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and Clyde) was brought in, and he co-wrote the screenplay with Venable Herndon, elaborating on the song’s story to create a virtual screen biography of the 21-year-old Guthrie. The movie premiered at the New York Film Festival on August 24, 1969, to favorable reviews, earning Penn an Academy Award nomination for Best Director. Alice’s Restaurant the album promptly jumped back into the charts. It was certified gold on September 29 (the same day that Guthrie appeared on the cover of Time magazine) and achieved a new peak in Billboard at number 17 on November 15. Ultimately, it spent a total of 99 weeks in the Billboard chart, and it was certified platinum in 1986. United Artists, the distributor of the film, released a soundtrack album featuring a different, two-part version of “Alice’s Restaurant Massacree” along with instrumental music by Guthrie on its record label in September. Simultaneously, Reprise released Guthrie’s third album, Running Down the Road. Given this glut of product, it is striking that both albums sold fairly well. The soundtrack album had peaked and soon after fell off the charts. Nevertheless, Running Down the Road did not attract as much attention as it deserved. Produced by Lenny Waronker and Van Dyke Parks and featuring such prominent session musicians as James Burton, Ry Cooder, and Clarence White, it was Guthrie’s first album without any comic monologues, and it combined some excellent new originals, including the psychedelic rocker “Coming into Los Angeles” and the tender ballad “Oh, in the Morning” (later covered by McKendree Spring), with covers of old folk and blues standards like Woody Guthrie’s “Oklahoma Hills” and Mississippi John Hurt’s “My Creole Belle.” In October 1969, Guthrie, who had bought a 250-acre farm in Stockbridge, MA, married Alice “Jackie” Hyde, with whom he would have four children: Abraham (Abe), Annie, Sarah Lee, and Cathy. Abe has been a longtime member of his father’s band. Sarah
‘CDs’ cont’d from pg. 12
the Grammy-winning O Brother Where Art Thou soundtrack. Assembling a band of Dylan associates and adherents – Elvis Costello, Jim James of My Morning Jacket, Taylor Goldsmith of Dawes, Marcus Mumford of Mumford & Sons, and Rhiannon Giddens of the Carolina Chocolate Drops – Burnett has not only chosen the right people, he had the good sense to get out of their way. As such, each artist gets to play to their individual strengths. Since none of the lyrics had music set to them – not even a suggestion as to what key they should be played in – they’re as much a true collaboration as were many of the original Basement Tape tracks. Certainly, given the uneven nature of the source material, some
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Lee has also continued the family tradition; along with her husband she has established herself as a noticeable figure in Americana music. Over the next forty plus years Guthrie has maintained a steady schedule of touring and a studio album every two or three years. He has become a seminal figure in music and co-starred in a largely forgotten (but much loved by this writer) 1994 television series (The Byrds Of Paradise, created by Steven Bochco and featuring Timothy Busfield, Bruce Weitz, and then up and comers Jennifer Love Hewitt and Seth Green). In short, his has been an amazing career. A few years ago Guthrie began thinking about the importance of Alice’s Restaurant; aware that the 50th anniversary was approaching he began creating a stage show to mark the event. Those plans were set aside when Guthrie’s wife passed away. He understandably grieved, retreated, and eventually regrouped. And now is the time: Embarking upon a lengthy tour, reaching from late January well into May, booking venues both large and small, with our very own Diana Wortham Theatre among a select few hosting consecutive nights. Guthrie and his band, celebrating his life in music and the legacy of Alice’s Restaurant, will be appearing on February 13 and 14. It’s a rare opportunity to see an artist of such stature in a venue known for its intimacy, great acoustics, and not having a bad seat in the house. This event will likely sell out, making the evening even more special. This is one show I would not hesitate on! IF YOU Two nights with Arlo Guthrie GO and the 50th Anniversary of Alice’s
Restaurant at the Diana Wortham Theatre on Friday and Saturday, February 13 and 14. For ticket information and more details, go to www.dwtheatre.com
tracks work better than others. Beautifully arranged and sung by James, “Nothing To It” captures the spirit of irreverent fare do well that marked the time in which it was conceived, while Costello’s breezy “Married To My Hack” might have been lifted from any of his better albums. But the strongest efforts come from Goldsmith (whose band has toured as Dylan’s handpicked opener) and Giddens. Both strike a difficult balance between their own artistic sensibilities and those of 1967 Dylan in ways that are fresh and respectful. And that’s the real attraction of Lost on the River. It bridges a gap between generations, connecting the past and present with an idiosyncrasy that never takes itself too seriously. In that regards it best honors and celebrates the genius of Bob Dylan. ****1/2
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Drawing inspiration from classic indie rock and fascinated by a variety of atmospheric and dark sounds, the Brooklyn-based band, A Place to Bury Strangers is made up of Oliver Ackermann, Jay Space, and Jono Mofo.
BY JAMES
CASSARA
Forming out of the ashes of the likeminded Skywave, the band has moved into a darker, slightly heavier, and more experimental approach than had its previous incarnation. The three friends initially joined forces in 2006, recording and playing gigs with fellow Brooklyn bands Read Yellow, Bravo Silva, the Funeral Crashers, and the Brian Jonestown Massacre. Their 2007 self-titled debut album (Killer Pimp Records) gave hints to their A Place To Bury Strangers plays a heavy, atmospheric sonic assault; 2009’s Exploding Head wall of sound-influenced blend of psychedelic rock, (Mute Records) found the three honing shoegaze and space rock. their song craft while building on their commitment to beautiful noise. for so long it is just amazing to look back on With the 2012 EP Onwards to the Wall, it all. Sometimes I just want to shake people the band moved in a darker, louder direction for feeling useless; there are so many potential reminiscent of their early releases. By the time and amazing things going on all around. Help of 2012’s Worship, the band had trimmed make something great for us all to enjoy.” down to the duo of Ackerman and bassist As the band ventures forth on its longest Dion Lunadon, who recorded and produced tour yet, they are clearly ready to make their the album themselves. The two have just mark. Part of that tour includes a Saturday, released Transfixiation on the Dead Oceans laFebruary 21 stop in Asheville at the New bel. After one listen (look for an online review Mountain Theatre. Other bands on the bill later this month) I can attest to its being an include local favorites the Shine Brothers and outburst of sounds, drawing from the band’s Alligator Indian. past while moving in a new direction. “We’ve Come So Far” captures A Place to Bury Strangers’ sense of raw energy; guitarIF ist Ackermann says of the song, “The lyrics YOU A Place to Bury Strangers at the New GO Mountain Theatre located at 38 N. wrote themselves. The meaning is absolute French Broad Road downtown. Doors truth. Life is super intense and f*ck*d up so open at 9 p.m. for this 10 p.m. show, limited to even accomplishing anything is a huge feat. 18 and over with tickets priced at $10 in advance We should all be proud of that. When we and $12 day of show. have worked extremely hard for something
The Rolling Stones
From The Vault: Hamilton Coliseum (Live In 1981)
EAGLE VISION DVD
As the 1980s rolled in The Stones were at a curious time in the band’s history. Ron Wood was now firmly ensconced as a full member; the shows were getting more extravagant, the band was never tighter, but somehow the spark had faded. Some Girls, their triumphant return to making great albums was now three years behind them and, depending on which leg of the tour you heard, Tattoo You had yet to be released.
It’s into this curious mix of the old and new that Hamilton Coliseum falls, a crossroads between the Stones as still vital band and tottering towards yet another oldies act. There’s no shortage of new material and while Ronnie Wood was still getting his feet wet as a permanent band member the inclusion of Stones stalwarts Ian McLagan and Bobby Keys (both of whom have passed away in the last few months) only adds to the fun. The remote recording is first rate and for the most part the Stones never lose their swagger and swirl. The bonus DVD might be a toss in – shot with only three cameras and not a bit of artistic flair – but the behind the scenes glimpses of life as a Stone help compensate. ****
Vol. 18, No. 6 — RAPID RIVER ARTS & CULTURE MAGAZINE — February 2015 17