{"id":10363,"date":"2022-06-16T10:00:22","date_gmt":"2022-06-16T09:00:22","guid":{"rendered":"https:\/\/aata.dev\/?p=10363"},"modified":"2022-06-16T10:02:26","modified_gmt":"2022-06-16T09:02:26","slug":"dark-enough-to-see-the-stars","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/06\/16\/dark-enough-to-see-the-stars\/","title":{"rendered":"DARK ENOUGH TO SEE THE STARS"},"content":{"rendered":"\n

Norman Warwick finds it<\/strong><\/p>\n\n\n\n

DARK ENOUGH TO SEE THE STARS<\/strong><\/p>\n\n\n\n

I probably first heard I Drink on the Bob Harris country music programme on BBC Radio 2. I have vage recollections at the time of how stark the lyrics were and how defiantly confessional those lyrics were. I\u00b4m pretty sure that the song felt incongruous even in the diversity that Whispering Bob serves up. I was impressed by a Karen Dalton echo in her voice but I thought the song lacked the redeeming qualities of Dean Martin\u00b4s Little Old Wine Drinker. This was not Tom Paxton shaking off a hangover by asking Wasn\u00b4t That A Party before bursting into a rendition of Bottle Of Wine. Although the admission of I Drink was a repeated hook line in the song it somehow didn\u00b4t serve as a chorus. With my usual arrogance I  mentally filed Mary Gauthier as \u00b4one to watch\u00b4, but as happens all too often, I dind\u00b4t listen to my own advice !<\/strong><\/p>\n\n\n\n

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Mary Gauthier (left)<\/em><\/strong> managed just fine without me, of course. According to a recent article in Paste magazine,<\/strong><\/p>\n\n\n\n

she developed her own drinking problem and found herself in and out of detox centers in her youth. She took some classes at LSU and opened her own restaurant, but it was song-writing that gave her a clear direction in life. Her first album was released in 1997, and two years later Drag Queens in Limousines earned a 4-star rating from Rolling Stone<\/em>. “I Drink” became her signature song, and she recorded a new version for her 2005 album Mercy Now.<\/p>\n\n\n\n

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Blake Shelton (right)<\/em><\/strong> recorded this for his 2004 album Blake Shelton’s Barn & Grill. It’s one of the few Gauthier songs to earn a cover, possibly because she doesn’t spend much time selling her songs to other artists, even though she lives in Nashville. Mary told us: “The thought of going up and down music row looking for a publisher again, it just intimidates me and like you said, I’m not what you would think of as a Nashville character, and in order to go do that I have to go shake hands with a lot of those guys. It’s just intimidating.”<\/p>\n\n\n\n

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Feeling hyper-anxious and fretful after over two years of awkwardly navigating the hellish pandemic? Sit down for a chat with calm, soft-talking Southern singer-songwriter Mary Gauthier (left) <\/em><\/strong>for a spell\u2014her serenity and hard-won wisdom is practically guaranteed to cool your panic-attack jets. A spin through her gorgeous, Daniel-Lanois-delicate new missal, Dark Enough to See the Stars<\/em>, will have the same relaxing effect. And when she quietly reports, at a well-seasoned 60, that she\u2019s feeling good, really good, all told, she isn\u2019t paying lockdown lip service. She means it.<\/p>\n\n\n\n

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And she spent her time wisely, conjuring up her latest record, her eleventh, as well as a self-explanatory book,\u00a0Saved by a Song\u2014The Art and Healing Power of Songwriting<\/em>. After everything she\u2019s endured in her turbulent, topsy-turvy composing career\u2014which didn\u2019t officially start until she was 32\u2014what resembles an insurmountable Covid mountain to most folks is probably an easily-sidestepped molehill for her.<\/p>\n\n\n\n

Gauthier\u2019s colourful life story was put on an unavoidable pandemic pause just as she deservedly won the Best Folk Album Grammy for her ambitious 2019 effort Rifles and Rosary Beads<\/em>, a song-writing collaboration with wounded Iraq veterans and their families. But it\u2019s one of the first times she\u2019s come to rest in years. She was instilled with a vagabond heart when her New Orleans birth mother gave her up for adoption. She ran away from an abusive adoptive home when she was only 15, dabbled in typical teenage drug-and-alcohol decadence, and wound up spending her 18th birthday behind bars. Eventually, her trajectory arced skyward again when she enrolled in the Cambridge School of Culinary Arts, and then launched a Boston Cajun eatery dubbed Dixie Kitchen. Its celebratory opening night in 1990 ended in near tragedy: She was arrested for drunken driving, and it scared her completely sober. She never drank or used again, and she maintained that recovery all through lockdown. A Herculean task for many, given the overwhelming atmosphere of depression and sudden dearth of in-person meetings the world was facing.<\/p>\n\n\n\n

By 1997, Gauthier was touched by the Muse. As twangy, toe-tapping tunes began accumulating, she decided to sell her stake in Dixie Kitchen and hang out her shingle in Nashville where she secured a publishing deal with no less than Harlan Howard\u2019s company and then self-financed her first two albums, Dixie Kitchen<\/em> in \u201997 and Drag Queens and Limousines<\/em> in \u201998, both of which touched honestly, sometimes humorously, on her checkered past and eventual coming out. In fact, the clever wordsmith was so comfortable with her sexuality that track one on her debut, Ways Of The World, began with a fiddle-powered,<\/p>\n\n\n\n

When I was a kid I was a hard-headed, pig-tailed tomboy<\/em><\/p>\n\n\n\n

I made mama crazy \u2018cause I wouldn\u2019t wear ribbons and bows<\/em><\/p>\n\n\n\n

\u2026when you\u2019re ten years old it\u2019s cute to be a tomboy<\/em><\/p>\n\n\n\n

But in a couple of years you\u2019ve gotta deal with the ways of the world.\u201d<\/em><\/p>\n\n\n\n

Indeed.<\/p>\n\n\n\n

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But these days, Gauthier isn\u2019t so hoe-down chirpy and chipper. Her singing voice is conversely deep, more resonant and lived in, and Dark Enough<\/em> processionals like \u201cThe Meadow,\u201d \u201cWhere Are You Now,\u201d \u201cTill I See You Again\u201d and the stunning title cut rely more on restraint. The same handful-of-keyboard-and-guitar-notes kind that Leonard Cohen (left)<\/em><\/strong> utilized so perfectly on his last four or five albums. It\u2019s all about capturing the purity, the genuine essence of a timeless song, she swears: \u201cThat\u2019s what really matters, and to me, that\u2019s always been the point. To write the best possible songs, and to elevate the art form, and to travel down the trail that my heroes blazed\u2014Dylan, Springsteen, my friend Steve Earle, plus Rodney Crowell and Lucinda Williams. There\u2019s a whole lot of people on that road, and that\u2019s the road I want to be on.\u201d Her corollary to that prime directive, she adds, is that, despite its apparent simplicity, a great tune, beaming down at you at the most opportune or much-needed moment can truly save your life. \u201cAbsolutely, it can, and I mean it\u2014that\u2019s why I called my book Saved By A Song<\/em>,\u201d she states, unequivocally. Then she keeps the discussion going in soft, reassuring tones\u2014and suddenly\u2014things don\u2019t seem so completely bleak and hopeless anymore.<\/p>\n\n\n\n

Paste magazine commented on the D<\/strong>ark Enough To See The Stars<\/strong> artwork being a small, empty rowboat and asked if it  represents a metaphor for something larger?<\/strong><\/p>\n\n\n\n

Well, you know I didn\u2019t design the cover\u2014the designer did. Her name is Gail Marowitz, and she got that from the song, \u201cDark Enough to See the Stars.\u201d And there\u2019s a line in there, \u201cAn ocean black and deep,\u201d and I think it\u2019s a symbol of hope, and it\u2019s tinged with sadness<\/em>, you know? It\u2019s not a simple, easy answer. It\u2019s not singular, by any means.<\/em><\/p>\n\n\n\n

Speaking of the stars, people were suddenly minded that they were up there during lockdown. Constellation guides were selling, telescopes, too. With no planes in the sky, folks actually started looking up.<\/p>\n\n\n\n

Yeah. Yeah, definitely. But I tend to go to the desert every year, down on the border by Terralingua, and just sort of make a big deal out of being under the stars and experiencing It wholeheartedly. I think the idea is that we can\u2019t see the stars in our normal day-to-day experiences, because we\u2019re not looking. But when something knocks us off our regular life\u2014and oftentimes that is some kind of a struggle or a painful event\u2014we begin to get more introspective. I think it\u2019s a metaphor for that. <\/em><\/p>\n\n\n\n

What\u2019s your desert ritual? What do you do when you get there?<\/p>\n\n\n\n

Well, we have friends down there, and we sit outside and we swap songs, and hang with people who mean a lot to us. And a lot of it is outside at night, and it\u2019s cold and it\u2019s pretty. We hop around to a little town up the road called Marfa, Texas\u2014we\u2019ll stay there for a night or two, because there are a lot of artists there, a lot of painters, a lot of writers. There are a lot of songwriters making it a place that they go now, and it\u2019s a beautiful part of the world. So we don\u2019t have a ritual as much as we have friends that we associate with, and love sharing our time with, down there.<\/em><\/p>\n\n\n\n

Now when you\u2019re sitting outside at night, do you ever have any uncomfortable interactions with nature? Like, \u201cOkay Mr. Coyote\u2014this is your campfire now! Yours too, Mr. Tarantula!\u201d<\/p>\n\n\n\n

Yeah! You\u2019re in the desert, you know? So it is their turf, absolutely. I haven\u2019t had any encounters with anything, personally. But they\u2019re out there, that\u2019s for sure. It\u2019s the Big Bend National Park. And I live in Nashville, but I live in town.<\/em><\/p>\n\n\n\n

How did the pandemic hit you in Nashville? Some folks fell into depression for a few months. Others got right to work.<\/p>\n\n\n\n

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Basically, I just got to work. I used the time to finish a book, and I finished this record. And we did a Sunday live stream every week, reached out to our fans, and we brought guests onto the screen, which was fun because we got to see our friends, even though everything was locked down. We broadcast it every Sunday at two o\u2019clock\u2014Sundays with Mary, and it\u2019s still going, actually. And every single guest we had was amazing\u2014they were all incredible artists and dear friends. We shared the screen with people that we love. James McMurtry was awesome, Ray Wylie Hubbard (right) was awesome, Hayes Carll was awesome, Lori McKenna was awesome, Rodney Crowell, too. The list goes on and on\u2014every single one of \u2018em was an amazing, brilliant, beautiful, gifted artist. So I had my work, and I had my recovery\u2014I\u2019m sober\u2014and we still met on Zoom with our recovery groups, so I was never removed from people that much. And it worked out for me. I had it really good. And after hearing so many reports of how hard it was for so many people, I\u2019m just grateful that for me, it was a detour, but it wasn\u2019t a catastrophic experience, except that we lost so many great people, like John Prine and Nanci Griffith. She was a good friend.<\/em><\/p>\n\n\n\n

Does your song \u201cThe Meadow\u201d represent something larger, more abstract?<\/p>\n\n\n\n

I\u2019m not sure that \u201cThe Meadow\u201d is a metaphor. It might be literal. The character in the song was inspired by reading a book, written by my friend Odie Lindsey. And its\u2019 a book written in first person about a female soldier coming home from Iraq, who\u2019s trying to get stability, The book is called Some Go Home. And for me, I\u2019m singing from her voice, and she\u2019s just talking to her beloved, her husband, saying, \u201cI want this to work, so meet me. Please meet me halfway and let\u2019s keep trying. It\u2019s a great book. <\/em><\/p>\n\n\n\n

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 \u201cTruckers and Troubadours\u201d makes clear that there\u2019s a whole separate Red Sovine vernacular for writing about or even discussing the road.<\/p>\n\n\n\n

Oh, yeah! Absolutely. And I made friends with a long-haul truck driver named Long Haul Paul (Marhoefer), and he\u2019s a songwriter and a truck driver. We became friends, and we wrote on Zoom during the pandemic. And as we talked, we realized that truckers and troubadours have a lot in common. I don\u2019t own a Red Sovine album, but I listened to him when I lived in Baton Rouge for sure. I loved that old country stuff. I grew up on that stuff! When I was in Baton Rouge as a kid, there was only AM radio, so you had a choice\u2014country or Jesus. And I voted for country, so that\u2019s what we listened to in the car as I was growing up, and those songs were on the radio back then. <\/em><\/p>\n\n\n\n

One thing many folks got busy with during lockdown was cooking and exploring the kitchen. And since you were a skilled chef already, did you find yourself trying out adventurous new recipes?<\/p>\n\n\n\n

Not really. I mean, we cooked, but I got into gardening some, and we grew vegetables these last two summers and figured out ways to use a hundred million okras. Okra was very successful, way beyond what I\u2019ve ever experienced\u2014I had so much okra in my backyard, I couldn\u2019t even give it away, so I had to figure out new ways of cooking it. I like my okra Louisiana style, which is stewed with tomatoes or lightly breaded in cornmeal and then fried. And then after those two, I don\u2019t know what to do with it except for to put in gumbo. So you can just give it to friends. But getting good tomatoes was hard. I like the sort of Tennessee heirloom tomatoes, so I was trying to grow these heirlooms, and I just don\u2019t have the right soil, I guess. It takes a certain type of soil, and I don\u2019t know how to make that soil into what they love. So they did okay, but it was just easier to go to the greengrocers and buy the tomatoes that people knew how to grow. <\/em><\/p>\n\n\n\n

One odd footnote, though\u2014in the album title track, you reference \u2018lightning bugs inside a jar.\u201d And that\u2019s a warm-weather phenomenon that only a certain portion of the world will understand. <\/p>\n\n\n\n

Well, yeah. But music lovers will understand. Lightning bugs are probably dying out\u2014they don\u2019t seem as frequent as they used to be. But down in Baton Rouge, man, they were in my backyard and under the pecan trees, and they were just a part of every summer, big time.<\/em><\/p>\n\n\n\n

I would be remiss not to congratulate you, though\u2014you\u2019re in a great new relationship, which you sing about in the first three album tracks, \u201cFall Apart World,\u201d \u201cAmsterdam,\u201d \u201cand \u201cThank God For You.\u201d How and where did you meet Jaimee Harris?<\/p>\n\n\n\n

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Well, I\u2019ve been with my partner Jaimee now for a little over four years, and it\u2019s just a really beautiful thing. She co-wrote a couple of these songs with me, and she\u2019s singing harmony on the rest of the record, and she sings her ass off. And we travel together right now, and it\u2019s just really nice. I feel richly blessed and grateful. We met at a songwriting workshop at Eliza Gilkyson\u2019s house in Arroyo Seco, New Mexico. We started collaborating about a year and a half into knowing each other. We started out as friends, and then it became more over time, and we kind of grew into each other. And that\u2019s always the best\u2014as we got to know each other, we liked each other more and more, and that\u2019s still happening. <\/em><\/p>\n\n\n\n

 \u201cAmsterdam\u201d is about you taking her back to that exotic city for the first time, one of your favorites in the world. It\u2019s weird to note that many of us feel no motivation right now, ever again. But because of the nature of your troubadour career, you have<\/em> to keep going back there and pretty much everywhere else.<\/p>\n\n\n\n

Well, that\u2019s what we do, so we\u2019re gonna do it. And there was joy in getting back out there. I mean, we had a feeling of deep gratitude that we were able to do it. You know, there\u2019s always risks, and even though we\u2019re triple vaxxed, we know that we could get Covid again. We had it once, we could get it again, we know that. But you have to do your job at a certain point, so we\u2019re all out there. I don\u2019t know any musicians that aren\u2019t back to work. We have to go to work\u2014it\u2019s what we do.<\/em><\/p>\n\n\n\n

And\u2014as exemplified perfectly in the Netflix parable Don\u2019t Look Up<\/em>\u2014humanity seems to have learned absolutely nothing, especially with something as crucial as Roe v. Wade about to fall. It\u2019s just insane. Talk me down. <\/p>\n\n\n\n

I can\u2019t! I agree with you! We\u2019re in a very trying, difficult time, and we have to keep our eye on the prize\u2014we have to vote. And we have to pay attention. We have to keep our eye on what we can do. I don\u2019t wanna give in to despair\u2014we do have a Black, lesbian press secretary right now. Gays and lesbians do have the right to get married still. We\u2019ve seen a very large national discussion around gender, and what it means to be transgender, and that\u2019s not something I imagined happening in my life. So I think we\u2019re moving things forward, and people are trying to push things backward. That\u2019s the normal way that progress happens. I also think that gun violence is out of control, and we\u2019ve got to do something about it. So hopefully there\u2019s been a wake-up call, and we\u2019ll see what happens in November. But I don\u2019t subscribe to despair. I think we have to vote and understand what we\u2019re voting for, and we have to fight. Nobody gets anywhere without fighting for what\u2019s right. I think that it\u2019s a big discussion, but we all can do our part by showing up<\/em><\/em><\/p>\n\n\n\n

You\u2019ve mentioned someone close who passed away named Betsy, Who was she?<\/p>\n\n\n\n

She was my best friend that I used to hike with on the trail right outside of Nashville, and she passed away during the pandemic. And actually, I became a swimmer after she died. Now I go to the YMCA, and the pools at the Y here are great.<\/p>\n\n\n\n

The main lesson you seem to have learned recently is \u201cless is more.\u201d The arrangements and production on Dark Enough<\/em> are hushed and skeletal, with just enough notes to float by. It\u2019s Daniel Lanois stark.<\/p>\n\n\n\n

Yes. I\u2019ll go with that. Nielsen Hubbard produced it. And that\u2019s exactly right \u2014 there\u2019s nothing to get in the way of the words, but the music\u2019s gotta matter. But that\u2019s kinda my thing. I generally tour solo\u2014I don\u2019t wanna have a whole big thing because I\u2019m just not good at it. I like the troubadour life\u2014it simplifies things for me, and I enjoy it. So when I go into the studio, we pretty much do things quickly and stripped down. That\u2019s what I like. And I know that I\u2019m dedicated to the art form, and I\u2019m dedicated to the work, and I try to be nice to people along the way\u2014that\u2019s kind of what I\u2019ve got, ya know?<\/em><\/p>\n\n\n\n

I\u2019m not sure if you intended it this way, but the final album track, \u201cTill I See You Again,\u201d feels like the absolutely perfect set closer for concerts.<\/p>\n\n\n\n

Yep. That\u2019s what it is, all right. I didn\u2019t know what it would be\u2014I was just writing a song to the best of my ability, but that\u2019s kind of where we place it. It\u2019s a final song, that\u2019s for sure.<\/em><\/p>\n\n\n\n

Ten years or so ago, when Steve Cooke and I were running the all across the arts pages in The Manchester Evening News Media Group we established a fringe event that ran annually alongside The Rochdale Literature And Ideas Festival. The event was The Sunday Morning Coming Down Speakeasy, to which we invited local arts practitioners to come and spend some time together at the Vibe young musicians\u00b4 centre on Drake Street in Rochdale.<\/strong><\/p>\n\n\n\n

<\/strong>There were publishers, painters and percussionists and poets, writers and readers, stand up comics and dramatists and there was live music interview, debate, music and the audience listened in as they enjoyed coffee and breakfast and a read of the Sunday papers. On a couple of memorable occasions there was a performance by a recently-formed Rochdale based duo called Between The Vines. They were friends of Steve, who had invited them along, and they played the kind of country rock that I celebrate so often on these pages, even since retiring here to Lanzarote.<\/strong><\/p>\n\n\n\n

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I am reminded of them by a facebook post I noticed this week, so allow me to introduce, to any readers who might not know Between The Vines, their drummer and percussionist, Kev Whitehead.<\/strong> (left)<\/em><\/strong> <\/p>\n\n\n\n

Kev\u2019s earliest venture into professional playing was recording with a band called Blue Zone which featured a very young Lisa Stansfield. Since then he has recorded many albums with Lisa, including her two most recent \u2018Seven\u2019 and \u2018Deeper\u2019.

Over the years Kev has recorded and performed live with Pete Lockett, The Christians, The Animals, Proud Mary, Yazz and many more. 

Kev joined John Lees\u2019 Barclay James Harvest in 1999, and Dare in 2008 and tours most parts of the world with these 2 bands. 
His most recent venture is a country rock band called Between The Vines alongside his wife Rebecca, and they have recorded an album called \u201850 Ways To Beautiful\u2019. <\/strong><\/p>\n\n\n\n

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<\/strong>Rebecca Whitehead (right) is a singer-writer who released a solo  debut album, Crazy Love in 2014 that  was an eclectic mix of Hip hop\/ R&B and Dance, encompassing a unique sound of Electronic and Accustic mix. Rebecca then started to learn to play the guitar and together with her husband Kev Whitehead created Between The Vines. Rebecca’s passion over the last few years has been for Country music, especially Country Rock.  The more she listened and learned, the more she wanted to create and be part of that genre. Throughout her career Rebecca has had the opportunity to work with world class artists such as; Lisa stansfield, Ian Devany, Kev Whitehead (drummer for Dare, Barcley James Harvest), Ste Boyce Buckley (producer at Gracielands studio) and many more.<\/strong><\/p>\n\n\n\n

I certainly remember making a note to self at the one of the Sunday Morning Coming Down events that these two musicians played the kind of country rock I covered for years as a music journalist and that I continue to share with readers of this daily blog.<\/strong><\/p>\n\n\n\n

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Today we have already taken you down sidetracks & detours to where it is Dark Enough To See The Stars and hear the music of Mary Gauthier, but if you live in the Cambridge area why not start up your search engines and check out your local media for details of this weekend\u00b4s Cambridge Festival, and then follow sidetracks & detours Between The Vines to the festival venue to hear the duo, expanded for the live occasion, perhaps, into a four piece, deliver some great music?<\/strong><\/p>\n\n\n\n

We will be approaching Between The Vines for a major interview, so if you see them perform at the festival you might like to submit a review of your own. See details below adjacent to e-mail logo<\/strong><\/p>\n\n\n\n

We will also tell you, in a separate article, a bit more about the Gracielands Studio in Rochdale. (the clue is in the name !)<\/strong><\/p>\n\n\n\n

Meanwhile we will return with our Monday to Friday daily Sidetracks And Detours blog on Monday 20th<\/sup> June 2022. We will become immersed in creativity\u00b4\u00b4 as Sail Away down more sidetracks and detours with Randy Newman, to RoundTower that was once home to the likes of Katy Moffatt, Tom Pacheco and Gary Hall. We will also meet a Spanish musician who, like Jose Feliciano, fo9llows his intuition, and on Friday we will report on some very impressive end of term concerts performed in underwater caves.   <\/strong><\/p>\n\n\n\n

Remember, too, that there are 650 arts-related items in our easy to negotiate archives.<\/strong><\/p>\n\n\n\n

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photo npw This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. <\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

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please note logo The primary source for this article was  first published in Paste on-line magazine, an excellent and positive information stream not only for the arts but for life in general on Lanzarote. The outlet serves as a force for good in the entertainments industry, and is unafraid to question governmental or corporate decisions when monitoring outcomes.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

                                                            Steve Bewick<\/p>\n\n\n\n

                                                            Gary Heywood Everett<\/p>\n\n\n\n

                                                            Steve Cooke<\/p>\n\n\n\n

                                                            Susana Fondon<\/p>\n\n\n\n

                                                            Graham Marshall<\/p>\n\n\n\n

                                                            Peter Pearson<\/p>\n\n\n\n

Hot Biscuits Jazz Radio                      www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

groundup music                                  HOME | GroundUP Music<\/a><\/p>\n\n\n\n

Maverick                                             https:\/\/maverick-country.com<\/a><\/p>\n\n\n\n

Joni Mitchell newsletter<\/p>\n\n\n\n

passenger newsletter<\/p>\n\n\n\n

paste mail ins<\/p>\n\n\n\n

sheku kanneh mason newsletter<\/p>\n\n\n\n

songfacts                                           en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

I tend to go to the desert every year, down on the border by Terralingua, and just sort of make a big deal out of being under the stars and experiencing It wholeheartedly. I think the idea\u00a0is that we can\u2019t see the stars in our normal day-to-day experiences, because we\u2019re not looking. But when something knocks us off our regular life\u2014and oftentimes that is some kind of a struggle or a painful event\u2014we begin to get more introspective. I think it\u2019s a metaphor for that.\u00a0<\/p>\n","protected":false},"author":2,"featured_media":10380,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45,1],"tags":[],"class_list":["post-10363","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=10363"}],"version-history":[{"count":3,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10363\/revisions"}],"predecessor-version":[{"id":10382,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10363\/revisions\/10382"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/10380"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=10363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=10363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=10363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}