Top 6 Quotes & Sayings by David Massengill

Explore popular quotes and sayings by an American singer David Massengill.
Last updated on April 20, 2025.
David Massengill

David Massengill is an American folk singer-songwriter, guitar and Appalachian dulcimer player. Massengill considers Dave Van Ronk his mentor, and is fond of quoting Van Ronk's tribute "he takes the dull out of dulcimer" in performance and as the title of his frequent workshops on the instrument. Massengill owns and plays dulcimers carved by Edsel Martin (1927–1999) from North Carolina. Massengill's best-known songs include: "On The Road to Fairfax County", recorded by The Roches and by Joan Baez; "The Great American Dream," performed with Joan Baez and others at a tribute to Mike Porco, former owner of the famed Greenwich Village club Gerde's Folk City; and "My Name Joe", about an illegal immigrant restaurant worker. For some years after he began recording, Massengill maintained a day job as a restaurant dishwasher. He also contributed his poignant dulcimer-centered version of "The Crucifixion" to 2001's multi-artist double-disc tribute to Phil Ochs, What's That I Hear.

My favorite duo since Thelma and Louise. They got chops, heart, and soul stirring harmonies.
Stories were primarily verbal to begin with. Before there were cave paintings, stories were told over generations. We tell each other thousands of stories in the course of everyday life.
I admire the ballad form most of all. Stories are irresistible. I've always had a passion for stories, the endings being of particular importance. — © David Massengill
I admire the ballad form most of all. Stories are irresistible. I've always had a passion for stories, the endings being of particular importance.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
I use three main tools in writing: instinct, hard work and dumb luck. Dumb luck is missing a train and, while you wait for the next one, writing a key word, line or verse. When this happens often enough you begin to believe in Fate.
I give myself the luxury of time in shaping a song. It's very common for me to work three months or more on a single song. Plotting takes time and effort, for there are many false turns. I fill up pages and pages with my mistakes, thereby eliminating them. Eventually a trail is broken through this mountain of mistakes. Sometimes it's as easy as putting eggs in a basket; other times it's like trying to pound a ton of sand into a diamond.
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