Get all 15 Seth Mountain 이산 releases available on Bandcamp and save 45%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Hush: Songs for Christmas, songs that sing me, Vol. 2, songs that sing me, Vol. I: a personal anthology, THROUGH DARK VALLEYS / 이산 II, "Please Come Home": Menders! Live at Circle of Hope (8.18. 2013), 이산 Live at No Country: An Introduction to Seth Mountain, 이산: This Mountain, Halfway Home, and 7 more.
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Based on the 1918 poem of the same name, written by Sara Teasdale as a reflection on the state of humanity during a pandemic and WWI.
After WWII, Ray Bradbury used Teasdale's poem as the thematic skeleton for his famous 1950 dystopian short story, which shares Teasdale's title.
The melody is mine and so is the ordering and repetition of the words. The words and lines themselves are all directly from Teasdale's poem which reads as follows:
There Will Come Soft Rains
(War Time)
There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;
And frogs in the pools singing at night,
And wild plum trees in tremulous white,
Robins will wear their feathery fire
Whistling their whims on a low fence-wire;
And not one will know of the war, not one
Will care at last when it is done.
Not one would mind, neither bird nor tree
If mankind perished utterly;
And Spring herself, when she woke at dawn,
Would scarcely know that we were gone.
*******
Context worth considering (taken from wiki):
The "War Time" subtitle and battlefield imagery
The Sedition Act of 1918 enacted two months prior to the original publication of "There Will Come Soft Rains" made it a criminal offense to "willfully utter, print, write, or publish any disloyal, profane, scurrilous, or abusive language about the form of the Government of the United States"[9] and forced Teasdale to express her opposition to World War I "obliquely" in what might appear to be a pastoral poem.[10] Flame and Shadow fell under the same regime of censorship since the Sedition Act was not repealed until December 13, 1920, but Teasdale revised her work to improve the chance that readers would perceive the implied battlefield imagery that, if made explicit, could have exposed her to criminal prosecution.
The "War Time" subtitle of "There Will Come Soft Rains", often omitted from copies and adaptations of the work, emphasizes the transition from what was in 1918, the most horrific event in human history, to some future peace. The subtitle inserted for Flame and Shadow (published in 1920 after the end of World War I) has a dynamic effect on a work that otherwise could easily be interpreted as a static post-war construct. The dynamic setting is most easily seen from the viewpoint of a soldier or veteran with battlefield experience, though that viewpoint is not essential, as the replacement of brutal "war time" imagery of World War I battlegrounds by the imagery for peace. The literary device is through implicit contrast. In particular, the imagery in the very first line is ambiguously peaceful and war-like with the latter connoting "soft rains" as miserable conditions for battles fought in mud, and "the smell of the ground" meaning the smell of spent weapons; phosgene, clorine, or mustard gas (close to the ground); or the stench of rotting animal and human corpses. In a combatant's view, the second line for the peaceful image of swallows "circling" (the other Flame and Shadow revision) in the sky replaces a war time image of noisy military aircraft performing reconnaissance or dropping explosives on combatants below. "Pools" for frogs in the third line refers to standing water in flooded war time trenches and the consequential misery of men living, fighting, sickening, and dying in them. The profuse "white" tree blossoms in the fourth line is the white-out of losing consciousness after being struck by an explosive weapon. Robins that "wear feathery fire" in the fifth line is the war time image of soldiers set ablaze by flamethrowers, an ancient weapon modernized for World War I. Finally, the carefree robins whistling on "a low fence-wire" in the sixth line replaces the war time image of infantrymen entangled in barbed wire on a battlefield.
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2. |
Big Rock Candy Mountain
03:55
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First recorded in 1928 by Harry Haywire Mac McClintock--this tale of a "hobo heaven" has made folks laugh and cry for almost a century as it good-naturedly rips off the "happy hobo" facade and lets listeners catch a glimpse of just how hard and hopeless life is for so many, simply by asking what "real-world" fact each trait of Big Rock Candy Mountain is responding to.
Some day I hope to write a sequel to this wondrous song.
It will likely include snippets from the following brainstorming word salad:
2. Near the big rock candy mountain....
There's a fleet of limousines
With the windows down, and when the sun comes round
Little flowers push up through the seats
There's a stack of maps and passports
Beside each toilet pit
So everyone can clean themselves
After they take a nap! Hey!
The scarecrows all have smartphones
And empty diamond eyes
And they all stand guard at the mountain's base
Near the rows of rusted tanks
A little further onward
Beyond the green grass graves
The fireweed and kudzu roots wind
Through endless bottle chains
At the entrance there's no fence or door
You just pluck a banjo string
And a crow named Joe
will show you where to go
And give you a song to sing
There isn't a verse or chorus, just a chuckling caw, caw, caw
As you walk on in through a rainbow arch
strangest place you never saw!
In the big rock candy mountain!
In the big rock candy mountain
There ain't no work or leisure
The kids skip rocks with golden rings
While grandma sings with pleasure
And shares her history
With a song for you and me:
Where the body's a treasure
And waking up's a pleasure
Since they hog-tied the bosses
And fed 'em all of their losses
Since they ran out all the preachers
that said to just pray and work cheaper
Where the internets ain't been invented yet
And there ain't no interest in a TV set
Because nobody's needing to plug in or unwind
Where the power lines are all made of trailing vines
Where the people talk funny
And they love to dance when it's sunny
Where the inventor of trains was declared insane
And you wash your clothes
By dancing out in the rain
(If ya wear 'em at all, that is!)
In the big rock candy mountain...
Where they parked all the cars
In giant stacks
And you can see the stars
When you lay on your back
Where there ain't no planes or napalm explosions
And no draglines for cell phones and there's no erosion
Where the soil is rich and it smells like love
In the valleys below and in the sky above
Where cryin's just fine but laughing's more common
And there's plenty of fruit
That never goes rotten
And the only government is winter and spring
And mayors summer and fall
Distribute everything
To each and everyone as they have need
And the kids play all day in the dirt and the weeds
And they never go to school or memorize a creed
Where all the concrete's cracked and full of dandelions
And the shops are all closed because nobody's buying
And every hobo with a nose here understands
That the funny old promised land's in their hands
In the big rock candy mountain
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3. |
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FOR THE BEAUTY OF THE EARTH
(trad. hymn, by Folliot Sandford Pierpoint, 1864)
Happy Easter!
For the beauty of the earth...
For the wonder of each hour...
For the joy of human love...
For thyself best gift divine...
Peace on earth and joy in heaven!
Lord of all to thee we raise
this our hymn of grateful praise."
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One of many, many classic songs by Utah Phillips that are still all-too-contemporary.
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6. |
Nottamun Town
03:58
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The mother song that birthed Bob Dylan's Masters of War.
A beautiful tune and set of lyrics that seems both nonsensical, intentionally paradoxical, and possibly connected to a much older European riddle/mystery tradition.
Jean Ritchie made this popular in the US, sharing it publicly after singing it as a child in the mountains.
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7. |
Stupid's Song
01:07
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A classic Utah Phillips song, which he said he wrote as a tribute to his comrade, Fellow Worker Stupid, after the poor fellow died from mistakenly eating poisonous mushrooms.
This is one of those songs that encourages me when I'm feeling hopeless or just plain lethargic and cowardly. One of my go-to songs when I need a pep talk.
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By Mary Dana Shindler, 1840.
In the mid-1900s, this song was transformed into what would become a Korean classic, "Thinking of My Hometown," using the same melody, but with a lyrical narrative of a lone figure, somehow separated from his or her parents and hometown and longing to return. It is clear to most Korean listeners from older generations that the song is meant to be a lament over the division of Korea and a cry for reunification, a return to the healthy, undivided "hometown."
1 Flee as a bird to your mountain,
Thou who art weary of sin;
Go to the clear-flowing fountain,
Where you may wash and be clean;
Fly, for th'avenger is near thee,
Call, and the Saviour will hear thee,
He on His bosom will bear thee;
Oh, thou who art weary of sin,
Oh, thou who art weary of sin.
2 He will protect thee forever,
Wipe every falling tear;
He will forsake thee oh, never,
Sheltered so tenderly there!
Haste, then, the hours are flying,
Spend not the moments in sighing,
Cease from your sorrow and crying,
The Saviour will wipe ev'ry tear,
The Saviour will wipe ev'ry tear.
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9. |
Talking Hallelujah
01:06
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10. |
Hallelujah! I'm a Bum!
04:54
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One of the Great Wobbly Hymns.
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11. |
Peg & Awl
02:58
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For those of you who are familiar with my song, "Shock & Awe"--here's its papa.
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Some background from "Folk Song Index":
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(As summarized by Harry Smith, The Anthology Of American Folk Music) "TECHNOLOGICAL UNEMPLOYMENT HITS SHOE INDUSTRY INDUSTRY IN THE YEAR 18 AND 4." (4)
Information On This Song
This song has been commercially recorded several times, but there isn't much information on it otherwise. A version of this song is given in Bascom Lamar Lunsford's 30 And 1 Folk Songs From The Southern Mountains under the title: "The Ruint Cobbler" (30). The tune and the structure of the song is very similar to that of a Spiritual.
(https://folksongindex.fandom.com/wiki/Peg_And_Awl)
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12. |
Poor Little Jesus
05:01
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1. Poor Little Jesus (Black Spiritual, traditional, with a very free and partially new melodic interpretation by myself)
1. It was poor little Jesus, yes, yes,
He was born on Christmas, yes, yes
Wasn’t that a pity and a shame? Lord, Lord,
Wasn’t that a pity and a shame?
2. It was poor little Jesus, yes, yes;
child of Mary, yes, yes;
didn’t have a cradle, yes, yes;
wasn’t that a pity and a shame, Lord, Lord,
wasn’t that a pity and shame?
3. It was poor little Jesus, yes, yes;
they nailed him to the cross, Lord, yes, yes;
they hung him with a robber, yes, yes;
wasn’t that a pity and a shame, Lord, Lord,
wasn’t that a pity and shame?
4. It was poor little Jesus, yes, yes;
he’s risen from darkness, yes, yes;
he’s ‘scended into glory, yes, yes;
no more pity no more shame, Lord, Lord,
no more pity, no more shame
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13. |
Shall we gather Intro 1
01:18
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SHALL WE GATHER AT THE RIVER?
(Traditional Hymn)
A hymn about death and longing for assurance of a peaceful and happy hereafter. A song that was originally composed in one setting, in a sort of apocalyptic fever dream, triggered by the American Civil War and a burning heat.
As far as personal commentary goes, I will just copy what I wrote once before about this tune, a few years back:
"I grew up singing [Shall We Gather At The River, in church and at home]. It is one of the most poignant traditionals I've ever heard. A song about death, about suffering, and about choosing to say farewell for now but not goodbye.
Growing up, the melody always struck me as beautiful yet somehow too bright and confident, like something in the tune was denying the lyrics the freedom they needed to express [the] real grief and uncertainty [that ran together] alongside hope. I have slightly altered the tune to fit the sadness and uncertainty I feel when I sing it.
I love the image and importance of the river, "mirror of our savior's face".
-2016
***********
**********
A little more background on this song:
""Shall We Gather at the River," was composed by [Robert] Lowry late one afternoon in 1864, in the midst of the civil war. While Lowry was inside resting from being drained from the heat, he began to have visions of the river flowing from Christ's throne (REV. 22:1). Lowry began to wonder why so many composers had focused on the river of death, and not of the crystal clear waters coming from the river of life, that flowed from the throne of Christ and of the Lamb. "Shall we be among the privileged few who stand before the throne singing the praises of the savior?"..."Yes, we'll gather." After coming to this conclusion, Lowry was so struck by the thought that he immediately awoke and went over to his pump organ and began composing the piece right away. While the hymn was written in 1864, it wasn't until 1865 that the hymn was published in his collection of Happy Voices." (https://etymologyofhymns.blogspot.com/2012/08/shall-we-gather-at-river.html)
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16. |
Crow on the Cradle
04:02
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A haunting song for our times if ever there was one.
Sydney Carter's best, in my opinion--no offense meant to Lord of the Dance.
The sheep's in the meadow, the cow's in the corn
Now is the time for a child to be born
He'll cry for the moon and laugh at the sun
If he's a boy, he'll carry a gun
Sang the crow on the cradle
If it should happen that our baby's a girl
Never you mind if her hair doesn't curl
Rings on her fingers and bells on her toes
And a bomber above her wherever she goes
Sang the crow on the cradle
Rockabye baby the dark and the light
Somebody's baby is born for a fight
Rockaby baby, the white and the black
Somebody's baby is not coming back
Sang the crow on the cradle
Your mammy and pappy, they'll scrape and they'll save
Build you a coffin and dig you a grave
Hushaby little one, why do you weep
We've got a toy that will put you to sleep
Sang the crow on the cradle
Bring me a gun and I'll shoot that bird dead
That's what your mammy and pappy once said
Crow on the cradle, oh what should I do
That is a thing that I leave to you
Sang the crow on the cradle
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18. |
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THE WIND THAT SHAKES THE BARLEY
A very loose, moody, and long improvised take on one of my favorite Irish ballads of love, loss and revolution. Most performances of it are much shorter, much cleaner, and much more traditional than my take here.
Love is always worth fighting for.
Stay safe and take care of the people and homes you love.
Original 1891 lyrics, by Robert Dwyer Joyce (which I mostly, though imperfectly, followed):
I sat within a valley green,
I sat there with my true love,
My sad heart strove the two between,
The old love and the new love, -
The old for her, the new that made
Me think of Ireland dearly,
While soft the wind blew down the glade
And shook the golden barley
'Twas hard the woeful words to frame
To break the ties that bound us
'Twas harder still to bear the shame
Of foreign chains around us
And so I said, "The mountain glen
I'll seek next morning early
And join the brave United Men!"
While soft winds shook the barley
While sad I kissed away her tears,
My fond arms 'round her flinging,
The foeman's shot burst on our ears,
From out the wildwood ringing, -
A bullet pierced my true love's side,
In life's young spring so early,
And on my breast in blood she died
While soft winds shook the barley!
I bore her to the wildwood screen,
And many a summer blossom
I placed with branches thick and green
Above her gore-stain'd bosom:-
I wept and kissed her pale, pale cheek,
Then rushed o'er vale and far lea,
My vengeance on the foe to wreak,
While soft winds shook the barley!
But blood for blood without remorse,
I've ta'en at Oulart Hollow
And placed my true love's clay-cold corpse
Where I full soon will follow;
And 'round her grave I wander drear,
Noon, night, and morning early,
With breaking heart whene'er I hear
The wind that shakes the barley
************************
Short song bio from wiki:
"The Wind That Shakes the Barley" is an Irish ballad written by Robert Dwyer Joyce (1836–1883), a Limerick-born poet and professor of English literature. The song is written from the perspective of a doomed young Wexford rebel who is about to sacrifice his relationship with his loved one and plunge into the cauldron of violence associated with the 1798 rebellion in Ireland.
The references to barley in the song derive from the fact that the rebels often carried barley or oats in their pockets as provisions for when on the march. This gave rise to the post-rebellion phenomenon of barley growing and marking the "croppy-holes," mass unmarked graves into which slain rebels were thrown, symbolizing the regenerative nature of Irish resistance to British rule. As the barley will grow every year in the spring this is said to symbolize Irish resistance to British oppression and that Ireland will never yield and will always oppose British rule on the island.
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FROM MOTHER'S ARMS TO KOREA
By the Louvin Brothers
In this tragic tale, we hear not one but four interwoven narratives, told through the notes written in a diary and the circuitous journey of the little book itself.
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There is the mother who gave a diary to her son just before he sets sail for Korea. In the diary, the first entry is "from mother's arms to Korea."
The second second entry was written by the son, while preparing for a looming battle: "Tomorrow I'll face the front lines."
The third entry is written by a different hand. After finding his dead body, the son's "buddy" writes: "from a foxhole to a mansion on high."
The "unfinished diary" is returned to the grieving mother, and a voice also begs someone to "tell [her son's] sweetheart who's waiting" the terrible news, and to encourage her to move on with her life.
************************
From mother's arms to Korea
And tomorrow I'll face the front lines
Then the next line was wrote by his buddy
From a foxhole to a mansion on high
They sent her an unfinished diary
That she once gave her darling son
It starts the day when he left her
And ends 'neath the enemy's gun
From mother's arms to Korea
And tomorrow I'll face the front lines
Then the next line was wrote by his buddy
From a foxhole to a mansion on high
Last night I saw mother kneeling
By the old hearthstone to pray
In my dream I thought I was with her
And that's all my darling could say
(Chorus)
Please tell his sweetheart who's waiting
For his ship to anchor at shore
To change her plans and forget him
Her lips he'll kiss no more
(Chorus)
*Originally recorded in June 1953, just weeks before the Korean Armistice Agreement which marked a "complete cessation of hostilities" but did not officially end the Korean War itself. 7 decades later and the Korean peninsula and thousands of families remain divided.
**************
In a 2019 Ask A Korean blog article titled "How to End a Forever War", T.K. writes beautifully and powerfully about the "normalization" of war in Korea and the US, and what it means for all of us today. The article is excellent and worthy of several close reads. I have posted highlights below.
"North Korea and South Korea were never not at war, practically speaking. Less than two years after two governments were officially established in the Korean Peninsula, the two Koreas began the internecine Korean War in 1950. The war technically never ended, as the armed conflict only ended in a cease-fire in 1953 rather than a peace treaty. A Korean born in 1950 is 69 years old today. That means most Koreans—51 million in South Korea, 25 million in North, and 7.5 million scattered around the world—have never spent a moment of their lives not at war.
"Shortly after the end of World War II in 1945, two young colonels in the US military—Dean Rusk (the future Secretary of State) and Charles Bonesteel—grabbed a National Geographic map lying around them, and simply drew a line through the 38th Parallel. The Soviets would occupy north of the line, Americans the south. Rusk later would recall that the line “made no sense economically or geographically.” By late 1948, what appeared to be an informal and temporary division of the Peninsula became official and indefinite. North Korea’s Kim Il Sung invaded the South in 1950, and three years of hellish war ensued, killing millions. The United States came to the aid of South Korea; China did the same for North Korea. After the fighting ended, the Peninsula remained divided along the Armistice Line, which roughly tracked the 38th Parallel—the arbitrary line of division that never made any sense."
**********************
"The term “forever war” came to be in common usage as it became evident that the US-led war in Afghanistan and Iraq had no realistic end in sight. Ordinarily, a war ends by defeating the opponent, who evidences its surrender through a document of some sort—as Imperial Japan did with the Treaty of San Francisco following World War II, for example. In contrast, the post-9/11 War on Terror was not declared against a country, per se. The Authorization for Use of Military Force, passed by Congress on September 14, 2001, authorized the US president to “use all necessary and appropriate force . . . in order to prevent any future acts of international terrorism against the United States”. Some have argued that this authorization has led to the longest war in US history, nearly 18 years since the 9/11 terrorist attacks.
"Koreans, however, would scoff at the idea that 18 years is “forever.” As of 2019, the United States has been at war in the Korean Peninsula for 69 years...."
(https://askakorean.blogspot.com/2019/02/how-to-end-forever-war.html)
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THROUGH ALL THE WORLD BELOW
("Complete" 1835 version?)
This is without question one of the strangest, most somber, nature-focused and mystical hymns I have ever heard. It is also one of my favorites. It has appeared in several hymnals and sing-along books over the years, but usually with only the first 4 verses. The melody is a close cousin with Captain Kidd and Wondrous Love, and has Sacred Harp in its DNA. It has been sung by many groups, in many versions. In recent years verses have been altered to make it a sort of meditative anthem in some eco-feminist circles, which I find fascinating, apt, and wonderful.
Here I tried to sing all 9 verses that are found in an 1835 publication by the LDS church--the only source I have come across so far that includes so many verses.
This song overflows with sorrow, beauty, faith, and determination all at once. It is also a fascinating theological treatise on the sacredness of not just nature in general, but hills and mountains in particular. The message rings clear: since hills and mountains are so frequently chosen by God as locations for sacred happenings, we should honor them also.
And as if that isn't enough, it ends with a kind of clarion call for joy, singing and collective action (that honors and protects the sacred natural world) from the ground, upward. God-filled, nature-defending, grass-roots revolution!
To my knowledge, this is probably the only live version currently on the internet that includes all 9 verses.
Apologies to anyone pained by the often faltering voice and occasional lyrical alterations.
Here are the original lyrics as they appear in the 1835 hymnal.
1. Through all the world below,
God we see all around;
Search hills and valleys through,
There he's found;
The growing of the corn,
The lily and the thorn,
The pleasant and forlorn,
All declare, God is there,
In meadows dressed in green,
There he's seen.
2. See springing waters rise,
Fountains flow, rivers run;
The mist beclouds the skies;
Hides the sun;
Then down the rain doth pour,
The ocean it doth roar,
And beat upon the shore,
All to praise in their lays;
A God that ne'er declines -
His designs.
3. The sun with all his rays,
Speaks of God as he flies;
The comet with her blaze,
God, she cries;
The shining of the stars,
The moon when it appears,
His glorious name declares,
As they fly through the sky;
While shades of silent sound -
Join the round.
4. Then let my station be -
Here in life where I see,
The sacred One in three;
All agree,
In all the works he's made:
The forest and the globe;
Nor let one be afraid;
Though I dwell on a hill,
While nature's works declare -
God is there.
5. When God to Moses shew,
Glories more than Peru;
His face alone withdrew,
From his view;
Mount Sinai is the place,
For God to show his grace,
While Moses sang his praise;
See him rise through the skies,
And view old Canaan's ground,
All around.
6. Elijah's servant hears,
From the hill and declares;
A little cloud appears:
Dry your tears;
Our Lord transfigured is,
With the two saints of his,
As saith the witnesses;
See him shine all divine:
While Olive's Mount is blest,
With the rest.
7. Not India full of gold,
With the wonders we are told;
Nor seraphs strong and bold:
Can uphold,
The mountain Calvary,
Where Christ our Lord did die:
Hark! hear the God-man cry:
Mountains quake, heavens shake,
While God their author's Ghost,
Left the coast.
8. And now from Calvary,
We may stand here and spy;
Beyond this lower sky,
Far on high,
Mount Zion's shining hill,
Where saints and angels dwell,
And hear them sing and tell,
Of our Lord, with accord,
And join in Moses' song -
Heart and tongue.
9. Since hills are honored thus,
By our Lord in his course,
Let them not be by us,
Called accursed:
Forbid it mighty king,
But rather let us sing,
Since hills and mountains ring;
Echo fly through the sky,
And heaven hear the sound -
From the ground.
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Another golden oldie from the Little Red Songbook.
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Background (see reference link below):
"Spokane Wobblies create the first IWW songbook in 1909.
In 1909, a committee formed out of Spokane locals of the Industrial Workers of the World (IWW) create the first edition of the IWW songbook. Many Spokane Wobblies (as IWW members are known) are migratory farm laborers and the first edition will have a definite hobo tinge. The "little red songbook" will become immensely popular and go through many editions. It will include "Solidarity Forever" (by Ralph Chaplin), which will become virtually the anthem of the labor movement. It will also include a song later adopted by the 1960s civil rights movement as "We Shall Overcome." The "little red songbook" is still in print today.
Democratic, Radical, and Rowdy
"The Industrial Workers of the World was founded in 1905 in Chicago and quickly became influential among lumber industry workers and migratory agricultural laborers in the Pacific Northwest. It was a democratic union with a mix of radical anti-capitalist politics. Rowdy singing, street meetings including speeches and singing, and direct action (civil disobedience) were key Wobbly organizing strategies. Direct action often resulted in being arrested and put in jail, where singing would resume.
"J. H. Walsh, West Coast IWW organizer and a Socialist Party member from Alaska, was the prime mover in the creation of the first songbook. It was he who in 1909 urged the Spokane locals to form a committee to create the songbook. Two who joined the effort were Harry McClintock and Richard Brazier, migrant harvesters. Up to this time, IWW songs had been printed on cards or leaflets and passed around.
Dump the Bosses Off Your Back
"Many IWW songs were new words put to the tunes of old spirituals or hymns. Wobblies learned the hymns from their streetcorner rivals, evangelists and preachers. The Volunteers of American and the Salvation Army were two frequent competitors. The Wobbly technique was to sing along with a sweet hymn like "Take it to the Lord in Prayer," with the substitute words:
Are you poor, forlorn and hungry?
Are there lots of things you lack?
Is your Life made up of misery
Then dump the bosses off your back.
"Sources:
Robert L. Tyler, Rebels of the Woods: the I.W.W. in the Pacific Northwest (Eugene: University of Oregon, 1967), 12-17; Greg Hall, Harvest Wobblies: The Industrial Workers of the World and Agricultural Laborers in the American West (Corvallis: Oregon State University Press, 2001), 110-118; By Priscilla Long, June 08, 2005"
(All of the above text was copy-pasted from: https://web.archive.org/web/20090911044558/http://www.historylink.org/index.cfm?DisplayPage=pf_output.cfm&file_id=7338 )
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Seth Mountain 이산 South Korea
Seth Martin (aka Seth Mountain or 이산), is a roots musician originally from the Pacific Northwest
(US).
Continuing in the radical tradition of artists like Pete Seeger, Woody Guthrie, and Utah Phillips, Martin has been living in Seoul since 2015. He regularly performs with Korean and foreign folk, indie and rock acts.
"Quite possibly the closest thing we have to Woody Guthrie."
--Bill Mallonee
... more
Seth Mountain 이산 recommends:
Life Everlasting
by Jon Felton and his Soulmobile
Rooted, happy, tragic. Real.
go to album
When I Rise
by Samuel Lockridge
A gorgeous album from a beautiful soul.
go to album
FOR YOUR HELLTH EP
by Two Tone Wolf Pack
Honored to call 'em friends.
go to albumIf you like songs that sing me, Vol. I: a personal anthology, you may also like:
FOREST FULL OF WOLVES (2018)
by Bill Mallonee
supported by 5 fans who also own “songs that sing me, Vol. I: a personal anthology”
Man, I love the guitar on this song. And the lyrics encapsulate life in these shifting times.
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"LAST DAYS & EARLY MARS" (FREE!)
by Bill Mallonee & The Music of the Spheres
supported by 5 fans who also own “songs that sing me, Vol. I: a personal anthology”
So glad this is here!! I loved this album so much when it first came out, and it has really stood the test of time. I can't really pick a favourite track, as it is so good from beginning to end, but if you pressed me, the last track just stays with you. So "Take me to Your Leader" it is...
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she/her/they/them
by Evan Greer
The singer-songwriter and activist considers the very purposes of protest songs.
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