Hello! As you may have guessed from the name of this blog, my name is Liz and I am fascinated by song lyrics. I hope you enjoy my waxing lyrical about lyrics and about music generally. I also review albums and gigs and have interviewed several wonderful musicians. Enjoy!
As you may remember, I saw Pete and Maura Kennedy live in Southport in June performing a show of the songs of Nanci Griffith. I had previously seen this show in 2013. Both evenings were very enjoyable.
In June I came away with the Kennedys' live album of Nanci songs, Dance a Little Closer, and it is my great pleasure to review it for you.
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The album opens with a lively rendition of Nanci's upbeat I Wish It Would Rain. It is followed by Trouble in the Fields, which the Kennedys manage to adapt slightly, yet keep completely true to the sentiment of the original: sad but hopeful.
Next comes Across the Great Divide. I always find it so poignant and moving hearing the Kennedys perform this song, as they sang it with Nanci twenty years ago when they were her guitarist and backing singer, and it is great to see it come full circle.
It is also interesting for being the cover of a cover - the Kennedys' version of Nanci Griffith's version of a Kate Wolf song. Through its reincarnations it has managed to stay anchored firmly to the the roots of the song: a sense of loneliness, of a haunting, of coming to terms with a loss with bravery and acceptance.
Maura Kennedy's voice is always very beautiful but in this song especially, and in several others on this album, I noticed something extra in it - a deep kind of wisdom, of knowledge and sincerity, of someone who's seen many corners of the world. And so she has. It is very special to hear.
The next track is Late Night Grand Hotel, which the Kennedys previously recorded for their album Songs of the Open road. That version was nice, but this song suits being live. Maura has mentioned how important this song is to her as it reminds her of when she first started touring with Nanci. It is also a favourite of mine.
The original Late Night Grand Hotel is one of the more heavily produced Nanci tracks, so contrasts the most of any song on this album with the Kennedys' raw, emotional, acoustic trademark style.
For me, the best part of the original was the way Nanci sang the line,
"No-one ever knows the heart of anyone else,"
with such open sadness. I listened out to hear how Maura would do it, and was pleased to hear something similar in her voice.
I like how the "no"s in the chorus were held back until the end. Something I think might have been nice is for no-one to sing them on the first chorus, then Maura on her own, then Pete on his own, then both of them, rather than nobody and then both. But the way they did it still works and I prefer it to Nanci's having them all the way through.
The Kennedys also add a nice little bridge between the first chorus and second verse and an instrumental at the end, with lovely-as-ever guitar work from Pete. Overall, they did a great job on one of my favourite Nanci songs.
Their version of Lone Star State of Mind - another cover-of-a-cover - is pleasant, although I'm not too keen on the jazzy feel they have introduced. Still, it is good that they made it their own. At the very end it reverts back to folksy with some more great guitar work.
There's a Light Beyond These Woods is another song that is important to Maura as she witnessed a very emotional performance of it by Nanci which deeply moved her. She sings it beautifully; I especially like the way she sings,
"All the dreams we sang..."
I'm Not Drivin' These Wheels is a song which I liked when I was younger, which I lost, and which I spent ages trying to find again by listening to snippets of songs on Amazon.
I'm glad the Kennedys like it and identify with it as well - enough to include it not only on this album but also as their contribution on the Nanci tribute album by various artists, Trouble in the Fields, which they produced.
Their version is perfect - it keeps everything good about the original and adds some very Kennedys guitar licks. A lovely piece of musicianship.
I have sung the praises at least twice in the past of the Kennedys' version of Gulf Coast Highway, which I prefer to the original - theirs is softer, more gentle, while the original is sharper and more dramatic. The last verse, where Maura sings on her own and is then joined by Pete, is very lovely.
They then go back up-tempo with Love Wore a Halo (Back Before the War). I feel this is often neglected as a Nanci song, and it's a good one. I'm glad the Kennedys are fans. Their version live is uproarious and great to sing along to, and the recording manages to capture that fun and spirit.
We then have From a Distance. I don't really like Nanci's version of this, and I found the Kennedys' one very similar - it is probably the truest to the original of any song on the album. Still, Maura's voice is especially nice on the chorus.
Ford Econoline moves in the vein of Love Wore a Halo: wild and joyful. I get the impression from the amount of applause that it may have been the final song in the concert and I agree that it is a great note to finish a night on - so happy and fun.
The penultimate track is Love at the Five and Dime. I would really have liked this to be the ultimate track as I think it sums up all this album is about, plus it contains the line that forms the title of the album:
"Dance a little closer to me."
It's slower than Nanci's version and I like it that way - they seem to put more focus on the story and the emotion than on the melody, although the melody is there and is strong.
The final track is Hell No (I'm Not Alright). I don't want to comment on the song because I don't understand the politics behind it; even after watching the video I'm not sure what message Nanci is actually trying to give out. So I'll comment only on the musical side: the Kennedys play it well and with great enthusiasm.
This album was very enjoyable to listen to - if there are a couple of songs I wouldn't listen to regularly, it's because I dislike the original, not because the Kennedys have done anything wrong. Maura's voice is gorgeous as ever; Pete's guitar playing is sublime; the two make an amazing duo. I've said these things many times before but they never stop being true.
Overall, a lovely piece of work that is true to the person it is celebrating while incorporating the artists' own personalities, which is the best way to do a tribute.
Rating: 8/10
Song: Across the Great Divide - Nanci Griffith - 1993
Firstly, a quick bit of news on the writing front: I have had a poem published in Ink, Sweat and Tears! It's a great honour.
Now to the real purpose of this post which is to tell you about the concert I attended in Southport on Wednesday night. You may remember I went to a Southport gig last September, and in many ways this one was similar, yet it was also completely different.
The venue was The Atkinson; the show was Nanci Griffith tribute show Trouble in the Fields, starring Pete and Maura Kennedy and Edwina Hayes - so far, so similar to September's show. However, this evening we also had the great pleasure of the company of Grateful Fred's House Band - Grateful Fred's also organised the evening.
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My mother and I arrived in Southport by train and spent an interesting while searching for the venue - last time we came by car and it was a labyrinth reaching it from the station! However, we eventually found the beautiful place with its lovely fountains out the front, and climbed the stairs to the Studio.
This was where the show last year was, and I was glad they were there again as it is a nice, cosy little space; very nicely lit and with a real ambience.
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The show opened with a set from Grateful Fred's House Band which I greatly enjoyed. Their haunting rendition of Ride On was certainly my highlight; it was sublime, especially the guitar work.
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The Kennedys then came on stage (and Maura very nicely gave me a shout-out) to play a short set of their own songs. I was pleased to hear Midnight Ghost, one of my favourites, as well as some brilliant-as-always guitar and uke work from Pete.
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After a short break, the Kennedys returned for the Nanci Griffith tribute set, and after several songs were joined by Edwina Hayes.
Having two such stunning voices as Edwina's and Maura's on the same stage was always going to be very special, and they also work incredibly well together - they harmonise beautifully.
The trio just worked so well, and I am glad someone had the idea of them performing together - it really is something incredible that feels like it was destined to happen.
Every song was a joy, but if I had to choose a few highlights, I would have to include Gulf Coast Highway, which I had been really hoping they would do because I adored it in September. I love the original song but the Kennedys' version may well top that for me.
Also especially memorable were their versions of Lone Star State of Mind, Late Night Grand Hotel and I'm Not Driving These Wheels.
Finally, I was very moved by A Light Beyond These Woods, a song which is special to me and to which they truly did justice, and Across the Great Divide, which I cannot hear and see the Kennedys perform without remembering them doing so twenty years ago with Nanci on Jools Holland.
It is so lovely how the song has stayed around for twenty years, and has continued touching hearts. I have no doubt it will be around for another twenty.
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The show ended with Grateful Fred's House Band joining the trio on stage and everyone playing together, and it was a truly wonderful, joyful and memorable spectacle. They worked brilliantly together - their version of Full Circle made a fabulous finale.
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After the show I ran into Edwina who was absolutely lovely and then I had nice chats with both Kennedys.
I have mentioned many times before how down-to-earth and friendly Pete and Maura are, but I feel I should mention it again. It is very rarely that you come across two people who are so successful and popular, yet are willing to chat and laugh and mingle with their fans - who are not just willing, in fact, but seem to take huge pleasure in doing so.
I came away with Edwina's album Pour Me a Drink, featuring Feels Like Home, a song with great emotional significance for me, as well as the Kennedys' Dance a Little Closer: a live album of them performing Nanci songs. I hope to post reviews of both on this blog in due course.
As my mother and I rushed to the train station through the dark night with its light, misty rain and cool wind, I felt very, very happy - and I felt even more so when, sitting on the train, I discovered the lovely things the Kennedys and Edwina had written on my signed albums.
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Thank you to everyone involved in this night, it really was a night in a million.
Thanks for reading,
Liz x
PS. If you like the Kennedys or want to learn more about them, I have done an interview with them, an album review and a write-up of a show of their own songs they did in the UK last June.
Song: Across the Great Divide - Nanci Griffith - 1993
I'm still on my Easter holidays and am enjoying having some rest and relaxation. Last weekend I went with my family to Northumberland for a few days, and I wanted to tell you about the trip, through, as always, music.
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Firstly, the way there was as much an adventure as the stay itself: the scenery was beautiful and an unexpected road diversion meant we had to go a very long-winded route that brought us even more moody views of mountains, lakes and heathland. It was very atmospheric.
We listened to two different compilations of 00s music. Here are some of the highlights:
This song always reminds me of a friend's birthday party I went to when I was young. Very nostalgic!
I remember Pop Idol being the first talent show I ever experienced, when I watched the last few shows and the final. I wanted Will to win and was so glad when he did.
I also did a post about Westlife's song Flying Without Wings.
This has inspired me to do a whole post about Dido, so watch this space!
Ah, the memories!
We also listened to the radio and this song played.
It is so typically Coldplay. If asked to identify the band you wouldn't hesitate a minute. While I'm not completely bewitched by it (see what I did there) I do find it quite pretty, and it will now always remind me of our journey to Northumberland.
I also found out through research for this blog that it was released on my 20th birthday!
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When we got there, we explored Kielder Water and the surrounding woodland - it's very scenic and peaceful. We also did some stargazing as the skies were dark and clear, and the moon was incredibly beautiful.
The first line from Annie's Song sprung to mind on more than one occasion.
"You fill up my senses, like a night in the forest."
For a while this was the only line I knew in the song, and I was almost disappointed when I heard that the song consists of similar analogies. For me, that one analogy was enough. "A night in the forest" on its own is such a powerful, evocative, lustrous image that I don't see the need for any others, although I do find the rest of the song very lovely.
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We also visited a bird of prey centre, where we saw some amazing owls and falcons. Let me share one of my favourite songs about flying. I hope to do a whole blog post about flying songs soon.
A talented singer performed this song at my school talent show; that was the first time I heard it and I immediately liked it. It remains one of my favourite songs.
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We saw lots of birds in the wild - chaffinches, a siskin, ducks and crows - as well as a red squirrel, rabbits - lots of rabbits -, deer and wallabies. Yes, wallabies.
We visited a castle, got lost in a maze and sat in a giant artwork.
The artwork
Our trip finally ended, and we drove home, going through Scotland this time. This song came on the radio. At the time, I thought I'd never heard it before, but now I think I may have done; I have a bit of déjà vu.
I really like it; it's very simple but I love simple love songs. It goes without saying that Heather Small's voice is amazing.
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Our weekend was brilliant and really refreshing, and one I'll always remember. I hope we can return to Northumberland in the future.
This year I am hoping to come and see them again on their own UK and Ireland tour. Meanwhile, I have had the huge honour of interviewing this folk-rock duo about their musical journey.
Photo: Shelagh Gibson
1 Pete, Maura, thank you so much for letting me interview you. It is a great honour as I adore your music and have a great deal of respect for you both as musicians. I want to begin - well, at the beginning. How did each of you first get into making music, and which artists inspired you when you were younger?
Maura: I'm from a big family, but I'm the only one who got into music. There was no record player in my house growing up, so the only music I heard when I was really young was on TV - reruns of the Monkeys and the Partridge family! I think that's why I like poppy melodies. When I was older, I gravitated towards school chorus and musicals.
Then in my junior year of high school, I discovered a used record store on the campus of Syracuse University. At least three times a week my friends and I would take a city bus from the northern suburbs down to Syracuse University and spend hours looking through the vinyl there. The people who worked there would always play anything that looked interesting to us. That's where I first heard everything from Badfinger to The Clash to Fairport Convention to Joan Jett. I just loved so many kinds of music, and I found a musical treasure trove in that store. Pete: I was inspired by The Beatles, who seemed to be creating a new kind of lifestyle, based on music and camaraderie, and also by Bob Dylan, who seemed to be speaking with courage for my generation. Those artists gave me a feeling that by playing music, I was joining a global artistic community that offered inspiration and support.
2 Would you mind telling me how the two of you met; did you know at once that you would make a good partnership?
Pete: Maura and I met at the Continental Club in Austin Texas, while I was in town playing a solo gig between Nanci Griffith tours. We wrote a song right away, and realized at once that we had a certain perfect chemistry both musically and personally.
I left town shortly afterwards to play a festival in the Rocky mountains, and after that we each drove five hundred miles to meet up at Buddy Holly's grave site in Lubbock, a remote town in Texas. A few months later, Maura joined Nanci's band, and we have been together ever since!
3 You have had the chance to work with some of the most respected folk/country/rock and roll artists of the 90s/00s; this video especially for me is a summing up of why I love country music!
How did it feel to be working with such incredible musicians, and do you feel they have influenced you musically?
Pete: Working with Nanci has given me the chance to play with and observe John Prine, Guy Clark, Emmylou Harris, Alison Krauss, Townes Van Zandt, Lyle Lovett and many other great artists.
I have been able to see how each one prepared and put together a performance, so I have had a broad and deep overview of the singer-songwriter genre.
Maura: That was one of my very first shows with Nanci Griffith. What an introduction! I kept thinking there was some mistake that they let me on that stage to sing with all those musical giants.
At one point, I was sharing a microphone with my one of my musical idols, Emmylou Harris. I was in awe of her, and I remember feeling unworthy at the time. I stood further back from the mic than her so that my voice wouldn't cover hers up, and I'll never forget, at one point, her hand on my back, nudging me closer to the mic!
I just kept my ears and eyes opened those two nights, and tried to memorize every moment as it was happening. It was 20 years ago now, but I do remember every detail. And thank goodness that video exists!
4 Following on from the above; I noticed that you both featured in Nanci Griffith’s Other Voices Other Rooms concert film; in which she and contemporary artists interpreted songs by artists who had inspired her.
I imagine taking part in that show must have been an amazing experience? Would you consider organising such an event one day about artists who have inspired you?
Maura: Sure we'd consider it, but I don't know if such a thing could come together as well as it did for Nanci. There was definitely an aligning of planets that happened with that project.
Sharing the stage with Nanci, Townes Van Zandt, Odetta, Emmylou Harris, Guy Clark, Alison Krauss, Iris DeMent, Jimmy Dale Gilmore and on and on... I'm still amazed to think of it now.
5 On the theme of collaborations; who is the person you are happiest to have had the pleasure of working with? And who is your dream collaborator?
Maura: I have a photo of me singing with Patti Smith, Joan Osborne and Cyndi Lauper from an annual John Lennon tribute concert that we participated in a few years ago.
Photo: Theo Wargo
It's apparent by the look on my face just how amazing that moment was for me. It was a once-in-a-lifetime event that I'll never ever forget.
But I'm also extremely grateful and amazed that I've spent so many good years collaborating with one of my earliest heroes, Nanci Griffith.
Whenever she asks me to co-write a song with her or take us along on a tour, both as her opening act and as band members, I always think of my 19-year-old self, and wonder how I would have responded back then if someone had told me this would be such a big part of my future. It's been a dream come true for me.
But I'm happiest still to have had the good fortune to have spent the past 20 years (!) making music and touring with my husband, Pete.
I always think, "how long can this last?" and every year that we find we still have people who are interested in our music enough to keep us working as full-time-musicians, is a great big gift of a year -- a gift I never expected from the universe, and am always grateful for.
Pete: Of course Maura is my favorite person with whom to collaborate, but I have also learned a tremendous amount about pure artistry from working with Nanci, as well.
My dream collaboration would be to play with The Band, back when they were known as The Hawks, and played rock and roll in small clubs on Canada, but I don't think that will ever happen now!
6 You both write some beautiful, beautiful songs - which we will get on to in a minute - but you have also been known to cover such artists as Dave Carter, The Byrds and Bob Dylan.
When you cover a song, do you think it is important to conserve the feeling and intention of the original, or do you feel free to perhaps come up with a new interpretation of your own?
Pete: We only cover songs that express our own feelings, when we are fortunate enough to find one, so we don't feel compelled to copy the original. We turn it into a Kennedys song for our version.
Maura: At the same time, we don't feel like we have to drastically change the original either. If the lyrics and the melody speak to us enough to want to cover, we'll play and sing the song "in our style", which is usually more of a feeling or mood.
7 Now for your own songs - you have written some amazing material. My personal favourites include “Life is Large,” “River of Fallen Stars,” and “A Bend in the River.”
I wanted to ask how the song writing process works for each of you: say you want to write a song; do you sit down and write, or do you wait for inspiration to come to you?
How often, on average, so you write a new song, and how does your partnership work when song writing?
Pete: Maura writes from inspiration when she feels strongly about something that she can express in poetic terms. I tend to write to fill out a mental template for an album, our live show, or maybe a certain style of music that would add variety to our repertoire.
Maura: Pete is very disciplined. If he thinks we need a new song, or a new kind of song in our repertoire, he'll just be able to sit down and write one. For me, I have to NEED to write a song, emotionally, intellectually. Usually, the song screams to be written by the time I actually sit down and do it.
8 Are the people in “Life is Large” (“I knew a man...”) based on real people you have known? Could you tell me what inspired you to write Life is Large; a song I find really beautiful?
Maura: One of Pete's oldest friends used to play and sing with us. One day he told us a story about being on tour when he was younger. He was with a whole band, and somewhere in the middle of the U.S. he met a woman and fell in love with her, and so he left the tour then and there and stayed with the woman.
I remember asking him, "Weren't you worried about leaving the band in the middle of a tour?" He just laughed and said, "Life is large!"
9 You have both produced solo material over the years; does your style of music/songwriting vary between your solo material and that recorded as The Kennedys?
Pete: I have a degree in History, so I study musical styles and gravitate towards roots music, with bits of Jazz and Classical. Maura is interested in contemporary indie rock and pop, but also has broad knowledge of roots music, so we meet in the middle with a synthesis of past styles and forward looking pop music.
10 You have a new album out, Closer Than You Know. I personally love it, especially the tracks “Winter,” “Sigh” and “Big Star Song.” Could you tell me what inspired this album?
Pete: Our new CD was inspired by a desire to blend our folk/pop sound with the Impressionist sounds of Paris in the early 20th Century, so there is a little bit of both.
Maura: Pete's talking about the musical aspect of the album. Lyrically speaking, there's a theme running through the album that is one of encouragement. That came from a few years of noticing and reacting to close friends who have been going through difficult times.
I've seen more and more of that in the past few years, and I've come to realize that you can't always make your friends' problems go away. But being a friend means listening empathetically, and offering encouragement and hope.
The title "Closer Than You Know" comes from a line in our song, "Happy Again", which states that a return to happiness is "Closer than you know, but it seems so far."
11 You’ve also recently contributed a track to Trouble in the Fields: An Artists’ Tribute to Nanci Griffith. The track in question is “I’m Not Drivin’ These Wheels,” a favourite of mine.
Why did this particular track appeal to you, and why did you choose to get involved in this project?
Pete: Many of Nanci's classic songs have a repeated structure of three or four chords that create a foundation over which the singer can phrase freely, and I'm Not Drivin' These Wheels is a good example.
Maura: We not only contributed to it, we conceptualized and produced the project, and we got all the artists together and collected their tracks. In some cases, as in the case of John Stewart and Amy Rigby, for example, we recorded their tracks in our own studio.
We just felt that Nanci should be recognized as a songwriter, and that the musicians playing on this tribute should be mostly musicians who have a personal or musical connection to Nanci directly.
There were so many Nanci songs we could have chosen, but I wanted to do a lesser-known song, and this one speaks to me, as it's a song about touring the Northeast U.S. in the winter - something we've done a ton of!
12 One thing that endears me to you as a group is that you seem to have a very strong relationship with your fans - you let me have a photograph and signed my copy of your album when I went to see you for my birthday, and you keep in touch with fans via Facebook and YouTube.
Do you feel this contact and communication with your fans is important? In addition; as your success has grown over the years, do you feel it has become harder to maintain that relationship?
Pete: The direct relationship with fans became possible because of the Internet and social networks, which came online right at the time that we started playing together, so that has been our way of staying in touch with our audience from the beginning.
Maura: I agree. Social networking has made it much easier for us to stay in touch with our fans.
13 You are touring the UK and Ireland in May/June 2013, as you have done in the past; also your new album features a U2 song - do you feel that British and Irish music has been a big influence on you?
Pete: The folk, country, rock and pop music of the US are a mixture of Celtic melodies and African rhythms, reflecting America's cultural diversity. Celtic melodies, filtered through the modernist energy of British rock and pop, are the basis for our music.
14 What do you feel is your greatest achievement, musically or otherwise? And if you each had to pick a favourite of your own songs (as The Kennedys or solo), which would it be?
Pete: Our greatest achievements have been instances in which we inspired or empowered an individual to move confidently to a better place in their own life. That means more to us than record sales, awards etc.
Maura: I agree. I think maybe our greatest achievements are ones we're not even aware of. Last night, after a show, a woman came up to me and was sobbing, and she just grabbed me and hugged me and cried. I asked her if she was OK, and she said, "You have no idea what a powerful energy you're putting out into the world!" She was right! I had no idea!
Every now and then, someone as generous as that woman will let me know what our music means to them, and we're very lucky for those glimpses.
My two favorite Kennedys songs are "Breathe", which is about death-as-a-kind-of-birth, and "I'll Come Over" from our new album. That one is very emotional for me.
15 As a student of French and Spanish, I am interested to know; does either of you have a second language, and would you consider recording songs in a language other than English?
Pete: We both speak a little French, enough to visit the country as tourists, but not enough to compose convincing lyrics!
16 What are your plans for the future? Do you think you will be in the music industry for the rest of your lives, or are there other projects planned? Do you have one lifelong ambition you really want to fulfil?
Pete: We will both always play music, and Maura is involved in acting in New York, as well.
Maura: All I ever wanted to do was play music. I am constantly amazed and grateful that I have made my living from it for the past 20 years.
I hope I never have to stop. I don't think I will, though. I always say to Pete, "if things ever slow down to the point where we need a day job, we can always just go down into the subway and busk for coins. All you have to do is play until you have enough money to eat or pay your rent, and I like playing and singing enough that I wouldn't have to stop."
17 Finally, why do you think, sometime in early civilisation, humans invented music?
Music is not essential to our survival, yet across different continents, different cultures, music developed and it has survived so many changes in the world and they way we live.
Why is music pleasing to us? And, I guess the killer question; what is music?
Pete: Joseph Campbell commented that when we use our brains and bodies for anything other than basic survival, we are approaching the realm of art, so I think that the process goes back to the Lascaux cave paintings, the African Earth Mother figurines, and beyond.
Rhythmic grooves probably developed out of the rhythms of the body, starting with the heartbeat, and some scholars think that the first human communication may have sounded like what we call singing, so music is a basic impulse to communicate, and also to create.
Maura: I was walking down the street yesterday and thinking about my life and about, really, EVERYONE'S lives, and I thought, everything we do as humans is either to pay our expenses (survival), or to enjoy the experience of being human (being happy, making others happy).
If you can combine the two in your life's work, then you've really got something. That's what music is to me. It's my whole way of life. I'm glad I figured it out before I was told that it wasn't practical!
Thank you again for your time, and I wish you the very best – may you continue to be as amazing as you have been for twenty years, and may you keep blowing us away with your incredible talent and compassion.
