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Beautiful Dreamer: The Songs Of Stephen Foster Track Listing
1. Beautiful Dreamer – Raul Malo
2. Slumber My Darling – Alison Krauss with Yo Yo Ma, Edgar Meyer, Mark O'Connor
3. Don't Bet Money On The Shanghai – BR5-49
4. Nelly Was A Lady – Alvin Youngblood Hart
5. No One To Love – Judith Edelman
6. Camptown Races – The Duhks
7. My Old Kentucky Home, Goodnight – John Prine
8. Autumn Waltz – Henry Kaiser
9. In The Eye Abides The Heart – Beth Nielsen Chapman
10. Old Folks At Home (Swanee River) – David Ball
11. Oh! Susanna – Michell Shocked & Pete Anderson
12. Willie We Have Missed You (instrumental) – Grey De Lisle
13. Hard Times Come Again No More– Mavis Staples
14. Gentle Annie – Bruce Robison & Ollabelle
15. Jeannie With The Light Brown Hair – Roger McGuinn
16. Ah, May The Red Rose Live Always – Susie Bogguss
17. Holiday Schottisch – Will Barrow
18. Comrades Fill No Glass For Me – Ron Sexsmith
1)
"Beautiful Dreamer"
Recorded by Raul Malo
Words and music by Stephen Collins Foster 1862
Traditional arrangement by Raul Malo
© 2004 Rumbalo/EMI (BMI)
Raul Malo appears courtesy of Sanctuary Records
Produced, recorded and mixed by Raul Malo
Raul Malo: Vocal, acoustic guitars, bass
2) "Slumber My Darling"
Recorded by
Yo-Yo Ma / Edgar Meyer / Mark O’Connor
featuring Alison Krauss
Words and music by Stephen Collins Foster 1862
Edgar Meyer arrangement © 2000
Yo-Yo Ma and Edgar Meyer appear courtesy of Sony Classical
Mark O’Connor appears courtesy of Sony Classical
Alison Krauss appears courtesy of Rounder Records
Produced by Steven Epstein
Recorded at Mechanic’s Hall, Worchester, MA
Previously released as Appalachian Journey Sony Classical SK 66782 / © 2000
Licensed exclusively from Sony Music Entertainment, Inc.
Alison Krauss: vocal
Yo-Yo Ma: cello
Edgar Meyer: bass
Mark O’Connor: violin
3) "Don't Bet Your Money On The Shanghai"
Recorded by BR5-49
Words and music by Stephen Collins Foster 1861
Traditional Arrangement by
Mead-Scruggs-Wilson-Herron-Firebaugh
© 2004 Pagan Idol Music (BMI) administered by Bug Music
BR5-49 appear courtesy of Dualtone Music Group
Chuck Mead: vocals, acoustic guitar
Chris Scruggs: electric guitar, steel guitar
Don Herron: fiddle, electric mandolin
Shaw Wilson: drums, gong
Geoff Firebaugh: bass
Produced by BR5-49
Recorded and mixed by Dave Sinko
Assistant engineer: Patrick Granado
Recorded at OMNISound Studios, Nashville, TN
Mixed at the Sound Emporium, Nashville, TN
4) "Nelly Was A Lady"
Recorded by Alvin Youngblood Hart
Words and music by Stephen Collins Foster 1849
Traditional arrangement by Alvin Youngblood-Hart
© 2004 Pea Vine Publishing (ASCAP)
Produced and recorded by Alvin Youngblood Hart
Recorded at the Blood Bank, Memphis, TN
Alvin Youngblood Hart: vocals, guitar, mandolin
5) "No One To Love"
Recorded by Judith Edelman
Words and music by Stephen Collins Foster 1862
Traditional arrangement by Judith Edelman
© 2004 Dangerous Soup Music, BMI, administered by Bug Music
Produced by Judith Edelman/Gawain Mathews
Arranged by Judith Edelman
Recorded and mixed by Dave Sinko
Assistant engineer: Patrick Granado
Recorded at OMNISound Studios
Mixed at the Sound Emporium, Nashville, TN
Judith Edelman: vocals, piano
Gawain Mathews: electric guitar
Matt Mangano: bass
Pasi Leppikangas: drums
6) "The Camptown Races"
Recorded by The Duhks
Words and music by Stephen Collins Foster 1850
Traditional arrangement by
Podolak-Havey-Elizabeth-McConnell-Senior
© 2004 Duhkmusic, SOCAN
Produced by Steve Fishell and The Duhks
Recorded by Boo McCloud
at Congress House Studios, Austin, TX
Additional engineering and mixing by David Sinko
at the Sound Emporium, Nashville, TN
The Duhks appear courtesy of Sugar Hill Records and Welk Music Group
Jessica Havey: vocals
Tania Elizabeth: fiddle and background vocals /
Leonard Podolak: banjo /
Jordan McConnell: acoustic guitar /
Scott Senior: percussion
7) "My Old Kentucky Home"
Recorded by John Prine
Words and music by Stephen Collins Foster 1853
Traditional arrangement by John Prine
© 2004 Bruised Oranges, ASCAP
John Prine appears courtesy of Oh Boy Records
Produced by John Prine
Recorded and mixed by Dave Ferguson
at The Butcher Shop, Nashville, TN
John Prine: lead vocal, lead guitar
Jack Clement: dobro, rhythm guitar
Pat McLaughlin: mandolin, rhythm guitar, harmony vocal
Dave Ferguson: bass
8) "Autum Waltz " (5:08)
Recorded by Henry Kaiser
Music by Stephen Collins Foster 1846
Traditional arrangement by Bell-Hostetter-Kaiser-Petrie
© 2004 Fractal Music (BMI)
Produced and engineered by Henry Kaiser
Henry Kaiser: slide guitar, electric guitar
Robin Petrie: Santour
Paul Hostetter: acoustic guitar, mandolin, bass
Mark Bell: Persian toumbak, davul, and riqq
9) "In The Eye Abides The Heart"
Recorded by Beth Nielsen Chapman
(In den Augen liegt das Herz)
Words by Franz von Kobell
Music by Franz Wilhelm Abt, (1819-1885)
English Translation by Stephen Collins Foster 1851
Traditional arrangement by Beth Nielsen Chapman
© 2004 BNC Songs, ASCAP
Produced by Gabe Rhodes
Engineered by Joe Gracey
Beth Nielsen Chapman: Vocal, acoustic guitar/
Gabe Rhodes: Glass Armonica, Barbarian Pump Organ/
Kimmie Rhodes: Background vocals
10) "Old Folks At Home (Swanee River)"
David Ball
By Stephen Collins Foster 1851
Traditional arrangement by Ball-Newton
© 2004 Cedar Poppin Song, BMI / Rope A Note
Music, BMI
Produced by Wood Newton
Recorded and mixed by John Saylor
At The Parlor Studio, Nashville, TN
Licensed from Arcaro Records, Inc.
Billy Panda: guitar, mandolin
Dave Roe: bass
Jeff Taylor: piano, accordian
Robin Ruddy: banjo, background vocal
Wood Newton: background vocal
11) "Oh! Susanna "
Recorded by Michelle Shocked and Pete Anderson
Words and music by Stephen Collins Foster 1848
Traditional arrangement: Anderson- Shocked
© 2004 Jesse Lee Music, BMI / Campfire Girl Music / ASCAP; administered by Bug Music
Track Used by permission from Little Dog Records
Michelle Shocked appears courtesy of Mighty Sound Records
Produced and arranged by Pete Anderson
Recorded by Tony Rambo and Jason Robbins
at The Dogbone/Burbank, CA
Mixed by Tony Rambo and Sally Browder
Pete Anderson: guitars, bass, drums
Boo Bernstein: Pedal steel
12) "Willie We Have Missed You"
Grey De Lisle
Words and music by Stephen Collins Foster 1854
Traditional arrangement by De Lisle-Etzioni
© 2004 Wet Pony Music/Bug Music (Ascap)/
Prophet Sharing music (Ascap)
Produced by Marvin Etzioni
Recorded and mixed by David Vaught
at Camp David Studios in Thousand Oaks, Ca.
Mastered by Brian Gardner at Bernie Grundman Mastering
Grey De Lisle appears courtesy of Sugar Hill Records and Welk Music Group
Grey De Lisle: vocal and autoharp
Marvin Etzioni: nylon guitar and half speed bells
Stefanie Fife: cello (strings arranged by Marvin Etzioni)
Murry Hammond: vibe engineer
Greg Leisz: pedal steel
Dave Raven: footstep, door and washing machine
Sonny: dog bark
13) "Hard Times Come Again No More"
Mavis Staples
Words and music by Stephen Collins Foster 1854
Traditional arrangement by Mavis Staples
© 2004 Staples Music, BMI
Mavis Staples appears courtesy of Alligator Records
Produced by Steve Fishell
Recorded and mixed by Dave Sinko
at the Sound Emporium, Nashville, TN
Assistant engineer: Patrick Granado
Mavis Staples:vocals
Matt Rollings: piano
Steve Fishell: acoustic Hawaiian guitar
Buddy Miller: tremolo baritone guitar
Yvonne Staples: good vibes
14) "Gentle Annie "
Recorded by Ollabelle
Stephen Collins Foster 1856
Traditional arrangement by Helm-Zhivago-Patscha-Isaacs-McBain-Isaacs-Leone
© 2004 Moaner Jones Music, BMI
Ollabelle appears courtesy of Columbia/DMZ Records and Sony Music Entertainment, Inc.
Magic Shop Recording Studio, NYC
Produced by Steve Rosenthal
Recorded and mixed by Juan Garcia, assisted by Tom Psipsikas
Amy Helm: vocal, mandola
Byron Isaacs: vocal, bass
Tony Leone: drums
Fiona McBain: vocal, guitar
Glenn Patscha: vocal, pump organ
Jimi Zhivago: National guitar
15) "Jeannie With The Light Brown Hair (I Dream Of Jeannie)"
Roger McGuinn
Words and music by Stephen Collins Foster 1854
Traditional arrangement by Roger McGuinn
© 2004 McGuinn Music, BMI
Produced by Roger McGuinn and Camilla McGuinn
Recorded by Roger McGuinn
Mixed by Roger and Camilla McGuinn
Roger McGuinn: vocals, 12-string electric guitar, bass,
drum programming
16) "Ah, May The Red Rose Live Always"
Recorded by Suzy Bogguss
Words and music by Stephen Collins Foster 1850
Traditional arrangement by Suzy Bogguss
© 2004 Lil' Isabelle Music, ASCAP
Suzy Bogguss appears courtesy of Compadre Records
Produced by Suzy Bogguss
Recorded and mixed by Dave Sinko
at OMNISound Studios and the Sound Emporium, Nashville, TN
Assistant engineer: Patrick Granado
Suzy Bogguss: vocal
Will Barrow: piano
Pat Bergeson: guitar
Charlie Chadwick: bass
Julie Adams: cello
17) "Holiday Schottisch"
Recorded by Will Barrow
Music by Stephen Collins Foster 1853
Traditional arrangement by
© 2004 Wheelbarrow Music, ASCAP
Produced by Will Barrow
Recorded and mixed by Dave Sinko
at the Sound Emporium, Nashville, TN
Assistant engineer: Patrick Granado
Will Barrow: piano
Danny Coots: drums
18) Comrades Fill No Glass For Me
Ron Sexsmith
Words and music by Stephen Collins Foster 1855
Traditional arrangement by Ron Sexsmith
© 2004 (Ronboy Rhymes/Sony/ATV) and Martin Terefe (Sony/ATV)
Ron Sexsmith appears courtesy of Nettwerk America
Produced by Martin Terefe for Pax Producers.
Recorded and mixed by Nathaniel Chan and Martin Terefe at Kensaltown Recording Studios, London
Ron Sexsmith: vocal and piano
Martin Terefe: percussion, organ and backing vocals
Foster Liner Notes by Ken Emerson
Stephen Collins Foster
July 4, 1826 – January 13, 1864
American Roots Publishing could not have chosen a more appropriate artist for its first CD. Stephen Collins Foster, as classical baritone Thomas Hampson has said, is the trunk of the tree of American music. You can hear Foster in nearly all of its branches, from country music, bluegrass and gospel through the standards of the so-called “American Songbook,” jazz, rock ‘n’ roll and the classical music of Gottschalk and Ives, who said he was raised “on Bach and Stephen Foster.” There’s even a trace of Foster’s “Camptown Races” in “Jingle Bells.”
Foster was the first great and distinctly American songwriter because he was the first to draw upon and stitch together the motley musics that settlers and slaves brought with them from Europe and Africa. While the vocal call-and-response of “Camptown Races” originated in Africa, the melodies and intervals of “Gentle Annie” and “Ah! May the Red Rose Live Alway!” are steeped in Irish and Scottish balladry, the flowing triplets of “Beautiful Dreamer” invoke Italian bel canto opera, and “In the Eye Abides the Heart” adapts a German lied. “Oh! Susanna” transforms a European troubadour into an African American with a banjo on his knee, but the 2/4 beat he strums is a polka, the hot new dance craze recently imported from Prague via Paris. Foster was multicultural long before the word was coined.
While he was ahead of his time, Foster was also profoundly part of it. Talk about All-American: He was born in Lawrenceville, then a suburb of Pittsburgh, on the Fourth of July, 1826, when the nation celebrated its fiftieth birthday and Thomas Jefferson and John Adams died. The Foster family enjoyed music and so did Stephen, who took up the flute. In his teens he became enraptured by minstrel music, the rowdy, racist and first uniquely American form of popular entertainment, in which white musicians, singers and dancers donned woolly wigs, daubed their faces with burnt cork, and aped African Americans. Minstrelsy was a lot like rock ‘n’ roll. Young Stephen, a brother and their friends put on shows in the stable adjacent to their home more than a century before garage rock.
Foster was a slacker, dropping out of college after only one week. He composed instrumental ditties like “Autumn Waltz” (written for the piano) and toiled as an accountant on the banks of the Ohio River in Cincinnati. After “Oh Susannah” was performed at Pittsburgh’s Eagle Ice Cream Saloon in 1847, the song spread like wildfire to the concert halls of New York and the mining camps of California, where it became the anthem of the Gold Rush’s Forty-Niners. Although Foster may not have seen a cent from “Oh! Susannah,” which sixteen publishers brought out in thirty arrangements, its success convinced him to become America’s first full-time professional songwriter. It was as audacious an ambition as if he had decided to become an astronaut. Those few Americans who were foolhardy enough to write songs supported themselves by performing them in concert, selling, teaching or publishing music. Foster wed Jane McDowell, a family friend, in 1850, and the following year they had a daughter, Marion. Drink, as suggested by “Willie We Have Missed You” and “Comrades, Raise No Glass for Me,” plus Foster’s difficulty supporting a family in an unprecedented profession undermined their marriage. During their first separation, while he was living in Hoboken, New Jersey, Foster wrote “Jeanie with the Light Brown Hair.” (Jane McDowell’s nickname was Jenny and her hair was auburn.)
In the meantime Foster replaced what he termed “the trashy and really offensive words” of blackface minstrelsy with a more dignified address exemplified by “Nelly Was a Lady.” No white songwriter had ever called a black woman a “lady” before. “Old Folks at Home” and “My Old Kentucky Home” carried this further, fusing the displacement of slaves with the nostalgia many Americans felt for the homes they had left behind on the other side of the Atlantic Ocean or the Appalachian Mountains. Although they were by far his biggest sellers, Foster wrote fewer and fewer songs in dialect (“Don’t Bet Money on the Shanghai” was one of his last) because he yearned for respectability.
Foster was an all-purpose composer, writing dance tunes like “Holiday Schottisch” (the schottische was a popular two-step) and a provocative glimpse of poverty in Pittsburgh, “Hard Times Come Again No More.” “Hard Times” has been Foster’s most frequently revived song during the past decade. Foster’s marriage and career crumbled after he moved to New York City in 1860. His music was out of step with the martial beat of the impending Civil War, and he was reduced to peddling songs like “Slumber My Darling” and “No One to Love” for a pittance to keep him in rum and a rooming house. Living on the Bowery, he gashed his throat in a fall and was rushed to Bellevue Hospital, where he died on January 13, 1864. He was only 37 and his wallet contained just 38 cents.
Ken Emerson is the author of Doo-Dah!: Stephen Foster and the Rise of American Popular Culture (Da Capo Press) and co-author of the documentary film, Stephen Foster.
The American Roots Publishing Story...So Far...
American Roots Publishing was a dream planted in my subconscious by a conversation with Joe Ely two years ago.
I knew from a previous conversation with him that Joe had been writing a novel. When I asked him how it was going, Joe told me he had spoken to a publisher who said, "Joe, I love this book but I wouldn't know what to do with it."
Wouldn't know what to do with it, I thought. What is he talking about? We have Soundscan. Joe tours. He has a fan base. Give me the damn book, I know what to do with it!
I couldn't let go of our conversation. Although I hadn't read Joe's book yet, I started thinking about all the wonderful books, music and art that undoubtedly goes unread, unpublished, unseen and unheard because it isn't deemed profitable enough. I thought about the literature, music and art that I love, that my friends and I immerse ourselves in daily, that is a vital part of our American culture though not necessarily part of mainstream consciousness.
After brewing in my head for several days, I began to write my thoughts down on paper. The thoughts evolved into a rough draft of a business plan for a nonprofit organization with three goals: To preserve regional culture through literature and art; to link artists and communities through focused education programs which will preserve, reveal and celebrate regional traditions; and to support American artists who honor regional traditions by giving them an outlet and venue for their work.
I convinced Joe Ely, through his helpful publicist Lance Cowan, to let me read his novel, hoping to make it American Roots Publishing's first release. I read Super Reverb in one night and as I expected, it's both engaging and entertaining. Joe, in his infinite kindness and generosity, gave me permission to move forward using his name and novel as the foundation of ARP. It changed my life and I will always be grateful to Joe for giving me this chance.
With Joe on board, I immediately called on my girlfriend and colleague Kathi Whitley and insisted that she join the board of directors as secretary. For many months it was just the two of us brainstorming, plotting and planning, She's been a constant source of advice and encouragement. I'm quite certain I would have given up without Kathi in my corner.
Al Bunetta introduced me to Tom Frouge during the Americana Music Association conference in September, 2002. Tom jumped in to ARP with both feet the first night we met, scribbling ideas on a napkin at Café Margot while we ignored a Buddy Miller show across the street. I hope Buddy forgives us. Tom is the Vice President of ARP and his creative mind, kind heart and friendship is a daily gift.
Bobbie Eakes encouraged me at my very worst moments. I burdened her with a lot of my troubles at the time and she might have felt so sorry for me that she agreed to be on the ARP board. Whatever it was that convinced her, I'm thrilled that Bobbie is with us and am grateful for her friendship.
My dear friend and ARP Treasurer Steve Fishell gave hours and hours and hours of his time to produce this project and to guide the artists, musicians, engineers and the rest of us toward the artistic channel Stephen Foster's compositions deserve. Without Steve's enthusiasm and dedication, I know we would still be floundering. Instead, our first project is in your hands in no small part because of Steve Fishell. Steve, you are THE MAN. Tracy Gershon, Sam and Katy Fishell, thanks for letting us borrow him for all these months.
We wouldn't have the credibility any new organization desperately needs without our esteemed advisory board lending their names and expertise. Thank you Cameron Strang for making us cross the t's and dot the i‘s on the business end, Emmylou Harris for your spirit and generosity, Steve Garvan for your publishing brain, Woz for inventing the Apple Computer (I've loved you since 1984) and Jack Sullivan for your academic mind and love of bluegrass.
When David Macias suggested doing a Stephen Foster tribute as a fundraiser for American Roots Publishing, I had two thoughts: 1) Certainly this has been done before and 2) Why in the world would David give us this incredible project?
I quickly got the answer to both. With just a little research I found that (surprisingly) there has never been a singer/songwriter tribute to Stephen Foster and (not surprisingly) David Macias is one of the most generous and compassionate individuals I've had the pleasure to know.
It goes without saying that without David, this project never would have happened. For that, I am eternally grateful to David, Deb Markland and Bob Goldstone at Emergent. I've stopped wondering how David accomplishes all that he does. I'm just thankful that he is on our team.
Will McKibbon donated his time to read, draft, and revise numerous contracts and legal agreements that are necessary in any such endeavor. We could not have managed without Will's brilliant mind and diligence. Thank you, Will.
Thank you Aimee Roberts-Mazurek and Steve Wilkison of Digital Vision Media for your time and attention to the album art and website. You guys rock.
Steve Tveit and OMNIsound Studios, and Scott Paschall and Sound Emporium generously donated studio time. There aren't enough words to thank our fabulous engineer Dave Sinko. Dave, I see lots of pizza and beer (on me) in your future. Thanks also to Patrick Granado for engineering assistance.
Of course, without the artists who donated their time and talents, we wouldn't have a musical collection at all. We are forever grateful to these amazing artists, some who have had long storied careers and some who are just beginning the journey. All of them stepped up to the plate to arrange and record these traditional Stephen Foster songs to raise money for our cause.
It's only fitting that Raul Malo is our title track artist. It was Raul who, after several late night conversations at various pubs in Milwaukee, talked me into moving to Nashville ten years ago. I've known him longer than anyone else in this town and I'm absolutely thrilled that he loaned his timeless voice and musical sensibilities to "Beautiful Dreamer."
During our brainstorming meeting, John Prine's name came up. I said to David and Steve, "There is no way we're going to get John Prine." I know how much John values his privacy and time with his family. I am so touched and honored that Al Bunetta took this idea to him and John generously gave his time to record "My Old Kentucky Home, Goodnight" especially since he was busy touring and working on his next record.
When Fishell mentioned gospel soul queen Mavis Staples as a possibility for "Hard Times Come Again No More," again, I thought we were just dreaming. Then Mavis and her lovely sister Yvonne came to Nashville and Mavis recorded the track. That afternoon was as close to heaven as I've been. Mavis is absolutely enchanting. I can state right here that you'll never hear a better version of "Hard Times" than this one. Steve Fishell, Buddy Miller and Matt Rollings back her up beautifully, and Yvonne kept good vibes flowing in the control room.
Thanks to the generosity of John Ingrassia at Sony Music, we are thrilled to have T-Bone Burnett's latest signing, the astonishing six-piece band Ollabelle, singing and playing "Gentle Annie," as well as Alison Krauss, Mark O'Connor, Yo Yo Ma and Edgar Meyer's beautiful rendition of "Slumber My Darling." The track also appeared on 2000's Appalachian Journey CD. Alison, Mark, Yo Yo and Edgar were kind enough to allow us to use the song for this recording.
Tom Frouge, suggested urban folk icon Michelle Shocked and guitar god Pete Anderson for "Oh! Susannah." The pairing is perfect for Foster's most well-known tune.
Our friends Larry and Kevin Welk and everyone at Vanguard and Sugar Hill Records let us borrow their fabulously talented new artists, The Duhks, who bring their funky personality to "Camptown Races," and Grey De Lisle who beautifully whispers "Willie We Have Missed You."
Whenever I think of Suzy Bogguss, I recall our time together on a bus trip to her hometown of Aleda, Illinois. It's when I learned I'm really not cut out to live on a tour bus and the only time I've drunk scotch. Suzy is an amazing vocalist and proves it once again on "Ah, May the Red Rose Live Always."
I love David Ball. My friend Susan Niles and I spend an inordinate amount of time telling each other how much we love David Ball. What a songwriter, what a singer, what a character, what a country-fied, twangy, perfect version of "Old Folks At Home (Swanee River)." Much thanks to David and Wood Newton for the TLC they put into this recording.
Although I've been a fan since the 80s, the first time I heard Beth Nielsen Chapman perform live was at one of Robert Hicks' infamous guitar pulls in Leiper's Fork, TN. She never disappoints and everyone in the world should own a copy of her Sand And Water album. For this CD, Beth dug through old Stephen Foster songbooks to find "In The Eye Abides The Heart." As far as we can tell, this song hasn't been recorded before.
Roger McGuinn, with his 12-string Rickenbacker, pioneered the folk-rock movement in the ‘60s as the frontman for The Byrds. They even recorded a Stephen Foster song on their 1965 album Turn! Turn! Turn! We're thrilled that Roger appears here, nearly 40 years later, performing another Foster classic, "Jeannie With The Light Brown Hair."
If any band could make cock fighting sound romantic, it's the retro, alt-country band BR5-49. They brought a gong in the studio to record "Don't Bet Money On De Shanghai" and made it seem like an every day occurrence in their world.
I first heard about Judith Edelman from the late Timothy White, longtime editor of Billboard Magazine. He was probably Judith's most vocal fan and had the outlet to tell everyone in the music business about her incredible talent. Bless him. Judith's stunning vocals are the perfect complement to Foster's lyrics on "No One To Love."
I'm a new fan of Ron Sexsmith, Henry Kaiser, Will Barrow and Alvin Youngblood Hart and I'm so excited to have these diverse and talented gentlemen on this project. Henry's crazy guitar solo on "Autumn Waltz" is a definite stand-out and proves once again how credible Foster's music remains today. Will's piano arrangement of "Holiday Schottisch" makes me just plain happy. Alvin's soulful version of "Nelly Was A Lady" brings a different perspective to the song's history and Ron's "Comrades Fill No Glass For Me" is a haunting and bittersweet ending to the collection.
In addition to everyone involved in this project, I would like to take this opportunity to publicly thank the people who have encouraged and loved me throughout my crazy life.
My wonderful chapter in Nashville became a reality thanks to my early mentors at Sundance Broadcasting: Mike Jorgenson, Brian Ongaro, Kerry Wolfe, Mitch Morgan, Jerry Arndt and Jesse Garcia, who taught me the ropes and sent me to Music City. I'm sure you had no idea of the monster you were creating.
Thank you to my family – Michelle, Damien, Mom, Dad, Grandma and the Leavitt, Saviano, Stuart and Whitfield clans who are too numerous to mention. I love all of you.
I would be remiss if I didn't mention my best friends from life: Loretta Foster Mertz who has laughed and cried with me since the beginning of time; my teacher Patrick Vernon Dean who opened my eyes; and Dr. Michael Francis Reilly, my absented-minded accomplice on too many adventures to count.
The following family, friends and colleagues have been a source of daily inspiration, advice and support: Alanna Nash, Angela Lehner, Al Moss, Alan Light, Beverly Keel, Bob Delevante, Bobby Reed, Bob & Edie Pondillo, Charlene Blevins, Christopher Spinelli, Craig Havighurst & Taylor Holliday, Deb Barnes & Nick Beres, Don Starry, Ellen & Mr. Bill Pryor, Emily Learned, Eric Brace, Eric Geer, George & Caroline Ducas, Georgia Middleman, Glen Danles, Grayle Howlett, Holly George-Warren & Robert Burke Warren, Holly Gleason, Janis Ian, Jenny Bohler, Jim Bessman, Jim Jordan, Jim Pitt, John Leal, Judith Edelman, Julianne Douglas, Julilly Kohler, Joya Caryl, Kay Clary, Keri Adams, Ken Emerson, Kim Fowler, Kira Florita, Kris & Lisa Kristofferson, Lance Cowan, Lari White, Lee Ann Womack, Lisa Jenkins, Lisa Shively, Lori Brockman, Lydia Hutchinson, Lynda Miller, Melissa Farina, Michael McCall, Mickey Saviano, Mike Delevante, Minton Sparks, Molly Nagel, Molly Secours, Norm Parenteau, Patsy Cox, Paul & Corinne Stuart, Paul & Michelle Stuart, Peter Buffett, Rick Hagopian, Richard Courtney, Rhonda Parman, Robert Hicks, Robinson & Doug Regan, Sandy Neese, Sandy Brokaw, Scott Stem, Shanna Strassberg, Shawn Camp, Susan Niles, Sylvia Giannitrapani, Tim Richardson, Todd Snider, Tony Judge, Traci Thomas, Victoria Shaw & Bob Locknar, Wendy Pearl, Wendy Stamberger, J.D. May my fellow Americana Music Association board members, Echomusic, Al Bunetta and the Oh Boy Records staff, Mike Shea, Andy Flynn, Gaylynn Kiser & the SXSW staff, and Todd and the boys at Starstruck Studios who always help me out in a pinch.
Thank you Guy Clark for being Guy Clark.
Finally, I am most grateful for Paul Whitfield, my own true love. Firenze, Baby, Firenze.
American Roots Publishing's first project, Beautiful Dreamer: The Songs of Stephen Foster is dedicated to my grandfather, the late Ellis Leavitt, to whom I owe everything.
Tamara Saviano, Nashville, TN June, 2004.
Lyrics
Beautiful Dreamer
Beautiful dreamer, wake unto me,
Starlight and dewdrops are waiting for thee
Sounds of the rude world heard in the day,
Lulled by the moonlight have all passed away
Beautiful dreamer, queen of my song,
List while I woo thee with soft melody
Gone are the cares of life’s busy throng,
Beautiful dreamer, awake unto me
Beautiful dreamer, out on the sea
Mermaids are counting the wild lorelie
Over the streamlet vapors are borne,
Waiting to fade at the bright coming morn
Beautiful dreamer, beam on my heart,
E’en as the morn on the streamlet and sea
Then will all clouds of sorrow depart
Beautiful dreamer, awake unto me
Beautiful dreamer, awake unto me
Beautiful dreamer, awake unto me
Slumber My Darling
Slumber my darling, thy mother is near,
Guarding thy dreams from all terror and fear
Sunlight has past and the twilight has gone,
Slumber my darling, the night’s coming on
Sweet visions attend thy sleep,
Fondest, dearest to me,
While others their revels keep,
I will watch over thee
Chorus:
Slumber, my darling, the birds are at rest,
Wandering dews by the flowers are caressed,
Slumber, my darling, I’ll wrap thee up warm,
And pray that the angels will shield thee from harm
Slumber my darling, till morn’s blushing ray
Brings to the world the glad tidings of day
Fill the dark void with thy dreamy delight
Slumber, thy mother will guard thee tonight
Thy pillow shall sacred bey
From all outward alarms
Thou, thou are the world to me
In thine innocent charms
Chorus
Don’t Bet Your Money On The Shanghai
The Shanghai chicken, when you put him in the pit,
He’ll eat a loaf of bread up, but he can’t fight a bit
The Shanghai fiddle is a funny little thing
And every time you tune him up he goes ching ching
Chorus:
Oh! the Shanghai!
Don’t bet your money on the Shanghai,
Take the little chicken in the middle of the ring
But don’t bet your money on the Shanghai
I go to the fair for to see the funny fowls
The double-headed pigeon and the one-eyed owls
The old lame goose with no web between his toes
He kills himself a laughing when the Shanghai crows
Chorus
The Shanghai’s tall but his appetite is small
He’ll only swallow everything that he can overhaul
Four bags of wheat just as certain as your born
A bushel of potatoes and a tub full of corn
Chorus
Nelly Was A Lady
Down on the Mississippi floating,
Long time I travel on the way,
All night the cottonwood a toting,
Sing for my true love all the day
Chorus:
Nelly was a Lady
Last night she died,
Toll the bell for lovely Nell
My dark Virginny bride
Now I’m unhappy and I’m weeping,
Cain’t tote the cottonwood no more
Last night, while Nelly was a’sleeping,
Death came a knocking at the door
Chorus
When I saw my Nelly in the morning,
Smile ‘til she opened up her eyes,
Seemed like the light of day a dawning,
Just ’fore the sun begin to rise
Close by the margin of the water,
Where the lone weeping willow grows,
There lived Virginny’s lovely daughter
There she in death may find repose
Chorus
Down in the meadow ‘mong the clover,
Walk with my Nelly by my side
Now all them happy days are over,
Farewell my dark Virginny bride
Chorus
No One To Love
No one to love in this beautiful world,
Full of warm hearts and bright beaming eyes?
Where is the lone heart that nothing can find
That is lovely beneath the blue skies
Chorus:
No one to love!
No one to love!
Why no one to love?
What have you done in this beautiful world,
That you’re sighing of no one to love?
Dark is the soul that has nothing to dwell on!
How sad must its brightest hours prove!
Lonely the dull brooding spirit must be
That has no one to cherish and love
Chorus
Many a fair one that dwells on the earth
Who would greet you with kind words of cheer,
Many who gladly would join in your pleasures
Or share in your grief with a tear
Chorus
The Camptown Races
The Camptown ladies sing this song Doo-dah! Doo-dah!
The Camptown racetrack’s five miles long Oh! De doo-dah day!
The long tail filly and the big black hoss Doo-dah! Doo-dah!
They fly the track and they both cut across Oh! De doo-dah day!
Chorus:
Going to run all night!
Going to run all day!
I’ll bet my money on the bobtail nag
Somebody bet on the bay.
I come down with my hat caved in Doo-dah! doo-dah!
I go back home with a pocket full of tin Oh! De doo-dah day!
The blind hoss sticken in a big mud hole Doo-dah! doo-dah!
Can’t touch bottom with a ten foot pole Oh! De doo-dah day!
Chorus
Old brown cow came onto the track Doo-dah! Doo-dah!
The bob-tail fling her over his back Oh! doo-dah day!
They fly along like a railroad car Doo-dah! doo-dah!
Runnin’ a race with a shootin’ star Oh! De doo-dah day!
Chorus
See them flyin’ on a ten mile heat Doo-dah! Doo-dah!
Round the race track, then repeat Oh! doo-dah day!
I win my money on the bob-tail nag Doo-dah! doo-dah!
I keep my money in an old tow-bag Oh! De doo-dah day!
Chorus
My Old Kentucky Home, Good Night
Oh, the sun shines bright on my old Kentucky home,
’Tis summer, the old folks are gay,
Where the corn top’s ripe and the meadow’s in the bloom
While the birds make music all the day
Chorus:
Weep no more, my lady,
Oh! weep no more today
We will sing one song
For my old Kentucky Home,
For my old Kentucky Home, far away
The young folks roll on the little cabin floor,
All merry, all happy, and bright
By’n by hard times comes a knocking at the door,
Then my old Kentucky Home, good night
In the Eye Abides the Heart
In the eye abides the heart,
Every pure and tender feeling,
All emotions worth revealing,
Through the eyes their charm impart
Words are often clothed in guile
For the lips with fear may falter
And confiding smiles may alter
Oh! believe not in a smile!
Chorus
'Tis the eye unveils the heart
Every pure and tender feeling,
All emotions worth revealing,
To the eyes their glow impart
If thy bosom heaves a sigh
For a fair and cherished maiden,
Though her voice with love be laden,
Mark the language of her eye
There each impulse of her soul
Beams for thee in truth and candor
There her secret passions wander
There remain beyond control
Chorus
Old Folks At Home (Swanee River)
Way down upon the Swanee river,
Far, far away
That’s where my heart is turning ever,
That’s where the old folks stay.
All up and down the whole creation,
Sadly I roam,
Still longing for the old plantation,
And for the old folks at home.
Chorus:
All the world is sad and dreary,
Every where I roam,
Oh! brother, how my heart grows weary,
Far from the old folks at home
When will I see the bees a humming
All round the comb?
When will I hear the banjo strumming
Down in my good old home?
Chorus
Oh! Susanna
I come from Alabama with a banjo on my knee
I’m goin’ to Louisiana my own true love to see,
It rained all night the day I left, the weather it was dry,
The sun so hot I froze to death, Susanna, don’t you cry
Chorus:
Oh! Susanna, Oh! Don’t you cry for me,
I’ve come from Alabama, with my banjo on my knee
I had a dream the other night, when everything was still
I thought I saw Susanna dear, a coming down the hill
Sweetness on her rosy lips, a tear was in her eye,
I says, I’ve come to see you again, Susanna, don’t you cry
Chorus
Willie We Have Missed You
Oh! Willie is it you, dear,
Safe, safe at home?
They did not tell me true, dear
They said you would not come
I heard you at the gate,
And it made my heart rejoice
For I knew that welcome footstep,
And that dear, familiar voice,
Making music on my ear
In the lonely midnight gloom
Oh! Willie, we have missed you
Welcome, welcome home!
We’ve longed to see you nightly,
But this night of all;
The fire was blazing brightly
and lights were in the hall.
The little ones were up
Till ’twas ten o’clock and past,
Then their eyes began to twinkle,
And they’ve gone to sleep at last
But they listened for your voice
Till they thought you’d never come
Oh! Willie, we have missed you
Welcome, welcome home!
Oh! Willie is it you, dear,
Safe, safe at home?
Oh! Willie, we have missed you
Welcome, welcome home!
Hard Times Come Again No More
Let us pause in life’s pleasures and count its many tears
While we all sup sorrow with the poor
There’s a song that will linger forever in our ears
Oh! Hard Times, come again no more
Chorus:
’Tis the song, the sigh of the weary
Hard Times, Hard Times, come again no more
Many days you have lingered around my cabin door
Oh! Hard Times, come again no more
While we seek mirth and beauty and music light and gay,
There are frail forms fainting at the door
Though their voices are silent, their pleading looks will say
Oh! Hard Times, come again no more
Chorus
Gentle Annie
Thou wilt come no more, gentle Annie,
Like a flower thy spirit did depart
Thou art gone, alas! like the many
That have bloomed in the summer of my heart
We have roamed and loved mid the bowers
When thy downy cheeks were in their bloom
Now I stand alone mid the flowers
While they mingle their perfumes o’er thy tomb
Chorus:
Shall we never more behold thee
Never hear thy winning voice again
When the Springtime comes, gentle Annie,
When the wild flowers are scattered o’er the plain?
Ah! the hours grow sad while I ponder
Near the silent spot where thou art laid,
And my heart bows down when I wander
By the streams and the meadows where we strayed
Chorus
Jeanie With The Light Brown Hair (I Dream Of Jeanie)
I dream of Jeanie with the light brown hair,
Borne, like a vapor, on the summer air
I see her tripping where the bright streams play,
Happy as the daisies that dance on her way
Many were the wild notes her merry voice would pour,
Many were the blithe birds that warbled them o’er
Oh! I dream of Jeanie with the light brown hair
Floating, like a vapor, on the soft summer air
I long for Jeanie with the daydawn smile,
Radiant in gladness, warm with winning guile
I hear her melodies, like joys gone by,
Sighing round my heart o’er the fond hopes that die
Sighing like the night wind and sobbing like the rain,
Waiting for the lost one that comes not again
Oh! I long for Jeanie, and my heart bows low,
Never more to find her where the bright waters flow
I sigh for Jeanie, but her light form strayed
Far from the fond hearts round her native glade
Her smiles have vanished and her sweet songs flown,
Flitting like the dreams that have cheered us and gone
Now the nodding wild flowers may wither on the shore
While her gentle fingers will cull them no more
Oh! I sigh for Jeanie with the light brown hair,
Floating, like a vapor, on the soft summer air
Ah, May The Red Rose Live Always!
Chorus:
Ah! may the red rose live always,
To smile upon earth and sky
Why should the beautiful ever weep?
Why should the beautiful die?
Lending a charm to every ray
That falls on her cheeks of light,
Giving the zephyr kiss for kiss,
And nursing the dewdrop bright
Chorus
Long may the daisies dance the field,
Frolicking far and near!
Why should the innocent hide their heads?
Why should the innocent fear?
Spreading their petals in mute delight
When morn in its radiance breaks,
Keeping a floral festival
Till the night-loving primrose wakes
Chorus
Lulled be the dirge in the cypress bough,
That tells of departed flowers
Ah! that the butterfly’s gilded wing
Fluttered in evergreen bowers
Sad in my heart for the blighted plants
Its pleasures are just as brief
They bloom at the young year’s joyful call,
And fade with the autumn leaf
Chorus
Comrades Fill No Glass For Me
Oh! comrades, fill no glass for me
To drown my soul in liquid flame,
For if I drank, the toast should be
To blighted fortune health and fame
Yet, though I long to quell the strife,
That passion holds against my life
Chorus:
Still, boon companions may ye be,
But comrades, fill no glass for me
I know a breast that once was light
Whose patient sufferings need my care.
I know a hearth that once was bright,
But drooping hopes have nestled there
Then while the teardrops nightly steal
From wounded hearts that I should heal
Chorus
When I was young I felt the tide
Of aspirations undefiled,
But manhood’s years have wronged the pride
My parents centered in their child.
Then, by a mother's sacred tear,
By all that memory should revere
Chorus
Quotes
What critics are saying about Beautiful Dreamer: The Songs Of Stephen Foster
"The album is uncommonly soulful."
– amazon.com
"It is hard to imagine an album more affecting."
– Alanna Nash
"The scope of this undertaking is breath taking...the diversity of artists and the styling they employ is staggering."
– Bob Gottlieb, Folk & Acoustic Music Exchange
"Beautiful Dreamer represents a contemporary anomaly, a tribute album that’s not only good but essential...The album honors America’s first great professional songwriter with some of the most spectacularly beautiful popular singing I’ve heard in ages."
– Dave Marsh, No Depression
"What a great project, beautifully pulled together in every way! It exceeded my highest hopes."
– Erika Brady, WKYU, Bowling Green, KY
"Finally, a truly great and worthwhile tribute record."
– Frank Goodman, puremusic.com
"I'll be surprised if this isn't nominated for a Grammy."
– Jerry Gerard, WUIN, Wilmington, NC
"Beautiful Dreamer is the Americana album of the decade."
– Rick Star, KFAN, Fredericksburg, TX
"Beautiful Dreamer proves even old chestnuts such as “Camptown Races” and “Old Kentucky Home” can sound fresh and new in the right innovative hands."
– Steven Stone, Vintage Guitar
Press Releases
February 18, 2005
Beautiful Dreamer: The Songs of Stephen Foster Wins Grammy Award for Best Traditional Folk Album
Beautiful Dreamer: The Songs of Stephen Foster took home the Grammy for Best Traditional Folk Album on February 13 during the 47th Annual Grammy Awards Pre-telecast. Congratulations to producers Steve Fishell, David Macias and Tamara Saviano along with all the contributing artists. For information on sponsoring a project with American Roots Publishing, contact Tamara Saviano.
September 20, 2004
American Roots Publishing Seeks Underwriter for DVD/PBS Special
American Roots Publishing, producers of Beautiful Dreamer: The Songs of Stephen Foster is seeking corporate underwriting for a live concert and DVD shoot of Beautiful Dreamer at Nashville’s historic Ryman Auditorium. For more information, contact Tamara Saviano at 615-298-2009 or TSaviano@comcast.net
August 13, 2004
Beautiful Dreamer: The Songs of Stephen Foster album release party is sponsored by Wade and Mert Adams of Houston, Texas and Julie and Keri Adams of Nashville, Tenn
Wade retired from the Air Force and is now enjoying his 'retirement' as the Director of The Center for Nanoscale Science and Technology at Rice University in Houston, TX. Before retiring to Houston, Mert was the manager of the Dayton, OH Philharmonic Chorus and a patient education librarian with a VA Hospital. They met in high school playing for the School Band of America, and have throughout their lives been performers and supporters of music. They fostered that love in their two daughters, Julie and Keri Adams, both of Nashville, TN. Julie is now a successful cellist and tours internationally with her husband, champion fingerstyle guitarist Richard Smith. You'll actually hear Julie on Beautiful Dreamer performing with Suzy Bogguss. However, the performance gene skipped Keri (although she did follow in her father's footsteps by playing the tuba for a few years!), but she's continued her involvement with music by managing Julie and Richard, and by volunteering with non-profits like American Roots Publishing. They are thrilled to be involved with this project and hope that their sponsorship will help encourage others to lend their support to American Roots Publishing.
American Roots Publishing also thanks JT Gray and the Station Inn for hosting our event, and Alex Garcia and the staff at Loews Vanderbilt Hotel for hosting our out of town guests.
August 1, 2004
WYSO 91.3 FM Selects Beautiful Dreamer as August CD of the month
Check out the site and support public radio.
July 22, 2004
United Airlines Inflight Audio to Showcase Album
United Airlines inflight audio program for September and October will feature Beautiful Dreamer: The Songs of Stephen Foster.
Reviews
USA Today Review - August 2004
by Brian Mansfield
In his grave 140 years, America's first professional songwriter can still make most modern ones look like hacks, especially with the likes of Mavis Staples, The Mavericks' Raul Malo and Alison Krauss (with cellist Yo Yo Ma) interpreting his exquisite melodies. Suzy Bogguss' winsome Ah, May the Red Rose Live Always is the revelation, but John Prine's creaky-porch rendition of My Old Kentucky Home matches voice to song perfectly.
Chicago Sun-Times Review - August 2004
by Bobby Reed
Stephen Foster, born on July 4, 1826, became the first great American songwriter, laying the foundation for the popular music that this nation would produce in the ensuing decades. "Beautiful Dreamer'' is a contemporary collection of Foster's compositions, but its importance as an academic document is overshadowed by the emotional power of its majestic, deceptively simple melodies.
Mavericks frontman Raul Malo has never tackled a more sumptuous melody than he does on the title track, while Alvin Youngblood Hart and Suzy Bogguss also craft engaging, memorable cuts with their respective renditions of "Nelly Was a Lady'' and "Ah, May the Red Rose Live Always!''
The creative arrangements used here make even the most familiar songs sound fresh. The Duhks offer a percussion-heavy "Camptown Races,'' Michelle Shocked and Pete Anderson gracefully alter the melody of "Oh! Susanna'' and Roger McGuinn delivers "Jeanie with the Light Brown Hair'' with the chiming, Rickenbacker guitar sound that he popularized when he was in the Byrds.
This hourlong disc is a must-own compilation for fans who enjoy Foster's music, and it is an invaluable introduction for young listeners who've yet to discover his work.
Images
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Cover Art
Contact Information
Publicity:
Tamara Saviano
Ringleader
Ellis Creative
tamara@ellis-creative.com
Marketing:
Tom Frouge, Vice President
American Roots Publishing
505-771-3166
tom@avokado.net