Wrycraft salutes Johnny Cash! (and finally gets out of his apartment!)

Friday night was another Wrycraft tribute show.  This time for Johnny Cash, in fact the 4th Johnny Cash show Michael has put together.  The listing of participants was fascinating, but not half as fascinating as their interpretations of Cash's songs!

My wife and I were joined by friends Ralph & Miriam who are not familiar with the Canadian music scene. But Ralph sure likes his Johnny Cash, and Miriam was ready for a night out.  We had a table right down in front, you can see the back of Ralph's head, and a bit of glare off my forehead on the right of this picture. 

The show was opened by Kristen Bussandri who seemed nervous; it was her first appearance at Hugh's Room, and she neglected to introduce her accompanist.  Guitarist Darcy Windover took care of that himself. Together they set the tone for a fine evening.  Oh, the guy in the spotlight with the guitar is JD Edwards, who flew in from Winnipeg for the evening.  (Man, were his arms tired!)  [Sorry!]   JD was probably about halfway through "25 Minutes To Go" (a Shel Silverstein novelty that Cash recorded in 1965) when this photo was taken...his first song was "Peace In the Valley".   He was followed by a new band called the Rucksack Willies, who provided some country renditions of "Don't Take Your Guns To Town," and "Jackson".  The Willies feature a pedal steel guitarist whose facial antics are almost as entertaining as his steel skills!

Next up was Jon Brooks, whose most recent CD Delicate Cages has continued to grow on me over many months.  He sang an updated and somewhat shocking version of "Delia's Gone".  At least some folks I spoke to were shocked.  Not everyone is aware of the violent nature of traditional ballads I guess.  It was the updates that pushed it over the edge though.  Michael says that Brooks wants to "piss people off" with his new album.  This oughta do it.  After Brooks it was time for a break.

After twenty minutes or so, the lights dimmed again and South African Brian Litvin and Jabulani took the stage. Their sound check had promised real African rhythms but their first song was a rather straight take on "Long Black Veil".  The township jive came alive with the next one though.  "I Guess Things Happen That Way" never grooved so beautifully.  Andrew Downing and Tim Posgate took the stage next, armed with cello and guitar to do an emotive version of "Home of the Blues", but when Posgate picked up the banjo things really happened.  They played an instrumental "Folsom Prison Blues" like you've never heard before.  It was fantastic.  And Johnny Cash said [reported by Tim Posgate] there "are no banjos in heaven"...well there should be!

Paul Reddick and band then made their way to the stage.  Reddick added blues to the mix, with "I Walk the Line" and "Train of Love" (which he had recorded for a Northern Blues Johnny Cash tribute CD a few years back).  The addition of the Rucksack Willies' steel player Michael Eckert added new textures to Reddick's blues.  Then it was time for Sam Turton, Jane Lewis and Eva Goldberg's new trio Gathering Sparks.  I haven't heard their EP/CD yet but if Friday night's renditions of "Ring of Fire" and "Sunday Morning Comin' Down" are a sample, then I've gotta pick that up.  Stunning harmonies.  Beautiful!  They took charge during the final number too, which Michael likes to call "a fine little train wreck".  Everybody who took part makes their way back to the stage for a festival finish.  Sometimes it is a train wreck, but with Sam and Eva assigning parts the version of "Will the Circle Be Unbroken" was absolutely gorgeous.  Thanks to the audience for additional harmonies.
  
Wrycraft will be back in September with a tribute to the Eagles and I'll be there!  Wouldn't miss it!  Oh, if I could figure out who took the beautiful photographs I'd give that person credit!  They're not mine, but they are fine!

Happy New Year...and more

I can hardly believe that I haven't written anything here since October.  That doesn't seem possible, and yet...
That means no mention of Wrycraft's great Tom Waits Tribute of November 29th, or his equally fine James Taylor Show of January 10th.  Michael has another Carole King Tribute upcoming, although I'm not certain of the date yet.  You won't want to miss it.

Last weekend we took in the Rosanne Cash concert at the Burlington Performing Arts Centre, and it was excellent.  I'm writing a review of that show for Critics At Large (which should appear on Friday, Jan.31st). Suffice it to say that, apart from some troubles with John Leventhal's guitar setup, a good time was had by all!
Some news has reached my desk about new projects by our namesake, Ryland P. Cooder!  Not only did he release a dandy live album in the last few months, and select the bluegrass songs for the HighBar Gang's debut album but he has also produced what looks to be a good record for the Haden Triplets.  These daughters of jazz bassist Charlie Haden know how to sing harmony and Ry has kept things simple and straitforward.  Coming soon from Third Man Records!
Brian O'Neal from Conqueroo sent me some information about an upcoming appearance by Ry Cooder as the 'special guest' of Ireland's Chieftains for their upcoming Celtic Sessions (an intimate fan experience and live performance) in Saratoga Springs New York.  This will take place on July 7-11.
Brian says:

Over the course of 53 years and 58 albums, seminal Irish exports the Chieftains have uncompromisingly popularized their country’s rich musical heritage, collaborating with some of modern music’s biggest names, and ultimately earning the group six Grammys and 18 Grammy nominations.

From July 7-11, at the bucolic Gideon Putnam Resort in Saratoga Springs, New York, The Chieftains present The Celtic Sessions, with very special guest Ry Cooder. The five-day event will be an opportunity for fans — both musicians of all levels and non-musicians — to deeply experience the rich beauty of Irish music and soak up one of modern music’s most enduring and fascinating careers. 

This once-in-a-lifetime experience grants fans unique and intimate access to a legendary world-music institution. Paddy and The Chieftains will offer master classes in traditional Irish music techniques and instruments, as well as conduct breakout sessions on songwriting and authentic Irish dance. There will be extensive Q&As where Paddy might discuss anything from the band’s stick-to-your-guns early days to teaching Rolling Stones guitarist Keith Richards a tricky traditional Irish rhythm. The musicians will also host private shows in which participants can actually jam with the band, and there will be a rare show with the Chieftains featuring Ry Cooder. The all-inclusive event will also include fine cuisine and a whiskey-tasting session. 

“Paddy fits in everywhere he goes, and I do my level best to fit in with him when I get the opportunity,” says special guest Ry Cooder, known for applying an authentic feel and bold personal voice to myriad forms of roots music. “We’re the old-timers now, the ringmaster and the sad clown. We know a thing or two.” Cooder is sure to inspire some wonderfully freewheeling performances. In 2010 he collaborated with The Chieftains on the commercial and critical smash San Patricio. Paddy has said the concerts with Cooder were some of his favorite in the band’s half-century career.

It all sounds too good to be true, and only a short hop across the border.  We were looking for someplace to go for our vacation this summer.  Hmmm.

Jacob Moon's Fascination

Jacob Moon is a Hamilton-based singer-songwriter who has a fascination with old records.  Me too.  I started collecting records in 1963.  The Beatles Twist and Shout was the first album in the house. Turned out that our turntable (called the record player in those days) didn't even play 33 1/3 records. Nor 45s for that matter.  So for a week we had to wait, my brother and I, to hear The Beatles.  My Dad came home from work, and on the way he stopped at the radio fix-it shop where they had installed a new 4 speed record changer.  We never did figure out what kind of records played at 16rpm, but we certainly made good use of 33 and 45!  We played that Twist and Shout album over and over again.  My Dad played his Jimmie Rodgers and Merle Haggard records, my Mom Count Basie and Stan Kenton.  We heard, and appreciated it all.  We had a fascination with the music.  Still do.  And so does Jacob Moon.

Of course Jacob's younger then me, so his Fascination starts a few years later than the Beatles.  On his new CD he decided to pay tribute to the records that he played when he was young, digging through the oeuvre of bands like Rush, Marillion and Yes to find songs that he loved and would love to play. Then he gathered up some like minded friends, got together in the studio and laid down the tracks.

On the first two tracks (Rush's "Limelight" and his own "Is That All You Got") Jacob pays homage to his favourite Canadian band by joining with the Dave Barrett Trio to provide a remarkable cover version of the Rush classic, and a powerful original which feels like it could be a prog-rock classic.  Jason Farrar's bass and Alexander Tukatsch's drums form a foundation for Dave Barrett's singular guitar solos and Moon's own solid guitar playing and flexible vocal cords.  Man, he can sing.  Later on Moon has included his now famous rendition of Rush's "Subdivisions" which brought him to the attention of Geddy, Alex & Neil who requested he play at their induction into the Canadian Songwriter's Hall of Fame!

There are two tracks from Marillion ("Kayleigh" and "Lavender") another of Moon's favourites.  He'll be joining them on a European tour in November.  He also does a version of "Owner of the Lonely Heart" a personal favourite of mine.  It's not from the classic Yes lineup, but a mid-80s reformation with Trevor Rabin.  Moon owns the tune!  He pretty much owns whatever he touches, whether it be Radiohead, Keane or Tom Waits.  His mellow rendition of "Pony" has been floating around YouTube for a while.

The generally solo guitarist/singer has brought in some quality support besides the Barrett Trio.  He is backed by drummers Rob 'Beatdown' Brown, David DeRenzo and Gord Stevenson; bassists George Koller and Mark McIntyre and vocalist Lisa Winn.  All the other sounds are produced by Jacob Moon himself.  He is a fine guitarist and is possessed of a superb voice which is perfect for these tunes.

The record cover shows photographs of the record shop where I buy most of my music these days.  And the cute little blonde fellow is one of Jacob's sons.  I was browsing through the racks at the shop the other day before I saw the cover photos and I came across a couple Marillion LPs.  I asked the owner, "Does Jacob Moon know you have these?"  to which he replied, "Yep!"  Little did I know that the photo session had taken place the night before.

All in all, this is a record which continues our fascination with the original recordings but adds to that Fascination by providing new grist for the mill, new ways to hear these songs.  Beautifully done Jacob, now all you listeners out there, get your orders in.  You won't want to miss this one!

Get Yer Ya-Yas Out, Hugh's Room (Sept.7, 2013)

How do you thank someone for providing you with fifty years of entertainment?  What’s the recipe for that?  On Saturday night Michael Wrycraft paid tribute to the Greatest Rock’n’Roll Band in the World with a concert at Hugh’s Room in Toronto!  OK, it’s true that Mick and Keith, Charlie and Ronnie (not to mention Brian, Mick and Bill) couldn’t be there to see it, but that doesn’t mean it was any less meaningful or wonderful for those of us who did turn up!  Holy cow! 

Wrycraft called it Get Yer Ya-Yas Out which was the name of one of the Stones’ finest live albums (one of the best live albums ever, really).  And I have to say, if anyone had any YaYas left in ‘em by the end of the night I feel sorry for them!  (Come to think of it…maybe the chatty woman at the back was stiflin’ her YaYas, maybe that was her problem).   The rest of us sure had a great time getting ours out!  YaYas that is!

Now I should tell you that Michael’s Tribute Shows tend to be a bit laid back sometimes.  That’s not a criticism, just an observation.   Of course, his shows have tended to be tributes to the great singer-songwriters like James Taylor, Paul Simon, Carole King, Roger Waters.  ROGER WATERS?!?  Thassright, Pink Floyd!  He did host a Pink Floyd show last year.  It was awesome!  Totally mind-blowing!  But the Stones?  The Stones require volume, and energy, and…volume.  And a drummer, of course.  You want to be able to turn to the audience at some point and say, “Charlie’s good tonight, isn’t he!?”   You could say that about all the drummers on Saturday night, each one adjusted the kit for themselves, and each one provided just the right amount of boom-boom-boom combined with appropriate tshh-tshhh-tshh! 

Right off the bat we got rolling, with Samantha Martin and the Haggard’s take on “Gimme Shelter”.  You’d’ve thought The Stones themselves were there as the familiar guitar riff kicked off, and then when Samantha opened her mouth…you thought, “Geez, who needs Mick?”  A blues drenched “Love In Vain finished their set.  Things calmed down a bit when Wrycraft introduced Jadea Kelly accompanied by the great steel guitarist Burke Carroll.  They did “Angie” and “Dead Flowers” and Jadea’s vocals were sweet, but the steel guitar was even sweeter.  Aaah! 

Next up Roxanne Potvin on guitar and vocals blew the roof off the place with a sizzling “Ventilator Blues” and an amazing take on “Can’t You Hear Me Knocking”.  What a performance.  What raw courage!  Whew!  Her power could be a reason why Scott McCord seemed to be working so hard in following.  His renditions of “Sway” and “Happy” were solid, and the Bonafide Truth Horns blew up a storm, but we were just exhausted by what had come before.  The intermission was a welcome break, to catch our breath, and buy a CD or two.

The second set opened with guitar master Michael Occhipinti and saxophonist/singer Lester McLean jazzing it up on a Sonny Rollins tune.  They were celebrating Rollins’ 80^th birthday because Rollins had played the sax solo on “Waiting On A Friend”.  Then they did that song with McLean tackling Mick Jagger’s high pitched “oohs” perfectly.  Between this tune and their incredible rendition of “Emotional Rescue” (including the ‘I’ll be your knight in shining ahhr-mour…’ part, done in McLean’s most fey-Jaggeresque style) the mix of sax, processed guitar and amazing singing added up to a real highlight.  But then O Susanna came on stage and said she didn’t feel like herself tonight, and invited us to see her as “a real @#$%in’ @##hole…Mick Jagger”.  You know what?  She sold “Under My Thumb”!  I bought it.  She was Mick, prowling, strutting, posturing.  And the band (which included two members of Blue Rodeo) rocked out beautifully.  “Shine a Light” was a surprise second track, well done!

I was looking forward to hearing from Gurf Morlix, because he had been a key part of Michael’s Beatles’ Tribute a while back, and also because I just flat out love this guy’s music.  He stepped up onto his stomp boxes and provided his own percussion for emotive takes on “Wild Horses” (with backup vocals from O Susanna) and “Let It Bleed”.  The guy is good. 

Then it was almost over.  Just one more band, Hamilton’s own Harlan Pepper.  They’re like twenty years old, but they’ve been together since 2008, and gigging hard ever since.  Fresh from the Daniel Lanois Greenbelt Picnic, and having opened for Blackie & the Rodeo Kings and Lee Harvey Osmond these guys know their way around a stage.  And they know their way around a Stones song too.  They captured the essence of the greatest rock’n’roll band with fiery versions of “Beast of Burden” and “Midnight Rambler”.  There aren’t enough superlatives to describe the thrill of watching and hearing these young fellas as they rocked the joint!  On their last note they were awarded with a spontaneous standing ovation.  Maybe the ovation was really for all that had gone before, but Harlan Pepper deserved it! 

All the performers came back for a“glorious trainwreck” version of “Sweet Virginia” but since Gurf and Samantha knew the song and led it off this was one of the best-sounding conclusions to a Wrycraft show I’ve ever heard.  This was Michael’s fortieth show, paying tribute to a fifty year old band.  It was AWESOME!  I look forward to another forty shows.              

photo by Robert Saxe

The Rascals: Once Upon a Dream (Royal Alexandra Theatre, Toronto) Aug.21/13

(This review appeared in Critics at Large last week, but the show was so good...here it is again!)

I never would have dreamed it.  So how in the world did this happen?  These guys weren’t even speaking to one another for years, decades even.  Felix Cavaliere played a short set of familiar tunes in front of a band of hired guns at last year’s Hippie-Fest.  Five or six songs is all, and he sounded in great voice.  You-Tube videos showed Eddie Brigati re-tuning his vocal cords; and Dino Danelli together with Gene Cornish was on tour with The New Rascals. But this was the four guys together on one stage, like a real band, playing the hits (and the not quite hits) from fifty years ago.  Felix, Eddie, Dino and Gene on stage at the Royal Alexandra Theatre.  How in the world did this dream come true?

It’s all down to Steve Van Zandt, that’s right, Bruce Springsteen’s guitar playing pal, Tony Soprano’s right hand man, radio host, and all round music lover Miami Steve.   After inducting the original four Rascals into the Rock and Roll Hall of Fame in 1997 by wearing the “Little Lord Fauntleroy” suits the band wore for their first television appearances, Van Zandt had an idea to get the band back together.  It took him some time, funding the project with Kickstarter, and writing the show with enough political correctness to get the four feuding band members to agree to do it (but more about that later). 

The show is called Once Upon a Dream and Van Zandt’s pitch for funding read like this:  "To do justice to the Rascals importance, I've written a show for them that is just as unique as they are. It’s called "Once Upon a Dream".  It's a combination of a Rock Concert and a Broadway show that will include their own live performance by the original four Rascals - Felix, Eddie, Dino, Gene, and be complimented by filmed segments and news footage and will be a show that they can take all over the country....The show will be an uplifting inspiration for you fans that have been waiting all these years, praying for a Rascals comeback, and those of you who are younger will get a real taste of the '60's you missed the first time around. Me and Marc have invested our time, money, and blood these last few years for this idea and now we need you to bring it home. Not one dollar that is contributed will go into anyone's pocket, or be commissioned in any way, every dollar will go into the production making it as good as it can be, as great as the Rascals deserve....So that's it. The Rascals are coming back. We have been looking for other investors but nobody has any vision anymore. Frankly nobody believes in this dream except me, Marc, Peter and you. The production will be as big as you make it. On behalf of the Rascals Thank you." - Steven Van Zandt

They received pledges of $123,300, (nearly 25% more than they had asked for) and the show premiered on Broadway last April selling out 15 performances and leading to successful tour.  The show at the Royal Alex still features all four Rascals supplemented by backup singers, a bass player, and keyboardist.  The Rascals are centre-stage in front of a huge video screen on which is flashed all sorts of images.  The most interesting are individual interviews with the four guys, telling their story straight up.  These interviews are enhanced by brief re-enactments (by actors) of specific scenes from their career, or old photos and videos describing the milieu.  Look for conflicting images of war and peace, for instance, as The Rascals play songs from deep in their catalogue.  Other songs were highlighted with clips from Pam Greer films, or some erotic dancing, cartoons, or that oil and water thing that was so popular in the 60s. The lighting display was created by Van Zandt’s co-director Marc Brickman (who has worked with Pink Floyd).  The set list was rich with both hits and those lost classic from B-sides, or album tracks.  It was a feast for Rascals fans.  And they were legion.  The Royal Alex seemed full up.  Likely the heavily discounted seats offered in the previous 2 days had something to do with filling seats.  We ordered our tickets the Friday before the discounts were announced, so missed the savings but still felt we received our money’s worth, by the sheer professionalism of the production and the passion of the band.

Vinnie Pastore, best known as “Big Pussy” Bonpensiero on The Sopranos, acts as narrator and manager Fat Frankie on the video.  The Jerseyness of the band is highlighted by his presence, and by the story itself.   At the end of the show Gene Cornish (who has been playing some wicked guitar licks all night, and tossing picks out into the audience) announced, “So as you know, Eddie and Dino are from New Jersey, Felix is from New York…but I was born in…OTTAWA!  Eh!?, Eh?!”  This to perhaps the biggest cheer of the night.

But cheers came early and often as the band played through 28 of their songs with a fire that could easily have gone out this long from the beginning.  The video material was interesting and well done, but we were there to hear (and SEE) the original Rascals, the four guys who tore it up on Ed Sullivan.  And there they were before our very eyes.  My friend Alex is still saying it this morning, “We saw the Rascals…we actually saw the Rascals!”  Indeed we did.  And perhaps it’s not reading too much into the reformation to notice that at the very end of the show, Felix Cavaliere, sat on the organ riser talking to a roadie while Eddie, Gene and Dino thanked Felix for being the genius he is.  “We were a band, a real band, but we had Felix and his voice and songwriting to lead us.”  Every group needs a leader I guess.  Is that what kept them apart for so long?  We’ll never know the truth, but Miami Steve has done a fine thing bringing them together for a rockin’ night in the theatre.  I never would’ve dreamed it!

In CASH We Trust!

Friday night, drive to Toronto, park at the grocery store, walk across Dundas St. to Hugh's Room and get seated.  Order dinner, maybe a cold pint.  Definitely a cold pint.  Say hello to A Man Called Wrycraft who will be our self-described "loveable emcee" for an evening of Johnny Cash tunes as interpreted by by a cadre of fantastic musicians. Is there a better way to spend a Friday night?  OK, Valdy was playing at The Pearl Company back in Hamilton, but let's face it...you can't do everything!

The pesto pan chicken is tender and tasty, and Ralph said that the eggplant rolls were excellent.  The Mill Street Tankhouse was icy cold.  Mmmm.  But enough of this...when does the music start?  Wrycraft moves to his perch near the foot of the stage.  Dave, the soundman, hands him his mic.  Michael welcomes everyone, and it's a full house tonight, and introduces the first act.  There are eight acts listed on the poster.  Each one will do two songs from Johnny Cash's repertoire.  Dear Sister comes up first, they joke about being dressed like Johnny and June, but they look much younger to me!  They do Beck's "Rowboat" and "Ain't No Grave".  These are from the Rick Rubin era of Cash's legacy, and the close harmonies of Bri and Raven start the evening on a high note.  They are followed by QuiQue Escamilla who adds a little chili pepper to the stew.  "Home of the Blues" gets things rolling but QuiQue really starts shaking on "I Walk the Line".  I have to see this guy's band!

When Ginger St. James takes the stage she owns it, and she brought her band with her.  They perform "Tennessee Flat Top Box" and "Orange Blossom Special".  Kudos to Snow-Heel Slim on guitar, and Greg Brisco on piano.  Next up is LeE HARVeY OsMOND.  I had heard that Tom Wilson (LHO's alter-ego) was going to do three songs, because Wrycraft wanted him to do "Folsom Prison Blues" (which Blackie & the Rodeo Kings had covered on the Johnny's Blues CD) and Tom does his three songs.  But he doesn't sing "Folsom"!  Instead, after a couple of colourful stories (don't ask!) and rocking renditions of "Rockabilly Blues" and "Ring of Fire" accompanied by The Claytones, he invites Tracy Brown (from The Family Brown) onstage for an impassioned "Jackson".  It was extraordinary.  After that energy, we all need a break.  The Claytones are everywhere on Friday night, singing backup, playing stunning guitar or mandolin solos.  Tom mentions that he wants to use them as his band on tour, after meeting them that night at the Hugh's Room DayCare Centre!      

The break is only 20 minutes, because there's lots of music left.  Galliano Island's T.Nile opens the second half.  It's the first time sound is a problem.  There are loud electronic pops, and T.'s fiddle accompanist seems distracted by something on the floor.  The DI box?  They manage their way through an interpretation of Johnny's version of NIN's "Hurt".  It works.  After another sad tune in A minor, they leave the stage to The Claytones.   The electronics issue continues through their first number, a beautifully sung and played version of "I Still Miss Someone".  Then they have to pay their debt to Tom Wilson, who traded them "Jackson" for "Folsom Prison Blues".  This is a song lead singer Kelly Prescott says they "don't know!"  Well...it sure sounds like they know it.  The Claytones are the surprise stars of the evening, popping up all over the place and adding brilliance everywhere they appear.

This leaves just two more acts.  James Keelaghan is first with powerful versions of "Sunday Mornin' Coming Down" and "The Long Black Veil."  Then it's all down to Cindy Church to close the show with "Big River" and "Flesh and Blood".  Cindy's pure voice is enhanced by some remarkable guitar picking from Wendell Ferguson.   And finally the whole cast, or what's left of them, join together on-stage for a rousing take on "It Ain't Me, Babe".  We all sing along.  It's the perfect closer for a perfect night.  Ralph looks at me and says, "This was fantastic!"  His daughter (who has been listening from the front door after arriving from the Blue Jays game texts, "next time bring ME!"

The next Wrycraft tribute?  It's The Rolling Stones in September.  Don't miss it!

Gerry and the Pacemakers (Fallsview Casino)

The Avalon Theatre in the Fallsview Casino does not have a bad seat in the house. And the prices are good. We were in the third row, great sightlines, and tickets were only $34. Not bad to see Gerry & the Pacemakers. That is right...Gerry & the Pacemakers (not Gerry needs a pacemaker!). Trouble is that casino shows seem to be short. Gerry began his career playing all night long in the bars in Germany like their friends John, Paul, Ringo and George. Set after set of whatever songs they could learn, and rock up. Schmaltzy ballads, covers of Elvis or Jerry Lee Lewis, maybe a Broadway tune, you name it, they played it. Well, here we are, fifty years on and Gerry is still doing the same thing, only now he does it for 75 minutes. But he crammed a lot of songs into that hour and a quarter. Of course, The Pacemakers have changed, brother Freddie died in 2006, Les Chadwick and Les McGuire are long gone. Even Wikipedia has no record of their whereabouts. They have been replaced by Steve Thompson on guitar, Garth Watt-Roy on bass, drummer Mitch Oldham and bandleader-keyboardist Tony Young. As long as Gerry steps out front, singing with the same strong tenor he always has, they will always be Pacemakers. He is 72 years old now, has gained a bit of weight, and lost a little hair, but he continues to be a charming compere. He tells stories, like inheriting the Mitch Murray tune How Do You Do It when The Beatles turned it down, and getting a phone call from John Lennon, jealous when the song went to number one. Both Gerry and The Beatles hailed from Liverpool and worked the same clubs. Gerry was the second signing to manager Brian Epstein. After an opening number Mony, Mony, by The Pacemakers it was Gerry all the way. He worked his way through all the hits, How Do You Do It, I Like It, Ferry Cross the Mersey, Jambalaya, and more interspersing them with covers of rock and roll classics like Rip It Up or Great Balls of Fire. He showed a bit of temper (call it frustration) when the wireless pickup on his guitar crapped out. The battery needed replacing.

WHY DID YOU NOT REPLACE THE BATTERY BEFORE I CAME OUT ON STAGE.

A good question really. The evening closed with a rendition of the Liverpool Football Club anthem, You'll Never Walk Alone. We all sang along. Seventy-five minutes flew by. We knew every song. Certainly the six sisters in the front row were on cloud nine. It was a wonderful night remembering days gone by, with one of the greats.

Recent Happenings

A week or two ago we attended another of Wrycraft's tribute shows at Hugh's Room. This one was in honour of Carole King. The lady knows how to write a song, and the performers Michael chose certainly knew how to perform them. The stipulation was that each performer would choose (or be assigned...make no mistake, sometimes Michael picks your songs for you) one song from the early Brill Building years (when Carole was married to and writing with Gerry Goffin) and one from the Tapestry years. The amazing thing is how many songs Ms King wrote that have made an impact on our internal jukeboxes! With every song somebody in the capacity crowd whispered (or gasped) "I didn't know she wrote that!" Yep, songs that we knew in versions by The Monkees, Herman's Hermits, or James Taylor...they all flowed from the pen of Carole King. And the artists involved turned them inside and out but however they played 'em...they still had that unmistakeable meldoy that wouldn't let you go. Paul Reddick, who was accompanied by Colin Cripps on guitar, turned his tuens into blues, Chloe Charles offered R&B, George Koller had Carvin Winans to gospelize a pair and Aaron Jensen and Countermeasure sang accapella...gorgeous. Every one of the eight acts gave it their all. And with songs as good as Carole King's that made it a pretty special evening. Then there was an opportunity to see The Zombies in concert! That's right! The Zombies. Rod Argent and Colin Blunstone together with a tight as a drum band playing all the songs. Oldies like "She's Not There," "Tell Her No," and "Time of the Season" plus solo tracks from Colin's career, and "Hold You Head Up" from Argent. The crowd was...ummm...grey haired but young at heart, and the band was fantastic sounding like the originals on the old stuff and not unlike Steely Dan on the new songs. I picked up the new CD and have been playing it ever since. Rod & Colin signed everything. Gerry & the Pacemakers are coming to Fallsview Casino in June, so I bought a pair of tickets for that. Of all the Merseybeat bands they were my favourite (next to The Beatles, of course). It will only be Gerry Marsden and a band of professionals but Gerry still has the voice! Jesse Winchester is coming back too, after recovering from throat cancer. The tribute CD that Jimmy Buffett put together is a great introduction to Jesse's work, but you have to hear Jesse do his songs. The guy's a genius of relaxed singing and a fine songwriter too.

Woody Guthrie

What can I say about Woody Guthrie that some other guy hasn't already said? Well...read my most recent post on Critics at Large to find out! His new book House of Earth is moving and fun and sexy and just a durn good read!

Sweet Baby James, at Hugh's Room (Jan.4/13)

The drive to Hugh's Room on a Friday evening is not as bad as it might be. You don't have to go on the Gardiner, so you save a lot of trouble and if you know enough to stay to the left as you go up Parkside, it's pretty smooth sailing. Free parking at the grocery store lot across the street is a real bonus in the Big Smoke. Then it's a short stroll across Dundas to the best (or certainly one of the best) music venues in Southern Ontario. A Man Called Wrycraft is dining with the musicians who will perform James Taylor's songs tonight, and as my wife and I enter the room his voice booms, "Kidney!...and, ummm, Mrs. Kidney!" It's nice to be noticed. There's a buzz in the room tonight, there was a full page article in the Sun today announcing this show, another in a series of Wrycraft organized tribute concerts. The way he does it is, select an artist (he does Tom Waits every year, Paul Simon, James Taylor, Randy Newman, The Beatles and even Pink Floyd) and ask eight singers/bands to do two songs each. Then you pays yer money and you takes yer chances! We take our table, order a drink, order dinner, dine and wait for 8:30. Michael Wrycraft is a big dude, wearing a black t-shirt with a design of his own creation on the front. He has a great head of hair and a finely trimmed beard, and a voice like Orson Welles. He knows a lot about music, and he especially knows what he likes...and he LIKES James Taylor. Me too. I first saw JT at Mariposa in 1970. The Sweet Baby James album was just being released so no-one knew what to expect. He'd been on Apple Records, and if he was good enough to pass the Beatles test, he was going to pass ours. We spent the day on Toronto Island listening to David Rea, Ramblin' Jack Elliott, and many others. JT was playing the big show at night. He seemed shy, self-effacing, maybe a bit clumsy...and he couldn't get his electric guitar to work when he tried singing the Coke ad for us. I bought his album the very next day! and have bought everything he's released ever since. Even records on which he sings harmony are in my collection because his harmonies are just downright amazing. Listen to "Back In The High Life" by Steve Winwood if you don't believe me! Anyway, suffice it to say expectation were high for a good time tonight. It started off well enough as Sam Turton and a few friends took the stage and did acceptable renditions of "Shower the People" and "Mexico"...and they were followed by Ivy Mairi who introduced "Blossom" a song she claimed to have heard on the Amchitka live album. "Blossom" is an older tune, from 1970's Sweet Baby James album, and the Amchitka concert was in October of '70, but the album wasn't released until 2009! Well, you can't expect everyone to have such a long history with these artists as old guys like me (and Wrycraft) do! Mexican guitarist Quique Escamilla did a reggae spiced "How Sweet It Is" and a rough "Gorilla" (Wrycraft had requested this tune, a forgotten gem from 1975's album of the same name). Then The Donefors provided the first real highlight of the night by doing spot on versions of two songs which are personal favourites of mine. First "Copperline" from 1991's New Moon Shine is almost perfect, harmonies, rhythms, instrumentation...aah! Then they top it with "In line, in line, they're all in a line, my ducks are all in a row..." The first half ends on a high! Dessert arrives during the break, and a cup of coffee. i run out to the lobby to pick up a copy of the poster Wrycraft designs for each of his tribute shows, and grab Sam Turton's CD since he mentions that he plays a lot of slide guitar, "this is my Ry Cooder hand, and this is my James Taylor hand" he says. I'm curious to hear how those two hands work together. Jory Nash opens the second half with powerful takes on "Fire and Rain" and "Something in the Way She Moves". Burke Carroll gives a two song workshop on the beauty of the pedal steel guitar, if Jadea Kelly (who joined him for vocals) had seemed familiar with the songs it would have been a highlight, too. She didn't even get the melody right for "Bartender's Blues". Her admission that the first time she heard James Taylor was on an episode of The Simpsons was terrifying! This iconic songwriter and singer is a yellow faced ink sketch now! (Shudder!) Jacob Moon proved that he takes his job seriously. All week he'd been promoting this Tribute Concert on facebook, and on his YouTube site. He posted a series of solo performances of JT tunes, and ran a little contest for free tickets. He sang a lovely version of "Song For You Far Away" from JT's That's Why I'm Here album. Next Jacob played the song that made him the absolute star of the night. He had remixed some of Taylor's own recording of "Traffic Jam" and sang and played guitar over JT's backing. It was stunning and deserved all the applause and cheers! Wrycraft admitted, "I don't even know what to say about that." If you can render Michael speechless you're really doin' something! Unfortunately the night reached its nadir right after Jacob's mountaintop experience. The duo Scarlett Jane took the stage and murdered both "You've Got a Friend" and "Steamroller". Their harmonies were off, their grasp of the blues non-existent, they acted as though they'd been practising looking 'sexy' in front of the mirror at home. They should've listened to the original recordings a couple more times. Hugely disappointing. Then Michael called all the artists back on stage for a rousing romp through the classic "Sweet Baby James". These closers are usually as loose as a goose (or a flock of geese) and Friday night was no exception, but it did help to take the sting off a bit. Out into the cold for an easy drive home, and a weekend spent listening to the originals. Gotta love that sweet lovin' man JT! Baby, don't you loose your lip on him!

Bert Jansch...

I also post reviews on a blog called Sleeping Hedgehog. It's a pretty interesting site to browse, but I have a new review posted there, of a re-issued Bert Jansch album. Skip on over here to read my take on Heartbreak a 2 disc set produced by John & Rick Chelew. Bert Jansch is an under-appreciated guitarist whose last couple of albums brought him back to where he belongs. A re-issue campaign has provided some real treats for fans of acoustic guitar playing.

L.A.Turnaround came out three years ago. It had been unavailable for nearly thirty years. Produced by ex-Monkee and country-rock pioneer Michael Nesmith it makes a fine companion piece to Heartbreak. It includes a short film taken in 1974 at the time of the recording.

Crowbar (together again)

My wife and I went to see Crowbar (and Steve Strongman) at Mohawk College this weekend. I've written a more in-depth review over at Critics at Large, but suffice it to say...we had a ball! Kelly Jay, Roly, Rheal, the Ghetto and Sonnie along with all the support rocked the joint! Saw Skip Prokop out in the foyer! Steve Strongman and his band were excellent as usual. This weekend it's off to Hugh's Room for another of Wrycraft's Tribute Shows, this one to Tom Waits. Sounds like fun to me. We want to wish the McMaster Marauders best of luck in the Vanier Cup this weekend too! Go Mac, Go!

Judy Collins at Hamilton Place (Nov.3/12)

Had to miss my niece's wedding out in Red Deer, but belated congratulations to Amy and Jason! Hope you had a great party, and wish you all the best! Saturday night we went to the Studio Theatre at Hamilton Place to see Judy Collins! She walked out on stage at precisely 8pm, accompanied by her pianist and musical director Russ Walden. The stage was fairly plain, except for a dozen red roses in front of the grand piano. Russ took the bench and Judy came to centre stage carrying her 12-string Martin. She began with "Chelsea Morning" the first of a number of Canadian composed songs she would sing this evening. She forgot a word or two, but the audience (which seemed to be entirely made up of rabid Judy Collins fans) helped her along. They would do so again.

Between songs Miss Collins told long, rambling stories of the early days of folk music, how she started her career playing Mozart on piano, and switched to guitar when she fell in love with the olde folk songs. Her high soprano voice was rivalled only by Joan Baez at one time. These days it gets a tad shrill in the higher registers. The tales often drifted without a point, but if you knew about her history you could usually fill in the details. It's getting sad going to concerts by these legendary performers any more. When BB King can hardly finish more than one verse and a chorus, or Judy Collins has trouble with lyrics and range you have to wonder if it's worthwhile to go to these shows. Whatever her failings, Judy put on a fine show. She's a trouper! And as I mentioned, she looked great, in her purple tights, high pointy boots and sparkly top, she was the epitome of elegance. At the end she thanked the theatre and Elizabeth Arden. Nothing lined up in the next couple of weeks, although I'm looking forward to seeing Dave Swarbrick at the Pearl Company. Another old folkie!

Recent reviews...

Although from time to time this poor Rylander Quarterly blog may seem ignored by its creator...one explanation is that I am writing reviews that appear elsewhere. For instance I recently reviewed Pete Townshend's autobiography Who I Am for Critics at Large. You can read that by following this link link. Before that I read Neil Young's book Waging Heavy Peace which I also wrote about at Critics at Large. I've been reading quite a few books by musicians lately, including this fascinating one by Talking Heads' David Byrne. Not an autobiography, really, but certainly a book informed by the life and career of its author! I wrote about a few new blues albums here. And about a Jesse Winchester Tribute album here. I even discuss new CDs from Bill Bourne and Annabelle Chvostek. Over at Sleeping Hedgehog I reviewed a new 2 CD collection of all of Dion's singles on the Laurie label! Great stuff.

So I haven't been ignoring the scene...just submitting my thoughts elsewhere. Pay attention to Critics at Large. My associates on the staff also write some pretty good stuff. It's a daily blog, and with the Herculean efforts of Kevin Courrier and the rest of the editorial gang, it's much more regularly updated than Rylander. After all...I only promised to be Quarterly!

"Which one's Pink?"

When Pink Floyd played Hamilton's Civic Stadium (now Ivor Wynn, and soon to be replaced by the PanAm Stadium) my grandmother (Nana) asked me, "Are you going to see Purple Harold?" I laughed, and replied that living as close to the stadium as we did...we didn't need to buy a ticket. Sure enough, we could hear Purple...err...Pink Floyd quite well until the wind changed. On Friday night at Hugh's Room in Toronto the wind changed a few times as a diverse group of Ontario musicians came together for The Great Gig in the Sky. This was another of Michael Wrycraft's tribute shows. He does about 5 of them a year. So far I've seen a Beatles show, Randy Newman, and last year's Tom Waits tribute and they've all had fine music, community spirit and lots of fun. That's how music should be.

Sure there are songs which don't sound like much fun. Roger Waters has written more than his share of them! The Final Cut album is full of them! No laughs there! Paul Neufeld & Denis Keldie (on keyboards and accordion) sure made that clear. Their versions of 2 songs from that album provided the emotional downturn. Don't get me wrong, they sounded dandy, it's just that the songs are such downers. The rest of the acts chose from Floyd albums Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. Wrycraft advised to stay with the hits, he "[didn't] care about Syd Barrett anyway!" [And there I was wondering who would do "Bike" or "Arnold Layne".] The songs that worked best were the hits, "Have a Cigar", "Money" and "Wish You Were Here" all done very differently than Roger, Dave, Nick and Richard did 'em, but all keeping the melody and treating them with respect. The love this group of musicians showed for the songs of Pink Floyd was incredible. When Retrocity began the night with vocalese versions which included percussion and guitar solos I wondered how anyone would top them. Every time another act stepped onto the stage, the same thought ran through my mind, and yet, each one was just as mind-blowing as the last. The loopers were extraordinary, although David Celia had some trouble with the lyrics, his construction of Pink Floyd's audio wash was amazing. Jean-Paul deRoover added a roomful of new fans with his energetic set. Michael Occhipinti and Elizabeth Shepherd, Andrea Koziol, the remnants of LAL (essentially Ian deSouza on bass) and Dominic Mancuso all provided stunning renditions of Floyd classics. If I'd had a pen with me I could've credited each performer with the correct songs but I was so entranced by the concept, and the incredible music that I can only say, everyone played beautifully, and all the favourites were covered (except maybe for "Bike" and "Arnold Layne"). An extraordinary evening topped off by a stage full of tired singers and players rambling through "Another Brick In the Wall", "Hey...teacher...leave those kids alone!" Thanks Michael...just remember though...some of us like Syd Barrett!

So THAT'S a House Concert!?!

Dr. John has a great song called "Such a Night". And it is the perfect theme for last night's house concert at Jacob Moon's backyard. He dubbed it Yardstock but there was no rain, or mud, no bad trips, they didn't have to close down the QEW, and Richie Havens didn't show up. Just 40 or 50 music lovers and a couple of really fine music makers. To get to Jacob's backyard, you have to go through his house. Gee, is it always so tidy? Suzie Vinnick stood at the front door greeting and welcoming everyone. We dragged our lawnchairs into the yard and found a spot with good sightlines. Had to move just a little because the playhouse ladder was in the way. But there were really no bad sightlines. The next door neighbours were in their yard, with other spectators, a BBQ cooking sausages and a cooler full of cold beverages. All the money went to charity. The night couldn't have been more perfect. The sky was clear, a full moon shone through the trees, and the yard was filled with peace and love. Jacob played the first set, showing off his precise guitar playing and his clear tenor. He mixed originals from his most recent CDs with some well chosen covers and pleased the crowd with every tune. He did a fine cover of Bruce Hornsby's "That's Just the Way It Is". Suzie Vinnick joined him for Paul Simon's "Under African Skies". The guy is a master looper, and showed it. After 40 minutes he announced a short break. People mingled, they grabbed another bevvie or sausage, Alison Kraus sang over the PA and the lineup for the lavatory finally diminished. Then it was Suzie's turn. After she introduced herself with the Tim Horton's jingle, she sang blues from her 2 most recent CDs. Dirty blues, funny blues, even silly blues. Between the blues she sang some originals from other albums. "Happy Here" and "Looking For a Kiss" from the Stephen Fearing produced album, and "I Need a Cowboy" from 33 Stars. She even got the audience to join in a couple times. She called Jacob to join her on a trio of blues tunes and he was only too happy to oblige. His guitar leads were looser and wilder than the carefully structured things he plays on his own songs. It was a pleasure to hear him let go. The night ended with an old spiritual which we all sang along with, and it was time to go. All I could think of was Dr.John...And it's such a night / it's such a night / Sweet confusion under the moonlight / It's such a night, such a night / To steal away, the time is right. "Sweet confusion?" Maybe not...but it sure was such a night under the moonlight...hopefully the time'll be right for Yardstock III soon enough!

Ry Cooder’s Rabble-Rousing New Album (from The New Yorker)

Originally posted July 25, 2012 by Alec Wilkinson

Ry Cooder, who over the course of fifty years has become one of the most singular musicians in America, has a new record, “Election Special,” a collection of songs with a political cast, which comes out in August. Cooder is nothing like as well known as he might be, because he would rather do practically anything than perform in public. He established himself initially as a studio musician, playing in private, and in the past decade he has played in public only a handful of times, several of them only as a sideman. “The people who like the applause should have it,” he once said, “I just don’t care for it.” He has appeared so infrequently that a feeling of nervousness has built up around the occasion. What he will meet, he knows, is three rows of guitar players with their camera phones aimed at his hands, and three more rows of wiseasses, saying, “This is supposed to be a great guitar player? How come he’s not shredding?” Remarks like that can go a long way to dampen the pleasure of the occasion for him, especially if the theatre is intimate. As for his abilities, no other guitar player has mastered the range of styles that Cooder has, or even come close—variations of blues playing (Robert Johnson and Big Bill Broonzy come to mind); slide playing that is sometimes so succinct it is searing; Joseph Spence-style fingerpicking; his own version of electric guitar playing, the most widely known example of which is “Honky Tonk Women,” which Keith Richards based on Cooder’s playing (Cooder was recording with the Stones at the time, on “Let It Bleed,” and Richards wrote the song after listening to him). Cooder’s reach is wide—if you don’t believe me, search Ry Cooder and see all the musicians who list him as an influence. Paul Simon once asked a guitar maker to build him a guitar like Cooder’s—it’s the guitar Simon is holding on the cover of “You’re the One.” Guitar playing is not the only thing Cooder does, though. He also assembled, rehearsed, picked the repertoire for, and recorded a group of old men in Cuba whom he called The Buena Vista Social Club. The record he made with them was the best-selling in world-music history, and led many musicians and producers to see dollar signs when they looked at Cuba. Cooder’s uncommonness as an artist is the exemplification of Rainer Maria Rilke’s remarks, originally made about Cezanne, “The further one goes, the more private, the more personal, the more singular an experience becomes, and the thing one is making is, finally, the necessary, irrepressible, and, as nearly as possible, definitive utterance of this singularity.” The songs that Cooder has chosen to record, and his own writings, too, have always had a populist tendency. He likes unions. He likes working men and their lore, detectives, and shadowy parts of Los Angeles, where he has lived all his life. “Election Special” expresses his scorn and outrage about what used to be called current events. “Some of these tunes are a little bitter, I will admit,” he has said. The “Mutt Romney Blues” is sung as if by Romney’s dog, the one he tied on the roof of the car when his family went on vacation. “It don’t look right / don’t seem right,” the dog sings. “Hot in the day / cold all night; Where I’m goin’ I just don’t know / Po’ dog got to bottle up and go.” “The Wall Street Part of Town,” has a narrator looking for refuge in the part of town where the wind always blows at your back and the ground tilts in your favor. In “Cold Cold Feeling,” Obama is wandering alone, late at night: “I walked up and down the White House / Till I wore the leather out from under my shoes / I didn’t have nothing but the cold cold President blues.” The narrator in “Going to Tampa” is on his way to the convention with ideas in his head. Bring back Willie Horton and scare the nation and blame the Mexicans is one of them. The record rises to a climax with “Take Your Hands Off It,” Cooder’s rebuke to politicians and their posses, the harm they have caused in the service of greed, and the damage they have done to essential rights around the world. “Get your dirty hands off my Constitution,” it begins, and each verse is a reprimand that spreads like the circles from a stone tossed into a pond. “Get your greasy hands off my Bill of Rights,” and so on, through reproductive rights and war-making. “You don’t speak for God, you know he don’t belong to you.” Pete Seeger believes that songs are more effective as political tools than writing is, because a piece of writing is read once, and songs are sung over and over. A firebrand song is what “Take Your Hands off It” is, a rabble-rousing call, and by the end, you feel all stirred up and ready to close the curtain behind you and pull some levers.

Jacob Moon

I had a drink with Jacob Moon the other night.  We met at the West Town Tavern and found a booth at the back.  They were out of Rickard's White, so JM settled for a pot of tea while I had a Rickard's Blonde.  We both made these drinks last a while. 
We talked for a bit about really bad album covers...looking through a book Jacob brought as an ice-breaker.  It's those independent vinyl albums of gospel songs that seem to be the worst. 
Jacob had some questions about the best way to approach a reviewer with new material.  Should he just mail it out, or make an initial request?  I think the request is the best route.  It's what I prefer.  Some people send me an e-mail comparing their music to something they know I like..."My new album sounds like Ry Cooder..."  Well, of course it doesn't.  It might be influenced by Ry Cooder, or have a mandolin part, or a bottleneck guitar, but it won't sound like Ry Cooder.
Jacob asked, "Okay, who would you compare me to?"
I couldn't think of anyone.  Acoustic guitar arrangements, clear tenor voice, melodic songs, maybe some looping...but really I couldn't answer his question.  I had been playing his 2005 CD eventide in the car on the way down and had thought about this...it sounded like...Jacob Moon.  Sure, I guess you could link him to dozens, hundreds of other troubadours, but that's the cheap way out.  First of all he writes songs that are spiritual, singing about God, and it's a God I recognize.  He chooses interesting songs to cover, when he does cover a song.  On eventide he does a Peter Gabriel song "Come Talk To Me", on landing he covers Paul Simon's "Under African Skies"...not your typical covers by any means.  And then there's the most famous thing he's done, a stunning rendition of Rush's "Subdivisions" on 2007's The Loop.  Surely you've seen the video on YouTube.  Rush were so taken by it they had him perform it for their induction into the Canadian Songwriter's Hall of Fame. 

He played it at a concert we hosted at our church, I told him it was the first time a Rush song had been played in that sanctuary.  He laughed.
landing is 10 years old this year, and Jacob is celebrating by releasing a newly recorded version of the same set of songs.  He thinks it will show how the songs have grown and developed, how his style has matured.  Should be out in the fall, and I am looking forward to it.  The original was recorded live and the new one was done the same way at a special couple of shows earlier this year. 
Jacob likes live recordings, this will be his third.  He plays live a lot, he wants to, has to, to maintain his career as a musician.  Somewhere I read that he had played in innumerable Indigo/Chapters stores, but is his music suitable for browsing?  I've seen people playing in these stores, and wondered how they like doing it.  I guess having your audience distracted by the new James Lee Burke book isn't that much different than having them distracted by the lack of Rickard's White on tap tonight.
Listening to Jacob Moon music as I write this I find it beautifully recorded and well-played.  I love the sound of the guitar.  Sometimes at home I will just pick up a guitar and fingerpick chords and riffs for an hour to relax myself.  Music hath charms to sooth the savage breast.  We talked about the healing powers of music.
Jacob released a Christmas album in 2007, and it's a gorgeous collection of classic seasonal songs with an added new one from Jacob's pen.  His most recent release is the EP Maybe Sunshine from 2009.  It's more melodic guitar-based music from a guy who deserves to be heard.  Check him out at www.jacobmoon.com

Recently...

Skip Prokop, drummer and songwriter from The Paupers, and Lighthouse, has a new CD. It's called Smoothside because it shows Skip's smooth side. Jazzy, almost a George Benson feel with some sterling guitar work from Matt Shelvock and featuring the keyboard work of Jesse O'Brien the album is a nice change. Mellow, relaxed, solid drumming, great production, and some interesting vocal arrangements. You can order it now and receive a signed CD, along with a signed 5"x7" photo of Skip if you're among the first 1000 to order. Listen to what they've done to a few Lighthouse tunes to get a sense of the whole thing. I'm not sure about "Pretty Lady" though. It's the lead-off track and to my ears it is very dated. Things pick-up right away though. I've been reading quite a bit lately. Mainly biographies. Carole King's A Natural Woman was my favourite, but I also enjoyed Greg Allman's My Cross To Bear and Sophia Parkes's story of Eliza Carthy Wayward Daughter. Check my reviews on Critics at Large. Was supposed to tip a jar with Jacob Moon last night but we got our times mixed up and we had to postpone. Looking forward to chatting with him about music. He's hosting a house concert in August with the amazing Suzie Vinnick. She'll be promoting her new live blues CD. Can't wait. But before that we'll be in Chicago for a visit to Buddy Guy's Legends, and to check out The Million Dollar Quartet on-stage.

"The Weight" (what does it all mean?)

Somebody asked the question about whether the lyrics to "The Weight" were Biblical or not. OK, in fact there was no question...they simply said, "Well that song is all from the Bible, you know!" Sorry...that's not the case. Even in the Bible there's nobody named "Crazy Chester"! Nazareth, where the story takes place, refers to the town in Pennsylvania about 70 miles north of Philadelphia. In the liner notes for the Across the Great Divide box set, Robbie Robertson (who wrote the song) is quoted as saying that he chose that place because they make legendary Martin Guitars there, so he was aware of the place and been there once or twice. We stopped there on a trip to Pennsylvania, and had a great tour of the Martin Guitar Factory. In fact, if we hadn't got lost three or four times and had arrived when we meant to...we would've run in to Eric Clapton checking out a guitar he was having built! The characters in the song - Crazy Chester, Luke, Anna Lee, are based on friends of the band. In Levon Helm's autobiography This Wheel's On Fire: Levon Helm And The Story Of The Band, he explained: "We had two or three tunes, or pieces of tunes, and 'The Weight' was one I would work on. Robbie had that bit about going down to Nazareth - Pennsylvania, where the Martin guitar factory is at. The song was full of our favorite characters. "Luke" was Jimmy Ray Paulman. "Young Anna Lee" was Anna Lee Williams from Turkey Scratch. "Crazy Chester" was a guy we all knew from Fayetteville who came into town on Saturdays wearing a full set of cap guns on his hips and kinda walked around town to help keep the peace,if you follow me. He was like Hopalong Cassidy, and he was a friend of the Hawks. Ronnie would always check with Crazy Chester to make sure there wasn't any trouble around town. And Chester would reassure him that everything was peaceable and not to worry, because he was on the case. Two big cap guns, he wore, plus a toupee! There were also "Carmen and the Devil", "Miss Moses" and "Fanny," a name that just seemed to fit the picture. (I believe she looked a lot like Caladonia.) We recorded the song maybe four times. We weren't really sure it was going to be on the album, but people really liked it. Rick, Richard, and I would switch the verses around among us, and we all sang the chorus: 'Put the load right on me!'" There has been more than a little debate among Classic Rock DJs and enthusiasts over the real meaning of this song [including the enthusiast who brought this up at the swimming pool last week!]. Robertson has insisted time and again there is no biblical subtext, but many people think he may be deflecting. Consider the following: -the narrator can't find a bed in Nazareth, and the guy to whom he makes an inquiry just smiles and says "no" -Carmen and the devil were walking side by side, Carmen can go but her friend the devil has to stick around - an allusion to ever-present temptations -"Crazy Chester followed me and he caught me in the fall" - possible allusion to Paul on the road to Damascus [although...I think the lyric is "caught me in the fog" which rhymes a whole lot better with "take Jack my dog"! And what "allusion to Paul on the road to Damascus"? Saul wasn't 'crazy' and okay, while the Bible does say "he fell to the ground" that's a pretty big stretch to think Crazy Chester alludes to him!] -the most glaring one: "I do believe it's time to get back to Miss Fanny, you know she's the only one who sent me here with her regards for everyone" - Miss Fanny is the one who sent him to Nazareth, but now it's time for him to go back to her; Miss Fanny is God, the "time" in question is the crucifixion, and "regards for everyone" is Jesus dying for all of man's sins. That's the most glaring allusion! That Miss Fanny is GOD? Yikes! I think it more likely, and I believe Robbie Robertson would agree with me, that the lyric is a stream of consciousness thing combining characters in and around Woodstock, with some herb-induced creativity, and a little bit of luck. Great song, but not quite as deep as some might like you to believe!