a tribute to Mother Jones

Miners Angel

Mother Jones is legend. She was a legend in her own time—a tiny steel-blue-eyed woman who conjured courage in working-class people to take on the corporate “pirates.” There was truth to this legend. Jones faced down bayonets, stared fearlessly into the eyes of the coal operators’ hired mercenaries, and defied troops sent to subdue the immigrant working class. She became a legend by organizing entire communities. She inspired people to fight, to resist, to refuse. In 1901, when child textile workers in New Jersey launched a strike, they expected Mother Jones to appear over the hills: “They say that strikers always win when they have Mother Jones to help them,” they vouched. In looking for Mother Jones, they found the power of collective action, the legend in themselves. The legend grew when Jones fearlessly embraced the challenge of organizing West Virginia where a prosecutor labeled her as “The Most Dangerous Woman in America.” The judge in the case also called her a vampire and ordered her out of the state, but she defied his order. It only added to the lore when that judge died on Labor Day, 1907. Mother Jones, on the other hand, lived on until 1930 and in the hearts of many, forever.

Mother Jones is folklore. “She’ll Be Coming ’Round the Mountain” is a folk song that likely riffed off a Mother Jones tale. The song was originally an African-American spiritual: “she” referred to a chariot the returning Christ will drive at the rapture, and “the Mountain” was figurative. The song became popular with Midwestern railroad work gangs in the 1890s. It took on secular meaning when Mother Jones

drove a horse-drawn buggy from the Chicago socialist convention through Midwest coal and railroad towns to proclaim the good news of a new rapture—the rejection of capitalism, the possibility of civilization through socialism, and the brotherhood of mankind. As Jones organized coal towns in the mountains of West Virginia and elsewhere, “the Mountain” became literal, taking on a life of its own, as folk songs do.

Mother Jones is poetry. Dozens of poems were written to her and about her. “The Charge on Mother Jones” was a poem written in 1914 while she was in a Colorado military prison without habeas corpus rights. Ten years earlier, Mexican families had given her the honorific “Bianca Madre,” and she had declared Italians and Mexicans the heart of the new labor movement there. Jones’ confidence in immigrants defied the dominant racial doctrines of the time. The 1914 struggle was one of the bloodiest in U.S. history. “Ludlow” in this collection is about the mine war that took dozens of lives, including eleven immigrant children and two women who went down among the smoke and flames after the strikers’ tent colony was set afire by troops.

Mother Jones wrote her own poetry to these dead, but called on people to fight for the living. She did more than any single person to tell the story across the continent. “The Death of Mother Jones” is another poem originally published by an

anonymous miner in 1930 before Gene Autry made it into a song in 1931 and producer W.R. Callaway claimed its copyright.

Mother Jones is song. Songs were critical to her organizing strategies. One time she and a group of mining women sang so much they couldn’t think of any more songs except bawdy ones, so they sang those, too. Jones encouraged women in the coal fields to defy injunctions and when arrested, take their babies with them. “Mother Jones taught us to sleep all day and sing all night while in jail,” one woman remembered. The odds were against them. “The Bull Moose Special” recalls through song the Baldwin-Felts use of an armored train in the Paint Creek/Cabin Creek struggle of 1912–1914. “Mother Jones’ Will” recounts the tactics of the Baldwin Felts thugs who were “pouring kerosene in the milk” of babies. This was war, and miners engaged in their own ruthless defense of unionism, including “Bloody Williamson.” Even without battles over unionism, U.S. miners lost more lives in digging for coal from 1870–1920 than were lost in foreign wars. Songs of mining lives in this collection, from Billy Bragg’s “A Miner’s Life” to John Prine’s “Paradise,” defy the condescension of history and remind us that these communities left a legacy and a project of struggle for the future.

Mother Jones is theater. Si Kahn’s “Tarpaper Shacks,” from his play Mother Jones in Heaven,

reminds us that Jones used theater and became theater. Jones preferred drama to violence, and understood that social movements are theater. It was a brilliant insight. She helped innovate the tactic of filling the jails in defiance of injunctions, and only wondered why more labor leaders weren’t ready to join her. There were plays that featured Mother Jones in her lifetime and at least ten plays since her death in which she is the central character.

Mother Jones is “The Miners’ Angel.” But, she reminded audiences, she did not like that label—“This world has no angels.” She called on people to stop yearning for the afterlife and to focus on what they could do now. She earned the moniker not because she was angelic, but because of her seeming ability to appear whenever there was a struggle. Miners never forgot her courage and felt that she was a specter urging them on in the fight, even when she wasn’t there. The label stuck despite her objections.

Mother Jones is Irish. She said she was “born in revolution” against the British Empire, and that her “Irish spirit” and Cork heritage gave her the strength to understand power and to fight. The people of the North side of Cork, where she was born and lived before coming to Canada and the U.S., believe she is especially theirs, and even detect a Cork inflection in the only spoken words we have of her. In 2012 they began a Spirit of Mother Jones Festival, where Andy Irvine’s

performance of “The Spirit of Mother Jones” brought down the house.

Mother Jones is global. She called herself “a citizen of the world” and considered herself part of a global movement. She was friends and comrades with the rebellious Irish who were exiled in the U.S. That included James Connolly, a trade unionist and socialist who was executed after the Easter Rising of 1916. She drew inspiration from the history and movements of workers around the world. Their struggles were her struggles. So these new commemorations reproduce the earlier global exchanges. Her name also lives on globally with the muckraking Mother Jones magazine, which embraced her name to indicate its fearlessness.

Mother Jones is buried in Union Miners Cemetery in Mt. Olive, Illinois. Like the Irish, Mt. Olive had a special bond with her although she never lived there. The Union Miners Cemetery was established in 1899 so that this immigrant community could honor the men who were killed by armed mercenaries in the 1898 battle at nearby Virden, Illinois. Mt. Olive was a small rural mecca that produced a “memory counterculture” honoring the ordinary worker as a force in history. Jones chose to be buried there for that reason, and because the miners there had a deep commitment to democratic unions. When Mother Jones died in Washington, D.C., in 1930, it was headline news across the country. At least 40,000 people came to Mt. Olive to pay their respects.

Mother Jones is remembered. In the midst of the Great Depression, miners sacrificed to build an 80-ton granite Mother Jones Monument. In 1936, 50,000 people came to the dedication ceremony, which created a memorial not only to her but to the people who had lost their lives in the mine wars rebellion of the 1930s. Since that time, people have left special messages to Mother Jones there. It is a shrine not only to Jones but to the sacrifices that connected human rights and labor rights, a place where people wonder when and why labor lost its way, why it failed to keep the flame of struggle bequeathed by Mother Jones alive. Its location on famous Route 66 gives a different meaning to that stretch of the “Mother Road.”

Mother Jones is labor history. When we remember Mother Jones, we recall the struggles that built the labor movement. That is why, in the 1980s, efforts to reinvigorate the commemorations at the Mother Jones Monument were renewed by the Mother Jones Foundation (Springfield, IL). The cemetery and monument were cared for by descendants of miners through the Union Miners Cemetery Perpetual Care Association although mining had ceased in the area decades before. But over the years, the toll on the monument was clear. In 2014, the Illinois AFL-CIO spearheaded an effort to refurbish the monument. A new museum opens soon. The proceeds from the sale of this music collection will help preserve the monument, and ensure that a new generation will know the stories and keep the spirit-thread of history alive.

— Rosemary Feurer Mother Jones Heritage Project www.motherjonesmuseum.com

© Rosemary Feurer

CreditsDISC ONE

The Charge on Mother Jones( words Henry M. Tichenor/music Mark Ross) words P.D., music by permission

performed by U. Utah Phillips

courtesy Red House Records, Inc.

The Most Dangerous Woman In America(Thomas G. Russell)

performed by Tom Russell

studio version appears on the 2009 release Blood and Candle Smoke© 2009 Frontera Music (BMI)

Black Flowers(Lynn Miles)

performed by Lynn Miles

from the 2001 Okra-Tone release Unravel

The Bull Moose Special(Tom Breiding)

performed by Tom Breiding

Tom Breiding: vocal, guitar, harmonicaBob Artis: mandolin

© 2006 AmeriSongs/Tom Breiding (BMI)

Coal Tattoo( Billy Edd Wheeler) by permission

performed by Robert Earl Keen

Robert Earl Keen: vocalsRich Brotherton: guitarsMarty Muse: dobroBill Whitbeck: bassTom Van Schaik: drums

produced and recorded by Rich Brotherton at Ace Recording, Austin, TX

Mother(Gretchen Peters)

performed by Gretchen Peters

Gretchen Peters: vocals, guitarBarry Walsh: clavietta, pianoDavid Henry: cello

produced by Gretchen Peters and Barry Walshengineered by David Henryrecorded at Nigel’s House and True Tone Studio, Nashville TN

© 2008 Sony/ATV Cross Keys Publishing / Gretchen Peters Music (ASCAP)

A Miner’s Life(traditional)

performed by Billy Bragg

used by permission

Lydia(Karen Poston)

performed by Karen Poston

Karen Poston: vocalsTerry Kirkendall: drumsBobby Snell: steel guitarBoomer Norman: lead guitarGurf Morlix: acoustic GuitarBrad Fordham: bassOliver Steck: accordianKelly Willis: vocalsSlaid Cleaves: vocalsJim Stringer: various instruments

produced by Jim Stringerfrom the 2001 release Real Bad© Pistol Girl Music (BMI)

Coal Mining Town(Joel Rafael)

performed by The Joel Rafael Band

from the 1996 release Old Wood Barn© Reluctant Angel Music (ASCAP)

Miners’ Angel(Katy Moffatt/David Wilkie)

performed by Katy Moffatt

Katy Moffatt: vocals, guitarDavid Wilkie: mandolin

produced by David Wilkie

You’ll Never Leave Harlan Alive(Darrell Scott) by permission BMG Gold Songs (ASCAP)/ House of Bram and Sony/ATV Music Publishing

performed by Darrell Scott

Darrell Scott: vocals, guitarKenny Malone: percussionDanny Thompson: bass

from the 2005 release Live in NC

Black Burning Air(Hal Ketchum)

performed by Hal Ketchum

from the 1988 release Threadbare Alibis© Hal Ketchum (BMI)

Working In The Coal Mine(Allen Toussaint)permission granted by Sony/ATV Music Publishing o/b/o EMI Music Publishing

performed by Kristi Rose and Fats Kaplin

Mother Jones On The Line(Ben Bedford)

performed by Ben Bedford

Ben Bedford: vocals and guitarChas Williams: Dobro and baritone guitarDavid Spicher: upright bassPeter Young: drumsJon Randall: harmony vocals

from the 2009 release Land of the Shadows© 2009 Ben Bedford, Butterchine Music (ASCAP)

Tarpaper Shacks(Si Kahn)

performed by Si Kahn

Si Kahn: lead vocal Bonnie Carol: dulcimer Laurie Lewis: fiddle, harmony vocals Todd Phillips: bass, harmony vocals Tom Rozum: nandolin, harmony vocals Charles Sawtelle: guitar Pete Wernick: banjo, harmony vocals

Produced by Peter Wernick © Joe Hill Music LLC (ASCAP), all rights reserved

North Country Blues( Bob Dylan) © 1963 by Warner Bros. Inc.; renewed 1991 by Special Rider Music

performed by Lesley Schatz

Lesley Schatz: vocalsMiles Jackson: accordion

recorded by Miles Jackson at Mameo Music, Alberta, Canada

Ludlow(Jason Boland)

performed by Jason Boland and The Stragglers

Jason Boland: vocals, guitarsRoger Ray: lead guitar, pedal steel, dobroGrant Tracy: bassBrad Rice: drums, harmony vocalsNick Worley: fiddle, mandolin, harmony vocals

from the album Dark & Dirty Mile© Hell Pony Music (BMI)

Paradise( John Prine) courtesy Warner/Chappell

performed by Dave Haggard

She’ll Be Coming ’Round The Mountain(traditional)

performed by In The Pines

Hannah Kendle: vocals, violaDarren Welch: vocals, bassLaurel Morgan: vocals, violin, vocalsBrad Hodgson: vocals, guitarAuggie Wolber: guitarMike Myers: drums

John Yuelkenbeck: guest harmony vocals

recorded by Chad Meise, Kansas City, MO

DISC TWO

Mother Jones’ Will( Nimrod Workman) Published by Happy Valley Music

performed by Nimrod Workman

from the 1978 Rounder Records release Mother Jones’ Will courtesy of Concord Music Group, Inc.

Arthur Dale’s Statement(Fred Eaglesmith)

performed by Fred Eaglesmith

Fred Eaglesmith: vocals, guitarTif Ginn: mandolin, vocalsBenjamin Rogers: violin

produced by Fred EaglesmithAnne Fullerton: technician

Battle of Blair Mountain(Louise Mosrie/Mike Richardson)

performed by Louise Mosrie© 2009 Zoe Cat Music (BMI)/RichNSongs (ASCAP)

Dance Hall( Kim Barlow) by permission

performed by Bob Bossin and Veda Hille

Bob Bossin: vocals and banjoVeda Hille: vocals and accordionRene Worst: bassPeggy Lee: celloPietro Saamarco: trombone

produced by Veda Hillefrom the 2005 Nick Records release The Roses on Annie’s Table©2005 Bob Bossin

The Spirit of Mother Jones(Andy Irvine IMRO/MCPS)

performed by Andy Irvine

Andy Irvine: vocal, mandola, harmonicaDónal Lunny: bouzouki, guitarPaul Moore: double bassGraham Henderson : keyboards Liam Bradley: percussion

from the 2010 album Abocurraghproduced by Dónal Lunny

Last Train From Poor Valley( Norman Blake) by permission Nannor Music

performed by Andrew Hardin

An drew Hardin: vocal, guitars, tipleFats Kaplin: dobroRoscoe Beck: upright bassPaul Pearcey: drumsEliza Gilkyson: background vocalsBradley Kopp: background vocals

from the album Just Like This Train produced by Andrew Hardinrecorded in Brooklyn, NY© 2002 Andrew Hardin

These Coal Town Days( J. Lowe) courtesy Lowelife Music

performed by Jez Lowe and The Bad Pennies

from the album Live At The Davy Lamp by permission of Tantobie Records

Coal Miners’ Angel(Omar Kent Dykes/Mike “Boots” Potter)

performed by Omar Kent Dykes and Mike Potter

Omar Kent Dykes: lead vocal, guitarMi ke “Boots” Potter: bass, mandolin, harmony vocals

© Kent Dykes/Big Guitar Music (BMI)

The Mountain(Steve Earle)

performed by Steve Earle & the Del McCoury Band

Steve Earle: vocals, guitarDel McCoury: vocals, guitarRonnie McCoury: harmony vocals, mandolinRob McCoury: banjoJason Carter: fiddleMike Bub: bassJerry Douglas: dobro

courtesy Primary Wave Music Publishing (ASCAP–Primary Wave Anna)/WB Music Corp. (ASCAP)

Dark As A Dungeon( Merle Travis) courtesy Warner/Chappell

performed by Kieran Kane and Fats Kaplin

Kieran Kane: vocals, guitarFats Kaplin: fiddle

Mother Jones(Rob McNurlin)

performed by Rob McNurlin

Rob McNurlin: vocals, guitarKayton Roberts: steel guitarLes Worley: bassDave Prince: electric guitar

from the CD Rhinestoned© 2008 Buffalo Skinner Music (BMI)

Thank You (Miner’s Song)(Reagan Boggs)

performed by Reagan Boggs

Reagan Boggs: vocals, acoustic guitarPark Chisolm: bassEric Fritsch: electric guitarSteve Bowman: drums

produced and recorded by Eric Fritsch at Eastwood Studios, Nashville, TN

Bloody Williamson(Chris Vallillo)

performed by Chris Vallillo

Ch ris Vallillo: vocals, Collings OM3, SS Stewart Skinhead banjo, Fender Telecaster

Ross Sermons: stand-up bassRobert Bowlin: celloRocky Maffit: percussion

© 2012 Gin Ridge Music (BMI)

Sixteen Tons( Merle Travis) courtesy Warner/Chappell

performed by The Geyer Street Sheiks

Al ice Spencer: vocals, piano, mouth trumpet, whistleTom Hall: vocals, National steel guitarSt eve Mote: vocals, banjo, ukulele, guitar, pianoMike Prokopf: bassCharlie Pfeffer: vocals, mandolinMarc Rennard: fiddleDavid Gebben: vocals, washboard, percussion

from the album Great Dream of Heaven

The Death Of Mother Jones(W.C. Callaway)

performed by Gene Autry

recorded Februrary 25, 1931 in New York, NYcourtesy of Sony Music Entertainment

Paradise( John Prine) courtesy Warner/Chappell

performed by Tom Russell and Gretchen Peters

Tom Russell: vocals, guitarGretchen Peters: vocals, guitarBarry Walsh: piano, harmony vocalsThad Beckman: guitar, harmony vocals

recorded live in Mt. Olive, IL, October 17, 2009

Compilation Executive Producers: Ed Becker and John Yuelkenbeck

Compilation Mastering and Graphic Design: Alias Creative Group

Photography: Buck Sommerkamp/Renewal Media

DISC ONE 1. U. UTAH PHILLIPS – The Charge On Mother Jones

2. TOM RUSSELL –

The Most Dangerous Woman In America (demo)*

3. LYNN MILES – Black Flowers

4. TOM BREIDING – The Bull Moose Special

5. ROBERT EARL KEEN – Coal Tattoo*

6. GRETCHEN PETERS – Mother*

7. BILLY BRAGG – A Miner’s Life

8. KAREN POSTON – Lydia

9. JOEL RAFAEL BAND – Coal Mining Town

10. KATY MOFFATT – Miners’ Angel*

11. DARRELL SCOTT – You’ll Never Leave Harlan Alive

12. HAL KETCHUM – Black Burning Air

13. KRISTI ROSE and FATS KAPLIN –

Working In The Coal Mine*

14. BEN BEDFORD – Mother Jones On The Line

15. SI KAHN – Tarpaper Shacks

16. LESLEY SCHATZ – North Country Blues*

17. DAVE HAGGARD – Paradise*

18. JASON BOLAND and THE STRAGGLERS – Ludlow

19. IN THE PINES –

She’ll Be Coming ’Round The Mountain*

DISC TWO 1. NIMROD WORKMAN – Mother Jones’ Will

2. FRED EAGLESMITH – Arthur Dale’s Statement*

3. LOUISE MOSRIE – Battle of Blair Mountain

4. BOB BOSSIN and VEDA HILLE – Dance Hall

5. ANDY IRVINE – The Spirit of Mother Jones

6. ANDREW HARDIN –

Last Train From Poor Valley

7. JEZ LOWE AND THE BAD PENNIES–

These Coal Town Days

8. OMAR KENT DYKES and MICHAEL POTTER –

Coal Miners’ Angel*

9. STEVE EARLE and DEL McCOURY – The Mountain

10. KIERAN KANE and FATS KAPLIN –

Dark As A Dungeon*

11. ROB McNURLIN – Mother Jones

12. REAGAN BOGGS – Thank You (Miner’s Song)

13. CHRIS VALLILLO – Bloody Williamson

14. GEYER STREET SHEIKS – Sixteen Tons

15. GENE AUTRY – The Death of Mother Jones

16. TOM RUSSELL and GRETCHEN PETERS – Paradise*

* exclusive to this collection

minersangel.com motherjonesmuseum.org

Proceeds from the sale of this compilation go to the Mother Jones Monument in Mt. Olive, Illinois

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INERS’ ANGEL: A TRIBUTE TO MOTHER JONES

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