LININ´TRACK
Christian-Charles De Plicque
Jarkka Rissanen & Friends
Total 37:48
1.Up Above My Head 2:49
(Sister Rosetta Tharpe)
2.Don´t Let Nobody Drag Your Spirit Down 3:09
(Eric Bibb-Charlotte Höglund)
3.John The Revelator 4:16
(Son House)
4.´Cause I Know 4:46
(Pepe Ahlqvist-C.C.De Plicque)
5.Death Letter 3:29
(Son House)
6.Grinnin´In Your Face 2:54
(Son House)
7.Linin´Track 3:16
(Traditional)
8.Will The Circle Be Unbroken? 3:26
(A.Habershon-C.Gabriel)
9.Wade In The Water 2:38
(J.Alexander-S.Cooke)
10.When The Saints Go Marchin´In 2:26
(Traditional)
11.That´s All! 2:10
(Sister Rosetta Tharpe)
12.Sign Of Judgment 2:13
(Marianne Faithfull)
Christian-Charles De Plicque : vocals on all tracks
Jarkka Rissanen : electric,acoustic & resonator guitars, bass, drums(4,5), percussion,
keyboards, Fender Rhodes(4)
Seppo Rauteva : drums,percussion (1,3,6,7,8,9,10,11,12)
Veli-Matti Kananen : Fender Rhodes (3)
Sami Tikkanen : Fender Rhodes (11)
Pertti “Ryttle” Rytkönen : harmonica (5,7)
Kalle Fält : flute (9)
Tracks 1,2,6,8,9,10,12 recorded by Esu Hirvonen at Jambo Studio,Iisalmi, spring 2005
Tracks 3,4,5,7,11 recorded by Jarkka Rissanen in Kokkola,October 2009
All tracks originally recorded as De Plicque - Rissanen duo tracks
Additional recording by Jarkka Rissanen in Lapinlahti between 2006-2010
Special thanks to Wentus Blues Band for the recording room in Kokkola!
Produced & arranged by Jarkka Rissanen
Mixed by Esu Hirvonen
Mastered by Janne Tolsa, Note On, Kuopio
Cover artwork by Jarkka Rissanen & Esa Kärki
Layout by Esa Kärki
Drawings by Jarkka
Thank you for patience,Christian-Charles!
It has been a long journey with Jarkka and I. In playing this music, he has caused me to love and
appreciate it so much over the decades.
It is funny how a white finnish man (not that music has any color thank God!) but that he can influence a black man, from Texas, with this great deep rooted, down-to-the-bone, style of playing.
Jarkka has taught me much about this style of music and I am grateful for the opportunity of
playing, not just in Finland, but around the world, with someone that I cannot just call my friend,
but my brother as well.
Finally, we have the privilege and pleasure of bringing: “Linin’ Track!” to you.
We hope you will enjoy it as much as we have enjoyed playing it for you.
“Risto-Kalle”= Christian-Charles de Plicque
As far back as African-American history stretches, it has been accompanied by a soundtrack of
incredible music. Some of the most timeless songs of empowerment and perseverance come
from the American slave fields and communities of forced immigrants held in bondage throughout the early country. During this time, much of the music among the slaves was a series of
calls they would make to each other in the fields. It was the early call-and-response hollers that
would later be translated and echoed by street peddlers (a.k.a. “criers”). Other music of the time
came from religious ceremony. Great songs that have become synonymous with the plight of
every community since then that has stood up for its own rights, include spiritual songs like
“Linin´Track”..
Although music in ancient Africa varied widely by location, it
was an important part of African
culture. This included their musical traditions. In many parts of
West Africa---from which many
slaves were taken---music was very
rhythmic and incorporated a heavy
use of drums and other percussive hand made instruments. Most
slave owners did not permit slaves
on their plantations to use drums.
They feared that the slaves would
use the drums as a means of communication in order to plan rebellions. “Work songs” and “field
hollers” were sung by slaves while
doing hard labor in the fields. the
lead singer calls out a phrase and the other singers call back a response.
One of the principles used to justify slavery was that Africans were uncivilized and pagan. In
an effort to convert Africans to Christianity and to “save their souls,” slave owners made their
slaves learn the Bible and attend church services. Nevertheless, African American church services remained segregated from white services. As a result, African American congregations
developed a unique style of hymns that would later evolve into gospel music. Gospel music
descended from the original “spirituals” sang by slaves on plantations. Songs such as “When
the Saints Go Marching In”..
Gospel music utilizes instruments such as the piano, organ, percussion. In 2011, the African
American church, traditional, Spirituals, and gospel songs continue to be a significant cornerstone of the African American community and Gospel music has grown to achieve worldwide
popularity. Jarkka and I want to see that it stays that way. Enjoy Linin’ Track!
Christian-Charles De Plicque
Linin´Track
(trad.,Leadbetter)
What I hate about linin´track
these old bars ´bout to break my back
singing
oh boy,can you line that track
oh boy,can you line that track
oh boy,can you line that track
see the big wheels on the linin´track
I may be right,I may be wrong
You sure gonna miss me
when I´m gone
singing
oh boy,can you line that track.....
Moses stood on the Red Sea shore
smotin´that water with a two-by-four
oh boy,can you line that track.....
If I could,I surely would
Stand on the rock where
Moses stood
singing
oh boy,can you line that track..
There´s a heaven
there´s a burnin´hell
where I go
the Bible surely tells
Nickle is a nickle
and dime is a dime
crazy ´bout that woman
of mine
Ridin´to my grave
in a big black hearse
have mercy on me
´cause I sang that verse
oh boy,oh boy,can you line it
oh boy,can you line that track
see the big wheel on a linin´track
Gospel & The Slide Guitar in Gospel
From the 1920s, “Gospel” became the term for songs with an overtly religious content. Gospel guitar playing in
the early period is essentially similar to blues, with fingerstyle, slide, and a tendency toward occasional pieces with
less rhythmic emphasis. One of the greatest individuals to express a feeling of human yearning and salvation was
Blind Willie Johnson (1902-49), who began recording in 1927. His melodious, iridescent slide flows seamlessly
around his intense voice and has its own peculiar singing quality, with a shaking, fast vibrato at stressed points.
There is a brooding presence in “Dark Was The Night, Cold Was The Ground” with its haunting depth and
spine-tingling spirituality. Floating in time with searching slide and an eerie, percussive punctuation, the guitar is
no longer a familiar instrument but a vehicle
for other worldly transcendent power.
Son House’s innovative style featured very
strong, repetitive rhythms, often played with
the aid of a bottleneck, coupled with singing that was strongly influenced by his
Gospel background, as well as the “hollers” of the Negro work gangs. His singing
remained strong and compelling well
into to his second career. Often overlooked
in House’s repertoire is his religious
music. Unlike some other bluesmen, Son House
did not feel that he had to leave religion behind simply because he played the blues. “The
Bible is a good book to read,” he
told an audience in introducing his “John the Revelator.”
Even his straight blues performances
often carried a moral and religious quality that other
bluesmen eschewed. “I’m going to
change my way of living, so I won’t have to cry no
more,” he said in “Death Letter.”
There have been many claims to the origin of the slide guitar. Its haunting sound can be heard across the whole
spectrum of musical styles, gospel, blues, rock, country, Hawaiian and even jazz. A sound so haunting, that as
fans of Robert Johnson might believe, was born from the devil himself... however, there are a few more `earthly
signposts` that musicologists have followed, to try and pin down the birth of the slide sound.
Whatever the worldly origins of the slide guitar, this form of playing is best known for it`s partnership with the
Gospel and the blues. The slide playing of Robert Johnson, Son House, Blind Willie Johnson, to name a few, has
reached almost classical status. It is a style that has captivated, amazed and baffled guitarists of all kinds, and to
my mind has become the most enchanting.
De Plicque