Washington Arms by Matt Turk, reviewed by Craig Fenton

Matt Turk- Washington Arms CD 2006

Since 1987 when Matt Turk founded a band called the Hour, his sincerity and precision in the Jam Band and Folk Rock scenes has turned a humongous amount of heads.  Appearing on the same bill at one time or another with Bob Dylan, Mickey Heart and Phil Lesh (Grateful Dead), Richie Havens, Hot Tuna, and Pete Seeger to name only a few has left a radiant calling card the past quarter of a century.

As a solo performer for about two decades Matt paved a second path of musical proficiency.  The 2006 release “Washington Arms” showcases Matt’s competency in balancing electric and acoustic guitar talent without the vocal message being buried.

The opening track “Intro Nothing” could come out of a U2 catalog.  It hits you hard and often and lays the foundation for the next nine songs.

A cover of one of the finest tunes ever penned “I’d Love To Change The World” (originally found on Ten Years After 1971 album A Space In Time) is another stellar addition to the CD.  Matt stays faithful to the 70’s sound while putting his own vocal slant in the mix.

“Endurance” is another solid rock track leaving a mark throughout the 3:40.

A fitting finale song “Sky” is somewhere a cross between Led Zeppelin meets Bad Company.

For the record the Washington Arms is a pre World War 2 apartment building located in New York (Hastings-On-The-Hudson).  If these walls could only talk.  Correction, they have and the stories are exquisite.

To purchase Matt’s music or to keep up with the latest news head over to: http://www.turktunes.com/

All the best,
Craig Fenton
Craig Fenton
Author- Jefferson Airplane Take Me To A Circus Tent”
Jefferson Starship “Have You Seen The Stars Tonite”

New Craig Fenton Review

Steve Gilligan- Jacob’s Well CD 2012

Steve Gilligan is no stranger to the music business.  In the 70’s he was part of the Boston band the Stompers.  Most recently his rock and roll mark has been branded in the New England scene with Fox Pass (bass-player).

It is one thing to avoid a cautious route when contemplating a solo recording but to properly execute the game plan is more of an isolated result than a prevalent occurrence.

Steve’s fifteen track (the back of the CD shows fourteen but there is an additional song called “Wounds”) release blends a folk-rock sound that is both consistent and diverse.  While one moment you may hear Neil Young or Harry Chapin there are remnants of the British folk movement of yesteryear such as Fairport Convention and Steeleye Span.

“Walkin’ Up Blues” leads off the CD and sets the tone for Gilligan’s excursion.  “Before The Fall” is a perfect second track.  It seamlessly absorbs the opening number.

One of the highlights is a track called “Clock.”  It’s flawless, with the vocals and instrumentation sharing a bond.

Gilligan throws a curve mid-way through the festivities with a rockabilly based song “What’s A Little Rock ‘N’ Roll Between Friends.” Once again solidifying the safe approach has long been abandoned.

“Waiting for Winter” is reminiscent of Stephen Stills “Changing Partners.”  The acoustic guitar played by Gilligan is cloudless. 

Steve Gilligan’s exemplary results with Jacob’s Well will have you wishing for a follow-up.  

All the best,
Craig Fenton
Craig Fenton
Author- Jefferson Airplane “Take Me To A Circus Tent”
Jefferson Starship “Have You Seen The Stars Tonite”

TRADE UP - The Complaints CD Single

The Complaints- Trade Up (Single Release)

Since their fierce entry in 1997 on both the Providence, Rhode Island and New England music scenes the Complaints thanks to impassioned lyrics, inflamed musical energy, and a rabid live following have been able to supersede relevance in both studio and live settings.

Even during the economic downturn the Complaints will often perform one hundred fifty to two hundred live gigs per year. 

Dean Petrella (singer, songwriter, and guitarist), Chris Cruz (bassist), and Anthony Marotti (drums) encompass the band.

They have recorded three full length CD’s “Fear” from 1999, “Criminal Mind” released in 2003, and “Sunday Morning Radio” which saw the light of day in 2009.

It’s an injustice to pigeon-hole the group as only Modern Rock or Indie sounding.  While they have been on the same bill as Collective Soul, Nickleback, Train, and 3 Doors Down (to name only a few) they also have shared the stage with Dave Davies (the Kinks) and the Tubes.

While there is the modern sound in the song structures you can also hear Flamin’ Groovies, Joe Jackson, Willie Nile, Graham Parker, and even some Rolling Stones (from the 1990’s and 2000’s).

“Trade Up” extends the level of consistency set in motion from the previous output. The first listen makes it simplistic to ascertain the group continues upward mobility with no fear of freefall.  The single is well crafted with the guitar, bass, and drums establishing their turf with a perfect thirteen second intro.  When the vocals arrive it’s an immediate knockout blow.      

The production is stupendous.  The vocals are never drowned out and there isn’t a competition between guitar, bass, and drums, but a harmonious exploration.

“Sometimes you gotta trade up”, not with the Complaints. They have already achieved their purpose.

To learn more about the band and to purchase their music head over to: http://thecomplaints.com/

All the best,

Craig Fenton

Craig Fenton

Author: Jefferson Airplane “Take Me To A Circus Tent”

Jefferson Starship “Have You Seen The Stars Tonite”   

Interview with Craig Fenton

Interview With Craig Fenton, TAKE ME TO A CIRCUS TENT and HAVE YOU SEEN THE STARS TONIGHT

Written by Joe Viglione

Sunday, 29 March 2009 12:48

Direct link to this article here: http://tinyurl.com/craigfentoninterview Remember to click on book covers to find the items in Gemm.com   Author Craig Fenton's Take Me To A Circus Tent, along with Jeff Tamarkin's "Got A Revolution", are the two most scholarly works on the saga of the Jefferson Airplane. With Have You Seen The Stars Tonite (Jefferson Starship Flight Manual 1974-78 & J.S. The Next Generation 1992-2007), Fenton takes the fan even deeper into Jeffersonian lore. GEMMZINE caught up with Fenton in between his book tour, lectures, and his work on the upcoming Jefferson Airplane Scrapbook. GEMM: This is truly the guide for the obsessed Jefferson Starship fan, but where do you draw the line between the Mickey Thomas era and what fans get to hear today? CF: Thank you for the nice words and superlative introduction. When the logical progression dictated a continuation of the exploration of the Jefferson Family on the surface there were four directions the flight could go. The first would be a look at the classic line-up of the Jefferson Starship 1974-1978. The second would be the focus on Paul Kantner and Manager Michael Gaiman’s rescue of the name and their trail 1992-Present. The third would be everything about any era of the Jefferson name, and the forth was the flight I felt I could feel internally satisfied. GEMM: Are there tape traders who are very aware of the concerts you discuss in the book, and do you think this brings in new fans to appreciate this music? There are a myriad of traders that are aware and those that are now seeing the incredible diversity of a Jefferson Starship performance. It most certainly brings in the new fans and rekindles the flame of some that were dormant. The Paul McCartney philosophy of live music is perfect. He stated it best in the 1989 press-conference “As long as the fans buy the regular product.” GEMM: Lou Reed just released a remake of his 1972 Berlin album, re-recording it live in 2006. Why hasn't Paul Kantner put on a "Blows Against The Empire" tour, staging the entire first draft of what would become The Jefferson Starship? CF: There are marketing ideals that satisfy the needs of different bands. The Who performing “Tommy” and “Quadrophenia” were often epic shows. Since the 1992 re-launch of the Jefferson Starship Paul Kantner and Michael Gaiman have pulled many rabbits out of a hat. The shows were more individualized and not full scale tours, although there are exceptions. For example Signe Anderson played a bunch of shows with the Jefferson starship starting on February 5th of 1993. On November 22, 2006 the band performed the entire “Blows Against The Empire Suite.” The unknown adds to the concert experience. November 27th of 2006 the Jefferson Starship played every song from the Jefferson Airplane’s “Surrealistic Pillow” record. To further illustrate the magnitude of many of the gigs over the years would be the guest stars that played at least one song during the show. These include but are not limited to Randy California (Spirit), Tom Constanten (Grateful Dead), Spencer Dryden (Jefferson Airplane), Peter Frampton (Humble Pie), Robbie Krieger (Doors), David LaFlamme (It’s A Beautiful Day), Ray Manzarek (Doors), and Jack Traylor (Steelwind). GEMM: Are Sunfighter, Baron Von Tollbooth and other Kantner/Slick titles considered part of the pure Jefferson Starship legacy? CF: They most certainly are. The respect I have for the Jefferson Family fan is beyond description. To many a song from “Blows Against The Empire” called “The Baby Tree” or “Your Mind Has Left Your body” off “Ballad Of The Chrome Nun” is as common and important to them as the radio songs. GEMM: Your books have a great attention to detail, have you thought of doing a character study of the artists you write about, something to reach a mass audience with? Thank you for the compliment. The question is always to balance properly a story by a band that I have admiration for that hasn’t been told. It would be an honor to see a Jefferson Airplane book through the eyes of Marty Balin come to fruition with Marty, esteemed rock journalist Joe Viglione, and myself. Thank you to GEMM Magazine for the opportunity to talk about the Jefferson Starship and "Have You Seen The Stars Tonite." About Craig Fenton Author Craig Fenton's Take Me To A Circus Tent and Have You Seen The Stars Tonite (Jefferson Starship Flight Manual 1974-78 & J.S. The Next Generation 1992-2007) are available on Gemm.com Craig Fenton http://craigtheairplaneman.wordpress.com/ Send this story around by giving your friends this link: http://tinyurl.com/craigfentoninterview Another interview with Craig Fenton on Gemmzine can be found here: http://tinyurl.com/rarerecordsongemm Previous Craig Fenton article: http://tinyurl.com/jessebarishinterview

Last Updated on Sunday, 18 October 2009 21:55

Jefferson Airplane At Woodstock The Complete Setlist

Jefferson Airplane At Woodstock - The Complete Setlist

Written by Craig Fenton

Sunday, 26 July 2009 20:01

Remember to click on the photos and album covers to find tons and tons of Jefferson Airplane products and rarities in Gemm.com itself. By The Time The Airplane Landed At Woodstock: If you need to find the meaning of the term culture shock look no further then August 15 through August 18, 1969, Woodstock Music Festival, Max Yasgur’s Farm, Bethel, New York. The 1969 population of Bethel , New York was under 4000 full-time residents and even forty years removed from the historic event the population has not reached 5000. Grace Slick’s intro set the mood and laid the foundation for what would be a little under 100 minutes of music, but a lifetime of memories, “Alright friends you have seen the heavy groups, now you will see morning maniac music. Believe me, yeah. It’s a new dawn, yeah. The regular guys and Nicky Hopkins.” Fast forward to the past. RCA/Legacy for the first time offers the complete and uncut Jefferson Airplane performance from August 17th, 1969 . There are a myriad of reasons why this is one of the most imperative releases for the old rocker. One note immediately erases the fallacy that the uniqueness of Woodstock as an event outshined the sounds that actually emanated from the stage. Accompanied by keyboardist, friend, and session man extraordinaire Nicky Hopkins (Beatles, Rolling Stones, and the Who to name a few) the Jefferson Airplane launched into their stellar rendition of the Fred Neil song “The Other Side Of This Life.” This is the first time the track is available in its full eight plus minutes of glory. “Somebody To Love” is next and continues to leave the masses spellbound. “3/5 Of A Mile In 10 Seconds” had never been previously heard from the Woodstock gig until now. It doesn’t disappoint with the power and passion that has solidified the song as one of the finest the band would pen. As an added bonus the intro is rearranged slightly with Grace singing the beginning couple of lines and not Marty. Up next “Won’t You Try/Saturday Afternoon” resonated more piercing than ever in the outdoor setting. “Eskimo Blue Day” may be exoteric to some ears but it enhances the Airplane experience showing their ability to change direction at a moments notice and never seem off course. “Plastic Fantastic Lover” would always be taken to another level when played live and this was once again exhibited. Even those in attendance that had witnessed the Airplane stage magic the previously four years could never have been ready for the sound barriers that would be crossed. “Wooden Ships” (available for the first time from Woodstock ) clocked in at over twenty-one minutes! With the signature “Go Ride The Music”, one line from one of their most under-rated tunes “J.P.P. McStep B. Blues” and enough improvisation to keep even those with the shortest attention span enthralled, the J.A. assaulted the senses with a blowtorch. If the band needed to show anymore reasons why they didn’t have to apologize for being the best American group of all-time, they handed things over to Jorma Kaukonen for “Uncle Sam Blues.” When you can claim four legitimate singers Grace Slick, Marty Balin, Paul Kantner, and Jorma Kaukonen on the same stage it doesn’t take an Ivy League graduate to comprehend why for a few years the Jefferson Airplane were the highest paid American band for concert performances. If ever a setting seemed right for “Volunteers” it would have been next. It didn’t take long for the “Ballad Of You And Me And Pooneil” to have the effect of a sledgehammer between the eyes. The fifteen minutes (heard for the first time from Woodstock here) mesmerized and fascinated anyone within an ear shot of the masterpiece. Once again Jorma is given the vocal reign for “Come Back Baby” (never available previously from Woodstock ). It should be noted that Paul Kantner was in charge of the Jefferson Airplane set lists from the first day the band formed until the break-up in 1972 and for the 1989 re-launch. It would have been easy as one of the founding members to push for his own contributions but he was well versed in what made the Airplane such a live attraction. “White Rabbit” recognized instantly thanks to Jack Casady’s bass, kept things in superlative fashion. Unfortunately the end had to come and the band used “The House At Pooneil Corners” as the finale. Having been omitted previously from any Woodstock release it showed the Airplane’s comfort level of playing any song in any portion of the performance. While it would have been impossible for the members of the J.A. to make actual eye contact with over half a million strong, they made a life long impression with a set that gets extraordinary marks in a less than optimum setting. The mix of the instruments would make Beatles producer George Martin proud. The only gripe is the vocals could be a bit higher. If the complete Woodstock performance isn’t enough to entice you, also included is the “Volunteers” album remastered and replica packaging, as well as a poster. This is a limited edition so don’t be turned away from the farm. Put the television on the Weather Channel when they show some rain and mud to help recreate what it meant to witness Grace, Marty, Paul, Jorma, Jack, Spencer (the regular guys), and Nicky Hopkins. From somewhere near Fulton Street and the Fillmore East all the best, Craig Fenton Author Jefferson Airplane “Take Me To A Circus Tent” Jefferson Starship “Have You Seen The Stars Tonite” Remember to click on the photos and album covers to find tons and tons of Jefferson Airplane products and rarities in Gemm.com itself.

Last Updated on Saturday, 12 September 2009 03:34

The Genius of Jesse Barish - Interview by Craig Fenton

Written by Craig Fenton

Sunday, 06 September 2009 18:06

The Genius of Jesse Barish - Interview by Craig Fenton The Genius of Jesse Barish - Interview by Craig Fenton The Genius of Jesse Barish - Interview by Craig Fenton Direct link here: http://tinyurl.com/geniusofjessebarish Remember to click on album covers to go into GEMM.com to find the music Jesse Barish- Wrote the songs Count On Me, Hearts, and Atlanta Lady (To name a few), and Marty Balin and Jesse appear on some of each others recordings. This interview was first published in Craig Fenton's book Take Me To A Circus Tent "Hearts" performed by Jesse Barish on YouTube This was recorded by the woman known as "SongTruth", she did her own version of Jesse Barish's composition which has over 43,000 spins on YouTube. Songtruth Singing Hearts She lives in the same city as Jesse and taped his version (above) on July 6, 2009. Remember to click on the photos, album covers or Craig's book covers to find tons and tons of Jefferson Airplane / Jefferson Starship / Jesse Barish products and rarities in Gemm.com itself. We have published the material with permission of the author. Copyright (C)2009 Craig Fenton, all rights reserved Craig: “It is great to be able to speak with you about the songs you have written for the Jefferson Starship and Marty, as well as your own recordings.” Jesse Barish: “Craig thanks for including me in the book. It is nice to talk about the songs.” Craig: “You played with David LaFlamme (He would be part of a band It’s A Beautiful Day and one of their songs White Bird is considered one of the finest ever written) before you recording your first album. What was the name of the group?” Jesse Barish: “I was in the original configuration of a band called the Orkustra (The spelling is correct) with David. I played the flute in that band. I am a flute-player as well as a singer and songwriter and acoustic guitarist . After that I got a gig playing with John Phillips (Mamas & The Papas). He was promoting his record John, The Wolf King Of L.A. This was his first solo album. I was in a band called Trees. We were four male singers and songwriters. One of the guys in Trees knew John. He goes over his house to see if he would produce us. John instead offered to let us be his back up band, soon after I got signed by Shelter Records.” Craig: “What prevented the Orkustra from making it as a band?” (Thank you to Quicksilver Messenger Service historian Mike Somavilla for the proper spelling of the Orkustra). Jesse Barish: “It’s hard to say. I left them after a few rehearsals that we had in a garage in the Haight-Ashbury section of San Francisco. They played a bunch of gigs and then they broke up. It’s a shame they didn’t go the distance. They had an upright bass, a cello, and an amplified oboe. It was a unique concept. They had the guitar and violin too. David is a great violin-player, a great musician, and a character.” Craig: “Any interesting stories when you played with another character John Phillips?” Jesse Barish: “We go out on the road with John. There is a gig in New York. I think the club was called the Main Point. That may have been a club outside of Philadelphia. John thought the music was too loud for him. He fires two of the guitarists and the drummer. It was neat. John was a great guy. We played the Big Sur, California Folk Festival. That was excellent. Craig, before John passed away in 2001 (3/18/01) we were writing some songs together.” Craig: ‘It is a shame that he is one of many of the great performers from the 1960’s we have lost. After the tour with John Phillips you were able to record in 1972 an album Jesse, Wolff, And Whings. How did the project come together?” Jesse Barish: “I was on the lot of A & M Records. I ran into Denny Cordell (Legendary producer that passed away in 1995. He produced the Moody Blues, Joe Cocker, and Leon Russell to name a few). I was excited because I had a few songs I wanted Joe Cocker to hear. Denny had produced the great record by Procol Harum, Whiter Shade Of Pale. I was real brave in those days; I would go up to anybody with my songs. He was really nice and instantly put me together with Joe Cocker. A few days later I got to play Joe Cocker a bunch of songs. Nothing happened with the songs I played for Joe. In the course of that I had made a demo. One day out of the blue Denny calls me. Denny told me he really liked the demo and wanted to sign me to a contract. I wasn’t looking to get signed. Shelter Records was a really cool label back then. Leon Russell and J.J. Cale (Wrote After Midnight and Cocaine. He is a well respected musician that has recorded many albums over the years) were two of the artists. Denny ended up signing me.” Craig: “Did Joe Cocker tell you that your songs are good, but the style isn’t a fit for what he is doing?” Jesse Barish: “He wasn’t receptive. He had just come off the Mad Dogs & Englishmen tour with Leon Russell. The last thing he wanted was to hear from another singer songwriter. It wasn’t the right time and I didn’t have the right songs for him.” Craig: “In 1972 you saw the release of Jesse, Wolff, And Whings. Did you get to play any live dates to promote the record?” Jesse Barish: “We did gigs. In fact we got to go out with what they called Shelter Tours. That would be us and other Shelter Records artists. We played with blues legend Freddie King and with J.J. Cale. I also got to open shows for Leon Russell and Ike & Tina Turner. It was an odd record. It wasn’t a great record.” Craig: “Shelter Records did see potential, they had the famous session pianist Larry Knechtel (A member of the band Bread, he also has done numerous sessions. He played one of the most famous piano parts in rock and roll history on Simon & Garfunkel’s song Bridge Over Troubled Water) help out with the record.” Jesse Barish: “For some reason we ended up doing the record by ourselves. The record was done at Leon Russell’s house. Every time that Denny scheduled somebody to be with us, he got sick or they got sick. For the most part the band and an engineer did the record by ourselves. We did a million takes and didn’t have guidance. Working with Larry was great. I remember the session. Leon had one of the first home studios. Larry showed up and that was a high point. As for the record it is disjointed and not a good representation of my work. I don’t think anybody would think this was a good record. (Jesse laughs). It was a formative chapter in my life. The band ended up moving to Marin County, California. The band had lived in Hollywood, California but the gigs were in the vicinity of San Francisco. We got to open shows for John Cipollina’s band Copperhead. We were the Monday night band at a club called The Keystone Berkeley. We played the Lions Share in San Anselmo, California. Then it turned into a duo with me and Bill Wolff. I then decided around 1974 I wanted to go solo. I ended up in Mill Valley, California.” Craig: “Was this about the time you got introduced to Marty Balin?” Jesse Barish: “That is right. Somebody told me that I should meet Marty. I was a huge Airplane fan. There are three albums I loved from the Airplane; they were Surrealistic Pillow, After Bathing At Baxter’s, and Crown Of Creation. They are to me soundtracks to the sixties. Marty and I had a connection. We became good friends. Marty helped me in so many ways. Marty helped me to put a demo together of a few songs I wanted to get a record deal with. It now becomes 1976. There is a good story with the Jefferson Starship album Spitfire. There was a guy named Thunderhawk. He was an Indian friend of Paul Kantner. Thunderhawk had written something on a piece of paper that said “St. Charles sings.” That was all he wrote. Paul had a piece of music in his head. He wanted to call it St. Charles. Paul gives it to Marty to write the lyrics. I guess that Craig Chaquico and Paul had done most of the music. Marty couldn’t make anything out of it. Joey Covington had tried as well. Marty asked that I give it a try. I take the song home and I wrote the lyrics that night. I came back to Marty the next day. I sang it to Marty and he told me that was it! Marty changed a couple of things. The Jefferson Starship also did another song of mine on the record called Love Lovely Love. That was my introduction into that world.” Craig: “Did a musician introduce you to Marty?” Jesse Barish: “It was a friend of mine Kevin Curran. He was a flute-player and he played the guitar. He has passed away. I met him in a second hand store. He had a flute in his hand. For many years Kevin did sound at The Roxy, Los Angeles.” Craig: “From the time you met Marty until the Spitfire record were you playing with a band?” Jesse Barish: “I was kind of hanging out. I would work on songs, I didn’t do any solo gigs. You could say I was out of the loop. I never networked the way other songwriters did. Meeting Marty was a very organic thing.” Craig: “Did Marty have a songwriting formula and advice to go with it?” Jesse Barish: “Marty didn’t talk about a formula. He encouraged me to do my thing.” Craig: “When the Jefferson Starship took the two songs for Spitfire, what did you feel inside?” Jesse Barish: “It was unbelievable to me. Here is a guy that I admired all these years (Marty) and his band is taking two of my songs. As important my friend wanted two songs from me.” Craig: “You didn’t stop there. On the Jefferson Starship album Earth you contributed three songs.” Jesse Barish: “Marty took me into Wally Heider Studios in San Francisco. I believe I did three songs. My version of Count On Me was one of those three tunes. I thought the demo was really good. I entered Count On Me in the American Song Festival. I got to be a quarter-finalist. I don’t know if that was a big deal.” Craig: “Jesse, it was a big deal. The readers may be interested to know that you were competing with several thousand people.” Jesse Barish: “I don’t remember if Paul had heard the song. The Jefferson Starship wanted to do Count On Me. I had a small band at the time. The musicians were very supportive of me, but some didn’t like the idea of giving the song to somebody else. I had to decide if I save it for myself, there is no guarantee I get a hit. If I give it to the Jefferson Starship there is a real good chance they will have a hit. RCA Records is offering me a deal for the self-titled album I did. Marty had walked me into RCA and they signed me. I started to work on the record. It was nice. They didn’t restrict me. I had a great feeling for Count On Me. I had to let it go and let them record it. They did a great version of it.” Craig: “Did the song come to you quickly?” Jesse Barish: “It was very fast. I had it done in thirty minutes. There are songs I can finish that fast. It isn’t always the case.” Craig: “For the record you recorded your own version of Count On Me. What was it like working with Marty on the record?” Jesse Barish: “It was one of the high points of my life. The record (Jesse’s self-titled fro m1978) wasn’t rock and roll. It had a bunch of love songs. It was a very creative thing. There was something special in the air. As it turned out it didn’t fly.” Craig: “You also got two more songs on the Earth album, Crazy Feelin’ and All Nite Long. What do you remember about those two tracks?” Jesse Barish: “This was funny. Somebody had to mention to me that I wrote All Nite Long. I didn’t recall that. Marty loved Crazy Feelin’.” Craig: “Did you offer the band more then the three songs?” Jesse Barish: “There was a period of time I would go to Marty’s house everyday. I would play him the songs I wrote. He would tell me if they were worth taking to a Jefferson Starship rehearsal.” Craig: “If somebody wants to record your song, do you care how they record it? Are you able to cut the attachment to the arrangement you had in mind?” Jesse Barish: “I like the people to stick to the melody as much as possible, at least for one verse and one chorus. I understand they want their own sound for the song.” Craig: “Have you ever seen the fantastic video for Count On Me? It was from the terrific U.K. television program the Old Grey Whistle Test. The band is sitting around the floor of a hotel room and playing the song.” Jesse Barish: “Really? Do you have a copy of that?” Craig: “I sure do. You can have it in three days.” Jesse Barish: “Can it be a VCR thing? I would be thrilled to see that.” Craig: “I am happy to make sure you get a copy. Jesse, since you want a video of it, can I interest you in the eight track tape of Red Octopus?” Jesse Barish: “Hey man, I’m VCR ready. I don’t go much for the new stuff. I haven’t had a computer in four months.” Craig: “Marty did two excellent songs of yours, Hearts and Atlanta Lady. He forgot that he had a hit with Atlanta Lady. When we talked he started to sing some of the song. Atlanta Lady made it to number twenty-seven on the charts.” Jesse Barish: “You are really informed Craig about the music.” Craig: “That is because I am a fan of his and of yours. If you ask me a science question I would get it wrong even if you gave me the answer.” (As I did throughout every exam). Jesse Barish: “On the self-titled Marty record from 1981, I had three songs. The two you talked about and Music Is The Light. Recently we had that come up. Marty called me and wanted to know if I had the chord changes for the song. I haven’t remembered them yet. I sent Marty a song today called Love Is. I hope he likes it. I thought it came out great.” Craig: “Can you tell when you send Marty a song how he will normally react?” Jesse Barish: “I can’t. It is a crapshoot. Some he really loves and others he thinks are okay.” Craig: “What are the memories of writing Hearts and Atlanta Lady?” Jesse Barish: “Hearts has a great story in a way. I was at a friend’s house and having a hard time emotionally. I am in Los Angeles. By the way one of the guys from Jesse, Wolff & Whings was Kevin Kelley. Kevin was the drummer on the Byrds album Sweetheart Of The Rodeo. I’m at Kevin’s house. I usually write the music first. I had a parking stub in my pocket. The type you get when you leave your car in a garage. I pull out the stub and wrote “Is everything alright.” I was able to write a verse and a chorus on the parking stub. I now have that framed on my wall. I didn’t know I saved it. I came across it one day and had it framed. I was able to finish the song in a couple of days. I didn’t know it would be a hit, but did feel it was successful. The chord changes and the melody were strong. It didn’t have a hook, but it had something. It caught a great moment. Marty’s voice is unreal. Marty captured the moment. I remember I played the song for Marty and he wasn’t that knocked out. The first time I played it he felt it was okay. The producer of the album John Hug liked it. John also produced a record of mine called Mercury Shoes. John and Marty became friends. John was able to convince Marty to sing the song. I was in Maui, Hawaii and I got a call from the studio. Marty and John are playing the recording of the tune for me. That was the first time I heard the song with music. I don’t know if it was the final mix. Bill Champlin (Sons Of Champlin) did background vocals on the song.” Craig: “Marty told me that he thought Bill was terrific and in fact always liked the Sons Of Champlin.” Jesse Barish: “When they played the song for me on the phone I knew it was a hit. I was closing a chapter of my life. My marriage had ended and I wanted to make a fresh start. I left Mill Valley, California for Los Angeles. I have been here ever since.” Craig: “What do you remember about Atlanta Lady?” Jesse Barish: “There aren’t vivid memories of Atlanta Lady. I thought it was a great song. Marty liked that one more than Hearts.” Craig: “It is fortunate that Marty had an open mind.” Jesse Barish: “It is gratifying for me. I’m glad he still performs Hearts.” Craig: “What do you remember about your musical tastes in the 1960’s?” Jesse Barish: “I loved the Airplane as I mentioned and the Beatles. I would sit by the record player and listen to Revolver, and Sgt. Pepper by the Beatles and Dylan’s Blonde On Blonde. Time would stop when those records came out. What do you have now? Music had a spiritual dimension. Surrealistic Pillow was the album I listened to over and over.” Craig: “What was your reaction to the album you did in 1980 Mercury Shoes?” Jesse Barish: “I was in a messed up place. There are a few moments that are good. The album before was better. I thought it would put me on the map. We had gigs and a great band. I didn’t come through.” Craig: “Do you consider yourself somebody that writes songs for other people?” Jesse Barish: “I never considered it that way. I write songs all the time. I have friends that write songs that are used all the time. I had a couple of hits. I had Count On Me used in a movie fairly recently. It’s in The Family Stone. They called either Marty or his dad for permission.” Craig: “What have you done the past several years musically?” Jesse Barish: “I did an acoustic album with my son. We called it Farther Son. I did a folk-rock album called Cherry Road. I didn’t try to market them. In the last year I did an instrumental CD called Flute Salad. It is a smooth jazz record but more funk. It is a style they have in Europe.” Craig “I hope you consider marketing the CD’s. We have a mutual friend that will be happy to do the leg work for you. Jesse, it was a pleasure to hear the stories of the songs you wrote and I thank you for your time.” Jesse Barish: “Thank you. Let me know when the book is ready to come out.” (An added note, Marty Balin was very impressed with Jesse’s latest song Love Is). Craig Fenton Author Craig Fenton's Take Me To A Circus Tent Have You Seen The Stars Tonite (Jefferson Starship Flight Manual 1974-78 & J.S. The Next Generation 1992-2007), Craig Fenton http://craigtheairplaneman.wordpress.com/ Send this story around by giving your friends this link: http://tinyurl.com/jessebarishinterview Published 10:05 PM Sunday September 6, 2009 Direct link here: http://tinyurl.com/geniusofjessebarish Remember to click on album covers to go into GEMM.com to find the music

Last Updated on Sunday, 18 October 2009 23:26

Preview: Marty Balin DVD Live On The Boston Esplanade

Written by Joe Viglione

Monday, 07 September 2009 13:08

Marty Balin: Live On The Boston Esplanade, June 14, 2008 Release Date: November 3, 2009 Label: MVD - Music Video Distributors - MVD Visual Producer/Director: Joseph Viglione Rock & Roll Hall of Famer Marty Balin live in Boston with Didi Stewart TRACK LISTING: Main Program: Intro: 0:13 M.C. Mike Finnegan 1) 3/5th of a Mile in 10 Seconds (Balin, Marty) 4:20 2) Runaway (Dewey, Nicholas) 3:35 3) Count On Me (Barish, Jesse) 4:38 4) Somebody To Love (Slick, Darby) 3:58 5) Miracles (Balin, Marty) 7:49 6) Hearts (Barish, Jesse) 8:56 7) White Rabbit (Slick, Grace) 3:02 8) Volunteers (Balin, Marty) 5:03 encore 9) If I Had A Rocket Launcher (Cockburn, Bruce) 5:25 10) Dewey Bunnell of the group/duo America says "Hello" 0:08 11) Closing Credits 1:20 Main Program: 52:02 BONUS TRACKS PART 1 INTERVIEWS 1) Visual Radio #1 50 minutes Marty Balin interview including the song "Later On" 2) Visual Radio #292 Jeff Tamarkin 4:15 "They ended up something completely different than what they started out being" Jeff Tamarkin 3) Visual Radio #403 Signe Anderson, Craig Fenton 4:25 Bonus Tracks Part 2 SONGS: 4) Marty & Mark "Slick" Aguilar - Fitzgeralds, Berwyn IL 6/8/06 Set 1: Do It For Love (Barish, Jesse) 4:36 Brat fest 5-26-07 Madison Wisconsin Marty Balin - guitar, vocals Mark "Slick" Aguilar - lead guitar, backing vocals video by Rick Martin 5) Somebody To Love 4:25 6) Summer of Love 4:17 7) Today 3:41 NewBury Media Session 6-13-08 8) Shaping The Night 5:29 9) Somehow The Tired Reach Home 4:40 10) Count On Me 3:30 Bonus Track culled from 1995 interview in Cambridge 11) Later On (Balin, Marty) 1:49 CREDITS Balin, Marty/Vocals, Guitar, Tambourine Stewart, Didi/Vocals, Backing vocals Baldwin, Donnie/Drums Aguilar, Mark "Slick"/guitar, backing vocals Gebert, Gordon G.G./Keyboards, vocals, camera Trupia, David/bass guitar, camera Viglione, Joe/producer, director, camera, interviewer, liner notes Bunnell, Dewey/interview Tamarkin, Jeff/interview Anderson, Signe/interview Fenton, Craig/interview, liner notes Fraboni, Rob/remastering Centola, Marco/remastering Settlemyer, Shannon/editing, DVD authoring Coyne, Bill/camera Kelly, Sean/camera Brennan, Alice/camera Brabazon, Jason/camera Bergsten Music/sound Kanavos, Ken/audio, camera Gould, Darby/Photography Koerber, Sabrina/art direction Bieber, David/liner note editing Finnegan, Mike/master of ceremonies TITLE: MARTY BALIN, LIVE AT BOSTON ESPLANADE JUNE 14, 2008 ======================================================================= Liner Notes, Craig Fenton It’s no secret that for decades, Marty Balin’s Hall of Fame voice has captivated the record-buying Public from America to Australia. Omitted from the equation has been the opportunity to see and hear Marty on stage commanding his own brigade. A perfect June night in Boston will forever be a living document. Marty Balin has been captured! Marty Balin, along with five ready and able musical accomplices, have commandeered the Esplanade. It’s not an illusion when it’s reality and it certainly was magical. With a concoction of sounds penned from 1966 to 1984, Marty had taken the pulse of the audience and knew several doses of rock and roll would provide a memorable night in a legendary setting. I have met few with Marty’s resume that don’t have an ego the size of the current United States debt. Marty has always been about the music buyer and those that possess a concert ticket. That is why he continues to perform several songs he didn’t create. Didi Stewart can fly high on two numbers because Marty Balin doesn’t need to monopolize the spotlight. A band is a team, and Marty leads them to the head of the pack. It was ballads and rockers with Marty and friends performing four from the Jefferson Airplane days - “3/5 Of A Mile In 10 Seconds,” “Somebody To Love,” “White Rabbit,” and “Volunteers.” On board from the Jefferson Starship classic period were “Runaway,” “Count On Me,” and “Miracles”. Marty’s worldwide hit “Hearts” along with the cover of the Bruce Cockburn tune “If I Had A Rocket Launcher” rounded out the odyssey. I look forward to seeing you in the front row. All the best, Craig Fenton Author: Jefferson Airplane 'Take Me To A Circus Tent' Jefferson Starship 'Have You Seen The Stars Tonite' --------------------------------------------------------------------------- PRODUCER'S NOTES: On the 1st anniversary of this June 14, 2008 recording of Marty Balin live in Boston, Woodstock Ventures was gearing up for the 40th Anniversary of the Woodstock Festival, and with Sony/Legacy promoting the release of the complete audio of The Jefferson Airplane recorded at Woodstock on August 17,1969, the timing is perfect for a Marty Balin solo release in this anniversary year. Shannon Settlemyer actually transferred there mastered audio from Real Mastering on August 17, 2009, on the anniversary of the Woodstock show, fourteen months after this concert performance was taped. As Craig Fenton noted, four of the Airplane songs from the Woodstock festival appear on this disc, Marty Balin performing those titles again at the huge Hatch Shell along the Charles River where the Boston Pops perform every 4th of July. This is also where the Arthur Fiedler footbridge provides fans a path over Storrow Drive and onto the great big park where thousands of people gathered for a very special concert with the group America (now a duo) and Marty Balin. The DVD you are holding is a huge labor of love and what has turned out to be a long-term project. You can now hear the heart of the Jefferson Airplane, featuring its founding member, backed up by Elvin Bishop Group and Starship drummer Donnie Baldwin and his long-time guitarist who toured with the KBC Band and Jefferson Starship, Mark "Slick" Aguilar. Keyboardist Gordon G.G. Gebert and bassist Dave Trupia had performed with Marty prior to the event and were essential in helping us get this video together. The DVD also brings a new face to the Jefferson Airplane/Jefferson Starship discography, in the tradition of the great ladies who have performed Grace Slick's two signature tunes. Boston legend Diane "Didi" Stewart teaches at Berklee College of Music and was lead singer of Girls Night Out, one of New England's premiere bands in the 1980s. She saw the Airplane in Central Park and her participation here is a special moment. (Didi and her friend Ellie Marshall of the Modern Lovers were actually scheduled to be on Marty Balin's Better Generation sessions in 1992, a CDI coordinated with Wayne Green, owner of CD Review magazine. To quote an old Sly Stone advertisement "Sixteen Years is not too long to wait".) And another note of importance is that Darby Gould, former singer with Jefferson Starship, is the photographer of the cover picture of Marty Balin! It was my partnership with Rolling Stones producer Jimmy Miller which brought me in touch with Marty Balin in 1986, thanks to a mutual friend, Rob Ward. I had been a huge fan, of course, since my teenage years in the 1970s, and getting to meet Marty was a huge honor back then. Working with him so closely years later continues to be a great honor. Having followed Balin's solo career, KBC (Kantner, Balin & Casady) and his work with the Jefferson Starship concerts in Connecticut, Rhode Island, Boston, Western Massachusetts, West Palm Beach and other regions during the past couple of decades, it is obvious to me that the Jefferson Airplane could not have been launched without Marty Balin. Marty is certainly deserving of iconic stature for being the founding member of the group with the distinction of having played the three major festivals - Monterey, Woodstock and Altamont - and getting their well-deserved induction into the Rock & Roll Hall of Fame. The songs on this DVD are the evidence that it was Marty Balin's vision that helped carry his friends and associates into the history books as part of one of the most influential rock bands of the 60s and beyond. Play the Woodstock DVD next to this disc and you'll have to agree. Thirty nine years after that famous New York festival, the voice and presence of Marty Balin emerges as the key component that brought huge commercial success to the Jefferson Starship and blazed a path with The Jefferson Airplane that gave a platform to Grace Slick and a counter culture mantra for Paul Kantner in the song they composed together, "Volunteers". This DVD is a nice way to celebrate the 40th Anniversary of that major event with miracles, magic and more. Producer/Director Joe Viglione Monday, August 10, 2009 Sunday, June 7, 2009 http://myspace.com/martybalinmiracles --------------------------------------------------------------------------- Special thanks to Gordon G.G. Gebert and Dave Trupia for their help in capturing the moment – running cameras while performing in the band – and to Bergsten Music Company for running the soundboard audio for us. Craig Fenton and Rick Martin must be commended for their tireless documenting of Marty Balin, and to Jason Brabazon who, behind the scenes, helped me tape the Harvard Square interview for my TV show, Visual Radio, in 1995 as with this concert in 2008. Cameras: Joe Viglione, Gordon G.G. Gebert, Dave Trupia, Bill Coyne, Sean Kelly, Alice Brennan, Jason Brabazon Special Thanks to: Joseph M. Cortese, Paula Street, Karen Blake, J.J. Wright, Dale Dorman and our M.C. Mike Finnegan at WODS, Oldies 103.3, Larry "Chachi" Loprete at WZLX 100.7, Harvey Wharfield of WZLX, WCGY, WAAF fame, Howie Cusack at Pretty Polly Productions, the group AMERICA (Gerry Beckley and Dewey Bunnell), Ernie & The Automatics - Ernie Boch Jr., Brian Maes, Tim Archibald, Barry Goudreau and Syb Hashian, Joe Buchwald - Marty Balin Management, Karen Deal Balin, Delaney Balin, Attorney Bruce Colfin of Jacobson & Colfin, P.C. (The Firm), Mike Cabral and the staff at WCAT Winthrop Community Access Television, Amy, George & Stoneham TV, the City of Boston, Keith Lockhart & the Boston Pops for letting us play on their stage, Gary Bockser who was our 8th cameraman (perhaps we'll use the footage in a re-release down the road), the members of Girls Night Out, Hirsh Gardner at Daddy's Junkie Music, Ken Kanavos at Newbury Media, Andy Bergsten at Bergsten Music, Inc., Dave Maxwell, Steve Holley, Greg Tarbox, Anthony Caliendo who were all on standby to help out. Ed Seaman, Clint Weiler, art director Sabrina Koerber and everyone at MVD Entertainment, Shannon Settlemyre at Results Production & Post/ Swirl Films, Rob Fraboni and Marco Centola at Real Mastering, Darby Gould for the cover photo, David Bieber at The Boston Phoenix for editing these liner notes and to all those whose efforts helped make this event so special. Joe Viglione http://myspace.com/martybalinmiracles PO box 2392 Woburn, MA 01888 ------------------------------------------------------------------------ We'd like to thank Dewey Bunnell of America for the quick interview Here's an article by Ben Wener on the "coolness" of AMERICA Thursday, January 11, 2007 America is cool?? Yes, say members of Fountains of Wayne, the Smashing Pumpkins, My Morning Jacket and Nada Surf, all of whom helped America make its best album since the '70s.

Last Updated on Wednesday, 09 September 2009 02:52