Woody Guthrie's 'Note Of Hope' From Beyond The Grave Note of Hope: A Celebration of Woody Guthrie features 13 artists working with Guthrie's lyrics.


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Woody Guthrie's 'Note Of Hope' From Beyond The Grave

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When Woody Guthrie died in 1967, he left behind a trove of unpublished lyrics and prose. And that has led to a number of albums by artists interpreting Guthrie's words. As the centennial of his birth approaches, a new album has been released, featuring a wide range of artists. It's called "Note of Hope," and critic Robert Christgau has our review.

ROBERT CHRISTGAU: That's quite an endorsement. But though I probably shouldn't admit it, I rarely listen to Woody Guthrie for pleasure. I'd rather hear Dylan sing Guthrie's songs - or, as it's turned out, a lot of other people.


MADELEINE PEYROUX: (Singing) Well, some fellas cuss as good times come and go, but I got my wild card in the hole. Some wise ones play every sucker trick they know, I still got my wild card in the hole.

CHRISTGAU: That voice belongs to jazz singer Madeleine Peyroux. And if you don't recall a Woody song called "Wild Card in the Hole," that's because there wasn't one. Peyroux wrote the music for a lyric Woody's daughter Nora Guthrie chose for her, as Nora and bassist Rob Wasserman pursued their 13-year dream of completing the new "Note of Hope: A Celebration of Woody Guthrie." Eleven vocalists follow Van Dyke Parks's overture. One of the most unlikely is another jazz singer, Kurt Elling, doing "Peace Pin Boogie."


KURT ELLING: (Singing) Peace, peace, peace, peace, boogie for peace. Wanna kiss my sweet, I got to boogie for peace. Looks like I'm a goner, ain't got no peace pin on. Can't kiss my sweet Paige when I've got no peace pin on.

CHRISTGAU: "Note of Hope" takes the risk of elaborating rhythm rather than laying on melody. Bassist Wasserman, a renowned accompanist, is more than comfortable backing Lou Reed's song-speech; Michael Franti's rapping; and three spoken-word prose tracks by Ani DiFranco, Pete Seeger, and the late Studs Terkel.


STUDS TERKEL: (Singing) I heard a man talking last night and he said, I could actually make more money when the Depression was on. And the lady laughed at him and she said oh, you couldn't either. How could you? And the man told her, yes, I could. I made more because I could steal more. Nowadays, this damn war makes it awful hard to steal. And, besides, I don't know, I just don't enjoy stealing like I once did.

CHRISTGAU: Most of "Note of Hope's" guests are left-identified, like Guthrie, but the texts they interpret aren't very ideological. Guthrie's playfulness, sexuality and inquisitive mind are front and center. And though rhythm does predominate, Jackson Browne's 15-minute finale is an unrelentingly strophic meditation on the night Woody met his wife, and Nora's mother, Marjorie. Some may call it overlong. I'm not even a Jackson Browne fan, but I say it's hypnotic.


JACKSON BROWNE: (Singing) You know the night, you know the night. You know the night, you know the night. Did you feel this way, too, when I met you?

CHRISTGAU: "Note of Hope" is the sixth album based entirely on writing that came to light after Guthrie's death, including two by Billy Bragg and Wilco, two by the Klezmatics, and one by Jonatha Brooke. These posthumous collaborations have no parallel, in my experience. For over a decade, they've been where I've gone when I wanted to commune with the spirit of Woody Guthrie. I still play every one and now, Rob Wasserman has given me another.


BLOCK: That was critic Robert Christgau, reviewing "Note of Hope: A Celebration of Woody Guthrie."


BROWNE: (Singing) And it was quite unusual for some reason or another, the night turned off clear and so cold. It caused me to snuggle up closer and to hold, and hold on, hold on to the ground we gained. Hold on to the new inch of life we discovered. Hold on...

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