The music of and an interview with Carolyn Wonderland highlighted a special on Texan guitarists on the Nov. 13 edition of Greasy Tracks.
Click here to check out an archive of the program, while a playlist is here.
Following a three-year stint as John Mayall’s lead guitarist, Wonderland has returned to solo work, recently releasing Tempting Fate, her 10th studio album and first for Alligator Records. The album features guest appearances by Alvin, Jimmie Dale Gilmore, Red Young, Marcia Ball, Shelly King, Cindy Cashdollar and Jan Flemming.
She is currently touring to support the release which was produced by Dave Alvin. Wonderland plays the The Narrows Center For The Arts in Fall River, Mass., on Nov. 18 and of StageOne in Fairfield on Nov. 19.
A native of Houston, Wonderland made the move to Austin in 1999 at the urging of Doug Sahm who said “it (Austin) was the land of free guitar lessons.”
The annual WRTC fundraising marathon concluded Oct. 31.
On behalf of the staff and management, we thank all of our generous listeners who pledged to support the station.
As the non-commercial radio station of Trinity College, we offer a diverse schedule of 60-plus programs on a weekly basis. Aside from two very-part-time employees, we’re an all-volunteer organization.
Much of our financial assistance comes from our loyal listeners and we rely on your backing to keep us on the air doing what we do best.
Those who pledged will receive a payment form in the mail. Just follow the simple instructions and return it to: WRTC Marathon, 300 Summit St., Hartford, CT 06106.
You can also still donate securely online, just click DONATE!.
“Thank You” premiums are expected to be mailed out in the near future – though supply-chain issues are rampant this year. Please be patient.
For more information, or to make a pledge by phone, contact the station at 860-297-2450.
Alex and Maura featured an interview with and the music of Nick Bosse on the Nov. 8 edition of Bantam Backroads.
Hailing from North Stonington, Conn., Bosse regularly plays venues along the Rhode Island/Connecticut shoreline with his band, The Northern Roots.
Bosse discussed his roots in classic country, southern rock and bluegrass, as well as how he approaches the songwriting process. His newest single, “What Happened to Country” was featured along with other material.
A few years ago, renowned guitarist Danny Kortchmar was approached by a Japanese label to go into the studio and record some nuggets — old and new — in his catalog.
The timing couldn’t have been any better. A number of Kortchmar’s old colleagues from The Section, the legendary studio band, were available along with some other crack players. When it came to reaching out to drummer on Russ Kunkel, bassist Leland Sklar, guitarist Waddy Wachtel and guitarist Steve Postell about doing some recording, there was no surprise that everyone was on board.
Following the album sessions, the band, known as Danny Kortchmar and Immediate Family, played a series of shows in Japan. They would soon shorten their name to The Immediate Family after the members decided the studio work and playing out live had gone so well it only made sense to continue working together.
The Nov. 6 edition of Greasy Tracks featured interviews with Kunkel, Sklar and Wachtel as well as tracks from the band’s recently-released self-titled album.
Click here to check out an archive of the program, while a playlist is here.
Doing What They Do Best: Members of The Immediate Family, including (from left) Waddy Wachtel, Leland Sklar, Russ Kunkel, Danny Kortchmar and Steve Postell.
Kortchmar, Kunkel, Sklar and keyboardist Craig Doerge comprised The Section which was effectively the house band of Asylum Records and would end up backing the likes of Carol King, James Taylor, Jackson Brown and Warren Zevon, amongst others. The group released a handful of their own albums and by the early 1980s had ceased working as a studio unit, but members would continue to collaborate on assorted projects in the ensuing years.
Wachtel was one of the guitarists members of The Section would regularly cross paths with in the booming Southern California studio scene, another was David Lindley. Each would work from time to time with players from the band.
Hired by Zevon to work on an Everly Brothers album and supporting tour, Wachtel became known for his session chops and was soon doing everything from playing for and producing other artists and doing soundtrack work. Over the years, he would play an important role in the studio or on the road with everyone from Lindsey Buckingham and Stevie Nicks to Zevon and Linda Ronstadt and even Keith Richards and The X-Pensive Winos. It was Wachtel’s guitar work — in part, on Zevon’s Excitable Boy which was co-produced by Wachtel and Jackson Browne — that caught the attention of Richards as the Stones were huge fans of the album.
Following their debut in 2018, Honey Don’t Leave LA (Vivid Sound Corp), the band put out a second full-length release, Turn It Up To 10 (Vivid) and an EP, Slipin’ & Sliding, each in 2020.
A special three-hour feature on Max Creek aired on the Oct. 30 edition of Greasy Tracks to mark the band’s 50th anniversary.
Still At It: Max Creek marks 50 years together in 2021. (From left) Mark Mercier, Jamemurrell Stanley, Scott Murawski, Bill Carbone and John Rider.
Click here to check out an archive of the program, while a playlist is here.
The spotlight included a decade-by-decade overview of live music by the band as well as interviews with members.
Best known as one of the earliest groups of the “jam band” genre, Creek’s roots can be traced to country music as the band got its start as a quartet in 1971: bassist John Rider, guitarist Dave Reed and drummer Bob Gosselin, augmented, albeit briefly, by an accordion player.
The humble beginnings of the group — heavily influenced by the Nitty Gritty Dirt Band and The Byrds — would go through a number of personnel changes and musical styles over time, yet still maintain many characteristics of those formative early years.
Although never known for their studio work, Max Creek released four solid albums, but really forged a legacy as a live act with a substantial repertoire of original material and tantalizing covers.
Rider along with guitarist Scott Murawski and keyboardist Mark Mercier proved to be a formidable group of composers, especially in the 1970s and 80s when, according to Murawski, crafting songs became especially competitive between the members.
Early Days: Max Creek in concert with Mark Mercier, John Rider, Dave Reed and Bob Gosselin (clockwise from left)
Oddly enough, Murawski was focusing on becoming a trumpet player — Rider and Reed were also trumpet players — when Reed, who was the then-15-year-old Murawski’s music teacher, asked him to sit in with Creek in 1972 after hearing him play guitar.
The Creek-as-a quartet-again only lasted a few months as the underage Murawski was kicked out of the Rocking Horse Parlor — a Hartford club the group regularly played — for drinking a beer on stage. As fate would have it, Murawski would be back in the band in 1973, returning shortly after Mercier, once a roommate of Rider’s at the Hartt School, was hurriedly drafted by Rider to fill in for Reed who was sidelined by acute appendicitis ahead of some holiday shows late that year.
Stylistic changes were afoot as the band’s direction took to a more improvisational approach with less country and more acid rock filling the bulk of the band’s live sets. This created unrest at times in the band and Reed opted to pursue a solo career as Rider, Mercier, Murawski and Gosselin honed their chops, gaining a growing following and expanding their reach as a live act.
In 1976, vocalist Amy “Barefoot” Fazzano, joined the band — she had been a waitress at one of the clubs Creek played and usually sang while doing post-concert bathroom cleaning.
Busy Decade: The 1980s proved to be extremely busy for Max Creek, shown here on stage at Mad Murphy’s Cafe in Hartford with (from left) John Rider, Scott Murawski and Bob Gosselin.
A year later, Creek put out their self-titled debut studio album — pressing 1,000 copies of their self-released LP — which featured all original compositions minus “Big Boat” — a bouncy re-arrangement of Willie Dixon’s “Tell That Woman” — which remains in the band’s sets to this day.
In 1979, percussionist Rob Fried joined the fold, providing a fuller sound as he alternated playing a wide array of percussion and a traditional trap set alongside Gosselin. A year later, the band’s second studio album, Rainbow (Wranger Records) came out.
The 1980s were the busiest years for the band when it came to playing live shows with 1982 proving to be the peak as the band logged 241 gigs that year.
The band recorded a three-night run of shows in June 1982 at Cellblock Eleven in Hartford and soon after released Drink The Stars (Wranger Records), a double album packaged with a poster and notes in a nicely designed box set.
A handful of Max Creek shows were aired live on WRTC so there’s a chance a track or two from one of those performances could show up on this feature. In 2017, a four-part, 11-hour feature on Creek aired on WRTC, featuring interviews with current and past members of the band. Click for Part 1, Part 2, Part 3 and Part 4.
Music To Dine By: Max Creek plays the University of Hartford Picnic on July 31, 1977.
In 1991, DeGuglielmo was replaced by Greg Vasso who would do two spells with the band, the first ending in 1996 before he returned in for a second go-around 2004-2011. Scott Allshouse, who went to Creek shows as a high schooler in the 1990s, joined in 1996 and would partner with Vasso in the dual drummer format as Vasso returned in 2004 to take the place of Fried who left the band. In 1998, Creek recorded a pair of shows at the Webster Theater in Hartford for their live offering, Spring Water. Their New Year’s Eve gig at the Connecticut Expo Center in 1999 was also recorded and later released.
Fazzano would leave the band in 1983, but would often sit in during annual anniversary shows. Gosselin exited in 1985 and was replaced by Greg DeGuglielmo. This line-up recorded a pair of studio albums, Windows (Relix) in 1986 and MCMXC (Wranger Records) in 1990.
The Allshouse-Vasso partnership gave way to Creek’s current backline of drummer Bill Carbone and percussionist Jamemurrell Stanley who continue to handily carry on Max Creek’s rich timekeeping tradition.
Max Creek performs at the Simsbury Arts Festival, July 29, 1979.Max Creek at the Silver Bullet in Moodus, Conn., in 1975
The music and story of The Nervous Eaters , including an interview with guitarist/vocalist Steve Cataldo was featured on the Oct. 18 edition of The Devo Rock Show.
The Nervous Eaters appear at Café Nine in New Haven on Oct. 23. This special program will feature classic singles and rarities from their early years in the late 1970s as well as new music from the latest incarnation of the band, including their self-released Record 10 from 2019.
Regarded as one of the forerunners of the burgeoning punk/new wave scene in late 1970s Boston, the band got their start backing other artists such as Willie “Loco” Alexander, before they were signed to the short-lived Rat Records, a label that was connected to the legendary destination for up-and-coming bands from around the world, The Rathskeller, best known as “The Rat”.
The band’s first single, “Loretta,” was released in 1976 and garnered regular airplay in the Boston area, but failed to catch on outside the Commonwealth. This was a fate suffered by contemporaries such as The Real Kids, DMZ and to some extent, The Neighborhoods, who all had talent and a track record of outstanding live performances, but never broke out nationally.
While they would split up and reunite many times over the years, The Nervous Eaters never really fared well in the studio, yet their material, especially singles, remains highly sought after by collectors.
A Ric Ocasek-produced demo tape by the band got the attention of some label executives, including those at The Cars’ label, Elektra, which signed The Eaters. At this time, the label was enjoying the success of The Cars’ first two releases — The Cars and Candy-O — and would soon be focused on Panorama, which would not bode well for the newcomers.
Their eventual self-titled major label debut for Elektra was produced by Harry Maslin who had worked on David Bowie’s Young Americans and Station To Station and included guest appearances by guitarist Steve Cropper and pianist Nicky Hopkins.
Despite expectations, the album never took off and The Nervous Eaters felt the label had let them down by not putting any effort into promoting the release, despite the fact the band had been out supporting the likes of The Cars, The J. Geils Band, The Ramones and many others during the late 1970s.
Following the failure of the debut record and Elektra not doing a follow-up project with the band, The Nervous Eaters broke up for the first time in 1981.
They would reunite in 1986 and released Hot Steel And Acid, a six song EP.
There are very few drummers who even come close to racking up the number of sessions that Bernard “Pretty” Purdie has done and the Oct. 9 edition of Greasy Tracks spotlighted just a fraction of what the legendary timekeeper has accomplished.
Click here to check out an archive of the program, while a playlist is here.
Dating to the late 1950s, Purdie — once considered the “house drummer” of Atlantic Records — played on 25,000-plus sessions, has appeared on more than 4,000 albums and recorded with 2,500-plus different artists. He also has a deep catalog of solo releases.
Artists he has appeared with, running the gamut from jazz to rock, include Miles Davis, James Brown, Steely Dan, Ray Charles, Aretha Franklin, Louis Armstrong, Quincy Jones, Herbie Hancock, BB King, Joe Cocker, Bob Marley, Rahsaan Roland Kirk, Mongo Santamaria, Peter Frampton, Hall & Oats, Hank Crawford and Jimmy McGriff to name only a few.
Employing an innovative use of triplets against a half-time backbeat, Purdie developed an immensely distinct and impactful technique known universally as “the Purdie Shuffle”.
The Sept. 25 edition of Greasy Tracks featured a spotlight on the legendary drummer Billy Cobham.
Click here to check out an archive of the program, while a playlist is here.
Perhaps best known for his work with Miles Davies — beginning with the groundbreaking Bitches Brew — and Mahavishnu Orchestra, Cobham has played with dozens of other artists and bands and has a massive catalog of solo releases.
Not to slight the importance of Alexis Korner or Gram Bond when it came to having an eye for talent on the burgeoning British jazz and blues scene of the early1960s, but there was ultimately no better proving ground than John Mayall’s Bluesbreakers.
The Sept. 11 edition of Greasy Tracks spotlighted many of the incredible musicians who did time in one of Mayall’s line-ups.
Click here to check out an archive of the program, while a playlist is here.
Forget the obvious Mayall alums Eric Clapton, Peter Green and Mick Taylor, but consider such fantastic players as Harvey Mandell, Gerry McGee, Ansley Dunbar, Keef Hartley, John Almond, Jon Mark, John McVie, Mick Fleetwood, Jon Hiseman, Dick Heckstall-Smith, Freddy Robinson, Larry Taylor, Don “Sugarcane” Harris, Blue Mitchell and Clifford Solomon to name but a few.
In the grand scheme of things, what one individual — directly or indirectly and through no fault of his own — proved to be a unique catalyst for David Bowie, John Mellencamp and Lou Reed reaching stardom?
Just Another Night: Ian Hunter (left) and Mick Ronson on stage in 1980. (Manfred Becker photo)
Only the very savvy would answer, and likely rather quickly, “Mick Ronson” without a second thought and they’d be correct.
Music from across Ronson’s career was featured on the Sept. 4 edition of Greasy Tracks.
Click here to check out an archive of the program, while a playlist is here.
Bowie, Mellencamp and Reed remain the best examples — although there are many the talented guitarist and producer worked with over the years — but the remarkable notoriety and commercial success that trio attained due to their work with Ronson is incredible.
Things starting bubbling for Bowie following Ronson’s collaborating on his The Man Who Sold The World and Hunky Dory releases, but when Bowie put out The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972, the impact proved to usher the turning point of Bowie’s career as a recording and touring artist.
It was Ronson’s rearrangement and adding of some lyrics and vocals to Mellencamp’s “Jack & Diane” — a track that probably would have never seen the light of day if not for Ronson getting ahold of it. Mellencamp would make it a late addition to his American Fool album in 1982. It was the second single released from it and would spend four weeks at No. 1 in the Billboard Hot 100, while American Fool would eventually reach platinum status five times. The Recording Industry Association of America named “Jack & Diane” one of the songs of the century and it remains Mellencamp’s most successful single.
A Spider Backing Ziggy: David Bowie (left) and Mick Ronson during Bowie’s prolific early 1970s era. (Jack Kay photo)
Similar to Bowie, Reed had released several albums and singles and made no lasting impression as a solo artist following his taking leave of the Velvet Underground in 1970. It should be noted that Bowie and Reed were admirers of each other’s work and it was when Bowie and Ronson co-produced Reed’s Transformer. Ronson also played lead guitar on the album. Bowie and Ronson were fans of the Velvet Underground.
Transfomer and The Rise and Fall of Ziggy Stardust and the Spiders from Mars are regarded as go-to albums when it comes to glam or glitter rock. Minus the distinctive vocals of Bowie and Reed, the other “voice” that was on each of those releases and is also easily identified was the guitarwork of Ronson.
Affectionately known as “Ronno” to most and the “Jeff Beck of Hull” to others, Ronson was a native of Kingston upon Hull, England, where he got his start playing in the early 1960s.
Mick Ronson playing his iconic Gibson Les Paul. (Michael Putland photo)
Classically trained as a child, Ronson became proficient on piano, violin and recorder as well as the harmonium — Ian Hunter said Ronson was an excellent keyboard player. He initially wanted to be a cellist, but moved to guitar upon discovering the music of Duane Eddy — there’s no denying that tell-tale twang — and then there was no looking back.
Ronson played with a slew of primarily Hull-based groups before being recruited to join The Hype, a in-the-works backing band for David Bowie in 1970. The band was short-lived, but Ronson made an important musical connection with Bowie. A series of albums and tours later, Bowie was a household name and Ronson was an in-demand guitarist.
While hardly as theatrical as his on-stage relationship with Bowie, his time spent working with Ian Hunter produced a solid body of work and some of the tightest rock and roll line-ups around on stage.
Transforming Lou Reed: Mick Ronson (left) co-produced and played on Transformer, the breakthrough album by Lou Reed (right).
His touring, session and production work ran the gamut as he was associated with such artists/groups as Bob Dylan, Roger McGuinn, Pure Prairie League, Mott The Hoople, Elton John, Morrissey, among others, including Connecticut’s own, Roger C. Reale.
Sadly for Ronson, his label wanted to make him into a star, a role that the guitarist was never truly comfortable in. He only released two solo albums before his death in 1993 at the age of 46.
