›Contents. Composition Come Home to Mama was recorded at 's home studio in New York City and produced. Guest musicians include Honda, Lennon, guitarist and drummer. The song 'Four Black Sheep' was originally recorded in 2009 for 's. Track listing No. Title Writer(s) Length 1. 'I Am Sorry' Wainwright 2:53 2.
'Can You Believe It?' Come Home To Mama Martha Wainwright to stream in hi-fi, or to download in True CD Quality on Qobuz.com.Wainwright 3:24 3. 'Radio Star' Wainwright 3:57 4. 'Proserpina' 4:05 5. Donwload Bbm Samsung Young. 'Leave Behind' Wainwright 3:51 6.'
Four Black Sheep' Wainwright 4:25 7. 'Some People' Wainwright 3:10 8. 'I Wanna Make an Arrest' Wainwright 3:47 9. 'All Your Clothes' Wainwright 4:21 10. 'Everything Wrong' Wainwright 4:22 Limited edition bonus tracks No. Title Writer(s) Length 11. 'I Wanna Make an Arrest' (acoustic demo) Wainwright 3:10 12.'
All Your Clothes' (acoustic demo) Wainwright 4:54 13. 'Four Black Sheep' (acoustic demo) Wainwright 4:13 See also. References. Post navigation.
RARADIO: 'Last Call' by Jay; 'Darkness' byLeonard Cohen; 'Sweetbread'by SimianMobile Disco and 'Keep You'from Actressoff the Chronicle moviesoundtrack; 'Goodbye to Love' from October Dawn; Trouble in Mind 2011 label sampler;Black Box Revelation Live onMinnesota Public Radio;Apteka 'Striking Violet';Mikal Cronin's 'Apathy' and 'GetAlong'; Dana deChaby'sprogressive rockMUSICLINKS'The Musical Meccas of the World'INTERNATIONAL LINKS► and Select Covers►►►MINTON SPARKSThisedition we spotlight the amazing MINTON SPARKS, picturedleft. The Nashville-based spoken word musical artist and college professormust be considered one of the most potent spokespersons for the human communitygracing the stage today. Minton is an open wound of searing personal insight,particularly the human experience as mirrored in the lives of her family.
Oh thesuffering of such who are gifted with writing progeny, and the joy. Mintonexplores it all with treacherous insight and razor wit. And then she dances.Mintonwas brought to my attention by Links buddy Steve Conn, who produced herfirst album, 'This Dress,' and sometimes accompanies her on piano. Istarted scrambling around the Internet to learn more about Minton, and thingsstarted to become curiouser and curiouser.Thereare, of course, other spoken word artists and monologists. These aren't quitethe same, but I have tended to find them (Jello Biafra, Patty Smith, SpaldingGray, even Garrison Keillor) so.
While all of the performing arts rely on thefine tuning of theatrical presentation, there is something about'performance art' that almost always seems, well.like performanceart. Go check out Minton Sparks' YouTube collage at.Minton writes South - south of dishonesty and the heart's Mason-Dixonline, where you can feel the thick heat and bug bites. You hear Eudora Welty andHarper Lee in her voice, maybe even Minnie Pearl. She is by turns funny andsorrowful. She drops emotional bombs, people leave exhausted.Minton'sconnection to the music that accompanies her words is more palpable than it isin most singer/songwriter discourses. Maybe the distance that she views theworld from, so apparent in her language, gives her a similar advantage as sherides the ether of spare instrumentation. What is it about this woman thatresonates so deeply within this writer's breast?
Minton hurts like a free fall,with all protections left in storage. Hers is one of the most riveting actsworking in music today, a high-wire feat of grace and simplicity that carriesmore wattage than any bombastic rock band this side of U2.Itis with great pride that RARWRITER presents featured artist Minton Sparks.'
MintonSparks is a great storyteller. Humanity with humidity all told humorously withhumility. Sin Sick is just what the doctor ordered.' - John Prine'MintonSparks sounds like my momma, my Aunt Dot, my Aunt Grace and even a bit like myUncle Jack-only better and wilder and heartbreakingly more powerful. If I couldhave heard poetry like this as a girl, I wouldn't have had to waste all thoseyears thinking we were dumb as dirt.' - Dorothy AllisonMINTONSPARKSbyRARAs I listen to your recorded work, the voices of two distinctly Southernwriters come to mind: Eudora Welty and Harper Lee. Am I off base there?
Whowould be better examples of writers who influenced you in developing your styleand voice?This is always difficult to answer. I’m never able to site directinfluences—though I live and breath by writers like Annie Dillard and morerecently Marylynn Robinson. I love writing that has arrived in my life at justthe right time oftentimes, if you try to read the book before you are readythe writing will not land with the reader.
If it is the right time, thewriting saves a life or changes the world, obviously that comes in so manydifferent packages.I love writers who mythologize the immediacy of moments. Dinging the bellby naming experience that broadens or deepens my perspective, Writing thattakes me to a new planet. Favorite writers: Annie Dilliard, Gabriel GarciaMarquez, Maya Angelou, May Sarton. Poets: Adrienne Rich, Sharon Olds, JohnKeats.Songwriters are equally influential: Leonard Cohen, Nanci Griffith, DarrellScott, Gretchen Peters, Steve Conn,With a name as unique and attention getting as “Minton Sparks,” you seemborn to theater? Do you feel that way? Did your parents have some destination inmind for you?My name comes from my maternal grandmother.
She was a Minton and married aSparks. I often run into folks who know we must be related b/c if you’refrom Arkansas and associated with both of those names, you are related to me.In my heart I was born to play professional basketball but the WNBA went onhiatus the year I wanted to try out.Are you a musician?I play guitar and consider myself to be very rhythmical, but can’t comeclose to the level of the musicians that I collaborate with. I tend to use mymusicality to find pocket rhythms in poetry rather than accompany myself. I’mworking on playing slide guitar right now and plan to work that into our showat some pointHow do you construct your musical pieces? Do you compose for your lyrics? Orin some way communicate your musical intent to instrumental collaborators? Howis the instrumentation selected?
The solo accompaniment carries special powermated to the cadence of your voice. There is something plaintive about thesound. I assume this was all part of your concept?The musical collaborations have evolved depending upon the individualmusician.
If I am playing with someone “new,” I attempt to convey the toneand what I hear rhythmically and tell the musician what I hear vibe wise. “Thisone is tragic, this one is tragic.this one is” The first two records'Middlin’ Sisters' and 'This Dress' were heavilyinfluenced by the producers. Marcus Hummon produced 'Middlin’Sisters' and Steve Conn produced “This Dress.”The level of talent that I have been fortunate enough to collaborate withstill blows my mind. For example, Keb Mo’ came into the studio one nightbecause he happened to be in town playing.
He walked into the studio having noidea who I was or what I did, but was willing to sit down and let me read thepoem over and over and then he found a guitar part that worked. I just steppedaside and smiled at what he played. Once a musician locks into the voice ofthe poem, they enter an improvised conversation with the lyrics and with thatas a starting point we find the piece. My original concept was to amplify theemotion around the lyrics. Steve Conn wrote music for 'This Dress'that changed the pieces. I went back and edited lyrics as part of theconversation with the music.
For me, it always begins with the lyrics. Butedits will go on for a long time as I perform it over and over. When I’m onstage I lean into the music to make me FEEL the piece.
That’s the mainthing, I want to feel something intensely so that the performance reflectsthat. I want the audience to feel down into their own story.
That can happenwith the words alone, but it can happen much more powerfully when the musicalvoice points the way.For the past 3 years I’ve been mostly playing gigs with John Jackson.John was out on the road with Bob Dylan for 7 years in the 90’s. He’s alsoplayed with Lucinda Williams and Shelby Lynne. He’s as good as it gets.Sometimes he’s even brilliant in his musical dance with the pieces.Initially we sit down with the lyrics, and listen to the cadence of the words,often he hears something that I don’t, and I have to switch gears on thetiming. More times than not, it’s the perfect emotional tone for the pieceand in some way a counterpoint to the emotion of the piece. All the musiciansthat I’ve had the honor of working with take my poetry to someplace new thatI only hoped it might approximate. I’m rambling here but this is closeYou have worked with an impressive array of big name musicians, includingWaylon Jennings.
How did this all come to pass for you? How did you enter yourniche place in this marriage of poetry and music?Living in Nashville is wild in this regard. The talent pool is deep. One ofmy closest friends worked with Waylon J. And gave him a copy of my first demoCD.
He loved it and was willing to come into the little studio where we wererecording the first record (that Darrell Scott played on) and sing the hymn“Precious Memories”. I remember the timber of Waylon’s voice over theheadphones. It almost sounded like his voice was two voices it was so full.That first record spoiled me.
Darrell Scott, an absolute master, heard exactlywas I was trying to say, and lifted the music into the hinterlands. I think itwas only then that I decided that this was what I wanted to do with myprofessional life.For years I was loping along in the world of poetry sending things off toLiterary journals around the country. The first journal that graciouslypublished my work was “Lonzie’s Fried Chicken” out of North Carolina.You have a book out – Desperate Ransom: Setting Her Family Free – thatsome have described as demystifying your mythology of your own family’s lifeexperiences. (My paraphrase may be weak. Not sure one can actually demystifymythology.) Some wish you hadn’t resolved some of your “stage” stories andwished they’d been left hanging, like a 7th chord. What was your thinking inconceiving the book approach?
Jumping back for a moment, is it accurate to saythat you create mythologies around your personal experiences? This is anapproach common to writers, but is it accurately applied to you? Are yourmemories filtered into a more theatrical fiction?It’s storytelling pure and simple. I think anytime you tell a story as awriter you are mythologizing the fodder.Your persona is defined around your ‘50s-era fashions and your decidedlydown-home presentation. To what extent is the Minton Sparks that most of us geta chance to see a theatrical creation, and how much is just you as you?
Arethere different versions of you for your different “audiences” – yourfamily, students, paid ticket holders?My grandmother gave me a bunch of her old clothes and I had them altered. Ithink I wear what I wear on stage in order to feel down deep into thecharacters that I am talking about.The title of your book suggests that this collection of stories is “settingyour family free?” What do you mean by that? What kind of a family did youcome from? Tragic?My family is wonderful and colorful.Do you feel limited in any way by your own self-definition, your “southernliness?”Or are you “acting out” the essence of what is within?Native soil is everything.
Everybody speaks the language of place. Alwayssurprised by the response we get in places like Santa Barbara, CA andPortland, Oregon. Audiences seem to resonate with the work on an emotionallevel even if the southern thing is foreign.I find your performance “courageous,” a kind of high-wire act dependingwholly upon your ability to spellbind an audience. It is an extraordinary gift.Then again, you come across as a formidable person. How did you develop thisskill at hooking and holding the attention of a crowd? And what makes you sotough?I have no idea. I jump into performances with all four feet.You don’t mind being the butt of your own joke, or making yourself theobject of your comedy.
Your buck dance is quite amusing, in part because youseem to enjoy looking funny doing it. It seems to have a cathartic effect,particularly on the audience.
Is that at all a part of why you do it? Does yourshow require “decompression” from time to time?I’ve taken the summer off to write and be with my two children. Yes, Ithink the audience appreciates a breather. I have had people tell me that theyare 'drained' emotionally after seeing my show.Part of the dynamic in a “one woman” show, it seems to me, is a tensionthat exists between audience and performer. You take people on quite a rollercoaster ride of emotions, complete with perverse shifts from comedy to tragedy,sometimes in the course of a single sentence. Do feel “perverse” in yourmanipulation of your audience?
Are you of a perverse nature?When it’s good onstage, I’m heartbreakingly present. What I mean bythat is these characters/family members break my heart open. When this istrue, everything can happen.How would you describe your audience? And, is it a different audience thanthat you had envisioned when you created your show?My audiences run the gamut.
Martha Wainwright Come Home To Mama Rar
We play for University Audiences, festivals,black box theaters. People who like literature, lyrically oriented music, andtheater love our shows. This past year, I opened some for John Prine andRodney Crowell. Their audiences were amazing. I was humbled by theirwillingness to go into this genre with me.If, generally speaking, you are doing a “concept piece,” what are thewalkaways? What does an audience come away with?I’m not sureI am always impressed by people whose talents include the wherewithal toconceive of something grand and see it to fruition. First off, do you feel youhave achieved the vision you set out for your show?
And if so, how do youaccount for your own success? Or do you have a grander vision yet?Such good questionsthe idea for this show came to me while driving crosscountry after my daughter was born.
I wanted my children to have a bridgeleading back to the people and places they came from.Beyond being a person with academic credentials, how did you get intoteaching? What classes are you teaching nowadays? Is it rewarding to you? Doesyour stage persona play any role in the lecture hall?I absolutely love teaching. I got a Masters in Psychology back in the 90’sb/c I wanted to be a therapist.
I worked as a therapist for a while andquickly got burnout. I then taught Psychology at a TSU. For the past couple ofyears I’ve taken off b/c of traveling to perform. I’ll go back to it heresoon.You are a mother, a performer, and a teacher.
What aspects of your nature andbeing do you enjoy most about yourself? And what aspects aren’t quite so hot,in your eyes?In third grade I wrote down that the thing I liked best about myself was'my muscles'. Sadly, that would be a fruitless thing to enjoy atthis point. I enjoy laughing probably more than anything else.Not to sound like a cad, but you are joltingly beautiful at times, though youhave a chameleon-like ability to don visages. You can look quite severe, evenmenacing. You can appear homey and sweet, and also a little crazy. One of thesefaces must be most naturally you?
Home To Mama Lyrics
Which one?Well thank you. I think that I shape-shift into my characters. If the char.is severe then so am I.
Most like me: Vickie Pickles MommaWhat kind of a girl were you? Were you popular, sought after? What kind ofclassmates were you attracted to?I played basketball through college. So I was the girl in sweats riding mybike and shooting hoops.
Martha Wainwright Songs
Best friends were genuine people who made me laugh.—stillare.What are your priorities now? Where do you want life to go?Priorities: macro: See the War End, National Health Care coverage. Micro:my family, finish this novel I'm working on, learn Spanish, get moreorganized.Are you, generally speaking, a music fan? Do you listen to music? If so, whoand what?I am a huge music fan.
Right now I love Mavis Staples, Rufus Wainwright,Ben Harper, Delbert McClinton-lots of singer/songwriters.What is the best thing happening with Minton Sparks right now?Let’s seeI’m going to be at the International Storytelling Festivalfor the first time in October. I’ll be at the Southern Women’s Writer’sconference in September. Going on tour with Rodney Crowell, Elizabeth Cook,and Will Kimbrough this Fall.What is the one thing that concerns you most right now?I stay so concerned over so many issues that I don't sleep much.I saw the movie, 'Sicko' last night-I’m sick over all thepeople who don’t have Health Care or who have insurance and they get denied.Learnmore about Minton Sparks by visiting herwebsite at.GO TO:.YOUARE ON A SPECIAL FEATURES PAGE©RickAlan Rice (RAR),May, 2012.