Poor Richard: Thoughts on the Life of Richard Manuel

The first time I saw The Band live in May of 1969, I was mesmerized by Richard Manuel. At the time, part of the uniqueness of The Band was that there was no lead singer. Although that was true on their records where everyone contributed on vocals except for Garth, when The Band played live it was a different story. Richard was definitely the lead singer.

At the live show, there was a lot to like visually about The Band. My eye keep jumping between Levon looking like a cracker with a scruffy beard behind his vintage drum kit; Robbie with his conservative look and flashy guitar work; Danko rocking forward with the bass blowing out his cheeks; Garth looking like a big old bear behind his Lowrey Festival organ and Richard. For me, the sight of Richard on his piano was the focal point. Some combination of his wild hair, the hawk-like nose, and that wonderful high piercing voice made him the highlight of the stage show. He also sang lead on the two best songs from the show that night: Tears of Rage and I Shall Be Released.

Richard's contribution to the music of The Band was never more evident than on Music From Big Pink. The album opens with Tears of Rage, which he co-wrote with Bob Dylan. Richard's plaintive, soaring vocals on this song were the world's first hint of the distinctive sound of The Band. Never ones to follow convention, The Band choose this mournful ballad to open their first album. It wasn't a song for AM radio.

Three other Manuel songs were included on the record. On We Can Talk, the group's ensemble vocals are on display as the singers take turns and Richard sings: One voice for all/Echoing around the hall. In A Station, which begins with beautiful keyboards, showcases Richard's dreamy lyrics and his falsetto. Lonesome Suzie, a haunting portrait of loneliness, fits Richard's falsetto like a glove. You can feel his own pain in the vocals backed by Robbie's subtle guitar licks and the organ. The album closes with the Dylan classic from the Basement, I Shall Be Released, which Richard makes his own. It is still one of my favorite songs of all time.

Although his songwriting talent was drying up, Richard again played a key role in the music of the next album. Once again, his lead vocals open the album on Across the Great Divide. He also handles the lead on Rockin' Chair, Whispering Pines, and Jawbone, which he co-wrote with Robbie. Each of these songs is well suited to his voice. His unique and wonderful drumming can also be heard on Rag Mama Rag and Jemima Surrender

He also sings lead on the masterpiece of the album King Harvest (Has Surely Come). Richard's vocals combine with Robbie's beautiful guitar to tell this moving story of the American farmer. A wonderful song and perhaps The Band's finest moment on record.

As The Band's fame grew from the success of first two albums, Richard's appetite for booze and drugs was growing as well. The combination of fame and the temptations of the rock and roll lifestyle in Woodstock, began having a major effect on the harmony of the band. By the time The Band started recording Stage Fright, the guys were going in different directions and there was much less of an ensemble feel to the record.

Although Stage Fright was not of the same impossibly high quality as the first two records, it does contain some great music. Richard's contribution of the beautiful Sleeping is certainly one of the high spots of the album. He also sings Whistle Stop and the very appropriate The Shape I'm In, which probably said a lot about his condition at the time. His singing on the ensemble vocals on The Rumor is excellent as well.

Although The Band would continue to make albums and tour until The Last Waltz in November of 1976, Richard's health and fragile mental state began to be more and more of a problem. By 1975, he was reportedly drinking eight bottles of Grand Marnier a day as well as using an assortment of dangerous drugs. He also was involved in a car accident and later a boating accident in Austin, Texas, which forced the cancellation of several dates on their last tour.

Listen to these tracks from a show at the Carter Baron Amphitheatre recorded on July 17, 1976. This show was recorded 4 months before The Last Waltz. Although the music is excellent, it sounds like the weight of the world is on Richard's shoulders when it is his time to sing. It is almost painful to hear his voice strain to hit the notes in these classic Band songs.

KING HARVEST (HAS SURELY COME)

TEARS OF RAGE

I never saw The Band live after the 1974 tour with Dylan. Although they played many great shows through the mid-70's, I'm just as glad I never saw them again. After attending two shows when they were in their prime (The Electric Factory in May 1969 and Tufts University in November 1970), it might have been better for me to stop with those memories. I can still remember vividly sitting on the floor in Cousens Gymnasium as The Band played their hearts out a few feet in front of me. What a night.

The idea of seeing the reconstituted Band playing their greatest hits at down market venues never sat well with me. It just seemed so sad that musicians of this caliber would be reduced to playing that kind of a tour.

Richard's suicide in 1986 at the Winter Park Quality Inn after a show at the Cheek To Cheek Lounge brought this all home to me. It is hard to imagine that this wonderfully talented musician could have fallen to such a low and lonely place. I was shocked when I heard the news.

As The Band's music continues to be enjoyed and analyzed, I think that the appreciation of the contribution of Richard Manuel will only continue to grow. He played a key role in the creation of some of the best music of a generation.

If you do not have the albums mentioned above, you have a hole in your iPod. All are available in remastered format from iTunes and Amazon.

ELLIE GREENWICH 1940-2009

Ellie Greenwich died on August 26th. She was a very talented songwriter who played a key role in what later became known as the Brill Building Sound.

Named after the building located at 1619 Broadway in New York City, these songs was written by a talented group that included Ellie and Jeff Barry, Doc Pomus and Mort Shuman, Jerry Lieber and Mike Stoller, Carol King and Gerry Goffin, Burt Bacharat and Hall David and Phil Spector.

Collectively they were responsible for much of the music that was played on AM radio in the early 60's. Before the Beatles and the British Invasion in 1964, most of the top ten hits of the day had their songwriting origins in this building.

Ellie wrote or co-wrote her share of 60's hits including Be My Baby (The Ronettes), Da Do Ron Ron (The Crystals), Leader of the Pack (The Shangri-Las) , Christmas (Baby Please Come Home) (Darleen Love), Do Wah Diddy (Manfred Mann) and River Deep, Mountain High (Ike and Tina Turner).

I was a perfect age for this music in the early 60's. I was just getting my feet wet with an AM radio. How lucky to be hearing songs of this quality. One of her songs that I remember well from those days was Be My Baby which went to #2 on the Pop charts for The Ronettes. Produced by Phil Spector, it was one of the early examples of his Wall of Sound. Have a listen:

BE MY BABY

Ellie co-wrote two great hits for the Crystals. One was Da Do Ron Ron which was a big hit at The Hill School and went to #3 on the Billboard Hot 100. Another was Then He Kissed Me which Ellie also wrote with Jeff Barry and Spector.

THEN HE KISSED ME

It is amazing to think that so many classic songs could have come from one group of writers in such a short time period. A lot of talent was on display at a very key time for modern music.

In a curious connection to music that I grew to love later, Al Kooper was also in the mix at the Brill Building at the same time. In fact, he wrote This Diamond Ring which was a #1 hit for Gary Lewis and the Playboys in 1965. Kooper went on to play on Dylan's Highway 61 Revisited sessions and is credited with making up the signature organ riff on Like a Rolling Stone. See my post on Kooper from August 27, 2008.

Ellie Greenwich and all of these songwriters played a very important part in our musical heritage. Check out their songs when you can.

Texas by Sons of Bill

Following up on my last post on Sons Of Bill, here is a video of them playing a song called Texas from their first album. I think you can get a idea of the energy of their live show from this clip.

You need to buy the album One Town Away, if you don't have it yet. It is excellent.

SONS OF BILL

I have been a little lazy about posting in the last month, but I have been listening to some great music. I have been playing what might be the best album of 2009. It is One Town Away by Sons Of Bill

For once, I am not writing about music I heard on Outlaw Country. In fact, I am calling out my favorite DJ Mojo Nixon for not playing this album. I thought Mojo was keeping me up to date on all the best new country music, but I haven't heard one song by Sons Of Bill on his show. What's a matter with you, Mojo? You missed this one big time.

I am also actually writing about new music for a change. This album was released at the end of June and Sons Of Bill are a relatively newly minted band, having been formed in 2005. Don't tell my good wife that I am listening to music that was recorded after 1966, she will fall on the ground like a Saratoga no-step. I want to listen to new music, but I don't often hear any that is worth listening to.

I received the audio files of One Town Away from their management about a month ago (Ah, the glamorous life of a blogger). Since then I have been playing nothing else. It is the best new album I have heard this year or maybe in many years. The sound is fresh and the lyrics are excellent. It is a pleasure to hear a new band with real talent take the southern rock/country genre and kick it into the modern age.

Sons Of Bill are the three Wilson brothers from Virginia. Their father, who is a professor of theology at the University of Virginia, exposed the brothers to roots and country music at an early age. After a series of diverse musical experiences that included heavy metal, college bars and jazz clubs, the boys come together to form Sons Of Bill in 2005. These diverse musical influences mix well together on this record. Sam and James handle vocals and guitars and Abe is on the keyboards. In addition to the brothers, Seth Green is on bass and Brian Caputo is behind the drums.

James wrote most of the songs on the album. In his songwriting, I hear influences of Townes Van Zandt, Robert Earl Keen, Steve Earle, The Band, Jamey Johnson as well as many of the classic country songwriters of the previous generation. Taking simple events in southern life, he paints vivid pictures with these songs. He has listened carefully to classic country songs and used these influences well.

Recorded under the direction of Tom Petty producer Jim Scott, One Town Away blends the bands alt-country/southern roots music with a little bit of Tom Petty guitar based rock and roll. The result is a sound that is modern but also salutes the best of traditional music.

There isn't a bad track on One Town Away. I want to point out some of the musical highlights. The album kicks off with Joey's Arm which addresses life in the modern South and the current meth problem with some insightful lyrics: The South ain't going to rise again/But we are holding out for Jesus/Or so they say on AM radio. The song is different from today's Nashville country music, because it speaks to the dark and dirty side of life not just the usual cliches. Kenny Chesney will not be covering this song anytime soon. It is very well written and played. A good opener for the disk.

JOEY'S ARM

The next song Broken Bottles is a great modern drinking song that contains the catchy lyric:

Hank Williams might have been a love sick drinker

but being a love sick drunk doesn't make you Hank

I like the fact that the band gives a nod to some of the greats of the past. They even mention my favorite Townes Van Zandt in So Much for the Blues.

Rock and Roll mixes the band's Alt- country with some great Petty organ and guitar sound. It is the rocker on the album and the band sounds like they are having a great time playing it. Have a listen:

ROCK AND ROLL

Charleston is more reflective and sounds a bit like a Charlie Robison song to my ear. It is a slower, reflective tune about love and loss that shows off the versatility of the band. It has nice steel guitar playing on it as well.

The Song Is All That Remains reminds me of a Jamey Johnson song. If you have been reading this blog, you know that isn't a bad thing. It is about life on the road for a musician and speaks from the heart. Very mellow and a nice way to close the album.

THE SONG IS ALL THAT REMAINS

From what I have read, Sons Of Bill are a great live act as well. I am looking forward to catching a show when they come to Texas. Do your ears a favor and pick up this album. You will not be disappointed. Available on iTunes and from Amazon. Highly recommended.

When You're Lost in the Rain.....Bob Dylan in Pawtucket

On a rainy July night, I set off to see Bob Dylan at McCoy Stadium in Pawtucket, Rhode Island. It had been almost a year since I last saw Bob in the luxurious confines of the MGM Theatre at Foxwoods (see my post from August 16), so I was ready for my summer fix of Bob.

In the past, I had been reluctant to go to a show on the ball park tours. I'm not much for general admission gigs. You are either sitting thousands of yards away from the stage and you have to ask your neighbor: "Which one's Bob?" or you are enduring the mosh pit up front. Not my idea of a fun night.

Fortunately, I had Guitar Johnny as my wing man tonight. With him as my backstage ambassador, I had visions of meeting Bob and completing my rock and roll fantasy life. After a very pleasant dinner in the backstage area and a nice visit with a couple of the band members, "Guitar" and I were unsure about our plan. We went up to the back of stage to hear a bit of Johnny Cougar (or whatever he is called these days) and it didn't look like there would be much room there for us when Bob's part of the show began.

The weather was getting worse and I have to confess we were thinking about hitting the road. When we realized that Bob was not coming out of his bus for a stroll around back stage and a personal meet and greet with yours truly, we were really losing interest. Fortunately, we decided to make one more foray through the backstage area. We were hanging around just seeing if we could catch a glimpse Bob before he took the stage.

We did see a few people going up some stairs on the right side of the stage, but didn't think that was in our reach. Suddenly, a security guy was on us and instead of telling us to beat it, he told us go right up those stairs and find a place behind the soundboard. In an instant, we were flying first class.

Up we went and we found ourselves about 25 feet off Bob's side of the stage. After about 5 minutes there was a little commotion to our left and there was Bob with a black suit and white Rolling Thunder style hat standing about 6 feet away.

Bob and the band hit the stage and started into a rocking version of Cat's In The Well with Bob on lead guitar. Next they launched into It Ain't Me, Babe, which was followed by I'll Be Your Baby Tonight. Bob was playing his guitar for all he was worth. We could see Denny looking over at him with a perplexed look trying to follow his lead as they soloed together. Afterwards, Johnny said he thought he was listening to the Allman Brothers with the twin lead guitar sound. Pretty great stuff and Bob had the old chicken scratch working just fine. It made me remember his solos in the old days on Tangled Up In Blue. Chicken Scratch!

I was amazed to see that Bob keep the guitar on for another song. The band started in and after a few notes, Johnny and I looked at each other and said at the same time: "This Wheel's On Fire". One of my favorites from the Basement Tapes and what a treat to hear Bob take those leads. It made my night to hear it.

After a crazy jam version of The Levee's Gonna Break, the music took a little turn for the worse. It may have been our position on the side of the stage, but Bob's organ playing was drowning out every one else in the band. In Johnny's words: "His organ was Gothic." I thought it sometimes sounded like something you would hear at your local skating rink. Nevertheless, Bob was bopping around and laughing with the band between songs. He looked like he was having a good night.

Masters of War and It's Alright, Ma were casualties of this organ sound. The set list then veered to the modern era. It didn't matter, I was a happy man after the first few songs.

As we were driving back on 95 after the show in an absolute monsoon, Johnny was telling me about seeing Dylan and the Band in October of 1965 at the Bushnell Auditorium. Suddenly, we spotted the two tour buses heading down the highway to the next gig. As we passed, I thought about how much I enjoyed the show and how happy I was to hear This Wheel's On Fire. At the same time, I thought about the strange life of Bob Dylan and his Never Ending Tour. I hoped as he rode his bus through the rain and the dark, that he was happy as well. Thank you Bob for a great night.

White Room, Waylon Jennings and Robert Earl Keen

About a month ago I was driving to the office listening to Outlaw Country on my satellite radio. When I heard Waylon Jennings covering White Room, I almost drove into the bay. I have heard a lot of unusual tunes on that station, but this was way out of the box.

I love the music of Waylon Jennings and I love White Room. I was lucky to hear Cream play it live at the Spectrum in Philadelphia on November 1, 1968. It has always been one of my favorite Cream songs. I never thought I would hear Waylon Jennings play White Room. Two very separate events in my life crashed together when this came out of my radio. It totally blew my mind.

Hearing White Room made me think about the years at Floyd's Hotel. White Room was always our concert shout out. No Free Bird for the hotel staff. It was always White Room or Whipping Post for us. This was a very special song at the time. Listen to Waylon's take on this classic Cream song from an album called Waylon Forever:> WHITE ROOM

In an even stranger coincidence, I found out recently that my good friend Robert Earl Keen opened his show at Bonnaroo with (You guessed it) White Room. When I asked Robert: "What's up with that?" He told me that he and the band decided that they needed a little heavy rock in the set to get the attention of the audience at the big shows.

I have seen the video of the song from Bonnaroo and it is excellent. Rich (guitar) and Bill (bass) are really up to the task on the song and REK does a pretty good job on vocals for a Texas singer songwriter. It is a great version that shows the versatility of Robert Earl Keen and his incredible band.

DAVE ALVIN and the GUILTY WOMEN Fourth of July 4-18-09

I woke up thinking about this great song that was written by Dave Alvin. Here is a video of him playing it with his new band the Guilty Women. It is one of my favorites Alvin songs. If you haven't heard it already, you should check out his new album called Dave Alvin and the Guilty Women. It is excellent.

I first heard this song on Robert Earl Keen's album Picnic. It is definitely one of Robert's best covers. I always enjoy hearing him play it live. This is what it sounds like:

Forth of July

Hope everyone has a great 4th.