He sounds best on vinyl, even with a scratch or two, accentuating the throb in his voice, the emotion in his heart. It’s good to accumulate a few dings over time.
I went right to the vinyl on Monday when I heard Richie Havens passed at 72. He once made an album called Mixed Bag that (with all due respect to Dylan, to Joplin, to Cash, to Motown, to The Band) says everything about America in the late ‘60’s. Or maybe now. I think young people should know his work.
Mixed Bag was the album of the age, not just because Havens became famous for holding the fort at Woodstock until reinforcements arrived. That was in August of 1969 when it was beginning to seem possible that we -- the ubiquitous we – might be making some points about the war and injustice. But in 1967, when he made Mixed Bag, things were pretty bleak.
He caught the poignancy of Dylan’s Just Like a Woman and the Beatles’ Eleanor Rigby and he carried the torch big time on San Francisco Bay Blues.
But check out the song Handsome Johnny, written with Louis Gossett.
Havens mentions Handsome Johnny, marching off to one battle or another: Gettysburg, Dunkirk, Korea and Vietnam and then he adds Birmingham, which is pertinent since he came from Bed-Stuy back in the day. Then he blurts:
Hey, what's the use of singing this song
Some of you are not even listening
I say, in the spirit of Richie Havens, in homage to the ‘60’s, give a call to some of those senators who ignore the 90 per cent of this country on the gun vote, and give Handsome Johnny one more play over the phone.
Richie Havens gave the title to Pete Fornatale’s marvelously eclectic radio show on WFUV, still ongoing, but Pete left us a year ago, and now Richie Havens is gone, too. I can only imagine what Don McGee will play in his Havens tribute on Saturday.
I heard the news from Christine Lavin, that talented and caring staple of the New York folk community, who wrote:
“I played at many Canadian festivals when Richie was one of the headliners -- backstage he was always very modest and humble, always interested in meeting the other musicians and watching others' sets. He's one of those musicians (and there's not a lot of 'em) who you know exactly who he is from the first strum of the guitar or the first words out of his mouth. Very rare.
“It was always a hoot to watch him do that crazy signature 'kick' of his as he finished his sets. His taste was very broad -- I love what he did with Ervin Drake's It Was A Very Good Year, and the Beatles' In My Life, Eleanor Rigby, and With A Little Help From My Friends -- and his Dylan covers went a long way toward cementing Bob Dylan's reputation as the premiere songwriter of his generation.”
Sat next to Richie Havens in a Dunkin Donuts or Starbucks on Eighth Avenue and 43rd Street a decade or two back. He had sheet music with his name hand-written across the top. That’s how I knew who it was, since I never saw him perform. I could not bring myself to say, “Hey, man, I love your work,” because….well, he was enjoying his coffee and glancing at the music sheets, and why disturb an artist in his repose. But, hey, man….
David Vecsey's sweet tale of distant love before the Web, now NYT Podcast, narrated by Griffin Dunne. Please see:
George Vecsey is Hofstra University's Alumnus of the Month! Read a Q&A with George here.