The Sabbatical of the Belle

They call me old man.

My crew. Nothing has really changed

in the over 100 years our lady has

made her way around.

They call her a tramp.

The boat. They use her to make a point,

of how things used to be built to last.

They say she is haunted.

By a deckhand, who walks the lower

deck whistling a mournful tune, and

by a captain who loved to gamble.

We are not a team.

For a team is out to win something.

Competes in game-playing.

We are a crew.

Wherein We, is the only way.

There is no, Them.

They call me old man.

My crew. Of young boys of summer.

Spirited like freedom, like

fireworks. Crass, salty and no different

than any other working men –

I have experienced.

They give me shit, and I give it back –

as they carry large bags of ice up a grand

staircase. I shirk that work, as they

miss the details, skip the corners –

walk around in circles,

day dreaming of

cute girls,

success

and

money.

There is something about her –

our Southern Belle. She breathes

with the ebb and flow of the river.

As her lines tighten and slack.

One little mistake could skin

a finger, pull a body into the water.

And that is our only goal, to keep

everyone out of harms way.

The river, our river –

much like how this boat

has been at times.

Trashed, dirty and rolling free,

like the murky blood

of a forgotten country.

And I walk the decks, a reincarnate

of Floyd the whistling deckhand.

Singing railroad hobo songs,

traditional blues. Making up

words to go with the troubles

I have seen, the struggles I feel.

A continuation of a body of

working songs, left in the air

like vibrations reverberating

in time with the clicking of

this massive machine.

They call me old man.

As I honestly greet every passenger

with a southern charm –

that is not a gimmick.

The rich, who shuffle on the

boat without making eye to eye.

The children, scared by the

grandness of our lady’s strength.

The old woman, who rides for free.

The Mayor, just making an appearance.

All the people, no matter

their lot, greeted in the language

of a native son.

Welcome to the Belle,

watch your step and then

Y’all have a gooden or,

take it easy now,

Y’all come back

and see us.

The Sabbatical of the Belle.

They call me old man.

A river man now.

Who once blew

that lonesome whistle,

all the live long day.

I am a stowaway most of

the time, laughing under my

breath.

They,

my crew,

if they only knew.

Old man river.

That old man river –

he must know something.

But he don’t say nothing.

He just keeps rolling –

He keeps rolling along.

John Paul



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On Woody Guthrie’s Birthday

Oh Woody, I am thinking about you!
I have grown somewhat bitter.
I must admit!
I know you – sometimes I fancy
that I am just like you.
But maybe it is because I know too much
and have been burnt by the fire.
So, a few questions I might ask. For
I am romantically involved so as to
mention – Sarah Ogan Gunning!

Was she bitter because Aunt Molly got
to hang around all them rich folks?
Was it because Pete played for the
Rockefellers, while singing –
I don’t want, your millions mister?

Hypocrisy is a bitch!
If you point it out –
they will bury you!
How much more crap should I take
before I “die with my hammer in
my hand?”

I heard Sarah ripped your ass once –
because you did one of her songs.
She picked your little ass up and
almost ringed your neck.
Is that true?

Woody, brother, i see what you saw,
and I think I know why you wrote all
night, alone, falling asleep on your
typewriter, full ashtray …

It takes a worried man,
to sing a worried song.

I certainly am worried.

One last question:

Did you ever hear Joe Hill talking
to you? I have.He said,
Don’t mourn, Organize.
So, i organized my life.
Trying not to get bitter and
am working now as a deck
hand on a Ohio River
Steamboat built two
years after you was borned.

Brother,
I wish we could hang out!
See, I worked on the railroad.
Found a lonesome darkness
engulfing me.
I gave it all up.
Once I built a railroad ..
you know the rest.

Brother,
For your birthday –
I offer you a song.
I wrote it for Jimmie
Rodgers. I have alot
in common with him too.

When the song
gets to the part where
I sing “I think y’all knowd.”
That part is for you!

Happy Birthday.

Love,
JP “Catfish John” Wright

P.S

You wanna hear some shit?
I heard Sarah Ogan died at a
singing circle. Time came
for her to sing. She took a
deep breath, and died.

I wonder if the dress she
wore was blue?

She sure knew how to
drive that steel!


Schoolidarity Forever #120strong #kyunion


Schoolidarity Forever

When the union’s inspiration through the worker’s blood shall run.

There can be no power greater anywhere beneath the sun.

For what force on earth is weaker than the feeble strength of one?

For the union makes us strong!

We are public educators and we’re here to take a stand!

This is not the lesson we asked for, this is a fight the politicians planned!

And we’ll stand up for our pensions and we’ll do it hand in hand!

For the union makes us strong!

Every school the board’s sabotage is ours and ours alone!

Every student, parent, worker every brick and every stone!

They are ours, not to languish in, but to thrive in and to own.

For the union makes us strong!

The politicians stole our pensions, and now they want our schools!

They tell us, “it’s just how things are,” and they play us for fools.

But we know that they rigged the game and we won’t obey their rules!

The union makes us strong!

They say “there’s no alternative,” they say it but they’re wrong!

There stealing from our children and they’ve done it for too long!

So join us in our picket lines and join us in our song,

For union makes us strong!

They have taken untold billions, that never toiled to earn!

But without our brains and muscles not a single kid can learn!

We can break their haughty power, gain our freedom when we learn!

That the union makes us strong!

In our homes and in our classrooms, in the banks and in the street,

our united people’s movement is a force that they can’t beat!

We are here to take back every Board of Education Seat!

And the union makes us strong!

In our hands is placed a power greater than their horded gold.

Greater than the might of armies magnified a thousand fold!

We can bring to birth a new world, from the ashes of the old!

For the union makes us strong.

Solidarity Forever!

Schoolidarity Forever!

Solidarity Forever!

For the union makes us strong!

Re-write 2018 – John Paul Wright – www.railroadmusic.org

Chicago Teachers – 2016 – Ralph Chaplin 1915 – I.W.W


 

The Cottonwood Local


The Cottonwood Local started out as a noodlin’ in the key of D on the mandolin.

When I would get off of my train, I would spend time sitting on the front porch of the Holiday Inn in Nashville playing my mandolin. Mostly people watching. I lived at the Holiday Inn in Donelson, Nashville, TN for 14 years. This was what we railroaders called the Away From Home Terminal.

One day when I was pickin’ …

A Locomotive Engineer friend of mine suggested we needed a song about a local job that we had on the CSX Mainline called the J765-J768. I already had the fiddle tune going when he made this suggestion and we sat there joking about all the crazy stuff about the job. My friend suggested the Cottonwood name because the two trainmen working the job at the time were Josh Cotton and Joe Woods, thusly, Cottonwood.

There were a host of Locomotive Engineers working the job, but mostly the ones holding the position were old heads. The job was a good one and it always went high on the seniority roster. A local is a job that does not work the entire length of the railroad. It does industry work and then either goes home, or in the case of the Cottonwood, stays overnight in a town like Bowling Green and works its way home the next day. Usually with a day off. My favorite Engineer, A.T Robb was one of the many characters who held the throttle on the local.

Artie, Atrimous Robb, RT, that’s me … had many nicknames. The reason he “tied it down in Shepheardsburg from the Main Line Friendly Local”, was because he retired and lived on some property out in Shepherdsville. He called the job the MLFL, Main Line Friendly Local and it stuck. On the engine, we called it the Main Line “Fuckin’ Local.

Mr. Robb called the railroad signal in Shepherdsville, Kentucky, Sheep Herds Burg. Why? Know body knows. We didn’t know why he would bring jugs to get what was left in the tank cars when we would pick up the empties from the Jim Beam Distillery. He said the white/clear alcohol was good with sugar and Kool-Aid, but it made his tractor run hot.

This song is somewhat a native language

that only exists in a time and place called the railroad.

In Kentucky.

It is a Kentucky folk song in a sense, that the people that are being mentioned have a place in the folk history of the people involved, now, especially, that the stories are folk tales and memory, it has slipped into history.

“Too bad Pauline’s ain’t around no more …” is bringing up Kentucky History about Bowling Green, Kentucky that is a deep legend. Not to mention history some folks do not want to talk about and would rather forget.

Pauline’s was a whore house. A bordello. A house of il’ repute. She closed her doors in the early 1970’s and moved away.. Get to talking about Pauline’s to almost any man from the region over the age of 70 and you will see a twinkle in their eye as thoughts of that place come bubbling into their blood. We had a railroad van driver out of Bowling Green who used to work for Pauline. He hated George McCubbins and the feeling was mutual. George was an Engineer on the local and either ya liked him, or ya hated him. He was the boss of the job or at least that is what he thought.

“You know, we know you got a lot of work to do,” came from another Engineer who worked the local from time to time. G.W. Haynes. Gross Weight. He was a very big man and sometimes not very nice. He came with loads of nicknames and his reputation preceded him. The song lyric means the local job will clear the mainline when trains need to get through. The working nature of the local meant that the mainline would be blocked when the local was out pulling or placing cars from the industries that it worked. Crews on the local would try and be in the clear for the “Big Boy’s.” Some just wanted to get their work done and get to the other side of the road or get the day over with and didn’t really care if mainline trains would have to wait for them to clear up … “get in the hole.”
.
“Memphis Junction,” is the name of the railyard in Bowling Green, Kentucky where the job ended its southbound work. Back in the day, the L&N had a mainline that went all the way to Memphis, TN. Toby Asher was the mainline trainmaster who worked in Bowling Green at this yard. The “only regular job” lyric comes from the job having regular start times. Having a regular start time is the perk of a local job and this job would get pulled off from time to time thusly the jab of it being the only regular job he could find.

Toby was a strange guy. He was the boss. Somewhat spookily he would be somewhere on the mainline, at all times, day and night. He is the kind of boss the railroad generally doesn’t like. He knows how to railroad. And that term railroad means many things. He lived and breathed railroading. His father was a Switchman and he grew up admiring his father’s work buddies. He loved the railroad and had respect for his “men.” Love is not an easy word to define on the railroad. Respect for craft is something the railroad seemingly has totally forgotten about.

This song is a fragment of time and place that has mostly slipped into folk history. It was an honor to work the section of rail known as the L&N, Louisville to Nashville, Main Stem. The L&N railroad at one time was the largest railroad in the eastern part of the United States. This song comes from the namesake of that railroad. The L&N, Kentucky, known today as the CSX Railroad.

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Pauline Tabor

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Me and Van Driver Jimmy. Pauline’s cab driver back in the day.

hp photosmart 720

A.T. Robb

alexmlfl

Railroad Tag

 

Sunday Morning Alone Time Meeting Minutes – 12/10/2017 – Linkin’ Bridge Click

Sunday Morning alone time
meeting minutes – 12/10/2017
 
Call to order at 7:39 a.m.
 
John Pawl in attendance with myself and I.
 
Financial report: Almost broke!
 
Old Business:
 
I woke this morning with way too much on my mind. My son next to me, sleeping – covered him, gave him a kiss and walked down the stairs with an old friend on my mind.
 
 
and this old business, is because, I am warning y’all – this man has a stare quite like mine. And he will figure out what ever y’all throw at him. We used to roll together. and the hood is where he is from. I know, cause i used to pick him up ever day when we was PNEUMA kids. We was the black sheep, the bad news bears and the red headed step kids all rollin’ together … and we used to sing in the van – i taught him old bluegrass gospel harmonies – the stanley brothers – bill monroe – while we was learnin’ all that shit from Sweet Honey in the Rock … and
 
That blank stare is street smarts. Aware of your surroundings, like something is bout to go down, a vision of what just might be lurking in the future – I learned my version of that blank stare while we was rollin’ …
 
To the chicken joint to pick him up after work, roll past Whitey’s in the 32 duce ward, roll past the Washburns, over to the Wright’s and then roll all the way out to Newburg, roll downtown, and then over to Arturo’s little Mexico – where the immigrants were, over by the race track.
 
We would roll over to Smoketown, to 420f and pick up John and Cleo, and whoever else was still around from Smoketown, Shepherd’s Square … roll over to Portland to pick up the twins and their sisters – I got my blank stare from knowing what was going on in their house, with their mother … who died from aids – and we would roll …
 
Rolling past places where drive by’s happened the day before, was gonna happen soon, it was 1994,95,96 – 2001 – and we joined a gang together – a gang led up by a little woman with a big heart – she was employed by Jesus and we were her Pigeons. Bird Men … 
 
Her blank stare, was from her knowing all of us kids, were one step away from jail, the crazy house, the food stamp office, detention … being exploited, abused, victims of horrendous violence, innocents being lured in by gangs, drugs, prostitution
 
some of us, possibly one step away from death.
 
I got my blank stare, from the streets! From a glock 9 held to my head at 32nd and Kentucky … from saving the little girl who was molested by her uncle. I got my street smarts from all the air brushed RIP shirts I saw from all the cousins, relatives and friends who died from gun violence, neglect, drugs and … from representin’ …
We rolled all day, in a hot as hell van! In the worst summers in this town! No air conditioning – real hot boys – sweat pouring down our backs, looking out for our kids – our friends, sisters – brothers, bling bling, pinky ring worth about 50 – the van boppin’ to B96 – You don’t know nann – Back that ass up – call me big daddy – is where I get my blank stare of worry from – listening to them little girls sing and those little boys … being exploited by a music industry … that … 
 
and this ain’t no joke! for real – this is for my dog China AKA Shon AKA Lacy Aka the Southwick kid, AKA
 
The choral director of PNEUMA.
 
Back in the day.
 
New Business …
 
Y’all know me
and my poetry
I am JP …
The human beat box
with a million watts
of power … playin’
juba in his head …
The Railroad Man
The Djembe’ player slash
community activist
griot –
family man
shoulda been a preacher.
 
My blank stare is
love and worry
born of –
a mindfulness
informed from
the streets and
verified authentic
by my brother
Alonzo Johnson!
He is a peacemaker.
 
We got our blank stare
from God and in the
same van … rollin’ the
streets of Louisville
when nobody
wanted to admit
they were on fire.
 
Meeting Adjourned
8:25 a.m

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Sneak Peak of the CD liner notes – Even Further – Tapestry

CD available on Bandcamp October 12th 2017 – CD release thereafter.

Tapestry

Thank You

for supporting our work.

 

The cover photo by Jonah William-Malik Wright

 


Even Further

A Hundred Flowers

Freedom

Songs Are Blue (Jason Eklund)

Dance This Waltz (Joe Hill)

She’ll Never Be Mine (Utah Phillips)

Tapestry

—————————————

The Capitalist System

Leave the Lights On For Me

They Must Be Stopped

The Vision

International Brotherhood of Contraries

The Princess That I Love

Oh, You Railroad Men

The Grandsons of Pullman Porters

Ride This Train

Old River Blues (Riley Coyote RYG)


 

Section 1 – Even Further

 Even Further – was the working title of this project and a poem that was written on the first day of 2015. Donna named the project when we were reviewing the final mixes from LaLa Land Studio.

The poem somewhat was a warning to what might happen if you try to go Further than that. Especially if the folks on the “Further” bus are a nuclear family trying to transverse the winding road of American life post whatever the hell we are supposed to be post of these days.

The CD is in two sections. The first seven selections are songs that Donna and I had been working on when we could find the time to sit down for a minute. That time was not very available. The second section of the CD is why that time was not very available. I was working most of the time, 65+ hours a week as a Locomotive Engineer and on top of that, I was working as a volunteer union/community organizer. Donna was back at the house, homeschooling our son, Jonah.

We were both suffering from severe isolation and I was suffering from overwhelming occupational fatigue. The music was an escape. The CD was recorded in 3 or 4 studio sessions. Most of the second section was recorded on a day when I had already worked a train back from Nashville and had been awake for over 30 hours. The railroad life is historically lonesome and hard. When I got to the studio, I was exhausted and fatigued from a 65-hour work week. I gave the session my all.

Donna and I poured our hearts into this project.

100 Flowers –  is a compilation of poems by two prominent women poets. Emily Dickinson’s “I Never Saw A Moor” is juxtaposed with Edna St. Vincent Millay’s “One Hundred Flowers.” The song 100 flowers combines light and shadow, as the vibrancy of Millay’s life and poetry contrasts greatly with the somber mood of Dickinson’s. This song is a celebration of women poets in all their glory and gloom. dw

Freedom – is an honoring of one of the most memorable musical performances that I have ever seen. I saw the Woodstock movie on the screen when I was a young teenager and will never forget the powerful Richie Havens took the stage. The back story of his performance is fascinating. jw

 

As the opening act at Woodstock, Richie Havens was supposed to perform for only 40 minutes. But when an unexpected traffic jam delayed the other performers, organizers asked him to keep playing. Three hours into it, Havens had run out of songs, so he started to make one up to the melody of “Motherless Child,” a spiritual he’d sung as a kid. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me,” he said. “I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.”

 

Songs Are Blue – is a song that I learned while I was on the Joe Hill 100 tour. I met Songwriter, Jason Eklund, in Illinois and he traveled with me for several of the performance dates. This song, to me, is very needed these days. My favorite line is – pink, is for open hands. jw

Dance This Waltz – I heard about a contest where the descendants of Joe Hill, the I.W.W. songwriting organizer, were giving away a gorgeous handmade guitar. Contestants were to take one of his two poems that were found in his apartment while he was imprisoned and facing a death sentence, and put them to music. Since putting poetry to music is my jam, I jumped on it.

I looked at the two poems and knew immediately which song I would do. As usual, I sat down and fiddled on the guitar and the song melody poured out. The words are truly beautiful and I wrote the melody and arrangement at a very lonely time in my life. My husband was working for the railroad and union organizing all the time and I felt very estranged from him.

I was deeply longing for his love and connection. It is a very hard song to sing. It’s filled with a dream of freedom and longing. Joe Hill would be executed before ever dancing that dance or experiencing the etheric magic that he describes, in what can only be a love poem to whoever held his heart at the time. dw

She’ll Never Be Mine – From U. Utah Phillips Starlight on the Rails songbook.

 

This song kind of sums up all these things that happened in the west after the civil war. It’s a boomers song about silver mining, about farming, about cattle ranching, with the recurring refrain, “I guess she’ll never be mine, “but with the final statement, “ I’ve won all my treasures so simple and fine, and I know one day she’ll be mine.”

 

That’s what union organizing or any kind of organizing is supposed to be for: to help working people, no matter what their trades, to reach out toward each other, the sit down together and define their problems, define their solutions, and then to get to work on it and begin to get back some of the wealth that they have created over the years.

 

This is a love song. It’s my love song for the country I come from. I’ve tried to include in it a lot of the ways I know other people feel about it too. bp

 

Tapestry – is a love song I wrote for John Paul at a time when I was very lonely and longing to hold him and look into a future at a beautiful life we might share together. My music is not worked on or written, instead, I get my guitar and receive the song. I usually have something on my mind or a poem before me that then takes flight of its own.

The light and overarching brightness were born when the image of the ancient Egyptian goddess of the sky came into my mind as she was arching over the earth. It reminded me of being protected by an arch, like her body in the ancient paintings; an arch of light and love.

To this song is added a much-loved nursery rhyme, “Donkey, Donkey Old and Grey” that I sang to my son when he was a baby. Finally, “I Love You a Bushel and a Peck” is thrown in. Notice how much I love singing the donkey part, as I could not stop singing it in the studio. dw

 

Section 2 – Work Songs

 

The Capitalist System is a song written by Kentucky CIO era union organizer/ songwriter Sarah Ogan Gunning. I changed her original lyrics to match why I also hate the capitalist system. Sarah Gunning when asked if her song might be too radical, suggested that when she wrote it, that she wasn’t really sure because she had to look up what the Capitalist System was. After she looked it up, she said, nope, that is exactly what I mean. I wrote this tune while under a grant from the Kentucky Arts Council working with Kentucky folk musician Sue Massek.

Leave the Lights On For Me is a song that I wrote on the day that the CSX railroad announced that it was going to shut down the Clinchfield coal division section of the railroad. I started writing the tune on a train heading to Nashville and finished it up at the hotel. Many of my coworkers were being relocated due to the bust situation in the Appalachian coal regions. This tune represents what I was seeing happening to my friends. It is also an honoring of the rich folk music tradition of the Clinchfield.

How Tomorrow Moves is a CSX railroad slogan and Coal Keeps The Lights On, is the slogan of the coal industry’s propaganda arm, Friends of Coal. Because our Conductor and Engineer seniority districts cover almost the entire country southeast of the Ohio River, railroaders were being forced to move from places that they had lived for generations.

Because of short-sighted union contracts and an aggressive employer, workers were being expected to spend 30 days working for free with the threat of not being able to “hold” a position when they were finished with their territory qualifications. Folks were being expected to “qualify” for upwards of 30 days. No pay.

They Must Be Stopped is a spoken word piece inspired by a conversation between Bill Moyers and Wendell Berry. In the conversation, Mr. Berry recites his poem, “The Contrariness of the Mad Farmer”. The first line of that poem and the conversation in the video haunted my mind while I was making the decision to walk away from my career as a Locomotive Engineer.

Wendell Berry for some people in my hometown of Louisville, Kentucky, is kind of like a native plant. I had heard of Mr. Berry and had been around his work for years, but I had never really heard him speak until watching the video on YouTube. Hearing his voice read his work was what attracted me to it, his voice was like many I had heard before. jw

The Vision was inspired by a powerful poem written by Wendell Berry that speaks deeply to my feelings about the earth, in all of its destruction and possibility. Upon meeting Wendell two times at his farm, I was amazed at how comfortable I was sitting with him and his amazing wife Tanya. I enjoyed his simplicity and how he cuts to the quick with no hesitancy or apology.

I looked this poem over and again the words that would become a song came to me and I arranged it without much effort. I usually channel poetry arrangements, but since Wendell is alive and well, I wanted to honor him and what I perceived to be his intention as clearly as I could. I did work on it more than other poems, nonetheless, it pretty much arranged itself.

I tend to select poems, melodies, and arrangements that are complex and a bit gut-wrenching and hard to sing. This one takes a lot of air! It also takes a bit of courage to sing because of the state of the world. I love the harmonies John and I do on this one. db

One of the pictures on the back of the CD is from the visit when we presented our version to Wendell. Jonah and Wendell are standing together looking up the pasture at sheep being called in for the night. Watching Donna sing this song at Wendell’s kitchen table, looking up from my guitar at him listening to our music was wonderful. Wendell loved our version of his poem. jw

International Brotherhood of Contraries local 1 is a spoken word piece inspired by a line in Wendell Berry’s poem, “Contrariness of the Mad Farmer.” There is a section of the poem where a conversation is happening between what seems to me to be two activists having an argument.

 

When they asked me to join them I wouldn’t,

and then went off by myself and did more

than they would have asked. ‘Well, then,’ they said

‘go and organize the International Brotherhood

of Contraries,’ and I said, ‘Did you finish killing

everybody who was against peace?’ So be it.

Going against men, I have heard at times a deep harmony

thrumming in the mixture, and when they ask me what

I say I don’t know.

While I was burning out as a union activist, this poem spoke to me. I can feel the frustration coming from the person who wishes the “mad farmer” wouldn’t be so stubborn. When I first read this poem, I was helping to organize a safety conference in Richmond, California. The conference included railroaders, environmentalists, oil riggers, electricians, dock workers, labor unions, native people and community groups.

The conference was organized to get many folks, who normally don’t see eye to eye on some difficult issues – get them to sit around the table and discover common ground to organize from. The conference was very successful and inspiring.

The “going against men”, seriously resonated with me because of all my work as a Teamster. As a rank and file democratic reformer. Going against men? –  yup  – got it. I have been the single no vote many times. I have heard that thrumming I think Mr. Berry is talking about. My poem … is taking the challenge given. Making sure that thrumming has a voice. I take the caretaking side of union organizing very seriously.

The Princess That I Love was written for Tiécoura Traoré who starred in the film Bamako produced by Danny Glover. Tiecoura was the union leader who tried to save the railroad from privatization in Mali, West Africa.

from Wikipedia:

The film depicts a trial taking place in Bamako, the capital of Mali, amid the daily life that is going on in the city. In the midst of that trial, two sides argue whether the World Bank and International Monetary Fund are guided by special interest of developed nations, or whether it is corruption and the individual nations’ mismanagement, that is guilty of the current financial state of many poverty-stricken African countries as well as the rest of the poor undeveloped world

 

I got an opportunity to host Tiecoura in my home for three days while he was on a speaking tour of the U.S. We talked non-stop about railroading, agriculture, labor unions and politics. I gave him a tour of the railyard where I was working, and right when we drove into the entrance, right in the middle of a wild conversation, he saw the row of yard locomotives parked and said in his thick African accent, “now, this is the princess that I love!” We both knew what had just happened. We were railroaders. We love it. Who knows why, but we do.

Oh, You Railroad Men is me being really frustrated at my national union president. He is Casey and I am Eugene V. The membership, seemingly most of the time would like to take the radical position, however, the leadership does not. The radical position, in this case, would be to not allow for the railroad to cut the position of the conductor from the train crew and to be more serious about addressing the issues of automation of the railroad.

The Grandsons of Pullman Porters is a loose rewrite of the American folk music classic, “The City of New Orleans”.  While it is romantic to speak of the railroad … I wanted to somewhat expose the railroad for what it is now; the toy of CEO’s, banks and hedge funds.

Much of the story of the railroad in culture, music, art and in railroad poetic metaphor was created by the good old American corporate media. The railroad used to be an important part of everyday life. It was the way people moved, the way agriculture moved, and the industry that built many of the small and large towns that grew up around it. It seems to me, now, being used as a tool to destroy the land, farms, people and communities that are associated with it.

Ride This Train – was written as a campaign song for the work I was doing with Railroad Workers United. We had partnered with an environmental group, The Backbone Campaign, for a conference in Richmond, California. The conference was the start of me realizing that my days were numbered at the railroad.

When I was asked to give the opening remarks at the conference, I knew the atmosphere was going to be tense. Many of the organizations that were invited, in some ways, are at odds with each other. I knew that environmentalists and their organizations have a long difficult history trying to work with labor organizations and vice versa, so, I sought out a solidarity statement from an elder from my community in Kentucky. I knew many environmentalists know who Wendell Berry is. I thought it would be welcoming if the organizer from a railroad labor organization greeted them with words from one of the most respected voices in their community.

Wendell sent via the Berry Center his poem, “The Vision”. While memorizing the poem, I was deeply moved by it. And in further exploration of Mr. Berry’s work, specifically his presentation at Yale University in 2013, I was moved into the position of wanting out of the railroad.

This song is based on the melody of Johnny Cash’s song, “Come On and Ride This Train”.

Old River Blues was written by Riley Coyote of the hobo songwriting collective, The Rail Yard Ghosts. Riley and I talk via phone frequently and collaborate whenever we get the opportunity. In one of our phone conversations, we talked about this song and what I meant to be so lonely, traveling dark places, getting caught by railroad police and then sitting on the banks of the Mississippi nursing wounds.

That is what this song is about.

I have friended many of the folks who ride the rails. It is an honor to be trusted by them; trusted to tell their story in song and verse.

John and Donna Wright

railroadmusic333@gmail.com

2017