Pine & Trauma

-Full Notes-

*Ray Lankford * PINE & TRAUMA * GUITAR SOLI for COMMON FOLK *

1. DeAnna's Blues

2. The Transmutation Of Tia

3. Crick Rock, Slick Rock, Roll Right Along/Pinecrick Blues 

4. The Wisdom Of The Donut Hole Theme

5. A Cowboy Rides Again

6. Dersham Mountaindale

7. Dancing In Moscow With Carlo Rossi

8. You're Never Welcome At My House Variations

9. The PC To BC Railroad In Deep Winter

10. Pine & Trauma

11. America

* All Compositions & arrangements by R. Ray Lankford * Produced by R.. Ray Lankford

* Cover photo taken by DeAnna Lankford

* Cover design by R. Ray Lankford

Dedicated to Idaho air & unheard voices

Personal thanks to my amazing wife DeAnna. Thank you for sitting through the hours off improvisation, tuning, and learning. Your creative energy fuels my own and I would not be complete without you.

Special thanks to John Fahey, Robbie Basho, & Charlie Patton. I could say many more artists but they are the strongest influences for this album and massively important guides for my current musical direction.

MonteRoot Records * MRR002

The MonteRoot Records Catalogue : 

Ray Lankford * Of Many Rivers MRR001   Feb. 24, 2024

Ray Lankford * Pine & Trauma MRR002  June 30, 2024

Coming Soon!

Ray Lankford * Ray Raves Patton * 2 song single, release TBD

Contractually obligated thanks to D&S Outdoors, who provided the hats & fun.

Notes On The Songs

Quotes for the notes gathered and arranged by W.P. Buick, personal reporter assigned to Mr. Ray Lankford by MonteRoot Records.

1. DeAnna's Blues - "A sort of romp through emotion, anxiety, and memories written for someone who has been through more than one should have to. She's really something. Patton deserves a nod for inspiration for the main parts. In some sick way "Magnolia Blues" is in there. The main reoccurring part coming from a particular phrasing speed of one of the verses, and the low bass "bridge" part coming from Patton's general odd slide work. Also at the time I was listening to a lot of Riley Puckett and wanted a low bass string "run" but Patton gets the nod for sound inspiration. When it was first being written I was playing the main part for a friend and he asked if it was am old traditional song orr something of the sort, I would definitely say it has an anemoiac effect. That question meant more than he will ever know. The other riffs are blues chunks taught to me through years of horrible agony. 

2. The Transmutation Of Tia - "Written for my sister during my Oregon, Monteroot "excursions, "July '23. That explains the nightmarish, tautological quality. Besides "Poor Boy Long Ways From Home" twisted in for a second near the end, it's all composition from feeling and experience of the time. It's a cry to restart from a cycle. I'll leave it to volk researchers to find out why that period of time was interesting for us, I wont say."

3. Crick Rock, Slick Rock, Roll Right Along/Pinecrick Blues - "One idea taken and improvised upon on the banks of Pinecreek where I fished as a child. Visions of brook trout and much quieter summers. Played here much cleaner than it can be sometimes, I enjoy playing around with it." 

The Pinecrick Blues:

The beauty that used to be,

the way it raised and taught me. Lucky timing one way,

bad timing another.

Gone in a blink

nothing but recreational hives now.

The way of the dodo it goes,

that quiet spacious peace.

The respect that used to be, 

never again to be seen.

4. The Wisdom Of The Donut Hole Theme - "Written upon the request of a relative for his podcast. The inspiration was warm and optimistic feelings to match how I perceived his voice. The great little saying from which the title förrthe podcast & song comes from is:

"As you ramble through life brother, Whatever be your goal.

Keep your eye upon the doughnut, And not upon the hole."

Give it a listen, it's good even with me in the background. Thank you Scott for giving me such a cool opportunity.

5. A Cowboy Rides Again - "Pure composition pieced together over roughly 4 months of improvisation upon the idea, the idea itself being more around 7-8 months old. Went through an odd phase for a bit but really bloomed fairly recently. To be theatrical, it's a tribute to & story of the first cowboys; more specifically, the first black cowboys that remain far less appreciated. I like "western" cowboys, but this one. not for them." 

6. Dersham Mountaindale - "When I was a little baby boy my grandfather told me about the time his father sold a horse to a fella from Mississippi. Apparently as the man rode away he could be heard singing for miles "something about a pony, something about a mare." I believe the man in the story to be Patton and I believe that horse to be the one sung about in "Pony Blues," but cowardly blues historians refuse to back me up on that. No name was ever given to me, but a quick put together of two town names from a road sign and you've got a name for a horse that just won't quit."

7. Dancing In Moscow With Carlo Rossi - "First I'll clarify, the Moscow mentioned is "Mosco" Idaho,, not "Moscow" Russia. The story comes from a friend of my father's, we'll call him "Judge." So Judge was working for the university at the time (mid-late 70's I believe)when John Fahey himself came to play a show. So Judge is driving Fahey to the show when suddenly Fahey demands they stop at a liquor store. Fahey proceeded to purchase 2 big jugs of Carlo Rossi wine... So the show goes on, Judge loses track of Fahey and decides to go to a party on campus. Well low and behold Fahey is at the party, just as smashed as can be, Carlo Rossi bottle in each hand, swaying to the music... Well once I heard that I immediately wrote down a title, a few months of learning later and it grew into a song. I guess it's my "Requiem For John Fahey." Obviously it's got "Wine And Roses" & "Jesus Is A Dyin' Bed Maker" in it. Another nod to Riley Puckett for the lower bass idea sticking in my head, but once again the sound went a different direction. Played "the way Charlie Patton would have played it, had he ever thought of such a thing, which of course he never would have" as Fahey put it.

8. You're Never Welcome At My House Variations - "Originally improvised in January of 22, that's the segment in the key of G. The tune received its name in January of 23, laid dormant for another whole year, then took shape and found its variations in April 24. I love the song "You're Always Welcome At Our House" by Shel Silverstein and while they don't cross over in sound much, they go hand in hand in my mind." 

9. The PC To BC Railroad In Deep Winter - "In deep winter of 20 I Had to hop that train a LOT. It's mighty main engine as white as the falling snow. It's trailing cars a deep green matching the mountains of Pine. Visions and feelings of the sway around the curves of the mountains, the cold and bloody hands, the smell of coffee when lucky. (EDITOR'S NOTE: Ray rambled on here for about 35 minutes, far too much for print and far beyond the attention span of modern Volk audiences) "Unintentionally Pieces of Fahey works, attempts at royal marches, and sounds of trains make the cheap guitar it is played on shine like the sun off of fresh snow."

10. Pine & Trauma - "Ahh, the title track... Built on the bones of an older composition of mine "Kilchis River Revelations." The tuning is DADGBD (Double Drop D), which I came across accidentally while switching betw- een Open G and Open D. Also by accident does it contain a move from "John Henry" by John Fahey. Came together extremely fast once I deci- ded on the title and had the direction in mind. Pine trees are nothing uncommon, but where I'm from they really are special. Every restaurant has a pine-something and every town is named after the trees (or the mines...) Sounds of rain, rivers, raindogs, trees, change, and tires against gravel make this one up.

11. America - "Improvised, listened to, written down, replayed, finished. I'm not one for making political statements, but this number is full of 'em. Desperate times call for desperate measures. Even the fun things ain't fun no mo', can't have a damn thing. Had to borrow a better 12er to record it on as mine is a clunker. My 12 used to be made of plastic and metal, now it's all oyster shell & flower petal."

Ramblings gathered over months of observation & conversation with Ray:

 Also gathered & arranged by W.P. Buick.

This album was recorded at the end of a miserable 3 week stretch in which I couldn't express anywhere near all of what I was feeling. It helped the quality of the sessions, and felt like therapy. I smashed 3 guitars in the process, rebuilding them into 1, & then smashing it against a mailbox on my street for which I was promptly & justly arrested. During my time at the jail the guards were so overjoyed by my banter & rhythmic banging on the bars that they allowed me a guitar and I played an instrumental version of "Jailhouse Blues" by Sam Collins; which was so to their liking I was freed and the charges were dropped. I refuse to replicate it ever again for it brings on a terrible fit of fear and anguish."

།

"The album started as a journey to recount memories and build a soundscape out of them but in the process bloomed a period of new appreciation for & revelations about my past & present. The sound grew along with me.

"I guess I'm kind of a dissociative person. I struggle to maintain a steady plant in reality sometimes. Composing and playing guitar lends so well to this in a therapeutic & productive way. My songs transport me to amazing places. Deserts, mountain streams, trains, midnight drives, hospitals, art exhibits, cigarette factories, rainbows, ponds, dirt, wood, metal, blues, greens,. dogs, frogs, cats, and people... It also does an amazing job of bringing me back down to earth. When I don't feel okay, I play. It's an incredible tool and force."

"Water like icy glass.

little houses surrounding the lake,. little glowing warm lights,

little glowing warm lives.

Snow on the roofs,

on the trees..

Reflections everywhere.

So many shining observations to be made."

"The biggest failure (not for the music industry of course because they got what they wanted, but for US as humans who need culture,) was the separation of Folk music into genres based on race/market/however you'd like to say it to justify it, instead of state, area, or community. Document Records gave me this idea with their collections of early blues sides by state/area. You can hear the distinct differences of each region, imagine if we had kept that evolving. We as modern volk have NO connection to the music of our homes unless we dig and dig, and even then it's just so washed away by now in most areas. If things had been structured differently, defining music by community and with the hope of growing and representing American Folk Music, who knows how different things would be?"

"Love Letter To Oregon"

"I am often struck with memories of my time in Oregon. Caused by smells and sounds mostly. More than any place I've been it pops into my mind. To mind comes the long bike rides along the lush hillsides. The air off the ocean, what a smell. A mile of blackberries, thimbleberries, and elderberries here and there. Curves, curves, up & down, up & down. TRAFFIC, quiet, TRAFFIC, quiet. The Kilchis, the Wilson, Garibaldi, Rockaway, Idaville, Tillamook Bay, Hobsonville Point Road...

The cats of our home at the time. Oh how I miss them greatly at times, although my allergies disagree. Millions of them. They crawled through the thick brush like ants. Trevor, the main male. Butters, the main female. (I of course say that by making huge assumptions about their community, but those were my observations. Almost a new one introducing itself everyday. So many too afraid to try. I would wake up early in the misty Oregon morning to brew coffee and ready breakfast. They'd soon surround and watch my every move hoping for any morsel of scrap. I was never a cat person until I had no choice, now I see the beauty...

Supply runs, oh the fun. The ride from home to the Fred Meyers, the over shopping, and the oh so tricky ride home. Arms full of grocery bags like a modern mule. That time DeAnna got hit by a van...

Being so close to Fahey while learning his ways... such a gift. Being in such a vibrant, emotive, and full of life environment... SUCH a gift. The timing was superb..

Begins my discovery of Patton. "Shake It And Break It" is an instant tele- porter to Oregon for me. The excitement I felt with each new recording I heard. The magic so few stir up..

Ripping through shellfish like the crazed-1 legged-1 eyed-seagull we saw devour an entire Dungeness crab. That morning we woke up at 3 to beat the birds, tourists, and weather to the beach's treasures, only to fall asleep at the driver & passenger seats and sleep until noon...

Mellow Green Oregon, I loved our time together"

OPINIONS & THOUGHTS on a few genres & "movements" By Ray Lankford

 AMERICAN PRIMITIVE: Personally (I'll reemphasize, PERSONALLY,) American Primitive is at its best when it's playing on feelings, uncomfortabilities, familiar sounds, etc. and becomes uninteresting the more technical it is. Not to say of course that good American Primitive cannot be technical, in fact this point is so short because there is SO much great technical, American Primitive. I really only make the point because the boring stuff brings me anger. It boils down to the classic battle between heart & mind. Have an amazing technical mind, just be sure to play from your heart. To give some recommendations on my favorite artists & albums:

Of course the master, John Fahey, comes first. Don't forget his "orchestra" albums, they are far too unappreciated. John's light & vision created the most beautifully expressive genre that I know of, as well as being independent far before it was considered even an option. He may have even been the first independent artist, but I'm unsure if that's true. He, Tom Waits& Charlie Patton. The most important artists I've come across. I can't Say more. Robbie Basho is next when getting back to recommendations. He conjures spirits with his guitar in such a one-of-a-kind way. There will never be another Robbie Basho because there truly will never be another human being like Robbie Basho. Watching "Voices Of The Eagle: The Enigma Of Robbie Basho" Took what I had of an appreciation for Robbie and tripled it. I'll end with a quote of Robbie's. "I don't try to follow the masters; I try to ask the questions they asked.""* Next up is Peter Lang's "Thing At The Nursery Room Window." What a record. A great example of not only an amazing technical record, but an amazing melody & composition record. It's a shame he didn't keep going in that period of time, but his later stuff has bright spots too. Jack Rose is my "modern" pick I guess. Great Fahey covers which is really a feat. His songs can be simply gorgeous. RIP. (I could have more modern picks in here but I'm sticking to Pure American Primitive and not New Age American Primitive.) Stefan Grossman wraps up this section. His technical prowess is unmatched. Just unreal. I could listen to "Requiem For Patrick Kilroy" & "Dance Of The Blind Menotaur" over and over and over. He seems like an awesome dude..

American Primitive opened up such an amazing world for me. It taught me the guitar isn't something to be intimidated by; it's an entity to partner with. To EXPRESS. To express pain, to express joy, to express a dream, to express an anxiety... to simply express.”

FOLK/COUNTRY BLUES; Points, Opinions, & The Revival That Needs To Happen: I'll begin by making clear what Folk/Country Blues is, at least to me. I say "Folk/Country" because "Folk" blues is really a better title for the original generation of blues artists, but that title is given to "revival/rediscovery" artists while "Country" blues is the title I see most commonly used for the original generation of blues recording artists. So, the blues go back too 1912/1920 but I'm gonna say the "Folk/Country" blues was first recorded in 1923(I'd like to make clear I'm not an expert, just trying to establish a baseline for the newcomers.) I call the other blues of the time "Jazz" blues, but I'm unsure if that's the usual name for the style. The difference being the Folk/Country blues was simply "rural" people/acts being recorded while Jazz blues had more budget, more personnel, and a different sound. Folk/Field VS Backed/Marketed basically. So with our baseline established we can move onto appreciating the Folk/Country blues. The sheer amount of talent, originality, and output in the era of roughly 1923-1950 is simply baffling to me. Never diving into it as a kid, I had no idea the scale of it. It's truly amazing. The bluesmen of the era competed to be more entertaining and unique, they had to. They spent their money fast. They often died young. So many unique styles of the same music. (I mean that comment backhandedly towards "Country/Hillbilly" music because they started as the same music (FOLK)but due to the division of the Folk music of America for purpose of market and race division, they became successful while the blues starved to death until the 60's when it was reinvigorated, just to be polished beyond recognition in the most boring & disgusting ways.) Onto Some Points I'd Like To Make...

* Robert Johnson: THE CROWD ERUPTS IN HISSES, CHEERS, PLEAS FOR MERCY, ETCETERA I know there's been so much said on both sides of the fence about him, but I've got to toss my opinion out there, being as I have been on both sides of said fence at one point in my musical journey. As a kid basically my only dive into the Folk/Country blues WAS Robert Johnson, and I really enjoyed him and gave him the credit anybody would if they had only heard the loudest shouts from the crowd about the man. Then of course when I really got into the blues I realized that Robert Johnson didn't invent the blues, he did not revolutionize the blues, hell, he didn't even have the first Crossroads story. After it all I'm left with this, Robert John- son was a quality bluesman, an emotive singer and guitarist, and was vitally important in directing attention to the early blues... BUT he was not the "King" or "Father" of the blues. I'd say "Prince of the Delta Blues" is more accurate and well deserved.

* Charlie Patton: This is less of a point/opinion and more of a letter of admiration. I ADORE Charlie Patton. Pure energy and talent. Unmatched energetic rhythm one song, plunging low tempo the next. A feeling that while his voice is loud and gravely, it's as easy as can be for him. Hell, even his 1934 stuff is tops despite him clearly being weak. Talk about someone being the "Father" or "King" of blues, the amount of artists that Patton not only just influenced but actually taught & tutored is nothing short of amazing. I would like to make clear that my love for Patton does not purely come from my love of John Fahey. Yes I "found" Patton through Fahey, but beyond Fahey "pointing" towards Patton, the journey was my own. "Down The Dirt Road Blues" rocks me to my core, my favorite song ever. "Pony Blues" makes me sing my guts out without fail every time. "Screamin' And Hollerin' The Blues" had me absolutely mystified the first 10 or so times I heard it, I couldn't stop replaying it. I could go on and on, just give him a listen.

* Other artists who I'm sure I'll write about in the future, but get short mentions here: Bo Carter (probably my second favorite bluesman, I just love him,) Tommy Johnson (Whatta shame his recorded works are so short, such a unique style all around,) Daddy Stovepipe (possibly the earliest born recorded blues musician, his early recording are among my absolute favorite, his late recordings are also great, so coal to hear a man at 93 play songs he's known his whole life,) Blind Blake, Blind Boy Fuller, Blind Joe Taggart, Gus Cannon/Cannon's Jug Stompers, Bukka White, Son House, Willie Brown, Barbecue Bob, Blind Lemon Jefferson, Robert Petway, Tommy McClennan, I could keep going for an absurd amount of time. I left out a LOT of huge names and still the list is long. What a well of talent. Also a shout to Sol Ho'opi'i and Roy Smeck, who match the era but not genre, but are really worth diving into for fantastic Hawaiian guitar. THE REVIVAL THAT NEEDS TO HAPPEN: The 100th anniversaries of the most legendary Folk/Country blues recordings are now upon us/are happening in coming years and I believe it's a screaming call to arms for artists and unheard folks to pick up an instrument, learn some rhythm and licks, and write some songs about your modern Folk blues. These anniversaries fall in a perfect time. So many volk feel unheard, worthless, and broke. We have unlimited access to learning resources and instruments. We have by far the most incredible access to the old recordings that any generation has had to work with. It's all there and the modern volk scene is always looking for a change, well here's one that allows volk EASY access to every piece necessary to connect with and revitalize a genre that was cast aside, like us. It's an amazingly emotive, creative, and easy style that shines in a solo setting FAR better than Country/Americana, while also being a powerhouse style in a group setting. IMAGINE THE POSSIBILITIES...

The Tunings By Song: (Advised against by the MonteRoot Records legal team, but left in at Mr. Lankfords Request)

1. DeAnna's Blues - CGCGCE

2. The Transmutation Of Tia - DADGAD

3. Crick Rock, Slick Rock, Roll Right Along/Pinecrick Blues - CGCGGC 

4. The Wisdom Of The Donut Hole Theme - DGDGBD

5. A Cowboy Rides Again - DADF#AD

6. Dersham Mountaindale - DGDGBD

7. Dancing In Moscow With Carlo Rossi - DADFAD w/capo 3rd

8. You're Never Welcome At My House Variations - EADGBE w/capo 3rd

9. The PC To BC Railroad In Deep Winter - CGCGCC 

10. Pine & Trauma DADGBD

11. America - EAEAAE

The Guitars Of The Album:

* "John" my heavily modded Recording King ROS-11-FE3-TBR. Used on all songs except where noted in coming entries.

* "Jack" my long owned & well played Recording King RPH-05. Used on "You're Never welcome At My House Variations."

* A Jackson-Guldan "Chord" from the 50's I believe. Used on "The PC To BC Railroad In Deep Winter." I've turned it into a laydown guitar.

* A limited edition Gibson Parlor 12-string borrowed from very dear family friend Roy. Used on "America"

The Legend Of The Monte Root By Rusty Calloway, Botanical Researcher

In History: According to ancient volk lore,. "monte root" was a sacred plant that when taken "connected the body to worldly vibration and allowed for more robust mental imagery" (translated from cave symbols by a scholar from the University of Northern Northtown, Herman B.K. Whitehorse, in 1816.) Its first official report/record was in 1525, where it is listed as "LOST/ EXTINCT apparently farmed to death for its usefulness in aiding exploration efforts. Also recorded in the 1525 botanical survey was a short description which reads: "Large White Root; Large Green Leaves."

Onto Modernity: I was recently informed of a potential rediscovery of the plant by a Mr. R. Ray Lankford in February 2023. I sat down for an interview with Mr. Lankford,, who is a part time train conductor and full time Volk singer/guitarist," he told me the story of his finding of a single seed. While digging in the White Sand desert of New Mexico he came upon an oddly shaped, somewhat pearlescent seed. Being a man raised around a gardener and additionally educated in copious flora & fauna, he recognized that the seed was unrecognizable and with that recognization he slipped the seed into his frog-body satchel. Later, back home in his wheeled domicile, he studied his collection of textbooks for hours; finding no matches for the mysterious morsel. He grew tired, frustrated, and bored. He then placed the seed back into his frog-body satchel, where it was forgotten about for over 3 months. By this time Mr. Lankford had traveled back to his native land of Idaho, which was experiencing its wet season. The seed was remembered one day and upon re-examining it he realized that his rolling residence had a hole in the roof and the wet season had seeped through, the seed absorbing the water and growing to double its original size, resembling a pearl, while also developing a smell very similar to an oyster. When the smell of oyster hit the young fellows nostrils, he was reminded of his childhood excursions to Oregon and yearned for ocean air. He quickly packed up his things and rolled his house along to the coast of Oregon, hungering for fresh oysters and coastal crab concoctions. After the nearly psychotic drive to the ocean, he consumed 11 pounds of oysters, a rack of crab, and 3 full 12 packs of bottled Coca Cola. Afterwards while drunkenly hobbling around his wheeled home he knocked over the shelf holding his frog-body satchel and the seed was flung out the window, landing on the Oregon soil. The ground around the seed was immediately "burned to a white, ashy color in a 2 foot radius of the impact point" Itt then sank into the ground and the earth covered it up, Mr. Lankford reportedly responding with an audible "awe man." This was enough of an angelic sign to the volk player that he watered the spot for 2 whole weeks with no progress. On exactly the 14th day, the spot sprouted and filled the entire white patch with a thorny patch of green vines and large, beautiful leaves. Mr. Lankford harvested both, consumed them in various ways, but they had no effects, flavors, or benefits of any kind. At that point he dug a bit and was shocked to see thick, bright white, pearlescent roots. Upon drying and eating the root, Mr. Lankford reports, a mere 2 minutes after, he felt a flood of energy through his body, his brain felt as if it was singing, and his hands lunged towards his waiting guitar. He then composed 22 original songs for solo guitar in a 22 hour span of time. He recalls that during this time "my guitar was just vibrating man, like, just vibrating like crazy. My mind racing with images and sounds of Ancient Egypt, rivers in the Amazon, medieval marching groups, trains, and other nightmarish dreams. I had to use 4 different tape recorders just to get it all, on account of they kept bursting into flames." After the 22 hour peak, there was a 2 day" comedown" period where he "didn't feel good, sick but never near death" When he recovered he quickly harvested all but a small chunk of root, drying them and putting them into his safe, alongside his box of pencils. The next day upon looking at the spot where the plant had been, it was gone. All the leaves, All the vines, The last chunk of root, The white patchy area, All gone. In a state of spiraling sadness he consumed a small piece of the root and wept into his guitar for 2 hours. He then went on a 2 month bender of the dried root, leaving nothing left. What he did during that time is up to the imagination, he claims no recollection. A year later as I interview him he wonders if he hadn't been greedy, what an empire he could have created.. Ironic...

This run in with a mysterious root that causes bursts of vibrational sensations along with the unique and otherwise unreported abilities of the plant, lead this particular researcher to believe that Mr. Lankford had the modern worlds singular experience with the "LOST/EXTINCT" Monte Root.

Sadly, with the glutinous consumption of what was left, Mr. Lankford left no samples left to test. Any similar encounters or discoveries should be immediately reported to the World Institute Facility OF Flora.