The video for Luther Vandross’s ‘Dance with My Father’
By Steven Brodsky
… is embedded here today in commemoration of the birthday of Luther Vandross (April 20, 1951 – July 1, 2005).
Luther Vandross was eight years old when his father passed away.
Posted 4-20-24
‘Tennessee Whiskey’ (with no ensuing hangover)
By Steven Brodsky
… for us to enjoy on the 46th birthday of Chris Stapleton:
Chris Stapleton was born in Kentucky on April 15, 1978.
Happy birthday wishes go out to Chris Stapleton!
Posted 4-15-24
Enjoy the evening of April 6, 2024
By Steven Brodsky
… an “American Saturday Night”!
Posted 4-6-24
‘When streams are ripe and swelled with rain’
By Steven Brodsky
Photo by Steven Brodsky
… as are many streams in the United States, it can be a hydrological sign that “April, come she will” – soon.
This gentle song, written by Paul Simon, was originally released in 1966:
Posted 3-28-24
Neil Young’s ‘Heart of Gold’ was at the most golden spot, the number one position, on the Billboard Hot 100 chart
By Steven Brodsky
… 52 years ago, for the first of three weeks, on March 18, 1972.
Perhaps a heart of gold is harder to find than a heart of stone.
Each of the two characters in the following Southside Johnny song written by Bruce Springsteen are lyricized as having a heart of stone:
Posted 3-18-24
Jelly Roll’s (Jason DeFord’s) opening statement at a Senate committee hearing
By Steven Brodsky
Thank you, Jelly Roll!
Posted 1-12-24
In tribute to the late Jimmy Buffett
By Steven Brodsky
… I’m pleased to share links to a nearly one-hour phone interview that Clay Eals did with Jimmy Buffett on October 26, 2000 for Clay’s book Steve Goodman: Facing the Music.
From The Paul Leslie Hour:
A Never-Before-Heard Interview with Jimmy Buffett – Part 1 of 3 – YouTube
A Never-Before-Heard Interview with Jimmy Buffett – Part 2 of 3 – YouTube
A Never-Before-Heard Interview with Jimmy Buffett – Part 3 of 3 – YouTube
ABOUT – THE PAUL LESLIE HOUR
A 2017 Entertainment, Culture and More interview with Clay Eals is posted at: A Conversation With Clay Eals, Author of ‘Steve Goodman: Facing the Music’ – delcoculturevultures.com.
Posted 9-13-23
How meeting Livingston Taylor at a concert affected the career of John Flynn
By Steven Brodsky
John Flynn has been interviewed several times for this column. In a 2011 radio interview, John and I spoke about Livingston. We did so again last year in this interview for this column.
John, where and when did you first meet Livingston Taylor and how old were you at the time?
Gene Shay introduced me to Livingston back in the ’80s. It was prior to one of his appearances at the old Bijou Café in Philadelphia. I was in my early twenties and just starting out. I was a big fan of Livingston’s and I had just appeared on Gene’s radio show on WMMR. I heard Gene mention that he was going to host Livingston’s show, so I asked for an intro. Gene was just too nice to say no.
What was going on in your life?
I was playing some bar gigs, writing songs and mailing demos to Nashville. This was a few years before I got signed to my first publishing deal down there.
Describe what took place. What did Livingston tell you?
To begin with, Livingston was incredibly gracious. As a performer, I really see that now in hindsight, because usually the last thing I want to do before a show is to meet new people and have them sing their songs to me. Actually, I don’t think I’ve met anyone before or since who would have extended themselves in this way to a stranger. But that’s exactly what happened. Gene apparently bragged about me enough to get Livingston to hand me his guitar and sit down directly in front of me. He asked me to play him a song and listened with an almost unnerving, totally focused attention. When I was done he asked if I had any more. I did a second song and he asked for another. I was only too happy to oblige, figuring that if he’d listen to three songs he must be hearing something he liked. When I finished singing, Livingston kind of scrunched up his face and got real thoughtful. There was a long pause. Then he said, “John, there are so many wonderful ways to spend your time in this life. Take a walk, read a good book, spend some time with someone you love. Please do ANY of these things rather than write any more mediocre songs.” The rest was a little bit of a blur. He talked about Cole Porter and Yip Harburg, writers I didn’t really know much about at that point. He really challenged me to study the greats. He spent like ten minutes talking about song structure, and he played me these long-forgotten but really beautiful introductions to popular old standards. – Unknown (at least to me) musical salutations from bygone eras, that had been intended by their composers to set the mood and put the listener in the proper frame of mind to receive the coming song. He even explained that he would be doing relatively few of his own songs in his show that evening because great songs are rare, and a song should be great if you’re gonna sing it. That was the bottom line. If you weren’t going to try to write a great song, then why write one at all?
How did you respond to this at the time?
I guess I was disappointed. But disappointment wasn’t all I took away from the encounter, because Livingston could have easily tossed me a few compliments. He was probably never gonna have to see me again so that would have been the easy thing to do. But I sensed that he respected songs and songwriters too much for that. He chose the harder path and told the truth. He threw down the gauntlet. And, in my way, I accepted the challenge that night. I determined to work much harder at my craft. To really try to write great songs. I’m not saying that’s what I’ve always accomplished. But he got me to aim there. I’ve always been grateful for that.
How did the encounter impact your life?
I’m here forty years later answering questions about music.
Author’s note to readers: Livingston Taylor is a professor at Berklee College of Music.
John Flynn’s website address is: http://johnflynn.net/.
Posted 3-29-19
Blues running the game
By Steven Brodsky
… many people have experienced that at some point(s) in their lives.
Jackson C. Frank experienced the blues and other painful challenges in extremis.
He was last referenced here in August 2019; too long ago.
Prompted by an admirable cover of the Jackson C. Frank-penned song “Blues Run the Game” that aired yesterday on a public radio station, I’m sharing this link: Blues Run the Game (2001 – Remaster) – YouTube.
Only one official album by Jackson C. Frank was released during Frank’s lifetime. It came out in 1965. That eponymous album was produced by Paul Simon.
Posted 1-23-23
‘And he did not know how well he sang; it just made him whole.’
By Steven Brodsky
… That man made whole was Mr. Tanner, the fictional character of this Harry Chapin song: Harry Chapin – Mr. Tanner – YouTube.
Harry Chapin was inspired to write the song after he read this New York Times review that was published on February 17, 1972: Tubridy, a Bass‐Baritone, Performs in ai Recital Here – The New York Times (nytimes.com).
Familiarity with the song ought to be a prerequisite for reviewing the arts.
This is being posted on Harry Chapin’s birthday.
Harry Chapin was born on December 7, 1942. (He passed away on July 16, 1981 at age 38 as the result of a car accident, while en route to perform a benefit concert.)
If Harry Chapin were alive today, he’d be 80 years old.
I never interviewed Harry Chapin, though I did long-form radio interviews that aired live with two immediate family members of his and with the person who had been Harry Chapin’s best friend.
Had I interviewed Harry Chapin, would certainly have asked him about “Mr. Tanner” and would have thanked him for his humanitarian efforts.
Harry Chapin accomplished much in the short life he had; he made the world “a better place to be” for many people.
Posted 12-7-22
Let’s go to a parking lot
By Steven Brodsky
… To take us there, “Out In The Parking Lot,” written by Guy Clark and Darrell Scott: https://www.youtube.com/watch?v=58rrs7Wvdjo&ab_channel=GuyClark-Topic.
This post is dedicated to those who will be in similar parking lots in the coming months, including songwriters and other artists who will be among them.
Visit https://delcoculturevultures.com/2022/02/23/attention-fans-of-the-music-of-guy-clark-townes-van-zandt-and-susanna-clark/ for more about Guy Clark.
Posted 7-15-22
A Conversation With April Verch
By Steven Brodsky
April Verch is one of the most admired fiddlers worldwide. It’s not only extraordinary fiddle playing that endears her to fans, however. It’s also her stepdancing, singing, music composition and lyric writing, and a unique and wonderful artistic expression that flavors the various traditional fiddle music styles that she performs and records.
April had prodigious talent with the fiddle at an early age. At an even younger age, she demonstrated remarkable ability in stepdancing. Her talent continued to grow and brought her recognition in her native Ottawa Valley, Canada and later on far beyond. In 1997 she won the Canadian Grand Masters Fiddling Championship. At the 2010 Olympic Winter Games in Vancouver, her performance with five other fiddlers in a segment that presented Canadian fiddle music was broadcast to millions of viewers. She has performed in many countries, and is a concert and festival favorite. In the greater Philadelphia region, April performed last year at the Delaware Valley Bluegrass Festival. She received a rousing reception. Last month, April performed at the Lansdowne Folk Club. Some of our readers were in attendance; they thoroughly enjoyed the concert.
April, you were 3 years old when you began stepdancing. At age 6 you started learning to play the fiddle. What was going on in your life and surroundings that contributed to those learning choices?
My parents are both fans of our local (Ottawa Valley) music and dance traditions. I grew up attending square dances, festivals and jamborees with them and listening to my dad’s country band practice. My older sister, Tawnya, was taking stepdancing lessons and I wanted to do everything she did, so I started taking stepdancing lessons at the age of 3. We took lessons from a local teacher, Buster Brown, who taught the style with his wife Pauline 5 days a week in different communities around the Ottawa Valley.
I’ve heard that you wanted to take up the fiddle earlier. Why didn’t you do so?
We were dancing to fiddle music and I was drawn to it, so I decided I wanted to play fiddle, too. I think I also liked the fact that every time there was fiddle music people were happy and having a good time. I believe I decided when I was 3 that I wanted a fiddle, but my parents didn’t really think I knew what I wanted for sure, and they were also worried that I wouldn’t have time and attention to practice both fiddle and dance, so I had to wait until I was 6 for my first fiddle. It was my birthday present. I think I had finally bugged them long enough at that point that they figured it wasn’t something that was going to pass!
You sometimes stepdance and play fiddle concurrently. When did you first start doing this?
When I was competing in Ontario fiddle and stepdancing competitions as a young girl, which we often did, though it was more about the social gathering than the actual “contest,” I saw a woman by the name of Cindy Thompson fiddle and stepdance at the same time. I don’t know exactly how old I was, maybe 9 or 10, and I was blown away. I figured “if she can do it, I can do it!” So I started working on it on my own and gradually taught myself to combine the two.
The opening track on The April Verch Anthology CD is “Canadian Reel Medley: Trip to Windsor, Back Up and Push, Dusty Miller, Woodchoppers Breakdown.” How old were you when this was recorded?
This track starts with an old recording from the late 1980s (I was around 10 years old at the time) and then it melds into a recording of me playing the same tune from a CD entitled Verchuosity which was released on Rounder Records in 2001.
What were the circumstances?
My dad and my sister and I had gone to play on CHIP radio in Fort-Coulonge, Quebec. It was a station we listened to a lot.—They played a lot of old country music and a lot of local artists. One of the hosts at the time was Red Bennett, and we had met him at a few events and he had invited us to come and play live on his show.
What do you recall about the experience?
It was my first live radio experience and I was pretty excited! We played a few tunes and he interviewed us in between.
Please talk about what is to be heard on the track.
The track starts with Red asking me about what we were going to play next and I say something like “some of my favorites, maybe yours too, eh?” I sound like I’m trying to be very grown up but really I just sound like a kid who’s thrilled to be playing on live radio. And then I tear into a tune much too fast, which I think a lot of kids do—tend to play too quickly.… So when it melds into the “current day” version of the same tune, the pace slows considerably to where the tune can groove a bit more!
The anthology CD allowed you to choose from tracks that were on 10 of your previously released recordings. What specific memories arose when you revisited some of the songs selected for inclusion on the CD?
It was amazing to listen back to each recording, because each one reminded me of a different phase of my life and my career. Remembering not just who was in the band or the studio at that time, but what was happening in my life, what my hopes and dreams were for that recording… For me personally, listening back was like seeing snapshots in a photo album.
Please tell us about the current members of your band.
Not a day goes by that I do not feel extremely grateful to have such amazing bandmates. Cody Walters plays bass and clawhammer banjo. He resides in Asheville, NC. And from Boston, MA, Alex Rubin joins us on guitar. Both Cody and Alex also contribute vocals. They are fantastic musicians and really wonderful human beings to hang out with offstage as well. I have tremendous respect for them.
You started full-time touring in 2000. Please tell us about several of your most memorable performance-related experiences.
Performing in the Opening Ceremonies of the 2010 Olympic Winter Games in Vancouver was definitely a highlight and a huge production. I feel so fortunate to be able to play in so many different parts of the world and also so many different types of venues and events. Each one is different and special in its own way, and the the most memorable experiences for me as a performer come from the connections that we make in sharing our music with an audience. Hearing their stories after the show, seeing their faces and reactions. That’s what means the most. That can happen in a tiny space of a big hall, but it’s what sticks with me always.
How do you occupy your time while traveling to performance venues?
In all honesty, I spend almost all of my time working on the “business” aspect of my career when we are in the van, at the hotel, or between tours. I do have hobbies too, but right now my focus is mostly on doing what I can to keep us touring and doing what we love, and I’m okay with that, even if it’s sometimes a heavy load to keep up with. I feel fortunate to be able to do it.
You perform a variety of traditional fiddle styles. How are some of them similar to one another and how are they different?
A lot of the differences lie in the bowing patterns and ornamentation. Some styles are more articulate while others use longer bows and more notes slurred together. The ornamentation in the left hand also differs from style to style. In the fiddle styles that I play, the thing that ties them all together in my mind is that they are intended for dancing. They have a driving rhythm and how you achieve the dance groove might be different, but that is the ultimate goal for the music.
What formal and informal training and music exposure has been most helpful to you?
I first learned from local fiddlers that taught me “by ear.” Later I studied classical violin as well and learned to read music. Both methods and experiences were invaluable and I am glad to have both. More than anything have passionate, patient and dedicated teachers been my greatest asset.
You attended Berklee College of Music. How did that experience benefit you as a musician?
Attending Berklee really opened up my ears to styles of music I had never been exposed to before and made me realize how vast the possibilities are for my instrument, or any instrument for that matter. It was also great to be surrounded by so many musicians that were passionate about their craft and to learn about the business aspect of the industry. I still refer to some of my music business course books to this day.
Other than the styles of music that you perform and record, which do you most enjoy?
That’s a difficult question for me—I seem to go through phases and love a lot of genres. I don’t know that I would say that there are any that I love that I haven’t tried, because I tend to try most of them when I get really passionate about them. Right now I can’t seem to get enough of old classic country music.
When not on the road on in the studio, what are some of the activities that you most like doing?
I enjoy reading, walking, gardening and crafts. And hanging out with my family and neighbors. I’ve so much to learn from them.
Are you giving thought to your next CD?
I am! We will be recording this fall for a new CD to be released in 2019.
What do you expect might be on it?
I’m leaning towards that old classic country sound and thinking of going more in that direction. You heard it here first!
April Verch’s website address is: www.aprilverch.com
Posted 2-14-18
April Verch’s New Album ‘Once A Day’ Released Today
By Steven Brodsky
Once A Day is retro-wonderful, a masterful romp into the classic country music sound and heart that has largely vanished from today’s mainstream “country” genre. Fans of classic country music of the ’50s and ’60s will love this album. (I am one and I do.)
April Verch had this to say about Once A Day: “In many ways, making this album was not a choice. It was something I felt I had to do. It has been more daunting than any other project I’ve embarked on, because these songs, these artists, the history of this music matters to me on the deepest level. It is a love letter and a thank you letter in one, to the artists, songwriters, musicians, and industry professionals who created, perhaps in some cases without even realizing it, an era of music that speaks to me in a way that no other music does. If someone hears a song on this album and that prompts them to look up and love the original that will be the highest compliment I could receive.”
Information about April Verch’s overseas and U.S. concert tour is available at: www.AprilVerch.com.
Posted 4-12-19