FORWARD
We've been spoiled. There's simply no getting away from the fact that included among the songwriters of America during the past half-decade have been some of the most talented in its entire history. Or maybe it only seems that way because songwriters - and especially singer-songwriters have found it easier than ever before to get their songs to appreciative audiences via recordings, song folios, and frequent concert and club appearances. But whatever the reason for the recognition and applause which they so richly deserve, there is no denying the real talent of Steve Goodman, John Prine, Kris Kristoffersen, Merle Haggard, Jim Croce, and maybe a half-dozen more of the most recent crop of songwriters.
The real difference between these "word-slingers" (as Woody Guthrie, the best of them, referred to such writers) and the ones who threw up a continuous stream of songs in the late fifties and throughout the sixties, is the amazing genius of these new writers in communicating with broad sections of our population in straight - forward language, employing seemingly simple, familiar-sounding, and singable tunes. No fancy pseudo-poetry, no semi-mystical symbolism, no long-winded self-indulgence, no unending contemplation of one Is navel, no ego trips and no onanism. What they give us are really good songs about things that really count, songs with which people can identify and, perhaps most important of all, songs that make listeners become singers rather than passive auditors of someone else's performance.
Probably one of the best of these songwriters... No! Why should I hedge my bets on him? ... THE BEST of these songwriters is a man who has been writing consistently great and sometimes superb songs for more than fifteen years. Except for those of his songs which other, better known songwriters and singers have plugged through their recordings and live performances, most of his writing is unknown to that part of the American public who would most appreciate him. Since his name is on the front cover of this book, there's no reason to put off mentioning it any longer. I'm talking about the man who enjoys the continuing joke of calling himself "The Golden Voice of the Great Southwest": U. Utah Phillips.
Bruce, to employ his given rather than his adopted name, has managed to get his songs known to music lovers who are members of regional folksong societies, attend festivals, frequent coffee houses and folk clubs... and all without benefit of high-powered managers, agents, record producers, publishing houses, and all the rest of thetalent- and flesh-peddling rip-off artists who comprise the music industry. Wherever he goes he sings his own and other equally good songs, building a steady and devoted following among folk music lovers (who know his songs aren't really folk songs-and couldn't care less), picket line marchers, and other fighters for good causes across America. The devotion they exhibit is no fatuous idol worship. It's the recognition of a truly great talent and an ability to communicate through the medium of song -- a talent he shares with Joe Hill, T-Bone Slim, Ralph Chaplin (to all of whom he is a comrade in the social and economic ideal known as the IWW), and Woody Guthrie, America's best-known rebel songwriter.
But let's get on to the songs themselves, because that's what this book is really about. My own favorite is "Daddy, What's a Train". Noooo... I like "Green Rolling Hills" even better. And then, of course, there's "Rocksalt and Nails". .. and "John D. Lee"... and "GoodnightLoving Trail". . . and "Phoebe Snow" and "Queen of the Rails" and "Starlight on the Rails" and... Hell, who am I kidding. I like all of these and maybe a few there wasn't room enough to include. It's a great book, but its true value will be appreciated only when you and lots of others like you learn these songs and sing them across America. Try one now. Like the television ad says about potato chips , you won't be able to stop with just one.
Kenneth S. Goldstein Philadelphia, 29 May 1973