Reviews | | Mike Stout’s 10th CD Release - Break the Chains - Love Songs for the Apocalypse Charles McCollester Director, Pennsylvania Center for the Study of Labor relations Indiana University of Pennsylvania If there can be such a thing as an apocalyptic love song, Mike Stout’s most recent album Break the Chains is it. His latest offering is a mix of a few earlier songs with new arrangements, and new songs that mix expressions of love and pleas for solidarity with dire warnings of coming disaster without humanity’s awakening to revolutionary change. The philosophical vision is best captured in the title cut Time to Break the Chains. If there can be such a thing as an apocalyptic love song, Mike Stout’s most recent album is it. His latest offering is a mix of a few earlier songs with new arrangements, and new songs that mix expressions of love and pleas for solidarity with dire warnings of coming disaster without humanity’s awakening to revolutionary change. The philosophical vision is best captured in the title cut .We’ll never stop all the violence with more violence. Never break the code of silence with more silence. As long as we keep playing the game, the game will go on. As long as we keep staying the same, the same’ll come along. We’ll never stop all the war, with more war and hate. Never stop all the terror with the terror of the state. After laying the groundwork, the record proceeds with two sweet love songs, including the beautiful tribute to his wife, Covered Wooden Bridges to Your Heart, and his songode to the Appalachian Mountains, Heaven’s Mist, then four rousing calls to struggle, back to two warm songs of tribute and plaintive questionings, only to end with a rousing call to revolution. The entire effort is lushly orchestrated and demonstrates the polishing effect of working and reworking earlier material, with Jim Croce-like acoustic guitar duets featuring one of Pittsburgh’s finest guitarists, Fred Nelson. An example is the remake of Hard Times are Fightin’ Times which traditionally Stout has performed as an angry rocker. This time the fighting words are delivered in a bouncy, bluesy style that is if anything more effective when understated. The whole damned corporate system’s a mess. It’s in rotten decay. They want the poor, working and middle class to pay the penalty... Well damned if my belt is gonna tighten, let big business do the big bullet bitin’ – Hard times are fightin’ times for me. A recurring part of Stout’s song production includes tributes to the heroes and heroines of the working-class. This album has a remake of Flowers of the Working Class, his tribute to two radical steelworkers from Youngstown, Ohio. The new tribute piece on this album is to the feminist radical Crystal Eastman who came to Pittsburgh a century ago in 1907 and investigated the carnage that marked the brutal heavy industrial production of the time and place. Eastman, a young woman of 26 when she arrived in the smokey city with a masters and law degree, documented the facts and circumstances of 526 deaths in a single county in a single year. Her masterpiece Work Accidents and the Law showed clearly that the horrific death toll was systemic not the result of individual carelessness. She also went beyond virtually every safety study to investigate the social context and the familial consequences of the industrial death and mutilation. Subsequently, she pioneered the first Workers Compensation law, fought against World War I, was a founder of the ACLU and co-wrote the Equal Rights Amendment. Crystal Eastman was a warrior of yore, Mover and shaker, path-breaker for sure. Voice for the victims of the captains of wealth, The mother of all workplace safety and health… Fought for women’s rights and equal pay overdue; Said mothers raising kids are workers too. Her life was a torch that burned for liberty, A symbol of the free woman to be - Crystal Eastman, your spirit’s alive and risin,’ Crystal Eastman, your name will never die… Stout’s apocalyptic vision emerges starkly in Children of the Aftermath about the future time following our economic and ecological collapse. There they are, over there, on the sidelines, unaware of what’s unfolding. There they are, so young, the inheritors of the whirlwinds we’ve been sowing, Picking up the pieces from the ash, cleaning up the mess after the crash…There they are so poor, deep in debt before they’re old enough to know it… Picking up the tab after the bash; recycling all the garbage and the trash, CHILDREN OF THE AFTERMATH. The most strident and urgent appeal on this album is delivered on behalf of Gaia, earth mother. In the song Global Warming is Real, he sings: Hurricanes come one after another, each more intense, more immense than the other. Flood waters roar, rain storms all about now-, right next door to wild fires and drought now. Ocean waters risin’ as the polar ice melts; lakes and rivers dryin’ up in giant dust belts..... Nowhere to run, there’s nowhere to hide; not thinkin’ about it, won’t make it subside – Our children’s children will surely pay the price. Gaia knows the real deal- HER GLOBAL WARNING IS CLEAR- GLOBAL WARMING IS REAL. Mike Stout and his music is a reminder of the truth that a prophet is rarely recognized in his own country. As the last union grievanceman at the historic Homestead Steel Works, in a career expressing blue-collar anger and sense of betrayal, of denouncing nuclearendless war and chemical pollution, his music has come across as too stridentpoignant for most Americans. In 2002, with a small group of American union workers, Stout toured coal mines and steel mills in Poland and Germany with guitar in hand. He gave several impromptu concerts, and this led to invitations to sing in Germany for the past four years where his CD sales and popularity has steadily grown. Thousands of German youth and workers cheer this anti-imperialist, American, union, working-class bard with an enthusiasm he has never been able to conjure up in Pittsburgh. Stout’s music could never be considered bland easy-listening. While he is far from alone in bemoaning the devastating assault on the earth by the forces of wealth and greed, his message has few equals for urgency and straightforwardness. The importance of his message, the poetry of his words, the sophistication of his musical arrangements begs the question: Why can’t Stout break through with his music? The simple answer, of course, is that the corporate music world won’t touch his particular message. But that isn’t an adequate answer. Until recently, Stout’s Jeremiad’s were too dark, too angry, too passionate for the mass culture. But now as the extent and depth of the economic, political and ecological crisis is becoming clearer to tens of millions worldwide, maybe his time, his music, has come. His answer: We Need a Revolution Now Stand up and rise, we better get organized; these madmen won’t go without a fight. We need something like a world general strike- WE NEED A REVOLUTION NOW! And where does the revolution start? Fundamental change incubates in the heart of man and the fate of the earth depends on it.Human nature gets most of the blame for why we never change, But in your heart is where it starts – its time to break the chain. ----------------------------------------------- | | | Soldiers of Solidary -A Call for Action By– Paul Carosi, RadioFreeTunes.com Mike Stout, the World's Grievance Man, is a socially conscious singer song-writer and community leader. Stout leads crusades against local and global economic injustice rallying people with his music and organizes them to take action. His music ranges from rock and folk-rock, to blues and alternative country-rock. Mike Stout is a hard-working singer-song writer calling on Americans to work together in solidarity to overcome their struggles. Along with his day job running a union print shop, he has worked many long nights in the studio creating music to raise awareness about serious social and political problems. His ninth CD release “Soldiers of Solidarity” combines hard hitting new protest songs with updated versions of the working class anthems that are the standards of his performances at labor and political rallies in the U.S and Europe. Producer/guitarist Fred Nelson (who contributes hook laden electric guitar and rich vocal harmonies) creates a rich musical fabric of alternative country/folk rock sounds that brightly illustrate Stout’s strong social message of the need for solidarity. The solidarity Mike lauds has two dimensions. The first is personal, rooted in family and friendship. The family dimension is expressed in a reworking of 309 Colony Boulevard and the joyful new alternative country song, Kentucky: “back home where my forefathers lie”. The solidarity of friendship is celebrated in the new country-rock versions of the standards You were there for me and My kind of people. The second dimension of solidarity is political – solidarity of working people of the world. A link between personal friendship and the broader social struggle is expressed in Fighter with a heart, a warm tribute to Charles Owen Rice, Pittsburgh’s labor priest who died this past year at the age of 96: “Labor’s apostle, a born and bred activist. Poor man’s disciple, his pen was his fist.” and the joyful new alternative country song, Kentucky: “back home where my forefathers lie”. The solidarity of friendship is celebrated in the new country-rock versions of the standards You were there for me and My kind of people. The second dimension of solidarity is political – solidarity of working people of the world. A link between personal friendship and the broader social struggle is expressed in Fighter with a heart, a warm tribute to Charles Owen Rice, Pittsburgh’s labor priest who died this past year at the age of 96: “Labor’s apostle, a born and bred activist. Poor man’s disciple, his pen was his fist.” Angry new songs protest the handling of New Orleans, the corporate rape of retiree pensions and healthcare, the deepening oil crisis, and the war in Iraq. Mike calls on the American people to arise in solidarity against these injustices. Broken Promise tells of the betrayal of the workers in steel, coal, airlines and auto. “Broken promise, shattered dreams, a betrayal to the first decree. Who among will stand and be against this inhumanity.” Ain’t it the truth portrays the plight of the poor of New Orleans and the Gulf left behind in the wake of Katrina. In the angriest of the new songs, Stout argues that WMDs are indeed in Iraq and it is the United States that is using them. “And if you really support the soldiers and troops, if you care about the environment anymore, if you’re concerned for the new born, and the unborn child, if you’re really pro-life for sure – right this wrong, ban this bomb, stop this violence, break your silence, tell your neighbors, friends and families the score – DEPLETED URANIUM IS NUCLEAR WAR.” Finally, The End of Petroleum Man. predicts “The more we consume, the quicker we’re doomed”, and the end of suburban life as we know it with the end of cheap oil. But the answer, the hope is as clear and as straightforward as the words of anthems like We are the Working Class or the title song Soldiers of Solidarity. “At the machines, out in the fields, down in the mines, serving the meals, behind the wheels – WE ARE THE WORKING CLASS…We got the numbers we got the clout, we’ve got the power to straighten this mess out.” The only damn thing that’s going to break that chain is when we stand brother and sister again. You and me - Soldiers of Solidarity.” ----------------------------------------------- | | Concert Preview: Stout of heart -- and opinion Friday, March 19, 2004 By John Hayes, Pittsburgh Post-Gazette Mike Stout doesn't beat around the Bush. He's mad as hell about the war in Iraq, and he's not gonna take it anymore. On his eighth politically charged, self-released album, the 54-year-old Pittsburgher wages a shock and awe campaign that he calls "War and Resistance." The opening salvos will be launched tomorrow in a CD release party with activist singer-songwriter Anne Feeney at Bloomfield Bridge Tavern. There's nothing subtle about Stout's approach to songwriting, no middle ground in his leftist ideology. In the Woody Guthrie tradition, his songs reflect contemporary issues without resorting to journalism. They're more like partisan op-ed columns that grab political opponents by the throat and don't let go. "I think the trick to doing it like an op-ed piece is to not preach," says Stout. "You tell the story from the heart, not from the head. Whether the issue is the war or unemployment or social justice, you make [the song] a hard-hitting piece that people can relate to from the heart." Stout fleshes out his editorial opinions with a band of brothers who have for decades waged war against local musical timidness. Co-produced by Fred Nelson, former guitarist for Pittsburgh's raunchiest hair band, Triple X, recording sessions at Soundscape Studios included Triple X drummer Chris Procopio, The Granati Brothers' Hermie Granati and jazz saxophonist Robbie Klein. "This album was a major breakthrough for me," says Stout. "The musicians came in with their artistic visions and helped to reinforce what I was trying to say. "Rachel Corrie," written for the American social activist who was run over by an Israeli vehicle in the process of knocking down a Palestinian house, reflects in music what Stout says in words. "I think it's a solemn song," he says, "a folk requiem. That's why I used violins and cellos." While "Homestead Town" was co-produced by Nelson and Matt Herrington with a homespun bluegrass ambiance, much of the music explodes with bunker-busting fury equal to Stout's lyrics. "I think people [at the show] can expect to hear a lot of truth and have a good time," he says. "Part of the time it will be quiet and laid back, but I'm gonna rock their socks off, too, because I have some of the best musicians in town playing with me." ----------------------------------------------- | | CD REVIEW: 'The Human Spirit Will Prevail' By DAVID SALLINGER, Daily News Entertainment Editor 07/05/2002 Stout's new CD celebrates 'Human Spirit' Mike Stout has a niche, and that's kinda too bad. He actually should be heard by those comfortably ensconced in other niches, not just by those who see him as a champion for the working class. As far as Stout is concerned, "The Human Spirit Will Prevail," which, coincidentally, is the title of his new CD on his American Blue Collar label. He argues his case in a variety of styles and tempos, and in the case of the new collection, over a number of years (earliest date on a song is 1981; most recent is 18 days after Sept. 11). That post-attack track, "There Are No Real Winners in War," reflects Stout's anger at man's continual inhumanity. Haunting, a flute giving it a spooky atmosphere and with a Celtic feel to the chorus, the song ought to inspire a producer somewhere to gather such Sept. 11 responses for an anthology. Recorded at McKeesport's Soundscape Studios, "Human Spirit" is likewise buoyed by "We Need a Movement" which, in the wake of terrorism, might now mean more than originally intended. Though Stout is promoting the organization of those he sees as downtrodden, he's circumspect in his multi-layered and textured approach. It reminds a bit of that transition period from folk to folk-rock. "Hey, Mr. Gooberhead" likewise finds itself in the keeper pile. Countrified, humorous yet pointed, it's likely to inspire sing-alongs from those who've had a few. Joining the keepers is "Don't Let Them Put Out the Fire," which is more about a spiritual blaze than something tangible (or something sprinkled with chilis). Good fiesta arrangement. Stout further prevails with the mid-rhythmic "I Think You Need Some Solidarity" and "We Ain't Going Away," one of the oldest selections, and angrier, a little more strident than his more contemporary compositions (wouldn't hurt if we knew who "we" are, and what "we're" not going away from). In the aggressive "We're Still Sisters and Brothers Here," Stout went for more conceptual lyrics. "Enough's Enough" falls into the old hot rod category of zipping along some dark country road; it plays on us vs. them. Stout's classic "White Corporate Man in a Business Suite" is rockabilly, a theme song for the New World Disorder. "When the Judgement Day Comes" is a theme for those who oppose that disorder, a flag-waver for the oppressed and those who realize they're responsible for allowing power to center on a few. Concluding the collection is the title track, a post-apocalyptic promise, more balladic, allowing it all to end on a hopeful note. Stout was aided by Robbie Klein on sax and flute (no wonder there's some jazz flavoring), John Parrendo on violin and fiddle (no wonder there's some country flavoring) and Chris Procopio on drums (no wonder the album frequently rocks). Also adding their skills were Fred Nelson on guitar, Matt Harrington on keyboards and strings and Steve Landay on bass. ©The McKeesport Daily News 2006 ----------------------------------------------- | | Blue-collar rocker sings with cause in his heart Saturday, June 23, 2001 By Scott Mervis, Weekend Editor, Post-Gazette There are a lot of guys out there who pass themselves off as blue-collar rockers, but Mike Stout is unquestionably the real thing. The singer-songwriter, who releases his new CD, "Working Infinity ... Love from the Bottom," at the Club Cafe tonight, was not only a steel worker for 10 years, but he also was the last grievance chairman at the Homestead Works. In that role, he fought to win more than $10 million in lost wages, pensions and other benefits for 3,000 displaced workers. At the same time, this self-proclaimed musical lobbyist, who played the folk clubs in New York in the late '60s, was writing issue-oriented songs and performing them at picket lines, rallies and labor conventions. On his fifth album, Stout remains as topical as the headlines. "Phila-POSH and Moran" is a folk-rock song that addresses the Right to Know law, calling for workers to be informed of what chemicals they are using on the job. "Armies of the Working Class Poor" is an attack on retail companies that sell products made in sweatshops. Songs like "I Will Be There" and "The Day Has Come" are working-class anthems in the Tom Joad mode. "I'm always trying to promote different ways of doing things," says Stout, who now works at the employee-run Steel Valley Printers. "I don't think the same old ways work, and I'm trying to promote the peace and labor movement and the justice movement. "I don't care what movement you are, guerrillas in some foreign country or Martin Luther King, if you don't talk about the poor, you don't talk about the bottom, you'll never pull society forward. I try to reflect that in my music." Stout, an avowed Springsteen fanatic who saw the Boss eight times on the last tour, sings with gritty passion and is backed by an all-star local lineup, including Reb Beach (Winger, Alice Cooper), producer/guitarist Buddy Hall, B.E. Taylor, Kenny Blake, Pete Hewlett and Jeff Thurston. Tonight's record release party is a benefit for the "living wage" campaign, which would require employers awarded city contracts to pay workers at least $9.12 an hour. It was approved by City Council and is about to go before County Council. It's the latest in a long line of causes that Stout has adopted. And the issues never stop coming. He says that with the global concerns rising to the surface now and the new administration in the White House, "I don't think I'm going run out of material anytime too soon." --------------------------------------------- | |
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