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18 January 2022 - The 2021 Setlist Archive has been updated.
17 January 2022 - The 2021 Setlist Archive has been updated.
16 January 2022 - The Soundspace interview by Zan Agzigian added to this page. The 2021 Setlist Archive has been updated.
15 January 2022 - The 2021 Setlist Archive has been updated.
7 January 2022 - The 2021 Setlist Archive has been updated.
3 January 2022 - JPR live session interview link added to this page. James Meadow - Where The Lions Are interview link (video) added to this page. Burning Man - Eugene and Rock and Roll Globe interviews added to this page. Folk Roots Radio interview by Jan Hall link added to this page. Choices of rhetoric and choices of action interview added to this page.
27 December 2021 - The Setlist Archive has been updated.
14 December 2021 - Link to KRCB.org interview & link to Walk of Fame interview added. SFExaminer interview/article has been added. The Setlist Archive has been updated. Reviews have been added to Greatest Hits (1970-2020).
4 December 2021 - Reviews have been added to Greatest Hits (1970-2020).
2 December 2021 - 'Saying Love Outloud' - eastbayexpress.com article added to this page.
1 December 2021 - New Tour Dates have been added.
29 November 2021 - Songcraft podcast link added to this page. Interview by thealternetroot.com added to this page.
6 November 2021 - Blues Rock Review interview added to this page.
31 October 2021 - Articles that were on the front page have been backed up to the News Archive.
19 October 2021 - Press release for Greatist Hits added to this page.
13 October 2021 - Walk of Fame article added to this page. Bruce signatory to preserve old growth in BC.
28 September 2021 - The Setlist Archives have been updated.
27 September 2021 - Articles that were on the front page have been backed up to the News Archive.
4 September 2021 - Paste live stream info added to this page, and also links to Spotify & Apple covers playlist.
6 June 2021 - Audio interview by mulliganstew.ca, audio clip Bruce remembers Le Hibou, and video Bruce on Junos 50 years added to this page. Benefit streaming concert for Mozambique added to this page.
2 May 2021 - Lyrics to four new songs added to Songs & Music Archives.
19 April 2021 - Four New Songs event added to this page.
21 March 2021 - Canadian Folk Music Award - Crowing Ignites info added to this page.
12 March 2021 - Crowing Ignites has been nominated for a Juno. Les Stroud interview with Bruce, Part 2 has been added to the original post (from November 2020).
9 December 2020 - Dr. Rea Beaumont podcast-interview link has been added to this page.
30 November 2020 - There is a new Tour Date! Podcast interview by Les Stroud info added to this page.
18 November 2020 - The Foy Vance Vinyl Supper podcast & video link has been added to this page.
23 September 2020 - 'Don't try to give bruce a rocket launcher' added to this page.
21 September 2020 - Article-interview 50th Anniversay Box Set True North added to this page.
14 July 2020 - Statement from Bruce - Black Lives Matter added to this page.
27 May 2020 - 75th birthday salute article added to this page.
4 May 2020 - True North releases 50th Anniversary vinyl box set article added to this page.
7 April 2020 - Bruce Cockburn's 50th anniversary of first album released by True North Records, article added to this page.
21 July 2019 - Acoustic Guitar Magazine - Acoustic Classic: Bruce Cockburn’s ‘If I Had a Rocket Launcher’ article added to this page.
20 July 2019 - Acoustic Guitar Magazine - Video lessons video and article added to this page.
12 June 2019 - Crowing Ignites 34th album first listen and album bio added to this page.
Interview by Daniel Lumpkin for Christianity Today
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"Greatest Hits (1970-2020)"
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The Cockburn Project
is a unique website that exists to document the work of Canadian singer-songwriter and musician Bruce Cockburn. The central focus of the Project is the ongoing archiving of Cockburn's self-commentary on his songs, albums, and issues. You will also find news, tour dates, an online store, and other current information.
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17 January 2022 - Join Zan as she speaks with Canadian guitar legend/singer/songwriter, Bruce Cockburn, about what it is like celebrating 50 years on the road, touring, what the road means to him, and thoughts on what the new year holds for us all, with sample tracks. (58 min)
Soundspace Interview with Bruce Cockburn (originally recorded Dec 13, 2021 and originally aired January 2, 2022).
1 January 2022 - On the evening of June 26, 2002, activists and organizers from around the world settled into worn velvet seats of Calgary’s Uptown Cinema. This was the seventh day of non-violent protests against the G8 Kananaskis meetings, the first meetings of their kind to be held after 9/11. As the lights lowered, the concert organizer, Bourbon Tabernacle Choir’s Chris Brown, took to the stage. He was soon joined by the Brothers Creeggan of Barenaked Ladies fame and Bruce Cockburn. The Monitor recently reached out to Cockburn to discuss that concert and his lifetime of activism, catching up with him as he prepared to head out for his 2nd Attempt 50th anniversary Tour across the United States and Canada.
The Monitor: Music has always played a vital role in social justice movements. There are, of course, protest singers, like Pete Seeger and Joan Baez, whose craft is centred around activism. But other artists like yourself and Tracy Chapman tend to weave social justice issues in as part of a broader tapestry. I’m wondering if you agree with that assessment and how you situate social justice within the landscape of your work?
Bruce Cockburn: Yeah, I do agree with that. I have not felt obliged to present myself or to try to create songs or a body of work that is focused on any one particular issue. I've always seen what I do as being about life in the broadest sense, whatever that means. And life in the broadest sense for me includes a moral consideration. I was raised to care about what happens to people around me, and the world in general, and to pay attention to it. And on top of that, adding the spiritual values that I have, including the notion of loving my neighbour. Well, you know, you can't love your neighbour and ignore your own complicity in your neighbour's pain. So that's the starting point for my approach to those things, to songs that might be said to be about issues.
After that it's circumstantial. I wrote the songs about Central America, which are the most blatant statements of that aspect of what I do, because I was there. I experienced the things I experienced and heard from other people about the things they were experiencing firsthand. Those things had an impact.
You only write your own feelings like that. I feel like that's my job—to translate what I’ve experienced of life into something that's communicable to everybody and can be shared by everybody. I'm always going to be writing from my perspective. And I think that in the case of the instances of injustice that I've mentioned in songs, those feelings would have been shared by any thinking person or feeling person in those circumstances.
So I feel like there's something to share there [with people who] have not been in those circumstances or haven't been exposed to those things. The songs are a way of kind of exposing and pointing a finger: there's something you should look at.
I don't feel like it's my job to sell an idea to people, but I do feel that it's appropriate to try to be persuasive. And in suggesting that people would probably feel the way I do it, if they were confronted with these things.
M: In Rumours of Glory, you suggest that the song that will forever be most associated with you is “If I had a Rocket Launcher.” Why do you think it is such a memorable piece from a career that spans 50 years and 34 albums?
BC: When I say that, it's just based on the fact that that's what people ask for all the time and the one that people who don't really pay much attention to what I do associate with. So I mean, as opposed to Wondering Where the Lions Are, which was a bigger hit by quite a bit, actually back in its day, but very few people, especially people that don't have little kids know it.
But I hear far more, oh yeah, Bruce Cockburn, you're the guy who wrote the rocket launcher song, you know, that kind of thing.
So that's why I say that. Not because I think it's more memorable than others. But I think what people have responded to in it is that sense of outrage or the expression of rage that everybody feels. We all carry it with us. And so that gets a rise out of people, even if they've never paid any attention to what someone's actually talking about... I think that did expose the raw, kind of pain and anger. That's in that song. I think people have responded to that.
It's interesting that a guy who shoots up a mosque in Quebec can be called a terrorist. But that kind of terrorism is handled very differently... Islamic terrorists are not [treated] the same as homegrown, white honky terrorists because only one side gets extrapolated.
M: Virginia Woolf is famously quoted as saying “as a woman I have no country. As a woman, my country is the whole world.” When I listen to your body of work, I feel like this quote could be repurposed to read that, for you, as a musician “the whole world is your country” as you both draw on global musical traditions and demonstrate global solidarity in your lyrics and your politics. What drew you to push beyond traditional boundaries, and how do you hold on to that in a time when fear of the other seems to be reaching an all time high?
BC: Well, I don't find I have to expend effort to be either interested or to hold onto these things. I just want to know what's going on over a wide area. I'm interested in a lot of different things. And I read about those things, but I've also been lucky enough to be able to travel the way I have.
What impelled me to go to Central America in the first place was curiosity. I didn't go there looking for a cause to attach myself to. My brother Don was involved with solidarity work back then in El Salvador and he kept feeding me Central American things to read and what I read about the Nicaraguan revolution just made me want to go there and see what it looked like up close.
[Growing up], it felt like there was something really momentous about the success of the Cuban revolution and the overthrow of Batista and the Nicaraguan revolution felt momentous in the same way. Except the Nicaraguan revolution seemed to be free from what I was reading at the time of the abuses that the Cuban revolution carried with it. I forget which Sandinista I spoke to about this—it might have been Ortega himself—he said, each revolution, we learn from the one before. So the Russian revolution was different from the French revolution, and the Cuban revolution was different from the ones before, and the Nicaraguan revolution. You know, they're trying not to make the mistakes that they can see that have been previously made in circumstances like that. So there was a feeling that, had it been allowed to succeed, we'd be looking at a pretty different world, right?
Of course, it wasn’t allowed to. And Ortega has not carried on in the way that it looked like he was starting out.
M: The reason I wanted to talk to you for this issue of the Monitor was because of your performance at the Uptown Theatre in Calgary during the G8 demonstrations in 2002. I was listening to an episode of Nora Loreto and Sandy Hudson’s podcast recently and Nora was trying to explain to a listener who had submitted a question how different it was to protest right after 9/11. Because if you don't know, you don't know. And you performed at the solidarity concert in Calgary on that Wednesday night with Chris Brown and the Brothers Creeggan.
I was wondering if you could take us back to that concert, if you have any particular memories of how it felt to be in Calgary at that time, or how it felt to be a part of solidarity movements at that time.
BC: What I remember was a kind of heady atmosphere of adventure... that we were all out there making a statement, but there was this sinister side of it, that the event itself was moved out into the wilderness and heavily guarded. And there were all kinds of rumours. I don't know if they were true or not. The military guarding the conference had orders to shoot on site and that sort of thing. Nobody had put that to the test as far as I know, but they made it very hard for anyone protesting to be seen by any of the heads of state or their delegations that were present.
Those people were aware of what was going on of course, because they were watching the news as much as anybody else, I'm sure. But I thought that was a dark move to have made. It made certain kinds of practical sense from the government perspective. But it seemed to fly in the face of the rights we have to be heard.
I think in Canada—and this may be ignorance talking because I don't spend very much time in Canada these days—it seems to me, we were insulated to some extent from the worst effects of the anti-terror attitude that exists in the world. I think that you get a worse version of it in England and the U.S. and I'm sure in some other countries it's far worse, but it's still there.
It showed up when we were involved in the landmine issue. There was a campaign to ban landmines, and at the same time, there was a confrontation going on in BC, between the RCMP and [the Ts'peten Defenders at Gustafsen Lake]. They were in a confrontation without very much actual violence, but at one point the RCMP employed what they called an in-ground explosive device.
So basically they mined that protest camp’s access road and they're lucky they didn't kill anybody. They blew the real wheels off somebody’s truck.
It's a strange simile to use maybe, but one time I was being taken on a boat ride in a rainforest area of Australia. There were crocodiles, and we didn't see any, but at one point in this little tiny creek that we were in, a ripple went across the surface of the water in front of us. That was a crocodile under the water. It was big enough that exerting itself underwater, you could see the ripple on the surface, this kind of V-shaped ripple as if there was a boat there.
And to me, incidents like that landmine episode in BC are that ripple. The reason that we don't see as much of the worst effects of any terrorist policy in Canada is that we're lucky. And it doesn't come up very often. If it was more present in its negative effects if there was such a thing as terrorism that was more present in Canada we would see a lot more repression.
We don't get challenged a lot on things. It's interesting that a guy who shoots up a mosque in Quebec can be called a terrorist. But that kind of terrorism is handled very differently... Islamic terrorists are not [treated] the same as homegrown, white honky terrorists because only one side gets extrapolated.
“I think the job of us human beings is to maintain our commitment to whatever extent we can to as many good things as we can, regardless of where the pendulum is."
M: Are there other solidarity efforts in Canada and the U.S. that you have supported, and stand out in your memory, over the past twenty years?
BC: I think one of the most important things that I felt drawn into was the issues faced by Indigenous People in North America. I think that, and which, which are common, like across the whole continent.
I confess I'm kind of in the same boat, as I think a lot of white middle-class people are with these things, because I'm not in it every day. And because my focus has been, in the last decade, on my family.
It's always impressed me and it still does that the Indigenous groups that end up getting a voice are so restrained in their use of that voice, even now. I find that impressive and moving. And, I wonder how long we can expect that to last. As things get more kind of down to the wire, environmentally and socially, and this kind of very confrontational climate that we're all in, and there again, I mean, there's anti-terror mentality in action against Indigenous protest groups.
I mean, it's obscene, actually. I could say the RCMP, but I don't think it's just the RCMP in it. But the way that authority responds to even the slightest suggestion of things being disrupted is so heavy handed and so conspicuously racist it's very disturbing and it seems to me that we ought to be able to fix that easily, but we haven't and we don't.
M: Do you think that the role of artists and musicians in resistance movements has changed in the age of anti-terrorism?
BC: I think you have to assess who the artists think that their audiences are. Most of the time, when people take those political stances, they're playing to an audience. If you don't think anybody's listening to you, or if you think that you're going to drive away the audience you have, by making a particular statement, you're going to think pretty hard about that statement. The Van Morrisons and the Eric Claptons taking this strong anti-vaxxer stance, I mean, I have no reason to think they're not sincere in doing that, why would they not be? But I think they’re also interested in that audience and maybe only because they feel that's who they're communicating with.
To me, I don't think the role has changed that much. I think that it's everybody's job in society to take a stand on issues, especially on issues that affect everybody. We're all supposed to be paying attention. We're all supposed to take responsibility for what happens. An artist's position in things is such that you can make a point publicly and be heard. And therefore you should.
That's how I see it. And I don't think that's changed. I think the tolerance for outspokenness with respect to issues is a kind of whimsical thing, almost. It's kind of an unpredictable element because when a point of view is seen to be widely popular, then the media will be a willing participant in conveying that point of view from the artist to the public. When it's not, they won't.
So, that's kind of what it comes down to. I don't think it's about the artists. I think that when you don't hear these kinds of things—there was a period, a decade ago, where you didn't hear very much protesting coming from the artistic community. It's not because the artists weren't doing it, it's because the media weren't talking about it or weren’t covering it.
Fashions come and go, too. There are times that it's just not so fashionable for a young artist, for instance, to be thinking about those things. The eighties were like that where, oh, I don't want to talk about issues, you know, just want the money. And that was the prevailing attitude. But that was a reaction to there having been a degree of fashionable acceptance of protest before that. So it looks like the pendulum just keeps swinging back and forth.
I think the job of us human beings is to maintain our commitment to whatever extent we can to as many good things as we can, regardless of where the pendulum is.
M: What roles can artists and musicians play in undoing and repairing the harm that two decades of anti-terrorism legislation has brought to communities at home and abroad?
BC: I don't know, in the big picture, how we get out of it. I think somebody has to be, so somehow someone has to develop a voice and have it be heard. And I don't know how that's going to happen.
You look at someone like Greta Thunberg. We’re hearing her voice. I wonder, why are we hearing her voice, and not the voices of others who might be saying the same thing? Is it because she's the most effective of all the possibilities, or is it because it's good to have a mascot out there saying the things that we know should be said, but [to whom] we don't really have to pay that much attention? I'm a little afraid it’s the latter. But at the same time, it’s great that she's there, and that we’re at least hearing her voice. But I don't know how we get it.
I think on a personal level, the answer lies in trying to be as discerning as possible and paying attention to the impact of our own choices on others. So the choices of rhetoric and choices of action: it comes down to that.
When I go out the door in the morning, I want everybody I meet to have a good day and I do whatever I can to facilitate that. Mostly, what it means to me is that I'm polite to people and respectful as much as possible.
We're now comfortable insulting each other and, and, you know, behaving like a bunch of angry teenage boys, thoughtless and rude and lacking in judgment. I mean, I think that the whole society is being encouraged to behave that way. And so whatever we can do on a personal level to offset that is going to be a good thing.
And that's a moment by moment thing, really. We can have all the ideas we want about the big picture and we need some. We have to work on the big issues. But, it really comes down to how you treat the people you meet.
Bruce Cockburn was recently inducted into Canada's Walk of Fame. He is currently on his "Second Attempt" 50th Anniversary Tour across the United States and Canada
~from monitormag.ca - by Róisín WestBruce Cockburn with James Meadow | Where The Lions Are interviews - video
19 December 2021 - A few weeks ago I had the chance to meet Bruce in a long and deep interview. He shared some chapters of his long journey in life and music, from his beginnings at Berkley Music School in Boston to his latest release, from the music scene in Ottawa and Toronto to his new life in San Francisco. I am so grateful for the time he dedicated to me and for the legacy of his songs. If you have the chance, get some tickets for his upcoming shows... he's as great as ever!
Bruce Cockburn with James Meadow on the third episode of Where The Lions Are interviews. In this interview Bruce Cockburn unfolds his long journey in life and music, from his beginnings at the Berkley Music School in Boston to his last release Bruce Cockburn Greatest Hits, from the music scene in Ottawa and Toronto to his new life in San Francisco. A profound narrative through reflections, encounters and songs of an artist who continues to stray from familiar territory and elude any kind of definition.
Many thanks also to Bernie Finkelstein, for making this happen, and to Daniel Keebler for the beautiful cover photo (and many others) and all the support. Thanks to Victor Johnson for a footage of a recent performance of Stolen Land. I hope you'll enjoy!
Watch the interview
14 December 2021 - Bruce Cockburn could be considered Canada’s national treasure.
Now marking a milestone 50 year anniversary of making music, he can look back on a remarkable list of accomplishments — among them, inclusion in both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, no less than 13 Juno Awards, the Governor General’s Performing Arts Award, inclusion in Canada’s Walk of Fame in Toronto and the most prestigious honor of all, induction as an Officer of the Order of Canada.
With nearly three dozen albums to his credit, it’s little surprise he’s amassed those honors. Nevertheless, the novice might best be advised to check out his forthcoming double album compilation, Bruce Cockburn’s Greatest Hits (1970-2020) was released on December 3rd courtesy of his longtime record label True North. It could be considered quite an accomplishment.
“Yeah,” Cockburn agrees. “Except that it doesn’t include some of the longer thoughtful songs and the instrumentals. Still, that’s not a bad problem to have.”
Given that abundance of riches, one would have to agree with his sentiment. The songs that make up this compilation were those that were intended as singles and aimed at attaining airplay. In a sense, it’s a wannabe greatest hits, but even so, it’s a fine chronicle of Cockburn’s work that goes back to the foundations of his songwriting career.
“Once in a while I forget — well, more than once in a while, quite often actually — I don’t remember making these specific songs,” he muses. “So when I do go back and listen to the older ones that if I haven’t heard in a while, I’m generally kind of surprised at how good they are.”
That might seem odd coming from the man that recorded the music in the first place, and while Cockburn tends to agree, he also offers a ready explanation for having arrived at that actual assessment.
“I realize it’s a weird thing to say about yourself, I suppose. But I just sort of think, ‘yeah, okay, that’s what we did back then.’ But given some allowance for improved recording techniques, or just just better understanding of the studio and what to do in it, they hold up really well. What I remember about each of them was the fact that we just did the best we could at the time, in terms of of the songwriting and the recording and performing. That seems to have worked pretty well overall.”
In a very real sense, the new album is a document of a life well-lived, both as an artist and as an activist who’s never been afraid to stake out certain truths, whether it’s social, spiritual or political.
“I feel great gratitude for having been able to do it this long and being able to leave a few breadcrumbs along the way,” Cockburn reflects. “There’s been times when I’ve been aware of it being that. Even going back to the early days, when it I asked myself, what’s the point of me doing these songs? But once I started understanding what I was really doing, writing about my very personal view of things, I realized it really wasn’t about being that personal. I think I’m reflecting some aspect of the human experience. It’s not just about me. And so, in that process, I am leaving a trail. This is one guy’s experience of a life in song, expressed in song, and hopefully other people will find things to relate to in them. And, in fact, they do seem to. So I don’t think I’m leaving a trail as a plan, per se, but I am aware of the fact that that’s kind of what I’m doing.”
The trail hasn’t ended, of course. Cockburn says there are plans for another tour, one he’s dubbed “The 2nd Attempt Tour,” given the fact it was intended tp take place last year to mark his 50th anniversary, but, like everything else, delayed due to the pandemic.
“We’ve got shows booked from December, through the winter into the spring and in bits and pieces, and we’re adding more as time goes on,” Cockburn notes. “So hopefully, all this stuff’s gonna actually come to pass.”
Of course, that raises the question of whether Cockburn still enjoys the idea of touring?
“I did two years ago, the last time I did it,” he replies. “I’m looking forward to trying it again. I mean, it’s been kind of frustrating to not be able to play for people. That’s when the music really comes alive.”
Speaking of which, he also mentions that recording plans are also in the works.
“I’m just about ready to make another album actually,” he suggests. “There are two things I really want to do. We did an instrumental album, which I wanted to do for a long time. And then I want to make an album of my new songs, which I’m two or three songs into for that. But I also want to do an album of cover songs one of these days, but that always seems to get put on the back burner. It was lurking quite close to the front of the burner for about a year, but then I got all these new songs and now that that’s gonna take precedence.
“Anyway, one of these days, if I live long enough, those things will get done and then who knows after that. We’ll do some cover songs, an idiosyncratic range of stuff that I like and stuff that’s had some effect on me over the years. Mostly though, just songs that I liked and that I could figure out how to do.”
~from rockandrollglobe.com - Lee Zimmerman
14 December 2021 - On Tuesday, December 14 at Noon, JPR will broadcast a JPR Live Session with Bruce Cockburn on Open Air.
LISTEN: JPR Live Session
One of Canada’s finest artists, Bruce Cockburn has enjoyed an illustrious career shaped by politics, spirituality, and musical diversity. His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while travelling to such far-flung places as Guatemala, Mali, Mozambique, and Nepal, and writing memorable songs about his ever-expanding world of wonders.
With 34 albums, 13 JUNO wins, two Hall of Fame inductions, Officer of The Order of Canada — and new inductee into Canada’s Walk of Fame this year — all spanning a 50+ year career — it’s no small task to encapsulate Bruce Cockburn’s inimitable imprint when it comes to Canadian music and culture.
Throughout his career, Cockburn has deftly captured the joy, pain, fear, and faith of human experience in song. Whether singing about retreating to the country or going up against chaos, tackling imperialist lies or embracing ecclesiastical truths, he has always expressed a tough yet hopeful stance: to kick at the darkness till it bleeds daylight. “We can’t settle for things as they are,” he once warned. “If you don’t tackle the problems, they’re going to get worse.”
~ from JPR Live Session
13 December 2021 - After five decades in music, iconic Canadian singer-songwriter Bruce Cockburn has released a greatest hits collection, titled Greatest Hits (1970-2020). On top of that, he’s being inducted to Canada’s Walk of Fame this week. Cockburn returned to Q to discuss the honour with Tom Power and look back on his illustrious career.
Walk of Fame interview
11 December 2021 - Bruce Cockburn joins us on Episode 611 of Folk Roots Radio for a wonderful in-depth conversation about his new career spanning retrospective, “Greatest Hits 1970-2020”, a double CD set featuring 30 songs he has released as singles. After 34 albums, 13 Junos, thousands of shows across the world and numerous other awards, it’s been quite the career. The good news is that Bruce Cockburn is still going strong, still working on new songs, and still playing shows. In fact, this month he sets out on his 50th Anniversary tour. It’s actually Take 2 – because COVID put paid to the first version last year. There was a lot to talk about which is why we’ve given over the whole of this episode to the interview. So settle down and enjoy Bruce Cockburn… in Conversation on Folk Roots Radio & Jan Hall.
LISTEN - Folk Roots Radio
The interview date for this was November 23, 2021. Thanks Daniel Keebler for this info.
9 December 2021 - Delayed by the pandemic, Bruce Cockburn’s 50th-anniversary tour arrives in Eugene
On the occasion of a 50th-anniversary tour and in preparation for a two-CD greatest hits collection, what is the best approach to evaluating an artist’s catalog: personal favorites, crowd-pleasers, or is it better to decide a song’s legacy by some other measure?
That’s the question posed by acclaimed Canadian singer-songwriter Bruce Cockburn. His brand-new greatest hits double album is out now, and his second try at a semicentennial celebration tour — the first one was delayed by the pandemic — stops in Eugene Sunday, Dec. 12, at the Hult Center.
Referring to the greatest hits collection, Cockburn says, “The concept from the very beginning had been to include everything that had been a single, all throughout the 50 years,” in chronological order. Simple enough.
What’s also captured in the collection, though, is a musical evolution. From the acoustic stuff of the 1970s growing into bigger band arrangements throughout the decade, on through the more pop-oriented material of the ’80s — highlighted by what is probably Cockburn’s biggest hit, the mildly new wave “Lover in a Dangerous Time” from the 1984 album Stealing Fire — and then, back to the acoustic side in the ’90s.
Cockburn has navigated throughout his career between these two poles: the folksy balladeer and the grown-up pop songwriter with a modern edge. But for a half century, Cockburn never quite became a household name such as James Taylor or Yusuf Islam, formerly Cat Stevens. Nor does he have the regal gravitas in the U.S. of fellow Canadian Leonard Cohen, though he was recently honored by a plaque on the Canadian Walk of Fame in Toronto.
Cockburn’s eponymous debut album came out in 1970, a collection of acoustic songs featuring only his own skillful guitarwork, his gentle tenor with a conversational cadence and lonely melodies.
About a half century later and prior to his greatest-hits album, Cockburn’s last studio release was Crowing Ignites, from 2019, a selection of wordless acoustic guitar music, and a reminder that Cockburn is in his own right an expressive instrumentalist: sometimes jazzy, other times traditional and occasionally informed by the blues.
Instrumental experiments notwithstanding, Cockburn’s songwriting most often begins with words.
“It starts with feel,” he says. “The ability to free associate. Then it gets technical. I don’t want the music to overpower the lyrics, I want to create a landscape that the lyrics can exist.” For Cockburn, who as a young man aspired to become a poet as much as a musician, music and lyrics exist in the same part of the brain, he says.
A teenager in the late ’50s, Cockburn was the perfect age for early rock ‘n’ roll, worshipping Buddy Holly and Elvis Presley and rejecting any kind of music lesson that taught him anything less than how to make those sounds. Soon enough, he discovered the guitar, and shortly after that, The Beatles, Bob Dylan and other early innovators in the folk-rock movement.
Once he heard Dylan, “I became a fan right away. We listened to the folky albums, and then, when he went rock, there were cries of betrayal from all corners, except from our little crowd: We thought it was fantastic. This is so where it should have gone,” he says.
Before that, “It hadn’t occurred to me independently that you could have songs that didn’t have dumb lyrics,” Cockburn says.
Even though Cockburn will perform solo in Eugene, when he does bring his songs to a band, they need to accept that most often, his guitar parts come first.
“I write the songs with guitar parts that are meant to stand up,” he explains. “It’s a part, written into the composition as a whole. So, when I get together with other musicians to get ready for a tour, I say, here are the songs — and they have to work around them.”
“I pretty much let them do what they want,” he continues, “and I’m just kind of the editor, but they are constrained that the guitar is going to be doing something busy, and they’re just going to have to figure it out,” he says.
Cockburn’s inclination is to play new music on his 50th-anniversary tour, but he understands that audiences most often want to hear the familiar stuff.
“I think it’s necessary, and it feels good, to put in the songs that people are attached to,” he says. He’s made a point of practicing some of the older songs that have been neglected from his setlist for decades. “It will be a mix from all different eras,” he says.
Bruce Cockburn performs 7:30 pm Sunday, Dec. 12, at the Hult Center; $38-$48, all-ages. His two-disc greatest hits compilation is available now on all major streaming services and wherever music is sold.
~from Burning Man - eugeneweekly - William Kennedy
8 December 2021 - KRCB Midday Music with Doug Jayne will be interviewing Bruce on December 1.
The interview was aired on December 8, 2021.
KRCB interview with Bruce by Doug Jayne
Bruce Cockburn celebrates 50 years at Freight & Salvage
Tom Lanham - SFExaminer.com
7 December 2021 - Canadian turned San Franciscan folksinger turns his political instincts to climate change.
Bruce Cockburn spent many a lockdown day inside, composing new protest songs like Orders and Us All.
For most of his five-decade career, Juno-winning Canadian folksinger Bruce Cockburn had the scenic wilds of his native Ottawa, Ontario as a backdrop for his thoughtful, often politically inspired anthems. But since moving to the Bay Area with his wife and then-baby daughter in 2014, he says he’s adopted a new, decidedly San Francisco state of mind.
He used to read about our town’s miasmic fog in Dashiell Hammett Continental Op stories, but it was just a romantic notion. Now that he lives out on the Avenues, the hard-boiled fog has become almost old-friend familiar.
“I was out last night around seven o’clock, and it was already dark and the fog was coming in, and it had that wonderful sense of surreal mystery that the fog brings with it,” he said wistfully. “That’s one of the things that I love about San Francisco.”
Cockburn’s songs have long been influenced by politics, local and global. These days, his concerns move quickly from California’s drought to climate change, to its inexplicable deniers, to the threat to humanity that greedy forces are bringing about.
“‘This is the way the world ends, not with a bang but with a whimper,’ he said quoting T. S. Eliot. “And we think we’re seeing the effects, but there are places like large chunks of Asia, Africa and South America where people are really feeling it.”
This kind of thinking is why Cockburn believes his “50th Anniversary Concert, Second Attempt” is selling more tickets in liberal Berkeley than in conservative Grass Valley.
The singer-songwriter spent many a lockdown day inside, angrily composing new quasi-protest songs like “Orders” and “Us All.” He has now amassed music enough for a full album, which will follow last year’s “Greatest Hits (1970-2020)” and 2019’s all-instrumental experiment “Crowing Ignites.” His seasonal “Christmas” set from 1993 is also resurfacing this month.
“In Canada, where most of my record sales are, it’s platinum. So that kind of means that everyone’s got one already,” he said. “It holds a special place in people’s hearts — I hear from fans all the time about how they pull that album out every Christmas and play it in their family homes, and I’m really happy about that.”
On early hits like ’84’s “If I Had a Rocket Launcher” and ’91’s “Lovers In a Dangerous Time,” Cockburn’s singing voice was flintier, more pugnacious. But at 76, it’s mellowed into a warm, professorial rasp that befits both his politically informed lyrics and his elder statesman status.
As he’s been sifting through his career material, he’s been introducing his 10-year-old daughter to his classics like 2002’s “Inner City Front,” while unearthing obscurities that he hasn’t performed in years.
And he didn’t bury the lede in the “Second Attempt” tour title, he said, “Because there was no first! We had all these shows booked for 2020 — a lot of shows — but they all were canceled. So this is a kind of tentative, baby-step version of getting back into it again. We’re hoping that all these gigs are going to happen.”
~ from Bruce Cockburn celebrates 50 years of songwriting at Freight Salvage
1 December 2021 - I was wrong. Having, in 2014, held Canadian singer/songwriter and guitarist Bruce Cockburn hostage in Berkeley’s Hillside Club during a nearly two-hour interview, previewed/attended his last Bay Area appearance in 2019, twice read cover-to-cover his 530-page memoir and found myself in a forever relationship with a Cockburn fan who, upon realizing he lacked one of the multi-award-winning artist’s 34 albums, was visibly distraught—I’d thought I’d heard every Cockburn story and tune there was to hear.
I told myself I’d tickled out the whys and wherefores behind poetic lyrics written with monk-like sparseness and music that embraces folk, jazz, blues, rock, world beat, Renaissance, Romantic and 21st-century classical-music styles. His work speaks to universal themes related to family, love, self-determination, spirituality and faith. I was “insider” enough to know Cockburn has, for five decades, been active and sings in bold protest to human-rights violations worldwide that include indigenous land exploitation, ecological devastation, corporate crimes, nuclear buildup, geopolitical and military conflicts, war and more. His albums have decorated Cockburn with 13 JUNO wins, two Hall of Fame inductions, multiple honorary Doctorates, positions such as Officer of The Order of Canada and a recent induction into Canada’s Walk of Fame.
So, on the occasion of his Dec. 3 double-album release of Bruce Cockburn – Greatest Hits (1970–2020), and in anticipation of his “second attempt” North American 50th Anniversary Concert Tour that was originally stalled by Covid-19 and includes live appearances in two shows Dec. 9-10 at Berkeley’s Freight & Salvage, it was natural to expect mere updates and well-trodden repeats.
Instead, in response to a question about experiences that most shook him up or tilted his career and altered or affirmed his relationship to poetry, words and songwriting, Bay Area–based Cockburn tells me a brand-spanking-new story about his dad. The near-tears choking sound that enters his throat fleetingly at the very end of the story is pure Cockburn: it’s a sonority that’s not performative, overly sentimental or self-indulgent. It’s the real deal, expressed in language composed with raw sounds and abstract symbols, but deeply human, like his music.
“I had an experience with my dad,” Cockburn says. “He was at home, in Ottawa, and I’m in Boston [attending Berklee College of Music], and he came down at the end of the term to pick me up. We were talking about what we were going to do over the summer. I told him I’d got a summer job offer, but I turned it down. This is the truth; a guy was a friend of one of my dorm mates. He’d come back from Vietnam, and he had a plan to go down to Central America and make a lot of money over the summer, running guns to Cuba. He wanted to know if I’d go with him and watch his back. With hindsight, that’s the most ridiculous thing. It would have been suicide. At the time, I just thought it was an interesting thing to be offered. It seemed like it was going to be lucrative, but then I thought, ‘No, I don’t want to do that.’ My dad, he was horrified that I’d even consider it—[I’d be] basically facilitating people being killed. My dad had been in the Canadian army and didn’t see action during World War II, but he understood what was being talked about far better than I did. My response to him was, ‘What do you care about what I do anyway?’ I was a typical teenager. There was silence. Then he said, ‘Well, a father loves his son.’ I could say nothing. It was the first time I’d ever heard my father say the word ‘love.’ Nobody in my family ever said they loved each other. We did love each other, but nobody expressed it.”
Cockburn says hearing his dad say “love” out loud shocked him. “I’ll never forget that feeling. To use a crass expression, I didn’t know whether to shit or go blind. I had no place to put that,” he says. “I’m glad to have heard that from him, because it’s the only time I did and even then, he couldn’t say, ‘Well, I love you.’ He didn’t have the language, which is why we didn’t talk about those things. But he got to say what he said, and I got to hear it. It was indirectly life changing. I couldn’t tell you the exact effect, but it had to have made a difference.”
Cockburn can’t—or won’t—pin down the difference made by this experience, but an outside observer could draw insight from his reticence. Cockburn has an edgy discomfort with words and their specificity. It strikes me that his lyrics are laid down as if they are secret scratchings that both point to, and cover up, the sacred truths buried within them. Even though his repertoire and his songwriting process depends on words, listeners must dig reflectively into their own hearts and minds to determine meanings and value.
All that makes Cockburn sound elusive or evasive or complicated, and although he expresses ambiguity when we talk about his albums, artistic process, music reviews and other matters, his life is largely relatable. He’s married to an attorney and grateful her steady work during the pandemic stabilized the family’s income. “Some of my income comes from royalties and other things, but the bulk comes from performing gigs,” he says. “Some of our friends are having much harder times. It’s inconvenient for everyone.” The couple also has a 10-year-old daughter. Cockburn says when she recently switched from him waking her up in the mornings, as was his custom, to now using a radio alarm, she told him, “I love music. I don’t know how I could live without music.” His response? “Hopefully you’ll never have to.” She studies guitar and piano, and despite not practicing, baffles him by improving. Which means he doesn’t worry about her music skills. Instead, he worries about her generation’s future.
“The pandemic’s not the only problem: That generation is facing the results of the whole 20th century and beyond,” he says. “They’re going to have quite a lot of trouble. We’re not setting a good precedent. Not in this country.” He names as his biggest concern the world’s dependence on oil. “It really started with the industrial revolution after World War II. Now it’s everything: it’s where we get our energy, our clothes, products in our homes. But [oil] is a finite supply, and it’s going away. We won’t get to Mars fast enough, and it’s unlikely Mars has oil, anyway. We’ll have to find an alternative. We need to go back to growing fibers to make clothes, which still happens somewhat; but increasingly, things are made out of polyester, nylon—and those are petroleum. I’m not trying to be a doomsayer, but the odds are we’ve created major problems that the next generation will have to deal with.”
We decided to lighten up and talk about his new CD. Curating the anniversary album and the set list for the tour, both spanning 50 years’ work, he says song selection took a mere 30 seconds. “It’s all singles that went to radio. There was no choosing involved.” Embarking on a solo tour was largely a matter of money and circumstance. “When we booked these shows everyone was enthusiastic, but nobody was sure if they would actually happen,” he says. “Nobody’s even sure now: We’re all acting like the shows are on. But who knows when there’ll be another lockdown? Fingers crossed!”
In the bank already are 30 songs written using what Cockburn calls “my standard fallback” approach. “I want to write about everything and anything that comes to mind,” he says. “There are things that come to you shaded, in a way that’s new to you. Encounters with art or a person can do that, too. I go around with the intention of being in a state of vigilance, waiting for those triggers. I write things down as I think of them. Sometimes a whole song is born quickly, and other times an idea seems good but has to wait decades for other elements to make it work. I go around harboring the intent.”
I ask him to jump onboard to comment on six tracks I’ve selected. About 1973’s All The Diamonds in the World, he says, “I think of it as marking the point I decided to self-identify as a Christian. The song for me belongs in a photo album commemorating that moment. I wrote it following the stress between me and my [ex-]wife. I found a degree of helplessness within myself to deal with the situation, the standard kind of stuff that happens between couples. I keenly felt my lack of self-sufficiency. I prayed, and the prayer was answered. It’s not written exactly about that, but it’s more a celebration of the fact the prayer was answered than about the issue itself. The setting is in a boat in the Stockholm archipelago. It was a beautiful day, and the sun sparkled on the water; it just set that song in motion. The feeling of what I’d experienced the night before, the prayer answered and the beauty of the day, just combined to produce that song.”
Rumours of Glory, written on the cusp of the 1980s, captured a scene in New York City’s East Village when the bleak, empty streets suddenly teemed with people leaving work. Twenty minutes later, everyone having dived underground into the subway system, the hubbub of life disappeared. The sunset cast the sky in pink; two contrails left by planes formed a cross in the sky. “It was too good to pass up,” he says.
In 1995, Pacing the Cage was a song a lot of people related to. “I certainly wasn’t thinking of this [Covid] trap when I wrote it, but it has resonance this time, for sure. It’s another song immediately triggered by a visual image,” he says. “I was living on a horse farm in Western Toronto. It was a situation that started out great, exciting; but it lost that luster in a big way. It’s not just about being in a domestic trap, but in yourself, in your habits and habits of mind. There’s a sense of suffocation that we all experience. The imagery; I turned into the driveway of the farm, and there was a sunset that looked like an angel weeping and holding a bloody sword. There was the song, right there. I didn’t have to make anything up. Seeing it: that’s the trick. It doesn’t feel like trickery; when it happens, it feels like a gift. Not everyone has it, nor do I, so when I get it, it’s precious.”
Anything Anytime Anywhere (1992) is a straight-ahead love song with unusual origins. “The title and phrase actually came from a want ad in Soldier of Fortune magazine,” he says. “The magazine is a kind of fashion magazine for mercenary wannabes. In the ’80s, when the U.S. government was telling us there were no wars in Central America, you could open up Soldier of Fortune and read accounts written by soldiers fighting there. It was enlightening in that sense. It was common to see ads for military people looking for work: they were willing to do anything, anytime, anywhere. In a love context, it felt like what you can ask: You can ask me for anything, anytime, anywhere.”
One song on the new CD is a happy accident. Instead of the 1973 solo version, a recording made in 1987 of a live concert has Cockburn singing “Mama Just Wants to Barrelhouse All Night Long” with the late Kathryn Moses. “Somebody goofed, and the record was mastered with that version,” he says. “We could have corrected it, but it seemed like it was meant to happen, because Kathy Moses died last year of cancer. It seemed fitting she be on the record. I’m glad the mistake was made.”
Cockburn says he hopes his music has and will always speak the truth and draw enough attention to become a medium for sharing, for human exchange—then backtracks with, “it’s safe to say it’s always the best I can do at the time.” He finds music reviews, even self-administered ones, troublesome. “Passing judgement—we all do it, I do it—but I don’t want to inflict it on anyone else,” he says. “It’s better to let people figure it out for themselves. Once in a while, over the centuries, I’ve actually read one or two reviews that taught me something. Mostly, they’re just a guy’s or a woman’s opinion, and I don’t even feel I was at the same show.”
While first discovering jazz, Cockburn bought albums based on DownBeat magazine reviews. Eventually, he realized he and the reviewers liked the albums, but for different reasons. “I also remember a big controversy in the ’60s in DownBeat magazine, about whether or not you could have jazz written in 3/4 time. The musicians are playing it, and it’s the reviewers who are going, ‘This isn’t jazz,’ and another saying, ‘Oh, yes it is.’ It was a stupid thing: If a guy is playing jazz in 3/4 time, what’s it to you? It’s an example of what’s wrong with the institution of reviewing. It’s all very subjective … so, actually, it’s nice not to be reviewed.”
We touch on four new songs produced during the pandemic. “Those songs I wanted to get out, because two of the four are particularly applicable to what I feel is going on,” he says. “I don’t talk about Covid; though one of the songs mentions Covid, in passing. One of them is called ‘Orders.’ The chorus is a list of all kinds of people and behaviors we may or may not approve of. The chorus goes: ‘Our orders said to love them all.’ Another song is called ‘Us All’: It’s a plea to be kind to each other. It seemed to me those songs should be out there being heard. The other new songs are more like all of the rest of the stuff I do. Just Cockburn songs.”
Hopefully, when he writes a few more—he has almost enough songs for a new CD—Cockburn’s next album will be accompanied by another never-before-heard story. A tale filled with mystery and ambiguity; love, pathos and pain; and words destined to be infused with melody.
~from Saying Love Outloud - Bruce Cockburn
23 November 2021 - Our guest on this episode of Songcraft is Bruce Cockburn. The Canadian singer-songwriter’s more than 50-year career has produced 34 albums, 22 of which have been certified Gold or Platinum in his home country. He has won 13 Juno Awards, and is a member of both the Canadian Songwriters Hall of Fame and the Canadian Music Hall of Fame. Bruce joins us to chat about his career and his new 2-CD career-spanning compilation, entitled Greatest Hits: 1970-2020, which will be released on December 3rd.
19 November 2021 - In a career that spans fifty years, there’s little that Bruce Cockburn has yet to achieve. His list of accolades alone is enough to single him out for distinction — among them, 13 Juno Awards, an induction into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, the Governor General’s Performing Arts Award, and his naming as an Officer of the Order of Canada. The 34 albums he’s recorded over the course of that half century make it clear why those honors are so well deserved, but they also testify to the near impossibility of distilling those recordings down as far as the forthcoming double-disc Bruce Cockburn’s Greatest Hits (1970-2020) due to arrive courtesy of his longtime record label True North on December 3, 2021. Nevertheless, the timing is significant. The next day he’s due to be accorded yet another honor, induction into Canada’s Walk of Fame in Toronto.
‘It was supposed to be a gala ceremony’ Cockburn notes. ‘Now it's going to be virtual. I'm not quite sure what that means’.
Despite whatever disappointment may lurk given the make-up of the event, Cockburn’s overall enthusiasm hasn’t waned. Now a resident of San Francisco, he’s looking forward to getting back out on the road for what he’s euphemistically dubbed his ‘2nd Attempt Tour’, a victory lap to mark his half century anniversary after its cancellation due to covid.
The Alternate Root recently had an opportunity to talk with Cockburn on the eve of the anthology’s release for a wide-ranging discussion about his art, his activism and his reasons for still making music.
With 50 years worth of recordings, it must have been a tough choice to narrow it all down.
I'm not sure whose concept it was, but it seemed like a good one. It might have been the record company’s, but they wanted an album called Greatest Hits. Of course, calling all these songs ‘hits’ is a little bit of a stretch. But they were all intended to be hits. That’s what made it simple. We chose all the songs that were singles that we that we ended for radio over the years. That made it quite a simple choice really. One or two things that could have been in there might have gotten left out, but basically it was just that. It's like so many per decade.
I would think a lot simpler rather than having to go through and select favorite album tracks.Yes, and then fighting with each other over whose best stuff would dominate. In the end, that would likely be mine. But there's always good discussions to be had. So that was all avoided by just going with the singles. To me, the merit of that is that for the most part, those are songs that people audiences find and they can relate to easily. They're not the only ones. I get requests for much more complex songs than the ones that ended up on this collection. In general, they’re the songs that people come to the shows hoping to hear. And so it makes sense to put it all out like that as a package.
You also had a commemorative tour planned, did you not?We were we were supposed to be celebrating my 50 years of recording and last year of course, those celebrations were put on hold. So now we're gonna be touring with the second attempt at the 50th anniversary tour.
It’s a great name. ‘The Second Attempt’.Well, everybody can relate to that at this point. It seemed like a smart idea at the time.
Do you ever look back in awe at the fact that you've been able to maintain such a prolific stance for over 50 years, and that you're still doing it.‘Awe’ isn’t exactly the word I'd use, but I certainly do have gratitude. You know, yes, it is kind of amazing. If anybody had asked me when I started out, I wouldn't have much of an answer. Anything beyond 20 years would have seemed kind of implausible. But, but here we are. It’s just what happens when you don't die?
I guess in the beginning, there was no way to know that it would evolve the way it's evolved. When you made those early recordings, were you just thinking about one album at a time?That's really as far as I took it. And as far as I still take it, actually.
This career of yours has continued to unfold and evolve. The early albums were in that folky sort of vein, but then you quickly accelerated and got very direct in the messaging that you were sharing, what with the activism and, shall we say, the outrage, “If I had a Rocket Launcher” is an amazing song. It doesn't hold back, shall we say.
It didn't come out of nowhere. It came out of a very specific set of circumstances, but that reaction for me was so raw.
So how did your writing tend to evolve early on? Were you becoming more aware of wanting to make a statement?
It's hard for me to see it in general terms like that. Each song has its own backstory, I suppose you could say that over time, yes, there was certainly an evolution. There were other songs that we thought were worth sharing with people that ended up on the first couple of albums. The stuff I started out writing was derivative, just kind of all anything that I wasn't very fussy about . But then I started giving more depth to the lyrics and it became a bit psychedelic and kind of unfolded over time. Later the focus became one of a spiritual approach and that's an ongoing theme that runs through all of my tracks really. In the old days, it was expressed in terms of the imagery of nature and the ways of relating to nature. Then it became more about activism in the form “Rocket Launcher”.
Was there like a certain point, an ‘aha’ moment where you said to yourself, I want to switch the focus and go in a different direction in order to bring in elements that maybe I hadn't before?
There were little things like that, little occasions, but not really major ones. Like I said, it was mostly it's one song at a time. I was getting typecast, and I found it extremely irritating. So, I wanted to make an album that sounded more like a city record. So, I got a band, I played some electric guitar here and there and got quite a different feel. It turned out to be a popular move. That was one of those moments, but it kind of in reaction to that typecasting.
So, what was the reaction like?
I was freaked out by it. I was used to coffee house audiences that sat there in a kind of reverent state. They never really responded very much. So, to have people actually hooting and hollering was like, ‘Oh, my God, I’ve got to stop this’. So, I went the other way, and made an album called Salt, Sun and Time, which basically was minimalist, just guitars and voice. Most of the record was a couple of other bits and pieces, here and there, but it had the effect that I wanted, to dampen everything down. Nobody was that interested in it, but over time, it stands up. There's one song on that one, “All the Diamonds” which is one of those songs that people have attached themselves to, along with a couple of other things. So, when you asked about aha moments, there were those, but they were reactive. It wasn't like me discovering something. I was in the process of reacting, discovering things. The Humans album would be the next one of those moments, but not with respect to any individual song. It just seemed very different from the album before it. That was really the culmination of the ‘70s, I suppose. Humans did seem to be starting out in a new direction, but I didn't spend any time thinking about what that might be. It just was clear that it might be that and, and Humans seemed like a good title. As it turned out, it fits the whole decade rather well.
These albums that you're that you're mentioning seemed to raise the bar, whether consciously or not consciously. Did you feel like you were raising the bar? Was there a point where you said to yourself, I have to make these statements, I can't retreat, I have to give them what they want?
You have to remember that at one point a long time ago, in the aftermath of the Cultural Revolution in China, as horrible as that was in a way, the concept of having a periodic revolution was a worthwhile idea. It also applies on the personal level, perhaps even better than it does on the social or political level. You just need to shake yourself up every now and then and not be complacent, and not settle into habitual ways of doing things. So, for me, that has happened every now and then. Sometimes they've been associated with the breakup of relationships, sometimes with travel, sometimes with sort of spiritual insight. And where it relates to your question is that people create these expectations for themselves. I was getting typecast as the ‘back-to-nature guy’, or as something else I got for a while. I was a Christian singer, quote/unquote, and people who weren't comfortable with that, as it turned out, mostly they stuck around. And then, you know, with the release of Stealing Fire, I became a political singer, quote/unquote. And some people didn't like that. So other people were drawn to that and really liked it. And that actually really expanded my own audience all around the world, or at least the part of the world that I get to travel in. But then there was the danger of being typecast as a political singer.
That’s too narrow a focus for an artist like yourself.
TV will not deal with me, especially in the United States, because they think I'm ugly. I'm too political. On the other hand, that's only a small part of what I've done over the course my career. But if it seems to prevent people from seeing past that, if they if they don't like that, then it seems it's hard for them to see past it. And there's nothing much I can do about that, except, be me, and carry on and do what I do so. So that's what I do.
Well, maybe, just maybe, with this greatest hits album, that view will change and allow people to really see who you are. For those people who are less familiar with your deeper catalogue, it's going to be a good initial overview. The fact is that you are an extremely diverse artist. You have a real-world view. And with three dozen or something albums, there’s a lot to absorb.
If I meet somebody who doesn't know my stuff, and they say, what should I check out first?, I don't know what to tell them after 33 albums or however many it is. I'm not sure what we're up to now. They've all got good songs on them. If I think they like the acoustic stuff, I would steer them one way, but with my live show, I’ve got a cross section of material from different categories and different times. It's a pretty good representation of what I have to offer in a solo context. There are some live bands that I have had, but they're not really that representative of what I was doing with my current band. Then again, I'm not touring with the band right now anyway, so it doesn't matter. I guess my live albums are a way to get around having to steer people in any certain direction. Still, it might be nice if if the greatest hits were really considered the greatest hits.
2 November 2021 - Bruce Cockburn is a singer songwriter that is cross between Phil Ochs and Robert Johnson. Lyrically his compositions are politically and spiritually charged with driving hook-laden melodies while they are delivered using stellar guitar accompaniment. Cockburn is one of those performers that can entertain audiences equally as well with either an electric guitar and full band or solo with only an acoustic guitar. Musically he is a guitar virtuoso with a baritone voice that has mesmerized his fans for five decades. His songs cover a gamut of subjects ranging from politics and human rights to the environment and religion. His extraordinary guitar playing prowess covers a range of styles from jazz and finger picking country blues to hard rock with feedback laden guitar solos. Over the past five decades, he’s released over two dozen studio albums of original compositions and entertained audiences around the world. His travels through Central America along with Europe and Asia as far as Tibet during the 1980s gave him the subject matter for some of his best songs. At 76 years of age, he is still going strong, and prior to embarking on a concert tour beginning in December, “True North Records” is releasing a 30 song double CD of Bruce Cockburn’s Greatest Hits (1970-2020). Blues Rock Review talked to Bruce about his upcoming tour and delved into the message of his music.
How did you choose the 30 songs on your upcoming Greatest Hits (1970 – 2020)?
They are all singles. It’s a bit of an exaggeration I’d say but they were all songs that we would have liked to have been hits and some of them actually were. They are all the singles that were fired in the direction of radio.
I’m very familiar with your work because I’ve been following you since 1980 and have just about all your albums so I know that even if all of them weren’t radio hits they are the ones that stand out.
Among them certainly are the songs that people have kind of embraced more than others so we can use the term hits metaphorically. Some of those songs were not particularly noticed, others were, and some of them were noticed in certain regions and others in other regions and that kind of thing. So some of them like “Rocket Launcher,” “Wondering Where the Lions Are,” among others got significant national attention so that made them obvious. So basically it’s all the songs that had been singles and I think that we left one out that we intended to include.
What are your favorite three out of the thirty?
“Night Train” is one of my favorites of the songs I’ve written along with “All the Diamonds in the World” and “Mama Just Wants to Barrelhouse All Night Long.” Those are always songs that I liked to play myself the whole way along and not just to record or perform but myself, “I’m able to relate to those songs over and over, and over and over again. They’re the ones that stand out in my mind. “Going to the Country” I think stands up pretty well. It’s hard to pick favorites really.
“Mama Wants to Barrelhouse All Night Long” is an obviously blues driven composition. What blues artists over the years have inspired you?
Back in the day, many I mean, I listen to less blues stuff now than I did when I was learning to play guitar, learning to fingerpick let’s say because I already knew how to play guitar when I discovered that music when I was introduced to it, but really the people who influenced me as a guitar player were Brownie McGhee, Mississippi John Hurt, Mance Lipscomb, and country blues generally even though Brownie is not necessarily country blues. It was the folk blues that you could hear in the 1960s that was a very strong influence on me. There was Blind Willie Johnson but you wouldn’t hear him in my guitar playing. I don’t play like him at all but as an inspiration, he’s right up there. It was those guys kind of mixed with jazz players that I listened to a lot that really shaped the way I play guitar.
Like Django Reinhardt?
No, not like Django Reinhardt but Wes Montgomery and Gabor Szabo. Django was a brilliant player and I loved his music but it wasn’t an influence on me particularly with the exception of the tune called “Lulosabat” from the mid 1970s. The early 1970s, that kind of self consciously swingy style but it’s not Django style, it’s just basically the structure of the tune or reminiscent of that. But no, the guitar players that interested me were in the jazz world more. The guys that were sort of interesting in the 1960s when I was really getting into that music. As I said there was Wes Montgomery and Gabor Szabo who a lot of people don’t know about him but he’s really great. When I encountered him he was playing with the “Chico Hamilton Quintet.” Sometimes a quartet and sometimes a quintet and they made three albums with that configuration. They are brilliant records and Charles Lloyd’s compositions shaped my sense of music to a great degree too but Gabor Szabo’s playing on those records is really brilliant. His own records, he made a couple under his own name that are not as interesting. They kind of give you a taste of what he was doing and I heard him live with Chico Hamilton but I kind of wish I could have heard him live as himself because I think that what is hinted at on his records would have been really great live but they didn’t quite catch it. Those three albums from the early to mid-1960s were really great. You can find them and one was called Man From Two Worlds that are under Chico Hamilton’s name and there’s one called A Different Journey, it’s a really good one.
He’s probably the biggest single influence on my jazz playing but I listened to everybody. John Abercrombie was a classmate of mine at Berklee and I got to watch him play up close. There were all kinds of people around. I’ve always been drawn towards wanting to do something like everything I hear that I like. So if I listen to a “Bartok String Quartet” I want to do something just like that. If I listen to Robert Wilkens singing “I Wish I Was in Heaven Sitting Down” I want to do something just like that. It was just the way that I was sort of built. In the case of the Robert Wilkens’s song, I actually learned the song and I’m capable of performing that but that is not true of “Bartok String Quartets.” When these influences come in sometimes they’re pretty audible, most of the time they’re kind of mixed in with all kinds of other influences so it’s not so obvious.
Are You Going to be performing solo or with a band on your upcoming tour?
These will be solo shows.
So it will be you and an acoustic guitar?
Pretty much me and a couple of different ones.
In 1983 when you wrote “The Trouble With Normal” on the album of the same name, it had a line about “the planet lurching to the right,” It seems like it’s lurching more towards the left now. How do you see it?
I think the opposite, I think it is lurching even more to the right. I think that’s what all the populist crap is about. That’s what the anti-vaxxers are about. It’s not across the board and you may be right because what I see as a swing to the right may produce a backlash that will bring a more socialist view in popularity but I just see everywhere that I look around the globe at these would be dictators rousing their populations against somebody, against minorities, against refugees, against something else and it seems to be global so I don’t think that it’s going to the left.
Do you think that the policies from back when you wrote “If I Had a Rocket Launcher” in the early 1980s contributed towards the situation going on today with the mass immigration into the US?
I think it’s simplistic to try and put just one cause to it but I think from the ’80s and earlier. From the 50s really onwards through the ’80s have had an effect that we’re feeling now, that’s for sure, certainly with respect to Central America. Other parts of the world I know less about.
Who would you aim your rocket launcher at today?
Well, I’m not really looking for anybody to aim. It was a reaction to a situation at the time and I hope that I never find myself in a comparable situation. Who do I think represents a major threat to the United States and to the world? There’s quite a long list of them actually and they are the people that think money is more important than life, especially other people’s lives. They’re steering us in a very bad direction. I don’t know how we’re going to deal with that all but you can’t take one issue or even a set of issues and isolate them and say we can focus on this to the exclusion of other things. So you can’t say that climate change is the big issue facing us. It might be the most dire one that is threatening on the larger scale but along with that goes the trend away from democratic values. I think people are afraid and when people are afraid they want to make everything simple and have somebody else make choices for them and tell them it’s okay. We’re seeing a lot of that around and to some extent, that fear is caused by climate change but it’s also the pandemic, it’s also all the conspiracy theories. It’s just around and just like the cliché the only thing you have to fear is fear itself. It’s not exactly that simple but certainly if we could get past testing our surroundings and the things that come at us in terms of fear we would have a better chance of dealing with those things.
One of your most popular songs is “Lovers in a Dangerous Time” from that same time period. Are we now living in a less, the same or more dangerous time?
Somewhere in the world, it’s always dangerous. I don’t know if it’s more dangerous now. I think that we’re getting closer and closer to it. I believe in the science that I’ve been exposed to that says we are getting closer and closer to an irreversible tipping point in respect to environmental conditions. The environmental conditions that we’re familiar with are essential to life as we know it and that’s pretty dangerous. I don’t know if you can get more dangerous than that. We haven’t lost any of the other stuff. We still have diseases that ravage us. We still have the threat of nuclear war. Nobody talks about it but it’s still there. We still have an endless number of threats that we’ve created ourselves. So it’s at least as dangerous, certainly not less dangerous but like I said, I think that anybody’s time is dangerous if you look at the things that threaten.
In the song “A Dream Like Mine” you talk about walking with the power of a thousand generations. What did you mean by that?
I was thinking of the revivalists is kind of what you would call it sort of, the revival of moral among indigenous people. I mean that is what that song is about, what I had seen myself. When I first became acquainted with people from that background in the early 1970s you could see what had happened, you could see the demoralization that had been inflicted on them partly by design, partly by the flow of history. You could see the negative effect of stuff like the residential schools and so on has had but you could also see that people were coming out from under that and my generation, my contemporaries that I was meeting really had this great sense of pride and who they were and a sense of identification with the best of their history. That to me was exciting to see and very, a dumb kind of word, but heartwarming. The song came along a little bit later than that but it was written and intended to be part of a film score. To be the main theme of the music that was made of the same name. Originally it was going to be of the same name which was based on a book of the same name, a Canadian novel about a kind of archetypal native spirit character warrior who comes back to life. He walks out of a lake at the beginning of the book and he’s not a very nice guy actually but quite a ferocious person but he represents that warrior spirit coming back. I got the idea from the title of the book and reading the book and then just as a flow. As it turned out the director of the film didn’t like my ideas. So I ended up not doing the music for the film but the song was there anyway. I thought it was good actually and I was happy to get it.
When Jerry Garcia was alive the Dead used to perform your song “Waiting For a Miracle.” Did you like their version?
I was really glad they did it. I wish that Jerry got the words right.
A miracle for a “Deadhead” was a free ticket to the concert.
There are many kinds of miracles.
Before we conclude the interview is there anything that you would like to talk about that you feel is important to you at the present.
Not especially but I’m really looking forward to doing these shows that are coming up and I’m really hoping they happen. We’re all carrying on, on the assumption that they will happen but given the situation, we’re all in you can’t take anything for granted. So I’m itching to get out there and play these songs for people.
Concerts have been happening and hopefully they will continue.
If we don’t get another big wave of COVID I think they’ll happen for sure. The big unknown, of course, is whether or not and it’s only a month away now, more or less before they start so as it gets closer the odds get better of everything working.
Thanks for taking the time to talk to us and I look forward to seeing you when you come to Portland. Have a good rest of your day.
You too, thank you. I appreciate your interest.
19 October 2021 - With 34 previous releases, 13 JUNO wins, two Hall of Fame inductions, countless honorary Doctorates, Officer of The Order of Canada — and new inductee into Canada’s Walk of Fame this year — all spanning a 50+ year career — it’s no small task to encapsulate Bruce Cockburn’s inimitable imprint when it comes to Canadian music and culture. But his newly announced double-album release, Bruce Cockburn Greatest Hits (1970 - 2020), is a good place to start.
Curated by Bruce Cockburn and set for release December 3rd, 2021 via True North Records, this definitive collection meticulously corrals the acclaimed singer/songwriter’s most favoured tracks — from songs that shot to the top of the charts upon release, to long-lauded fan-favourites requested on tour, time and time again.
Expect to settle in for a chronological journey from the legendary artist’s earliest offerings, to today; curated by Cockburn himself, the hand-picked selection of 30 songs revisit works from 1970 to 2020, and are accompanied by exclusive notes from the artist.
“In 1969, when I was feeling the need to record an album of the songs I’d been writing, I had no concept of what that might lead to,” Cockburn shares. “Not unusual for a young person, I guess...
“In some organic way, it felt like it was ‘time.’ The future wasn’t really an issue. It still isn’t. For each of us, there’s a future or there isn’t.
“But looking back over the arc of fifty years of recording, performing, and travel — not to mention, relationships and personal challenges — I can only shake my head and mutter a word of thanks for all of it. Even if I’d been a planner by nature, I doubt I could have predicted how things have gone.
“And they’re still going!”
The release lands ahead of Cockburn’s “2nd Attempt” North American tour for his 50th Anniversary Concert, previously stymied by Covid restrictions.
TOUR DATES or HERE
Bruce Cockburn’s Greatest Hits (1970 - 2020) is available December 3rd, 2021 via True North Records.
You may sign up for PRE-ORDERS HERE
The first 100 CDs ordered from the True North Records labelstore will be autographed by Bruce.
15 October 2021 - Bruce Cockburn will be participating in a fund-raising virtual concert for the Ottawa Mission on November 6. He will be doing a couple of numbers for this fund-raiser.
Ottawa Mission's Blue Door at your Door to showcase big-name musical artists Organizers hope to raise $300K to help hungry and homeless as event sponsors match up to $95K in donations.
More Info: Ottawa Missions Blue Door Showcase Big Name Musical Artists
Here's how it works: ottawamission.akaraisin.com/ui/bluedooratyourdoor2021
15 October 2021 - Here's a beautiful version of Bruce Cockburn's "Thoughts On A Rainy Afternoon" done by the Canadian Brass with special guest Bruce Cockburn. The song is originally from Bruce's first album released in 1970.
12 October 2021 - SOCAN members Jully Black, Bruce Cockburn, and the late Salome Bey will be inducted into Canada’s Walk of Fame, and SOCAN member Serena Ryder will receive the Allan Slaight Music Impact Honour, at Toronto’s Beanfield Centre on Saturday, Dec. 4, 2021, with a broadcast drawn from the event to air later in December on CTV.
“I’m so grateful for this opportunity to speak, to express, and to represent every little Black boy and girl who looked out and didn’t see someone who looked like them on television, or heard them on the radio, or seen them in film and TV, or saw them teaching in schools,” said Jully Black on learning of her induction.
“Being inducted into Canada’s Walk of Fame feels to me like an excuse for a party,” joked Bruce Cockburn. “It feels wonderful. When I first heard the news, I was very excited. I was like, ‘What? Me?’”
Ajay Virmani (Entrepreneurship and Philanthropy) – Trailblazing between the streets and the sky, he became the Founder and CEO of Canada’s largest cargo airline, Cargojet, which has completed over 200 flights from China and other nations, bringing much needed PPE supplies for Canadians, and committed $3 million to healthcare initiatives and social justice causes.
Bret “The Hitman” Hart (Sports and Athletics) – A true champion and one of the greatest professional wrestlers of all time.
Damian Warner (Sports and Athletics) – Fresh from his dominating performance at the 2020 Olympic Games in Tokyo, and winning Canada’s first gold medal in the decathlon, Damian Warner has taken his place as the greatest athlete on the world stage.
Frederick Banting, Charles Best, John Macleod, and James Collip (Science, Technology, and Innovation) – The team that saved 300 Million lives and counting with the discovery of insulin.
Graham Greene (Arts & Entertainment) – One of Canada’s most beloved and iconic actors, an Academy Award nominee who’s had principal roles in Dances with Wolves, The Green Mile, Die Hard with a Vengeance, Transamerica, and The Twilight Saga: New Moon.
Keanu Reeves (Arts & Entertainment) – A global star and legendary actor, producer, and director, who’s entertained audiences worldwide for more than three decades, fronting blockbuster franchises like The Matrix and John Wick.
Laurent Duvernay-Tardif will receive the new National Hero Honour, presented by Canada’s Walk of Fame to an individual whose selflessness, dedicated efforts, and outstanding contributions have made a significant difference in our society. As a star player with the Super Bowl-winning Kansas City Chiefs, Duvernay-Tardif made international headlines as the first NFL player to opt out of the 2020 season, as he deferred his $2.75 million salary to join the front-line pandemic efforts in his hometown of Montréal.
SOCAN members previously honoured by Canada’s Walk of Fame include Drake, the late Leonard Cohen, Andy Kim, Col. Chris Hadfield, the late Stompin’ Tom Connors, Michael Bublé, Rush, Sarah McLachlan, Blue Rodeo, The Tragically Hip, Joni Mitchell, Gordon Lightfoot, Nickelback, and kd lang.
~from Walk of Fame 2021
8 October 2021 - Indigenous Leaders, Scientists, Business Execs, Artists, Athletes, Politicians Send Joint Message to BC Premier
Today, more than 200 prominent people, acclaimed in their respective fields, have issued an open letter to the Premier of British Columbia calling for the immediate protection of BC’s irreplaceable old growth forests. The signatories range from a former Prime Minister, former Environment Ministers, former NASA scientists, Indigenous leaders, Oscar, Grammy, and Juno award winners, Olympic gold medalists, and even a Star Trek Captain.
Continue reading https://canopyplanet.org/200-dignitaries-call-for-immediate-protection-of-british-columbias-large-old-growth-forests/
3 September 2021 - Paste Studio on the Road at Napa Valley: Sept. 3-5
Paste Studio on the Road heads west today for three days at the Dos Colinas estate in Napa Valley.
Read about the line up and more here: Paste Magazine
Each of the following sessions will be live-streamed on our Youtube and Facebook channels, as well as right here on PasteMagazine.com, where you’ll be able to go back and listen to all of your favorites whenever you like.
Saturday, Sept. 4
2:00pm – Bruce Cockburn
30 August 2021 - True North has just put up a great playlist of some of Bruce's covers. It ranges from kd Lang to Jerry Garcia and worth hearing. It's currently on both Spotify and Apple
Here's the links to get you there but of course you must be a subscriber to use it. ~ Bernie Finkelstein
15 June 2021 - Founded in 1996 by Siobhan Robinsong, the Gettin’ Higher Choir welcomes anyone with a desire to sing — no audition required.
The community choir, like every other non-profit, had to pivot when the pandemic hit, and while they did lose a few members who didn’t want to sing to a computer, co-directors Cathy Baker and Dick Jackson explain that they gained some members too.
“We have sisters in the choir” says Baker, “one who lives in Oak Bay, one who lives in Whitehorse. There’s also a young couple and their child, and now Grampa from Ontario has joined in.”
“We’ve got members in Japan, Sweden, Montana, Idaho, India…” Jackson proudly adds.
Since 1998, the Gettin’ Higher Choir has performed an annual fundraiser concert for a village in Mozambique.
“The choir has raised hundreds of thousands of dollars for them over the 23 years that we’ve been connected” says Jackson.
“The original connection started with a couple of refugees from Mozambique that were living in Victoria, and it grew from there. From the school that they built in that small community, there are now nursing graduates, and it goes on and on…” adds Baker.
This year’s fundraising concert will be online, with a very special guest.
“We are thrilled to have as our guest artist Bruce Cockburn. A half hour set of music that he put together for us” says Jackson.
Cockburn, reached via Zoom, explains that was pleased to lend his name to the fundraiser.
“I have been to Mozambique a couple of times for different reasons, once in the mid-80s and again in the ’90s, so I have a certain sense of that country and a certain sympathy – I suppose you could say a great empathy – for them, because I’ve been there.”
[ Watch-Listen to Bruce's set here ]
Baker wants anyone considering watching this fundraising concert to know how thrilled they are that Cockburn said “yes” when they asked him to be part of the event.
“It’s better than front-row seats at a concert! Especially for guitar geeks – they are going to love this, because the camera angles? You get to see his hand movements on the fret board, you get to see his picking patterns and strumming styles! In addition to the content of what he’s singing, just watching him play that closely is phenomenal.”
“We have five songs that the choir has prepared,” says Jackson, “virtual choir videos, and then we’ll also have Bruce’s set, and we have some musicians from Mozambique as well.”
Click here to register for this fundraising concert on Saturday June 19 at 7 p.m.
~from Benefit concert from Gettin' Higher Choir
7 June 2021 - When Bruce Cockburn talked to me on Zoom for #cbcjunos5050 we decided at the same time to record a chat about his instrumental Crowing Ignites album... and the fact he won his first Juno 50 years ago... Playing it next plus a taste of the track "Seven Daggers".
The Junos 50-50 series starts with Alan Neal talking to Bruce Cockburn about the legendary coffeehouse. (Aired: May 21, 2021)
from Twitter - @cbcallinaday
1 June 2021 - The Junos 50-50 series starts with Alan Neal talking to Cockburn about the legendary coffeehouse.
(Aired: May 21, 2021)
~from CBC Ottawa Morning with Robyn Bresnahan.
6 June 2021 - Canada’s Music Awards – The Junos – take place Sunday night. 50 years ago, the first-ever Folksinger of the Year Juno Award went to Bruce Cockburn.
19 April 2021 -A few years ago I found myself attending a worship service at San Francisco Lighthouse. For the preceding couple of decades I had been operating on the assumption that the formal church and I had grown apart, so in a way it was a surprise to be there and feel as though it was where I was meant to be. That occasion led to an ongoing relationship with SFL — fools that they were, they let me play in the band!
In this COVID year, with no public opportunity to introduce new songs, and since I have a few new songs, it seemed like they could be put out for people to hear in a way that would at once benefit the church and satisfy my need to be noticed.
Suggested Donation: $20
Any revenue generated by this exercise will go to support SFL and its work, which includes, among other things, support for programs for unhoused people in San Francisco, and for Lighthouse Kathmandu, a Nepali-run organization dedicated to fighting human trafficking and rescuing its victims.
Thanks for checking in. I hope you enjoy the songs!
Please note these are informal demo videos.
Update: 2 May 2021 - Link to Four New Songs
~from Event - https://www.eventbrite.com/e/bruce-cockburn-four-new-songs-tickets-151338153491.
13 March 2021 -Eric Alper PR Roster Gets 12 Canadian Folk Music Award Noms: Bruce Cockburn, Crystal Shawanda, Sultans Of String, Craig Cardiff + More
The Canadian Folk Music Awards celebrates its 16th edition, with a roster of nominations that celebrates the breadth and depth of Canadian folk music, and Eric Alper Public Relations and its clients and extended family celebrates the talent of artists and musicians across Canada.
Established by Canada’s vibrant and internationally-recognized folk music community, the awards currently boasts 19 categories. Nominees are chosen for each category through a two-stage jury process. More than 100 jurors, located across Canada, representing all official provinces, territories and languages, determine the official recipients in each category.
The 16th edition of the Canadian Folk Music Awards Celebration will take place online again this year, and will present all 19 Awards, plus the Unsung Hero Award bringing the total to 20 Awards, virtually, over the weekend of April 9-10, 2021.
Contemporary Album of the Year: Coyote by Catherine MacLellan, Contemporary Singer of the Year: Catherine MacLellan for Coyote
Ensemble of the Year: Sultans of String for Refuge, Indigenous Songwriter(s) of the Year: Crystal Shawanda for Church House Blues
Instrumental Solo artist of the Year:Natalie MacMaster for Sketches, Producer(s) of the Year: Chris McKhool & John ‘Beetle’ Bailey for Refuge (Sultans of String)
Single of the Year: Yellowknife by Craig Cardiff (Producer: Craig Cardiff), Solo Artist of the Year: Catherine MacLellan for Coyote
Traditional Album of the Year: Crowing Ignites by Bruce Cockburn, The Lost Tapes by Ian & Sylvia
Traditional Singer of the Year: Kevin Harvey for Hand Me Down Blues, World Album of the Year:Patria by/par Mazacote
~from That Eric Alper.
12 March 2021 -Bruce's 2019 all instrumental release Crowing Ignites has been nominated for a Juno award in the Instrumental Album of the Year category.
The 2021 Juno Awards will be broadcast nationwide Sunday, May 16, at 8 p.m. ET/5 p.m. PT on CBC Music, CBC-TV, CBC Gem and CBC Radio One, and globally on CBCMusic.ca/junos. While Toronto is the official Juno host for the awards' 50th anniversary, the broadcast will be presented to an at-home only audience, with filming taking place at several locations across the country.
7 December 2020 -@ReaBeaumont - Great pleasure to interview Bruce Cockburn for my podcast! Topics include his 50th anniversary tour, politics, social issues, albums, world travels...
Part 1 on Spotify
Part 2 on Spotify
18 November 2020 - Bruce Cockburn at my house in Muskoka - Part 1- Summer 2020
12 March 2021 - Bruce Cockburn at my house in Muskoka - Part 2.
reallesstroud (@Survivorman Les Stroud) Tweeted: I launch my new podcast in ONE WEEK with three at once: My own keynote at the Bushcraft Symposium, Bruce Cockburn at my house in Muskoka and David Suzuki in his yard by the ocean in Vancouver. On my Youtube and wherever you get your podcasts!
18 November 2020 -Bruce Cockburn's episode of The Vinyl Supper podcast and video series with Foy Vance is out now! Pull a seat up to the table and find out what we’re eating and listening to during our last meals. Listen and watch at thevinylsupper.com.
On a very special 10th episode, Foy gets to speak with one of his idols: Bruce Cockburn. Bruce’s first album came out fifty years ago, and here he is on episode 10 of The Vinyl Supper with Foy Vance. His eponymous album was released on April 7th 1970, including classic hits “Going to the Country” and “Musical Friends.” In the past fifty years, he’s released 34 albums and played around the world.
Foy and Bruce bond over songwriting and what ‘the new normal’ has meant for them. Bruce calls back to an All-American favorite food, chicken and waffles, and rewinds over memories with All-American favorite musicians, Elvis and Little Richard. The two get serious with talks of the recent unrest in the states, and Bruce has some words of wisdom: “looters are not the creators of chaos.” They discuss the difference between condoning, condemning, and understanding.
In his own words, Bruce says of the last fifty years of recording: “I can only shake my head and mutter a word of thanks for all of it. Even if I’d been a planner by nature, I doubt I could have predicted how things have gone. And they’re still going!” Going they are indeed: Bruce’s songs have been covered by Jimmy Buffet, kd Lang, Barenaked Ladies, Jerry Garcia, Judy Collins, Chet Atkins, and many more.
This episode was recorded in July 2020.
~from The Vinyl Supper - Foy Vance
6 November 2020 -
“Strikes across the frontier and strikes for higher wage/ Planet lurches to the right as ideologies engage/ Suddenly it’s repression, moratorium on rights/ What did they think the politics of panic would invite?/ Person in the street shrugs ‘Security comes first’/ But the trouble with normal is it always gets worse/ The trouble with normal is it always gets worse.”—Bruce Cockburn “The Trouble with Normal”
Finding the right words to express the zeitgeist has never been a problem for Bruce Cockburn. Take the lyrics from the chorus of his 1983 hit cited above. Normal is what everyone pines to discover in a year marked by fear and uncertainty. Let’s hope when normalcy returns, it’s not a harbinger of the next wave of bad news. For more than 50 years, the iconic Canadian songwriter has been carefully crafting words and phrases into storied songs—some more politically charged than others. Over the past 20 years, I’ve been fortunate to share a half dozen conversations with the Canadian Songwriting Hall of Famer. Getting a good quote is never an issue. Finding a way to weave as many of his wise words as possible into my finished feature is the challenge.
Like everyone in the music industry, 2020 has been a challenging year for Bruce. His plans for 2020 are on hold. Shows cancelled, rebooked, and rescheduled until whenever it’s safe to play live again. This year was supposed to be a celebration of a milestone—50 years as a songwriter and the golden anniversary of his self-titled debut on the label founded by his manager Bernie Finkelstein. Instead, Cockburn released a limited edition vinyl box set via True North Records and participated in several multi-artist streamed shows.
“I’m not nostalgically inclined by nature, but it’s interesting to say I’ve been doing this for 50 years,” he reflects. “50 years is 50 years of being beaten by the weather, metaphoric, and actual, but it still feels like a milestone. I’m happy True North did this 50th box set. More than anything, it finally gives vinyl versions of a couple of records I think are the best I’ve ever done.”
Asked about the secret to his 50-year business relationship—and friendship—with Cockburn, Finkelstein says: “I guess we are just two people that want to stay together. It’s that simple. I joke that since Bruce and I never had a formal management contract, he doesn’t know when it is over! We just are on the same track on what needs to be done. We’ve been right more than wrong and here we still are.”
The 50th anniversary vinyl package was limited to 750 copies personally signed by Cockburn. No surprise, it sold out within the first month. True North—A 50th Anniversary Box Set includes the songwriter’s debut Bruce Cockburn; and a pair of records that have never appeared before on vinyl: The Charity of Night (1997); and the JUNO-winning Breakfast in New Orleans, Dinner In Timbuktu (1999). Colin Linden, Cockburn’s long-time friend, producer, and frequent bandmate, re-mastered the records. Linden loved Cockburn as a fan long before the pair became friends. His brother had a copy of the songwriter’s debut and Linden recalls seeing the guitar virtuoso perform for the first time on his 11th birthday: April 16, 1971. Linden produced both The Charity of Night and Breakfast in New Orleans, Dinner in Timbuktu; the Grammy-winning artist feels these albums are two of Cockburn’s best. He remembers well that night 24 years ago when Bruce showed up at his Toronto apartment with The Charity of Night demos. Linden says listening to sketches for songs like “Pacing the Cage” for the first time was “life-changing.” “It was just one brilliant song after another,” Linden says today from his Nashville, Tenn. home. “After Bruce left that night, I asked if I could do some overdubs on the demos. My wife [Janice] and I had some ideas for additional parts and textures. I made a rough mixtape of the songs with our overdubs and Bruce really liked them. That is how I got the call to produce that record.”
After laying down the bulk of the tracks at Toronto’s Reaction Studios, Linden and Cockburn travelled to the San Francisco Bay area to do some additional recording at Bob Weir’s studio where they also added vocals from Bonnie Raitt and Maria Muldaur. New Orleans was the final stop where Calgary-born John Whynot mixed the record at Kingsway—Daniel Lanois’ studio. “Mixing in Lanois’ studio changed everything for me in terms of how I’ve made records for the last 25 years,” says Linden, “just the whole aesthetic of how Dan creates a recording environment. You can see the fruits of that in my home studio today. Making that record was a life-changing experience.”
Catching up with Cockburn in the middle of a pandemic finds him as contemplative as ever, happy to chat about his career, his approach to songwriting, and life in 2020. When we chat, the 75-year-old is enjoying some family time in the college town of Arcata, California with his wife and eight-year-old daughter. The family of three is in the midst of a road trip in an RV, cruising up the Pacific Coast, and visiting with friends—at a social distance of course. After three months shut-in at home in San Francisco, Cockburn needed a respite from the monotony of domesticity.
“I was expecting to be doing a whole bunch of shows,” he says. “It was unfortunate to have to let go of that. It’s hard to stay motivated at times with no gigs. And, I can’t get together with others to get inspired, so that is also a bit odd, but contrary to my expectations I’ve been very busy, helping my daughter with online classes and getting lunches made.”
In an election year, for a songwriter who has never shied away from making his opinion known on political matters, does he feel the need to capture his mood in a new song or two? “I feel like there is so much blather right now, I don’t need to add to it,” Cockburn says. “It’s not that all of what people are saying is not meaningful, but there are just so many voices clamouring I don’t have much to add to that conversation. I have opinions and feelings that will eventually show up, but at this point, what am I going to say about Trump that hasn’t been said and who needs it anyway?”v
After 50 years of writing songs, I ask if his approach has changed. “The process is not so different,” he explains, “it’s just more deliberate now. I didn’t know what I was doing when I started writing songs. I didn’t understand how it all worked. I wait around for a good idea and write down anything that is useful: images, and other bits and pieces as they come. Eventually, some idea will show up that triggers an actual song. What is different now is I pay more attention to the details and I’m fussier, but it still takes an emotional trigger or a phrase of some sort to get it going. Sometimes I have an idea that sounds good and then realize I said that 40 years ago.”
Cockburn’s songwriting journey began more than five decades ago in Ottawa, Ontario. After a couple of years studying at Boston’s Berklee School of Music, majoring in composition, he dropped out of school in 1965 and returned to his hometown to start a band (The Children). Finkelstein recalls seeing a young Cockburn as part of this short-lived group when they opened for The Lovin’ Spoonful at a show in Kingston, Ontario. “The Children were interesting and good, but they left no great impression on me one way or the other. Bruce was just a member of the band.”
Once Bruce left The Children to pursue a solo career, and started to pen his own material, is when he really left an impression on Finkelstein—enough of an impression that he signed him to a record deal, the first for True North Records. The memorable gig occurred at The Pornographic Onion, a coffeehouse at Ryerson University run by Eugene Martynec. Martynec (who went on to produce Bruce’s first 10 records) heard his friend was starting a record label and told him he had an artist called Bruce Cockburn that Finkelstein had to hear. “I didn’t realize how good he was until after I signed him,” recalls Finkelstein, who sold True North Records in 2007, but still manages Cockburn. “He played ‘Going to the Country’ and my ears lit up. I thought that could be a hit. Within one month I signed Bruce and that December we went into Eastern Sound and made his debut album.”
Thirty-four albums later, 13 JUNO Awards, an induction into the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, as well as the Governor General’s Performing Arts Award, and an Officer of the Order of Canada, Cockburn could easily rest. Alas, putting down their notebook and ignoring the muse is not part of an artist’s DNA.
Until a vaccine is found and it’s safe for a return to the new normal, whatever it looks like, Cockburn, like all artists, is waiting. He’s hopeful to hit the road and play selections from his half-century catalogue of songs to live audiences again sometime in 2021.
“There is reason to be hopeful, but right now it is a game of wait and see,” he concludes. “If people would just get more responsible – and take the steps necessary to get past this pandemic. If it follows the pattern of the 1918 Spanish Flu, it will run its course and eventually fade away and we will all forget about it until the next one comes along – and there will be a next one I’m sure. It’s really important that we as a species and culture use the stresses and openings that have been provided at this moment to move ourselves forward.”About the Author David Mcpherson David is the author of The Legendary Horseshoe Tavern: A Complete History (Dundurn Press, 2017). Ever since attending his first rock concert in 1989 (The Who) and buying his first LP (Freeze Frame by The J. Geils Band), music has become "the elixir of his life." A regular contributor to SOCAN's Words + Music, Hamilton Magazine, and No Depression, over the years his writing on music has also appeared in Paste, American Songwriter, Bluegrass Unlimited, Exclaim! and Canadian Musician. As president and chief creative officer of McPherson Communications, David helps clients get the words right. He lives in Waterloo, Ontario, with his wife and two children.
21 September 2020 - For a few years in the 1980s, it seems that everyone was trying to hand Bruce Cockburn his very own rocket launcher.
Rarely has such an angry song about the atrocities of defenceless wartime human slaughter been so perfectly articulated in song as in the Ottawa-born Cockburn’s 1984 hit “If I Had A Rocket Launcher.”
But it seems as though a few people misinterpreted the lyrics.
“There were actually three incidents,” says a chuckling Cockburn, on the line from the San Francisco residence he occupies with his wife and daughter.
Cockburn, who celebrates half a century as a recording artist with the Sept. 25 release of the vinyl-only, five-disc collection “True North — a 50th Anniversary Box Set,” recalls an incident in Afghanistan after he had just finished performing the song to Canadian troops stationed in Kandahar.
“General (Jonathan) Vance” — currently Canada’s chief of defence staff — “appeared at my shoulder with the rocket launcher and handed it to me,” he recalls.
“It was loaded — it was one of those little single-use anti-tank rocket things, but there I am, cradling this thing in my arms and there was this picture in the paper — I’ve got this enormous grin and it looks like Christmas.
“But that was the best of those moments.”
Cockburn, 75, remembers a second incident, following a concert in the southern U.S. around the time of the song’s release, when a radio station sent some employees to join him for a pre-show photo opportunity.
“They’d brought a rocket launcher that they’d rented from the National Guard — and they wanted to pose with it. They thought it was cute,” he remembers. “At this point, the song was fresh and I found it really offensive. I told them so. They didn’t get it. The song doesn’t say, ‘I wish I had a Rocket launcher. It says, ‘if!’”
But the scariest occasion occurred after a show in Bellingham, Wash. “We were crossing over the border into Vancouver after the show and while I was in the parking lot, a guy says, ‘I have a gift for you but you have to come to my car to get it.’
“The guy — over six feet tall, very muscular, very short hair — pops his trunk and has three rocket launchers in there. He wanted to give me one.”
Cockburn thanked him and politely declined. “If I had said, ‘yes,’ there would have been a checkpoint somewhere. I think it was a trap. He had ‘cop’ written all over him.”
These are just some of the adventures the noted troubadour and respected guitarist has enjoyed since 1970, when he helped launch the True North Records label with the self-titled “Bruce Cockburn.”
Over the course of 26 studio albums, four live recordings, three compilations and the 2014 box set “Rumours of Glory,” the 13-time Juno Award winner has expounded upon the folk idiom to include blues, roots, rock, pop and — for want of a better word — Americana. Cockburn, a member of the Order of Canada and the Canadian Music Hall of Fame, has also expanded his topical horizons, writing hundreds of songs that are as intellectually stimulating and thoughtful as they are emotional, informed by a Christian faith that is neither intrusive nor sermonizing.
His songs range from mystical to introspective to philosophical to romantic to political to playful to sober, from roaming idyllic moods with “Wondering Where The Lions Are” or expressing environmental concern with “Radium Rain.” He’s tackled political effrontery in “Call it Democracy” and raised awareness of inhumane treatment by government regimes in “Nicaragua,” his observations recorded from first-hand visits to war-torn territories.
“He’s a fearless explorer,” notes Nicholas Jennings, author and music historian who has provided liner notes for Cockburn’s entire remastered catalogue, including the new box set.
“His curiosity is incredibly deep and he’s always looking for answers. He’s always looking for new truths. He’s a seeker in the full sense of the word … He is always trying new things. That’s what keeps him fresh and maybe that’s what’s kept him a vital, meaningful artist.”
In terms of his role in sounding alarm bells about human rights transgressions over the years, though, Cockburn is clear.
“I know that the songs have affected people … because I hear from the people,” he states. “They’ve had a role to play in terms of drawing people’s attention to situations that needed addressing … But in terms of affecting the whole situation, it’s a drop in the bucket. I think all of the drops in the bucket are meaningful — and mine is one of them.”
Cockburn’s love for music occurred at an early age but wasn’t set in stone until later in life. By the time he dropped out of Boston’s prestigious Berklee College of Music, “I knew then that my life was going to be tied up with the guitar one way or another.”
He met Bernie Finkelstein, his manager of 50 years, when Cockburn’s band then, The Children, opened for The Paupers and The Lovin’ Spoonful at Maple Leaf Gardens. Finkelstein was managing The Paupers. Cockburn says he and his future producer Eugene Martynec were having a coffee in Yorkville, agreeing they’d like to make a record in the style of blues veteran Mississippi John Hurt, with Cockburn as artist and Martynec as producer.
“Gene said he knew somebody who wanted to start a record company, so he goes and talks to Bernie. Bernie said, ‘this could be the first True North Records album’ — and it was. That was the first time we had actually talked to each other.”
Cockburn became True North’s flagship artist.
“As far as the management end of our business goes, Bruce and I never had a contract,” Finkelstein says from his Prince Edward County home. “The joke I often make with Bruce is, ‘If we had a contract, it probably would have ended and he would have left. But because we don’t have one, he doesn’t know how to leave.’”
Although the new box set consists of only three albums — “Bruce Cockburn,” “The Charity of Night” and “Breakfast In New Orleans … Dinner In Timbuktu,” — lovingly remastered by Colin Linden and the latter two albums making their vinyl debuts — it’s important to note the set also marks the 50th anniversary of Toronto-originated True North Records as a label that helped establish folk singer Murray McLauchlan, sexually provocative rockers Rough Trade, and roots trio Blackie And The Rodeo Kings.
“What I was always interested in was originality, the ability to perform and great songwriting,” Finkelstein says of his signings. “I think our label stood for that and I think we stood for it in a way that — at least during the early years — that no other label really did. We made our own world.”
Cockburn says the inclusion of the double disc, coloured vinyl sets of “Charity” and “Breakfast” — limited to 750 copies and individually signed by the artist — is by design.
“Those two albums stand out for me as among the best I’ve done,” says the artist, who has written three songs towards a potential new studio album. “I went through a lot of personal life stuff that ended up in those songs. Travelling in developing countries with a deeper sense of what I was seeing made a difference.
“It made it more complicated because it’s easier to write passionate songs about things you don’t know very much about. Whether it’s a first love or a first encounter with a situation, the feelings are simpler and more vivid.
“As you get to know things, it gets deeper and the motivations to say things are a bit more complicated. There’s more to say.”
“There was a lot of love stuff and just different experiences in life that ended up shaping those songs.
“I’m kind of grateful and glad that my songs have touched people the way they have.”
~from Don’t try to give Bruce Cockburn a rocket launcher. It’s been tried — three times by Nick Krewen.
21 September 2020 - The True North 50th Anniversary Box Set has a dual purpose.
As much as this vinyl-exclusive three-album collection of Bruce Cockburn, The Charity Of Night and Breakfast In New Orleans…Dinner In Timbuktu commemorates the five decades that the Ottawa-born singer, songwriter and master guitarist has been a recording artist, it also serves as a celebration of 50 years of True North Records, the label started in 1969 by Cockburn’s manager, impresario Bernie Finkelstein.
Remastered by Colin Linden and limited to 750 multi-coloured 5LP sets personally signed by Cockburn, manufactured by Toronto-based Microforum Vinyl Record Pressing, and available exclusively via Linus Entertainment, The True North 50th Anniversary Box Set also honours the loyal professional relationship between the singer/songwriter and his manager.
And the secret sauce to the 50-year-plus management relationship between Bernie Finkelstein and his star client?
“First off, I’m a real admirer of his music – all 34 albums of it,” Finkelstein replied in an interview. “There are 350 to 500 songs out there and I’m probably one of the only people alive that knows them all.
“We’ve done quite well, which helps. The fact that I know all his music wouldn’t mean anything if, you know, if we were down in the dumps all the time.
“Bruce is also very, very easy to work with,” Finkelstein continues. “This is going to sound very simple – and perhaps very simplistic – but if I didn’t call him, I’m not sure he’d ever call me, because he’s not really a big-time careerist.
“It can be very frustrating because Bruce could be even bigger than he is now if he wanted to be. He’s quite content to continue to do things the way that he does it.”
From the artist’s standpoint, Bruce Cockburn says Finkelstein possesses a number of laudable traits.
“He’s an interesting character on so many levels,” said Cockburn recently from his San Francisco haunt. “I so admire him. I admire his gift for strategizing. I admire his love of the music, which is deep and genuine.
“He’s a business guy and he thinks like a business guy, but in contrast to other certain people that I’ve run into over the years, he has a really deep understanding of music and very good ears. Although he and I may disagree over this or that or the other thing, when it comes down to it, Bernie’s appreciation of the song is as informed and as sensitive as anybody’s could be.
“That had a lot to do with it – and he was doing what he was doing for the money. He could have made more money doing it for someone else,’” Cockburn laughs. “So, I appreciate the fact that he’s put in all that time and loyalty – I think we’ve been loyal to each other. I’m sure that’s part of it.”
With such a longstanding and mutually rewarding relationship, you’d think there’d be frequent backyard BBQs or frequent socializing.
Surprisingly, Finkelstein says that’s not the case.
“We don’t share much socially,” he explains. “We don’t hang out a lot – especially with him in San Francisco and me here, we never did. I think all of those things add up to a relationship that doesn’t get too complicated by other complex things.”
But Finkelstein says he and Cockburn do have certain commonalities.
"We both like getting things done and making sure that things are the best that we can do, all the time. In Bruce’s songs, he’s often referring to things like eclipses and event horizons and things like that that he just drops into songs. We both have a real interest in that kind of thing.”
Obviously though, the relationship is important enough to both men that when Finkelstein sold True North, he and Cockburn maintained their handshake management association.
“When I sold True North in late 2007 [to Geoff Kulawick, Harvey Glatt and Michael Pilon], I decided that I was going to mostly retire from the music business, but I thought that Bruce and myself had some unfinished business to do,” he notes.
“So, we stayed on and it’s been another 12 or 13 years since I did that. Things keep rolling along. It’s almost taken a pandemic to make us stop.”
Distributed physically by Cadence/Fontana North, designed by Juno award winner A Man Called Wrycraft, and featuring new liner notes from author and music historian Nicholas Jennings, The True North 50th Anniversary Box Set is available for $199.00 (CDN) through Linus and north of $200 on Amazon.
The album flats were shipped to San Francisco for Cockburn to sign at home, then shipped back over the border for assembly. The handsome box set also features a new True North logo designed by Brooke Kulawick and all copies are individually numbered.
As far as the True North label history is concerned, Finkelstein is happy he provided a creative home to help establish acts like Murray McLauchlan, Barney Bentall, Rough Trade and Blackie and The Rodeo Kings - and on the management side, in partnership with Bernie Fiedler – Dan Hill.
“I miss that old label. I’m very, very proud of the work I did with Murray McLauchlan, Rough Trade and all the rest,” said Finkelstein. “We had our fair share of hits, but the one thing we never lost sight of was high quality, not to chase the commercial end of the business.”
In terms of the inclusion of Bruce Cockburn, The Charity of Night and Breakfast in New Orleans…Dinner In Timbuktu as box set choices, Cockburn says it makes sense.
“Of course, you’re going to put the first album on the 50th-anniversary set,” Cockburn notes. “ But the other ones were chosen consciously because they represent stuff I’ve done in a way that’s as good as it gets. Those albums are, within themselves, very complete expressions of the time and set of situations. And they work very well musically.“Once in a while I’ll hear a track from an older album and think,’ Wow, geez, that was pretty good!!’” he laughs. “It surprises me, not because I forget, but because the path becomes a big wash. When something pops out of that wash that is noteworthy, it catches my attention.”
Cockburn may be contemplating a new album…or not.
“I’m not much of a planner – I never have been, “ he admits. “This year was supposed to be filled with 50th anniversary touring, which of course, it isn’t. We’ll see what of that we’ll be able to apply to next year, but we had that instrumental album that came out a year ago that was going to be one of the things celebrated in that 50th-anniversary tour.
“So, I hadn’t thought much about a next album, really, as I still had the intention and desire of one day doing an album of other people’s songs. I was sort of thinking, well, maybe now’s the time for that. But I’ve got three new songs and now I’m thinking, maybe it isn’t yet time for that.”
18 June 2020 -
"Of course Black Lives Matter. And yes, all lives matter, but are all lives affected by police brutality and the fear of it? How striking is that phrase: police brutality. The fact that the joining of those 2 words has become a standard part of the language is revealing of a set of expectations that should shock us into a universal rejection of a certain facet of law enforcement. We need cops. We need to be able to offer them respect and appreciation. We need them not to be killing and otherwise abusing people of color...or anyone else. We need them not to be abusing the extraordinary legal powers we give them so they can properly carry out the tasks society requires of them."
"Those abuses are too often manifestations of the racism virus that is endemic and systemic among us. Caucasians need to own that. We can’t change history but we need to pay attention. We must understand how we got to where we are. Not just the awful history of slavery, but the more subtle stuff too...the assumptions masquerading as smug tolerance, the lip service paid to the fiction of equal opportunity. We can’t fix what we don’t recognize. Living under, or next to, a US administration whose prime directive seems to be to promote divisiveness and fear, we should jump at this opportunity to understand each other, to do all the bridge building we can." - Bruce Cockburn
27 May 2020 - Today, as Bruce Cockburn reaches his 75th year, we can rejoice that he is still a stealer of fire, dancing his sunwheel dance in the falling dark of the dragon’s jaws. Roots Music Canada joins the rest of the world in celebrating his birthday, his music, his Junos, his doctorates, his investiture into the Order of Canada, his inductions into numerous musical Halls of Fame, his redemptive presence as a cosmic troubadour in Samuel R. Delany’s Dhalgren & The Shack by William P. Young, his performances on Saturday Night Live and at Pete Seeger’s birthday party, and his perilous witness, from the front lines of fear, at scenes of political violence around the globe.
Examine his talents. How much faceting can one diamond sustain? Lyrical master of specifically Canadian imagery, startlingly complex guitar explorer, bold mystic with Christian / Taoist / Buddhist / Sufi sleeves proudly spread, one of the original bilingual folk singers (ses textes ont été imprimés en français depuis l’époque de Trudeau), international peace-seeker, singer of both delicacy and urgency, shy public figure, punky Gemini, outspoken political critic and beacon, muscular ecologist, memoirist (Rumours Of Glory, 2014), gentleman feminist, and member of the all-star Canadian chorus, the Northern Lights, that rose up to roar out the crucial ”Let’s show ‘em Canada still cares!” line on the African famine relief anthem “Tears Are Not Enough.”
Bruce is waiting out this current deterioration of normal at home in San Francisco, “quite a lot busier than what used to be normal,” he reported, “(fathering), listening and reading: Fernando Pessoa’s novel The Book of Disquiet, William Gibson’s Agency, and poetry by Charles Bukowski, Joan Logghe and Wislawa Szymborska. For music, it’s pretty random. Recent listens include YouTube videos of David Russell’s stunning guitar playing as well as various performances by Voces8, Charles Mingus’ Tijuana Moods (an old favorite), the Rolling Stones’ Exile on Main Street, and Schoenberg’s Verklarte Nacht.”
In honour of this birthday, one of Bruce’s first musical friends who celebrated his own 75th in March,, Sneezy Waters, recalled the beginning stages of his journey, saying “When I failed Grade 12 (from too much folly) my parents thought it would be a good idea to switch schools and buckle down. So at Nepean H.S. I ran into Bruce. He told me he played guitar, so I brought my Martin to school one day, and after school we went over to his house to jam. He brought out his guitar, which was a big Gibson hollow-body, just like Wes Montgomery played, and a lovely Ampeg jazz amp. He played so well but wasn’t the least [bit] boastful. He also loved Grant Green’s playing. We really had a good time and arranged many more jams.
“We eventually formed a band called The Children, along with my friends Nev Wells, Sandy Crawley and Chris Anderson. He played some keyboards for us and also played a 12-string, along with a Telecaster.
He was writing back then and encouraging the rest of us to write songs.
The rest, for both of us, is history.”
Fellow musician Ian Tamblyn, who worked with him on 2008’s Dancing Alone: The Songs of William Hawkins, remarked on Bruce’s “composure and openness” in the studio. He also had the honour, in 2014, of presenting Bruce with an honorary Doctor of Laws degree at Carlton University for his work in environmental, First Nations and social causes. In his presentation, Ian noted that “Bruce has had three overriding themes in his work: his great spiritual search, his dedicated call for social justice in the world, and his articulation of the collision of human relationships in these dangerous times.” He continued, “Bruce Cockburn has been both bold and courageous, whether it be in his work with Lloyd Axworthy to end the use of land mines, his environmental work with David Suzuki and Greenpeace, his work on behalf of the Unitarian Service, or his demands for democratic and environmental rights in Guatemala, Nicaragua, Mozambique or Mali.”
His outstanding personal qualities have kept him rooted in long-lasting friendships. Publicist Jane Harbury, who has been buddies with him since their days together at Toronto’s fabled Riverboat, respects him for being always “funny, smart and gracious.” She elaborated: “He doesn’t change on a personal level. He has an ability to make people want to love him. And he remembers everything.” She recalled him best, “coming in the back door of the club in a fluffy old hat with his big dog Aroo.”
Illustrator Michael Wrycraft, who has designed the last nine of Bruce’s album covers, revealed that, “although he comes across as serious, Bruce is actually very light-hearted. Once you get past his professional presence, you find out he has a great laugh.” Their creative collaboration in bringing the unique visuals that accompany every new record together is consistently stress-free (with the exception of the altered American cover of You’ve Never Seen Everything, “which the record company thought looked like speed metal, or the devil.”). Of Bruce’s part in the process, Michael confided, “He plants a germ, a tiny seed of an idea, usually drawn from the album title; and after extensive chat, I come back with the work, and he says “That’s great!” Bruce’s loyalty to Michael’s vision has now stretched over 21 years. Manager Bernie Finkelstein has guided his career for over 50 years now, based upon a handshake.
Michael Reinhart is a composer/singer-songwriter and visual artist who has released five albums, the most recent being eCHO. He lives and works in both Montréal, QC and Edmonton, AB. Recently he’s been creating several new instrumental guitar pieces. He has been a Cockburn fan since his teens. “I loved that on those seminal albums, with so many instrumentals featured, above all I could hear the rich wood tone of the guitar, moreso than the metal of the strings, an analogue sound I still aspire to myself. I’ve never been much interested in doing cover versions, but among the few that I have attempted, ‘Foxglove’ was one that, despite the initial frustrations and physical pain involved, was invaluable to my finding my own way, my own style, my own sound.”
Michael has composed a gamboling birthday air to pay tribute to his musical mentor
On behalf of all of his friends and fans at Roots Music Canada, we would like to say “Steady on Mr. C., and well done.”
A recent release, Bruce Cockburn – True North – 50th Anniversary Box Set with five LPs became available this month.
4 May 2020 - TORONTO, ON, May 4, 2020 -- To be active and relevant in music for 50 years is a significant achievement for any individual recording artist. The same can be said for any independent record label. To achieve this milestone together as an artist and label team without interruption, has to be one of the most extraordinarily rare events in music.
To celebrate this milestone, Bruce Cockburn and True North Records have produced True North - A 50th Anniversary Box Set, a Limited Edition vinyl box set containing three of Bruce’s most significant recordings. The first album where it all started, the self-titled debut Bruce Cockburn along with two albums that have never before been released on vinyl; The Charity of Night and Breakfast in New Orleans, Dinner in Timbuktu. Each album has been re-mastered by Bruce’s long-time producer Colin Linden, and is pressed on coloured vinyl. The five-180 gram discs are contained in original artwork sleeves adapted from the original designs by the acclaimed graphic designer Michael Wrycraft, and housed in an individually numbered box signed personally by the artist. There will be only a limited initial pressing.
Bruce Cockburn was the first artist signed to True North Records, the tenacious independent label founded by Bruce’s manager Bernie Finkelstein and first operated from a Yorkville Avenue phone booth. Bruce’s debut self titled album was the label’s first album release on April 7, 1970, produced by Eugene Martynec, with the catalog number TN1. Fifty years on, Bruce Cockburn still records for True North Records, which released his 34th album “Crowing Ignites” in late 2019.
Bruce says, “In 1969, when I was feeling the need to record an album of the songs I’d been writing, I had no concept of what that might lead to. In some organic way it felt like it was time. The future wasn’t really an issue. It still isn’t. For each of us, there’s a future or there isn’t. “But looking back over the arc of 50 years of recording, performing, and travel, not to mention relationships and personal challenges,” he continued, “I can only shake my head and mutter a word of thanks for all of it.”
Cockburn concluded: “Even if I’d been a planner by nature, I doubt I could have predicted how things have gone… and they’re still going!”
Pre-order your copy now! Limited Edition, Numbered Albums available! A limited number of True North - A 50th Anniversary Box Sets are being produced. All orders will be shipped to arrive on September 25th, 2020 . Lowest box numbers will be assigned to the earliest orders.
Cockburn has also scheduled fall tour dates celebrating the 50th Anniversary.
Additional updates and ticket information can be found through the official Bruce Cockburn website and the complete list of tour dates is below. [ Tour Dates ].
Although Mr. Finkelstein sold True North Records to entrepreneurs Geoff Kulawick, Harvey Glatt and Michael Pilon in 2007, True North continues to be a vital independent label signing and releasing records by Bruce alongside many of Canada’s leading singer-songwriters and musicians including Buffy Sainte-Marie, Murray McLauchlan, Matt Andersen, Colin James, Sass Jordan, Sue Foley, Natalie MacMaster and Jimmy Rankin.
Bruce Cockburn: True North - A 50th Anniversary Box Set - TND750 - Bruce Cockburn (LP) | A Charity of Night (2LP) | Breakfast In New Orleans, Dinner in Timbuktu (2LP) - 5 x 180 Gram Colored Vinyl Discs original artwork sleeves.
Bruce Cockburn 2020 anniversary Tour Dates.
~from True North Records.
FEATURED:Bruce Cockburn's 34th album
12 June 2019 - Release date: September 20, 2019
Listen to / share “Blind Willie” from Crowing Ignites and pre-order here.
In 2005, Bruce Cockburn released Speechless, a collection of instrumental tracks that shone the spotlight on the singer-songwriter’s exceptional acoustic guitar playing. The album earned Cockburn a Canadian Folk Music Award for Best Instrumentalist and underscored his stature as one of the world’s premier pickers.
Already, The New York Times had credited Cockburn with having “the hardest-working right thumb in show business,” adding that he “materializes chords and modal filigrees while his thumb provides the music’s pulse and its foundation—at once a deep Celtic drone and the throb of a vigilant conscience.” Acoustic Guitar magazine was similarly laudatory in citing Cockburn’s guitar prowess, placing him in the prestigious company of legends like Andrés Segovia. Bill Frisell, Django Reinhardt and Mississippi John Hurt.
Now, with the intriguingly titled Crowing Ignites, Cockburn has released another dazzling instrumental album that will further cement his reputation as both an exceptional composer and a picker with few peers. Unlike Speechless, which included mostly previously recorded tracks, the latest album—Cockburn’s 34th—features 11 brand new compositions. Although there’s not a single word spoken or sung, it’s as eloquent and expressive as any of the Canadian Hall of Famer’s lyric-laden albums. As his long-time producer, Colin Linden, puts it: “It’s amazing how much Bruce can say without saying anything.”
The album’s title is a literal translation of the Latin motto “Accendit Cantu” featured on the Cockburn family crest. Although a little puzzling, Cockburn liked the feeling it conveyed: “Energetic, blunt, Scottish as can be.” The album’s other nod to Cockburn’s Scottish heritage is heard on “Pibroch: The Wind in the Valley,” in which his guitar’s droning bass strings and melodic grace notes sound eerily like a Highland bagpipe. “I’ve always loved pibroch, or classic bagpipe music,” says Cockburn. “It seems to be in my blood. Makes me want to sip whisky out of a sea shell on some rocky headland!”
While Cockburn reconnecting with his Gaelic roots is one of Crowing Ignites’ more surprising elements, there’s plenty else that will delight followers of his adventurous pursuits. Says Linden, who’s been a fan of Cockburn’s for 49 years, has produced 10 of his albums and played on the two before that: “Bruce is always trying new things, and I continue to be fascinated by where he goes musically.”
The album is rich in styles from folk and blues to jazz, all genres Cockburn has previously explored. But there are also deepening excursions into what might be called free-form world music. The hypnotic, kalimba-laden “Seven Daggers” and the trance-inducing “Bells of Gethsemane,” full of Tibetan cymbals, chimes and singing bowls, are highly atmospheric dreamscapes that showcase Cockburn’s world of wonders—and his improvisational gifts on both 12-string and baritone guitars. Each track was wholly created in the makeshift studio he and Linden put together in a converted fire station in Cockburn’s San Francisco neighbourhood.
Singing bowls, Cockburn explains, are an endless source of fascination to him, dating back to a trip he took to Kathmandu, as seen in the documentary Return to Nepal. There, Cockburn stumbled on a man selling the small inverted bells sometimes used in Buddhist religious practices and became instantly captivated by their vibrational power. “I had no particular attraction to them as meditation tools or anything,” says Cockburn. “I just thought they had a beautiful sound.” After buying half a dozen in Kathmandu and more since, he now has a sizeable collection.
Two tracks on Crowing Ignites had their origins elsewhere. “The Groan,” a bluesy piece with guitar, mandolin and some collective handclapping from a group that includes Cockburn’s seven-year-old daughter, Iona, was something Cockburn composed for a Les Stroud documentary about the aftermath of a school shooting and the healing power of nature. And Cockburn wrote the jazz-tinged “The Mt. Lefroy Waltz” for the Group of Seven Guitar Project on an instrument inspired by artist Lawren Harris and custom-made by luthier Linda Manzer. It was originally recorded, with cornet player Ron Miles, bassist Roberto Occhipinti and drummer Gary Craig, for Cockburn’s 2017 album Bone on Bone, but not released until now.
Cockburn doesn’t set out with any particular agenda when composing an instrumental. “It’s more about coming up with an interesting piece,” he says. “Who knows what triggers it—the mood of the day or a dream from the night before. Often the pieces are the result of sitting practicing or fooling around on the guitar. When I find something I like, I work it into a full piece.”
“Bardo Rush,” with its urgent, driving rhythm, came after one such dream, while the contemplative “Easter” and the mournful “April in Memphis” were composed on Easter Sunday and Martin Luther Day respectively. “Blind Willie,” named for one of Cockburn’s blues heroes, Blind Willie Johnson, features a fiery guitar and dobro exchange with Linden (Cockburn has previously recorded Johnson’s “Soul of a Man” on Nothing But a Burning Light). And the idea for the sprightly “Sweetness and Light,” featuring some of Cockburn’s best fingerpicking, developed quickly and its title, he says, became immediately obvious.
Meanwhile, “Angels in the Half Light” is steeped in dark and light colors and conveys ominous shades as well as feelings of hopefulness, seemingly touching on both spiritual and political concerns—hallmarks of Cockburn from day one. “It’s hard for me to imagine what people’s response is going to be to these pieces,” he says. “It’s different from songs with lyrics, where you hope listeners will understand, intellectually and emotionally, what you’re trying to convey. With instrumental stuff, that specificity isn’t there and the meaning is up for grabs. But I’m glad if people find a message in the music.”
More than 40 years since he embarked on his singer-songwriter career, Cockburn continues pushing himself to create—and winning accolades in the process. Most recently, the Order of Canada recipient earned a 2018 Juno Award for Contemporary Roots Album of the Year, for Bone on Bone, received a Lifetime Achievement Award from SOCAN, the Peoples’ Voice Award from Folk Alliance International and was inducted into the Canadian Songwriters Hall of Fame in 2017. Cockburn, who released his memoir, Rumours of Glory, and its similarly titled companion box set the same year, shows no sign of stopping. As his producer-friend Linden says: “Like the great blues players he admires, Bruce just gets better with age.”
~ True North Records. Photo Daniel Keebler. Cover art Michael Wrycraft.
April In Memphis
The Mt. Lefroy Waltz
Sweetness And Light
Angels In The Half Light
Pibroch: The Wind In The Valley
Bells Of Gethsemane
19 July 2019 - Over a career spanning five decades, Bruce Cockburn has traversed an extraordinarily wide landscape on the guitar, from fingerstyle folk, country blues, and gospel to edgy rock and exploratory jazz—all in the service of his songwriting muse. What’s even more remarkable is that he’s done all this not just as a bandleader but also as a solo acoustic performer. In Cockburn’s hands, the guitar becomes a true band in a box, delivering powerful grooves, riffs, melodies, harmonized lines, and improvised solos in real time.
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And at 74, Cockburn is certainly not done exploring the instrument, as is obvious from a spin of Crowing Ignites, his 34th album and first-ever collection of all new instrumentals (2005’s Speechless compiled previously released instrumentals along with a few new tracks). The title Crowing Ignites is a rough translation of “Accendit Cantu,” which adorns the old Cockburn family crest. As does so much of his music, the album ranges across folk, blues, jazz, and shades in between, with virtuosic playing primarily on six-string, 12-string, and baritone acoustics.
Getting a handle on Cockburn’s multilayered guitar style isn’t easy, even for Cockburn himself. “I don’t think about how I do it—I just do it,” he says on the phone from his home in San Francisco. “But it’s actually quite interesting to try and make it into something communicable.” That is exactly what Cockburn accomplishes in this lesson: He breaks down the key components of his style and demonstrates them through a series of examples drawn from his songs.
Below, you can learn the core guitar parts from some of Cockburn’s best-known songs, such as “Wondering Where the Lions Are” and “Pacing the Cage,” as well as other gems from across his career. At acousticguitar.com, you can not only check out the video of Cockburn sharing excerpts from these songs, but you can see him perform a complete version of “If I Had a Rocket Launcher” (transcribed on page 60 of the print/digital issue) as well as two instrumentals from Crowing Ignites. The result is perhaps the closest and clearest view ever of this guitar master at work.
The Alternating Bass
In Cockburn’s view, the logical way to break down his approach to guitar is not by style or genre—he’s always been dedicated to crossing stylistic boundaries anyway—but by picking-hand technique. Though the details and feel vary, most of his songs can be boiled down to a few right-hand fingerstyle techniques—one of which is the classic alternating bass style, as he learned especially from his early woodshedding with the music of Mississippi John Hurt. He began his video session, in fact, with a verse of Hurt’s “My Creole Belle,” in which the fingers double the vocal melody over the alternating bass—an idea that Cockburn has employed in many songs over the years.
In a similar vein, Example 1 comes from literally the beginning of Cockburn’s recording career: “Going to the Country,” track one on his self-titled 1970 debut. He plays in standard tuning out of G shapes, with his thumb holding down the sixth string at the third fret (more below on his extensive use of the thumb for fretting). The example shows the intro, where he picks a melodic line on the top two strings that harmonizes with the vocal. During the verses, his guitar doubles the vocal melody.
Before taping this session, Cockburn hadn’t played this song in many years and pointed out that he can’t fully reproduce the original recording, on which he used fingerpicks—an approach he soon abandoned. “When I first started using picks I liked the tone,” he recalls. “But I soon discovered that with fingerpicks on, you can’t really do downstrokes with your fingers, because the fingerpicks go flying into the audience’s drink.”
Playing with bare fingers, as Cockburn has done ever since those earliest days, gives the flexibility to combine upstrokes and downstrokes, picking, and strumming. Bare fingers also help create the kind of warm, round tone that was characteristic of Hurt’s music.
Perhaps even more in the Mississippi John Hurt style is “Pacing the Cage,” a luminous ballad from Cockburn’s 1996 album The Charity of Night. In Example 2, capo at the fourth fret and use C shapes—as Hurt himself often did. In the song’s main pattern, alternate the bass between the fifth and fourth strings as the chords move from C to G/B to Fsus2/A. On the treble side, pick double-stops on the first and second strings for the C and G/B, and then add in the third string on the Fsus2/A. In measure 2, Cockburn uses a fourth-finger barre on top of the G/B chord, but you may find it easier (as I do) to use the third and fourth fingers together on those top strings instead.
The alternating bass is also at the root of “Wondering Where the Lions Are,” from his 1979 breakthrough album Dancing in the Dragon’s Jaws. With its infectious reggae-like groove (delivered in the studio with the help of a Jamaican rhythm section), “Lions” became a Top 40 hit in the US. Drop your sixth string to D, capo at the second fret, and try the main rhythm pattern in Example 3. For much of the song, your fretting hand stays five frets above the capo.
Again, you need your thumb for fretting the G shape. “When I was first taking lessons eons ago, I was taught that it was a terrible thing to fret with your thumb,” Cockburn says. “But then I saw some great old blues guys doing it, and I thought, that doesn’t sound so terrible to me. So it just became part of my toolkit, and it eventually became an indispensable part.”
The Drone Bass
The other main picking-hand technique in Cockburn’s music is the monotone or drone bass, as heard particularly in blues—in which the thumb plays a rhythmic pulse on a single string, often with palm muting for a more percussive effect.
At times Cockburn does use the drone bass in a straight-up blues context. Crowing Ignites has two great examples. In “The Groan,” he plays a steady bass on the fifth string, with a 12/8 blues shuffle feel, using what he refers to as Gsus tuning (D G D G C D). And in “Blind Willie,” a blues in A (for which he tunes the second string down to A), he plays a quarter-note pulse on the open fifth string for the entire song. Example 4, from “Blind Willie,” shows a sample of the kind of riffing that you can do up and down the neck over the open-string bass.
The basic idea of playing over a drone bass, though, can apply far beyond blues, Cockburn notes. “Way back in the day when I was ‘studying’ jazz at Berklee—I’m putting the studying in quotes because I wasn’t a very good student—I discovered that I really didn’t like chords that much,” he says. “I don’t feel exactly like this now, but I was much more drawn to Asian music of various kinds that doesn’t use Western harmonies, where the intervals that you might think of in a harmonic way are measured against a droning bass rather than against each other as they move around. So a lot of what I do is informed by a desire to make use of that phenomenon.”
The new song “Bardo Rush” runs with this idea. Tuned to D modal or double dropped D (first and sixth strings to D), Cockburn plays a monotone bass on the sixth string for the entire song, adding all sorts of chord melody and jazzy riffs on top. Try an excerpt in Example 5. Play the harmonized melody with your fingers over the driving bass drone.
In learning any of Cockburn’s songs, whether with an alternating bass or a drone bass, the bass line is the best place to start. Practice the thumb until its movement is automatic, then work on adding the treble side.
Drone Bass With Chords
Cockburn also uses the drone bass technique in songs that do change chords. A famous example is “If I Had a Rocket Launcher,” written in response to Cockburn’s visit to a Guatemalan refugee camp in Mexico in the early ’80s. As you can see in the full transcription of his AG studio performance on page 60, Cockburn keeps a steady bass going throughout. In the instrumental section, he employs his thumb to fret the bass note under the C so he can continue to solo with his other fingers.
In the videos you’ll notice that Cockburn often anchors his right-hand pinky on the pickguard—either keeping it planted or dropping onto the top when he digs in a little harder. This support, he finds, is essential for creating the kind of rhythmic momentum he’s looking for. “When you want to bear down on a bass rhythm, you kind of need [the anchor], whether it’s an alternating bass or a single-note bass,” he says. “I need that anchor to really crunch into it.”
Another song that uses a drone bass under changing chords is “Last Night of the World,” originally released in 1999 on Breakfast in New Orleans, Dinner in Timbuktu. That track featured full band backing, but as you can hear in the solo version on Slice O Life, or in Cockburn’s AG demo, the guitar part sounds complete on its own. In Example 6, drop your third string a half step to F#, and leave all the others at their standard pitches, for the signature tuning Cockburn calls drop F# (see “A Cockburn Tuning Sampler” below). Capo at the third fret. Thump out a rock rhythm with your thumb, staying on the open sixth string until the last phrase of each verse. The example shows the riff that serves as the intro and continues under much of the verse. As in so many of Cockburn’s songs, your fingers create a little melodic motif on top of the bass.
Mixing It Up
The last two songs in this lesson use a mixture of picking approaches. “After the Rain,” also played in drop-F# tuning, comes from Dancing in the Dragon’s Jaws, and is a great example of Cockburn’s fusion of acoustic folk and jazz. Much of Example 7 uses a drone bass, with single-note melodies and jazz-flavored chords on top. There’s also a popping fingerstyle rhythm that Cockburn often uses, where you play quick, staccato bass notes and chords with a percussive slap on the backbeats, as in measures 7–8. At the end the chorus, there’s a bit of strumming—a rarity in Cockburn’s music. He is much more apt to pick multiple strings simultaneously than strum across them.
As an interesting aside, the inspiration for “After the Rain” came from an unexpected source: the Bee Gees. The song, says Cockburn, is “a very loose acoustic translation of the groove of ‘Stayin’ Alive.’”
The final examples come from “Lovers in a Dangerous Time,” which kicked off the 1984 album Stealing Fire—a period in which Cockburn’s songwriting became more politically charged and, not coincidentally, more electric and band-oriented, too. Cockburn played electric guitar on the original track with a full band, strumming power chord shapes. That sound works with a band but would be boring in a solo context, Cockburn feels. So instead, he uses the rolling picking pattern in Example 8,which bears some similarities to his part in “After the Rain.” In the instrumental section, as shown in Example 9, pick pairs of strings with your thumb as you play fretted notes up the neck alongside open treble strings.
These examples are, of course, a tiny sampling of the music that Cockburn has created over the last 50 years. But the fingerstyle techniques at work here can be heard across his vast catalog, applied to various types of grooves, chord progressions, and melodies. As Cockburn puts it at the close of the video, “Other songs have different details, but the basic styles tend to rotate around that axis.”
Beyond covering Cockburn’s work, you can also apply aspects of his style to your own songs and arrangements. Rather than using thick chords, try reducing your guitar parts—start by establishing a bass line, and then add single notes and partial chords on top. Focus on the groove, which really starts with the bass. Use tunings and capo positions that give you open-string bass notes, and therefore freedom to travel around the neck. And try doubling or harmonizing with the vocal melody on the guitar. The key is to think of the guitar as a multi-voiced instrument—rhythm section, backup singer, and soloist all at once.
Please follow this link for the article with all the chords.
Please follow this link for the article with all the chords.
This article originally appeared in the September/October 2019 issue of Acoustic Guitar magazine.
~ from Video Lesson: Bruce Cockburn Teaches His Sophisticated Guitar Style - BY JEFFREY PEPPER RODGERS - the September/October 2019 issue of Acoustic Guitar
19 July 2019 - Acoustic Classic: Bruce Cockburn’s ‘If I Had a Rocket Launcher’
In 1984, Bruce Cockburn scored an unlikely pop hit with “If I Had a Rocket Launcher,” which describes the Canadian singer-songwriter’s fantasies of violent retribution following a visit to a Guatemalan refugee camp that was regularly shelled by government helicopters. Cockburn originally recorded the song in a rock-band setting, flush with electric guitars and synths, but when he stopped by AG’s studios to film a private lesson last spring (see “Band in a Box” on page 20 of the print/digital edition), he stripped the song down to just guitar and voice.
The transcription on the following pages captures that performance note for note. At a glance, the notation might appear dense and complex, but you can make things easier on yourself if you break the song down and approach it systematically. You could play the first ten bars of the intro exactly as written, but it would be equally effective to improvise the natural harmonics. What’s most important here is the continuous eighth-note stream of open E notes—play them as firmly and evenly as possible, using palm muting if you’d like.
The heart of the song appears in bars 11–14. Riff A is the harmonic sequence for the subsequent verses and guitar solo, so be sure to spend plenty of time learning to play it with precision. In bars 11 and 13, maintain a barre across strings 3–5 at the seventh fret; grab the ninth-fret B and E with your third and fourth finger, respectively, or barre them both with either of those fingers. For the C6/9 chord in measures 12 and 14, keep your second finger stationed on the eighth-fret C and your first finger barred at the seventh fret, while stopping the tenth-fret G with your fourth finger.
In his off-the-cuff-feeling solo, starting at bar 45, Cockburn continues the eighth-note bass action established in the intro, above which he adds lines based mostly on 16th notes. Key to playing an effective solo here isn’t necessarily playing exactly what’s on the printed page but understanding how it works. The solo might sound intricate, but Cockburn is simply playing notes from the E natural minor scale (E F# G A B C D) entirely in seventh position—notes within easy reach of the chord shapes in the main riff. (For the lowdown on soloing with chord shapes, see Jeffrey Pepper Rodgers’ Weekly Workouts in the June 2017 and March 2018 issues of AG.) Be sure to put in the time studying this approach, as it will pay dividends for you in solo-guitar settings in general.
~from Acoustic Guitar.
Find this article and lots more in the September-October Editon of Acoustic Guitar Magazine
Due to copyright restrictions, we are unable to post notation or tablature for this musical work. If you have a digital or physical copy of the September/October 2019 issue of Acoustic Guitar magazine, you will find the music on page 60.