New Target Cancer Tracks

Two new songs up at the web site for the charity, Target Cancer, RightTrackTunes.org. You might remember the Christmas tunes we did for the same organization. One is a Van Morrison cover, the other is a Staples Singers cover. Many of you who used to come to the Toad and Lizard Lounge residencies of yore probably have heard me cover these songs before. Download them for a great cause.

More info:

Bill Janovitz and the Q-Dee Revue-y -
Cul De Sac & What You Gonna Do?


Cul De Sac

This is a Van Morrison number from an almost criminally overlooked album called Veedon Fleece. In many ways, the album is an answer from a slightly more mature Morrison to the Astral Weeks of his younger days. Granted, though there were five albums (six if you count the live It's Too Late to Stop Now), Van was still only 29 by the time VF came out in 1974. The yearning, the sense of place and of home, of comforting the restless soul -- all those great Van themes appear here. Most interestingly, though, VF represents his first album written after a long hiatus from his native Northern Ireland. While Astral Weeks was about making it back home, Cul De Sac says in a few words all that needs to be said on the subject. The meaning is in the heart of Van's voice as he sings over the gospel/soul progression.

This song was originally recorded by Van Morrison in 1974. This version was recorded live in Studio B at Q Division Studios in Somerville, MA on December 9, 2010 by The Q-Dee Revue-y – exclusively available here.

Bill Janovitz – Lead Vocals, Acoustic Guitar
Tom Polce – Guitar
Ryan Spraker - Guitar
Matt Pynn – Pedal Steel
Matt Tahaney – Bass
Steve Scully – Drums
Phil Aiken – Piano
Andrew Jones – Percussion
Paul Ahlstrand – Baritone Saxophone

Produced by Tom Polce
Recorded and Mixed by Pat DiCenso

What You Gonna Do?

I don't personally know of any other versions of this song aside from the Staple Singers. At least, I have not heard any. The recording on Freedom Highway was done in a Chicago church in the late 1960s and you can hear how its influence seeped into the late 1960s/early-1970s roots revival, with The Band and the Rolling Stones absorbing that full gospel tilt. This was a great late-night session just before Christmas, and I was able to sing with and off of Chris Toppin and Jenny Dee.


This song was originally recorded by The Staple Singers in 1965. This version was recorded live in Studio B at Q Division Studios in Somerville, MA on December 9, 2010 by The Q-Dee Revue-y – exclusively available here.

Bill Janovitz – Lead Vocals, Acoustic Guitar
Tom Polce – Guitar
Ryan Spraker - Guitar
Matt Tahaney – Bass
Steve Scully – Drums
Phil Aiken – Piano
Chris Toppin – Background Vocals
Jenny Dee - Background Vocals
Andrew Jones – Percussion

Produced by Tom Polce
Recorded and Mixed by Pat DiCenso

Download both here.

Joanna Newsom

I have been far too dismissive in my life, ruling out artists, writers, whatever, based on preconceptions or early knee-jerk reactions. As one gets older, these sorts of instincts seem to solidify and self-justify. Going into something you might assume is not your thing will, more often than not, leave yet another bad impression and strengthens your resolve to avoid more of "those sorts of things."

The trouble is, however, that one runs the risk of missing out on things of almost incomprehensible beauty, such as this and other songs by Joanna Newsom.

Though I am as guilty as most in the closing of the mind, I can't say that my initial reaction to Joanna's music was to close myself off from it and recoil. See, for me, one of the good things about living in this era is that it is easier to just get exposed to the actual art, music especially, without reading about it first. In pre-Internet days, I tended not to base my decisions on whether or not to go out and explore new artists based on music press; that is not the most effective way to convey what an artist is like. Nevertheless, I would often find myself reading that this to that band was like this other one. Oh? Well I don't like what I have heard of them, so the other ones who this writer says sounds like them must also not be my thing.

If someone had described Joanna to me before hearing it, I can't say I would have heeded the George Michael dictum, "Listen Without Prejudice." The adjectives most used to describe her are, "elfin," "fairy," "child-like," "freak folk," and so on. She pays the harp. Apparently, she grew up in a neo-hippy, new age, rural ex-mining mountain enclave alongside friends and collaborators like Devendra Banhart. Some would say her voice is often like that of Bjork. Sometimes it can seem like Tori Amos. OK? See why one might run away as fast as possible?

You would do so at the risk of missing out on something deeply rewarding. She's not for everyone, but don't automatically assume she's not for you. Lucky for me, I clicked on something and heard her first, before knowing anything about her, a couple of years ago. I was drawn in pretty quickly. I had sort of put her music on the back burner, but it hs moved back to the front recently. There was a nice piece on her in the Times this past week. Then I clicked on this and watched the whole thing repeatedly. The harp playing is jaw-dropping, the voice is magnetic. But most of all, the poetry leaves me breathless. You simply will not find anyone who sounds just like her. Having listened, I can't imagine her music not existing. It seems necessary. It feels at once magically inspired and stolen from the ether, and crafted artfully. It makes me believe in God and it makes me want to work harder. I think she has tapped the same mystic vein as Bob Dylan, Van Morrison, and Ricki Lee Jones.

You can find the lyrics online. I hate all those pop-up-y ad-riddled lyric sites. But I must quote at least one section that hits me on a primal level and makes me wish that I had written it:

And they will recognize
All the lines of your face
In the face of the daughter, of the daughter, of my daughter.