1. Too Far To Be Gone 3:47(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsSonny Landreth: Slide GuitarWill Kimbrough: GuitarLex Price: BassPete Abbott: Drums2. Pink Turns To Red 3:28(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsKevin Gordon: GuitarKenny Brown: GuitarWill Kimbrough: GuitarLex Price: BassPete Abbott: Drums3. The Talk 5:23(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsWill Kimbrough: GuitarCharles Hodges: B-3Lex Price: BassPete Abbott: Drums4. Gullah Geechee 3:36(J. Hahn & Will Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsCedric Watson: African Gourd BanjoWill Kimbrough: GuitarLex Price: BassPete Abbott: DrumsLisa Oliver Gray, Lucinda Spence, John Hahn, Will Kimbrough: PercussionLisa Oliver Gray, Megan Murray, Will Kimbrough: Background Vocals5. Why Why Why 3:25(Susan Werner, Frank Chance Music, ASCAP)Shemekia Copeland: VocalsWill Kimbrough: GuitarPat Sansone: KeyboardsLex Price: BassPete Abbott: DrumsLisa Oliver Gray, Megan Murray, Will Kimbrough: Background Vocals6. Fried Catfish And Bibles 3:03(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsAndre Michot: Accordion and Tit FerCedric Watson: FiddleWashboard Chaz: WashboardWill Kimbrough: GuitarLex Price: BassPete Abbott: Drums7. Done Come Too Far 5:08(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsCedric Burnside: Guitar and VocalsKenny Brown: GuitarWill Kimbrough: GuitarLex Price: BassPete Abbott: Drums8. Barefoot In Heaven 3:31(Ray Wylie Hubbard, Snake Farm Publ., SESAC)Shemekia Copeland: VocalsWill Kimbrough: GuitarLex Price: BassPete Abbott: DrumsLisa Oliver Gray, Megan Murray, Will Kimbrough: Background Vocals9. Fell In Love With A Honky 3:16(J. Hahn & W. Kimbrough, Avarice and Greed Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsAaron Lee Tasjan: GuitarWill Kimbrough: GuitarFats Kaplin: Fiddle and Pedal Steel GuitarTelisha Williams: Background VocalsLex Price: BassPete Abbott: Drums10. The Dolls Are Sleeping 2:56(J.Hahn & O. Wood, Avarice and Greed Publ./Royal Kook Music, BMI)Shemekia Copeland: VocalsOliver Wood: Acoustic GuitarWill Kimbrough: Guitar11. Dumb It Down 4:01(J. Hahn, D. Lattanzi, W. Kimbrough, Avarice and Greed Publ./SOUND 4 SOUND Publ./Will Kimbrough Music, BMI)Shemekia Copeland: VocalsWill Kimbrough: GuitarCharles Hodges: B-3Pat Sansone: Guitar and WurlitzerJoe Cabral, SaxophoneLex Price: BassPete Abbott: DrumsLisa Oliver Gray, Megan Murray, Will Kimbrough: Background Vocals12. Nobody But You 4:21(J. Copeland, Johnny Clyde Copeland, Inc., BMI)Shemekia Copeland: VocalsWill Kimbrough: GuitarLex Price: BassPete Abbott: Drums
7 September 1996Nora Young: What were you going for musically on this recording [The Charity of Night]?BC: Something different. The last two albums, there's been a kind of deliberately "rootsy", if I can use that term, approach. Especially on [Nothing But a] Burning Light, and that carried over onto Dart to the Heart, which was the album that followed that. This album isn't like that at all -- there's a lot of talking stuff, there's a jazzier element in it in the form of Gary Burton on vibes, and there's more sort of eccentric guitar playing from myself, and Rob's bass playing is very individualistic - he doesn't play the role that the bass is traditionally expected to play very much of the time. He's a very melodic player and kind of plays around things more. On drums we have Gary Craig who's done a lot of work with Colin Linden, with whom I've also worked in the past and who co-produced the album with me. It's a kind of aggressive approach - there's a lot of real playing, very little overdubbing. Beyond that I don't really know how to characterize it.- from "Definitely Not the Opera", CBC Radio, Interviewer: Nora Young, 7 September 1996. Anonymous Submission.
Ani Difranco Which Side Are You On Rar
January 1997"At first I didn't think of it in this way but now I too find a certain logic in the progression of the albums. Originally I had decided to do a completely different album from what I had done in the past. But as the album neared completion, I realized that the albums followed a certain pattern. "The Charity of Night" is jazz oriented, less folk than the other two, but it does have much in common with them. Now that you've brought it up, I understand that I had come to the same conclusion without knowing it. When I began to write the songs for "Nothing But a Burning Light," I deliberately went in a direction of my musical roots.This approach continued with "Dart to the Heart." But with this album I did not set any limits for myself and I let my writing go where it wanted. With the introduction of jazz, this album should be seen as more similar to those that I did in the 1980's. But my exploration of the "roots" sound is there, inside some of the songs and that's what this album has in common with the other two... For me the process of writing depends on the waiting, waiting for an idea. And when the idea arrives, it doesn't matter where I am I write the song. Many of my songs are influenced by the time and place I find myself.Two of the songs of this album, "The Mines of Mozambique" and "The Coming Rains" were written in Mozambique. When you see a landscape like that, you could be sure that scenery immediately becomes the inspiration. The things that touch you deep down in your feelings can create a strong emotional response...This album is more thoughtful, looks inside the person, examines emotions, touching right to the soul of oneself. It is definitely different from many of my earlier albums. Anyway I can't say how my next album will be. I don't want to generalize, but it could be more rock and roll, much louder, different in every aspect. The essence of this album is also a meditation on the fact that we all are getting older..."- from "Bruce Cockburn -- Night Visions" by Paolo Caru, Buscadero, No. 176, January 1997. Submitted by Nigel Parry.
November 1997Bob Doran: What do see as the tone of this album?BC: Well, it's obviously jazzier in contrast to the last couple of albums which featured organ prominently and were more rootsy in nature. This one is more sophisticated musically and its got more of a jazz. Its got more talking. [laughs].Bob Duran: Poetry with jazz... BC: A lot of it is that. So you want to keep that jazz feel. You don't want a band doing a rootsy interpretation of those songs. As I said I don't feel that we have to duplicate what's on the album [on the tour] but there's a reason why we went the route we did [on the album] because the songs wanted that treatment. On the other hand, I can go out and play all these songs solo and it works, but it doesn't have quite the same energy.- from "A Conversation with Bruce Cockburn", by Bob Doran, North Coast Journal, November 1997. Submitted by Bobbi Wisby.
Though Young Man in America follows the titular character through some of its songs (including the terrific opening suite, in which the haunting, primal "Wilderland" moves seamlessly into the title track) it is less a concept record and more, in her words, "a meditation on a theme." And it's because of this approach that, although it's certainly got the recent recession and certain aspects of American history in mind, Young Man pulls off the difficult feat of feeling political without ever being didactic. Its songs instead focus on the repetitions of everyday labor (one of its narrators "Sew[s] a party dress/ In and out/ And in and out") and see in all types of work equal importance (a wife who's about to give birth tells her shepherd husband, "We both have laboring to do"). At first glance, the characters might seem remote from modern or everyday experience: a shepherd's wife who dies in childbirth, a seamstress, the occasional goddess. But in Mitchell's egalitarian eye, these characters are all animated with the same sort of life. The figures of farmers are chiseled into stone, and, in the lively strum of "Venus", a marble-carved goddess laughs, sings, and moans. Hers are the songs that make myths of men, and that make statues shimmy and shake. 2ff7e9595c