Archive for the ‘1997’ Category

While digging through my digital archives, I came across this 1997 email interview I conducted, for my old website, with Canadian rock music historian John Einarson, author of such respected tomes as Neil Young: Don’t Be Denied, Desperados: The Roots of Country Rock, and Hot Burritos: The True Story of the Flying Burrito Brothers, about his then-current There’s Something Happening: The Story of the Buffalo Springfield – For What It’s Worth.

It was, and remains, the best book on that influential band.

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To my way of thinking, despite recent acclaim and their induction into the Rock & Roll Hall of Fame, the Buffalo Springfield remain one of the most overlooked and under appreciated bands that the 1960s produced. That’s an arguable fact, I’ll grant you. After all, “For What It’s Worth” is the song de rigueur used in movies to echo the mood of the ’60s … yet, blank stares still grace too many faces whenever the band is mentioned. “Buffalo who?”

Hell, the day of the Springfield’s entrance into the Rock and Roll Hall of Fame, I listened in horror as a disc jockey at a local, respected music station reported the news and then went on to describe the band’s lineup as including “Neil Young, Stephen Stills, Richie Furay, and David Crosby.” Excuse me? Crosby!? Yeah, he did hang out with Stephen Stills; he’s said to have come up the guitar lick Stills based “Rock & Roll Woman” on. He sat in with them at Monterey Pop, joined them at a couple other gigs. But a member of the band?

You’ve gotta be kidding me.

The David Crosby “saga,” such as it is, receives its rightful mention in John Einarson and Richie Furay’s book, There’s Something Happening: The Story of the Buffalo Springfield – For What It’s Worth, with colorful quotes from Bruce Palmer (“Crosby stunk to high heaven”) and fill-in guitarist Doug Hastings. The same can be said for every other important event in the band’s lifespan and beyond, including an ill-fated “reunion” in 1988 that Neil Young skipped at the last minute. Einarson does a deft job of documenting these moments, interspersing a crisp narrative with first-hand observations from some, if not all, of the participants.

Aside from delving into the inner-group dynamics that drove (and ultimately broke up) the band, the book is thankfully respectful of private lives. This is no tell-all/groupie-laden chronicle, in other words, but a serious examination of the Springfield’s career. That’s not to say you don’t get clear pictures of the principles. Stills, for example, comes across confident and cocky, a young man sure of himself and his talents. He strove not only to write and sing the songs, but play lead guitar, too. In short, he saw the band as his. Neil Young, on the other hand, didn’t just doubt his role in the Springfield; he doubted the group itself. That he skipped out on the eve of their biggest break – an appearance on The Tonight Show – says it all. He possessed (still does) a distinct vision of what rock music should and shouldn’t be. And in the shadows of those two opposites stood the good-natured Richie Furay, not necessarily content with his role but accepting of it all the same.

OGC: What led you to write a book about the Buffalo Springfield?

John Einarson: The idea to do a Springfield book stemmed from several factors, really: the subject seemed logical given that I covered Neil’s career up to that point in a previous book [Neil Young: Don’t Be Denied]; I have always had a great appreciation and fascination with the Springfield’s music and troubled history; and because there is a strong Canadian connection and all my previous books tend to have that thread through them. But besides that, I’ve always been a Springfield fan. I’m probably dating myself here but I first got into the Buffalo Springfield in late 1966/early 1967 when I first heard their debut album on the radio here in Winnipeg. Neil was home for Christmas and he brought a copy with him and a local deejay played it (actually Neil only lived up the block and one street over from me). I was fascinated with the Springfield sound because I was into folk rock and I found their style unique from the Byrds and other folk-based groups at the time. “Nowadays Clancy Can’t Even Sing” ranks as my personal all-time favorite song.

OGC: What role did Richie Furay play in the book’s creation?

Einarson: Richie was my main source on the group. I found him extremely open, receptive and eager to get the Springfield story documented accurately and completely. The group holds a very special place in his heart and he didn’t want a toss-off book. I spent four days with him in Boulder, Colorado in intense interviews, plus several lengthy follow-ups by phone. Throughout the entire research and writing process, Richie was directly involved and approved the final manuscript. Given his participation, the book becomes the authentic, authorized story of the Springfield. Richie and I first hooked up back in 1992 at Neil Young’s suggestion when I was researching Don’t Be Denied. When I decided to pursue a Springfield book, I first contacted him because I viewed his participation as pivotal to the book’s development. We renewed our friendship and took it from there. He is a man of integrity who had no particular agenda or axe to grind. He tells it like it was. And you couldn’t meet a nicer guy than Richie. He also provided me with contacts to interview other people associated with the group and loaned his scrapbooks and rare collection of photos which appear throughout the book.

OGC: While doing your research, did you discover anything that surprised you?

Einarson: TONS!! Where to begin? It’s all in the book I guess. When I undertake a project, whether an article or a book, I immerse myself in research in order to be well-prepared for interviews, Actually Richie was knocked out at my detailed knowledge and chronology. However, given that I had a more than casual knowledge of the group’s checkered history I was still overwhelmed with the volume of new information I discovered. For example, Neil’s epilepsy was a far greater issue than ever assumed and affected the band several times (even being the catalyst for “Mr. Soul”). I never envisioned the enormity of the Stills-Young rivalry. The attempt to oust Dewey for Skip Spence. The influence of two Moby Grape songs on “For What It’s Worth.” The whole Au Go Go Singers and Company story. The sheer volume of songs recorded yet left unreleased (and still languishing in vaults unheard). The problems putting Last Time Around together. That the group considered going on as a 4 piece on two occasions. Neil’s self-indulgence and lack of commitment. Bruce’s many drug busts. The fact that their bass position was far more in flux than I realized. The fact that the group had decided to break up long before their May, 1968 swansong. The ineptitude of their managers…. and on and on. It was quite a revelation, albeit pleasant.

OGC: Were you able to interview all of the principles? What were they like?

Einarson: I interviewed just about everyone in or associated with the group plus key contemporaries at that time. As well, I interviewed people associated with several members’ previous groups like the Au Go Go Singers, and Squires. I had interviewed Neil Young a few years back while researching Don’t Be Denied and we had talked about the Springfield so I had that already, a lot I hadn’t used in that book. Stephen Stills was a different story though. He refused to cooperate. Richie, who collaborated with me, was disappointed that Stephen refused all entreaties to cooperate even after he personally attempted to break through. It seems Stephen doesn’t share the same regard for the past as some others do and I was informed that he was planning his own book down the road sometime. But by collaborating with Richie, it gives the book a unique perspective because he was the man in the middle between these two creative yet often combative factions, Stephen and Neil. His insights into their personalities are quite revealing. I did manage to interview several dozen key people such as Dickie Davis, Dewey Martin, Doug Hastings, Bruce Palmer, Miles Thomas, Rusty Young, Chris Hillman and notorious manager Charlie Greene.

OGC: Don’t Be Denied covers Neil’s early years. For What It’s Worth picks up with the Springfield. Do you have plans to document the next “chapter(s)” in Neil’s career

Einarson: No, I’ll leave that to others more knowledgeable about his later period. My expertise is in the early years and every book written on Neil Young since Don’t Be Denied was published has borrowed from my research and acknowledged my work. That’s where my interest lies. I’m currently collaborating on a European CSNY book that will cover each of the four members from the earliest years up to today. Several writers are involved and I’m doing Young and Stills’ early period up to the end of the Springfield.

OGC: Are you a fan of Neil’s post-Springfield work? Stephen’s? Richie’s?

Einarson: I like some things from each of them. I liked Neil’s work through to the end of the 70s but sort of lost interest since 1990, the godfather of grunge period. I loved Richie with Poco and the Souther Hillman Furay Band. I still think he has one of the best country-rock voices around and hope he gets back to performing. I guess out of the three I followed Stephen’s solo career less, though I love Crosby, Stills & Nash, still do. That debut album was phenomenal.

OGC: The portion of For What It’s Worth that dealt with the possibility of David Crosby’s joining the band fascinated me. Do you really think he would have joined if Stills had asked? Or, as he claimed on a radio show a few months after Monterey Pop, was his sitting in with them just in keeping with the times?

Einarson: David denied it again when I posed the question to him while researching the book but I think that he might have jumped ship if the timing had been right. If Stephen had asked at the point when the Byrds kicked Crosby out, in the fall after Monterey, I think he might have accepted. But by then Neil and Bruce were back and it was full steam ahead. There’s no question that once the Springfield members had decided to call it a day, Stills phoned Crosby first. Chris Hillman still maintains that Crosby wanted to be a Buffalo more than a Byrd by 1967. Certainly the Springfield were more creative than the Byrds by then. Who knows. Interesting that for a brief time three Buffalos–Stills, Young, & Palmer–were together with Crosby and Nash in CSNY. But David didn’t like that very much.

OGC: Would you agree with the assessment that the Springfield was “Stephen’s band”?

Einarson: Yes. Now that’s not to negate the contributions of the others but from the outset Stephen Stills set the course, arranged the music, made most of the major decisions, conducted most of the interviews as spokesman, and wrote the most commercially successful songs. To the average person at that time, the Buffalo Springfield was the voice of Stephen Stills. And he hung on until the end still trying to make the group work. One can see how someone as singularly focused as Neil Young could have problems with that, especially after “For What It’s Worth” became a hit.

OGC: Overall, where would you rate the Springfield in the pantheon of rock ‘n’ roll?

Einarson: Right near the top. Their influence shaped the sound and style of so many other artists that followed them. The Springfield’s folk rock was quite different from the Byrds or anybody else at that time, drawing instead on an earlier folk tradition that incorporated acoustic and electric guitars together laying down intricate lines woven around each other. Theirs was a truly unique sound that later found success in groups like The Eagles. As well, their emphasis on developing individual singer/songwriting styles within one group, as evidenced by their Again album which is highly diverse, helped set that whole singer/songwriter trend of the early seventies and the whole California country rock/soft rock genre. Their induction into the Hall of Fame, a group who really only scored one Top Ten hit not even a Number 1 record in a brief two year lifespan, is testament to their importance to the development of rock music. Almost all their recorded work was never fully appreciated because it was ahead of its time. That masterpieces like “Bluebird,” “Expecting To Fly,” and “Rock And Roll Woman” could fail to crack the Top 40 remains bewildering. Unfortunately when people think of the Springfield, they tend to focus on who came out of it and the success achieved by the individual band members following the demise of the group.

OGC: What’s the next project on tap?

Einarson: That’s always a secret. I just might take on a project in a completely different direction. I currently have a couple of offers and some irons in the fire. Doing the Buffalo Springfield story was a personal dream of mine that I am very pleased to have fulfilled. I hope it brings many more people back to their music and maintains their legacy.

Joe Cocker’s death reminded me of this interview I conducted in 1999 with guitarist extraordinaire Jeff Pevar, who played with Cocker as well as Rickie Lee Jones, Ray Charles and David Crosby. It first appeared in the short-lived Da Boot fanzine, and later on the original Old Grey Cat website.

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“The way a guy plays guitar is a combination of dexterity and taste and inventiveness and passion. Peev has all of those things. He’s just a massively talented guy. I mean, you can’t say one guitar player is the best, or that one guitar player is better than another, Clapton’s better than Hendrix or Hendrix is better than Clapton. What you can say is what appeals to you. And Pevar’s just right in the pocket for me, you know? Pretty much any style he’s playing–the blues, rock ‘n’ roll, edge-of-jazz kind of stuff, he’s there. [And] besides being talented, he’s just a wonderful guy. He’s one of the nicest guys in the music business. To have that kind of talent and not be a jerk? It’s just insanely wonderful. He’ll be my friend all my life.” —David Crosby, 1999

The Early Years

I was probably about 9 or 10 when my brother Stephen brought an electric guitar home from college and left it with me for the summer. I think he showed me a chord or two. By the time he got home at the end of the summer I’d not only mastered the two chords he showed me, but picked up a bunch of other things, too. After he saw how I’d taken such an interest in it, he decided to just leave the guitar with me.

I’m a self-taught musician. There was a guy down the street from where I lived in Bloomfield, Connecticut, named David Kaplan, who showed me my first couple songs on the guitar. I think the first song we worked on was the Kinks’ “Well Respected Man”; he also taught me some Beatles songs. I picked up a book of songs that were played on the radio – it had the guitar chord diagrams included in the music. Because I was familiar with the tonality of the songs, it all started to make more sense to me when I was figuring them out on the guitar. Often, I learned from listening to records, and picking things out on the guitar from them. For instance, [a few years later] when the Allman Bros.’ Live at the Fillmore East album came out, I learned every guitar note on it.

The Beatles were my favorite band, but the transistor radio was often glued to my ear. I was an AM radio junkie; I used to go to sleep with it on my pillow. At the time, AM was amazing–almost every type of music was played. You’d have Motown on the same station as Johnny Cash and the Beatles. That time period was a musical renaissance. It seemed like the people in the companies were guys like you and I who were excited by all kinds of music. So you had producers, artists, musicians and a lot of other people running the show who were in it because they loved music. Obviously, along the way, the big suits realized they could make a lot of dough at it. I think that’s when it changed.

My first band was made up of friends from school. We used to get together in someone’s cellar and jam. One of the guys got into the band because he had a PA system; another got in because he had a drum set. We used to play “I’m Not Your Stepping Stone” and other songs that were on the radio. We wrote a few things, too. We got together whenever we could and jammed until the neighbors complained and called the police or someone’s Mom couldn’t stand the noise.

By high school, I’d immersed myself in music and was playing with local bands. It was all I wanted to do. I was torn because I wasn’t into school the way they were teaching it, and just the things that they were teaching. You know, algebra class–it’s like, wait a minute. These are supposed to be numbers, not letters (laughs). Right around the time they started taking apart frogs in biology class, I just wasn’t into it. I had no interest in taking a scalpel to this poor thing and opening it up. And I was so enamored with the guitar and music that I knew that was my path, that music was what I wanted to do. So I left high school.

My first recording session was at a studio in Hartford called The TapeWorks, owned by a man named Doug Kupper. My association with him became a very important part of my early musical development; he took me under his wing and not only hired me for more session work, but he showed me the ropes in the studio. I have to say, Doug’s generosity at the time in my life was a life-long gift that I’ll always cherish. He was my musical “big brother,” if you will, not to mention a great friend. As time went on, he made his studio available to me on his off-hours, as well. I used to go in there at night to record and write. It was my new school… and no frogs!

A very important part of my good fortune has had to do with the people I’ve encountered along my path. There’s been a wonderful domino effect: One person, one situation leads to another. That’s sort of how it’s worked for me, just going along, working on things, and then being introduced to other people…

Rickie Lee Jones

A dear friend of mine named Michael Ruff is the main reason I signed on with Rickie. I met him in Connecticut; we’d played together when I was around 18-years-old or so. He was one of the biggest musical ass-kickers for me at that point in my life. In my opinion, he was a child prodigy – a profound jazz-level player, even as a teen. We started jamming together and it just blew my mind. He was just so much further along than any of the musicians I had ever encountered before. He took some chances. He moved to Woodstock, then to Los Angeles. He hooked up with Jose Feliciano and, of course, Rickie Lee Jones – he became her band leader. He called me and said, “Look, Rickie’s auditioning guitar players for the upcoming tour. There’s a bunch of guys auditioning, but if you want to get on a plane, I’ll get you a spot.” Through his influence, inspiration, and encouragement I was able to land the audition and the gig.

We started rehearsing without Rickie to get a handle on the tunes for the upcoming tour. One day, though, she showed up unannounced. She put a guitar on and looked at me … and she came over to me. The band was grooving to one of her tunes, this mid-tempo, sexy kind-of-groove, and she came right up to me and put her head next to mine, while we both played our guitars… almost hugging me. It felt like a tribal meeting of some sort. I guess she was simply getting “the vibe” from me in her own way. Part of me was totally freaking out, but I was talking to myself…. “Okay Jeff, just relax, have fun. It’ll be fine…it’ll be over in a minute.” I pushed myself to relax, to overcome my own fears and just be confident. She’s certainly one of the most passionate, intense musical beings I’ve ever met.

One thing that she said to me that I’ll never forget, which I think is one of the best things any artist can say to anybody that they’re working with, is – well, you know, I’d learned all the music from her records. We were playing the songs and I was even playing the guitar solos from her records. She came up to me one day and said, “Jeff, you’re a great guitar player. I don’t want you to have to feel like you have to play exactly what’s on the records. When it’s time to take a solo, play from your heart. Tell your own story.” It kind of clicked in my head all of a sudden – that’s the idea here, isn’t it? I’m not supposed to be someone else. I’m supposed to interpret the music my own way.

I ended up touring with her a bunch of times – the States and Europe, Israel and Scandinavia. She asked me to come out to California to work on some music she was recording. It was my first major session for a record. I walked into the studio and Jeff Porcaro was on the drums, Lenny Castro was on percussion, David Hungate was on bass, and James Newton Howard was producing. On my way to the studio, I was so nerve-racked I actually stopped and got a beer – and I don’t drink! But I drank a beer because my hands were literally shaking. We went in and everything was great. I recorded “It Must Be Love” with her that day.

Ray Charles

Ray was playing in New Haven, which is about an hour away from where I live in Hartford. When I saw the ad in the paper, I decided I’d go see him – I’d never seen him play live before. Then, the night before the gig, I got a phone call from a musician friend who told me he’d heard through the grapevine that Ray’s guitar player had left the band and that I should check it out.

I drove to the theater early that afternoon and arrived right around the time the band was getting there for soundcheck, and immediately got introduced to Clifford Solomon, the bandleader. I told Clifford I was interested in the job; he said to come in and check out the show. Here I am, watching the show from the sidelines. All these big band musicians are in tuxes, sitting down in front of sheet music. And I’m thinking to myself, “Oh, shit. I can’t do this. I don’t read music well enough.” But something inside me said: “I HAVE to do this. I have to push the boundaries. I have to at least try. ‘Cause if I don’t try, I’ll never know.” So I told Clifford I was interested in the gig.

He asked me if I had a tape with me to give to Ray. I said no, but that I’d gladly send one, but they needed something right away. Now, I’d been working at Doug Kupper’s studio in Hartford, writing and recording my own stuff. Luckily, Ray had two shows that night and, at the end of the first show, I got into my car and drove from New Haven to Hartford, dubbed off a tape of a couple of the bluesier/jazzier songs I’d recorded at the TapeWorks, and got back in the car – and arrived back in New Haven just as they were leaving. It was incredible how it all worked out… almost crazy. There have been certain moments in my life when I feel as if there are angels, music angels, watching over me.

So I gave him the tape and got the call the next day. They wanted me to come to New York to do a rehearsal/audition. During the audition, which they taped for Ray, there was one short written-out guitar solo, very simple, for a song called “Riding Thumb,” that Ray wanted played verbatim. Luckily, the bandleader sang it to me; it was so short, and my ear was quick enough, that I was able to play it without having to try to sight-read the part. Then we played some blues, which was my forte.

I soon learned that Ray really loved my blues playing. It was a bond that I had with this person who was, for me, Mr. Music. For all intents and purposes, I was technically under-qualified to be in his band, but I could read enough chords to get through the charts. And my blues soloing was strong enough that Ray really dug what I was doing. We really hit it off. In addition to all of the sides of his musicality that are very studied and specific, the guy is just an open nerve. He was a blues guitar fan; I was able to get him to literally shake in his chair. I’d play that one stinging B.B. King-kinda note and he’d turn around to me and say, “Ow! Ooh! You nasty boy!” It was an eye-opening experience for me. Here’s this Jewish kid from Hartford getting Ray Charles to actually squirm on his chair! It gave me such an affirmation – I knew then that I must be doing something right.

Ray has a huge book with hundreds of arrangements, each one numbered and in order. Before each show, we’d get a slip of paper with the numbers of the songs that would be performed that evening. He’d often pull out the bluesier songs that had room for my soloing; I was featured a fair amount. But there were a lot of the same songs we played every night, too, and I started to fantasize about playing other music. So, about six months into the second tour in 1986, I asked to have a talk with him. I knew from reading about him that he’d played with other artists and then left to form his own band. I told him, “Ray, I’m at a point in my life where I also feel like I need to put my own band together. I hope this doesn’t create any bad feelings between us because I feel very lucky to have worked with you and I’ve learned so much.”

He said, “Honey, the only thing I ask from my boys is that they play for me. And you play your ass off. The only thing I want from you is that I always have a number so I know how to contact you if I need you. Not your girlfriend’s number ’cause that could end overnight!” He was great. And, actually, the following year he gave me a call and asked me to join on again – and I did for a few months. I went to Europe and played the summer with him and then gave my notice. That was the last time I toured with him.

Joe Cocker

Michael Lang, who was involved in putting on Woodstock, was managing Rickie Lee around the time that I did my second tour with her. He was also managing Cocker. I’d heard through a friend that Joe was going on tour, and was looking for a new band. So I called Michael and told him I was interested. That’s how I landed the audition. That was in 1988, in support of Joe’s Unchain My Heart record.

Joe was huge in Europe, especially in Germany. The thing that I most remember from that tour was that the Iron Curtain was still up; we were asked to play two places in East Germany, East Berlin and Dresden. Supposedly, they’d never had an American rock ‘n’ roll concert there ever. And, at these outdoor shows, there were more people there than I had ever seen in my life. The reports were between 100,000 and 150,000 people. It was literally people as far as I could see. It was such a profound feeling to be standing in this place behind this wall with people who couldn’t walk to the other side. There was this young lady involved in the tour who I met; she told me she’d been waiting 10 years for a car. You know, you put in a submission and then you wait. It was mind-boggling.

But Joe was a sweetheart of a guy to work for; he treated the band really well. On off-nights, he’d take the entire band and crew out for a huge, amazing dinner and pick up the tab. He was a high-class guy. And he was a big Ray Charles fan. At the end of the tour, he wrote a little thing in a book for me: “It’s you, me and Ray!” He was just so enamored.

Yoko Ono

When I quit Ray’s band… a friend of mine named Rick Van Loon lived in New York, and had his own band. He said, “You need to be in New York. I want you to come play in my jazz group.” It was a fusion-thing. He goes, “I don’t have a big apartment, but you’re welcome to the couch.” I’d always known that I had to move to New York or L.A. So I was sleeping on this guy’s couch, barely making any money, walking the streets and going, “Hmm… can I afford this slice of pizza?” But from hanging out in town, one thing led to another. I started playing clubs and word started to get around; it was kind of an investment time. Through that groundwork a lot of opportunities started coming my way–kind of that domino effect [again].

I was recommended for this MTV game show called Turn It Up. I did the pilot, the show was picked up and I got the gig. My friend Rob Stevens, who produced the band, worked with Yoko Ono, too. He called me. She was doing a song – I think it was a demo for an upcoming play. It was this punk-vibe tune in the studio – guitar, bass and drums. Yoko was there, in the vocal booth, doing her thing. She was great; I really enjoyed her. We went in, did the rhythm track while she was singing in the booth. Then they asked me to do another guitar track – licks and fills, and a solo in the middle and a solo at the end. So I’m playing, doing fills, doing the verses around her vocals and I do the solo in the middle and then we do the ride-out and I’m just, like, going nuts, playing very animated and wild and rock ‘n’ roll. I finished the take and I look and there’s Yoko jumping up and down and clapping her hands above her head. It was just such a trip to see her react like that.

Marc Cohn

I met Marc Cohn a couple of years earlier, through James Taylor. I had a short association with James around a time when he was interested in meeting new musicians. I went into the studio with him to record a couple songs–a couple of them made his album That’s Why I’m Here. When Marc moved to town, he met with James, who suggested to Marc that he put a band together and gave him my name. I did some early demos with Marc.

Then Marc got his deal with Atlantic and put out his first record. He was auditioning guitar players for his first major tour and I got the gig. We did a great tour together – just the two of us. It was an eye-opening experience for me. All of the artists that I’d been performing with had larger ensembles. Marc and I were playing before 2000-3000 seat audiences in Europe and in the States as a duo. It was very exciting. I was playing acoustic and electric guitar and on a couple songs he just sang [to my accompaniment]. On ‘Fever’ I played fretless bass. The pared-down thing really taught me a lot; my association with Marc was truly a highlight for me. He’s a gifted musician.

During that time, Crosby, Stills & Nash asked Marc to open up their acoustic tour. Our first gig was at the Blossom Music Center in Ohio. That was the first day I met David. It was a historic meeting for me. Right from the get-go, we all bonded immediately. Crosby and Nash were so excited; they came into our dressing room asking to sing with us. I found myself figuring out harmony parts with David and Graham. I was like, “Pinch me, I must be dreaming.” One of the things that I love about Graham and David is that they share the same hunger that I do to play music. That’s one of the wonderful things about being a musician. It helps you stay in touch with that child, with that little kid who just wants to go out and play. And, luckily, they’re still smitten by that bug. That’s one of the reasons why we all enjoy playing together so much.

Crosby & Nash

As Crosby put it, they were watching Marc and I play and Crosby looked over at Nash and said, “Okay, we’re stealing this guy.” After the second or third gig, Crosby came up to me and said, “Listen, Nash and I have been talking. We love the way you play.” He said that he and Nash do a lot of work outside of the thing with Stephen. And they’d love for me to be included. My mouth dropped.

The first gig was actually a four-piece ensemble with Craig Doerge at Caesar’s Palace in Tahoe. It went great. And then, from there, we actually ended up doing some trio things; it went so well that a tour was booked. They were kind enough, and generous enough, to include my name in the billing. It was billed as “David Crosby and Graham Nash with Jeff Pevar.” It’s a testament to what kind of people these guys are. A lot of people are into the whole “star” trip and you’re just the back-up musician. But these guys have treated me like a friend right from the beginning.

CPR

Croz and I had known each other for four or five years before he found his son James Raymond. After James and David met, and David heard James’ music, Croz said he immediately thought the three of us should get together and play. We did, and the vibe between us all was happening. James is such a profound talent. So we decided to book some dates to get out and play as a trio. It came together very quickly; we did about three rehearsals and, in January of 1997, we did a dozen dates up the West Coast. Of course, David and I had been working together for a while. But James is an incredible, incredible musician. He’s an astounding guy. His sensitivity and his musical vocabulary fit like a glove.

After the tour, David called me and said he wanted to do a CPR record. We had some lead time before we were actually going to record, so I booked myself a lot of trips out West so that we could get together and write.

Every song co-written between the three of us happened different ways. “That House” started as a little idea I had on the guitar, which is the intro of the song. Interestingly, I wrote it on David’s boat, The Mayan. I brought that musical idea to James, and we got some more chords together. And David had these wonderful lyrics that he’d already written that fit right into the tune. The three of us got together, and arranged it, and even added the end section of the tune at rehearsal just before we tracked the song. It was magic. And “Little Blind Fish” -David had given me a number of his lyrics. I pulled it out one night after going to a blues club and just put some blues changes to it. It just worked like crazy. I showed it to him the next day–he was in New York doing some business. And he said, “Put Crosby-Pevar at the top of the page.”

Of course, “It’s All Coming Back to Me Now” is the title of a live record I did with David. John Gonzalez, who’s David’s guitar tech – and is also a member of Anastasia & John – came up with the title for that record, which was kind of a play on words from David’s If I Could Only Remember My Name album. I thought, what a great title for a song! As we were amassing music for this CPR record, a lot of it was somewhat jazzy and lower-tempo and sweet. I thought, “Man, we need some rock ‘n’ roll.”  I’m a guitar player who loves to play rock ‘n’ roll and blues, too. I love to hear David sing in that “Long Time Gone” or “Almost Cut My Hair” blues/rock style.

So I came up with the music, and used the title of the live record for the song title. I was driving in between Connecticut and New York a lot and, on those drives, I’d write lyrics. I finally showed what I had to David; we ended up e-mailing lyric changes back and forth until we came up with the final set. It’s a song about anybody who’s been down and come back. I was actually thinking about David: “I’ve been through rocky waters/been over the falls.” He’s a sailor; and he’s been through very rocky waters.

On the CPR record, there’s music that forges new territory for the type of music that might come out on a “David Crosby” record. Which isn’t to say he hasn’t put put some really weird and cool stuff, ’cause we know he has. But there’s a wide harmonic vocabulary on this record that incorporates all of our influences, I think. Certainly, there’s a little bit of Stills’ influence in some of the guitar approaches. He’s always been one of my favorites. And I’m sure Stills listens to a lot of the same guys I do; we’re both influenced by Louisiana- and Texas-blues.

The Present

Over the last ten years or so, I’ve been singing more and more. I live in the Hartford area; when I’m off the road, I play with my own band, whether it’s billed as Jeff Pevar Band, Jeff Pevar & Friends, whatever. When I perform, do most of the lead singing. I interpret traditional blues songs and different songs that I like. Some are instrumental, but I sing a lot.

After I met David and Graham, I started singing harmony a lot with them. Obviously, if you’re going to have some good teachers, they’re the best. Since meeting them ’til now, my singing has improved vastly, I think. But, the whole lead singer thing – some people are just really blessed with this great instrument right from the get-go. I’ve been trying to cultivate mine. I don’t feel like my vocal abilities come as naturally as my guitar-playing ability. So I just have to work harder!

I stay very busy when CPR isn’t working; I work with a lot of artists and am now producing other artists’ records. It’s been a blessing that I’ve played in many different kinds of bands – bluegrass bands, jazz bands, swing bands, rock bands and blues bands. It’s contributed to my ability to easily work with lots of different musicians and artists. I just produced a record for a friend named Doug Ingoldspy; I met Doug through Anastasia & John. They were in a songwriting circle in Santa Barbara with Doug that Jimmy Messina put on. Doug asked me if I’d co-produce his album. He’s a great songwriter.

He did the rhythm tracks in Santa Barbara at Jax-Tracks Studios and sent me multi-track tapes to work on my guitar parts in my studio. Then he hired me to come out and mix the record with him in Santa Barbara. The record features some great guests: David Crosby, Anastasia & John – he cut one of John’s songs, too – and Doug’s old friend Kenny Loggins, who sings some background vocals. And Jimmy Messina is featured on guitar on one cut; I play most of the electric guitars and some mandolin.

The Future

I lived in New York City for a number of years and still commute, when I need to. But I’m not a big fan of the city lifestyle as a general diet. I’ve always been from the Hartford area. [My wife] Dana and I found this really great little place that’s down a dirt road right on a river. It’s like, do I want to wake up in the morning to a car alarm or do I want to wake up to ducks? Ehh, I’ll take the ducks.

I’m actually building a recording studio in Connecticut near my house to write and produce my own music and to produce other artists. I listened to some of my older compositions recently. There are some good things there, I think. I might have to re-record some of them to put out sometime. I’m also toying with the idea of putting out a solo acoustic record – in addition to the ensemble blues stuff that I do, in addition to the instrumental stuff. I realized, if you want to do everything, then do everything. Why limit yourself?

Here’s a classic from the vaults: my first interview of David Crosby, from August 18, 1997, for the original Old Grey Cat website on GeoCities. (To read the second, click here.) At the time, he was in the midst of recording the first of two studio albums with CPR, the group he’d formed with guitarist Jeff Pevar and son Jeff Raymond….

How did CPR come together?

I’ve been working for the last two or three years with a guitar player named Jeff Pevar, who is a complete stunner. He’s worked with Rickie Lee Jones, Ray Charles … I heard him playing with Marc Cohn. He’s my current thriller guitar player. We got along great. He started working with me when I did solo shows or shows with Graham Nash. Then, about two years ago when I was in the hospital – I don’t want to be dramatic, but I was dying. I knew for many years that I had a son out there somewhere. His mother had had him, and put him up for adoption. You can’t track an adoptive kid from the parent down, only from the kid up. So, when he got married, he wanted to know who his birth mother was. He went down and made the inquiry. I guess they just gave him the book; he’s looking at her page, and, on the other side, is me. When he saw that, he’d been a musician for 20 years.

That really says something about genetics.

Yeah. He started when he was a child playing the piano. The people who raised him, who are lovely people, had realized he had great talent. They encouraged it, gave him piano lessons, got him to study music. He was everything I wasn’t. He’s a schooled musician. He can write music, he can read it, and … he’s just an incredibly talented young guy. When we met, we hit it off extremely well. We found that our music was very, very similar. So we started playing and started writing. Then, when he and I and Jeff got together, there was an undeniable chemistry between me and Jeff and an undeniable chemistry between me and him. And there was chemistry between the three of us. So we decided Crosby, Pevar and Raymond should become CPR.

That’s a great story.

Well, it’s kind of a wild one. To find him at all is against the odds, and to have him be not just a musician, but a fantastic one?! There’s this incredible link. I sort of know what the next chord he’s going to play is and he sort of knows where I’m going. He’s said he’s never found anybody’s music that was easier for him to learn. There’s a real communication there. He’s also an incredibly nice young guy. So we said, well, the music’s too good to ignore. We’re going to go ahead and do it. We tried it out; we did about a dozen dates up the West Coast, San Diego to Seattle or something. It was some of the best fun I’ve ever had playing live. And we kept writing these songs, one after the other…

So the songs you’re recording now are all originals.

Yes. It’s stuff that I wrote, stuff that James wrote, stuff that James and I wrote, stuff that James, Jeff and I wrote, stuff that Jeff and I wrote. It’s just a very, very hot chemistry. We’ve written probably five of the best songs that I’ve written in the last ten years in the past two months.

Would one of the songs be “Morrison”?

“Morrison” was the very first one. It started out with an image about being lost. The metaphor was a gull that gets blown inland on a stormy day. I thought that was a great metaphor for being lost in life. So I started trying to write that. Somewhere in there, it wound up with these images of being lost in a Paris graveyard. It was Jim Morrison, obviously, who did a very good “lost” himself. That’s the way the song wrote itself out of me. I can’t predict how that stuff’s going to happen.

When you do sit down to write a song, does it just flow out of you? Do you have a melody or an idea?

It comes every which way, man. Very often it comes words first, sometimes it comes music first, sometimes both at the same time. I really can’t predict it. In this case, I had no idea I was going to write a song about Jim Morrison. I was writing a song about a gull blown inland on a stormy day. It just came out that way; I didn’t even like Jim Morrison. I knew him, but I never was friends with him. But, I understand him pretty well because I was lost in the very same place. And so he was a good metaphor.

What are some of the other songs you’re recording?

There’s a fantastic one that James had written called “One For Every Moment.” It’s an incredible love song that happens to have this very up, Latin flavor. There’s one called “That House” that I wrote the words for; Jeff, James and I wrote the music. It might be one of my best set of words ever. It might be one of my best vocals ever, too, I think.

There’s another one that I’ve been doing, that I even recorded once before live, “Rusty & Blue.” That came out fantastic! It’s a stunner. I’m as excited as I can be. I feel so good doing it. The level of communication is so high, and the music is coming out so well that I get to the studio an hour early just so I can hear it.

Do you have a title for the CD yet?

No. We’re looking for one.

Do you have a label?

No, we cut it ourselves. I took the money that I made this summer w/CSN and just plowed it right back into this.

Are you thinking of going the independent route?

I’ve talked to Ani DiFranco [who has her own independent record label]. There is a temptation to do that. We will play it for some of the more independent labels. The big guys just have too much super-structure on them.

Half the time they don’t seem to know how to market people correctly.

That was certainly the case with Atlantic and Crosby, Stills & Nash. They had no idea of how to market us, anymore. They didn’t know what demographic we were playing to.

I’ll tell you how it’ll work: If a record company listens to this band and really understands what it is, ’cause it’s sort of out on the edge where Steely Dan, Bruce Hornsby, Joni Mitchell, James Taylor are, people who make pretty sophisticated music – it’s out toward that direction. If we find somebody who hears it and digs it, and really wants it…and evidences a desire to work it, then maybe we’ll make a deal with them. But we wanted to go in and cut the record on our own money so there was nobody telling us what to do.

That’s good.

It’s good because you get to follow your heart. You get to say, “What I really feel is this.” I’m not trying to make a clone of the Spice Girls. This is the real thing that I’m trying to express. This is what I want to do—and we did exactly that. We didn’t do anything except exactly what we really felt.

You mentioned the Spice Girls. Do you stay in touch with the current music scene?

To a degree. Obviously, I’m happy as I can possibly be that Shawn Colvin somehow busted through and got a hit. She’s one of my favorite singer/songwriters. She opened for Crosby, Stills & Nash and we all fell in love with her. Nash and I have gone and sung with her, I’ve sung on her records. She’s a close friend.

She has a mesmerizing voice.

We were just so happy to see a real singer-songwriter break through. That’s exactly what should happen and almost never does. Usually, the radio formats just exclude that kind of stuff.

That’s what frustrates me and I’m sure you. As a fan who likes more than the 20-year-ago hits – for example, on Live It Up, your song “Yours & Mine” is as wonderful a song as any you’ve recorded. Yet, when they play you on the radio, it’s always something 20- or 30-years old.

Yeah, that drives us nuts, too. The classic radio stations love Crosby, Stills & Nash but won’t play anything after Deja Vu or, maybe, the CSN album, the one with the boat on the cover. It makes us nuts. CSN is going to go in, in January and February, and make another album. It’s going to be one of the best albums we’ve ever made – and I know it because I know the songs.

That’s another thing. We left Atlantic. CSN is going to find a new deal with somebody who actually gives a damn about us.

I understand you’re working on a book.

Yeah, I got a book that my friend David Bender and I are writing called Stand & Be Counted. It’s about activism …. musicians and activism. We’re going to start with Pete Seeger and Woody Guthrie and work our way up through the Civil Rights movement and into the Vietnam War era and into Live Aid, Farm Aid, the Amnesty Tour, on up to now, and try to show how this phenomenon grew up out of the cracks and just manifested itself out of people feeling they had to take a stand on things, that they found they could use music to gather people together for a cause. It’s a wonderful thing. It’s a place where human beings can put somebody else’s good ahead of their own. It gets very shining when they do that, man. It’s a very good thing. And there’s nothing about it. We looked, we researched; there isn’t anything about it anywhere. So, we thought, we should write a book celebrating it and chronicling it, and hopefully try to help perpetuate it.

Will you be interviewing other musicians?

That’s exactly what I’m doing. We have all the best musicians … all the obvious ones, like Bonnie, Jackson, Nash, and Elton, Phil Collins, and Paul McCartney. We have a ton of people. Joni’s going to do it. Shawn said she’ll do it. I’ve already done Neil, Don Henley, Willie Nelson, John Mellencamp, Jewel, Hootie & the Blowfish, Carly Simon, Pete Seeger. I did Pete… that guy is a national treasure. He’s a wonderful guy, wonderful dedication to life, wonderful set of values.

Did you find it odd to be on the other side of an interview, to be the one asking the questions?

At first. But, actually, it came very easily because I have an advantage. I’m not some talking head asking, “Well, how did you boys meet?” I’m usually talking to somebody who I’m at least acquainted with, if not am friends with. And I’m talking to them usually, or very often, about concerts we did together. I try not to get in the way very much. I just try to elicit the response from them and try to get them to really talk about why they do it, what makes them feel the necessity to stand and be counted.

How does that work? Writing about issues?

I think we react just as you do. When you saw the picture of the girl kneeling over the kid dead on the ground after Kent State, you were horrified, right? You said, how can they shoot somebody’s child for doing what the Constitution says they have the right to do? How can they do that? How can this happen? Well, we feel the same way. The only thing is, we have this incredible, lucky thing that we can do: We can externalize it – and also we can have a cathartic release about it. We can crystallize it and put it out there. I think we have every right to speak our minds. I don’t think we should preach. The point is not to point fingers and say, “This is how it should be. This is what you should do, this is right and that’s wrong.”

Sometimes pointing fingers is the right thing to do.

We did it when we did “Ohio,” that’s for damn sure. But that was pretty clear cut. It’s better if you can lead by example, and it’s better if you can talk in metaphors so that people get the essence of the thing without you saying, “Jesse Helms is an asshole.” That makes a dull song.

Depends who you’re singing it to.

Yeah, maybe Nine Inch Nails could do a really good song about that. . .

Twenty-eight years ago today, three a.m. this morning in fact, CSN hit the stage at Woodstock. What’s your memory of that?

The truth is, man, my memory of it is very good. I loved it. I thought the second one was a media zoo, but the first one was a very heartfelt, wonderful, accidentally great thing where a lot of incredible music got played. There was a genuine feeling of brotherhood between the people who were there. Nobody killed anybody, nobody raped anybody, nobody shot anybody. I think that’s probably the only group of people that size who didn’t do that in the history of mankind. Anytime you get that many people together, even at a religious gathering, somebody beats somebody up. There was something special going on. It was a wonderful, wonderful time.