When I started writing this blog about two years ago now, it's safe to say that I had no idea where it was going to go or what would become of it. Through a lot of good luck and good fortune, what is a fairly basic site has a fairly decent following of readers. While the numbers have dipped slightly over the past few months due a lack of activity on my part, I'm still amazed at how many readers are sticking with the site by viewing past writings. Tonight's piece is basically my confessional about another one of the many lessons I've learned.
How many of you have ever read, viewed or heard anything by self-help gurus such as Dr. Wayne Dyer or Cheryl Richardson? Over the past year, my family has become quite inspired by the words of both Dr. Dyer and Ms. Richardson, and yes, some of it has rubbed off on this guy. Of the many life skills they teach, one important piece is consistent: of all the limitations that life can give you, the most crippling limitation is the one you place on yourself. Over the past few months, I have experienced this limitation and I can assure you, it is devastating. Since I returned from Boston in January, I have struggled with my confidence in a lot of ways. Questions have dogged me for months ... is my writing good enough? Have I left the blog alone too long? Can I really fit this blog in with a demanding day job and a family that needs my time? How do I take my limited experience and expand this blog to incorporate a radio show and other initiatives?
The more I tried to answer these questions myself, the more miserable, panicked and less confident I became. Every answer I would give myself seemed to point me in a direction that ultimately was a bad decision, at least for me. And I have learned that if you make a bad decision for yourself, especially a bad life decision, it affects everyone and everything around you. Cutting out the blog was, and would have been, a bad life decision for me. I would not have been staying true to myself if I ended this blog entirely. I have learned that deep down, I'm a writer. An amateur writer yes, but a writer just the same. I love it deeply. It's my creative outlet. And the fact that I can marry my love of writing with my love of music and share it with whomever wishes to read these pieces is a blessing that enhances my life beyond words. I am also fortunate that I have a very supportive family and very supportive friends who are in my corner and will stand by me as I see this blog through. The blog may become something bigger, or it may not. It may end up with tens of thousands of readers a month, or it may not. Either way, I'm going to keep writing and doing what I love. It will be from my heart.
The limitations we put on ourselves is the son-of-a-bitch of life. We can be our own worst enemy when it comes to where we see ourselves in the big picture of our lives. It has taken me a while to reach this point, but I say tonight that the limitations I have placed on myself are no more. There is a big sky above all of us that has no limit. Reach up and grab as much of it as you can and as best as you can. A fulfilling life will be waiting.
Wednesday, May 30, 2012
Friday, April 20, 2012
The Pages Turn ... and We Have to Move On
"To you from failing hands we throw the torch; be yours to hold it high ... "
That line is taken from the famous poem of remembrance, In Flanders Fields, written by Canadian World War I soldier, John McRae. Given the events of the last two days with respect to figures in the evolution of modern music, I think it's a fitting statement that works well here today.
I started thinking about writing this piece a few weeks ago with the passing of the great Earl Scruggs. Peter Cooper, a columnist for the Nashville daily The Tennessean, wrote a wonderful article detailing not only the memorial service for Mr. Scruggs at Nashville's Ryman Auditorium but of the type of person Mr. Scruggs was. I'll get in to why I haven't been writing much for the past couple of months in another piece, today and now is not the time to get in to that. Today is about remembrance, celebration and reflection.
The past three weeks have borne witness to the passing of two of the most influential figures in modern music history. Who would have thought as we began this month that not twenty days in to April, the music world would have lost Earl Scruggs, Dick Clark and Levon Helm. Three very unique individuals, but their influence on music and the lives of countless people in my mind is immeasurable.
Earl Scruggs was a master musician. He was most famously on half of the bluegrass duo Flatt and Scruggs with longtime partner and fellow musician, Lester Flatt. Both performers got their start backing up music royalty with the Father of Bluegrass, Bill Monroe. Flatt and Scruggs would leave Bill Monroe's band and become music royalty themselves. Reading Mr. Cooper's article allows the reader to not only understand the far reaching influence that Mr. Scruggs had on bluegrass music, but also the type of person he was. And from what I can gather, Mr. Scruggs was one of the most down-to-earth, genuine people that you could ever meet.
It could be said with great confidence that no other television personality had as much influence on an artists career than Dick Clark. With his show American Bandstand, Mr. Clark was able to use television and his show as a platform to showcase the biggest up-and-coming artists of the day, whatever that day was. His show ran nationally for 25 years, from the early 1960's to the late 1980's. When word of Mr. Clark's passing became public knowledge yesterday (April 17, 2012), 50's icon Little Richard stated on CNN that night that it didn't matter to Mr. Clark if you were good or not, he was still willing to give you your shot. And people, in that time there was no greater showcase for your talent, or lack thereof, than American Bandstand. Feeding in to millions of American homes on a weekly basis, Bandstand was also the first show of its kind to show the power of music. It allowed people to see with their own eyes that music did not know boundary's, it knew of no genres or "labels", and it did not know race. American Bandstand was the first show of its kind to broadcast black kids and white kids dancing together. In certain parts of the United States in the 1960's, that was unheard of on so many levels. Everyone of every race, color and creed was welcome on American Bandstand, as that show was always about the music. If Wolfman Jack was the most influential radio personality of that time period, certainly Dick Clark was the most influential television personality.
Which brings us to today's (April 18, 2012) announcement of the passing of Levon Helm. Levon was the drummer and, in several cases, the voice of The Band. Following The Band's dissolution in 1976 (which was the focus of the film "The Last Waltz", directed by Martin Scorsese), Mr. Helm embarked on a solo and film career with perhaps his most memorable performance playing Loretta Lynn's father in "Coal Miner's Daughter." He would reform The Band in the 1980's without guitarist and vocalist Robbie Robertson. In the 1990's, it was decided to dissolve The Band permanently, following the deaths of two longtime members Richard Manuel and Rick Danko. This would ultimately be the beginning of perhaps the most influential part of Mr. Helm's musical career and it would seemingly happen by accident. No longer held to terms and commitments with The Band, Mr. Helm embarked on a solo career that would ultimately result in the incredibly successful Midnight Ramble concert series. Levon Helm's Midnight Ramble shows would take place at the barn adjacent to his home in Woodstock, New York. The shows themselves were created out of necessity. When Mr. Helm was first diagnosed with throat cancer in the late 1990's, the shows were created in part to help cover the costs of treatment. They ended up covering the costs of treatment, paying the mortgage, and in true pay-it-forward form, provided an outlet for the burgeoning Americana movement allowing newer artists of the day like Elizabeth Cook to grow their following and music legends like Elvis Costello and Emmylou Harris to showcase their still relevant music when mainstream radio virtually ignored them. So influential was Levon Helm to the Americana genre, that the Americana Music Association honored Mr. Helm with a Lifetime Achievement Award for performing in 2003. If you go back and listen to The Band's music, I believe one can hear the early stages of what is now the Americana genre.
What's significant about the passing of Mr. Scruggs, Mr. Clark and Mr. Helm is that there will never be another like either of these gentlemen. Mr. Scruggs virtually invented the picking style that is used, or at least attempted to be used, by many banjo and bluegrass musicians today. The music industry, and society in general, will never allow another individual like Mr. Clark to have such a huge platform to promote music at the grassroots level. Records labels seemingly little to no interest in promoting artists from the ground up and sticking with them over a period of time to generate a career, as opposed to making a quick buck on a hit single or two. Television has no interest in promoting a national live music show in the vein that was American Bandstand. The trend is more toward reality television, which is much cheaper and friendly to the bottom line. I'm sorry folks, but in my opinion shows like American Idol and The Voice don't count here. They're completely different shows than American Bandstand. Day and night. Finally, there aren't too many more stylists out there like Mr. Helm who was at the top of the rock and roll world in the 1960's and 1970's, and was able to craft and formulate a very unique sound that convinced so many artists to pick up their guitar, take up the drums or write such amazing poetry. There aren't too many who can parlay all of that talent in their later years in to creating a weekly concert variety show, at his own home no less, that showcases and promotes an explosive newly recognized genre of music that focuses on creativity of the artist and the community of the musicians and fans.
The world has lost a lot of talent, creativity and history in the last few weeks. The music will live on of course, but as Peter Cooper pointed out in his article, it's hard not to feel sad because these gentlemen are gone. It's the end of a great chapter, and as music fans, one which we were all terribly blessed to have witnessed. Let's remember and honor these wonderfully talented gentlemen appropriately by listening and sharing their music, and perhaps discovering old clips of the great American Bandstand shows. And let the good memories flow.
That line is taken from the famous poem of remembrance, In Flanders Fields, written by Canadian World War I soldier, John McRae. Given the events of the last two days with respect to figures in the evolution of modern music, I think it's a fitting statement that works well here today.
I started thinking about writing this piece a few weeks ago with the passing of the great Earl Scruggs. Peter Cooper, a columnist for the Nashville daily The Tennessean, wrote a wonderful article detailing not only the memorial service for Mr. Scruggs at Nashville's Ryman Auditorium but of the type of person Mr. Scruggs was. I'll get in to why I haven't been writing much for the past couple of months in another piece, today and now is not the time to get in to that. Today is about remembrance, celebration and reflection.
The past three weeks have borne witness to the passing of two of the most influential figures in modern music history. Who would have thought as we began this month that not twenty days in to April, the music world would have lost Earl Scruggs, Dick Clark and Levon Helm. Three very unique individuals, but their influence on music and the lives of countless people in my mind is immeasurable.
Earl Scruggs was a master musician. He was most famously on half of the bluegrass duo Flatt and Scruggs with longtime partner and fellow musician, Lester Flatt. Both performers got their start backing up music royalty with the Father of Bluegrass, Bill Monroe. Flatt and Scruggs would leave Bill Monroe's band and become music royalty themselves. Reading Mr. Cooper's article allows the reader to not only understand the far reaching influence that Mr. Scruggs had on bluegrass music, but also the type of person he was. And from what I can gather, Mr. Scruggs was one of the most down-to-earth, genuine people that you could ever meet.
It could be said with great confidence that no other television personality had as much influence on an artists career than Dick Clark. With his show American Bandstand, Mr. Clark was able to use television and his show as a platform to showcase the biggest up-and-coming artists of the day, whatever that day was. His show ran nationally for 25 years, from the early 1960's to the late 1980's. When word of Mr. Clark's passing became public knowledge yesterday (April 17, 2012), 50's icon Little Richard stated on CNN that night that it didn't matter to Mr. Clark if you were good or not, he was still willing to give you your shot. And people, in that time there was no greater showcase for your talent, or lack thereof, than American Bandstand. Feeding in to millions of American homes on a weekly basis, Bandstand was also the first show of its kind to show the power of music. It allowed people to see with their own eyes that music did not know boundary's, it knew of no genres or "labels", and it did not know race. American Bandstand was the first show of its kind to broadcast black kids and white kids dancing together. In certain parts of the United States in the 1960's, that was unheard of on so many levels. Everyone of every race, color and creed was welcome on American Bandstand, as that show was always about the music. If Wolfman Jack was the most influential radio personality of that time period, certainly Dick Clark was the most influential television personality.
Which brings us to today's (April 18, 2012) announcement of the passing of Levon Helm. Levon was the drummer and, in several cases, the voice of The Band. Following The Band's dissolution in 1976 (which was the focus of the film "The Last Waltz", directed by Martin Scorsese), Mr. Helm embarked on a solo and film career with perhaps his most memorable performance playing Loretta Lynn's father in "Coal Miner's Daughter." He would reform The Band in the 1980's without guitarist and vocalist Robbie Robertson. In the 1990's, it was decided to dissolve The Band permanently, following the deaths of two longtime members Richard Manuel and Rick Danko. This would ultimately be the beginning of perhaps the most influential part of Mr. Helm's musical career and it would seemingly happen by accident. No longer held to terms and commitments with The Band, Mr. Helm embarked on a solo career that would ultimately result in the incredibly successful Midnight Ramble concert series. Levon Helm's Midnight Ramble shows would take place at the barn adjacent to his home in Woodstock, New York. The shows themselves were created out of necessity. When Mr. Helm was first diagnosed with throat cancer in the late 1990's, the shows were created in part to help cover the costs of treatment. They ended up covering the costs of treatment, paying the mortgage, and in true pay-it-forward form, provided an outlet for the burgeoning Americana movement allowing newer artists of the day like Elizabeth Cook to grow their following and music legends like Elvis Costello and Emmylou Harris to showcase their still relevant music when mainstream radio virtually ignored them. So influential was Levon Helm to the Americana genre, that the Americana Music Association honored Mr. Helm with a Lifetime Achievement Award for performing in 2003. If you go back and listen to The Band's music, I believe one can hear the early stages of what is now the Americana genre.
What's significant about the passing of Mr. Scruggs, Mr. Clark and Mr. Helm is that there will never be another like either of these gentlemen. Mr. Scruggs virtually invented the picking style that is used, or at least attempted to be used, by many banjo and bluegrass musicians today. The music industry, and society in general, will never allow another individual like Mr. Clark to have such a huge platform to promote music at the grassroots level. Records labels seemingly little to no interest in promoting artists from the ground up and sticking with them over a period of time to generate a career, as opposed to making a quick buck on a hit single or two. Television has no interest in promoting a national live music show in the vein that was American Bandstand. The trend is more toward reality television, which is much cheaper and friendly to the bottom line. I'm sorry folks, but in my opinion shows like American Idol and The Voice don't count here. They're completely different shows than American Bandstand. Day and night. Finally, there aren't too many more stylists out there like Mr. Helm who was at the top of the rock and roll world in the 1960's and 1970's, and was able to craft and formulate a very unique sound that convinced so many artists to pick up their guitar, take up the drums or write such amazing poetry. There aren't too many who can parlay all of that talent in their later years in to creating a weekly concert variety show, at his own home no less, that showcases and promotes an explosive newly recognized genre of music that focuses on creativity of the artist and the community of the musicians and fans.
The world has lost a lot of talent, creativity and history in the last few weeks. The music will live on of course, but as Peter Cooper pointed out in his article, it's hard not to feel sad because these gentlemen are gone. It's the end of a great chapter, and as music fans, one which we were all terribly blessed to have witnessed. Let's remember and honor these wonderfully talented gentlemen appropriately by listening and sharing their music, and perhaps discovering old clips of the great American Bandstand shows. And let the good memories flow.
Thursday, March 8, 2012
Album Review: Nearly Beloved, "Where's Bob?"
As mentioned in articles past, one of the things I enjoyed most about attending the most recent Americana Music Conference and Festival was meeting some truly great people that work in the business side of music. I made no bones about the fact that this blog is a one person operation, still in its growing stages of what I would like it to be. The kindness and support I received from many of those attending the conference was heartwarming. One such individual has been very kind over the past few months to send me albums of some of the artists that she is tasked with promoting, and I say tasked in the most positive light. And at long last, far longer than is acceptable really, I'm happy to post the first in a series of great albums that Kim Grant of KG Music Press has been so kind to share for this space.
Produced by lead singer Matt Lax, Nearly Beloved's "Where's Bob?" is a wonderful, eclectic mix of traditional folk, mixed with a bit of blues and a decent amount of the original sounds of California country-rock of the late 60's and early 70's. I surmise this last ingredient can be somewhat expected, since the band is based out of California. The album will be released on Attaboy Records on Tuesday March 13, 2012.
The album kicks off in grand style, with a nice little rockabilly number, "My Memory," a tune about trying to change ones' focus from the negativity in life. "Whiskey Whispers" evokes a real classic country feel, a really nice throwback to the traditional country sound of the 1950's with it's beautiful steel guitar work. A nice cover of Bob Dylan's classic "Subterranean Homesick Blues" allows the band to really showcase their musicianship, with a nice shuffle beat from Peter Rubin on drums and some well-placed harmonica work from Peter Lax.
If "Subterranean Homesick Blues" showcases Nearly Beloved's musical abilities, "Cool Fuckin' Sunset" showcases their harmony's in stellar fashion. It is this segment on the album, at least for this listener, that invoked many great memories of the California country-rock scene as "Sunset" brought about visions of The Eagles, while the next track "Tomorrow Won't be the Future" reminded me of The Byrds. I don't say this to be a negative thing, I merely highlight these tracks as key points to the album. If the goal was to capture a bit of that California sound of days gone by, it was captured in spades. They are two excellent, very well done tracks.
Perhaps the most clever song on the album is one that I'm sure would make Roger Miller proud. "My P-Role Officer" is a great story song about a guy who just can't catch a break , to say the least. A fantastic, well written song and well performed by Matt Lax and the group.
Nearly Beloved's "Where's Bob?" is currently enjoying some well-deserved airplay on great radio stations such as 91.7 FM WHUS, 90.3 FM WZBC, 88.1 FM WMBR, 94.1 FM KFPA, as well as Taproot Radio and various European radio outlets. You can purchase a copy, and indeed listen, to "Where's Bob?" in its entirety on the Nearly Beloved web site. If you're interested in learning about more artists under Kim Grant's wing, check out her site at KG Music Press.
Thursday, March 1, 2012
Moving On Up to 2012
Hey everyone,
I'm back with a new post after a bit of a dry spell in February. This one is going to be somewhat short.
After much arm twisting and convincing, I'm happy to report that Americana Review is now on Twitter.
I welcome you to follow along at @americanareview for all things Americana Review. I'll be tweeting about what shows I'll be heading out to, what albums I'm reviewing, what I'm listening to at any given moment and of course, general thoughts and rambles.
Thanks as always for your support to this point and for sticking it out with the continued evolution of this blog. There have been over 5,100 of you who have visited, and I can't tell you how much I appreciate it.
Thanks for reading and I look forward to reaching even more of you!
I'm back with a new post after a bit of a dry spell in February. This one is going to be somewhat short.
After much arm twisting and convincing, I'm happy to report that Americana Review is now on Twitter.
I welcome you to follow along at @americanareview for all things Americana Review. I'll be tweeting about what shows I'll be heading out to, what albums I'm reviewing, what I'm listening to at any given moment and of course, general thoughts and rambles.
Thanks as always for your support to this point and for sticking it out with the continued evolution of this blog. There have been over 5,100 of you who have visited, and I can't tell you how much I appreciate it.
Thanks for reading and I look forward to reaching even more of you!
Monday, February 13, 2012
Some Post-Grammy Thoughts
Before getting to far in to this piece, I must confess that I didn't watch that much of the Grammy Awards telecast last night. It may not be a popular opinion, but I find the Grammy show can be a very long and drawn out affair, much like the Oscars. There was a lot of great music that was recognized last night in all genres, and for the most part, I would say the Academy got it right. With Adele's win in the all-encompassing Record of the Year category, is a great achievement for one of the truly great and unique artists to have come along in quite some time.
I would be remiss if I didn't say congratulations to The Civil Wars for their two big wins last night in the Best Country Duo/Group Performance category and Best Folk Album category for Barton Hollow. For anyone who has heard this album or watched the duo of Joy Williams and John Paul White perform, the first two major awards of their career will come as no surprise. For those of you who haven't heard about them until this point, get ready. The Civil Wars are on the verge of something huge. Their music is about to get mainstream exposure, as fellow Grammy winner and worldwide superstar Taylor Swift has them on board her next single. "Safe and Sound" appears on The Hunger Games soundtrack and is produced by the one and only T Bone Burnett. Say what you want about Taylor, but she loves great music when she hears it and doesn't worry about what others think. I think that's a wonderful trait to have.
One of the portions of the show I did see made me really smile. Growing up, I had a steady diet of Waylon Jennings, George Jones, Tammy Wynette, Conway Twitty, Loretta Lynn, Willie Nelson, and one unbelievably talented multi-instrumentalist from Arkansas named Glen Campbell. Glen's musical influence has been well documented, from his beginnings on The Smothers Brothers Show to The Glen Campbell Goodtime Hour, to his movie appearances and career renaissance in the mid to late 1980's, Campbell's mark on the musical landscape is prominent. No less than the great Keith Urban cites Glen Campbell as one of his major influences, as well as other guitar greats as Steve Wariner, Vince Gill and Brad Paisley. It was a great joy watching the Grammy tribute during last nights awards show honoring Glen Campbell with a Lifetime Achievement award. The Band Perry and Blake Shelton paid wonderful homage to this music legend, but it was Glen himself that stole the show. Recently diagnosed with Alzheimer's disease but still able to perform, Glen is on his farewell tour. It is nice to see organizations such as the Grammy's devoting time during their telecasts to honor a great legend such as Glen Campbell while he's still alive and can appreciate and even participate in the performance. Watching the reaction from the Grammy audience, filled with other legends like Joe Walsh, Bruce Springsteen and Paul McCartney standing up and dancing to Glen's performance of his signature hit "Rhinestone Cowboy", showed Glen how much he is admired, respected and loved among his peers. And trust me folks, Glen Campbell showed everyone he can still sing and perform, as he still exhibits the confidence and stage presence of a true music veteran. For me, it was one of those moments that just made me smile and smile. It gave me that feeling I always get that reminds me of why I love music so much.
Of course, the Grammy awards had a shadow cast upon itself with the news that one of the great artists and vocalists of our time passed away the day before. Whitney Houston is another artist that I recall from my youth and while I was not a particularly big fan of her music, the talent that existed could never be denied. I was a country boy and she was decidedly pop, so I didn't really follow her early material. That changed considerably when I heard her version of the Dolly Parton classic that would go on to become Whitney Houston's (and Dolly Parton's, for that matter) biggest hit. "I Will Always Love You" had been a number one hit for Dolly on two separate occasions in 1974 and 1982, but the version recorded for The Bodyguard soundtrack by Whitney Houston, would sit atop the Billboard Hot 100 chart for 14 weeks. I can still remember where I was and what I was doing when I first heard the opening notes of Whitney's version, it was that powerful to me. It's funny though, I had to convince the company I was with at the time that Whitney's was not the original version of that song, but that's beside the point.
I always find it a real tragedy when people who possess such a great gift, such great talent cannot seem to harness or handle the stardom that sometimes accompanies such greatness. I have no doubt that many of the artists who have passed before their time had dreams of performing on stage before thousands of adoring people. But I wonder if those artists were truly equipped to handle that lifestyle. The pressures of essentially being your "business" in every sense of the word and having employees keeping their job based on your success has got to be immense. Compound that with a lack of the proper support network, both personally and professionally, and you have a recipe for disaster. For every George Jones and yes, Glen Campbell, who have been able to keep addictions at bay which enabled them to have long, storied careers, there are an equal amount who have not been successful. Elvis Presley, Jim Morrison and Janis Joplin come to mind. Another recent example is the all-to-soon passing of Amy Winehouse, an artist who's best days and most creative time was still ahead of her, but could not break free of the personal demons that led to her untimely death.
It all seems so preventable, yet it sadly happens a thousand times a day. We just hear about it more when a celebrity passes on in such mortal circumstances. The lesson for all of us, if we're to take a lesson away, I believe is for us to take care of ourselves. Take care of our loved ones. Be good. And above all if and when you make a list of those that you love and value in your life, make sure your own name appears prominently on that list.
I would be remiss if I didn't say congratulations to The Civil Wars for their two big wins last night in the Best Country Duo/Group Performance category and Best Folk Album category for Barton Hollow. For anyone who has heard this album or watched the duo of Joy Williams and John Paul White perform, the first two major awards of their career will come as no surprise. For those of you who haven't heard about them until this point, get ready. The Civil Wars are on the verge of something huge. Their music is about to get mainstream exposure, as fellow Grammy winner and worldwide superstar Taylor Swift has them on board her next single. "Safe and Sound" appears on The Hunger Games soundtrack and is produced by the one and only T Bone Burnett. Say what you want about Taylor, but she loves great music when she hears it and doesn't worry about what others think. I think that's a wonderful trait to have.
One of the portions of the show I did see made me really smile. Growing up, I had a steady diet of Waylon Jennings, George Jones, Tammy Wynette, Conway Twitty, Loretta Lynn, Willie Nelson, and one unbelievably talented multi-instrumentalist from Arkansas named Glen Campbell. Glen's musical influence has been well documented, from his beginnings on The Smothers Brothers Show to The Glen Campbell Goodtime Hour, to his movie appearances and career renaissance in the mid to late 1980's, Campbell's mark on the musical landscape is prominent. No less than the great Keith Urban cites Glen Campbell as one of his major influences, as well as other guitar greats as Steve Wariner, Vince Gill and Brad Paisley. It was a great joy watching the Grammy tribute during last nights awards show honoring Glen Campbell with a Lifetime Achievement award. The Band Perry and Blake Shelton paid wonderful homage to this music legend, but it was Glen himself that stole the show. Recently diagnosed with Alzheimer's disease but still able to perform, Glen is on his farewell tour. It is nice to see organizations such as the Grammy's devoting time during their telecasts to honor a great legend such as Glen Campbell while he's still alive and can appreciate and even participate in the performance. Watching the reaction from the Grammy audience, filled with other legends like Joe Walsh, Bruce Springsteen and Paul McCartney standing up and dancing to Glen's performance of his signature hit "Rhinestone Cowboy", showed Glen how much he is admired, respected and loved among his peers. And trust me folks, Glen Campbell showed everyone he can still sing and perform, as he still exhibits the confidence and stage presence of a true music veteran. For me, it was one of those moments that just made me smile and smile. It gave me that feeling I always get that reminds me of why I love music so much.
Of course, the Grammy awards had a shadow cast upon itself with the news that one of the great artists and vocalists of our time passed away the day before. Whitney Houston is another artist that I recall from my youth and while I was not a particularly big fan of her music, the talent that existed could never be denied. I was a country boy and she was decidedly pop, so I didn't really follow her early material. That changed considerably when I heard her version of the Dolly Parton classic that would go on to become Whitney Houston's (and Dolly Parton's, for that matter) biggest hit. "I Will Always Love You" had been a number one hit for Dolly on two separate occasions in 1974 and 1982, but the version recorded for The Bodyguard soundtrack by Whitney Houston, would sit atop the Billboard Hot 100 chart for 14 weeks. I can still remember where I was and what I was doing when I first heard the opening notes of Whitney's version, it was that powerful to me. It's funny though, I had to convince the company I was with at the time that Whitney's was not the original version of that song, but that's beside the point.
I always find it a real tragedy when people who possess such a great gift, such great talent cannot seem to harness or handle the stardom that sometimes accompanies such greatness. I have no doubt that many of the artists who have passed before their time had dreams of performing on stage before thousands of adoring people. But I wonder if those artists were truly equipped to handle that lifestyle. The pressures of essentially being your "business" in every sense of the word and having employees keeping their job based on your success has got to be immense. Compound that with a lack of the proper support network, both personally and professionally, and you have a recipe for disaster. For every George Jones and yes, Glen Campbell, who have been able to keep addictions at bay which enabled them to have long, storied careers, there are an equal amount who have not been successful. Elvis Presley, Jim Morrison and Janis Joplin come to mind. Another recent example is the all-to-soon passing of Amy Winehouse, an artist who's best days and most creative time was still ahead of her, but could not break free of the personal demons that led to her untimely death.
It all seems so preventable, yet it sadly happens a thousand times a day. We just hear about it more when a celebrity passes on in such mortal circumstances. The lesson for all of us, if we're to take a lesson away, I believe is for us to take care of ourselves. Take care of our loved ones. Be good. And above all if and when you make a list of those that you love and value in your life, make sure your own name appears prominently on that list.
Monday, January 23, 2012
Concert Review: Robert Earl Keen, The Deep Dark Woods -- January 22, 2012, Royale Nightclub, Boston, Massachusetts
A true pioneer of the Red Dirt music scene brought his winter tour to the Northeast this past weekend, with stops in New York City and Boston. I had the great fortune to attend the Boston show last night at the Royale Nightclub just a short walk from Boston Common. The Royale is a beautiful club with excellent acoutics, I highly recommend catching a show there when the opportunity presents itself.
Robert Earl Keen has been travelling the roads of America for decades and is one of the forefathers of Texas Red Dirt music. On the road to support his latest release "Ready for Confetti", Robert Earl Keen delivered the stellar performance that you would expect from the veteran singer-songwriter. Opening with the catchy "Whodoo Man", it was clear Robert Earl came to Boston to have a party with the hundreds in attendance. And the audience obliged, chanting the familiar "REK! REK!" refrain that is common at Keen's shows. Moving comfortably from the blues-tinged opening number to the soulful, laidback "Feelin' Good Again", to the humourous "Merry Christmas From The Family", Robert Earl showed why he has been, and continues to be, a relevant factor in music for well over 30 years.
One of my favorite performances of the evening was the title track of Robert Earl's previous album, "The Rose Hotel." I always appreciate when artists allow their backup band to shine on their own for an extended run on a song, and such was the case with "The Rose Hotel" as well as a great tune I was not familiar with, "Corpus Christ Bay." Performances such as these are the reason that I've been tuned in to the Red Dirt music scene. Just pure, rockin' soul and country that you can rarely hear anywhere other than at a live show on a Sunday night in Boston, or any day of the week in Texas.
Bringing the show to it's much anticipated peak, Robert Earl and the boys did another extended take on what may be his best known tune "The Road Goes on Forever", which has been covered many times over, perhaps best by Billy Joe Shaver. Like many of us out there, Robert Earl commented on the current state of mainstream country music with "This Old Porch", a tune co-written with fellow Texas singer-songwriter Lyle Lovett. Robert Earl closed off his excellent set with "Comin' Home to You", and encored with "Shades of Amarillo." After hearing much about Robert Earl Keen over the years, it was great to finally catch one of his shows. It's not hard to see why he is regarded as a legend in Texas and the influece he has had on that music scene. Without Robert Earl, it's hard to imagine groups like Cross Canadian Ragweed, Reckless Kelly or No Justice come to being ... or at the very least, having the sound that they have. He is a true original and should gain your attention when playing in your town. I promise you will find many, hardcore Robert Earl Keen fans at the show.
Speaking of true originals, opening act The Deep Dark Woods are an excellent band based out of Saskatoon, Saskatchewan, Canada that is beginning to make their rounds in the United States. One might ask why a Texas legend would bring a fairly new Canadian band out on the road with him as the show opener. One would get their answer when they see and hear The Deep Dark Woods. This is my second opportunity to catch a performance of The Deep Dark Woods, but my first time catching a more fulsome performance. I attended their showcase segment at the Americana Music Conference and Festival in Nashville last October where they were the rave of the week. With a voice that sounds much older than the gentleman possessing that voice, lead vocalist Ryan Boldt and the band introduced themselves to the Boston audience. I can assure you, the Boston audience will not forget The Deep Dark Woods.
Serving as the opener for Keen is a great opportunity for this young group from Canada. Touring to support their US debut album, The Place I Left Behind, the boys opened up with the initial track on the album, "Westside Street." It was great to watch the crowd, many of whom I'm sure had not heard of The Deep Dark Woods before, turn toward the stage eyes wide and ears open and move closer to get a glimpse of the band they were hearing for the first time. With each passing tune, the cheering and applause got louder. The tight performances and songwriting on such tunes as "The Banks of the Leopold Canal" and "Back Alley Blues" quite clearly won a whole room full of fans, many of whom walked immediately to the concession table to find their copy of The Place I Left Behind and other earlier works of the band.
The Deep Dark Woods have a very unique sound that served as the perfect compliment to Robert Earl Keen's set. I had the great fortune to meet with the guys for a few minutes as I was leaving the club and I'm proud to say they are very pleasant, humble and friendly. True Canadian boys, indeed. The Deep Dark Woods are: Ryan Boldt on vocals and guitar; Burke Barlow on acoustic, electric and steel guitar; Geoff Hilhorst on keys; Chris Mason on vocals and bass; and Lucas Goetz on vocals, percussion and pedal steel. I list them by name here today because I believe this is the beginning for The Deep Dark Woods and you should get to know them. The next time this group comes to Boston, it will be as well-deserved headliners.
Robert Earl Keen has been travelling the roads of America for decades and is one of the forefathers of Texas Red Dirt music. On the road to support his latest release "Ready for Confetti", Robert Earl Keen delivered the stellar performance that you would expect from the veteran singer-songwriter. Opening with the catchy "Whodoo Man", it was clear Robert Earl came to Boston to have a party with the hundreds in attendance. And the audience obliged, chanting the familiar "REK! REK!" refrain that is common at Keen's shows. Moving comfortably from the blues-tinged opening number to the soulful, laidback "Feelin' Good Again", to the humourous "Merry Christmas From The Family", Robert Earl showed why he has been, and continues to be, a relevant factor in music for well over 30 years.
One of my favorite performances of the evening was the title track of Robert Earl's previous album, "The Rose Hotel." I always appreciate when artists allow their backup band to shine on their own for an extended run on a song, and such was the case with "The Rose Hotel" as well as a great tune I was not familiar with, "Corpus Christ Bay." Performances such as these are the reason that I've been tuned in to the Red Dirt music scene. Just pure, rockin' soul and country that you can rarely hear anywhere other than at a live show on a Sunday night in Boston, or any day of the week in Texas.
Bringing the show to it's much anticipated peak, Robert Earl and the boys did another extended take on what may be his best known tune "The Road Goes on Forever", which has been covered many times over, perhaps best by Billy Joe Shaver. Like many of us out there, Robert Earl commented on the current state of mainstream country music with "This Old Porch", a tune co-written with fellow Texas singer-songwriter Lyle Lovett. Robert Earl closed off his excellent set with "Comin' Home to You", and encored with "Shades of Amarillo." After hearing much about Robert Earl Keen over the years, it was great to finally catch one of his shows. It's not hard to see why he is regarded as a legend in Texas and the influece he has had on that music scene. Without Robert Earl, it's hard to imagine groups like Cross Canadian Ragweed, Reckless Kelly or No Justice come to being ... or at the very least, having the sound that they have. He is a true original and should gain your attention when playing in your town. I promise you will find many, hardcore Robert Earl Keen fans at the show.
Speaking of true originals, opening act The Deep Dark Woods are an excellent band based out of Saskatoon, Saskatchewan, Canada that is beginning to make their rounds in the United States. One might ask why a Texas legend would bring a fairly new Canadian band out on the road with him as the show opener. One would get their answer when they see and hear The Deep Dark Woods. This is my second opportunity to catch a performance of The Deep Dark Woods, but my first time catching a more fulsome performance. I attended their showcase segment at the Americana Music Conference and Festival in Nashville last October where they were the rave of the week. With a voice that sounds much older than the gentleman possessing that voice, lead vocalist Ryan Boldt and the band introduced themselves to the Boston audience. I can assure you, the Boston audience will not forget The Deep Dark Woods.
Serving as the opener for Keen is a great opportunity for this young group from Canada. Touring to support their US debut album, The Place I Left Behind, the boys opened up with the initial track on the album, "Westside Street." It was great to watch the crowd, many of whom I'm sure had not heard of The Deep Dark Woods before, turn toward the stage eyes wide and ears open and move closer to get a glimpse of the band they were hearing for the first time. With each passing tune, the cheering and applause got louder. The tight performances and songwriting on such tunes as "The Banks of the Leopold Canal" and "Back Alley Blues" quite clearly won a whole room full of fans, many of whom walked immediately to the concession table to find their copy of The Place I Left Behind and other earlier works of the band.
The Deep Dark Woods have a very unique sound that served as the perfect compliment to Robert Earl Keen's set. I had the great fortune to meet with the guys for a few minutes as I was leaving the club and I'm proud to say they are very pleasant, humble and friendly. True Canadian boys, indeed. The Deep Dark Woods are: Ryan Boldt on vocals and guitar; Burke Barlow on acoustic, electric and steel guitar; Geoff Hilhorst on keys; Chris Mason on vocals and bass; and Lucas Goetz on vocals, percussion and pedal steel. I list them by name here today because I believe this is the beginning for The Deep Dark Woods and you should get to know them. The next time this group comes to Boston, it will be as well-deserved headliners.
Saturday, January 21, 2012
Killing Time in Boston
Good Saturday night everyone!
It's a Saturday night in Boston, Massachussetts, and what else could I be doing but sitting in my hotel room and posting a quick blog piece. It's not a problem really, it's too damn cold to be going outside tonight anyway! I hear spring will be back tomorrow afternoon sometime, so I'm not too worried about it.
Anyway, what brings me to Boston is a show that I'm looking forward to seeing tomorrow night at the Royale Nightclub (on Tremont Street, if anyone reading this happens to be in the area). Texas music legend Robert Earl Keen is making his way to Beantown, along with a group that I wrote about following my trip to Nashville, The Deep Dark Woods. Both are touring in support of their respective new albums that have recently been released. Robert Earl's latest is "Ready for Confetti", while The Deep Dark Woods have released "The Place I Left Behind" to much critical acclaim.
It's a curious mix for these artists to perform on the same show, as their styles appear to be quite different. Having said that, I think that's going to be a good thing. Touring with Robert Earl Keen is a great opportunity for The Deep Dark Woods, as they are being introduced to an already large fan base that exists for Keen. I can promise you, the fans of Robert Earl Keen will leave that show fans of The Deep Dark Woods. These boys are good and if you're in Boston and looking for something to do on a Sunday night after the Patriots have a go at the Baltimore Ravens, slide on over to the Royale Nightclub for some outstanding Texas and Americana music.
Of course, if you can't make it to the show, you can catch the write-up here on Monday.
Have a good night everyone!
It's a Saturday night in Boston, Massachussetts, and what else could I be doing but sitting in my hotel room and posting a quick blog piece. It's not a problem really, it's too damn cold to be going outside tonight anyway! I hear spring will be back tomorrow afternoon sometime, so I'm not too worried about it.
Anyway, what brings me to Boston is a show that I'm looking forward to seeing tomorrow night at the Royale Nightclub (on Tremont Street, if anyone reading this happens to be in the area). Texas music legend Robert Earl Keen is making his way to Beantown, along with a group that I wrote about following my trip to Nashville, The Deep Dark Woods. Both are touring in support of their respective new albums that have recently been released. Robert Earl's latest is "Ready for Confetti", while The Deep Dark Woods have released "The Place I Left Behind" to much critical acclaim.
It's a curious mix for these artists to perform on the same show, as their styles appear to be quite different. Having said that, I think that's going to be a good thing. Touring with Robert Earl Keen is a great opportunity for The Deep Dark Woods, as they are being introduced to an already large fan base that exists for Keen. I can promise you, the fans of Robert Earl Keen will leave that show fans of The Deep Dark Woods. These boys are good and if you're in Boston and looking for something to do on a Sunday night after the Patriots have a go at the Baltimore Ravens, slide on over to the Royale Nightclub for some outstanding Texas and Americana music.
Of course, if you can't make it to the show, you can catch the write-up here on Monday.
Have a good night everyone!
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