From time to time, I will offer recommendations for CD’s that I feel should be part of everyone’s home library.

Today, I want to alert you to a brand new CD from David Massengill titled “We Will Be Together” on Gadfly Records. Before I tell you about the CD, let me share some memories.

It was in 1982 when I first saw David musingly on a stage. The place was Speak Easy, the now-legendary club that was run by a musicians cooperative in Greenwich Village. Led by Angela Page and Vinnie Vok, the cooperative had made arrangements to host nightly shows in a a former disco that was located in the back room of a falafel restaurant on MacDougal Street. The disco had been known as Speak Easy, which would not be my first choice to name a disco but it was a perfect fit for a folk establishment. Speak Easy started drawing crowds. It wasn’t the huge crowds of 20 years earlier, but it was enough to keep the establishment rolling and it led to the creation of a magazine/record known as the Coop (later to become Fast Folk). It was on these LP’s (yes, this was pre-CD days!) that I first heard David Massengill’s songs.

The voice on the LP had a charming touch of southern drawl and a beautiful baritone voice. The instrument he was playing was a dulcimer, a traditional instrument that had become something of a dinosaur in folk circles. While the voice and sound caught my ear, it was the powerful songs that grabbed my attention. Songs like “The Great American Dream” felt like a folk anthem for my generation. Here was a voice that was creating intelligent and imaginative songs. “On the Road to Fairfax County” had the feel of an old-time folk song. It was a refreshing sound to hear in an age when folk music had been written off by most people.

I had a lot of expectations when I first went to see David Massengill that night at Speak Easy and he exceeded anything that I was expecting. He looked dapper in a suit jacket and tie, this in an age when blue jeans and flannel shirts made up the folk “costume”. I was struck by the mix of southern gentleman and New York bohemian that he conveyed. As soon as he began to strum his dulcimer, I was hooked. Now I could relate to those stories that the folk elders told of seeing Dylan or Phil Ochs for the first time in a small club. Massengill’s songs stood on a different plateau from other artists of the time. I remember saying to myself, this is an artist who is going to reach millions.

Well, I never will be mistaken for a clairvoyant. While David Massengill’s songs struck a chord with many, the “fame” eluded him. Perhaps that is a good thing. Others would swim away from the Fast Folk crowd and either become entangled in commercial nets, or they would find their own pool to swim in. David found his own pool, but the swim was not always easy.

David was born and raised in Bristol, Tennessee – the town on that straddles the border of Tennessee and Virginia with the stateline running down the middle of Main Street. With its “sister” city of Bristol, Virgina the combined towns bill themselves as “A Good Place to Live”. It was in this town that David experienced many of the stories and themes that permeates his songs. David took a year off from college to work on the George McGovern presidential campaign. Looking for solace after the election was lost, David picked up his mothers dulcimer as a way of taking his mind off the defeat. He developed his own unique finger-picking and standing style of playing the instrument. By 1976 he had moved to New York City to seek fame and fortune.

His fortune came from working as a dishwasher in a local restaurant and his fame would come as he began writing songs and honing his performance style. Once Speak Easy and Fast Folk came around, David would become one of the more respected artists in the crowd. Some of his peers, notably Suzanne Vega, Steve Forbert, the Roches and Shawn Colvin would go on to larger audiences, David was still working as a dishwasher and playing the local circuit. An audience of millions would elude him.

By 1988 he was ready to move on. He began to tour the country, exposing his music to more ears. Other artists were recording his songs. The mini-folk “boom” of the 80’s had evaporated, but David was now a recognized name and able to make a career out of performing and creating music.

Why David was never picked up by a major record label still puzzles me, but as I said earlier – perhaps it is for the best. Davids creativity has been allowed to nurture as he sees fit. Judging by David’s new CD, the best is yet to come.

Over the years, David has produced some exciting songs and CD’s. “My Name Joe” has become a classic on the folk circuit. Songs like “Number One in America” would give further evidence to David’s unique ability to capture portraits of our nation and its people.

I’ve noticed Dave growing as an artist. His songs have become more personal, but he does not cross the line where he becomes so introspective that the audience can’t relate to the subject. David reaches into the past – his past and our past and he calls on characters that can be instantly recognized and remembered.

David has also become a recognized storyteller. Sort of a hipster Andy Griffith, David crafts stories of his family, friends and experiences. His audience can instantly relate to the topics of which he speaks and still be surprised at the turn of events in the stories.

On his new CD, David shines through with sparse yet proper accompaniment. Yes, his ever present Edsel Martin dulcimer is back. So is long-time friend, backing musician and co-produer Mark Dann. Sarah Dann joins in on violin, as does David’s wife Lisi Tribble and special guest Maggie Roche. The CD is rounded out by pianist Seth Farber and drummer Steve Holley.

“We Will Be Together” is a sampler of various projects that David is working on. David is focusing on seven projects
1. A tribute to Dave Van Ronk
2. Songs revisiting his hometown
3. An album of Valentine/lullaby/love songs
4. A musical based on Jack and the Beanstalk
5. A saga based on a character called Morganna in Fairyland
6. A sequel to Morganna in Fairylan
7. A collection of post-modern protest songs

The new CD gives us a taste of all of these projects, and the indication is that they will all be exciting. David has given us a glimpse at his musical “To Do” list. While many artists would be afraid to show projects at this stage of their life, David has given us a polished sampling of his diverse yet connected talents.

The tribute to Dave Van Ronk is particularly moving. I was chatting with David at the North East Regional Folk Alliance two years ago, and he told me a touching story of how Dave Van Ronk’s wife Andrea Vuocolo gave David the remains of last cigar that Van Ronk would smoke. David was saving it for a special moment, and he has now given us a song called “Dave Van Ronk’s Last Cigar” that speaks of the gifts that the legendary musician shared with David and the world. David also sings a song that became closely associated with Van Ronk – Bert Williams “Somebody Else Not Me“. David lovingly emulates the Van Ronk Growl without sounding like an imitators. Perhaps that is the greatest lesson that Dave Van Ronk shared – teaching people to let the songs speak through them instead of trying to sound like someone else. Another song on the CD, “Talking Dave Van Ronk Blues” is based on a dream that David had of his mentor visiting him shortly after he passed away.

“The Gambler-in-Chief” is a protest song about President He-Who-Shall-Not-Be-Name. David has always incorporated elements of protest in his songs, usually in subtle and provocative way. In this piece the imagery is effective and there is no mistake about the subject or the message. It is effective.

In an age where heroes are hard to come by, David reminds us of the heroes that are right at home. His song “Penley at the Wheel” describes the impact a school bus driver can have on a child. Dignity and respect are two important lessons that can be taught.

David’s sense of humor becomes evident in “Family Reunion“. Now the “city boy”, his driving skills become a source of jokes amongst his family at a reunion.

“Forever Love” uses a number of symbols and images, but what could have been a cliched love song becomes a work of art in Davids hands.

There are 19 songs on this CD and there is no fluff. I think this may be Davids best work to date, and the fact that is samples projects that will hopefully be seen through to completion gives us all hope for more great things.

David musingly deserves greater attention. Maybe reaching those “millions” is yet to come.