California Dreams Sounds of L.A. 1965 – 1975

From the artists of The Carole King & James Taylor Story

An immersive trip through California in the late 60’s, early 70’s when a collective of musical legends changed the world. Hits by The Mamas and The Papas, Eagles, Joni Mitchell, Neil Young, Linda Ronstadt, Jackson Brown, The Byrds, Crosby, Stills, Nash & Young and many more. Brought to you by Dan Clews & Phoebe Katis. Dan has been seen performing The Royal Albert Hall and was championed by Sir George Martin who described Dan as “Too great a talent to ignore.” Phoebe, a UK artist now based in NYC who has collaborative credits with Grammy nominated Cory Wong, Grammy Winning Mr Talkbox, Scary Pockets, Dave Koz, Sam Greenfield and many more. Produced by award-winning group Night Owl Shows who have garnered critical acclaim with converted performances Edinburgh Fringe (Scotland), Perth Fringe (Australia), Brighton Fringe (England) Adelaide Fringe (Australia) and Bear Valley Music Festival (California) as well as numerous tours throughout the UK and US. Since its inception Night Owl shows has picked up a staggering 26 awards at aforementioned international festivals as well as selling out over 200 shows and over and over 150,000 ticket sales since 2017.

Paul Thorn

“It’s Never Too Late to Call”

Paul Thorn’s Sapphire Dream

Some years ago I happened to see Paul Thorn performing on an outdoor stage at a street festival in the heart of a small Mississippi town. Suddenly, in mid song, Thorn stopped playing and looked down at the upturned, sugar-splattered face of a fan on the front row. “I sure would like me a funnel cake,” Thorn announced. The crowd exploded with laughter. By the end of the next song, someone in the audience had responded, and soon Thorn was happily munching on the doughy confection.

And that, dear people, is one more shining example of how Paul Thorn is able to breathe in the air around him, everyday and commonplace, and exhale something original and often side-splitting funny. It’s a kind of genius, and it’s there plain to see, in his music, his art and through his performances, which not only showcase his chops as a singer-songwriter, but as a pitch-perfect improv comic.

His audiences love it. And they come back for more because no two Paul Thorn performances are alike. For further confirmation of this, check out Thorn’s YouTube videos, though I warn you. You will find yourself a long time in this rabbit hole.

We live in a world where the terms “artist” and “genius” have been rendered meaningless through overuse. To use either in describing Thorn, though, is not overreach. Pick up any of his dozen or so CDs. The evidence is plain to see. Just listen.

The scenery of Thorn’s rural South is changing. The trailer parks, gravel roads around Tupelo and high school beauty queens flicker in the rear-view mirror. Two years ago, Thorn returned to his early gospel roots with the release of “Don’t Let the Devil Ride.”

In contrast with earlier work that riffed on short-term love affairs, as well as “kissing the right one good-bye,” the writing on Thorn’s latest release, “Never Too Late To Call” features music from a man who is with the “right one” and is happy to be there.

This offering, seven years in the making, features all original material, some songs written by Thorn, others co-written with his friend and longtime manager Billy Maddox. The CD was recorded at Sam Phillips Studio in Memphis and produced and engineered by Grammy winning wunderkind Matt Ross-Spang.

In the case of what is arguably the CD’s most tender composition, “Sapphire Dream,” Thorn teamed up with his daughter Kitty Jones, who co-wrote the song and accompanies her dad on vocals.

Jeweled birds fly under crushed velvet skies

And the blue rain don’t fall on me

The sun is on our face; it’s a perfect place

And the one I love is here with me, in my sapphire dream

 Particularly poignant is “Breaking Up For Good Again.” On this track, Thorn is accompanied by his wife Heather. Their harmonizing is not only lovely, but resonates with a ring of truth known to two who have driven together that rutted, bumpy road every married couple must travel.

Counselors of would-be newly-weds would do well to require their young charges to read and discuss the lyrics of this song:

Anger, tears and pride, are hard to hide, I lost my cool

I said some hurtful things, I did not mean, we both were fools

I know we need some space, I’ll call you in a couple days

 We’ve come this far by now we know

We’ll never let each other go

 Much has been written about Thorn’s early years performing in his father’s Pentecostal church and later coming under the tutelage of his Uncle Merle, a pimp and small-time hustler. While those early relationships were formative and offered their attractions, the admonition of Jesus to love one another seems to hold powerful sway with Thorn.

I asked him about it.

“I’ll tell you where I got that from. My father was a minister, and one of his strongest qualities was he had time for the big people and little people too. … In fact, I went and visited him yesterday, and when I got there, there was a guy standing on the porch, dirty clothes, hadn’t had a bath.

“My mom walked on the porch and she gave him a two-liter 7-Up bottle filled with water because he didn’t have water in his house. She gave him a plate of fried chicken for his supper and told him he could come back tomorrow if he didn’t have any food.

“They’re not talking about it. They’re just doing it. If I got it from somewhere, that’s where it came from.”

While that sentiment has been there all along in Thorn’s earlier CDs, it’s more prevalent in “Never Too Late to Call.”

“There’s a theme running throughout the record about people needing each other and reaching out to each other,” Thorn said.

Take for example “Holy Hottie Totty,” the CD’s raucous feel-good closer he co-wrote with Maddox:

Life goes by so fast you better not blink

You might not have as much time as you think

Let go of any grudges while you’re still around

You can’t say you’re sorry when you’re laying six feet in the ground

The best time is right now.

 Holy hottie toddy

Good God Almighty

Love everybody

As is the case with all of Thorn’s songs, the CD’s title track, “It’s Never Too Late to Call,” comes with a story.

He wrote the song for his sister Deborah who died in 2018. When Thorn was on the road, he’d long to talk to someone after his shows, hours after the members of his immediate family were asleep. But his sister, a night owl, would often stay up all night.

“I could call her and she’d always be awake,” Thorn said. “I wrote that song about her.”

The song is one more example of a distinguishing characteristic of Thorn’s work — a quality his fans love — the intensely personal nature of his lyrics. Thorn’s music has always been a reflection of where he’s been or where he is in his life. On “Never Too Late to Call,” we find mellower Paul Thorn. The razor wit and the gently humorous commentary on life’s existential questions are in evidence, but here there is a peace about his life’s journey. Or, to put it in his words, “I’ve been such a lucky boy. I’m crying two tears of joy.”

 

Judy Collins

Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 50-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.

The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell’s “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy’s dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music,won “Song of the Year” at the 1975 Grammy Awards. She’s garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.

Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart’s “Concerto for Two Pianos,” but the hardluck tales and rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar and pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.

In 1961, she released her masterful debut, A Maid of Constant Sorrow, which featured interpretative works of social poets of the time such as Bob Dylan, Phil Ochs, and Tom Paxton. This began a wonderfully fertile thirty-five year creative relationship with Jac Holzman and Elektra Records. Around this time Judy became a tastemaker within the thriving Greenwich Village folk community, and brought other singer-songwriters to a wider audience, including poet/musician Leonard Cohen – and musicians Joni Mitchell and Randy Newman. Throughout the 60s, 70s, 80s, 90s, and up to the present, she has remained a vital artist, enriching her catalog with critically acclaimed albums while balancing a robust touring schedule.

Prolific as ever, Judy recorded a DVD special Judy Collins: A Love Letter To Stephen Sondheim, in her hometown of Denver, CO. Along with the Greely Philharmonic Orchestra, Judy dazzled the audience with Sondheim’s beautiful songs and her lovely, radiant voice. DVD and CD companion will be released in early 2017. Judy also released a collaborative album in June 2016, Silver Skies Blue, with writing partner, Ari Hest. Silver Skies Blue has been GRAMMY nominated for BEST FOLK ALBUM in 2017, this is the first GRAMMY nomination for Collins in over 40 years.

On September 18, 2015, Judy released Strangers Again. She invited a cast of icons and young talents to sing with her on this fresh collection, from Willie Nelson, Jackson Browne and Jeff Bridges to Glen Hansard, Ari Hest and Bhi Bhiman. Judy delicately soars over a revitalized “Send In The Clowns” and breathes new

life into “Hallelujah.” She puts her indelible touch on songs by Leonard Bernstein, Randy Newman, James Taylor and more.

In 2012, she released the CD/DVD Judy Collins Live At The Metropolitan Museum Of Art which aired on PBS. This special television program was nominated for a New York Emmy and won a Bronze Medal at the 2013 New York Festival International Television & Film Awards. Based on it’s success, in 2014 she filmed another spectacular show in Ireland at Dromoland Castle. Live In Ireland was released in 2014. This program also won a Bronze Medal at the 2014 New York Festival International Television & Film Awards and the program will broadcast on PBS in 2014 and 2015.

Judy has also authored several books, including the powerful and inspiring, Sanity & Grace and her extraordinary memoir, Sweet Judy Blue Eyes: My Life in Music. For her most recent title to be released in 2017, Cravings, she provides a no-holds barred account of her harrowing struggle with compulsive overeating, and the journey that led her to a solution. Alternating between chapters on her life and those of the many diet gurus she has encountered along the way (Atkins, Jean Nidtech of Weight Watchers, Andrew Weil, to name a few), Cravings is the culmination of Judy’s genuine desire to share what she’s learned—so that no one has follow her heart-rending path to recovery.

In addition, she remains a social activist, representing UNICEF and numerous other causes. She is the director (along with Jill Godmillow) of an Academy Award-nominated film about Antonia Brico – PORTRAIT OF A WOMAN, the first woman to conduct major symphonies around the world–and Judy’s classical piano teacher when she was young.

Judy Collins, now 77, is as creatively vigorous as ever, writing, touring worldwide, and nurturing fresh talent. She is a modern day Renaissance woman who is also an accomplished painter, filmmaker, record label head, musical mentor, and an in-demand keynote speaker for mental health and suicide prevention. She continues to create music of hope and healing that lights up the world and speaks to the heart.

Songs and Stories with Roger McGuinn

An Evening with Roger McGuinn begins with the stage dark and the sound of Roger’s 12-string Rickenbacker guitar filling the house as he approaches the standing microphone to sing his signature Bob Dylan song “My Back Pages.” He always begins his concerts with this song because he takes the audience on the journey through which his love of folk music took him to the Rock and Roll Hall of Fame.

Jim McGuinn (he changed his name later to Roger) began playing guitar when he was 14 and left Chicago for his first professional job at 17. The Limeliters sent him an airplane ticket to Los Angeles to play guitar and banjo on their RCA album “Tonight in Person.” It was during that recording time that he joined them at the Hollywood Bowl opening up for Eartha Kit.”

Chad Mitchell heard about McGuinn’s abilities and asked him to join his group, “The Chad Mitchell Trio” as the accompanist on guitar and banjo. He was 18 years old.

He toured with the CMT for a year or so but when Bobby Darin saw him performing, he immediately offered McGuinn a job paying twice what he was making with Mitchell. Mr. Darin asked Jim to play his guitar and sing a 15 minute set of folk songs in the middle of his variety concert.

When Bobby decided to take a break from performing live, he invited Jim to join him in New York city to work at the famed Brill Building as a songwriter for TM Music. It was a day job, so in the evenings Jim would work as a studio musician in the City. He became Judy Collins’ musical director, helped Paul Simon record the demo for “Sound of Silence” and was very active in the recording business as the “go to” guy for 12-string guitar.

It was at the Brill Building that Jim first heard the most fascinating music come over the radio. The Beatles were using folk music chords with a rock beat. He was drawn to the idea and began singing ‘rocked up’ folk music in Greenwich Village coffee houses. The performances did not endear him to the folk singers of the time, but the club owner loved it. He put a sign outside advertising “Beatle Impersonations” … which McGuinn found embarrassing. He needed to get out of New York; so he accepted a job in Los Angeles at the Troubadour folk club, opening up for Hoyt Axton.

Hoyt Axton was the first person to invite Jim to sing on a recording. He sang harmony on Hoyt’s “Balladeer” album.

The folk audience didn’t appreciate the combination of folk songs and a Beatle Beat anymore than the folkies in Greenwich village but there was one musician that did. His name was Gene Clark. It was the beginning of a musical revolution.

David Crosby, Chris Hillman and Michael Clarke joined the duo and history was about to be made. The Byrds were born!

Their first single was penned by Bob Dylan but when the group heard the demo, they weren’t too impressed. Jim had an idea on how to fix the folkie song. He had been an arranger in NYC, so adding a Bach type intro and a Beatle Beat took the song “Mr Tambourine Man” to the number one slot across the world.

Roger (he had changed his name) disbanded the BYRDS in 1973 to pursue his dream of being a folk singer like Pete Seeger. He says that the BYRDS were a nice detour on his way to his dream.

He recorded five solo albums on Columbia Records. In 1978 he joined with Gene Clark and Chris Hillman for 3 albums on Capitol Records. In 1991 just after the BYRDS were inducted to the Rock and Roll Hall of Fame, he recorded on Arista Records his acclaimed “Back From Rio” album with a host of friends, including Tom Petty, Elvis Costello , David Crosby, Chris Hillman and others. It was the last vinyl record in his catalogue.

In 1995 Roger became concerned the traditional folk songs were being lost. No one was recording the songs of over one hundred years ago, so he had an idea. He had always been interested in technology and the world wide web was coming of age. He decided to post an original folk song with a live recording on his web page mcguinn.com each month. He hasn’t missed a month since November 1995. It is carried by the University of North Carolina at Chapel Hill as a public service.

In 1996 he released his autobiographical one man show on Hollywood Records, “Live From Mars.” The Jayhawks joined him for two studio recordings, “May The Road Rise To Meet You” and “Fireworks.”

Appleseed Records invited Roger to record some of his favorite folk songs with the vanguards of folk music: Pete Seeger, Joan Baez, Judy Collins, Jean Ritche, Josh White Jr and his guitar teacher Frank Hamilton and his wife Mary. The recording “Treasure From the Folk Den” received a Grammy nomination in 2002.

In 2005, Roger went into the studio with John Jorgensen and Stan Lynch to record a tribute to his late friend George Harrison, ‘If I Needed Someone.” It was fitting for Roger to record it because George told him that he was inspired by Roger’s guitar work on “Bells Of Rhymney.” This recording became the beginning for Roger’s own recording label, “April First Productions.” The name was from the wedding date in 1978 to Camilla. He released another 4-CD set to commemorate the 20 year Folk Den Anniversary in 2015.

With freedom that came with his own label Roger could record anything he wanted and he did.

CCD, a recording of sea shanties was one of his favorites because of the lore of the sea. He also released a live concert recorded for his mother’s 102 birthday which includes a DVD with some concert footage and friends talking about his influence including Tom Petty, Bruce Springsteen, Joan Baez, Judy Collins, Chris Hillman, Dave Barry, Pete Seeger and Derek Taylor.

The fans at concerts wanted recordings of some BYRDS songs, so Roger re-recorded “Mr. Tambourine Man, ”So You Want to Be a Rock and Roll Star” and “Turn, Turn, Turn” Since Roger was the lead singer and lead guitar player on those songs in the BYRDS, the songs sound like the BYRDS. He included new songs on this CD called “Sweet Memories.”

During the year at home through the COVID lock down, Roger and Camilla decided to send a Christmas CD to friends as a Christmas card. The friends encouraged then to release it to the public since it is a true Christmas CD…simply titled “Merry Christmas”

When asked if he plans on retiring, he laughs, “What? Give up show-business? It’s called “playing music” and I’ve been playing since I was 14.

photograph by John Chiasson

OUR HOUSE: The Music of Crosby, Stills, Nash & Young

Prepare for an unparalleled musical experience as “OUR HOUSE: The Music of CSNY” assembles to perform the Crosby, Stills, Nash & Young repertoire with an extraordinary ensemble of FAMILY & FRIENDS. What sets this apart is the stellar, historic lineup, featuring…

  • James Raymond (son of David Crosby)
  • Astrid Young (sister of Neil Young)
  • Steve Postell (guitarist & musical director with David Crosby & The Immediate Family)
  • Chris Pierce (handpicked by Neil Young to support his 2023 tour)
  • Jeff Pevar (lead guitar David Crosby, Graham Nash, CSN, Phil Lesh)
  • Steve DiStanislao (drums David Crosby, David Gilmour)
  • Michelle Wills (keyboards David Crosby)
  • Elijah Thomson (bass Father John Misty)

 And featuring legendary CSNY photographer Henry Diltz with CSNY recording engineer Stephen Barncard spinning ‘Tall Tales’ that can be heard nowhere else except on this tour.

Audiences can anticipate an immersive journey through classic hits such as “Déjà vu,” “Wooden Ships,” “Helpless,” and “Carry On,” delivered with the finesse that only OUR HOUSE, The Music of CSNY performed by FAMILY & FRIENDS can provide.