This week's musical miscellany

I've gotten way behind on my weekly collections of interesting and noteworthy musical tidbits, so let me see if I can catch up . . .

The biggest news of the past few weeks was the announcement of the 2011 Class of the Rock and Roll Hall of Fame.  This year's inductees include Dr. John, Tom Waits, Neil Diamond, Alice Cooper, Darlene Love, and Leon Russell.  Congratulations to them all!

Dr. John, Rock and Roll Hall of Fame Inductee, Was 'Surprised' By the News (Andy Greene, Rolling Stone)

Dr. John a deserving Rock and Roll Hall of Fame inductee (Keith Spera, NOLA.com)

Tom Waits issues statement regarding his induction into the Rock and Roll Hall of Fame (Randall Roberts, Pop & Hiss/LA Times)

Neil Diamond, Rock and Roll Hall of Fame Inductee, Says He Feels 'Very Lucky' (Andy Greene, Rolling Stone)

Alice Cooper, Rock and Roll Hall of Fame Inductee, Was 'Elated' When He Got the News (Andy Greene, Rolling Stone)



Chuck Berry collapsed during his performance New Year's Night at Chicago's Congress Theater.  He was assisted offstage but returned, only to be led off again.  He apologized to the crowd before leaving, getting in a few of his famous duck-walk steps on his way out.  He was examined by paramedics at the venue and apparently refused hospital treatment, leaving instead in a limousine.  His agency posted an official statement on his website Monday, stating that "he is fine and has returned to his home near St. Louis."

The NPR blog All Songs Considered asked its readers to comment on why Chuck Berry matters, even though modern rock sounds almost nothing like it did in Berry's heyday.  It's simple: One must know what the rules are in order to break them and create something original, and Berry helped write the rule book. His signature, driving riff is at the very foundation of rock and roll, and all of the innovators who've come after him - the Beatles, the Rolling Stones, and Bob Dylan are only three - went through him first. One revolution inevitably inspires another.

"If you tried to give rock and roll another name, you might call it 'Chuck Berry.'" - John Lennon

"To me, Chuck Berry always was the epitome of rhythm and blues playing, rock and roll playing.  It was beautiful, effortless, and his timing was perfection.  He is rhythm supreme.  He plays that lovely double-string stuff, which I got down a long time ago, but I'm still getting the hang of.  Later I realized why he played that way--because of the sheer physical size of the guy.  I mean, he makes one of those big Gibsons look like a ukulele!" - Keith Richards

‎"In my universe, Chuck is irreplaceable . . . All that brilliance is still there, and he's still a force of nature. As long as Chuck Berry's around, everything's as it should be." - Bob Dylan, from his latest Rolling Stone interview (#1078).  

Official Statement from Chuck Berry's Agency, CMG Worldwide

Before his collapse, Berry was complaining, cutting songs short (Dave Hoekstra, Chicago Sun-Times)

Chuck Berry's Collapse Reminds Us How Much He Matters (Bob Boilen, All Songs Considered/NPR)

Berry performs at least once a month at the St. Louis venue Blueberry Hill and other tour dates as they are announced on his website.  I see a road trip at some point in my future!

Just a few days before his Chicago performance, his first hit "Maybellene" turned 55 years old.  Get well soon, Mr. Berry, and long may you rock!

Levon Helm was also recently hospitalized, but has since been released and has returned to performing. Helm has chronic obstructive pulmonary disease (COPD); a cold aggravated the condition, and he was admitted to a New York hospital for nearly a week, forcing him to miss a scheduled Midnight Ramble at his Woodstock home and studio.  He was released on December 17 and performed at the Ramble the next night.  Levon, we love you, and we're glad you're feeling better!

Levon Helm hospitalized, but OK (John W. Barry, Poughkeepsie Journal)

Levon Helm home from hospital (Poughkeepsie Journal)

The music world lost Captain Beefheart on December 17 and Stealers Wheel's Gerry Rafferty on January 4.  Rest in peace, gentlemen.

Captain Beefheart Dead at Age 69 (Maura Johnston, Rolling Stone)

Don Van Vliet, Known To Rock Fans As Captain Beefheart, Dies (Rick Carr, NPR)

Captain Beefheart: A Rock Critic Fable (Mitch Myers, All Songs Considered/NPR)

Gerry Rafferty dies at 63; Scottish pop singer-songwriter had a hit with 'Baker Street' (Keith Thursby, LA Times)

Remembering Songwriter Gerry Rafferty (NPR)

RIP Gerry Rafferty, Whose 'Baker Street' Changed the Sax Solo (Rob Sheffield, Rolling Stone)

Robbie Robertson has announced the release date for How To Become Clairvoyant, his first solo album since 1998's Contact From the Underworld of Redboy.  It comes out on April 5, just in time for my birthday - thanks, Robbie!  Now if only you'll tour, my year will be complete . . .

How To Become Clairvoyant, Robbie Robertson's First Album in Over a Decade, Is Due Out April 5, 2011 on 429 Records (Digital Journal)

The album art is up on the front page of Robbie's official website.  The title track was previously released on the HBO series True Blood and is included on the show's latest soundtrack.  You can preview another song, "When the Night was Young," here.  

Two movies and a musical:  The Phil Ochs documentary There But For Fortune opens today at the IFC Center in New York City.  Director Kenneth Bowser and Ochs' brother Michael will be present tonight and tomorrow night at the 7:20 and 9:30 showings.  Wish I could be there!

While researching something for a friend yesterday I ran across the blog A Warehouse On Tchoupitoulas. Apparently there is a film in the works about the late, legendary New Orleans musical venue The Warehouse, which during the '70 hosted everyone from The Who to the Allman Brothers to Bob Dylan's Rolling Thunder Revue. The Grateful Dead played the inaugural weekend, and their subsequent arrest for drug possession inspired their classic "Truckin'"; the Doors played their final concert there.  The filmmakers are trying to raise $40,000 to pay for the film's soundtrack.  Take a look at the blog, and donate if you feel so inclined.  Good luck, y'all - I really want to see this film!

(P.S. If anyone out there can tell me the exact location of the Warehouse at 1820 Tchoupitoulas, I'd be grateful.)

A Gram Parsons musical? Yes, please - especially when it sounds this good.  Grievous Angel: The Legend of Gram Parsons wrapped a West Coast tour in October, and there are rumors of an East Coast tour in the works.  Check out a video from the show, and you can preview other tracks from the soundtrack and order a copy of it here.



Neil Young and Daniel Lanois are on the cover of the current issue of American Songwriter, and the unabridged interview by Jann Uhelszki is available to read online. 

Neil is also on the cover of the latest issue of MOJO.  Try their Neil Young "Name The Album" quiz - it's just as hard as the previous Dylan one!

Speaking of Dylan, my favorite of Rolling Stone's recent playlists is from Patti Smith - she focuses on Bob Dylan's love songs.  Bob is not primarily known for his romantic ballads, yet Patti and I are in agreement that few songwriters can turn heads quite like the Bard of Hibbing.

"What is sadder than 'One Too Many Mornings,' more troubling than 'Ballad in Plain D' or more poignant than 'Love Minus Zero'? And from a female point of view, what testament is more breathtaking than the words, "Love you more than madness" in 'Wedding Song'?"

What indeed, Patti.  Check out the the rest of her list here: Patti Smith: Bob Dylan's Love Songs 

And here is perhaps my favorite version of "Love Minus Zero/No Limit," from Bootleg Series Vol. 5: Live 1975 - The Rolling Thunder Revue. 

The Washington Post recently featured Dylan in their "On Success" section.  In response to the recent Wall Street Journal concert review I wrote about earlier, several commentators offered essays answering the musical question, "Are there age limits on success?" Some, like Virginia Bianco-Mathis', are laughable and extremely out-of-touch; to say that a Pulitzer Prize-winning songwriter - make that the first rock songwriter to be given such an award - in the middle of a golden career renaissance, and whose shows regularly sell out, has "flopped" as a touring act says more about Ms. Bianco-Mathis than it does about Dylan.

My favorite is by Seth Kagan, who offers the following astute observations:

"If your primary aim is to establish a legacy, then, sure, leave while at the top of your game. But that is a more selfish motive than a true artist pursues. The expression and application of creative skill and imagination is the ongoing destination of every creator worth his or her salt. That is what Dylan continues to do . . . As long as he can wrangle a stage, he is entitled. And all the pundits who spin their thread on his dime have a choice. They can spit and castigate or they can take note of an aged poet and his mysterious process."

Or to put it in that mysterious poet's own words, "he not busy being born is busy dying" - a great meditation for a new year.

Remembering Rick Danko: December 29, 1943 - December 10, 1999

I can't get over you, and the flame still burns . . .

The uncut version of "It Makes No Difference" from The Last Waltz.

Listen to more The Band at Wolfgang's Vault.

I'm an emotional person by nature; I'll cry at the drop of a hat or sentimental TV commercial.  It's one of the reasons I'm so drawn to music.  In a song, it's possible to express things that you could never say in plain language to someone's face without fear of rejection or embarrassment.

That being said, I've rarely really, truly lost it during a musical performance.  I'm usually too wrapped up in trying to commit everything to memory to allow myself full immersion in the moment.

That is, until the night I heard "It Makes No Difference" performed live by the Levon Helm Band.

This sadly incomplete video is from their appearance at the Horseshoe Casino's Bluesville venue on April 24 of this year.  When this song came up in the setlist, I was surprised by the emotion that swept over me; I was unable to restrain myself from crying openly.  (To the nice lady sitting next to me: I'm sorry if I freaked you out.)  Besides the fact that this was a very special show - Levon was playing for his hometown crowd, and literally sang his heart out that night - and that Amy Helm and Teresa Williams absolutely nailed this song, I never thought I would ever get to hear "It Makes No Difference" performed by any member of The Band live.  (I was lucky enough to meet Teresa afterwards and I told her my reaction to their performance.  Her eyes grew very large, and she took hold of my arm and with all sincerity said, "If I'd been in the audience, I would have lost it too."  I was lucky enough to meet Levon and several of the other musicians as well, but I'll save that story for later.)

This is hands-down my favorite Band song; I identify with it a little more deeply than I care to analyze or admit.  The Band weren't known for their love songs, so it was a bit of a departure for them.  Maybe that's part of the reason why this one is so special.  They really pulled out all the stops, from Garth's last-call saxophone to Robbie's stinging, sewing-needle guitar solo, and the beautiful cry in Levon's harmony vocals - much like the ones I heard him sing live that night.  All that, and then there are those poignant, poetic lyrics.

But what makes it and sells it is Rick's singing.  His was an unusual tenor - sometimes plaintive, as during "Unfaithful Servant"; sometimes goofy, as during his famous "Crazy Chester" verse from "The Weight."  He captured the feeling of schizophrenic terror in "Stage Fright" and the haunted, uncertain mood of "Caledonia Mission."  But as great as these and other performances of his are, this song sums up for me everything he was about.  With lyrics this transparently emotional, you've got to sing it like you mean it, or it will fall flat.  Rick sang this one like he'd lived it.  His sobbing, desperate vocal teeters dangerously on the edge; he sounds as if any moment he will come unhinged before our very eyes.

"It Makes No Difference" drags you to the brink of the abyss and forces you to look at rock-bottom.  It's not a pleasant sight - or sound., for that matter.  It captures perfectly that feeling of waking up bleary-eyed in the bleak a. m., having to remember all over again that he or she is gone, and feeling the sour swell of pain and knowing rise anew in your chest.  It's unabashed, it's unafraid.  In sum, it's everything that a truly great song should be.

Rick has been gone for 11 years now.  To paraphrase Sir Elton, I would have liked to have known him, but I was just a kid.  Yet I feel like I've gotten a glimpse of him through the musical legacy he left behind. His was a voice of many colors, and I believe that each shade reveals a different facet of his character. In other words, when Rick Danko sings, no matter what he's singing about, I believe him. That is the highest praise I could ever bestow upon any musician.

I also feel I've gained an understanding of Rick through Carol Caffin's fine blog, Sip The Wine.  She was Rick's friend and publicist for many years, and on her blog she generously shares stories, anecdotes, and observations about Rick.  If you want to know more about the man, there is no better source.

Rick Danko: Remembering Rick

Rick Danko: Rick Danko Dedication

Rick Danko: Rick Danko: The Crash Course

Rick Danko: Rick's Personality: Myth vs. Reality

See also Jan Hoiberg's Band site, which features Carol's biography of Rick and several of her BandBites articles - essential reading all. 

Since you've been gone, it's a losing battle

Stampeding cattle, they rattle the walls . . .

Couldn't have put it any better myself.  Ad courtesy of Jan Hoiberg's Band site.