The Time Between

In my mind I believe I met Marshall Crenshaw in Detroit, at Lili’s where my band – The Flexibles (a terrific punk/funk amalgam that was destroyed by shared girlfriends, illegal substances – not me honest – and a guitar player who would rather do laundry than play live – he had his reasons) were playing and the cast of Beatlemania came in to check us out (or have a drink at least). For some reason I was led to believe that Marshall was either John or Paul (assuming John). Seemed like a nice guy anyway (if it was him).
 Anyway since then – and his fabulous, terrific, never to be bettered by him, first album – I’ve always been a fan. I saw him this year at Hardly Strictly (if you go ever year sooner or later you’ll have seen everyone you ever wanted to see). And he was great. A mix of old/new with some fun covers thrown in (I believe this year he did some Richard Thompson song – but it was early). Anyway back to the first record. I hate to say it but it’s all you really need to listen to to get to know Marshall. Great, great pop tunes, snappy production, great vocals. It’s what the Rubinoos, the Records and all the other PowerPop wannabe’s tried to be and failed. And it’s not too Beatle-ly and it’s not to deferential to the 60’s, and it doesn’t have a dud track. The next few records tried hard but he never hit this high again (sorry Marshall). Can only assume this was the classic case of having tons of songs you’d spent years working on and then finally having the chance to record them. Then you hit that difficult second/third/fourth/etc album syndrome. I played it recently (and actually found a set of demos he did before it was released - which apart from the lame drum machine isn't bad) and it still holds up. Maybe a little bit too much reverb on the snare but it hasn’t dated at all really – and the songs are still fab. Just go listen to ‘mary anne” or ‘you’re my favorite waste of time”. Timeless stuff. I just looked on Amazon and evidently the first album is out of print! How can that be? It’s out there. Go find it and enjoy.

I’ve been a fan for years I have to say - I think it was the Nitty Gritty Dirt Band version of Mr Bojangles that got me there. “It’s a good night for singing” was the first album I bought of his. Great band (the lost gonzo's were great I have to say although their own records didn't quite hit the spot), great songs, and Jerry Jeff’s (nee Ron Noble I believe – doesn’t have the same ring to it really does it?) vocal styling’s made the record. As I went deeper into Walker country – Hill Country Rain, A man must carry on, Riding High, etc. I got more hooked. He’s sort of the Dean Martin of country rock. It sounds so easy. Like he’s had a few beers (and in the early years that was more than true – my wife saw him in Ann Arbor years ago and he couldn’t stand up) and is in some small bar singing to you. He's also one of the people both my wife and I agree on - and we both came to him independently - and it's always fun to put on some JJW in the car to sing along to.

His choice of songs is pretty darn good. I got to Guy Clark, Paul Seibel, Tom Waits thru Jerry Jeff but he really makes the songs his own. He’s also pretty darn funny (try pissing in the wind for a very obvious start). There’s the obvious downside to Jerry Jeff too – he tends to have two types of fans (kind of like Robert Earl Keen). The guys who like the poetry and the guys who like the drinking (and go on the JJW cruises). I’m sort of in the middle. I like both – listen to some of his early songs, just him and guitar. They evoke a time and place – that seems long lost I have to say. I just got the Todd Snider does Jerry Jeff album. It’s fascinating – all it basically does (at least for me) is take me back to the old albums. It’s not so easy to do this stuff and Todd doesn't get there I'm afraid - but thanks for trying. I’ve seen him a few times and while he throws in the old favorites (redneck mother I don’t need to hear again) he’ll also do the pretty little songs that talk of old friends and porches and connecting to your fellow man. There’s some really lovely stuff here (David And Me for one, Charlie Dunn for another). So if you’ve been put off by the reputation I’d suggest you jump in – start with Riding High and you’ll see what I mean.

I figure if you want to know what’s really happening in today’s Pop Music world you don’t have to go much further than to listen to Brit Girl Groups. They have the cream of the crop writing and producing their albums and some of them are actually listenable – some of them are quite brilliant actually. The three groups over the past 5-6 years I’ve learned to love are (in order of consistency and general quality) Sugababes, All Saints and Girls Aloud. The first three Sugababe albums are great. Modern Pop at it’s best. Loud, catchy, sing in the shower stuff – and occasionally even a little bit soulful. It’s a weird group – with many personnel changes. I think the last original member has now left but that doesn’t seem to have a lot to do with the quality of their work – although if I had to pick only one album I’d probably go with ‘Three’. All Saints were a bunch of girls with famous boyfriends/husbands – with great connections obviously – and really well produced and played songs (they disbanded after the first album and just came out with a follow up that’s very disappointing). Girls Aloud are the current monster group in the UK – well Cheryl Cole (a judge on the X-Factor) is. She’s kind of huge there. The Girls Aloud album I’m most familiar with is ‘Chemistry’. If you want to follow up on this (and I think you should) here’s the best stuff (in my mind) that these groups do:

Sugababes:
Too Lost In You
Stronger
Hole In The Head
All Saints
Black Coffee (produced by William Orbit I believe)
Pure Shores
Girls Aloud
Whole Lotta History (this is as good as any 60’s girl group song – in fact it’s an amalgam of a ton of them. Brilliant stuff)
See The Day

As I mentioned in a previous blog I was in London recently working with my partner in crime - Gwyn. We completed about five songs (we usually do that many songs in as many hours everytime I go over - I do all the music before I go in my LA studio and Gwyn adds vocals when I get there). I mostly have words but Gwyn being a bit of a poet usually rewrites everything - he has a complicated life and it leads to many good stories.....and songs. In this case I had the title and not much more and Gwyn took that and came up with the rest of the song - doubled the length of the chorus I had and generally mucked about with it. I originally had a geetar solo but Gwyn thought that a pedal steel thing would work better - and he was right. So here it is. It's pretty darn good we think. Very country. Gwyn does his George Strait/Randy Travis/George Jones thing. The harmonies are terrific. Hope you like it. It's on the left of this post.

I don’t know who gave me this album, or who recommended it but I had a vinyl copy in my teens and have listened to it consistently since then. To start with I really didn’t know what to make of it. “Snot against my pants” indeed! But there are few records you keep going back to and never seem to tire of. This is one them. There’s are others – Grievous Angel, Pet Sounds, The Stone Roses, The Best of the Shadows (the black album), Blonde on Blonde and Blood on the Tracks, Exile or Sticky Fingers. These are all amazing records. Brilliant, shiny things that transport you to another planet. Records that make you wonder who these people were who made them. What special forces joined together to create this brilliance? What were these guys thinking? And why has it been so hard to recreate that brilliance (in Gram’s case it’s pretty obvious). I think FC is my favorite. It still has bits that remain unexpected, that surprise. That’s what’s frustrating about Love. The albums leading up to FC are decent but not brilliant. The ones that followed it were mixed (and I’m being nice to some of them). They were of their time definitely – and haven’t aged well. I think it’s interesting listening to albums from bands from the mid-60’s – especially on Elektra – that they are so electric even when they cry out for acoustic guitars in the mix (the early Love albums are like this, the Clear Light album, there’s a bunch more) but then came FC. It’s almost all acoustic – and it’s got strings. It’s produced like a Frank Sinatra record. If Frank had made a psychedelic, mariachi album. There’s something about it that hasn’t dated. Maybe it’s because it’s so familiar – or maybe it’s because so many people have ripped it off. Who hasn’t played those chords at some point and thought – cool…just like Arthur Lee.

To get a new Telecaster or not is the question? I have one already. It’s nice but I’ve always thought the neck was too big – especially when I compare it to the neck on my Strat – which I love. The Strat however doesn’t sound like a Tele – and I’m thinking about B-Benders (having just seen Marty Stuart play the hell out of one). I have a hipshot on the Tele I have but to be honest I’ve never really liked it – it just never seemed natural and it was really hard to control. I read a article with Marty recently where he said it wasn’t until he got Clarence White’s Tele that the B-Bender made sense – it had a longer pull on it and it was easier to control. So what to do. I originally thought about getting a Strat/Tele hybrid – Fender Custom Shop actually do make such a thing (and Eric played one at the Hyde Park Blind Faith show). The problem is that it looks like a mutt. It’s a very expensive way to get the right neck on a Tele – and I’m wondering what it sounds like (it’s not easy to get to play these Custom Shop guitars without buying them). So now I’m thinking of the Clarence White Custom Shop Tele. Same problem – you can’t play it first. So I emailed the Custom Shop for info and they said I had to order it through a dealer. So I emailed TruTone in Santa Monica – if you haven’t been there you need to. What a great shop – there web site gives you some idea but you have to really experience the physical thing to get the real feel. Guitars stacked up, good people, unbelievable gear (you want to try out an old guitar of Ry’s?). Can’t recommend them enough. Anyway they back to me and now we’re trying to find out what the options are around necks (C-shaped vs. V-shaped?) and we’ll see where we go. Still think it’s a lot of money – and as my wife said “you can only play one guitar at once”, and it would be nice to actually play one first. I’ll keep you updated.

I’ve heard a lot about Jon. First time I heard him was years ago when he was featured in a NY Times article. It was after the start of his Los Angeles weekly residences at the original Largo. They sounded like great shows – multi-instrumentalist, Magnolia soundtrack making, boy wonder alone – and together with his glamorous friends (Aimee Mann, etc). He’d do his own stuff, he’d do inspired covers, etc. Sounded great. Gotta go I thought.


Well now I live in LA – although I travel out of town way too much – and I have the chance to go see him. Still haven’t. I am pathetic I know. But I was still intrigued and thought I’d at least listen to his music. So I have. And….it’s OK. It’s what you’d expect from a guy who really knows what he’s doing – decent songs, very clever, obvious Beatles influenece (I heard Emitt Rhodes in there alot too) but nothing soul inspiring.

And then I found his version of Sorry Suzanne – and it all made sense. His over 7 minutes long version of the Hollies classic. It’s terrific. He throws the kitchen sink in and makes it all work. Great vocals – channeling Graham Nash a little, nice guitar work and a percussion break. What else can you ask for? Before I found this I was about to file under “OK but there’s better stuff to listen to” but now I’m back to the other stuff looking for gems.

I spent the weekend in London with Gwyn working on some new material. I had about four songs prepared - usually I do all the music, throw some lyrics down to give Gwyn an idea and then when we get together he plays with the words - or brings stuff he already has - and we add his dulcet tones to the recording. All on my little laptop! Isn't technology wonderful? Anyway we did six songs - one something new Gwyn brought and that I now need to go back home and add music to, and the rest using our tried and tested formula. And wow. One of them - There's so much more between us than a thousand miles of Texas - came out brilliantly. It was one of those backslapping, high-fiving moments when you just know that what you did was good work - and something that was bigger than each of us. The others aren't too shabby either. Now the question is - what does the album look like? We've been tweaking it, adding here, subtracting there to get the strongest set of songs together. Maybe we should just leave well alone or maybe we'll tweak it one more time. Anyway when I've finished mixing these songs I'll post them so you can hear them - and let us know what you think. On my way back to the States now. I will say I'm exhausted.

The Time Between were recently featured as the Spotlight Artist on www.ukcountryradio.com. It's a really well run, well done station out of the UK (obviously) that is devoted to country music from all parts of the world. It's really worth a listen. They were nice enough to play us every hour, on the hour for a weekend and included a nice interview with Gwyn that is available online for your listening pleasure at:
http://www.ukcountryradio.com/Interviews/The%20Time%20Between.mp3

Enjoy

Here's a couple of snaps to give you some idea of what you saw or missed....Here's Boz with Buddy Miller, James Cotton, Jimmy Vaughn and the token Brit!

So we went to the Hollywood bowl for Disco Fever 3. Why you may well ask? Well was alot of fun - and Chic were playing. Haven't seen them since NY. And they were terrific I have to say. All in white. They played all the hits - including Let's Dance surprisingly. No magic moments. No At Last I Am Free. But a solid performance and Niles guitar sounded as good as ever. It's obviously not the same without Tony and 'Nard and the last few times I've seen them they haven't had that drive - in fact the drummer seemed to actually slow things down a little. Well that's not a problem anymore. They were alot of fun, and I even danced. The Bowl is a terrific venue I have to say. It was warm (so I didn't need all the fleece I brought with me). The hills were beautiful. And for $15 where else can you have such fun. Now we didn't have the best seats - in fact even the large TV's were too small. Next time I'll wear my sparkly jacket.

So my wife and I had to go to Austin – for a conference being thrown by an Indian company that I do work with. The last time I was in Austin was in the very early 80’s. It was a great town then. I’d heard that it had been ruined by the technology boom. That the traffic was awful. That it had lost its charm. That’s all partly true. We arrived on Saturday morning and thought we’d check out the town before the conference started on Sunday. The first thing I noticed is that it’s grown. It’s grown a lot. It was a small town when I was last there. It’s still a town – not a city in my mind (LA is a city, NY is a city). The most noticeable things were – that the town is split, south and north of the river. The south end (SoCo) is pretty cool, more like Austin used to be. The north end is modern, canyon like, and pretty soulless – except, of course, 6th and 4^th Street and the area past the State house, when you get into the University campus area – which has also changed. Just how many Chase banks do you need near a college campus? Also it was obvious that the houses that students would rent – and typically trash – had for the most part gone. To be replaced by generic apartment buildings. The other thing you really notice in Austin – compared to the past – is the lack of record stores. These used to be the place to hang in town. Now they’re all gone. What seems to have replaced them is a huge – and I mean huge – number of bars. More than any other place I’ve been. And each has some kind of music playing.

Whenever I say I played in country bands in the UK to an American I get a look of surprise and shock. What could the Brits (who after all are soooo cultured) possibly be doing listening to hillbilly music. I actually think the Brits appreciate real country at least as much and maybe even more that you yanks. We love this stuff. There used to be a huge festival every year in London at Wembley Arena (about 10000 people) where the cream of American country music would play. I saw Dolly, John Hartford, Jack Greene, Marty Robbins there one year. Amazing stuff. I don’t know whether it’s because of it’s historical ties to English folk music (which we often treat the same way as the Americans treat real country I’m afraid – see my Martin Carthy comments elsewhere for a good example of this) or what but it’s seen as something cool and groovy there – whereas here it’s seen as old fashioned and old hat. People like Merle and George are seen as the embodiment of country, the totally real deal – as they most certainly are. Not as two old guys who can’t get played on country radio.


I played in a band there with my friend Gwyn (the other half of the Time Between – we’ve been together now for so many years…all together now) and it was a hoot. We played mostly Irish pubs and clubs and the most memorable was a Country and Western club we played in St Albans. It was a large room and each wall had life size pictures of famous cowboys (John Wayne, Gary Cooper) and an audience of probably 300. Each of which was Indian – no…not Native American. Indian Indian. The highlight for me was our version of Elvis’s American Trilogy which Gwyn did a lot of accapella. Oh I forget to mention the Indians were all wearing full cowboy regalia – hats, toy guns, chaps. The lot. So when we did Dixie they all lined up in front of the stage, and put their guns on the floor and held their hats against their hearts. Gwyn kept a straight face but those of us who weren’t playing almost lost it. It remains one of my favorite memories and a true cross-cultural experience.

Country remains cool and groovy and there’s a real understanding of its significance in the overall history of popular music. It’s also got a romance about it – and a lot of the songs include references to alcohol (what’s not to like). I just read the history of California Country – and it’s shocking how legends like Merle and Buck were ignored by the mainstream and for a while by everyone else. I hope we don’t have to wait for the rest of them to die before we appreciate them (thanks to Dwight for helping a lot of people recognize the genius that was Buck Owens).

I spend a lot of time in LA these days. And I love it. One thing that’s really fun about it is the history of the place (the Mac Sennett studios are round the corner from me, the original Disney studios down the road (the real old ones are a Gelson’s now), the house that Love lived in (The Castle is close by – and still amazing), the LoBianca house (infamous from the Manson slayings) is also nearby. You drive around LA and the names of the street or the areas are magical – Laurel Canyon, Toganga, Hollywood itself. It’s all very Raymond Chandler. What’s cool is that it’s not all been ruined by terrible 70’s architecture. The old buildings remain. I lived in NYC for 20 years and it’s all changed – they even pulled down CBGB’s! LA remains. I’m sure the real locals don’t see it that way but to me there’s a romance about the place that makes it special. One thing that does surprise me about the place is its reputation – especially amongst East Coasters. They think it’s superficial (it is), that you have to drive to go anywhere (you do and you don’t). They think it’s full of botox and plastic surgery (in certain areas it totally is). But….it’s a city of 12 million with lots of different areas – it’s a little like London that way. Little towns that blend into each other, It’s also a total melting pot – we’re close to Thai Town, and Armenia town. Artesia is like landing in Mumbai. Monterey Park has the best Chinese food outside of Hong Kong. It’s also a really creative city. There are so many jobs for people with creative skills (unlike most places in the country) - -and obviously this feeds off the movie business – but there’s great artists of all kinds here which is really refreshing I have to say. It’s also a great music city. Not just the best bands ever (Byrds, Beach Boys, Love) came out of here, there’s great music happening now. And there are tons of small clubs. It’s also weird (from my pov) that American vintage is so popular here (like it never went away). Cute Mexican girls with skin tight jeans and converse all stars. Quiffs (on Mexicans also..who knew) everywhere. So when you go see a Rockabilly band the audience looks like the band (unlike NY where everyone just came from work). I love the vibrant country scene – and bands like I See Hawks In LA. Great band – and they make me feel young too. Great songs – classic California barroom country. Great playing. And they translate to vinyl (mp3) too. They have some good albums out that are worth checking out – one even has Chris Hillman on it (there he is again).



A fun LA story was going to see Morrissey at the Hollywood Bowl last year. We were lucky enough that my friend Glenn decided to drive us there in his 65, bright red with white leather upholstery, Cadillac El Dorado. What a car. You turn the wheel and ten minutes later the rest of the cur turns. Every cop on the way stopped us to ask what year it was. One African American cop stopped us to tell us “we were driving in a Black Man’s car and we should give it back”. We finally got to the Bowl to be presented with a sight that I may never forget. 1000’s of Mexicans with quiffs, Morrisey t-shirts and flowers (to later throw at their hero). And these weren’t soft guys (if you get my meaning). They were with their girlfriends. Some of them were pretty scary looking too. Evidently they relate to Morrissey’s pathos. They find something Latin (and I’m sure Catholic – he is Irish after all) in it all. It really does take all sorts.

I’ve lived in or commuted to Hawaii for over 4 years. A lovely place. A gentle place (unless you cut someone off on the freeway). With unbelievable weather and nature. It’s also got a very large music scene. Unfortunately a lot of it is pretty terrible - fake reggae - Jawaiian – music is everywhere (just because it’s an island why does it have to pretend to be Jamaica?), bad 70’s soft rock ensembles litter the place. The problem is this hides the brilliant, individual, local music that really is different and sometimes quite amazing. The easy way in is Chicken Skin Music – the Ry Cooder album – where he brought together the guy seen as the father of this music (Gabby Pahinui) – even though it all started before Gabby - with his usual tasteful playing (Ry is Zelig like – he’s turns up on all this “world music” but just seems to have been there all the time). The interesting thing about real Hawaiian music is the tuning – slack key – where certain strings are loosened and the guitar is played in an open tuning. There’s tons of these tunings and people are quite proprietary around some of them – each one has its own particular sound. The current master of this is Ledward Kaapana. The guy is just unbelievably brilliant. The only other player I can compare him to is Richard Thompson. Totally different but both masters. Ledward has played with Ry – on Chavez Ravine for one (what a great, great album). He’s played with Chet Atkins too, and everyone else but he hangs in Hawaii. You can see the guy for free (how is that possible?) at a bar every Sunday night. He plays around the island a bit (doesn’t overdo it) but doesn’t get the support one of the worlds great players should get. In fact it’s been shocking how small the crowds are for his shows. His albums, particularly his live albums are great – pretty mellow – but a masterclass in real Hawaiian music. This stuff won’t disappear – thank goodness – as there’s too many people still playing it (obviously not paying to see it tho) but if you’re in the islands make sure you go check out a living legend, a guy who owns this space. You won’t regret it.

I know. Like Gram what else can you say. He’s back. He finished Smile. Lucky Old Sun was OK – but not brill. Pet Sounds is one of the best albums ever recorded. He’s a genius. He’s touring incessantly. And maybe that’s the problem. The Guardian had an article recently asking why would you go see Brian again? As someone who experienced the first couple of Pet Sounds concerts in London (the whole audience was in tears, The level of emotion in The Royal Festival Hall was unlike anything I’ve ever seen or felt at a musical event – we had a few drinks before, as I’m sure everyone did – did I mention it was in London – but still the whole thing floored me). I love Brian (what’s not to love). But even I’m a little bored. He’s in a bit of a rut – playing the hits and a few things off the classic albums. I wish he’d look deeper into his catalog and do some of the more ambitious stuff - off Sunflower for example. He has a huge catalog. I know this stuff is hard to recreate – but he has an unbelievable band that can play and sing anything. I not saying take a break or go away – it took long enough to get you back here – but don’t stop trying. There’s so much you haven’t done yet.

River is one of the best albums of the 70’s period (that’s full stop for you brits). We all know his history – missed Zeppelin by a whisker, Superlungs, etc, and a bunch of undistinguished solo albums and then River. Maybe it’s the chemistry between him and David Lindley but great songs, great playing and it feels like a whole. Seriously funky (for white guys). Crystal clear production – it’s like they’re in your living room even on a crappy stereo. And his voice is a revelation. You can’t see him playing the Robert Plant role but he soars on this record. Whether it’s the rockier stuff or the softer acoustic stuff (which my wife thinks sounds like Paul Simon for some reason). I saw him live a couple of times during this period and he never managed to create this sound or feel live. A shame. It should have been a smash and on everyone’s album of the year but it laid around and made little impact when it came out – and it isn’t one of those records that’s been revived by Mojo (yet) – or (as far as I know) Terry has recreated in the live environment (as so many are doing these days). Pick it up somewhere, It’s worth at least 40 minutes of your time.

I arrived in Ann Arbor in 1980 not knowing much about it except that Commander Cody and the Stooges came from there. I went to chase a girl (of course) and ended up meeting my wife there – so it was a pretty productive time. I knew something was up when I was walking down a street my first day and these two guys came over carrying guitars and said something like “you look cool, you should come and see The Detroit Puppets tonite at the Sure Thing in Ypsilanti”. We then had a long chat – and an education for me – on the musical significance of the area (I was way more familiar with Detroit for obvious reasons). Unfortunately I never got to see these guys (no car) that night and only saw them later when they opened up for us (I was in a band called the Flexibles) at the 2nd Chance and they were great. A drummer and two dan electros through some crappy amps. No bass. They were the white stripes way before Jack White got the idea. The best part was they would scream “we are the Detroit puppets’ throughout every song and break. You couldn’t see these guys and forget them.


Anyway Ann Arbor was great. A cool, small town with friendly folks, great music – lots of blues (lots), some country, some great rockabilly (George Bedard is a God), and a lot of what would be called ‘indie’ music (that’s where we fit). We had a great time. Until we fell apart and went our separate ways (too many shared girlfriends amongst other diversions). But I got to see some great music and enjoy the mid-west for the first time. It was cold however – growing up in the UK it never got that cold. Arriving in Michigan in February was another thing. I wouldn’t leave the house without having a car all nicely warmed up and ready to jump into outside the house. I discovered two things. One that you can have fun in -80 degree weather (with the wind chill) and two, that down is your friend. Haven’t been back for a while. Must do that.

Chic were to the 70’s what Cream were to the 60’s. By far the most influential trio of the past 30 years Nile, Bernard and Tony were THE power trio casually bringing new sounds and rhythms to the world – they were truly a global phenomenon. They provided the soundtrack for the disco years, the architecture of rap, the foundation of Brit pop-soul, they were the blueprint for a huge amount of popular music of the past few decades (hello David Bowie) – and yet people dismiss them as “some disco band’ like it was something terrible, a blight on the landscape. Disco – before every white act tried it – had a purity of vision much like the purity of vision of early punk or rockabilly. It was about escape, about the beat, about movement. It took guitar, bass and drums to another place. And while it was deceptively simple (a straight 4/4 beat) it left so much room for the bass and in Chic’s case Nile’s fab guitar – he reinvented the Strat for me. And it also had soul. Listen to At Last I Am Free – either by Chic or Robert Wyatt and tell me it’s not a soul song. It was aspirational – look at the clothes they’re wearing on Risque, listen to the name dropping of fashion icons (Halston, Gucci, Fiorucci indeed). It was about a new, black middle class. Nile was the guy who carried Jimi’s guitar around NYC, who hooked up with o ne of the best rhythm sections ever (really these guys were monsters – and I love the MG’s and Motown guys who were great no doubt but….these check these guys out – is there a more danceable bass line than Good Times EVER?). Listen to Savoir Faire and you’ll hear some brilliant Nile – it’s a shame he didn’t solo more – but that’s his beauty; it’s all rhythm and space. Listen to the Diana album – try and find the long version of I’m Coming Out for a sampling of what Tony Thompson had to offer (there’s a reason he was Zeppelin’s drummer at Live Aid). But please don’t pass them by, don’t put them in the same bucket as the Bee Gees, these guys were (are) significant.

What new insight can I bring to the guy who’s been dissected and ripped apart by every writer covering American – or any kind of - music? Not much. I can just say if you haven’t heard him, or have been put off by the worship, give him another chance. He’ll pay you back a million times over. Forgetting the hype, and the Cosmic American Music stuff, and forgetting the poor little rich kid upbringing (no wonder he killed himself – who could live through that and come out straight on the other side) and focus on the voice and the songs. And don’t go for the Burritos (much as I love them) just put on Grievous Angel and hear something pure for once. It’s not about Elvis’s backup band (although they are spectacular and have never sounded better). It’s about the songs and the voice. There’s a bunch of Gram stuff out there where he struggles to stay on key but on GA he’s all there. And while Emmylou is terrific it’s all about Gram. It’s country soul. It’s white man’s blues. It’s pure. The thing about Gram is that while the songs live on (how many more tribute concerts do we really need?) his versions are definitive (even the covers – who has done Love Hurts better?). You can see all the way into the guys heart when you hear these songs. And where did these songs come from - $1000 wedding, Brass Buttons, She. Las Vegas (thank you Ric Grech – did anyone else see him in tiny folk clubs in Leicester in the 70’s – often with, I believe, his then girlfriend Claire Hammill? He’d just turn up places for about three months one summer singing Gram songs – then he disappeared and we lost him. Very sad), Gram had a hand in so many classics that still sound amazing. Timeless, brilliant stuff. I can understand why Chris Hillman feels neglected I have to say – he was in three seminal bands – The Byrds, The Burritos, and Manassas (probably the best thing Stephen Stills ever did) – not to mention The Desert Rose Band. He wrote some brilliant songs (Time Between for one – from which we stole our name) and in lots of ways was the driving force that brought Country and Rock together. Brilliant guy, long term player, amazing career, huge influence – and he’s still doing it. But Gram was his partner and equal – and it was Gram who created an industry because of what he did in a three year period. Shooting star indeed.


Ian Matthews

I don’t know why but I missed Ian (Iain?) Matthews. I loved Book Song by the Fairports (I still think it’s the prototype for the Gram/Emmylou sound) and I guess that brought me back to him when I rediscovered the Fairports recently. So I just got a bunch of his solo albums, the Plainsong album and the Matthews Southern Comfort one too. And…..they’re OK. He had the looks no doubt, and the bands – Andy Roberts, Red Rhodes, BJ Cole – all great players. But there’s a reason he’s second tier. A bit like Gene Clark (I know I’m too tough on Gene really). A great pop voice trying to do songs that require a much more emotional delivery. A great example would be his version of Tried So Hard (I know it’s a Gene Clark song – a great song too). But listen the Ian’s version. Perfunctory would be a good way to describe it. And that’s the case with most of his solo albums – terrific songs done in a not too exciting way). I would however say the MSC album is very good – and yes the version of Woodstock deserved its #1 spot in the UK charts. It’s a nice sounding album – great harmonies, good songs, nice production. And the Plainsong album is pretty decent too – it should have been great. A British folk/rock supergroup. The problem is they were competing with real supergroups like CSN&Y – who just did this stuff so much better. Plainsong I think works as it’s a very English album (even tho’ they’re doing very American songs) – and Ian has a good English folk voice (way better than the finger in the ear, Martin Carthy-like voice so familiar to anyone who went to a folk club in a pub in the 70’s in England at least). Again the musicianship is terrific and tasteful. Maybe that’s the problem – it’s all a little too tasteful and he never let’s go. What he could do tho’ was pick songs. His solo albums are a smorgasbord of songs that ended up on all the most tasteful albums of the 70’s and early 80’s. Anyway all worth a listen so check them out – but don’t expect too much.

Traffic

Traffic are probably my favorite group ever – and that’s saying something. They had the groovy hit singles (Hole In My Shoe, Paper Sun. Here We Go Round The Mulberry Bush (great one that), etc), they had the rockers (Dear Mr Fantasy), the quiet, getting away in the country stuff (John Barleycorn) and the soul/R&B influenced prog-rock (Low Spark). They had it all. They were a band you could grow with. Who could take you to new places without having to completely reinvent themselves. Obviously having Steve Winwood – who must have the best white soul voice on the planet. Actually forget the white. He has one of the best voices period. If you get the chance listen to a live show at the Fillmore – it’s on Wolfgangs Vault and it’s 1970 I think. It’s a three piece (Winwood, Capaldi, and Wood) doing a bunch of Barleycorn stuff. Unbelievable amount of noise coming from these guys. They were all terrific musicians. Or listen to Welcome to the Canteen – sure it sounds like it was recorded on a cassette player but the long workouts are significantly funky and the songs are just great. I never saw them around this time. I saw them around the Low Spark era. And what a band there too. Mussel Shoals came to Loughborough. Brilliant stuff. Not much more to say except if you haven’t heard them you need to (just think without Winwood there would be no Paul Weller today).


Poco
I was a huge Poco fan in my youth but they’re probably the only band from that time who I listen to now and go “what was I thinking?” Sure Pickin up the Pieces and Deliverin’ are fine albums but from there where did they go. Sure every album had at least one good song (Bad Weather from “From the Inside” for example) but for the most part they lacked soul, the productions were thin and the lyrics were pretty awful. And they were kind of faceless. I saw them once in the UK – opening for America (thank goodness things have progressed somewhat) and they never really had it. You can hear it in Buffalo Springfield. Richie Furay was always the lightweight – although who wouldn’t be in that crowd. Nice guy. Probably too nice. Great pedigree but there’s so many others to listen to.

Jerry Garcia
A few years ago I went to the Pedal Steel Convention in St Louis. 3 days of brilliant playing, nice people and a lot of hokey stuff – it got a little too Hee Haw-y sometimes. The house band – who started at 10AM and went until midnight - backed every PSG player you’ve ever heard of and tons you haven’t. Each performer would then play 3 songs and be gone. They’d do a fiddle tune, a weepy, and something clever (like a Bach fugue) to show off the other side of the instrument. I had the pleasure of meeting Neil Flanz there – who’d been working in a call center after leaving Gram Parsons. Such a shame. Really nice guy. And Bobby Black from Commander Cody – another nice guy. Anyway what I wanted to say was – all the younger guys there (under 55 say) started to play PSG because of one guy – Jerry. For me it was his work on Candyman on American Beauty and I’m sure we all have our faves. To be honest compared to say, Doug Jernigan, Jerry wasn’t such great a player but he had more reach than any other player. He could get to a generation of long haired guys who heard that lonesome moan and just wanted to get one of those damn things. Which is what I did a few years ago. A portable instrument it’s not. I hate breaking the damn thing down. But what a sound when you put it back together again. I still struggle with it, trying to get just that right tone but when you get something right there’s nothing like it. So from all of us who started because of you. Thanks Jerry.