“POLICE SPECULATE ALCOHOL WAS A FACTOR”

There is one anecdote about WVU that I haven’t yet shared: In Chapter 8 I wrote about my trip to California on a Triumph Bonneville, but I didn’t explain what happened back home in my absence.

Although I timed that trip to coincide with spring break, graduate students don’t get spring break off (or vacation of any kind, for that matter). True, there are no classes, but that doesn’t mean the university is closed or the labs are inaccessible. We were still expected to continue our work (or actually accelerate our pace given that we weren’t going to class that week). Nonetheless, I decided to take the week off.

I did not have a particularly amiable relationship with my advisor and chose not to tell him I was leaving town. I just figured I’d do whatever damage control was necessary when I got back.

My roommate and my friends/lab mates joked that they were going to tell my advisor that I really was there and if he was looking for me, they’d say “he was just here a minute ago, you just missed him” or “I think he’s at [a location that you are not]”.

I thought they were just pulling my leg, but when I got back, my roommate told me they HAD actually lied to my advisor all week and he really DIDN’T know I’d been gone.

I’m still not 100% sure they really did this, but I never mentioned it to my advisor and he gave no indication that he knew I’d been gone, so I left well enough alone.

I added the three songs I wrote in 1990 to the website. I’ll try to add more this week. Thanks for your patience.

Waiting Its Turn
Jesus Rides a Harley
Twins

I really enjoyed the Paul Simon and Sting concert last night. I hope you had the chance to see them because the tour is winding down with only five shows left. If you get the chance to see one, you won’t be disappointed.  I didn’t notice any obvious omission from either catalog and the duets worked really well. I wasn’t sure I could accept Sting’s powerful belly-voice as the upper harmony on songs like “Bridge Over Troubled Water”, but it was quite moving. Also noteworthy; Sting did a really beautiful solo version of Paul Simon’s “America”. Paul Simon also appeared to enjoy singing the more jazzy/bluesy material Sting is known for.

Of course, Paul Simon has a well-documented history of experimenting with wide-ranging musical styles (doo-wop, folk, reggae, township jive, blues, jazz, zydeco, samba, etc.) so it’s no surprise he’d willingly ride shotgun on this joyride. Sting never missed a beat and demonstrated considerable versatility on bass and a variety of guitars. The mutual respect they  have for each other was apparent. They both appeared to have a really good time (whether out front or in a supporting role) and,  therefore, so did the audience.

The only caveat; the audience was a little disappointed that there was no extended encore, but after the curtain call, ensemble bow and departure of the bands; Sting and Simon took center stage, shared a single microphone and closed with a beautiful acoustic version of “When Will I Be Loved”.  It was a fitting, genuine tribute to the late Phil Everly.

Now, I’ve been a Paul Simon fan since before I was allowed to touch my father’s vinyl LPs and I know much of the Police catalog from FM radio in the eighties (and the fact that we covered them in our band back then). Though not as familiar with Sting’s solo work, it’s grown on me over the years in a way I hadn’t expected. Then again, it is something of a trend in my personal history to ignore what is current and popular while ‘discovering’ something that most people were listening to ten or fifteen years ago.  I don’t mind being late to the party though. I’ll bring snacks.

The blending of the two very different stage bands worked well too. The transitions were intentionally drawn out so the incoming band could filter in and join the raucous jam like an open-mic at the nightclub of your dreams. These extended jams never seemed too long, but when they did end, there was a well-thought-out flow to the other artist’s material.

Particularly memorable for me was the very faithful rendition of “Still Crazy After All These Years” played on an actual Fender Rhodes Piano (complete with cheesy plastic shell and aluminum trim). It’s been so long since I’ve seen one, I’d begun to think they only existed in my imagination. It was a little bittersweet for me because it made me think of the late Richard Tee who was so closely associated with that piano part.

Well, I’ve written more on this topic than I intended which, I suppose, is a reflection of the positive impact this show had on me. I’ve resolved to add a few new tunes to my repertoire so look for “Hearts and Bones”, “Message in a  Bottle”, “Roxanne” and maybe “Fields of Barley” the next time I see you.

Just finished a little classical piece I tentatively titled “Bach to the Fugueture” and getting ready to go see Sting and Paul Simon tonight in Philly. Happy Friday!