Friday, December 6, 2019

Now Playing: Fotheringay – Beat Club 1970 – “My Shadow Follows Me”

Now playing in the ‘rock room’ is a vibrant and rare 17 min color clip of ‘Fotheringay’ filmed in October 1970 for the German Radio Bremen television show Beat Club. ‘Fotheringay’ for those unaware was the band Sandy Denny put together with husband Trevor Lucas following Sandy’s departure from ‘Fairport Convention at the end of 1969. Live footage is at a premium for Sandy and thankfully this performance finds Denny at an amazing peak as both a writer and a performer. The rhythm section of Pat Donaldson and session drummer extraordinaire Gerry Conway are as tight and in the groove as the watch pocket on a vintage pair of Levi’s. Comprising the rest of the group is as previously stated Sandy’s future husband Trevor Lucas on acoustic guitar and astronomical Telecaster player Jerry Donahue. While when originally broadcast on November 28, 1970 one track (‘Nothing Was Delivered’)was shown, now, (as of 2015 when the box set Nothing More: The Collected Works was released) we are able to enjoy the entire performance.

‘Fotheringay’ was the result of the close knit nepotism of the late 1960’s and 1970’s British folk community. Following Denny’s decision to leave ‘Fairport Convention’ to play with her boyfriend, the result was one fine studio album, a few wonderful performances, some unfinished tracks and this excellent television broadcast.
The available color pro shot footage begins with the circular patina piano of ‘Nothing More’. The song according to Denny biographer Clinton Heylin was composed about legendary guitarist and oft-band mate of Denny, Sir Richard Thompson. Long lush acoustic strums and Donahue silver threads of melody drape themselves of Denny’s piano like discarded undergarments. Donahue’s swelling resonance of the lacy verses is of particular note. Denny, speaks to the protagonist delicately, probing their emotions, wishing to see the ‘pearls’ that he hold so close that no one will ever know. Her ancient winter maple throat is unwavering and drips rich drops of sweetness throughout her deadly serious inquisition.

Musically the song dramatically fractals into moonlight through stained glass. Denny’s voice is haunting, yet steady through the developing musical storm that gains turbulence as the song cuts through emotive waters of melody. By the third verse the song floats inches above the ground, Donahue weaves around the internal euphony before taking off into an icy clean recitation of Denny’s words. Denny’s face is framed by fire, she glances over the top of the piano as the drums drop away leaving the final verse to be sung over a sparse sparkling musical sky.
The next track to follow finds Sandy standing in her flowing gown with microphone as the band organically plays the sneaky introduction to ‘Gypsy Davy’. A traditional song (arranged by Denny) that was never officially recorded by ‘Fotheringay’, here it is played with a subtle power and a rooted ethnic aesthetic. Denny sways unintentionally seductively with eyes closed as she sings the first verse the music visibly taking her away. The documented Anglo American narrative is of a noblewoman who desert her high standing in life to run away with the poor gypsy she loves. In ‘Fotheringay’s’ capable hands the song becomes a towering knotted tree, standing timelessly and straddling the musical border between rustic and contemporary. Donahue’s guitar stings the central melody with deft filigree’s of gold leaf as the able rhythm section cooks over an open fire with a particular groove that defies description.

The dramatic epic ‘John the Gun’ follows next along with Denny’s return to the piano. Recorded during sessions for the unreleased second ‘Fotheringay’ record and later rerecorded for Denny’s The North Star Grassman and the Ravens solo debut the song is in the ‘rock room’s’ opinion on of Denny’s finest. Beginning with a lick that sounds like a high speed rocker, the song proper then gets its hammer cocked and drops into the verse with a metallic down stroke from Jerry Donahue.  Denny dramatically sings the narrative with a serious yet plaintive attack. Conway punctuates each line with large splashes of cymbal work. The substantial chorus is vocally collaborative with all hands on deck leading to Donahue’s slippery silver solo spot. He takes two rounds with deft string bends twisted like molten metal. 

The story of “John the Gun” is a tale of life and death, the song is eerie, grave, and feels as the cold steel of a gun. The track is a unique Denny original which elicits traditional song. “John the Gun” plays the games of war which takes young lives because he himself was the loser of said games. Denny, melodically and lyrically winds these ideals tightly around Fotheringay’s instrumental loom until rich golden twine is produced. On stage, Sandy is lost in her muse, staring into the creative distance, enveloped in song.
The criminally short performance concludes with a cover of Bob Dylan’s ‘Nothing Was Delivered’. Sung by Lucas, here the song becomes a lush mossy slab of ‘Celtic funk’. Conway’s drums and weighty double kick drums hits advance the song’s natural groove. Donahue stretches some rubber banded twang from his Tele, with well-timed string bends that pop with a rustic attitude. Lucas’s straightforward vocalization fits the song hand and glove. With the conditions that Dylan originally composed the song in Upstate New York in 1967, the ‘rock room’ asserts that of the many covers of this tune, ‘Fotheringay’ puts their spade in the dirt and reveals the heart of Dylan’s intent. Regardless of ‘Peter, Paul. And Mary’s ascent of the charts with the composition in 1967, this one is tough to beat.

While unfortunately short lived, ‘Fotheringay’ was a well-timed expression for Sandy Denny, and a band of soft comfort for her fragile psyche to develop her songs. While this brief creative endeavor neither moved the earth nor traveled across the seas, the songs remain. The band for the time was of one mind, longing to express their shared love of folk and traditional music by swirling it into a uniquely original tincture. While the group would fracture, the individual members bonds would remain and they would mix and match over the short years left for Denny. This special footage of ‘Fotheringay’ at the Beat Club 1970 should be treasured and enjoyed by those who witness it.  It’s a lucky star that it even still exists and luckier still with the minuscule amount of celluloid tape available to fans and critics alike.

Sunday, December 1, 2019

Fred Neil – Hootenanny Live At the Bitter End – “Drop the Atom Bomb the Day My Ship Comes In”

Revolving in the ‘rock room’ today is an obscure mono folk record from the FM label released in 1964. The LP titled, Hootenanny – Live At the Bitter End spotlights a number of artists from the heady days of the Greenwich folk scene which included familiar artists like, Bob Dylan, John Sebastian and the focus of today’s ‘rock room’ rant, Fred Neil. Famously known as the composer of the song “Everybody’s Talkin”, Neil towered above the majority of artists that passed through The Bitter End as is illustrated on the record. As famed critic Richie Unterberger stated in his review of the LP:  “All of the other performers sing sincere, twee coffeehouse folk that illustrates (if only in retrospect) just how necessary it was for gutsier artists like Neil to come along and blow them out of the water”.

Neil performs three songs (hailing from 1963) on the record in his far out folk blues fashion. Leading on strident 12 string acoustic guitar, Neil with unknown backing musicians (on bass and harp respectively) ties everything together like tightly knotted rope. No disrespect to fellow artists featured on the record, Bob Carey, Len Chandler and Jo Mapes, but when the record is played in its entirety it is obvious to the ‘rock room’ who is the timeless talent. Prior to Neil appearing on the Hootenanny record he had released a number of rare singles (1957-1960) while quickly falling out of the ‘Brill Building’ school of songwriting. Following Hootenanny, Neil would record the influential, Tear Down the Walls record with fellow folkie Vince Martin and later following with four of his own solo recordings.

The first of three Neil songs on the record is “Linin Track” recorded by Huddie Ledbetter. Neil sits in the lead engine car initiating the groove. Neil states, “I heard that all Bitter End people have rhythm” as his wiry 12 string scrubs rock into a unique folk blues groove. “Linin Track” rises like locomotive steam as it races down the track. Neil is accompanied by as previously stated an unknown bass player who thumps out a mantra on the standup. Neil starts off the song with his ethnic box car chording. The strident and seductive percussion less rhythm expands and contracts as Neil bellows over the top of the rocky churn. His hearty voice elongating the verses and deep diving into the lower register. Midway through the song and through the musical smoke Neil shouts, “Here We Go” as he initiates another round of fibrous riffing. “Linin Track” languidly veers off course and segues seamlessly into “Grizzly Bear”; a 1962 single for Jake Scott which was co-written by Neil.
Neil begins to shout out the lyrics and then the dynamic call and response chorus to “Grizzly Bear” while requesting that Village singer/songwriter Major Wiley come on stage and assist with the lyrical echoes. Rolling down the mountain and through the briars and brambles Neil gets the “Bitter End” and Major to collaboratively get down. Neil brings the chunky groove lower and lower until concluding the “Linin Track’ bookend with a reprise. The crowd responds loudly and the vibe is bright.

The next track on the LP, “Sky Is Falling” is a Fred Neil original that never made it on one of his official LP’s.  Here again, Neil is joined by an unknown bass player who lends a warm walking bass line to the track. Neil precipitates a ticklish acoustic prelude before beginning the lyrics with his irresistible golden tenor. Neil croons his unique brand of blues, contemplating the falling sky and the eventual world “fall out”. Loose and intimate the song levitates between earth and sky, delicately balanced on Neil’s internal syncopation. Neil really huffs and puffs on the golden horn for the last verse as his voice hits spots where the listener can ‘feel’ it.

Neil introduces the final song on the album as, “another work song I learned from Bobby Dylan”. A humorous aside as Dylan actually backed Neil at the “Bitter End” in 1961 and they often traveled in many of the same Greenwich songwriting circles. “That’s the Bag I’m In” follows and is a Neil original that would later be recorded on 1966’s self-titled album Fred Neil.

A ‘rock room’ favorite and a Fred Neil classic, “That’s the Bag I’m In” begins on a circular fingerpicked lick and lists a litany of “shit happens” moments to our narrator. He immediately burns his fingers on the coffee pot and misses his connection amongst other unfortunate daily events. Eventually, “same thing gonna happen again, cause that’s the bag I’m in”.  The version here is a bit faster than the eventual studio recording with a kenetic strumming pattern. Another unknown musician joins Neil, this time on harmonica. I will throw it out there that I believe this spectral player to be John Sebastian (who often played in the Village and with Neil). Neil states to the player, “Get the bag” as both he and Neil accelerate the tempo and enter into a guitar/harp run through the changes. Connecting the dots and dressed with off mic asides, Neil sings the opening verse again to conclude the song with some gritty gusto on the exiting words.
In the ‘rock room’s meaningless opinion, Fred Neil is one of the finest songwriters to be birthed from the early 1960’s coffeehouse folk “hootenannies”. While some of these talented artists became bigger than they could ever imagine, some like Neil have not even been given the benefit of hindsight. Obviously his compositions such as “Everybody’s Talkin” and “Dolphins” have endured and influenced over the years, yet the man is still underrepresented. David Crosby, Bob Dylan, Tim Buckley, John Sebastian and Joni Mitchell are only a few of the famed and talented songwriters whom were assisted or inspired by Neil. Full scale musical acceptance would allude Neil for his entire life but he would contribute to the world in other ways. Neil would slowly retreat from music and head for the deep. His work with ocean and dolphin preservation would become his calling and he would leave an indelible mark on it just as he had as a songwriter.

Monday, November 18, 2019

Now Playing - The Grateful Dead - April 3, 1982 Scarlet Begonias->Fire On the Mountain – “Loose On The Town”

Now playing in the ‘rock room’ is the second set opener from the Grateful Dead’s April 3, 1982 concert at the Scope in Norfolk, Virginia. The Grateful Dead’s 1982 spring tour had begun with a rough and rockin’ show the evening before in Durham, NC, but this particular evening in Norfolk was a completely different affair. The entire show has a hallucinatory vibration that permeates the proceedings and lends the performance one of those rarified airs that tell the attendee and listener that it’s going to get stranger. The second set opening 25 minute “Scarlet Begonias-> Fire on the Mountain” is proof of this statement. The duo is a unique rendition featuring a particular segue between the songs and spectacular playing by all involved. For people that are into this sort of thing, this is also the Grateful Dead tour where Jerry Garcia and Phil Lesh changed sides of the stage (the evening before). This factor could also be one of the reasons for the deep musical connection between Mydland and Garcia on this night.

I am listening to the wonderfully dynamic Bob Wagner/Charlie Miller audience recording as I write this rant. There is a Miller soundboard also available to enjoy, but in the ‘rock room’s’ humble opinion the Wagner is the way to go. The soundboards, especially from this era are terribly sterile, but the power of this performance nudged me to check it out as well.  As I stated above one can feel creativity in the air as the opening set of the concert spotlighted a well improvised “Bird Song’ and a crushing closing version of “Let It Grow” setting the table for the aural feast to follow. I was not planning on reviewing anything today let alone the whole show, but the stunning second set opener changed my plans for the afternoon.

“Scarlet” begins the second set with a smoky feel, slowly ignited like the rich oils of an incense stick. Brent Mydland washes the groove with thick Hammond organ swells and once Garcia enters with the vocals the tempo increases and the band is immediately locked in. Garcia is singing well and the band is fully invested in the medley.

The mid song Garcia solo is super fine, with Jerry taking five spins around the melodic track, culminating in a finale of bubbly scrubs. His melodic prowess on full display. Following the final lyric, the band quotes the “Scarlet” theme with Mydland in particular inflating the jam with airy key strokes. Garcia sets the tempo with lush strums revealing the pair of song’s rich and creamy center. Mydland again quotes the “Scarlet” theme under the percolating band before disassembling it into an array of crystalline fractals. Garcia’s plump tone is blue and icy, while the ambiance of the room comes through clearly as Garcia probes the landscape with prickly fret work. Weir works his neck as well with jittery strums that underpin Garcia’s fingers. The drummers work their cymbals and toms in conjunction increasing the groove while Lesh plays hide and seek underneath the rhythm. Lesh comes through on headphones much clearer, with both the audience and soundboard recordings unfortunately being a bit light on the bass.
At 9.5 minutes the band begins to coagulate. Garcia and Weir hook arms as Jerry finds something he really likes. Garcia hits the tickle spot and repeats, then adjusts, repeats and explores some more before knocking on the door of a danceable groove which he touches on before continuing on with the exploration. Weir is stunning in his clairvoyance, taking off ahead of Garcia before landing right next to him seamlessly. At a bit past 10 minutes Garcia settles into orbit, covering the song in a thick blanket of stars. Brent and Weir circle with him, folding the segue over onto itself. Garcia keeps lowering the jam, not in tempo but in dynamics, Garcia becomes a psychedelic clock, tic-tocking in slowed time. The crowd knows something is up and can be felt on the audience recording buzzing along.

Off on the distant horizon “Fire on the Mountain" waits, but it cannot yet be felt. Garcia blows on the embers hoping for flame, at 12 minutes he has taken the tune to no man’s land, where everything hangs in the balance. At around 12:30 the jam almost reaches silence whereas Weir, Brent and the drummers join Garcia in a plucky euphoric space. Destination has been reached and the firewall has been breached. The weightless circular Garcia riff wears off its edges while gaining traction. The melodic friction helps to mitigate a groove. Garcia then tickles higher on the neck waiting to feel the warmth from his musical embers while the beat boils. “Scarlet” is quickly quoted like a streetlamp passing by a car window, Mickey then slams a floor tom, Phil slides up his bass neck and the new fertile land between “Scarlet” and “Fire” has been discovered. Seamlessly the band gathers around the substantial mountain flames and “Fire on the Mountain” begins.

Similarly to the entire evening’s performance, Garcia continues his streak of pulling clandestine and unique melodies from a familiar structure. Lesh is now fully amped and very active and leads the way toward the incendiary summit. The first “Fire” solo is brassy and full of honk. By the final solo, Jerry plays with a clean tone while adding the filigrees and additional licks that always make a ‘normal’ reading into a special version. The rest of the concert follows in kind with a well played "Estimated->Eyes" to follow and a hearty post space "NFA".
For the Grateful Dead spring tour 1982 was an era where Brent Mydland had been fully assimilated into the group mind. While not a time as recognized as something like Spring 77, the period holds a number of unique and powerhouse performances. ( See: Hartford and Baltimore) While the Grateful Dead in the 1980's were heading toward bigger venues and larger internal problems, they were still able to access the gestalt linkage on lucky nights. In every Grateful Dead performance there is something unique to be discovered; and in the spring of 1982 these moments often occurred every night.

Grateful Dead The Scope 4-3-1982