Tag Archives: Bob Dylan

But Love Grows Old & Waxes Cold

Yesterday I purchased the new Witmark Demos number nine in Bob Dylan’s Bootleg Series. Among the many gems found on The Witmark Demos are 15 Bob Dylan songs that were recorded by the artist only for these sessions, and which have never been officially released to the public until now. These include the plaintive“Ballad For A Friend,” the civil rights era-inspired “Long Ago, Far Away” and “The Death Of Emmett Till,” and the poignant “Guess I’m Doing Fine.” It really is remarkable. It’s basically Dylan in a studio with his guitar. Much like his album The Freewheelin’ Bob Dylan it rings true to the essence of what Dylan sought out to be in the beginning.

On this Bootleg Friday, however, I’m sharing the Satisfied Mind Bootleg of Bob Dylan’s Nov. 11, 1975 concert at the Palace in Waterbury, Connecticut. Nothing like a little Bob for the weekend.


Bob Dylan – Satisfied Mind

A Hard Rain’s A Gonna Fall

Romance in Durango


Blowin’ In the Wind

The Water is Wide

I Dreamed I Saw St. Augustine

Never Let Me Go

I Shall Be Released

Simple Twist of Fate

Oh Sister


One More Cup of Coffee


Just Like a Woman

Knockin’ On Heaven’s Door

This Land is Your Land






We Have A Way Of Saving In Our Own Lives

As far as super groups go there hasn’t been a truly great one since the Traveling Wilbury’s in my opinion. Monsters of Folk are more like Monsters of mediocrity & the Dead Weather again are just ok, but Fistful of Mercy is one supergroup that may be bucking the trend of average super groups. With Joseph Arthur, Ben Harper & Dhani Harrison this “Super group” has some heavy hitters backing it. Dhani Harrison is  the son of George Harrison & looks/sounds so much like his father it’s eerie. I don’t have much info on Joseph Arthur & truthfully I’ve never heard of him, but his voice is pretty great & melds well with Harrison’s & Harper’s. The Traveling Wilbury’s comparison is an easy one to make considering George was in that band & his son is in this one.

I’ll let you draw the correlation between the two yourself, but suffice it to say i am impressed & can’t wait to see them live when they come up to SF.

Anything You Want – Traveling Wilbury’s

Fistful of Mercy – Fistful of Mercy

Handle Me With Care – Traveling Wilbury’s

Things Go Round – Fistful of Mercy

Last Night – Traveling Wilbury’s

The Papers Want To Know Who’s Shirt You Wear

I meant to write about this on Friday, then over the weekend, but I just got so bogged down in my own head, which I am wont to do, that it didn’t happen. Writing is almost like physical exercise to me & I know that comes off as perhaps hyperbolic, but it’s true. It’s a huge exercise for my brain which I try not to use in real life & for my first 33 1/2 years it’s been pretty evident. Anyway, on January 8th, David Bowie celebrated his 63rd Birthday & Elvis Presley would’ve celebrated his 75th.

At first glance the thought is that Elvis is perhaps the greatest Rock N’ Roll star in history, but again we come to that old argument is Elvis a talented musician or a terrific entertainer? David Bowie is an innovator best known for his alter-ego turn in the ’70’s as Ziggy Stardust & his glam-rock androgyny. Though, much like Elvis this may be just a way for the masses to label something they don’t understand.

We’ll first tackle the Elvis questions. Elvis was a supremely talented vocalist & entertainer. He was the first Rock N’ Roll musician that was marketable to the world. Good looking, affable, a great dancer & a white man with a black voice. Elvis had it all. He took what Frank Sinatra had to the next level & became a veritable Rock N’ Roll crooner. Elvis, though, never wrote his own songs, rarely played an instrument & let’s not even talk about the Fat Elvis days. He was by all accounts the Michael Jackson of his day (Michael Jackson wrote his own songs though), which is not to say that he was not talented or a star, just as far as musicianship he was a pop star, a Justin Timberlake. A guy that could sing, dance & act (King Creole is a remarkably good movie, as is Jailhouse Rock). He was an icon like MJ that became a bit of a freakshow in his later years, much like MJ.

David Bowie created or at least popularized Glam Rock, but if you look at his body of work it’s just as impressive in the annals of music history as Elvis Presley’s. I dare you to listen to Hunky Dory & not walk away thinking it is one of the greatest albums ever. It’s brilliant & may not even be his best album as Ziggy Stardust is perfect. From 1968-1972 David Bowie put out some of the best music the world has ever heard. Then he decided to reinvent himself. Much like Elvis, he could have stayed the same, still been great & no one would’ve thought twice. He didn’t, he ventured out & saw what else he could do. He made some records with an R&B flavor, a cover album & some disco stuff & it wasn’t all great, but he took chances.

The point is not that these artists are diametrically opposite, because they are quite similar in many ways. What it comes down to, for me, is that David Bowie took more chances than Elvis did. He took his music places that were years ahead of his time. Later in life when Elvis turned into a fat caricature of himself David Bowie was duetting with Trent Reznor on Soundtracks & still reinventing himself to a newer, younger audience.  Many will say Elvis had no choice, he was pigeonholed by an adoring public. Bullshit. The Beatles & Bob Dylan could’ve cared less what people thought when they decided to change their respective sounds & they didn’t take a 2 year break to serve inthe Army.

Musicians  progress, mature, evolve. Entertainers stick with what their fans want, with what makes them money & with what keeps them marketable. Elvis Presley was a corporation unto himself, a marketing machine that transcended music. David Bowie is a musician, that entertains, but his musical evolutions are not predicated on whether or not you like him. You are merely happenstance, an afterthought to what he feels is his greater goal…satisfying himself musically. That’s why, musically, David Bowie is far superior to Elvis Presley.

Elvis Presley – That’s All Right

David Bowie (Live at the BBC) – Space Oddity

Elvis Presley – Blue Moon

David Bowie (Live at the BBC) – Queen Bitch

Elvis Presley – Mystery Train

David Bowie – Life on Mars

Rode In On a Sea Of Disaster, Rode Out On A Main Line Rail

I get in musical ruts on occasion. I get preoccupied with an artist or artists & during these ruts nothing else sounds good. It’s part of my symptomatic musical OCD. Lately it’s been Bob Dylan & Joan Baez. I’ve gone on & on about Dylan ad nauseum on this blog. It’s no secret that I idolize the man’s music, it’s some of the most significant music of the last 50 years. Joan Baez can attest to this as she is often referred to as the “female Bob Dylan”. It is this point that I have chosen to take issue with. I like Joan Baez, I think she’s extremely talented with a great voice.

However, she is not the “female Bob Dylan”. What she may very well be is a Bob Dylan cover artist, but her own work does not stand up as significant in any sense of the word. That’s not to say she wasn’t a good songwriter. “In the Quiet Morning” about Janis Joplin is the best song she ever wrote & it’s her at her best. So this is not an Anti-Joan Baez piece. My point is merely to say that Joan Baez would not have made the in-rows she did make without covering half of Bob Dylan’s catalog & in doing this she not only gained a wider audience, but also pigeonholed herself into near cover artist status.

Many artists covered Dylan in the ’60’s: Hendrix, The Byrds, Richie Havens. The thing is they also had their own hits before going that route. Joan Baez covered Dylan so much & so often that Dylan himself commented on his relationship with Baez in Blonde on Blonde’s, “4th Time Around” when he sang “I never asked for your crutch / Now don’t ask for mine.”. Commenting on how when he was first starting out he did not ask for her help when she was an established folk star & he was emerging as the voice of a generation. Piggy backing onto someone else’s vision is rarely admirable, but always opportunistic.

Perhaps, it was meant as an homage to a once in a lifetime writer, but at what point does one’s own vision come forth & the homage end? I guess that’s the eternal question. Elvis & Sinatra never wrote their own music either, but again they never claimed to be anything other than that what they were, entertainers. Joan Baez entertains, but is not an entertainer. She is an activist, she seeks change with her art, but this belies another problem. How can one be an activist if their whole persona is built upon someone else’s work? It can’t, can it? I mean isn’t the whole point of being an activist to bring about change? Can change be achieved if you’re recycling old ideas? If the goal is to make the world a better place, then bastardizing someone else’s vision & making it your own is not a good start.

This is not a treatise on my dislike of cover songs. As I’ve said I’m a fan of cover songs & for the most part I enjoy Baez’ covers of Dylan’s music. I just feel it has an air of disingenuousness to it. I’ve railed against the use of the “sell-out” label, but if there ever was a case for someone selling out, it is Joan Baez. To go out on stage & claim to be anything but a performance artist is duping those that pay to see you for the sake of staying relevant. Joan Baez is a talented vocalist, but in terms of relevancy to the legacy of folk music she is little more than an afterthought.

UPDATE: As some readers have called me out on it was not Joan Baez that wrote “In the Quiet Morning” it was her sister Mimi Farina. Thanks for the heads up & I apologize for my lack of research.

North Country Blues – Joan Baez

In The Quiet Morning – Joan Baez

You Ain’t Goin’ Nowhere – Joan Baez

4th Time Around – Bob Dylan

The One Big Soul That Belongs To Everybody

Bob Dylan once wrote a song to Woody Guthrie (A Song to Woody was the official title) while Guthrie, increasingly unable to control his muscle movements due to Huntington’s Disease, was hospitalized at Greystone Park Psychiatric Hospital. It’s addressed to Woody, but also meant for all the old folk singers that were losing touch with the new modern world. A world that was increasingly forgetting about them. Woody Guthrie sung of the Depression mainly the Dust Bowl Refugees that had come to California seeking work only to be turned away.

I’ve referred to what I think is the greatest novel ever written many times on this blog recently, The Grapes of Wrath & how it correlates with today’s new economic climate. I don’t have a cable television, mainly because I have an addictive personality & I would indeed watch all the time, but I do keep up with the news voraciously & I love to read. Today, people are no longer coming to California for work, they are leaving.

There are so many scapegoats that it would take weeks to list them on this blog, so I won’t go into huge detail about all. However, there is one main culprit I have in my sites today & that is Unemployment. This is one of the worst, most unconscionable Government Organizations around.  While in theory it is there to help people, it is run by people who’s main goal is not to help you find work, not to help you while you are unemployed but to find ways not to pay you. I have witnessed this first hand with many members of my family.

It is corrupt & even though this is hyperbolic & slightly biased, evil. They interview people over the phone to see if they are eligible first off, but their line of questioning & tone is, more often than not, accusatory & on the blaming you side. Meaning you lose your job, they question why you wouldn’t do everything to keep it up to & including grabbing your ankles. It is not their goal or desire to help those that desperately want to work. They seek not to help get you work with their CALJOBS site (which is an absolute joke). What they seek is reason to delay, deny & discourage those that can’t find work.

I am not speaking of those that consider being unemployed, funemployed. People who sponge off the system or defraud it are deplorable. No, I speak of the needy in this state that need a sympathetic ear when times are tough. Whatever happened to courtesy? What happened to core ideals like caring for your fellow man? Where did we go wrong as a people that simple compassion & understanding have gone the way of the dodo only to be replaced by apathy & outright disdain?

Have we really gone so far as to becoming a country where the haves seek to eliminate the have-nots? It is a telling example that the unemployment is understaffed & now open on Saturdays to help with the utter saturation of calls they receive. Are they cycling people from the DMV into the Unemployment offices now? I am not complaining for the sake of complaining I want change. Our Governor checked out a long time ago. When you elect Rich Men who could care less about poor people this is what you get.

I watched parts of the “Jobs Summit” that the President held the other day with Corporate execs & I heard a recurring theme especially from Disney Chairman Robert Iger & that was reduce the Corporate tax. For what? They won’t employ more people, they’ll just line their own pockets. The economic system is so inherently flawed that it is destined to reoccur in the not too distant future. The people that are trying to help aren’t listened to or labeled as crazy & the people that shit on the poor are regarded as heroes. We are in serious need of our Tom Joad. Someone who will fight for the cause of the poor. Perhaps, The Grapes of Wrath was a call to socialism as many have intimated. If true then so be it, the system we have now is no longer working.

Tom Joad: I been thinking about us, too, about our people living like pigs and good rich land layin’ fallow. Or maybe one guy with a million acres and a hundred thousand farmers starvin’. And I been wonderin’ if all our folks got together and yelled…
Ma Joad: Oh, Tommy, they’d drag you out and cut you down just like they done to Casy.
Tom Joad: They’d drag me anyways. Sooner or later they’d get me for one thing if not for another. Until then…
Ma Joad: Tommy, you’re not aimin’ to kill nobody.
Tom Joad: No, Ma, not that. That ain’t it. It’s just, well as long as I’m an outlaw anyways… maybe I can do somethin’… maybe I can just find out somethin’, just scrounge around and maybe find out what it is that’s wrong and see if they ain’t somethin’ that can be done about it. I ain’t thought it out all clear, Ma. I can’t. I don’t know enough.
Ma Joad: How am I gonna know about ya, Tommy? Why they could kill ya and I’d never know. They could hurt ya. How am I gonna know?
Tom Joad: Well, maybe it’s like Casy says. A fellow ain’t got a soul of his own, just little piece of a big soul, the one big soul that belongs to everybody, then…
Ma Joad: Then what, Tom?
Tom Joad: Then it don’t matter. I’ll be all around in the dark – I’ll be everywhere. Wherever you can look – wherever there’s a fight, so hungry people can eat, I’ll be there. Wherever there’s a cop beatin’ up a guy, I’ll be there. I’ll be in the way guys yell when they’re mad. I’ll be in the way kids laugh when they’re hungry and they know supper’s ready, and when the people are eatin’ the stuff they raise and livin’ in the houses they build – I’ll be there, too.
Ma Joad: I don’t understand it, Tom.
Tom Joad: Me, neither, Ma, but – just somethin’ I been thinkin’ about.

Ghost of Tom Joad – Bruce Springsteen

Song to Woody – Bob Dylan

The Bourgeois Blues – Lead Belly

Head Full of Doubt/Road Full of Promise – The Avett Brothers

Top 15 Cover Songs of the Decade

It’s come to that time of the year/decade where innumerable lists will come out touting writer’s knowledge of music by saying what the best album, songs or artists of the decade/year are. Some are interesting reads, others are banal wastes of time & yet others are pretentious attempts at musical superiority while showing you have little knowledge about “real” music. It is this final category that Paste Magazine’s 30 best covers of the decade falls into.

Covers are a delicate subject with me. A cover song must be at least similar to the original. Otherwise, you’re not covering another artist’s song you’re simply saying you think they did a shitty job the first time around instead of paying homage. Jimi Hendrix did not cover Bob Dylan’s “All Along the Watchtower” he dissected it & made it better. Dylan provided the blueprint for Hendrix & Jimi ran with it. Dylan himself has said as much:

It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn’t think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day…I liked Jimi Hendrix’s record of this and ever since he died I’ve been doing it that way…Strange how when I sing it, I always feel it’s a tribute to him in some kind of way.

Paste has a reputation for thinking they’re better than everyone with obscure references to obscure songs & praising them from the mountain top as being immortal & themselves as fore bearers to the band’s success. Their list is full of songs that hold little relevancy to anyone except the artists themselves.

It’s a bit disgraceful to see a list of songs with The Polyphonic Spree at #7 with Nirvana’s “Lithium” or Calexico at #8 with Stereolab’s “Peng! 33”. What? Really? Stereolab was an obscure band from the ’90’s that never found success in part because they were bad at making music. The Polyphonic Spree is a band from today that suffers from the same problem. I’m all for opening eyes with new artists. I try to introduce new artists to the masses on this blog regularly, but to indiscriminately toss out labels like “best of the decade” is hyperbolic to the core.

There are a few I agree with on the list, but none above number 9 (they are 28, 20, 18 – which may be the best on their list, 10 & 9). In large part I think Paste is, once again, showing they’re rightly regarded as a magazine strictly for the arrogant hipster, who thinks he knows more about music than you. It’s like saying Sgt. Pepper is too commercial of an album to be the best of all time or the “Godfather” is too widely known to be the best film of all time. Everyone has their opinion & rightfully so, but when an opinion is there to show you how shitty your musical tastes are then it becomes a practice in musical bullying & I think it’s an abhorrent practice.

Music is there to spark conversation, to create unity, to educate, not belittle (unless you’re talking about Gangster Rap). Every time I give an opinion on this blog (or any other place I write) I try to give it context, not to dumb down my point, but to educate in one way or another. I happen to know a lot about music, mostly because I have no life, but also because it happens to be my passion. I do not claim to be the end all be all of musical critics. I’m simply a conduit to better understanding for those that have lives or seek some better form of musical knowledge.

So here is my list of the 15 best covers of the decade with short explanations as to why I enjoy them & why they’re great in my opinion:

#15 – Love Vigilantes – Voxtrot (originally: New Order)

A classic ’80’s song that is faithful to the original without being a complete replica. While expressing the emotion that many families are feeling, it is apropos of the moment in which we live.

#14 – Girls Just Wanna Have Fun – Ben Gibbard from Death Cab for Cutie (Originally: Cyndi Lauper)

Another ’80’s song many consider trite pop, but Gibbard turns it into something much more. An anthem of parental & societal oppression. The audience laughs but if you really listen to the lyrics you realize that it is a plea to stop worrying about social mores that tend to pigeonhole people into groups that have no true bearing on who they really are. A beautiful interpretation.

#13 – You Ain’t Goin’ Nowhere – Counting Crows (Originally: Bob Dylan)

Redone by many artists, this is faithful to the original from Bob Dylan’s Basement Tapes version with The Band. Marketa Iglova & Glen Hansard do a fairly competent version on the I’m Not There Soundtrack, but it really doesn’t compare to Adam Duritz belting this classic out.

#12 – The Long Way Home – Norah Jones (Originally: Tom Waits)

Tom Waits has that writing quality that makes everyone want to redo his songs. Norah Jones is a phenomenal songwriter in her own right & has the perfect voice for this Waits composition. There’s something to be said for a steel guitar & a Tom Waits song that just reeks of awesomeness.

#11 – Don’t Let Me Be Misunderstood – Cat Stevens/Yusuf Islam (Originally: Nina Simone)

While the Animals may have popularized this song, it was written for Nina Simone by Bennie Benjamin, Gloria Caldwell and Sol Marcus. The song correlates with Yusuf’s own struggles after he changed his name from Cat Stevens to Yusuf Islam & his subsequent inclusion on the Terrorist watch list in the early ’00’s.

#10 – Please, Please, Please Let Me Get What I Want – She & Him (Originally: The Smiths)

Zooey Deschanel & M. Ward covered this song for the 500 Days of Summer Soundtrack perfectly. The echo behind Deschanel’s voice creates a haunting version while staying succinctly true to the original. You can almost hear the anguish in her voice as she desperately emotes Morrissey’s plea for a change in his luck.

#9 – Glory Days – The Avett Brothers (Originally: Bruce Springsteen)

The issue I’ve always had with this song is that instead of saying fastball at the beginning he says speedball. When I hear Bruce say “He could throw that Speedball right by you.” it always makes me cringe as a baseball fan & someone who had a lot of friends who did a lot of drugs. That’s my only complaint, though, I love the song & the Avett’s doing it with a banjo, a kick drum & a tambourine is magical.

#8 – The Weight – Gaslight Anthem (Originally: The Band)

The seminal song in the Band’s career is faithfully done by the Gaslight Anthem’s lead singer Brian Fallon. There’s a lot to be said for a man & his guitar. Fallon has that kind of voice that is suited for a song such as this. It’s a story song, almost in the same vein as The Beatles “A Day in the Life”.

#7 – Sunday Morning – Beck’s Record Club (Originally: Velvet Underground & Nico)

When Beck started his Record Club project it was considered a bit of a lark (especially when I read he considered doing Digital Underground’s album Sex Packets in it’s entirety), but when you hear this song you realize otherwise. I have never been a fan of Beck’s music. I’ve interviewed him a number of times, smoked out with him & find him to be a fascinating person, but musically I’m not evolved enough to enjoy what he does, though I do recognize his talent. Be that as it may I do love this cover so much. When stripped down Beck’s voice is incredible.

#6 – Dancing in the Dark – Pete Yorn (Originally: Bruce Springsteen)

Another Springsteen song covered by a talented musician. Pete Yorn’s first album spoke to me so much that I don’t think I listened to another album for a month after it came out. Yorn with a piano slowly singing this mournful song about escaping the everyday doldrums of life. It’s something we can all relate to, especially in this context.

#5 – I Don’t Wanna Grow Up – Cold War Kids (Originally: Tom Waits)

Hearing the Cold War Kids acoustically is a sound to behold. Hearing them sing Tom Waits’ song about having to accept responsibility as an adult & wanting to stay a child forever is a moment. It’s much like when the Beach Boys released A Beach Boys’ Party where they covered a few Beatles songs among others & made it a sing along. This recording, while much less hokey, has that feel to it.

#4 – The Lonesome Death of Hattie Carol – Black Rebel Motorcycle Club (Originally: Bob Dylan)

While not completely factual this song still does speak to the injustice that was still going on in 1960’s America. Lead Singer, Peter Hayes, expresses the difficulty in remembering all the lyrics before he starts actually singing noting it is a Bob Dylan song. He doesn’t sing it with tonal precision which makes it even that much better. What he does give it is slightly more melody than Dylan (as many often have). The harmonica in the Bridge is not overstated or too intense to overpower the audience.

#3 – My Oklahoma Home – Bruce Springsteen (Originally: Pete Seeger)

When Bruuuuuuce decided to make a tribute album with all Pete Seeger songs I never thought it would work. I love just about everything Springsteen touches, but even this seemed like a stretch to me. I was wrong. The true merit of an artist is the ability to reinvent oneself & make it work. Dylan did it, the Beatles did it & Springsteen did as well. This song about the Oklahoma Dust Bowl holds as much connotation in today’s current economic climate as it did 80 years ago. No one today speaks of the hardships of the blue collar society like Bruce & before him there was no one better than Pete Seeger & Woody Guthrie.

#2 – The Drugs Don’t Work – Ben Harper (Originally: The Verve)

Ben Harper has a way of making songs better as with this Verve song about as Richard Ashcroft put it:

There’s a new track I’ve just written […] It goes ‘the drugs don’t work, they just make me worse, and I know I’ll see your face again’. That’s how I’m feeling at the moment. They make me worse, man. But I still take ’em. Out of boredom and frustration you turn to something else to escape.

Harper brings a subtle vulnerability to this track as if he were actually speaking this to a loved one. The Verve version was a little more gruff, but beautiful nonetheless. Richard Ashcroft is a highly underrated lyricist & never was that made more evident than in this version.

#1 – Long, Long, Long – Jim James (Originally: The Beatles)

Earlier this year Jim James of My Morning Jacket, quietly released a 6 song EP under the moniker Yim Yames covering some of his favorite George Harrison songs. It went mostly unnoticed by critics as it was released primarily online, but it was perhaps the best thing recorded all year. This is one of my favorite Beatle songs from the White Album & James captures the essence of the track with the echoed brilliance of the vocals. If ever a cover song moved me I can not remember when one did it like this one. It is not merely faithful to the original, but luminous in it’s own right.

Images & Distorted Facts

I’ve been reading a lot more recently, much about Bob Dylan. What I don’t understand is why every song the man wrote must be dissected to the point that there are classes that are meant to figure out the meanings of his songs? Dylan is a brilliant writer. He is the seminal poet of our parents generation & for that matter ours as well. It is not a far off distinction to compare him to Keats or Dylan Thomas. However, does that mean that every word he writes should mean something? I’ve read numerous articles & books extolling his life as one big mystery for us to solve. Perhaps, it’s time to let the man be. Perhaps, it’s time to just enjoy the music without trying to make it fit something.

This is a major theme when it comes to music. Does a song become worthless if it does not suit your purpose of meaning? For instance, what if you loved the song, “Martha, My Dear” from the Beatles’ White Album until you found out that Paul McCartney wrote it about his Old English Sheepdog & not Jane Asher as everyone suspected? Would that change your opinion of the song? I’m guilty of this as well & I’m not saying there aren’t some songs that are directly related to an event or person. Sometimes, though, songs are just good writing about nothing in particular.

Often people need a song to mean something so that they can relate it to their own life & their own personal struggles. It’s a coping mechanism that makes the music so much more personal. Good music is supposed to be personal & much like life itself the search for meaning is essential to our evolution. It’s why people turn to religion, higher knowledge & in some instances drugs. We are all yearning for a higher ethereal plain to find that intricate thing that separates us from the animals so that we don’t feel like this life is just some cosmic clusterfuck in which we just meander through.

Music & writing lends to us others feelings & brilliance so that we may equate that to our own personal experiences. It is in these experiences that we turn to the artist & try to figure out his/her meaning. It is what drove Dylan to create the Motorcycle crash mythology that led to a 7 year touring hiatus. It is what pushed J.D. Salinger underground. That feeling that says I’m just a writer/musician don’t look to me for guidance, look to yourself.