RITA COOLIDGE: THE DELTA LADY RETURNS TO NEW YORK CITY

This feature appeared on Huffington Post, June 2016

Until the very night I met him, Sammy Davis Jr. was someone that I irreverently made fun of because, to me, he represented that ‘show business song-and-dance man’ which I thought had a lack of sincerity when I would see him perform on TV. He sat next to me (at a charity event in New York City with Dionne Warwick, Frank Sinatra, and Liza Minnelli) and asked ‘what are you up to? What are you doing?’ And I responded ‘I’m figuring out where I am going to go with my next record...’ And he came back at me. ‘You don’t need a record!’ And I just stopped and listened to him. ‘Girl, records don’t drive what you do. You may think they do, but they don’t. If you haven’t learned about your craft and how to be a singer...if you’re waiting for a record to drive your career...then you’re not a singer! Take some time off, step away from it...’

When Sammy said those things to me it was like a smack in the head! I walked away that evening with so much respect for him. His words literally changed the way I looked at what I did. And it came from the most unlikely source...and I love that man for what he taught me. So I started to really learn about my craft. I started to learn about my audience. And I learned to figure out what it is that goes on when I do a concert and when I’m with those people that have come to hear me sing. Rita Coolidge as told to Tom Semioli, New York City, June 2016

Amen Sammy. However with all due respect to “The Candy Man” crooner, as a music journalist, bassist, and child of the 1970s (whatever that means), I love talking to my record collection. And no American rock ‘n’ roll and/or popular music assemblage is remotely complete sans the presence of the incomparable Rita Coolidge. A singer, songwriter, recording artist, and now author, among other titles - Ms. Coolidge’s watershed artistry traverses rock, pop, country, rhythm and blues, gospel, folk, jazz, Native American, and soul - and every permutation thereof. Her voice is everywhere.

Where to begin for the uninitiated? As an A-list session vocalist Rita graced the recordings and/or concert performances of Delaney & Bonnie, Joe Cocker, Stephen Stills (“Love the One Your With”), Leon Russell, Eric Clapton, George Harrison, Ray Charles, Bob Dylan, Graham Nash, Dave Mason, Al Kooper, Marc Benno, and Carly Simon to cite a very, very, very, very select few.

As a recording artist Rita has forged a multifaceted multi-platinum career, including Grammys for Best Country Vocal by a Duo or a Group for “From the Bottle to the Bottom,” and “Lover Please” which she waxed with her former husband Kris Kristofferson. Her hits, such as “Your Love Has Lifted Me Higher,” “We’re All Alone,” and “All Time High” - are standards, and I am referencing just three of them. Rita’s solo albums, collaborations with Kristofferson and others, along with her work with the aforementioned artists define a generation or two or three. Her canon is revered and studied by my musical colleagues - ranging from teens to senior citizens.

In her captivating new book Delta Lady: A Memoir by Rita Coolidge with Michael Walker (Harper, 2016), Rita lifts the curtain on her life as one of rock music’s most important artists; ranging from her “uncredited but essential” contribution to Eric Clapton’s anthem “Layla,” her relationships with Kris Kristofferson, Graham Nash, and Leon Russell who penned “Delta Lady” and “A Song for You” about Rita; her behind-the-scenes revelations of the iconic Mad Dogs and Englishmen tour; her upbringing and close family ties, the brilliance of her co-musicians who often have not received the recognition they richly deserve in the pantheon of pop music (including the late, great bassist Carl Radle); and her astounding body of work in the studio and on stage, among other stories too numerous to mention on this forum.

Collaborating with Michael Walker, best-selling author of Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood and What You Want Is in the Limo: On the Road with Led Zeppelin, Alice Cooper, and the Who in 1973, Rita’s tone is wonderfully intimate and her imagery cinematic.

“I didn’t want to talk at people, or for the book to simply recite a bunch of facts. I wanted it to feel like I was having a conversation with someone because that’s the kind of books I like to read,” emphasizes Rita. “My editor said ‘tell the truth!’ And for me, just hearing those words was the starting place, and that’s where it remained - in a place and in the light of ‘truth’- and that was always on my mind. I mean, I never thought about not telling the truth! But there are ways to say things a little more gently... you can still tell the truth but you don’t have to be ugly about it!” Then, bursting into laughter, Rita proclaims, “and some of it is just ugly!” 

On a passionate thread, she continues. “The things I talk about were some of the struggles I went through as a young woman, and to let people know that they can overcome so many things too. All those obstacles I went through made me stronger.” Rita’s harrowing accounts of violent encounters, and the machinations of the music business, among other episodes, are indeed riveting.

“It was also important for me to talk about the vantage point that I had from the time I went to Memphis and the music scene there and being in the midst of the Civil Rights Movement - especially when Martin Luther King Jr. was assassinated in Memphis, and being in that music scene and in that political scene at that time, which was really important and had a huge effect on my life. And then going to California with Delaney & Bonnie and being with all those great people. It was a great time in music before cocaine and all of that crap became a part of people’s lives...it was still just so innocent and creative and beautiful ... and I wanted it to be represented in the book. And I chose to end the book when Kris and I divorced because it could be another book...I can’t tell it all!”

Which brings us back to Sammy Davis Jr. and singing live: The Delta Lady returns to New York City, the metropolis of many of her artistic triumphs (Fillmore East, Madison Square Garden...) to sing with her band at The Cutting Room, 44 East 32nd Street, on Thursday, June 23, 2016, 7:30 PM.

For all things Rita Coolidge, visit www.RitaCoolidge.Com

For information about Rita Coolidge at The Cutting Room in New York City, visit: TheCuttingRoomNYC.Com

Delta Lady: A Memoir by Rita Coolidge with Michael Walker (Harper) is out now.

Reeperbahn festival rocks the big apple!

June 2016, New York NY:  The international music industry buzz radiating from the Reeperbahn Festival is growing louder, larger, and more influential thanks to an iconic New York City alternative weekly and the German Foreign Office!   

At the legendary Gramercy Theater in New York City, the acclaimed Reeperbahn Festival made its highly anticipated debut in the United States with a special New York City Edition musical extravaganza that showcased fresh, new acts spanning folk, rock, experimental, soul, blues, techno, funk, dub, and every permutation thereof. Attendees from the A2IM (American Association of Independent Music) Indie Week along with local journalists, artists, writers, musicians, tastemakers, and entrepreneurs converged at the famed East 23rd Street venue to witness the electrifying sights and sounds of “cultural exchange” from a diverse array of thrilling new musical acts.   

The Reeperbahn Festival New York Edition arrives with the support of the German Foreign Office. This was the first time that a delegation of music industry professionals traveled to New York under the aegis of the Reeperbahn Festival. Amid the incendiary din of guitars, the musicians expressed their gratitude to the German government agency, along with their exuberance for the opportunity to expand their artistic horizons to a new audience.     

Among the trailblazing international roster of Reeperbahn performers included Jesper Munk (Germany), Grand Analog (Canada), Moonboy Inc. (Germany), Rebstar (Sweden), Fenster (Germany), Malky (Germany), and Adi Ulmansky (Israel).

As Reeperbahn Festival General Director Alexander Schulz notes, the North American market continues to be of prime importance to all facets of the global music industry - yet gaining access to this foremost sector is difficult. Hence the importance for Reeperbahn to take a proactive role by bringing the Festival to the Big Apple to facilitate the efforts of music-industry professionals and artists. 

About The Reeperbahn Festival: The Reeperbahn Festival is Europe’s B2B platform for the music and digital industry which offers industry professionals and artists a program which includes numerous sessions, networking events, meetings, showcases, and award shows.

Thousands of industry professionals, artists, and media representatives from over 40 countries attend Reeperbahn as top international speakers address issues relevant to the music industry, its submarkets – recorded music, live entertainment, and publishing – and related sectors in the digital economy. Since its 2006 debut, Reeperbahn has grown to become one of the most important meeting platforms for the global music industry.   The Festival draws its name from the famous Hamburg street renowned for its nightlife.

Hamburg September 2016 / Support from Embassy of the Netherlands in Germany: In September, the Reeperbahn Festival will commence once again in Hamburg with more than 700 events and 460 concerts. The festival’s partner country in 2016 is the Netherlands. Dutch Impact, Buma Cultuur, and the Performing Arts Fund NL will spotlight the Dutch music scene in concerts, sessions, and networking events with the support of the embassy of the Netherlands in Germany.

Check out the Video Highlights of Reeperbahn  http://bit.ly/1UAdj7D

JOHN ASHTON'S SATELLITE PARADISO: THE BOYS ARE BACK IN TOWN AGAIN

“Yeah, it’s a long time coming....” John Ashton, guitarist, producer, composer, Satellite Paradiso, ex- Psychedelic Furs

“We need to do this!” Fred Schreck, singer, songwriter, Satellite Paradiso, The Ancients

“I’m thrilled!“ Robert Burke Warren, bassist, Satellite Paradiso; actor, singer-songwriter, author

“Well, we had to do something....” Frank Coleman, drummer, Satellite Paradiso

F. Scott Fitzgerald, a fairly decent writer in his time, famously opined that “there are no second acts in American lives...” Present day United States Presidential considerations aside, Francis’ remark need not apply to the current line-up of a band of “merry men” which is about to fly once again under the banner of Satellite Paradiso. The group is commandeered by Psychedelic Furs founder and bona-fide guitar icon John Ashton, who, incidentally, is an affable Brit residing happily ever after with his family in upstate New York.

I first chatted with John for Huffington Post back in the heady days of 2014 (A Psychedelic Fur’s Journey to Satellite Paradiso - http://huff.to/1brlpLb) upon the release of Satellite Paradiso’s brilliant debut collection which initially appeared on the Pledge Music platform. Ashton’s collaborators on that self-titled slab were an extraordinary posse of like-minded artists who brought the guitarist/producer/composer’s futuristic visions to fruition. The album will now be released on May 27, 2016 on Mi5/Universal.

For the record, Paradiso’s recorded bow featured: Fred Schreck (The Ancients/Crush), Sara Lee (Gang of Four/B-52′s/Todd Rundgren), Gail Ann Dorsey (David Bowie/Lenny Kravitz/Tears for Fears), Roger Morris (Psychedelic Furs/Castle Bravo), Duncan Kilburn (Psychedelic Furs/The Strangers), Frank Coleman (Bentmen/Secret Agent), Paul Ferguson (Killing Joke),Paul Garisto (Psychedelic Furs/Iggy Pop), Don Yallech (Psychedelic Furs), BP Hurding (X-Ray Spex/Classix Nouveaux), Mars Williams (Psychedelic Furs/The Waitresses/Liquid Soul), Amanda Kramer (Psychedelic Furs/World Party), Jo Quail, Jonathan Donahue (Mercury Rev), Jane Scarpantoni (Lou Reed/Yeah Yeah Yeahs), Alexandra Cutler-Fetkewicz (Chamber Orchestra of Philadelphia), Louis Schwadron (Polyphonic Spree/Sky White Tiger), Mark Volman (Flo & Eddie/The Turtles/Frank Zappa/T.Rex), Jen Gloeckner, and a cat named Cheetah Chrome (Dead Boys, Rocket From the Tombs). Pretty impressive, and a testimony to the respect Ashton carries among his peers.

A touring version of Ashton’s massive collective, which included Schreck, Coleman, and Sara Lee, among others, played a few highly-acclaimed shows, then returned to their respective lives as family men and women, producers, musicians, parents, and assorted career endeavors.

A year or so later I met up with Messrs. Schreck and Coleman in hipster Brooklyn for The Ancients record release party - a project which the singer and Morgan Visconti embarked on over twenty years ago as detailed in Huffington Post - Back to the Future with Fred Schreck and Morgan Visconti: The Ancients(http://huff.to/1Sd66dV). Both Fred and Frank pined for the return of Satellite Paradiso. Then they plied me with drink!

The good news, for them and us, is that Satellite Paradiso is back and in the flesh. Ashton, Coleman, and Schreck are hitting the road for a brief sojourn with their new bassist Robert Burke Warren, whom you might recall from The Fleshtones, among several other impressive accomplishments. Additional members are a possibility, but have not been confirmed at press time (whatever that means), because that’s the way rock ‘n’ roll really works.

Regardless, the lads are chuffed to be back in the Satellite saddle. Driving north from Manhattan on the New York Thruway, Ashton revels in the fact that fans appreciate that he was able to stick to his roots while creating something fresh and forward moving. To my ears, Paradiso on record is exactly what you would expect from a player of his stature and intellect. John references his esteemed history while stretching the boundaries of the genre with new sounds, textures, and rhythms.

Yet playing live is essential to all the Paradisos. Ask Ashton to recall his most memorable gigs with the Furs and he nearly recites every one!

“I’ll never forget the Mudd Club show we did the first time we played the United States...and Danceteria with Poison Ivy in the front row...banging their heads on the stage...we did the Hammersmith Palais a couple of times in London...I always loved that venue, it’s a great old theatre...the Beacon shows over the years I’ve enjoyed ... The Pier show that we did in ‘84 when Talk Talk were opening for us...and I’ll never forget CBGB...I remember playing in some weird and wonderful places...festivals with over 200,000 people...oh and I can’t forget Radio City! But I’ll tell yer what, my favorite, favorite, favorite place to play and see bands as well is Irving Plaza. I always get such a great feeling when I see a band there or when I play there -hopefully Satellite Paradiso will play that place soon...”

Ashton is also busy working with a wide array of artists as a producer, songwriter, guitarist, and engineer with his own production company aptly named John Ashton Music. (http://johnashtonmusic.com). He welcomes new clients while his passion for the stage remains unabated since the days when he and his former mates were staples on MTV along with a rather progressive platform known as FM radio. “I just wanted to ask you to make sure you name checked Roxy, Bolan, Bowie, Alice Cooper and, of course Black Sabbath, Deep Purple and the mighty Led Zeppelin! None of this would have been possible without them! It was watching Bowie, Bolan and Roxy on Top Of The Pops that got my juices going...”

Mr. Schreck’s juices are also going...going... Among Fred’s most cherished moments under the bright lights was during his time with The Ancients on the occasion when he was introduced by friend and staunch supporter Joey Ramone. “Just to see all six-foot-six of him walk out on that CBGB stage where he got his start - I expected him to do this big buildup and he just came out in his Joey way and said ‘I wanna introduce ya to da Ain- centz....’ That’s all I needed ...”

“Now I approach everything as if it’s the last time I’m going to do it...” says Mr. Schreck from his Nashville home. “When I’m on stage, it’s a Zen moment for me.” Fred and I also discuss the fact that oft times his bandleader does not garner the recognition he so richly deserves as an innovator on his instrument.

Notes Schreck: “you know, it’s our job now to remind everyone just how great John is. John is the architect of those classic songs. He is as unique as The Edge, Will Sergeant, and Johnny Marr - all of whom have higher visibility. Everybody in the band feels that way, and fans feel that way. And I’m not speaking as his band-mate, I am speaking as a true fan.”

Another fan is firmly seated in the drum chair - Frank Coleman. On stage since the age of three, and born into a theatrical family worthy of a PBS documentary, the dude nicknamed “Bones” is the eternal optimist - as he should be.

“I’ve had a lot of good luck in life just asking for things; whether it’s a gig or doing a film score or playing in a band. My music teacher taught me two great lessons: if you don’t blow your own horn nobody’s going to do it for you...and put your money where your mouth is! And that has stood me well...”

Coleman’s yarn of how he became a Paradiso is uproarious. He first made contact with Mr. Ashton by way of Facebook. “Oh my god, John Ashton is on Facebook, one of my favorite guitarists ever!” he recounts with genuine glee. Coleman, as is his nature thereby summoned the universe.

“I wrote to him” exaggerates Coleman. “Dear Mr. Ashton, founder and former guitarist of the Psychedelic Furs. I am not a guy who lives in his mother’s basement, who has never known the touch of a woman. I am not some sweaty, pulpy mass of festering flesh, sweating like a rancid chunk of pork. I am a real, bona fide musician and I just gotta tell ya; I’m not a fanboy but every time I see you show up on my Facebook wall I go ‘yes!’ You’ve contributed to the soundtrack of my life for the past thirty odd years....and I was just thinking, I have this project I thought might possibly be up your alley if you had the time and inclination —it’s called ‘Secret Agent and Spy Movie Music’ and I’m thinking this is sort of off the beaten path - this is not ‘will you please play on my album....”

Ashton acquiesced to collaborate with the drummer who, as I have witnessed, is not a heap of perspiring meat from a domestic pig. Coleman returned the favor to Ashton - playing on six Satellite Paradiso tracks, helping to design the album art, and serves as the band’s official stick (and shtick) man.

Enter the bass player Robert Burke Warren. Mr. Warren and Mr. Ashton initially met and played together at a Bob Dylan Birthday Tribute last year, which was a charity fundraiser for Family of Woodstock.

Professes Robert: “I felt like I’d known him all my life. I told him if he ever needed a bass player for gigs, call me. Although I’ve worn many hats as a musician - songwriter, guitarist, front-man - I have always been most comfortable as a bassist. I spent my first ten years as a musician just playing bass, and I’ve missed filling in that space in a band. And Sara Lee and Gail Ann Dorsey’s bass parts are fantastic! I love the drama of the songs...the emotional depth wrapped in John’s signature playing, and of course Fred’s intense singing and Frank’s take-no-prisoners drumming. It’s been a few years since I plugged into a bass amp and laid it down, but I’ve been practicing in my house in the woods and I’m ready and eager to hit the boards with these guys...”

Warren has just released his debut novel Perfectly Broken (The Story Plant -2016) - which I highly recommend. The three Paradisos look forward to working with the accomplished bassist, to which Schreck additionally reveals “he’s a great player, and his hair is fluffier than mine...”

Satellite Paradiso’s second act is about to commence....

Satellite Paradiso Mini- Tour 2016: 
Friday, June 3 - Tupelo Music Hall, Londonderry, NH
Saturday, June 4 - Brighton Music Hall, Boston, MA
Wednesday, June 8 - BSP, Kingston, NY
Friday, June 10 - Mercury Lounge, New York, NY

For additional Satellite Paradiso information / merchandise, please visit: www.SatelliteParadiso.Com and http://store.satelliteparadiso.com

Photos of John Ashton, Fred Schreck, and Frank Coleman of Satellite Paradiso in concert by Wayne Herrschaft

Photo of Robert Burke Warren by Jack Warren

John Ashton: www.JohnAshtonMusic.com

Satellite Paradiso album art is by John Ashton with Frank Coleman. Release date is May 27, 2016 on Mi5/Universal.

Satellite Paradiso Press Contact: Spencer Foster. Effective Immediately PR (212) 777-6727 ex. 224 Email: spencer@ei-pr.com