This is an album in three parts.

First, the ongoing genocide in Palestine, songs that were written in the past few months.

Second, mostly songs related to the class struggle, some very recent and some slightly less so.

The third part relates to the album title.

To paraphrase Renée DiResta, we live in an era especially characterized by the collision of the rumor mill and the propaganda machine.  A collection of the songs I've written over recent years on that subject, such as the album's title track, make up the third part.  

Credits:

The songs were all written by David Rovics.  Depending on the song, you'll also hear David's guitar, bouzouki, or mandola.  If you hear female vocals, that's Kamala Emanuel.  Anything else you're hearing -- bass, drums, synth, banjo, electric guitar, and various other odds and ends -- is Chet Gardiner.

Cover graphics by the brilliant Kalindi Jackson.

I Heard A Rumor

The danger of ignoring obvious historical parallels to unfolding events is the prospect of repeating them.

Just Like the Nazis Did

A song of appreciation for all the protesting students, staff, and faculty at Columbia and many other institutions across the US.

Boycott, Sanction, and Divest

"Antisemitism" is the new "communism" -- have you ever said anything that could be construed in someone's convoluted mind as somehow anti-Jewish?  Iran is the new USSR, Elise Stefanik is the new Joe McCarthy, and the House Un-Israeli Activities Committee is going strong, ruining one life at a time, and striking fear throughout academia and beyond.

The House Un-Israeli Activities Committee

As I sit here, most of the journalists still reporting from Gaza seem to be somewhere in a hospital complex in Rafah that is currently under siege by the Israeli military.  This song is not a prediction of their deaths, but rather a plea for their lives.

Hani Mahmoud and Tareq Abu Azzoum

And now watch them justify the missiles that they sent
To bomb the starving children dying in their tents

Since Long Before October

On June 8th, 1967, during the course of the Six-Day War, the Israeli military tried to sink an American ship and kill all the crew -- knowing full well that's exactly what they were doing.  The attack left 34 Americans dead, hundreds maimed, and a ship destroyed.

The Ballad of the USS Liberty (When Israel Attacked the USA)

In 1834, organizing a union in England was legal on the books, but not in reality.  Farmworkers in Tolpuddle, on the south coast of England, tried to organize a union and were deported to Australia for it.  A massive movement across the country forced the government to pardon the Tolpuddle Martyrs, as the farmworkers became known, and transport them back to England.

This version of the song, from a live show in Crewe, England, was enhanced afterwards by multi-instrumentalist and audio engineer, Chet Gardiner, from his studio in Hawai'i.  It will be part of our next collaborative album, to be titled, I Heard A Rumor, to be released on July 4th, 2024.

Tolpuddle

I had a good time chatting the other day with the hosts of the podcast, Unfinished Business with Paul & Rob. We talked about Gaza and music and other things.  The interview with me begins 12 minutes in.

Unfinished Business interviews David Rovics

The words "collateral damage" have come to mean dead civilians. This song puts those words in context.


Collateral Damage

you loved your sweet country for all of your life
like your mother and father before you
the land runs deep, so deep in your blood
your flesh and your bone and your sinews
descendants and ancestors, deep as it goes
a relative circle as far as your eye
it can all be undone in the flash of an instant
mechanical thunder that bruises the sky

(chorus)
goodbye to my relatives, all of my life
never again will I see
you won't have a name when they fly the big airplanes
collateral damage is all you will be

from a faraway place where the language is strange
they come with their angry machines
and the clouds rain a metal that hurts when it falls
and it shatters the ground, making everything scream
and the children run crippled, the old people hide
the babies are caught in the rubble debris
but the strangers don’t know you, you are only a number
and how can they respect what they can’t even see

(chorus)

a mother is more than a number to a baby
who now has to grow up on it’s own
and a grandfather blinded and crippled at his age
is more than just a statistical drone
all of these people are human beings
and deserve to be more than a footnote
this cynical language of killing is killing us
caught like a bone in humanity’s throat

(chorus)

so if you see a ghost in the lonely wind blowing
like shrapnel the sound of the rain
and it’s speaking a language you don’t understand
but you know what it means just the same
it’s too late for innocence, all of that’s over now
don’t say that you didn’t know
when they come to collect for the damages owed
the collateral may be your own

(chorus)

Collateral Damage

Hammer

This piece was inspired by Conlon Nancarrow; not that I'm very familiar with his work, but his method was enough to inspire me to create a piece in a similar style to his own. It was made using one note, replicating it and dragging it to exactly the right place as many times as I needed, for both piano and harpsichord. That is, until I added in a new sound at the end, giving a lot of distortion to it.

I did not expect it to become as popular as it has, given that it was a rather momentary, on the spur, and random creation, and it is less conventionally accessible than many of my other pieces. My only regret may be that this has overshadowed my other work in terms of popularity.

I've created a sequel, and am currently working on a third Conlon Nancarrow inspired piece, but so far they've not measured up to the original. However, there are some interesting and exciting twists in the second piece, 'The Next Level', and I've put the third piece to the side, 'Piano Madness: The Spirit of Conlon Nancarrow Returns', having been unsatisfied with it, though I may attempt it again at some point.

Conlon Nancarrow Tribute

The San Patricios -- the international brigade you've probably never heard of (half a century before the Spanish Civil War).  This version is from Live in Rostrevor (2016) with Lorna McKinnon on harmonies.

St. Patrick Battalion

Episode 1: Tolpuddle Martyrs Part 1

There are various causes of deadly new novel viruses, as I have recently learned, along with many of you.  One of them is climate change, so we can be sure we'll be seeing more of them.  But whatever the reasons for the fatality rate of Covid-19, we do know why the last global pandemic, the so-called "Spanish Flu" in 1918 was so extremely deadly.  It was a pandemic caused by the particular conditions of the trenches of World War 1, and the movements of troops around the world at the end of the war.  This war virus ultimately killed more human beings on planet Earth in six months -- in every corner of the globe -- than the carnage of World War 1 caused in four years.

Recorded live as part of the Viral Solidarity Concert project at Big Red Studio on April 2nd, 2020.

The Pandemic of 1918

This trailer has been superseded. Please go to https://soundcloud.com/tayo-aluko/paul-robesons-love-song-by-tayo-aluko-the-trailer/

Paul Robeson's Love Song (trailer)(superceded)

Singer/songwriter, writer, podcaster (on Spotify, Substack & Patreon), libertarian socialist, dad, lover of life.

Tolpuddle

davidrovics

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