1987 John Hartford Me Oh My How The Time Does Fly Vinyl LP Record VG+ SIGNED

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1987 John Hartford Me Oh My How The Time Does Fly Vinyl LP Record VG+ SIGNED
Vinyl / Jacket Grade Per Goldmine Standard: VG+ / VG+; Jacket is signed on front by John Hartford
Back in '76f a year Ailed with mostly forgettable memorabilia, a familiar figure in American music resurfaced on a fledgeling independent label. Marie Twang, John Hartford's con- tribution to fbe Bicentennial's layer of artifacts, presented the artist in the raw — alone with banjo, fiddle, and feet. "We cut it live in two takes, one for each side," he recalls, "1 wanted to make it Boose and spon- taneous, like the radio shows 0 used to do." This approach attracted enough attention that the album won a Grammy, Flyirag Fish's first, for the best traditional record of that year. Many of the songs from this period, written as he studied for his steam- boat pilot’s license, flow with imag- ery of life on the river. “The river has become my central metaphor,” says the songwriter and author of Steamboat in a Cornfield. As a boy in St. Louis, John’s passions were stirred by a certain fifth grade teacher. He looks back fondly in his tribute to “Miss Ferris”: Me oh my, how the time does fly! The time and the river keep a-rollin’ on by. Now I’m not a student and she’s not a teacher. But we both still love the Mississippi River, uh-huh. Everybody who has kept up with Hartford over the years now iden- tifies him with the figure of the old- time steamboat pilot, just as folks knew Jimmie Rodgers as “The Singin’ Brakeman.” There was a time, though, when his musical pursuits estranged him from his devotion to the river. “When I realized I could play music, and that I was really driven to play music, I definitely decided that the river wouldn’t mix with it,” he confesses, “so I literally tried to get away from the river. It was desperation. If I drove across a bridge I’d try not to look to the right or left. ” Nashville beckoned, where he landed a deal with RCA-Victor; then in 1967, the Smothers Brothers called Dr. Hartford’s boy away to work in Hollywood. At the time, Tommy Smothers was putting together a staff of writers and enter- tainers from outside the television establishment, including a young fellow named Steve Martin, who had been playing banjo and twisting balloons out at Disneyland. The summer replacement series was hosted by Glen Campbell, whose version of Hartford’s “Gentle on My Mind” had just hit the charts. His first time on the show, Hartford performed the song in a duet with Campbell. Hartford continued to work for the # 1 rated Smothers Brothers Comedy Hour, writing him- self into the script as much as possi- ble. “I guess 1 was pretty aggressive or something,” he admits, “being on the top TV show in the country can really turn your head around.” When Campbell started his own Goodtime Hour, using “Gentle on My Mind” as the opening theme and Hartford’s “Natural to Be Gone” the closer, this countrified hippie of a pickin’, singin’ songwriter was very much in demand. Taking advantage of the television expo- sure, he toured feverishly, flying everywhere, “more than they legally allow pilots and stewardesses to fly.” Acutely sensitive to the downside of success, Hartford’s writing reflects that melancholy. “In Tall Buildings” empathizes with office workers, sung by one who longs for a more idyllic existence than the corporate grind affords. Moving back to Nashville, he found that things ain’t what they used to be since “Nobody Eats at Linebaugh’s Any- more.” In his Flying Fish version of “Gentle on My Mind,” one of the most recorded and played songs of all time, he handles the hit by turn- ing it over to the otherwise anonym- ous session players who know this number inside out. This recording exemplifies Hartford’s irreverance towards the standard formulas; of course, “Boogie” is another demon- stration of the gruntingly good fun that can be perpetrated within the confines of a studio. These days, though, Hartford’s life and work have reached an equilib- rium. He remains very involved with the operations of the Julia Belle Swain, which now runs on the Mississippi just below Galena, Illinois. While he no longer flies, he continues to tour steadily with his wife Marie along in the comfort of a fully-equipped tour bus. Very much at home in Music City, he gets along just fine with the country music establishment. “They’ve been very good to me over the years,” he acknowledges. After over twenty years in the business, he’s now mak- ing some of his most consistently appealing music. He can step above the fray and assert that “I’m Still Here.” -J. Seymour Guenther Side A 1 Skippin’ in the Mississippi Dew (2:57) 2 The Julia Belle Swain (4:47) 3 Miss Ferris (6:58) 4 Boogie (2:29) 5 Gum Tree Canoe (4:05) Side B 1 Gentle on My Mind (4:34) 2 In Tall Buildings (3:24) 3 Nobody Eats at Linebaugh’s Anymore (6:21) 4 Good Old Electric Washing Machine - circa 1943 (2:05) 5 I’m Still Here (3:08) All material from the following Flying Fish albums: Mark Twang (FF 020) -cuts Al, A2 Produced by Michael Melford, engineered by Claude Hill at the Sound Shop, Nashville, TN. John Hartford - fiddle, banjo, dancing, and vocals Nobody Knows What You Do (FF028)-cut B2 Produced by Michael Melford, engineered by Claude Hill at the Sound Shop John Hartford — guitar, vocals; Benny Martin - fiddle, vocals; Sam Bush - mandolin, vocals; Mac Wiseman - vocals; Buddy Emmons -steel guitar, dobro; David Briggs- electric piano; J im Colvard - guitar; Roy Husky, Jr. - picked bass; Dalton Dillingham - bowed bass; Kenny Malone - drums All in the Name of Love (FF 044) - cuts A4, Bl Produced by Michael Melford, engineered by Rich Adler at the Sound Shop John Hartford-fiddle, banjo, danc- ing, vocals; Benny Martin — fiddle; Sam Bush - mandolin; Buddy Emmons - steel guitar, dobro; Jim Colvard - guitar; Hargus “Pig” Robbins, David Briggs - piano and electric piano; Roy Husky, Jr. - acoustic bass; Henry Strzelecki - electric bass; Kenny Malone, Larrie London - drums Headin’ Down into the Mystery Below (FF 063)-cut A3 Produced by Michael Melford, engineered by Rich Adler at the Sound Shop John Hartford - banjo, dancing, vocals; Jeanie Seeley, Billy Ray Reynolds, Lisa Silver, Diane Tidwell - vocals The Festival Tapes (FF 068) - cut B3 Produced by Sam Bush, engineered by Rich Adler and Claude Hill at the 1977 Telluride Festival of Blugrass and Country Music, Telluride CO. John Hartford - fiddle, vocals; Sam Bush—guitar, vocals, John Cowan - electric bass, vocals; Curtis Burch - dobro; Courtney Johnson - banjo Catalogue (FF 259) - cut B4 Produced by Michael Melford, engineered by Paul Moss at Cin- derella Studios, Nashville John Hartford, guitar, dancing, vocals Gum Tree Canoe (FF 289) - cuts A5,B5 Produced by Jack Clement, engineered by Jack “Stack-a-Track” Grochmal at the Cowboy Arms Hotel <St Recording Spa, Nashville John Hartford - banjo, vocals; Jack Clement - rhythm guitar, ukelele, dobro; Mark Howard - lead guitar; Mark O’Connor - lead guitar, man- dolin; Sam Bush, Marty Stuart - mandolin; Jerry Douglas - dobro; Roy Husky, Jr. - bass; Kenny Malone - percussion; Jeannie Seeley, Tommy Hannum, Rich Schulman - vocals Thanks to Marie Hartford, Keith Case, Marianne Jasin, Bruce Kaplan, Jim Netter, Jennifer Berman, and everyone who has inspired and supported John’s recording efforts for Flying Fish. Anthology produced by J. Seymour Guenther. Original masters proc- essed by Michael Rasfeld and master tape assembled by Paul Smith at Acme Audio, Chicago, IL. Digi- tally mastered by Roger Seibel at Wakefield Manufacturing, Phoenix, AZ. Art direction by Dolores Wilber Concept by John Hartford The Golden Eagle photo by Captain Ben Gilbert Portrait photo by Jim McGuire Also available on cassette and com- pact disc. The compact disc includes eight additional cuts. 1976,1977.1978, 1979, 1980, 1981, 1984,1987 1987 Flying Fish Records, Inc. 1304 W. Schubert Chicago, IL 60614
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