Charlie Grace on guitar.
http://www.charliegracie.com/schedule.php
Wednesday, August 11, 2010
Paul & Charlie Backstage
Paul & Charlie backstage in England. It was Charlie's show, Paul was in the audience, just like he was back in the early 60s when Charlie played the main theater in Liverpoo. Paul's first bands played Charlie's songs, as can be seen on their early set list.
Monday, March 1, 2010
Levon Headlines Atlantic City
When Levon Helm first came to town, as the inherited leader of the Hawks, formerly fronted by Rockabilly Ronnie Hawkins (still kickin'), the summer of '65 was just getting underway and Levon & the Hawks were the house band at Tony Marts.
From the second floor roof, outside the rooms where the band lived for the first few weeks at the Shore, you can see the Atlantic City skyline across Great Egg and Lake's Bay.
Last year Levon came back to town to open for the Black Crowes, who recorded a live album at Levon's barn in Woodstock, New York. It was a nice payback, and though Levon didn't sing that time around, he's been singing up a storm on back to back successful albums, Grammys and belated recognition.
So now he came back - Saturday, February 27, as a bonified headliner on a slow Saturday night in the Winter of 2010.
It really wasn't a slow night in Atlantic City, since in live musical terms it was really hot, not only because Levon was headlining, but the Deadheads were in town with the Further tour making a pit stop at the Taj.
Ken Kesey's named his bus FURTHER, because that's where he wanted to go, always taking it further, and while he's gone, God Bless him, and the bus sits rotting away in field behind the barn in Oregon, the music goes on, and the Further Tour is a great example of the continuation of spirit.
I'm waiting on an on scene report from Tim & Robyn, who made it an overnighter (Smart guys), and may even have some phone pix and most definately a CD live recording, sneaker-legged by his pals. That's a new word I just made up - Sneaker-legged, as opposed to Boot-legged, which would be an approved taping rathern than an unapproved one. Quote me on it. And let's hear from you if you have any pix or tapes.
I know Kevin was there. Kevin, the former pizza deliver guy from the pizza shop on the corner of 8th & Wesley in Ocean City, my old hood, has the latest tech and is the best tape-er I know, with an incredible archive of every show I've been in the last few years, as he is undoubtedly there at every show. Now share Kevin, G-Force George will play your stuff on his radio show on WLFR - at Lake Fred.
I'd also like to get some photos and tapes of Levon's show in AC if anybody has them. Let's hear from you.
Since you can't be at two places at one time let alone three, we'll also have to hear from somebody who was at the Marti Gras party in Ventnor sponsored by Carmen and Nancy Marotta, of Tony Marts, where Levon got his local start.
Levon and Carmen were partners for awhile in Levon's Classic American Cafe in New Orleans, which was just off the Quarter, but not quite Storyville. As Rich Spurlock has reported, the club was the place where all the musicians ended up and jammed for fun 'till the sun came up. Just like the Dunes.
So it wasn't surprising that Carmen brought in a Neville to play their Marti Gras party, and officialy inagurate the Bay Rats Krewe, and what a crew they are. There are so many Neville's I don't even know which one came to town, but I know they're all real good, and got that post-Katrina Who Dat? spirit that's contageous. Who Dat Neville? The one who can sing, that's the one.
I guess we'll have to get a full report from Spurlock and some photos from Nancy.
Usually the Billy Walton Band will play a Tony Marts gig, as they have done every one for the past few years, along with Good Old Days picnic and Friday night concerts at the beach, but the Waltons are playing in Europe this week, and entertaining the blokes in the Celler in Liverpool and other such dives. I told my friends Mick, Eric, Van and Ringo to check them out, as they're doing the British Invasion routine backwards, and we can't wait for them to get home and tell us how it went.
I got a copy of their latest CD and promised I'd review it before they got back, so look out. Do you think I'll like it?
I would have hooked Billy Walton up with Paddy Mahoney, who I met in Berlin when the wall came down. Paddy has a pub in Ireland where his band the Chieftons jam when they're not on tour, as they are at the moment, with March Madness upon us, and Mahoney and the Chieftons playing the Kimmell Center? Jesus Christ Paddy, are you bringing the Dublin Philmarhoic orchestra with ya?
It would be a lot more cozy if you played at Dirty Franks, the Kyber or Kathy Burke's Pub on Chestnut Street, but the Kimmill?
Is it a black tie?
Do I have to get my tux out of the cleaners?
And Levon was with us in Berlin! Do you remember Paddy?
With Garth, Rick and Ronnie Hawkins, all together again. What a grand time it was.
And now you're taking it too far Paddy, the Kimmill isn't FURTHER, it's down the friggen' alley at Dirty Franks that's FURTHER.
And I'll be seeing you there after your gig, and you can buy me the pint you owe me from the bet we had.
And bring some photos and a CD from the soundboard, will ya?
From the second floor roof, outside the rooms where the band lived for the first few weeks at the Shore, you can see the Atlantic City skyline across Great Egg and Lake's Bay.
Last year Levon came back to town to open for the Black Crowes, who recorded a live album at Levon's barn in Woodstock, New York. It was a nice payback, and though Levon didn't sing that time around, he's been singing up a storm on back to back successful albums, Grammys and belated recognition.
So now he came back - Saturday, February 27, as a bonified headliner on a slow Saturday night in the Winter of 2010.
It really wasn't a slow night in Atlantic City, since in live musical terms it was really hot, not only because Levon was headlining, but the Deadheads were in town with the Further tour making a pit stop at the Taj.
Ken Kesey's named his bus FURTHER, because that's where he wanted to go, always taking it further, and while he's gone, God Bless him, and the bus sits rotting away in field behind the barn in Oregon, the music goes on, and the Further Tour is a great example of the continuation of spirit.
I'm waiting on an on scene report from Tim & Robyn, who made it an overnighter (Smart guys), and may even have some phone pix and most definately a CD live recording, sneaker-legged by his pals. That's a new word I just made up - Sneaker-legged, as opposed to Boot-legged, which would be an approved taping rathern than an unapproved one. Quote me on it. And let's hear from you if you have any pix or tapes.
I know Kevin was there. Kevin, the former pizza deliver guy from the pizza shop on the corner of 8th & Wesley in Ocean City, my old hood, has the latest tech and is the best tape-er I know, with an incredible archive of every show I've been in the last few years, as he is undoubtedly there at every show. Now share Kevin, G-Force George will play your stuff on his radio show on WLFR - at Lake Fred.
I'd also like to get some photos and tapes of Levon's show in AC if anybody has them. Let's hear from you.
Since you can't be at two places at one time let alone three, we'll also have to hear from somebody who was at the Marti Gras party in Ventnor sponsored by Carmen and Nancy Marotta, of Tony Marts, where Levon got his local start.
Levon and Carmen were partners for awhile in Levon's Classic American Cafe in New Orleans, which was just off the Quarter, but not quite Storyville. As Rich Spurlock has reported, the club was the place where all the musicians ended up and jammed for fun 'till the sun came up. Just like the Dunes.
So it wasn't surprising that Carmen brought in a Neville to play their Marti Gras party, and officialy inagurate the Bay Rats Krewe, and what a crew they are. There are so many Neville's I don't even know which one came to town, but I know they're all real good, and got that post-Katrina Who Dat? spirit that's contageous. Who Dat Neville? The one who can sing, that's the one.
I guess we'll have to get a full report from Spurlock and some photos from Nancy.
Usually the Billy Walton Band will play a Tony Marts gig, as they have done every one for the past few years, along with Good Old Days picnic and Friday night concerts at the beach, but the Waltons are playing in Europe this week, and entertaining the blokes in the Celler in Liverpool and other such dives. I told my friends Mick, Eric, Van and Ringo to check them out, as they're doing the British Invasion routine backwards, and we can't wait for them to get home and tell us how it went.
I got a copy of their latest CD and promised I'd review it before they got back, so look out. Do you think I'll like it?
I would have hooked Billy Walton up with Paddy Mahoney, who I met in Berlin when the wall came down. Paddy has a pub in Ireland where his band the Chieftons jam when they're not on tour, as they are at the moment, with March Madness upon us, and Mahoney and the Chieftons playing the Kimmell Center? Jesus Christ Paddy, are you bringing the Dublin Philmarhoic orchestra with ya?
It would be a lot more cozy if you played at Dirty Franks, the Kyber or Kathy Burke's Pub on Chestnut Street, but the Kimmill?
Is it a black tie?
Do I have to get my tux out of the cleaners?
And Levon was with us in Berlin! Do you remember Paddy?
With Garth, Rick and Ronnie Hawkins, all together again. What a grand time it was.
And now you're taking it too far Paddy, the Kimmill isn't FURTHER, it's down the friggen' alley at Dirty Franks that's FURTHER.
And I'll be seeing you there after your gig, and you can buy me the pint you owe me from the bet we had.
And bring some photos and a CD from the soundboard, will ya?
Friday, December 25, 2009
Thursday, December 24, 2009
The Weight
The Weight
http://theband.hiof.no/lyrics/the_weight.html
by J.R.Robertson. Album: Music from Big Pink
© 1968, 1970 Dwarf Music
A C#m D A
I pulled into Nazareth, was feelin' about half past dead;
C#m D A
I just need some place where I can lay my head.
C#m D A
"Hey, mister, can you tell me where a man might find a bed?"
C#m D A
He just grinned and shook my hand, and "No!", was all he said.
(Chorus:)
A E D A E D
Take a load off Fanny, take a load for free;
A E D A D
Take a load off Fanny, And (and) (and) you can put the load right on me.
A E D A D
I picked up my bag, I went lookin' for a place to hide;
When I saw Carmen and the Devil walkin' side by side.
I said, "Hey, Carmen, come on, let's go downtown."
She said, "I gotta go, but m'friend can stick around."
(Chorus)
Go down, Miss Moses, there's nothin' you can say
It's just ol' Luke, and Luke's waitin' on the Judgement Day.
"Well, Luke, my friend, what about young Anna Lee?"
He said, "Do me a favor, son, woncha stay an' keep Anna Lee company?"
(Chorus)
Crazy Chester followed me, and he caught me in the fog.
He said, "I will fix your rack, if you'll take Jack, my dog."
I said, "Wait a minute, Chester, you know I'm a peaceful man."
He said, "That's okay, boy, won't you feed him when you can."
(Chorus)
Catch a cannon ball now, t'take me down the line
My bag is sinkin' low and I do believe it's time.
To get back to Miss Fanny, you know she's the only one.
Who sent me here with her regards for everyone.
(Chorus)
The Weight
Music From Big Pink’s initial success was, in retrospect, surprisingly modest for an album which frequently appears in lists of the Top 100 Rock Albums of All Time. It got to #30 in the US charts while the single, The Weight, written by Robbie Robertson, reached only #63. Other artists had more sucess with covering The Weight.
Versions by Jackie DeShannon (US #55, 1968), Aretha Franklin (US #19, April 1969, featuring Duane Allman on guitar), The Supremes with The Temptations (US #46, September 1969) all charted. Significantly for both royalties and for general public awareness, the Diana Ross and The Supremes With The Temptations’ album from which the single was taken reached US #2 and the Aretha Franklin album, Soul 69, reached US #15. The Weight was also heard on the soundtrack of the Peter Fonda / Dennis Hopper film Easy Rider in 1969, which in turn spawned a successful soundtrack album (US # 6 in October 1969 and 41 weeks on the chart). The Band agreed to their version being used on the film soundtrack, then refused permission for it to appear on the subsequent album. Smith did a close cover version which can be heard on the Dunhill soundtrack album. Versions also appeared on contemporary albums by Bloomfield and Kooper (Live Adventures of Bloomfield & Kooper ), Spooky Tooth (a very direct cover, with the interesting addition of harmonica ), The Staple Singers and King Curtis. Virtually every cover cuts out a verse or two. Four hit singles as well as its presence on even more albums within a year means a high profile, in spite of the modest sales of the original single. In the UK the original single was more successful, just failing to get into the top twenty (#21 on September 28 1968). In other words, the Band were not solely responsible for making the song a rock classic, but it is the number they are most associated with, and it turns up on every anthology and nearly every recorded live concert.
The Weight is the centrepiece of the album, both musically and lyrically. First, Robbie Robertson on The Weight:
Robbie Robertson:
I just wrote it. It’s just one of those things. I thought of a couple of words that led to a couple more, and the next thing I knew I wrote the song. That song was the only song on ‘Music From Big Pink’ that we never did rehearse. We just figured that it was a simple song, and when it came up we gave it a try and recorded it three or four times. We said that’s fine, maybe we’ll use it. We didn’t even know if we were going to use it, and it turned out to be the album.1
Robbie Robertson:
When I wrote ‘The Weight’, the first song for ‘Music From Big Pink’, it had a kind of American mythology I was reinventing using my connection to the universal language. The Nazareth in ‘The Weight’ was Nazareth, Pennsylvania. It was a little off-handed - ‘I pulled into Nazareth’. Well I don’t know if the Nazareth that Jesus came from is the kind of place you pull into, but I do know that you pull into Nazareth, Pennsylvania! I’m experimenting with North American mythology. I didn’t mean to take sacred, precious things and turn them into humour.2
(On the album, The Weight closes side one, so Robertson must mean it was the first song written for Big Pink. )
Robbie Robertson:
(Buñuel) did so many films on the impossibility of sainthood. People trying to be good in ‘Viridiana’ and ‘Nazarin’, people trying to do their thing. In ‘The Weight’ it’s the same thing. People like Buñuel would make films that had these religious connotations to them but it wasn’t necessarily a religious meaning. In Buñuel there were these people trying to be good and it’s impossible to be good. In ‘The Weight’ it was this very simple thing. Someone says, ‘Listen, would you do me this favour? When you get there will you say “hello” to somebody or will you give somebody this or will you pick up one of these for me? Oh? You’re going to Nazareth, that’s where the Martin guitar factory is. Do me a favour when you’re there.’ This is what it’s all about. So the guy goes and one thing leads to another and it’s like ‘Holy Shit, what’s this turned into? I’ve only come here to say “hello” for somebody and I’ve got myself in this incredible predicament.’ It was very Buñuelish to me at the time.
--------------------------------------------------------------------------------
http://theband.hiof.no/lyrics/the_weight.html
by J.R.Robertson. Album: Music from Big Pink
© 1968, 1970 Dwarf Music
A C#m D A
I pulled into Nazareth, was feelin' about half past dead;
C#m D A
I just need some place where I can lay my head.
C#m D A
"Hey, mister, can you tell me where a man might find a bed?"
C#m D A
He just grinned and shook my hand, and "No!", was all he said.
(Chorus:)
A E D A E D
Take a load off Fanny, take a load for free;
A E D A D
Take a load off Fanny, And (and) (and) you can put the load right on me.
A E D A D
I picked up my bag, I went lookin' for a place to hide;
When I saw Carmen and the Devil walkin' side by side.
I said, "Hey, Carmen, come on, let's go downtown."
She said, "I gotta go, but m'friend can stick around."
(Chorus)
Go down, Miss Moses, there's nothin' you can say
It's just ol' Luke, and Luke's waitin' on the Judgement Day.
"Well, Luke, my friend, what about young Anna Lee?"
He said, "Do me a favor, son, woncha stay an' keep Anna Lee company?"
(Chorus)
Crazy Chester followed me, and he caught me in the fog.
He said, "I will fix your rack, if you'll take Jack, my dog."
I said, "Wait a minute, Chester, you know I'm a peaceful man."
He said, "That's okay, boy, won't you feed him when you can."
(Chorus)
Catch a cannon ball now, t'take me down the line
My bag is sinkin' low and I do believe it's time.
To get back to Miss Fanny, you know she's the only one.
Who sent me here with her regards for everyone.
(Chorus)
The Weight
Music From Big Pink’s initial success was, in retrospect, surprisingly modest for an album which frequently appears in lists of the Top 100 Rock Albums of All Time. It got to #30 in the US charts while the single, The Weight, written by Robbie Robertson, reached only #63. Other artists had more sucess with covering The Weight.
Versions by Jackie DeShannon (US #55, 1968), Aretha Franklin (US #19, April 1969, featuring Duane Allman on guitar), The Supremes with The Temptations (US #46, September 1969) all charted. Significantly for both royalties and for general public awareness, the Diana Ross and The Supremes With The Temptations’ album from which the single was taken reached US #2 and the Aretha Franklin album, Soul 69, reached US #15. The Weight was also heard on the soundtrack of the Peter Fonda / Dennis Hopper film Easy Rider in 1969, which in turn spawned a successful soundtrack album (US # 6 in October 1969 and 41 weeks on the chart). The Band agreed to their version being used on the film soundtrack, then refused permission for it to appear on the subsequent album. Smith did a close cover version which can be heard on the Dunhill soundtrack album. Versions also appeared on contemporary albums by Bloomfield and Kooper (Live Adventures of Bloomfield & Kooper ), Spooky Tooth (a very direct cover, with the interesting addition of harmonica ), The Staple Singers and King Curtis. Virtually every cover cuts out a verse or two. Four hit singles as well as its presence on even more albums within a year means a high profile, in spite of the modest sales of the original single. In the UK the original single was more successful, just failing to get into the top twenty (#21 on September 28 1968). In other words, the Band were not solely responsible for making the song a rock classic, but it is the number they are most associated with, and it turns up on every anthology and nearly every recorded live concert.
The Weight is the centrepiece of the album, both musically and lyrically. First, Robbie Robertson on The Weight:
Robbie Robertson:
I just wrote it. It’s just one of those things. I thought of a couple of words that led to a couple more, and the next thing I knew I wrote the song. That song was the only song on ‘Music From Big Pink’ that we never did rehearse. We just figured that it was a simple song, and when it came up we gave it a try and recorded it three or four times. We said that’s fine, maybe we’ll use it. We didn’t even know if we were going to use it, and it turned out to be the album.1
Robbie Robertson:
When I wrote ‘The Weight’, the first song for ‘Music From Big Pink’, it had a kind of American mythology I was reinventing using my connection to the universal language. The Nazareth in ‘The Weight’ was Nazareth, Pennsylvania. It was a little off-handed - ‘I pulled into Nazareth’. Well I don’t know if the Nazareth that Jesus came from is the kind of place you pull into, but I do know that you pull into Nazareth, Pennsylvania! I’m experimenting with North American mythology. I didn’t mean to take sacred, precious things and turn them into humour.2
(On the album, The Weight closes side one, so Robertson must mean it was the first song written for Big Pink. )
Robbie Robertson:
(Buñuel) did so many films on the impossibility of sainthood. People trying to be good in ‘Viridiana’ and ‘Nazarin’, people trying to do their thing. In ‘The Weight’ it’s the same thing. People like Buñuel would make films that had these religious connotations to them but it wasn’t necessarily a religious meaning. In Buñuel there were these people trying to be good and it’s impossible to be good. In ‘The Weight’ it was this very simple thing. Someone says, ‘Listen, would you do me this favour? When you get there will you say “hello” to somebody or will you give somebody this or will you pick up one of these for me? Oh? You’re going to Nazareth, that’s where the Martin guitar factory is. Do me a favour when you’re there.’ This is what it’s all about. So the guy goes and one thing leads to another and it’s like ‘Holy Shit, what’s this turned into? I’ve only come here to say “hello” for somebody and I’ve got myself in this incredible predicament.’ It was very Buñuelish to me at the time.
--------------------------------------------------------------------------------
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