Kevin Spencer & Friends | TuneCore
If there's a single lyric that sums up the way Green River Ordinance have the band harmonizing a cappella: “Meet me under that red fire night/ “There's life in the wind,” Jenkins sings in the chorus, “let yourselves out. Kevin Spencer & Friends - Let`s Meet By the River Lyrics. I've heard of a city John saw coming down from God out of Heaven The walls are of jasper, the gates. Country, Southern and Bluegrass Gospel Music, Let's Meet By The River-Kevin Layne Spencer lyrics and chords.
Like, why do I love Leonard Cohen? He's old enough to be my grandfather. Not to compare myself to Leonard Cohen. But I think if music is good at its core, it's autonomous, and age will play -- in time -- less of a role in who listens to it. It was such a stereotypical rock band -- we'd get together, have a few brews, and write a rock song.
Like a 'dads in the garage' kind of thing. It was democratic, if three guys hated what was going on, they could just say so and the other two guys would just deal with it. I do miss that.
With that band, Krug explains, "I was the primary songwriter, and there were definitely different dynamics going on in that band. It's sort of a harder ship to steer, when you're the songwriter and then you're bringing in these friends of your sand showing them new material, and it doesn't always work.
It's this weird, vulnerable place to be, and sometimes it's embarrassing. But Wolf Parade was more fun -- it was more like a fun hobby, I don't know. I can't really compare them, but either way, they're so far in my past now. I know they aren't literally, in terms of time, but they feel like a million years ago. When asked if Julia expresses the importance of self-reliance, Krug says no.
Trying not to have too many regrets. He laughs at the idea, but he expresses it clearly enough: Just like, that personal struggle. And sometimes you've got to dig pretty deep in yourself to, you know, fight the good fight against the darkness.
And I don't just speak for myself. Humanity is pretty flawed, you know? People have got all sorts of disagreeable elements about themselves, and you just have to sort of love it. Simply put, she is a vessel of The Lord's light. She is always smiling, always laughing, and always loving on me.
Katie was one of my first friends in college thanks to our 8: Since then, her kind heart has never failed to light up my life. We have cried together, laughed together, watched countless movies in Hillside together, eaten the best half baked cookies together, and so much more. She possesses a joy that is powerful beyond belief, and I feel so lucky to call her my pal! She is already one of the girls, and her timely kicks in the womb even helped me pick out my wedding dress!
Norah gave me one of my favorite titles yet - an aunt!Meet By The River
I can't wait to see who this little girl grows up to be! Grace Turner - Flower Girl Gracie is a girl after my own heart - sweet, independent, and full of personality!
From the first day I held her, I never wanted to let her go! What a sweet thought that I never have to! He is someone that always stood up for me and had my back. Not to mention, he hated when other people picked on me because HE wanted that job. Keaton has always been my biggest fan and I don't think I would be where I am today without his support. He is the hardest working person I know, and he pushes me to strive for that daily. Keaton has been a role model to me in every aspect of life, especially marriage, and I'm so thankful to have him stand next to me.
He is the man who has always taught me everything from basketball, to serving God, to how to treat others especially my future wifeto how to catch the biggest fish. One of my main goals in life is to raise and serve my family the way he has. I'm so glad he is going to be standing with me on my big day! Griffen Dahlstrom - Groomsman Look what the cat dragged in??
Griff is the man!! I always hoped my sister would marry someone I could pick on, but since he is bigger and stronger than me, I've never been able to do that. Griffen fit right into our family, and it feels like he has been my brother my entire life. He has the biggest heart, and would do anything for anybody. We just have to make sure little Spencer William plays basketball and not football!! He is funny, kind, brave, and musically talented something I wish I had!
I'm so thankful he helped raise his sister into the beautiful women I get to marry! He is someone that always leads by example and someone who other people look up to. Even though he hasn't beat me in a sport yet, I know I sure do look up to him! He is so special, and I'm grateful he will be the one marrying us and leading us into this new chapter of life. Cody Zeller - Groomsman Cody is my brother from another mother! This is a guy that has been another member of my family. From car rides to basketball tournaments, 1 on 1 pick up games in my parent's drive way, to beating cheating my grandparents in Euchre, I know Cody is a lifelong friend.
His dry sense of humor is almost as great as his "Chewbacca" snore! You can't miss him at the wedding - he's the one standing on stilts during the ceremony! Carson Ward - Groomsman Carson is the life of the party, my mini me literallyand one of my best friends! It is also possible that he loved the element of mystery as well as personal privacy, and that only the present mattered to him, not the past.
Most accounts of Williams' early years appear to have originated with a Billboard Magazine article from May 5,with Williams himself providing most of the data, and giving our findings he becomes a less than reliable source on at least some of his own history. Unlike nearly every other biographical essay in this collection, this particular one needs to be prefaced with some background information concerning the process of locating his actual origins, and to hopefully counter what may be resistance by some to the alterations in his personal story that simply don't match the facts.
This author has faced such resistance before, and given the scope of Williams' fan base over time, plus the number of variants involved with other biographies on him, there will possibly be resistance to this one. The author does not wish to diminish Spencer William's story or accomplishments in any way, but rather to put them in a more accurate historical context. So some points of the research will be interjected in his story as to how certain facts were ascertained and how they differ from traditional texts in print and in digital format.
The author is also willing to share specifics of his findings and also entertain constructive comments and alternative points of view, but for the moment stands behind this version of Spencer Williams' life as relatively accurate in comparison with most of its predecessors. Beginnings — True and False Spencer Williams was born to a prostitute mother in a Basin Street bordello in New Orleans on October 14, … This sounds like a wonderful romantic notion, a musician who was part of the crop that came from the Crescent City of the Deep South, just the way that the ultimate musical patriot George M.
Cohan was born on the fourth of July. However, Cohan was actually born on the third of July, and Williams came into the world neither in Louisiana nor in The foundation for what was found centered on his Social Security application made in May ofon which he claimed the same October 14,date, and listed his parents as Spencer Williams and Della Henley.
Since this is on his own application, and it aligns with an actual couple of those names, it changes his origin story just a bit. So we shall start over. The elder Spencer, an Alabama native born into slavery, and Della, supposedly a Texas native but possibly from Alabama, had been married in Selma on April 4,when she was around years-old.
There was no evidence that she was ever a prostitute, and certainly not in New Orleans. Spencer later claimed that his father was from Trinidad and his mother was part Polish, but no evidence was found in official ancestral or government records to that effect. They reportedly had a daughter inalthough that child was not seen listed with the couple in the census taken in Selma, where Spencer was listed as working on the railroad.
The daughter, who may actually have been born shortly after the enumeration, died in July of Given the dearth of available birth records and the lack of an Federal enumeration, the best clue as to the younger Spencer's true year of birth is contained in the census, taken in Birmingham, Alabama, 90 miles to the north of Selma. In this enumeration, Spencer, Sr. In traditional narratives the younger Spencer claimed that he spent much of his childhood in New Orleans, and that his mother died inleaving him to fend for himself, living for a time with his Aunt Lulu at the famous Lulu White's Mahogany Hall in the notorious Storyville district before moving to Alabama to live with "relatives" during his adolescence.
His claim of Della as his mother on his Social Security application coupled with the family living together in Montgomery counters at least some of this story, so doubts can be cast on any extended late-nineteenth century forays into learning how to play music on the streets of NOLA.
He may have spent some time there, but was still based in Montgomery. To further reinforce this identity, the census showed that the Williams had been married for 23 years, which is not far off from the actual 25 they had been together.
It also showed that she had given birth to four children, and that two had survived tothe other one being Bessie Williams born two to three years prior to Spencer and died in March of That Spencer was listed as 13 when the record was taken on June 6 directly corresponds with an birth year. On later records he would stretch this truth in both directions. He is known to have spent some time with relations in the small town of Tishomingo in northeast Mississippi and to the west of Montgomery.
There is a possibility that Spencer also spent time in New Orleans during the summers of his adolescence. However, it is hard to imagine the circumstances under which most parents might have allowed a young boy to do so in the manner and location he later described, albeit during a much different time in the United States.
Aunt Lulu and Musical Influences Lulu Henley some sources cite Hendley was either Della's younger sister or a close relation of some kind, potentially the elder Spencer's stepdaughter. When Bessie Williams Johnson died inshe listed her mother as Della Amanda White, so the family connection may have been deeper, or it was just a confused memory. Born in Selma aroundLulu was destined to be one of the more famous women in New Orleans at the turn of the 20th century. Fed up with rampant prostitution found throughout that town, which was a favored Naval base and tourist destination, demands were made on the aldermen to control it in some way.
Alderman Alfred Story devised a plan that eventually held up to scrutiny even in the Supreme Court. Without designating it as a legal haven for prostitution, he instead made it illegal to practice prostitution, and even for prostitutes to reside, outside of that boundary, therefore tacitly expressing that what happened in that area stayed in that area.
In dubious honor of their legal benefactor, the occupants, or perhaps some indignant "proper" citizens, dubbed it Storyville, an honor that Alfred was not pleased about, but could not undo.
Many enterprises, most run by women, quickly sprung up in Storyville, from rows of 6'x8' cribs to luxurious palaces. She called it Mahogany Hall, and opened it around or Until the district was shut down in due to Naval interference at the outset of World War I, Lulu kept her business running, even in face of bankruptcies and frequent arrests, as well as occasional sojourns to southern California for rest.
Lulu White's Mahogany Hall was both reviled and admired by the citizens of New Orleans, and right across from the train station, a favored destination for sailors and traveling salesman. Tony Jackson's professional portrait taken in the early s.
Jazz, it is said by some, originated in New Orleans, and thrived at Mahogany Hall. Inshe built a saloon next door to her mansion, and there featured many great musicians well into the s. It was one of the last standing buildings of the original Storyville, most of which was bulldozed away in the s in a municipal effort to visually eradicate that "shameful" episode of New Orleans' past.
Spencer's time there may have begun in his late teens when he left home, seeking new horizons away from Alabama. Seduced by the music and other facets of the Crescent City, by the early years of the century Spencer was soaking in the musical influences and the lifestyle, possibly residing at Aunt Lulu's home. Among those that he tried to emulate at the piano was the highly talented Antonio Junius "Tony" Jackson, an openly gay black performer and composer who would later become known for the tune Pretty Baby.
Another name he mentioned later was that of pianist Albert Carrol, also head of the Louisiana Minstrels. He was cited as Albert Cal in one interview, so that name was likely misheard or misstated.
Let's Meet by the River by The Spencers
Spencer undoubtedly heard many other fine talents during this time, including trumpeter Buddy Bolden and many of his friends. He would soak up everything he could about New Orleans and it would later emerge in both his lyrics and music. While he may have been there a few times prior tothe most likely period of time he was largely in that city would be from toa period in which he is notably absent from Birmingham directories, with only his father shown, still working as a cook at the Hillman Hotel.
There is a possibility that Spencer was briefly married during this period. On the census, in which the information may have been given to the enumerator by one of his housemates, it was indicated that he had been married at 22, which given ignoring his reported age of 50 and looking at a more realistic range would have translated to around to Given those variables in age, and that no marriages with his name in New Orleans appeared at that time, one possible name emerged, although not an entirely likely candidate.
Amy Lamb was married to a Spencer Williams in Birmingham on April 21,a period of time when the composer was most likely living in Chicago. As for his musical education, there was no confirmation that Spencer ever attended a musical college or conservatory.
His secondary education was reportedly at the Arthur Williams School which may have since been renamed or closed. While he named St. Charles University as the source of his book knowledge, the closest matching school that could be found was the University of Louisiana in St. Charles, not New Orleans, so that leaves a question mark as to his actual schooling. This also contradicts his assertion that he had no formal musical training.
Much of what he initially learned about playing piano and writing songs may have been from real time life experience. Some of his mentors may have given him lessons here and there, and his natural ability, while not extraordinary, was competent enough for him to progress on his own. He claimed to have worked out several two-beat tunes during the quiet daytime hours at Mahogany Hall, and found he favored the key of E-flat. Based on his publishing history and the progression of his tunes through the s, it appears that some of that education came through trial by fire, learning as he went along what worked and what did not.
It could be that he would try something out on one of his peers and they would make suggestions, and after enough of those had been proffered, Spencer was able to work largely on his own and with other composers and lyricists with a measure of confidence.
But his initial plunge into music and the lasting influence from it was apparently soaked in both in Birmingham and New Orleans. After that, during his many travels, he would visit New Orleans whenever he could through the mids. Once his mother had died inLulu lost interest in her enterprises, and local musicians started migrating north to Chicago, New Orleans would perhaps lose some of its luster and appeal for Spencer, except in a nostalgic sense, as was evidenced in his later tunes.
Perhaps still dubious about making a living as a musician, he secured a job as a Pullman Porter, a career he said that allowed him to see America while also earning a decent income. However, during breaks from these travels he did play piano, including for the Rathskellar at San Souci Park, a popular summer spot where headliners included popular military bands of the time, such as that of Arthur Pryor.
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He eventually secured a winter gig at Denny Foley's Saloon on 31st street, the location where he claims he worked out some of his first published numbers.
It was two more years before Spencer's next credited compositions, including one that would seem unlikely to many, but came about in a logical way. Beth Slater Whitson was a Tennessee poet who had ventured to Chicago a few years prior trying to sell her poems as lyrics, having not hit the mark as a composer. A couple of publishers took in her work and teamed her up with composers they knew.
Beth would send in her lyrics to Chicago and New York publishers from her home, and with her newly found success, they would distribute them to composers to turn into a song. Such was the luck of Williams, who had potentially been shopping either his talent or his music to Chicago publishers.
Will Rossiter gave him this chance, and while it did not result in a stellar hit, it did establish him with Rossiter as a capable composer, setting the stage for his growth. A few other works were self-copyrighted by Williams and self-published in small batches by either himself or his co-composers. One tune from evidently had three variants in its title or lyrics.
Originally titled Baby, Please Don't Shake Me While I'm Gone to lyrics by a Rose Cohen probably a white woman as no blacks by that name were located in Chicago or surrounding areasit was later re-copyrighted by Williams with the variants Shake It and Trifle, indicating the possibility that it had been recorded, and perhaps published in more than one edition by Harold Rossiter not his brother Will Rossiter as some sources show.
This combination likely came together in the same way his Whitson collaboration had. While it got a little bit of traction in Chicago, little else did over the next three years, and his primary income was still from occasional gigs and the tips he received for his Pullman job.
Your Chariot Awaits: An Interview with Moonface's Spencer Krug - PopMatters
However, one tune, albeit of questionable origin or authorship, changed everything for Spencer inbut it came with a story that even a century later is not fully resolved. Chances are excellent that I Ain't Got Nobody started out as a regional folk strain of some kind that simply had not been yet notated, but was at least somewhat known.
The first claim to the song went to rag composers Clarence E. Louis, Missouri, who copyrighted and self-published a version of the strain in It may not have traveled too far from St. Louis in sheet music form. The copyright was curiously claimed for the melody only. Then Spencer "discovered" this floating strain and did his own take on it. This, in turn, was lyrically re-worked by publisher Roger Graham, enough that he felt he deserved credit for the new version.
This take on I Ain't Got Nobody was copyrighted on February 7,and claimed Peyton now as a co-writer of the music by Williams instead of the lyrics, which were attributed to Graham.
To provide some perspective, while there may have been enough similarity beyond the titles to at least get a case into court for plagiarism, that Williams and his co-writers independently used similar source material to Warfield's and probably Brandon's, plus some mildly substantive differences in lyrics, syncopations, rhythms and some of the melodic line, it might have been determined to let the pieces duel it out based on their own merit.
Williams was known for being an original, and when he did rework older material in subsequent years, proper attributions were made. Publisher Frank Root acquired both the Williams and Warfield versions of the piece in the spring ofthen published them and let the performers decide which one they wanted to move forward with.
We may never be fully certain of who originated it, but Williams was certainly the most successful of those who transformed the strain into a popular tune.