Discovering John McCutcheon’s Passage – 15 Years Later and Still Powerful
Back in November 2010, while browsing the Folk DJ Chart, I came across an artist I somehow hadn’t given enough attention to: John McCutcheon. His album Passage was sitting at #19, and I thought: it’s time. So I loaded it up on Rhapsody (yes, Rhapsody!) and the result? That familiar feeling of *What was I thinking?*—how had I missed this?
A Wisconsin native now living in Avondale Estates, Georgia, John is what Southerners might call a “Damn Yankee” — one who came and stayed. He’s a master of the hammered dulcimer but also plays guitar, banjo, autoharp, mountain dulcimer, fiddle, and Jew’s harp. And let’s not forget: he’s a terrific songwriter.
About John McCutcheon’s Passage
Passage was recorded in both Decatur, GA and Nashville and features an impressive list of guest musicians and friends: Kathy Mattea, Suzy Bogguss, Tim O’Brien, Mollie O’Brien, Stuart Duncan, and John Jennings, to name a few.
The album covers everything from mining life (“One More Day,” “Your Age”) to father-son relationships (“With My Father,” “Iowa”) to friendship (“Friendly Competition”), to those ever-resonant themes of love and loss. McCutcheon’s voice, both musically and lyrically, is a steady, soulful guide through it all.
Two standouts from the album—“Glory Hallelujah” and “One More Day”—appeared on the Folk DJ list that year, and with good reason. As his website once said:
“No one explores the uncharted, unspoken territories of the grown-up heart like John McCutcheon.”
🎶 Watch: “Step by Step” – Hammered Dulcimer Brilliance
Postscript – July 2025
This week, John McCutcheon’s latest album Field of Stars made it onto my Folk Monday rotation. Revisiting Passage reminded me just how long he’s been writing songs that matter. The topics may evolve, but the heart and craft never waver. Time to go re-listen — and maybe catch up on a few of those 24+ albums I missed the first time around!385″
A Random Album Pick – The Kingston Trio – Nick Bob John
This morning I randomly picked out an album from a crate of vinyl that was near me. The album was The Kingston Trio‘s album Nick-Bob- John. Released in 1964, the album was their first recording on the Decca label. The trio was extremely popular from 1958 through 1963 There first 5 albums peaked at No. 1 on the charts and were certifed Gold Records.. That explains why their albums are so numerous at Goodwills.
When I first realized that good albums could be found at Goodwills I started to search out folk music from the 1950s and 1960s. And The Kingston Trio albums were the easiest to find. I found this album interesting because by this time John Stewart had joined the trio.
The First Spin
I put the album on and started to do write a blog post. The first song was “Midnight Special” a song I have heard countless times over the years. My ears really perked up when I heard the third song “Someday Soon” an Ian Tyson song that has been covered by many of my favorite artists. My favorite cover though is by Judy Collins!
Down the Folk Music Rabbit Hole
Then came “Gotta Travel On” and this is when the ground started to split and a rabbit hole emerged! When I first went to Google to find out more about the song I saw a result that said Gotta Travel On words ad lyrics by Bob Dylan I thought that’s not right. When I looked back at the back of the album I saw that the songwriter was Paul Clayton.
Now that makes sense Clayton was very active in the early folk scene in Greenwich Village and I knew Dave Van Ronk had written about him in Van Ronk’s he Mayor of MacDougal Street
So I searched Google for info on the relationship between Van Ronk, Clayton and Dylan.. Here’s what i found out
Further Down the Folk Music Rabbit Hole…….
Next, I discovered that the song went back a long way and that while some say The Kingston Trio introduced the song. However, The Weavers had actually recorded it several years earlier. The sent me down the rabbit-hole to find my Weaver albums to see if I had one with “Gotta Travel On”. Bingo! And it’s even in the slightly referenced in the album title Travelin’ On with the Weavers. The song ends the album! Here’s What they wrote about the song.
Here again was the fragment of a song with an appealing rhythm we wanted to preserve. We wrote new lyrics to tell a lonesome tale: who has not felt.
What the Liner Notes Taught Me
Finally, when I pulled out the Weaver album I also pulled out The Weavers Greatest Hits. When I looked at the songs I recognized the majority of them including the likes of: “Kisses Sweeter Than Wine” “Wimoweh” and “Rock Island Line” Hey is that the Johnny Cash song? Yep.
Anyway I saw that many of these songs were written by Paul Campbell. and Kisses Sweeter than Wine and Rock Island Line were written by Paul Campbell and Joel Newman. Who were these songwriters??? Off again to Google, etc
Paul Campbell is a pseudonym used by The Weavers (Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert) between 1948 and 1953 to copyright their arrangements of traditional folk songs. It allowed the group to claim songwriting credit for adapted material, such as “Kisses Sweeter Than Wine”
Now the question is who is Joel Newman? The answer Huddie Ledbetter aka Lead Belly.
Another of the things I learned from the liner notes on Travelin’ On with the Weavers involved “Kumbaya.” When they first encountered it, all they had was the word “Kumbaya,” brought back from Africa, and a rhythm that sounded like a lullaby. So they wrote it as a lullaby.
All of this from pulling one random album off a shelf.
Folk Monday kicked off with Endless Wire spinning on the turntable — Gordon Lightfoot sounding as warm and familiar as ever. Something about Lightfoot always puts me in a good place, and today it set off a whole chain reaction.
While the album played, I started revising older posts, and the first one that surfaced was my write-up on Dave Gunning’s Lift. I’d forgotten how much I liked that record — and how many East Coast voices Gunning pulls into his work. Here’s the updated post if you want to take a look:
Lightfoot led to Gunning, and suddenly I realized how many Canadian voices have shaped my listening over the years. They’re not all alike, but they share that same mix of storytelling, heart, and wide-open Northern landscapes:
Gordon Lightfoot – the foundation
Dave Gunning – modern East Coast voice with Stan Rogers’ storytelling DNA
Ian Tyson – I may need to pull out Cowboyography next
James Keelaghan – one of the finest storytellers working today
Stan Rogers – I knew I had one of his albums somewhere… turned out to be two
And just like that, I was all the way down the Canadian folk rabbit hole — the good kind — which led naturally to putting Stan Rogers on the turntable next.
By this point, I was fully down the Canadian folk rabbit hole — the good kind.
Stan Rogers First on the Turntable
Once I dug a little deeper into my shelves, I found the two Stan Rogers albums I’ve picked up over the last couple of years. First on the turntable: Fogarty’s Cove.
Fogarty’s Cove was Stan’s debut, released in 1977 on Barnswallow Records — a label he later purchased and turned into Fogarty’s Cove Records. My copy is the 1979 pressing on that very label, which feels just right for the music.
While the needle dropped, I realized I never really knew how young Stan was when he died — only that I’d heard Gene Shay mention it years ago. A quick stop at Wikipedia filled in the gaps:
About Stan Rogers
Stanley Allison Rogers (November 29, 1949 – June 2, 1983)[1] was a Canadian folk musician and songwriter who sang traditional-sounding songs frequently inspired by Canadian history and the working people’s daily lives, especially from the fishing villages of the Maritime provinces and, later, the farms of the Canadian prairies and Great Lakes.[2] He died in a fire aboard Air Canada Flight 797, grounded at the Greater Cincinnati Airport, at the age of 33. Wikipedia
Before his death in 1983, Stan — with his brother Garnett often co-producing — released five albums. He stayed a staple of the folk community long after, with live releases, tribute concerts, and, of course, the annual Stan Rogers Folk Festival up in Canso, Nova Scotia.
Listening again, it’s easy to be reminded why Stan’s music has stuck around. His baritone, that hint of Celtic phrasing, the DADGAD-tuned guitars — and the songs themselves. “Northwest Passage,” “The Mary Ellen Carter,” “White Squall,” “Make and Break Harbour”… they all still land.
Barrett’s Privateers – from Fogerty’s Cove – Stan Rogers
But the one that always leaps out, no matter how many times I hear it, is “Barrett’s Privateers.” Before I wander any farther down this Canadian trail, here it is — the perfect way to wrap up this Rogers detour.as Remembering Stan Rogers, which peaked at number 36 on the RPM Country Albums chart.
If the day stays at this pace, who knows where I’ll end up — maybe ending the night with Tyson’s “Four Strong Winds” or Keelaghan’s For now, I’m calling this the first stop on what’s turning into a full-on Canadian Folk Monday. I’ll circle back soon with Tyson, Keelaghan, and maybe a few vinyl surprises I dig out of the stacks.
Ally Venable Band Starts This Week’s Blues Music Rotation
Yesterday, I had a chance to take a good look at the Roots Music Report Blues Charts. After reviewing the charts I listened to a few minutes of many albums to see if they match my taste. I ended up with thirteen albums to listen to over the rest of the week. The album that intrigued me the most yesterday was Puppet Show from the Abby Venable Band. Currently, the album is number 23 on the Contemporary Blues Album Chart.
Evidently I have been doing a lousy job of keeping up with hot new blues artists from Texas. Because Abby is one of th hottest.t young blues artists (she’s 19 years old) in the Lone Star State.‘Ms Venable was named East Texas Female Guitarist of the Year in both 2014 and 2015. And her band was named East Texas Music Awards Blues Band of the Year in 2015,2016 and 2017.
About the Ally Venable Band
Ally Venable is both the leader, and lead vocalist and of course lead guitarist. Ally started singing in church at your age. In recent years though she picked up the guitar and found her passion.
Ally’s band mates Bobby Wallace and Elijah Owens provide a solid rhythm section. Wallace is the bassist and Owens the drummer. Wallace has tons of experience and is a master at his craft. While Owens is a classically trained musician.
Puppet Show is the band’s third album. Train Wreck Blueswas the band’s debut album and No Glass Shoes was their sophomore release. There are some helping hands on Puppet Show. Guitarist Gary Hoey provides his great guitar work on track one “Devil’s Son”. While Ally’s mentor Lance Lopez adds his guitar to “Bridges to Burn” track two. Steve Krase plays harmonica on the album and Eric Steckel adds some keyboards.
Final Thoughts
Bottom Line : Based on a limited number of listens Puppet Show is a winner and will stay in my rotation for a while, so check it out!
Links for the Further Exploration of the Music of Ally Venable Band
“The Dutchman,” written by Michael Smith, is one of my all-time favorite songs. In addition to Steve Goodman, the song has been covered by two of my favorite artists — Jerry Jeff Walker and John Gorka — along with Liam Clancy. Steve’s version is still my favor
Now, why a 20-year-old fell in love with this song back in 1971, I don’t really know. I guess it’s the universality of the lyrics — the tenderness, the quiet devotion, the way it captures a love that endures through time and frailt
What I do know is that as I approach my 74th birthday and my 50th year married to the love of my life, my eyes are misting up just thinking about it.
I’ve always loved story songs — songs that introduce you to real people, or people who feel real, whose stories stay with you. Here’s a short playlist of some of the folks I’ve met through songs over the years.
The Playlist
“The Dutchman” – Steve Goodman
I met The Dutchman back in 1971 via Steve Goodman’s album Somebody Else’s Troubles. The song has stayed with me all these years and now feels even more meaningful. A tale of enduring love and quiet devotion.
“Mr. Bojangles” – Jerry Jeff Walker
The story of a street performer Walker met in a New Orleans drunk tank. The song reminds us that everyone has a story, even if it’s not immediately visible. And yes, the waltz beat has helped rock all five of my grandchildren to sleep at one point or another.
Bonus: Check Out a Birthday post I did For Jerry Jeff a while back here
“Mr. Tanner” – Harry Chapin
A powerful story about a man who dares to dream. It makes me wonder: is it better to chase your dream and fall short, or to keep the dream alive in your imagination? I’ve asked myself that many times.
“Corey’s Coming” – Harry Chapin
The story of old John Joseph and his beloved Corey. Is Corey real, or only alive in the old man’s mind? Either way, it’s a tale of love, longing, and the stories we choose to believe.
“Mr. Schwinn” – Daryl Purpose
The quiet, touching tale of a bicycle repairman and the two bikes he maintains — one for himself, one for his wife. Did they ever take that honeymoon ride? We may never know, but it stays with me.
“Stoney” – Jerry Jeff Walker
Another unforgettable character from Walker’s travels. I first heard this in the early ’70s, and it’s been with me ever since. While at the University of Florida, I once recited it (along with “Waist Deep in the Big Muddy”) as part of a class assignment. I got applause for “Stoney.” It’s also one of those songs I’ve used to rock a grandchild t
Listen to the Playlist
Here’s a playlist of the songs and characters I’ve carried with me all these years. Each one tells a story — some tender, some wistful, all unforgettable.
The Bonus: Not a PArticular Person just two people who may resemble people we know…..
hese are the people I’ve met in songs — and somehow, they’ve stayed with me longer than some folks I’ve met in real life.
Orinally Posted Under Folk Monday Now Located Under Folk Friday
Each Monday, I survey the Folk Music Charts and pick the albums I’d like to listen to over the rest of the week. I give each one a quick listen — sometimes just a few seconds is enough to know it’s for me. Sometimes it takes a track or two. I always hope to find a few old friends and a few brand new discoveries.
Here is this week’s Folk and Americana rotation. I’ve found new music from six artists that are new to me, plus six from musicians already in my library.
Six Newly Discovered (by me) Musicians and Their Most Recent Albums Added to My Folk Monday Music Rotation
Delta Traces – Billy Jeter (RMR #9) First thing that caught me was the first track, “Hambone Stomp” — Bobby Rush’s harp hooked me!
Middle – Jesse Wells (RMR #12) The lyrics in the opening track sealed the deal. Deep, poetic, and timely. This guy is for me:
All my flannels made in Bangladesh All my T-shirts in Vietnam There are places that we quietly ignore There are places that we go and bomb You know I thought an awful lot about Jesus Even more about Lao Tzu They say that the way of the Tao is to do nothing Then what the hell am I supposed to do?
Shelby Means – Shelby Means (RMR #18) Great vocals with great pickin’ — what’s not to love?
Beautiful Thing – Peaches & Quiet (RMR #20) The second track, “Calgary Skyline,” caught my attention — they’re Canadian? I immediately thought of Ian & Sylvia.
You Never Can Tell – Diane Hubka & The Sun Canyon Band (RMR #29) Any album that starts with covers of Guy Clark and Bob Dylan deserves a full listen. What else do they pull off?
Dime Store Mannequin – Son Stone (RMR #39) The opening track “Old Fashioned” grabbed my attention with its raw, confessional lyrics:
You told me I was repulsive when you met me at the bar Then you pulled me in and kissed me hard and drove me home in your car By the morning you′d forgotten my name and I’d forgotten yours Then you pushed me out of bed and kicked me out your door
You ask me for the reasons why and push comes to shove Well there′s an Old Fashioned recipe for our love You only love me for my guitar playing and I love your southern drawl Our love is one part passion and three parts alcohol…
Bonus Pick:Songs for a World Gone Mad – Mark Rubin, Jew of Oklahoma (FAI Folk Chart #6, May 2025) I couldn’t pass up an album with a title like this one — found it via the Folk DJ List.
Six New Albums from Musicians in My Music Library Find Their Way into My Folk Monday Music Rotation
Bones of Trees – Tim Grimm (FAI Folk Chart #1, May 2025)
The three albums above are from old favorites I’ve followed for years. Each of them has a thoughtful new offering to explore.
Backstage Balladeer – Jefferson Ross (FAI Folk Chart #27, May 2025) If I didn’t write about Jefferson Ross on No Depression years ago, I meant to! Glad to see he has a new release.
The Herculeons – John Cowan & Andrea Zonn (FAI Folk Chart #40, May 2025) John Cowan and New Grass Revival were staples in my rotation — I had to check out this new project with Andrea Zonn.
Arcadia – Alison Krauss & Union Station Time to dig out my cassette copy of her first album and do a full-circle listen!
*Folk Alliance International FOLK CHART – May 2025
Compiled from FOLKDJ-L playlists | 10,531 plays from 359 playlists by 102 Folk DJs
🎧 Stay tuned for ratings, brief notes, and links to reviews for my top picks this week.
Suggestions welcome — let me know who I should listen to next Monday!
Lurrie Bell: Carrying On the Chicago Blues Tradition of His Father, Carey Bell
I’ve mentioned before that I often use the birthday listings over at AllAboutJazz.com as a springboard to discover new music. That’s how I first really dove into the music of Lurrie Bell, a Chicago bluesman with deep roots and a guitar tone full of grit and soul.
Blues in My Soul – A Breakthrough Album
Back in 2013, Lurrie Bell had a banner year. He released what would become one of his most acclaimed solo albums, Blues in My Soul, on the Delmark label—a return to electric blues after a few more acoustic and spiritual outings. The blues world noticed.
Blues in My Soul earned Lurrie five nominations at the 2014 Blues Music Awards:
Blues Album of the Year (Blues in My Soul)
Blues Song of the Year (“Blues in My Soul”)
Traditional Blues Album of the Year (Blues in My Soul)
Blues Guitarist of the Year
Traditional Male Blues Artist of the Year
He took home the Blues Song of the Year award, and also won the 2013 Living Blues Award for Male Blues Act of the Year.
Lurrie Bell – Born December 13, 1958
Lurrie Bell was born in Chicago, the son of legendary blues harpist Carey Bell. He picked up the guitar at six, and by his teens was already playing with the likes of Eddy Clearwater, Big Walter Horton, and Eddie Taylor. In the mid-1970s, he spent four years touring and recording with Koko Taylor’s Blues Machine. His recording debut came in 1977 on his father’s album Heartaches and Pain, as well as King of the Jungle by Eddie C. Campbell.
Over a career now spanning more than four decades, Bell has released more than a dozen solo albums, collaborated often with his father, and contributed to numerous other blues records. I first heard his scorching guitar work on Live at Chan’s: Combo Platter No. 2 from Nick Moss & The Flip Tops, where he shines on a 13-minute version of Eddie Boyd’s “Five Long Years.”
If you’re a fan of Chicago blues and haven’t checked out Lurrie Bell yet—start now. Here are some great places to explore his music:
And here’s a great live performance of “Everyday I Have the Blues” from Bluesfest Eutin 2014:
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🎶 Update: Set Me Free (2024)
As for me? Lurrie Bell is still going strong. His 2024 collaboration with saxophonist Frank Catalano, Set Me Free, is now spinning as I write—and it’s a bold, soulful mix of blues and jazz that pushes the boundaries without losing the heart.
Between Lurrie’s expressive guitar and vocals, and Catalano’s blazing sax work, the album is a testament to two seasoned musicians still hungry for musical exploration. Set Me Free proves the blues isn’t stuck in the past—it’s still moving, still evolving, still alive.
Check it out—you just might find yourself set free too.
Daggomit! by Max Wareham – Daggomit, It’s Great Bluegrass!
The other day, I visited the FAI Folk DJ Chart in search of some new folk music. As I scrolled down the chart, I saw several interesting albums. However, it was the number 50 album — Daggomit! — that really caught my attention. With a title like that and its cartoonish cover, I thought: this is an album I will undoubtedly like. I need to check it out!
Boy, am I glad I did. So daggomit, let’s find out about the album and its creator, Max Wareham!
DAGGOMIT — Who Is Max Wareham?
Max Wareham is a banjo player, songwriter, and author who hails from Boston, MA. He’s also a member of the Peter Rowan Bluegrass Band and was featured on the Grammy-nominated album “Calling You From My Mountain.”
After two years of touring nationally with Peter Rowan, Max recorded and released his own album, Daggomit!, in February 2025.
In addition to Max’s fine banjo playing, the album features an impressive roster of bandmates:
Chris Eldridge and David Grier – guitars
Laura Orshaw – fiddle
Chris Henry – mandolin
Mike Bub – bass
Larry Atamanuik – snare drum
Guest vocals – Peter Rowan
Sounds like a winning lineup to me! Even the production is top-shelf: Peter Rowan served as producer, and the recording engineer was multi-Grammy winner Sean Sullivan.
Max is clearly passionate about the banjo and committed to honoring the instrument’s early innovators — he’s even written a book about one of them! His dedication shines through every note on Daggomit! — a collection of soulful original songs brought to life by the hard-driving chemistry of Nashville’s top bluegrass players.
One More Thing About Max…
I admire and envy anyone who excels at more than one thing — and Max is one of those people! According to his website:
“In addition to his work as a banjo player, he has studied jazz guitar performance at the New School for Jazz and Contemporary Music in NYC, written songs for and co-produced the album Cousin Moon, played bass with psych-pop outfit Sun Parade, and produced and recorded songs under the alias ‘Sir Orfeo.’”
Thoughts About Daggomit!
Daggomit! packs 13 terrific bluegrass tracks into 43 minutes. Max’s banjo is front and center on most of the tunes — some are all-instrumental (always my favorites!), and others feature strong vocals, including two with Peter Rowan.
Each track gives Max and his bandmates a chance to shine. Bluegrass, after all, is a lot like jazz — everyone takes a turn in the spotlight!
All I can say is, I wouldn’t be surprised to see Daggomit! climb higher up the charts. Or maybe it already has, and I missed it — boo hiss on me!
Either way, you should check it out. And as for me? I need to circle back and dive deeper into that Peter Rowan Band album: “Calling You From My Mountain.”
Links for Further Exploration of Max Wareham’s Music
House Party – Jimmy Smith on the B3, Jazz Royalty and a Connection to Today
For most of my life, the three Jimmy Smith albums that traveled with me were Jimmy & Wes: The Dynamic Duo, The Further Adventures of Jimmy & Wes, and Jimmy Smith’s Greatest Hits. But once I moved past the Raffi and Sharon, Lois & Bram years (1979–1993, while raising four kids born between 1979 and 1990!), I started collecting more. What began with a few CDs has grown—thanks to Goodwill digging and trips to Princeton Record Exchange—into a modest but beloved Jimmy Smith vinyl collection. And now House Party has become a standout favorite, not only for the groove but also for the incredible jazz talent featured on it.
My Jimmy Smith Album Collection (So Far)
House Party (1957) – Blue Note
Midnight Special (1961)
Bashin’ The Unpredictable Jimmy Smith (1962)
Live at the Village Gate (1963)
Who’s Afraid of Virginia Woolf? (1964)
Got My Mojo Working (1966)
Jimmy & Wes: The Dynamic Duo (1966)
Peter and the Wolf (1966)
Hoochie Coochee Man (1967)
Livin’ It Up! (1968)
The Further Adventures of Jimmy & Wes (1969)
Live in Concert – Jimmy Smith
Jimmy Smith’s Greatest Hits
Don Gardner Trio – Featuring Jimmy Smith
Tonight’s Soundtrack: Jimmy Smith:House Party
This isn’t just the first album alphabetically in the list—House Party is a showcase of incredible jazz players and solid grooves. Just look at this guest lineup:
Lee Morgan – trumpet
Curtis Fuller – trombone
Lou Donaldson – alto sax
George Coleman – alto sax
Tina Brooks – tenor sax
Kenny Burrell – guitar
Eddie McFadden – guitar
Art Blakey – drums
Donald Bailey – drums
If you’re not a jazz listener, let me assure you—this is jazz royalty. These players brought depth, swing, and soul to every note, and House Party is a prime example of timeless jazz that grooves like no other.
Track Listing and Lineups
Side One: “Au Privave” / “Lover Man (Oh, Where Can You Be)” Side Two: “Just Friends” / “Blues After All”
“Au Privave”
Jimmy Smith (organ), Lee Morgan (trumpet), Lou Donaldson (alto), Tina Brooks (tenor), Kenny Burrell (guitar), Art Blakey (drums)
“Au Privave” is a refined piece of indisputable bop mastery as Smith commands the combo through an incendiary and driving rendition that grooves unforced flair and organic charisma… Even at 16-plus minutes, the pace and timbre of the performance begs for more. — AllMusic
“Lover Man”
Jimmy Smith, Lee Morgan, Lou Donaldson, Eddie McFadden (guitar), Donald Bailey (drums)
“Lover Man” is splendid and sincere as Donaldson drives right to the heart, unreeling stunningly lyrical leads behind Smith’s distinguished progressions. — AllMusic
“Just Friends”
Jimmy Smith, Lee Morgan, Curtis Fuller (trombone), George Coleman (alto), Eddie McFadden, Donald Bailey
“Just Friends” is a true gem… Each musician is given room to stretch and reveal his identity as both an ensemble player and soloist. — AllMusic
“Blues After All”
Jimmy Smith, Lee Morgan, Curtis Fuller, George Coleman, Kenny Burrell, Donald Bailey
“Blues After All” is a soulful outing that offers arguably the most sublime and understated bop on the album. — AllMusic
From 1957 to Today: House Party Meets Big G
One of the things that jumped out at me on House Party was George Coleman’s presence on two tracks. Truth be told, I hadn’t explored his work much—until recently. I’d just heard him blow sax alongside his son, George Jr., on a new album called Working Out with Big G by organist Brian Charette—who happens to be one of today’s finest Hammond B3 players.
What really blew me away? That modern quartet—Brian Charette (organ), George Coleman (sax), Ed Cherry (guitar), and George Coleman Jr. (drums)—feels like a spiritual echo of House Party’s lineup. It’s like the legacy continues, recharged and reimagined for a new era.
Final Thoughts
House Party is going to be one of my go-to jazz albums for a long time to come. If you’ve got a turntable or even just Spotify, I highly recommend diving in—and then checking out Working Out with Big G to hear how that soul-jazz legacy lives on.
For now, I’m spinning both albums and smiling at how full-circle jazz can be..
Here’s “Blues After All” from House Party And tow tracks from Working Out with Big G from Brian Charette,,,
Steve Goodman’s Debut Album Became a Soundtrack for My Life!
I first discovered the magical, funny, and poignant music of Steve Goodman back in 1971, when his self-titled debut album came out. At the time, I was a student at the University of Florida — so I don’t think I heard about him from Gene Shay’s folk show in Philly. I’m pretty sure it was the liner notes on the back of the album that pulled me in. That’s where I read this from John Prine:
I been listening to the radio since I was nine years old. I figured I could see songs better than most people listen to them. The first time I heard Steve Goodman on the radio, I knew I was listening to a tall skinny cat with a little beard singing the best damn train song I ever heard. Two months later, in the back room of The Earl of Oldtown, I met a short stout fellow with no beard who wrote and sang the best train song I ever heard. His name was Steve Goodman. The Lord works in mysterious ways. – John Prine, 1971
Since I had already discovered John Prine, that quote alone would’ve been enough to sell me on the album.
A Who’s Who of Folk and Country Greats
But wait — there was more. A who’s who of American folk and country players were listed on the back cover. The lineup included:
Bob Dylan – piano on “Election Year Rag”
Kris Kristofferson – backing vocals
John Prine – backing vocals
Vassar Clements – fiddle
Charlie McCoy – harmonica
David Briggs, Kenny Buttrey, Norbert Putnam – Nashville A-Team players
Also: Grady Martin, Ben Keith, Donnie Fritts, Martha McCrory, and a full brass section!
I already knew Dylan, Kristofferson, and Prine — and I recognized names like Vassar Clements and Charlie McCoy. I figured even if I didn’t love the songs, the music would be top-notch.
Spoiler: I loved the songs too.
🎶 My Favorite Tracks from Steve Goodman’s Debut
While I love all the songs on the album, Side Two was the one I played the most (yes, I think everyone always had a favorite side on an album). Here are six of my favorite songs from Steve Goodman (1971):
Side One
The I Don’t Know Where I’m Going But I’m Goin’ Nowhere in a Hurry Blues
This one pops up in the jukebox in my head all the time. “It was on a Sunday morning about a hundred years or so…”
Donald & Lydia
A beautiful, heartfelt cover of the John Prine original.
You Never Even Call Me By My Name
Later made famous by David Allan Coe — but this is where it started.
Side Two
City of New Orleans
The “best damn train song” Prine ever heard. And one that helped define Goodman’s legacy.
Turnpike Tom
Another one that’s always in my mental jukebox — I just love the story.
Yellow Coat and Would You Like to Learn to Dance
These show Steve’s softer, tender side. Both are among my favorite ballads by anyone.
Who Was Steve Goodman?
Steven Benjamin Goodman (July 25, 1948 – September 20, 1984) was a folk and country singer-songwriter from Chicago. He wrote “City of New Orleans,” co-wrote “You Never Even Called Me by My Name,” and penned the Chicago Cubs anthem “Go Cubs Go.”
Goodman passed away from leukemia in 1984, but left behind one of the most enduring catalogs in American folk music.
Links For the Further Exploration of the Music of Steve Goodman
This album has been part of my life for over 50 years. Every time I hear one of these songs, I’m back in Gainesville, with the volume up and the liner notes wide open.
