Tag Archives: music

Clarksdale: At The Crossroads of the blues

Almost three days exploring Clarksdale, the Mississippi town that is home to the legendary Crossroads, the spot where Robert Johnson supposedly sold his soul to the devil in return for mastering the guitar.

We’ve been in juke joints, standing in cotton fields, walked the streets of Clarksdale (a very historic town that has been hard hit by economic and social downturns) and eaten in local BBQ places. The local blues book store has invited us back to do a book signing in spring 2018!

We’ve spent time with a lot of very cool people – passionate and knowledgeable about Mississippi and the blues – listened to music and, of course, Craig got to take to the stage to play blues with Josh “Razorblade” Stewart (Living Blues magazine has profiled him). They call him “Razorblade” because he dresses sharp as a razor.

It’s been a whirlwind of interviews, juke joints, local museums and a slew of historic markers along the Mississippi Blues Trail.


Rock & Roll Hall of Fame … what better spot to write our last post and pics.

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If you’re a baby-boomer, you were transformed by rock and roll — even if you hated it. Rock and roll was to the culture of the 20th century roughly what the industrial revolution was to the 18th century. It swept everything before it, changing people and the societies they lived in while at the same time reflecting these changes back upon those people and societies. Rock and roll was — and in some respects still is — a global earthquake affecting culture and politics and economics and business and social and gender relations in every community that it touched, a tsunami of consciousness transformation that roiled individuals, families and communities and nations.

Do I overstate this? Hardly. Rock and roll was about music — of course — but it was also about politics: it was the first music to — thanks to radio — reach a mass audience of people primed to question every form of authority they had grown up with. Rock and roll and radio and rebellion were made for each other. The rise of rock and roll coincides with the arrival of a new level of popular consciousness that was liberated from the stagnating conventions of the post-war era. 

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It’s not overstating it to say that every significant event of the tumultuous 20th century was either lionized in song or surrounded by melody and harmony like a soundtrack that somehow made sense of it all while lifting it to a higher level of meaning.

To really understand the force of this synergy, you have to visit the Rock & Roll Hall of Fame in Cleveland. If you hate rock and roll, you’ll have lots to focus your venom on — lots of reasons to wish things had gone differently and lots of people on whom to pin the blame. But if you love rock and roll you’ll have lots of opportunity to bask in what made it glorious. You’ll have the chance to stand inches from the white Fender Stratocaster on which Jimi Hendrix closed the Woodstock Music & Art Fair in 1969 with the Star Spangled Banner. That moment alone vaulted an already hugely talented wunderkind into a stratosphere of controversy because it at once celebrated — and held a mirror up to — the American soul for its role in Vietnam. At least, that’s how people of the time understood it.

That’s only one exhibit of thousands. All told, the Hall of Fame numbers more than 100,000 items in its vast collection — only a fraction of which are on display at any time. If you don’t get off looking at films of the early Elvis driving the white kids into frenzy, perhaps you’ll dig reading the handwritten lyrics to Give Peace A Chance or lingering over the guitar on which Lennon performed his eponymous anti-war song. The Hall of Fame advises that you’ll need 2.5 hours to view its collection — but if you really want to immerse yourself be prepared to stay much longer.

So musical instruments are not your thing? Stage wear, not so much? To really appreciate an exhibit on this scale, you have to comprehend that some titans of modern art have chosen rock and roll as the vehicle to make their mark on history. Some — say, Elton John — just wanted to write songs that everyone would sing along with. Others, like little Richard, just wanted to be the centre of attention — to be adored for their quirkiness. But Roger Waters, the prime mover behind Pink Floyd, could have been a force of nature in any art form he tackled — and his contribution to popular music will long endure. And on and on it goes.

Pro Tip: Give yourself lots of time. Some parts of the six floors will not interest you. Some — like the massive ground floor displays — are indispensable for their context setting, their deep explanations for the origins of rock and roll and its formative names and songs. If you’re not interested in the music or the cultural significance, linger over the political upheaval that rock and roll provoked. If you were born between 1945 and 1960, you were affected by rock and roll. Maybe you got lucky and you’ll find much to celebrate about it. But you won’t be unaffected by the experience of visiting the Hall of Fame.

www.visittheusa.ca

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Hitsville U.S.A. in Detroit

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What does an automobile assembly line have in common with Motown music? It turns out, more than the name. And we found out exactly what at the Hitsville U.S.A. Motown Museum in downtown Detroit.

The house that was home to Motown Records is now dedicated to telling the story of how founder Berry Gordy Jr. was influenced by a short stint working on the assembly line at the Ford Motor Company. He hated the boring nature of the work, but the rhythm and tempo of automobile production inspired him to write tunes in his head to the beat of the assembly line.

Tired of the repetition of the assembly line, young Berry quit and went into writing music. On the day he received a royalty cheque for a mere $3.19, he got a piece of advice from Smokey Robinson: “If $3.19 is all you’re going to get, you may as well go into business for yourself.” Berry agreed and the rest is music history.

First, he thought of how a bare metal frame would come rolling down the assembly line and then come out the other end a brand new car. He decided to take the same approach with the music he wrote. He wanted to create a place for a young kid off the street to walk in one door unknown and out the next door a star.

Berry developed a training process with four coaches help train young artists: a music arranger who taught four-part harmony; one who taught social graces; one for a smooth and competent performance; and finally one who taught choreography and dance moves.

Then, by creating more than 30 record labels, Berry was able to get his songs played on radio. On the early albums there was a variety of artists on one album.

Hitsville was open 24 hours a day, seven days a week so that any artist who felt inspired by a great idea could get to work right away. It was a fun and creative work environment, but first it was a business.

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Highlight of the hour-long tour for Craig was definitely stepping into the Snake Pit – Studio A – that got its nickname from the microphones hanging from the ceiling. Any Motown song that was recorded from 1959 to 1972 was recorded in this space. Just like the family apartment and the lobby, Studio A has been left in its original condition.

This is where the magic happened. At the time, the whole band and singers squeezed into what was a renovated garage. The instruments and control room equipment are all original – Earl Van Dyke’s Hammond B3 organ, an 1877 Steinway grand piano that was played by Marvin Gaye and Stevie Wonder (the insides were restored as a gift from Paul McCartney; Berry wanted the exterior to stay in its original state), a set of vibes and drum set.

The Snake Pit is the setting in the film, Standing in the Shadows of Motown. At its heart are The Funk Brothers, a group of Detroit jazz musicians who were Motown’s house band.

Every Friday in Studio A, Berry held a Quality Control meeting where various artists spoke in front of the staff, musicians and other artists to make a case for which record should be released next. After listening to the song, the group would vote.

Berry would stand and ask just one question: If you were hungry and down to your last dollar, would you buy this record or would you buy a chili dog? He knew if the record was chosen over the chili dogs then this record was really good. If the hot dog was chosen over the record, the record would not be released.

www.visitdetroit.com

www.visittheusa.ca

 

Banjo + Shelby = Earl Scruggs

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The banjo warrants a lot more respect than it generally gets. The place to learn this – if you doubt us – is the Earl Scruggs Center in Shelby, North Carolina. The instrument came to America in the holds of slave ships: like many other imports, it was taken up and embraced by the Irish/Scots settlers and remade into a distinctly American phenomenon. And of the many who have picked out a song there is no one with the stature of homeboy Earl Scruggs (1924-2012). This hardscrabble son of a sharecropper did for the banjo what Jimi Hendrix did for the electric guitar: he showed everyone what was possible.

Shelby is at the hub of the Blue Ridge Music Trails of North Carolina, which wind through the foothills of the state. This region produced more than its share of country, bluegrass, old-time and gospel music – and the fusing of these styles gave rise to a uniquely American sound and sensibility. Performed at the level of execution that Scruggs and someone like comedian Steve Martin achieve, it is nothing short of breathtaking to listen to. If your first impression of Earl Scruggs calls to mind the theme music of the Beverly Hillbillies, well, okay. Flatt and Scruggs have impressed themselves into popular music and culture forever.

But the three-finger rolling style that Scruggs innovated — “ten notes per second with a melody in the middle of it” — transformed that instrument and launched, with Bill Monroe, a style that finds a massive worldwide audience and paved the way for next generation innovators like Béla Fleck, the jazz banjo virtuoso.

The Earl Scruggs Center does justice to his music and history. Centred in downtown Shelby, it is a state of the art exhibition – complete with a banjo petting zoo – that brings you into Scruggs’ life, his art and his politics.

Your first encounter is with the instruments of his childhood, behind glass, where you see his fathers’ guitar and violin. Music, you discern, was their only form of entertainment growing up in the hill country around Shelby.

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The Center tells this story in multiple interactive ways. You can strum an electronic banjo or guitar at a large interactive digital video table where you can also isolate individual tracks to hear them out of context from the music. You can review the history of early bluegrass – from the union of Bill Monroe and Earl Scruggs – and then trace the history of Earl through his opposition to the Vietnam War and his fusion of his cherished bluegrass with the rock music of his sons, in the Earl Scruggs Review, in the early 1970s. It’s fascinating and sobering and you come away with a whole new respect for the man and the music.

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The coolest thing about Scruggs was that he carried the music he loved all his life into every change that came through his life – “chasing the light,” as he described it, never letting his fingers rest until he picked his last roll.

ALSO IN THE AREA:

  • The Don Gibson Theater is an intimate (400 seats), soft-seat concert and film venue. Don Gibson is best known for his country hit, I Can’t Stop Loving You, which has been recorded by more than 700 artists.scruggsblogphoto5
  • The local Alston Bridges BBQ serves pulled pork with a vinegar-based sauce (true North Carolina style), hushpuppies and their signature red slaw (ketchup is the secret addition).

Macon: “Something in the water”

Travelling from north to south our focus was on sticking as close to the coastline as possible and experiencing everything that is unique about where salt water meets land  – from shrimp boats to lighthouses to incredible stretches of wild beach.

Once we hit the borderline at Georgia-Florida, we bounced back northward, but on the return trip we headed inland, looking for music destinations and regional food highlights. Boy, did we ever find a goldmine at the small city of Macon, Georgia!

There’s a word for it: SYNERGY. It’s that magic moment when – for reasons no one fully understands – the total is greater than the sum of its parts. This happens all the time, but occasionally breaks out with transformative impact. Macon is one of those places where – at a particular moment – big things happened because the stars aligned.

It brings to mind the establishment of Capricorn Records in 1969 and the recording of the first Allman Brothers Band album. Although not a commercial success at the time, the record has since come to be seen, in the words of one critic, as “the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience.” More to the point, the record put Macon on the map as the preferred destination for what would come to the called Southern Rock.

Craig savoured the displays at The Big House, a lovingly curated collection of thousands of articles – instruments, clothing, hand-written lyrics, posters, tickets and rooms of furnishings. The Big House is the spiritual and actual home of the original Allman Brothers Band – the members lived and worked from here communally in the early 1970s. It is now a museum of all things ABB.

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But Macon has other claims to boast too: it’s the city that birthed Little Richard and Otis Redding. This is an incredible amount of world-class talent for such a small city (population: 90,000). The locals like to joke that “it must be something in the water.”

Of Otis Redding there is much to say. He died at the peak of his considerable power, age 26, when his plane went down en route to a gig. But the 300 songs in his catalogue and the stamp he put onto R&B and soul music have long out-lived him. It’s ironic that his best-known song – (Sittin’ On) The Dock Of The Bay – is so unlike most of the other songs in his catalogue, and that he never got to perform it. The plane crash that took his life was a mere three days after he recorded the piece. It was his biggest hit and his first million seller. But you have to see a performance, perhaps from his tour of the United Kingdom, of Try A Little Tenderness so see how this man could bring an audience to frenzy.

We had the chance to sit down with Redding’s daughter, Karla Redding, who reminisced about her dad. “My favourite piece is Love Man,” she said. “Because it’s a pure description of the man he was.” Karla spoke of his commitment to family first and foremost and his obsession with ice cream (especially butter pecan). After we left the Otis Redding Foundation and Mini-Museum we went to the waterfront to see the statue of Redding.

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“Little Richard,” Wayne Penniman, is authoritatively one of the founders of rock ’n’ roll. In his induction to the Rock and Roll Hall of Fame, Ringo Starr jokingly blames “Little Richard” – for whom they opened in Hamburg – for the sound and stage energy of The Beatles. No less a figure than Mick Jagger claimed that he “couldn’t believe the power of Little Richard onstage. He was amazing.” Richard’s life story exceeds anything in fiction: he veers in and out of several near encounters with death, finds Jesus, loses him, finds him again and is condemned and honoured along the way for being so far ahead of his time. At this point in time there is no Macon museum dedicated to Little Richard . . . but, who knows what’s coming soon?

We finished up our incredible Macon stay at the H&H Soul Food Restaurant. The H&H was a favourite of “starving musicians” who found friendly faces (and meals) in the original co-owners “Mama” Inez and “Mama” Louise. It’s a Macon institution, an authentic “meat & three” as these traditional Southern eateries are called. The menus offer a meat – from meatloaf to fried chicken – and a choice of three sides (mac & cheese, fried okra, sweet potatoes, collards, etc.). The Allman Brothers members ate here as did Otis Redding when he was a member of Johnny Jenkins’ Pinetoppers.  The locals like to call the women who founded the H&H “the Matriarchs of Macon’s historical music scene.”

Topped it all off with a great overnight at the Lake Tobesofkee Arrowhead Campground just 15 minutes outside of town. Spotlessly clean, well maintained sites and dark, dark, dark at night.

Road tune playlist

This is bound to be highly subjective since it depends on the road, region, and mood you’re trying to evoke. Take these as suggestions and please offer other worthies.

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So, in no particular order . . .

Running On Empty, JACKSON BROWNE
Route 66, NAT KING COLE
Reach Out (I’ll Be There), THE FOUR TOPS
Take It Easy, EAGLES (*check out the actual corner at the town of Winslow, AZ)
In Memory of Elizabeth Reed, THE ALLMAN BROTHERS BAND
Born To Run, BRUCE SPRINGSTEEN
I Walk The Line, JOHNNY CASH
Sugar Pie Honey Bunch, THE TEMPTATIONS
Cinnamon Girl, NEIL YOUNG
Graceland, PAUL SIMON
Sailin’ Cross The Devil’s Sea, THE ALLMAN BROTHERS BAND
Roll On Down The Highway, BACHMAN-TURNER OVERDRIVE
Blue Suede Shoes, CARL PERKINS
Good Golly Miss Molly, LITTLE RICHARD
(Sitting On) The Dock Of The Bay, OTIS REDDING
Green Onions, BOOKER T. & THE M.G.s
Heatwave (Your Love Is Like A), MARTHA AND THE VANDELLAS
Dancing In The Streets, MARTHA AND THE VANDELLAS
Soul Man, SAM & DAVE
Highway 61 Revisited, 
BOB DYLAN
Callin’ Baton Rouge, GARTH BROOKS
The Bug, MARY CHAPIN CARPENTER
Let It Roll, LITTLE FEAT
The Way, FASTBALL
Born To Be Wild, STEPPENWOLF
On The Road Again, WILLIE NELSON
Going Up The Country, CANNED HEAT

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