![]() ![]() It said: settle in, you’ve arrived in the land of Crosby, Stills and Nash.įlashback: it is Monday August 18th, 1969, and we are all crouched uncomfortably between puddles and mud on Yasgur’s Farm in Bethel, New York., trying to stay dry during a break in the downpour. But what was really center-stage, and poured out over The Kate’s auditorium, was a heavenly tri-blend of voices, a smooth marriage of men’s voices - so lush you could blush. “Howling Wolf” is full of emotional gems. ![]() Chartrand’s writing had subtle hints of Paul Simon’s and Neil Young’s lyric-logic and phrasing, and Naughton hung high tones ala Motown with a xylophone. As “Howling Wolf” by Brian Chartrand unfolded - a beautiful, deceptively-simple song about losing and finding one’s way, in relationship, in life, in nature - Price’s and Chartrand’s guitar work was finger-picked, breathlessly spare, as much about silence as strum. As songwriter Paul Simon succinctly says, “All the music’s seeping through.”Īt the Kate show, The Sweet Remains navigated us savvily through their hearts, lines, and musical “seepings.” The program opened with the trio of songwriters - Greg Naughton, Rich Price, and Brian Chartrand- paying homage to musicians like Bill Monroe and The Blue Grass Boys in choreographing themselves around an old-fashioned radio-style microphone. How its voicings, gestures, instrumentation, chords shift us inside and out, leaving new spaces in our hearts and new lines on our palms. How a song - as much visceral as aural - is internalized. Last week at The Kate in Old Saybrook, Connecticut, the three songwriters of the folk-rock band The Sweet Remains brought Heaney’s image to mind: how music moves through people. Has gone through us is what will be our trace.” “We are earthworms of the earth, and all that The Irish poet Seamus Heaney wrote in his 1984 poem Station Island: ![]()
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