Snooky Pryor and "Babyface" Leroy Foster[3]. He may have first recorded for RCA Victor in 1937, but this is also unconfirmed, and by 1938 may have begun playing electric guitar. His first known recordings were in 1952 for Chance Records, recording the tracks "Lonesome Ole Train" and "Homesick" which gave him his stage name. During the late 1940s and 1950s he worked with both Sonny Boy Williamson II (Rice Miller), and with Elmore James. He was a longtime member of Elmore's band from 1955 to 1963, contributing to such classics as "Dust My Broom," "The Sky is Crying," and "Roll and Tumble." Elmore is said to have died on Homesick's couch while the latter frantically searched for the former's heart pills[4].

As a solo performer, he recorded for the Colt and USA labels in 1962, including a version of Robert Johnson's "Crossroads". Homesick James's slide guitar style, not as refined as Elmore James's, traces back to Johnson's. He also recorded a 1964 album for Prestige Records, Blues On the South Side (Prestige OBCCD 529-2), including another of his best-known covers, "Stones In My Passway", and some tracks for Vanguard that are available on the compilation Chicago: The Blues Today.[5]. One of his own songs, "Gotta Move" (also on Blues On the South Side) was covered (as "Got To Move") both by Elmore James and by Fleetwood Mac.

In the 1970s he began playing at blues festivals, including some in Europe, often with Snooky Pryor. He continued to record for labels including Delmark, Prestige, Big Bear, Appaloosa and Icehouse Records. Homesick married Rosa Mangiullo, an Italian immigrant, who with her son Tony owns and operates premier blues club Rosa's Lounge on the west side of Chicago in the 1980s - they would remain married until his death although they did not live together other than for a brief period after the wedding. Her son Tony is a well-known blues drummer in Chicago and Europe. Homesick was referred to by name in the Deacon Blue song "Fergus Sings the Blues", in the lyric "Homesick James, my biggest influence". Homesick toured the country with Big Walter Horton and appeared on National Public Radio broadcasts live from college campuses in the late 1970s, backed by Rich Molina, Bradley P. Smith, Eddie Taylor, Guido Sinclair and Paul Nebenzahl.

He remained an active performer into his 90s, performing both locally and at international festivals, but stopped recording in 2004. He moved to Springfield, Missouri, where he was cared for during the last years of his life by blues musician and protege John Long, and died there on December 13, 2006. He is buried in Covington, Tennessee.

BIOGRAPHY:
When Theodore Roosevelt "Hound Dog" Taylor sat down on his battered folding chair, slipped his steel slide onto his six-fingered left hand and tore into one of his foot-stomping shuffles, supercharged boogies or a searing slow blues, he had one thing in mind--making people forget their troubles, either by dancing or by immersing themselves in the deepest of bottleneck blues. And whether he was playing for old friends at one of Chicago's inner-city bars or for thousands of college kids and hippies at clubs and campuses around the country, Taylor's music never changed. With just two guitars and a drum set, Hound Dog Taylor and the HouseRockers created a rocked-out, hypnotic, ultra-danceable sound that is as emotionally powerful and wildly energizing today as it was the day they produced it.

Until he recorded his (and Alligator Records') first album, HOUND DOG TAYLOR AND THE HOUSEROCKERS in 1971, Taylor was largely unknown outside of Chicago. He played blues guitar for 35 years before reaching a wider audience and gaining the status of a beloved blues icon. From the mid-1950's until 1975, Taylor and his band--second guitarist Brewer Phillips and drummer Ted Harvey--kicked out the blues jams all over the South and West sides, including a regular Sunday afternoon gig at Florence's Lounge. It was at one of these performances in 1970 where a young blues fan named Bruce Iglauer decided to start a blues record label for the sole purpose of recording Hound Dog Taylor and the HouseRockers.

Without a drop of slickness, Taylor's electrified blues was feral, rocking and raw. Village Voice music critic Robert Christgau referred to the band as "the Ramones of the blues," and it's easy to understand why. Taylor played fast, loud and sloppy, and would sometimes hit bad notes or get out of tune. But he always made primeval, soul-satisfying music. Nobody could match him when it came to emotional fervor and the pure joy of making music. Songs like Give Me Back My Wig, She's Gone, and Walking The Ceiling are now considered blues classics. "Live wire exuberance and hard-as-nails force," said Rolling Stone, "natural for partying, drinking and talking loud."

Now, for the first time in 22 years, there's finally more Hound Dog Taylor music to be heard. RELEASE THE HOUND is a sizzling collection of some of the best previously unreleased Hound Dog Taylor material in existence. Featuring over 68 minutes of music, RELEASE THE HOUND boasts 14 live and studio performances, including stunning versions of Wild About You, Baby, What'd I Say?, She's Gone, Sen-Sa-Shun and Gonna Send You Back To Georgia. Taylor's wild guitar exuberance and joyous, soulful abandon fuel each and every song. Three instrumentals on the CD showcase Brewer Phillips' crazed lead guitar playing. From the audience reactions on the live cuts to the untamed blues energy of the studio tracks, RELEASE THE HOUND will delight old fans and introduce new ones to Hound Dog Taylor and the HouseRockers' one-of-a-kind blues experience.

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