{"id":112,"date":"2011-11-23T10:03:33","date_gmt":"2011-11-23T18:03:33","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=112"},"modified":"2012-02-28T20:41:31","modified_gmt":"2012-02-29T04:41:31","slug":"gbu-2004-07","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=112","title":{"rendered":"GBU – 2004 – 07"},"content":{"rendered":"

Chris Newman<\/a><\/strong><\/h2>\n

\"\"<\/p>\n

Tarp Town Years
\n<\/em><\/strong>Flying Heart Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

We\u2019ve seen their mug shots on TV or in the newspapers- guys such as Nick Nolte or Glen Campbell, who are taken into custody by law enforcement officials- looking for all the world like haggardly grizzled denizens of the street. It is a shocking realization to see these great men in such deplorable condition.<\/p>\n

The cover of this album pretty much says it all. A photo of an obviously destitute individual, sitting at a freeway viaduct or on-ramp, perhaps at the exit of a parking structure. He is huddled over, somewhat defensively, with a stub of cigarette stuffed between\u00a0 his lips; seemingly hiding behind a neatly lettered sign: \u201cPlease. Down On My Luck,\u201d (with a picture of a smiley face drawn next to the line). \u201cPlease Help,\u201d (underlined). \u201cGod Bless,\u201d (with the note \u2018Go Giants\u2019 penned in, at the side). Pitiably, the guy is holding the sign upside down.<\/p>\n

Hey wait a minute! That guy in the picture looks like Chris Newman- or more accurately, it looks like Chris Newman\u2019s griseous old uncle, or something. Nope. It is Chris Newman. Unfortunately.<\/p>\n

The rumors had been circulating for the past several years that Chris Newman had gone down the tubes. Chris Newman. The guy whose guitar playing revolutionized the craft. The guy who was looked upon (locally, at the very least) as a guitar god; whose band Napalm Beach (and it\u2019s pot-infested alter ego, Sno-Bud & The Flower People) was one of the very first to create the sound in rock music that was to later become known as Grunge. Chris Newman was a legend in Portland, starting in the late \u201870s and all through the \u201890s.<\/p>\n

But Chris had been sliding down the descending spiral of heroin abuse for quite a long time. He and his wife Valerie were known to be living in Forest Park in the late \u201890s, before moving to San Francisco- where there was a somewhat better climate in which to live on the street. Music for Chris was like a pair of eyes in a departing rear-view mirror, moving farther and farther into the distance.<\/p>\n

But, finally, it was Valerie who chose to break the cycle that could, ultimately, lead only to the deaths of her and Chris. Instead she left him. Her leaving seemed to be the wake-up call that Chris needed. Shaking off the cobwebs, he made his way back to Portland (where he had burned a lot of bridges, before splitting to San Francisco), to getting clean and to coming clean. With the help of long time friend, producer, label owner and all-around good guy, Jan Celt, Chris began to piece his musical life back together; recruiting his longtime drummer Sam Henry back into the fold as his rhythmic foundation. Chris Newman and company began performing again in Portland in the Spring of 2004, about the time this album was recorded.<\/p>\n

This album is the harrowing diary of Chris Newman\u2019s traversal upon the lake of fire- his plunge into hell, his triumph over his demons, his redemption and salvation. This is not a pretty album. It is not humorous. It is as brutal and uncompromising a vision as that of Hubert Selby in his groundbreaking novel \u201cLast Exit To Brooklyn,\u201d published in 1964. There are times on this album where Chris sounds as if he is channeling William Burroughs or Charles Bukowski (or Bad George).<\/p>\n

His voice isn\u2019t always as big as it used to be. From the slightly slurred vocals, it sounds as if he may be missing some of his front teeth. But the power and pathos which always found expression in Chris\u2019 music is still at the forefront of his presentation. Just as with any car wreck, one simply cannot look away. It\u2019s not a pretty picture, but it is at all times compellingly seductive.<\/p>\n

And this album isn\u2019t about being pretty anyway. It is about being honest. It is about being real. And the result is a visceral sucker punch. A stream of mace, straight into the face. It is life, stripped-down and raw, splayed open beneath a bare 60-watt bulb. Survival, with a bloody spike in one\u2019s hand. It is a clear act of bravery (and a true testament to his recovery) that Chris Newman has released this album at all. He pulls no punches with himself nor his situation. He confronts his life head-on, with no illusions, no fallacies, no salve for a pained conscience.<\/p>\n

The first of fourteen songs, \u201cYour Baby\u2019s Gone\u201d succinctly and forthrightly delineates Chris\u2019 living and life situations. With a raspy voice, Chris recites the lyrics over a fast walking bassline (Chris plays bass, some keys, as well as all the guitars throughout this project). \u201cHey! What happened? A lot of shit\u2019s gone down\/It\u2019s all kind of a blur\/We were run out of town\/We walked all over our friends and family\/No one wanted us around\/Low handed, deceptive thieves\/We were Hell bound.\u201d<\/p>\n

Instrumentally, Chris lays down a horn-like chart with slide guitar phrasings in the breaks and choruses, creating a smoky, laid-back\u00a0 swing ambiance, reminiscent of Jesus Presley\u2019s \u201cBaby Can I Change Your Mind.\u201d The lyric continues its narrative- to a familiar denouement. \u201cAfter the band toured Europe\/She moved in up north with me\/We took our town by storm\/We went too far, so typical of me\/We had a passion that began to destroy us\/We wronged so many, some chose to ignore us\/Kicked out of all our favorite hang-outs\/Busted, jailed, untrusted, no bail\/We split before Christmas 1998\/Back to the Mission in San Francisco\/Homeless for three years together\/So full of self-hate\/ Still alive, but our souls almost died\/Me huddled under a tarp\/Waiting for my soiled little bride.\u201d<\/p>\n

\u201c3:00 A.M.\u201d features some soulful, Spanish-inflected guitar work, while picking up a lyrical thread woven in the previous song. \u201cDumpster Divin\u2019 Diva\u201d mirrors Leslie West\u2019s 1970 hit \u201cMississippi Queen\u201d with the band Mountain- a heavy, chord driven strut, with Chris\u2019 brash vocals slashing across Henry\u2019s hard-hitting beat. Classic Chris Newman material. \u201cDevil In A Spoon\u201d is a haunting conflagration, with a droning, backwards guitar m\u00e9lange at it\u2019s heart. Ethereally dazed. \u201cTrust My Eyes\u201d is a direct expression of steadfast resolve and frank introspection.<\/p>\n

Another solid rocker, \u201cLost In the Movie,\u201d soars majestically, over a driving keyboard chord-progression and careening wheels of\u00a0 guitar filigree. Guest Mary Sue Tobin\u2019s buttery sax cuts through the inspiring chorus of \u201cSleep.\u201d \u201cI can sleep again, my conscience is clearing\/Golden slumber\/ My destiny\u2019s nearing.\u201d Chris has never sung with more passion or power. A declaration of confidence and strength in the midst of a maelstrom. A swirling waltz, \u201cStar 69\u201d blows like a ghostly wind shivering over a desolate musical landscape; sounding like the Mahivishnu Orchestra circa \u201cInner Mounting Flame.\u201d<\/p>\n

A smoldering guitar solo, drives \u201cThings Better Left Unsaid.\u201d Chris\u2019 spoken vocal creaks and croaks above a snarling, Hendrix-drenched guitar figure. Tobin\u2018s sax flies freely in space \u201cGod Is Real\u201d is a sincere hymn, from one who knows the force of deliverance found in true faith. Henry lays out a tom heavy beat on \u201c1300 Miles In Her Bare Feet\u201d before the chorus slows to Ozzy-flavored sludge. Chunky rhythm guitars play against endlessly sustained moaning tones. \u201cEternally Grateful\u201d is a high-stepping talking blues with unrefined grit and unbridled intensity. A lovely acoustic reprise of \u201cDevil In A Spoon\u201d hammers home the message of\u00a0 this eloquent paean to the abject destitution and liberation, a soul can undergo in the course of a lifetime.<\/p>\n

Not many people are as resilient or as courageous as Chris Newman. His odyssey is similar to the journey many people endure through the course of addiction. Chris is more fortunate than most. He is still alive to tell the tale. And we are fortunate to still have him here among us. For, his disquieting insights and alarming ruminations offer so much to anyone willing to listen to him. A brilliant, and brutally truthful piece of work.<\/p>\n

Little Sue<\/a><\/strong><\/span><\/p>\n

\"\"<\/p>\n

Shine
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

It\u2019s been about a year and a half since we last saw a solo release from Susannah \u201cLittle Sue\u201d Weaver. That album, \u201cThe Long Goodbye\u201d inspected the parameters of a disintegrating relationship. This time out, for her fourth solo album,\u00a0 Sue\u2019s perspective seems more even-handed, less despairing (though certainly less than \u201cjoyful\u201d ), more astute. With this album, there is a sense of maturity- both in Sue\u2019s erudite songwriting, as well as in the actual sound of her voice. In the past, her voice resembled that of a little girl, with a certain reedy quality entering into her delivery, ala Nanci Griffith, perhaps. Here, her voice, while retaining that reediness and a bit of the girlishness, sounds lower in timbre, often reminiscent of Mary McCaslin, a somewhat obscure folkie whose best albums were released in the mid \u201870s.<\/p>\n

Here, as with her last release, itinerant drummer\/producer, wunderkind Ezra Holbrook is along for the ride. For this outing she has also brought on board expert guitarist Lewi Longmire (whom, along with Holbrook, contributed keys to various cuts) and bassist Tom Nunes (whom, along with Holbrook, also contributes background vocals on most tracks). The arrangements are simple, remaining true to Sue\u2019s uncomplicated vocal and writing style; but are expertly rendered- subtly fleshing out the nuances in Sue\u2019s easy delivery.<\/p>\n

Leading off the ten-song set is \u201cDrunk,\u201d a confessional number, with a sobering chorus: \u201cBecause giving up on someone else is like\/ giving up on your self\/It\u2019s like giving up on part of yourself.\u201d Longmire\u2019s smoldering solo in the middle adds to the quietly robust production. An upright\u00a0 piano, whose tone seems lifted directly from Neil Young\u2019s\u00a0After The Gold Rush<\/em>\u00a0sessions, resonates against Nunes\u2019 luxuriantly elastic basslines throughout \u201cDiamond Mine,\u201d where Sue presents a delicately memorable, somewhat jazzy vocal melody into the mix.<\/p>\n

Pretty, Eagles-like vocal harmonies decorate the gentle ballad \u201cIn Spite Of Everything,\u201d as Sue dips deep into her most child-like of\u00a0 performances. Holbrook\u2019s Indian drums add a rubbery bounce to the folksy twang of Sue\u2019s downhome vocal on \u201cMonkeyshine,\u201d while a bubbly electric piano mingles with her acoustic guitar to form a shimmering sheen upon the surface of the track. A Beatles-esque essence informs the vocal melody of the title tune, \u201cShine,\u201d a lovely little song, with a warm, fuzzy core. \u201cBittermind\u201d sort of sounds like a few of the other songs found here.<\/p>\n

\u201cHappy Picture\u201d is really anything but. A poignant, minor-key melody (that would fall right into place with the McCaslin canon), with a withering chorus, provides the foundation for her plaintive melic : \u201cWait for me, please\/Save me from myself\/Keep a happy picture of me\/Even though I look like someone else\/She was once a friend of mine\/When she was looking out for my health\/Now that happy picture is gone from the shelf.\u201d A moody love song, \u201cHow Could You Know?\u201d asks questions with the sort of circular logic that can tear at one\u2019s psyche for an entire lifetime- \u201cHow could you know\/It was so long ago\/It just goes to show\/That what I saw in you\/Was always in me too\/and finally we get to see\/Who we always wanted to be\/Was who we always were\/Now you and I can be sure\/That it\u2019s hope that makes us grow\/And that\u2019s how you\u2019ll know.\u201d<\/p>\n

Again, Sue relies on a IV- IVm- I chord-progression as a device to create a mood in her melody for \u201cSweet & Tender,\u201d most reminiscent of the middle section of Paul McCartney\u2019s \u201cI\u2019ll Follow The Sun\u201d with the Beatles, as well as Michael Nesmith\u2019s post-Monkees hit \u201cJoanne.\u201d This, coupled with her propensity to invoke the old I- III7 gambit, lend many of Sue\u2019s songs a certain old-timey sameness- at least in this incarnation. However, the final song of the set, \u201cHurricaine,\u201d is an exception- with a feel closer to that of (perhaps an Americanized, country-twang version of) the Sundays\u2019 Harriet Wheeler. A piquant piano motif adds to the grum mood.<\/p>\n

Cheery she is not, but Little Sue Weaver strikes a chord and stays with it throughout this album. Her talents are formidable, even as her angst is plainly palpable. Save for the lazy insistence upon those particular melodic\/chordal clich\u00e9s, she writes mostly concise songs whose subject matters never stray very far from the predictability of her neuroses. But she is extremely adept at voicing those feelings and fears, and for that, her music always retains an intimacy that is as intense as it is hopeless.<\/p>\n

Misty River<\/a><\/strong><\/span><\/p>\n

\"\"<\/a><\/strong><\/h2>\n

Willow
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Misty River\u2019s third release finds the talented quartet fleshing out the more muscular aspects of their presentation- which include an inclination for tight three and four-part vocal harmonies and a proclivity for well-executed ensemble musicianship. While the group are highly unlikely to \u201ckick out the jams\u201d any time soon, their insistent displays of unity and esprit de coeur dispel any notions of\u00a0 mutiny in the ranks.<\/p>\n

Their music is \u201ctasteful.\u201d It is not likely to offend anyone\u2019s ears. While, for some, that may be the musical kiss of death; many people will appreciate their gentle stylings of traditional folk music; their fine renditions of other peoples\u2019 songs, as well as their own compositions- all ubiquitously grouped under the innocuous banner: \u201cAmericana\u201d – whatever the heck\u00a0that\u00a0is (other than a radio \u201cformat\u201d)! But those are the group\u2019s chief features.<\/p>\n

Well, those and the fact that rhythm guitarist and banjo\/mandolin player Carol Harley and bassist\u00a0 Laura Quigley are mother and daughter. Hailing from Eugene, also the home of\u00a0 accordionist\/guitarist\/pianist Dana Abel, Harley and Quigley have been musicians all their lives. Joined by fiddler\/guitarist\/mandolinist Chris Kokesh, the quartet of women have been together since they first banded to play an open-mic in 1997. In the ensuing seven years, the four have tightened their focus, concentrating on their vocalizations and the staging of their instrumental presentations.<\/p>\n

The first four of the fourteen songs presented here are cover versions of works written by contemporary songwriters, beginning with Misty River\u2019s interpretation of Kate Wolf\u2019s \u201cGreen Eyes.\u201d Wolf, who was one of the pioneers of the \u201cnew\u201d folk movement in the early \u201870s in Northern California, dying of leukemia in 1986 (the same year our own Billy Rancher died of lymphoma); leaving behind a legacy of finally crafted folk songs. \u201cGreen eyes\u201d calls to mind Jackson Browne\u2019s \u201cSong For Adam\u201d in its lyrical imagery of a candle and its intuitive mood; and Joan Baez\u2019 \u201cDiamonds And Rust,\u201d for its melodicity. Misty River\u2019s version of the song is reverent and winsome, with Kokesh in the lead vocal role and Quigley and Abel providing the beatific backing harmonies. Nice solos from Kokesh on violin and Abel on accordion, add to the delicate nature of the song. Pretty.<\/p>\n

A hint of world music instrumentation (Indian percussion and shakuhachi flute) complements Harley\u2019s banjo drone on Dave Carter\u2019s beautifully heroic ballad \u201cWhen I Go\u201d (the title track from Carter\u2019s first album with Tracy Grammar), a song which seems to prophetically envisage the author\u2019s own untimely demise. The Misty River women lend the song an angelic choir of heavenly voices, while adeptly capturing the magnificent spirit of the song. Very nice.<\/p>\n

\u201cKathy\u2019s Song\u201d an early entry into the Paul Simon canon, is given a faithful treatment, enhanced greatly by Quiqley\u2019s bowed bass and Kokesh\u2019s violin, creating a mini string section in the backing. Quigley\u2019s lead vocal is well-hewn and Abel and Kokesh\u2019s backing vocals, singing in rounds, are also a very nice touch. The gals\u2019 take on \u201cHomegrown Tomatoes,\u201d a nugget from Guy Clark (whom, along with Jerry Jeff Walker and Townes Van Zandt, was at the vanguard of the burgeoning country-rock scene that erupted out of Austin, Texas in the late \u201860s; a scene still thriving to this day) is as light as the subject matter.<\/p>\n

\u201cThe Cuckoo,\u201d \u201cShady Grove\u201d and \u201cThese Are My Mountains,\u201d form a three-song suite of traditional compositions in the middle of the set. Harley\u2019s unusual \u201cclaw hammer\u201d style of plucking the banjo strings are the highlight of \u201cThe Cuckoo\u201d (a song first brought to light by American music archivist Jean Ritchie), with Harley substituting her unique banjo technique for a similar approach Ritchie incorporated with a dulcimer. Close female vocal harmonies straight out of\u00a0\u00a0O, Brother Where Art Thou\u00a0<\/em>embroider their lively reading of the chestnut \u201cShady Grove\u201d (another song from the Jean Ritchie songbook). \u201cThese Are My Mountains\u201d is not really Americana at all, but is based on a traditional Scottish folk song. Still, the four musicians give the song an unique treatment- with guest Dave Reischman\u2019s chortling mandolin ringing through the mix.<\/p>\n

Five of the final seven songs on the album are Misty River originals, with Kokesh penning three of the five. For \u201cBox Of Lace,\u201d Chris picks up the acoustic guitar, in addition to her fiddle, as accompaniment for a tender ballad, and probably a true story: \u201cThere\u2019s a handful of heart \/A heart full of faith \/A flicker of hope\/ And a moment of grace\/ There\u2019s a gentle word \/A warm embrace \/And buckets of love\/ In this box of lace.\u201d<\/p>\n

\u201cThis Town\u201d is another Kokesh original, a slow dry, dusty, country-inflected number with a sentiment reminiscent of Ian Tyson and Sylvia Fricker\u2019s \u201cSomeday Soon,\u201c as Ian & Sylvia (Judy Collins had a hit with the song in the late \u201960s. Fricker also wrote \u201cYou Were On My Mind,\u201d which became a hit for the band We Five in 1965). The title track, \u201cWillow,\u201d the other Kokesh original, has a distinctive Irish brogue about it, evoking \u201cMy Lagen Love\u201d and a host of other old ballads; with the addition of authentic tin whistles and uilleann pipes provided by Hans Araki and Tom Creegan, respectively.<\/p>\n

Carol Harley picks up the mandolin on her composition, the seductive instrumental \u201cTammany Hall.\u201d In a \u00be time tango, the piece saunters and slithers like a snake in a pulpit for the first minute, before launching into a more up tempo jam. Dana Abel turns to the piano to accompany her peaceful ballad, \u201cBaird\u2019s Lullaby,\u201d a choice which greatly alters the musical landscape of the album (it somehow seems quite unlike the other songs). Still, if there is a market for children\u2019s lullabies- and if I know the business at all, I can guarantee you there IS a market for contemporary children\u2019s lullabies, this song is sure to sell a ton to young mothers all over God\u2019s creation.<\/p>\n

It\u2019s obvious that the members of Misty River love music, and especially love performing it. Their music is easily heard- like a massage for the ears. There are no harsh tones nor callous words. Whatever one might wish to call the type of music they do, Misty River do it very well.<\/p>\n","protected":false},"excerpt":{"rendered":"

Chris Newman Tarp Town Years Flying Heart Records BUY We\u2019ve seen their mug shots on TV or in the newspapers- guys such as Nick Nolte or Glen Campbell, who are taken into custody by law enforcement officials- looking for all … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":46,"menu_order":4,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2004 - 07 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/spclarke.com\/?page_id=112\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2004 - 07 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Chris Newman Tarp Town Years Flying Heart Records BUY We\u2019ve seen their mug shots on TV or in the newspapers- guys such as Nick Nolte or Glen Campbell, who are taken into custody by law enforcement officials- looking for all … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/spclarke.com\/?page_id=112\" \/>\n<meta property=\"og:site_name\" content=\"spclarke.com\" \/>\n<meta property=\"article:modified_time\" content=\"2012-02-29T04:41:31+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.twolouiesmagazine.com\/wp-content\/uploads\/2011\/11\/chris_newman-tarp_town-150x150.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/spclarke.com\/?page_id=112\",\"url\":\"http:\/\/spclarke.com\/?page_id=112\",\"name\":\"GBU - 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