Michael Hedges: Starseed Eulogy

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Michael Hedges : Starseed Eulogy

written by: Patrick Brayer (12-3-97)

Today I got the life altering news that my dear friend Michael Hedges perished in a dangerous curve automobile accident in Mendocino California. The caller was Hilleary Burgess, Michael’s longtime friend and manager.

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(photo: Irene Young)

It was a day that had started with promise. I awoke, spun a bagel on my finger like Wyatt Earp and French kissed a soy-ed out cup of coffee. My Alabama girl friend had rushed off into the world in a floor length skirt to do temporary work at a fire department that had lime green fire trucks. Her destination was Riverside California, two blocks from the spot, now etched in my memory, where on the pale sidewalk outside of the municipal auditorium I was unknowingly to say my last face to face farewell to my friend Michael Hedges, there on the evening of October 26, 1997.  Michael was performing that night in a guitar summit with three other prominent players, Herb Ellis, Rory Block, and Sharon Ibsin.  As a little backstory I’ll add that earlier that morning, after coffee and cactus enchiladas, I set out to go to yard-sales in and about my Fontana weed patch. In doing so I came upon a little battery operated handheld T.V., displayed alongside of some lipstick smeared martini glasses and a taxidermized chihuahua, grouped black-comically on a rough corn colored horse blanket.  I didn’t really want it, but in the spirit of yard-sailing, I offered a pittance that I assumed they would refuse, but to my surprise they took it.  That’s what I always liked about yard-sales, they seemed like free admission to a one-act play, that while they were busy being joyous and humble, at the same time there was always the slight scent of downfall.  I could just picture the sun striking down on a car up on blocks, that isn’t there, but should be. After soundcheck that evening Hedges took me backstage to meet famed jazz guitarist Herb Ellis (Benny Goodman, Joe Pass, etc), where we were both reduced to kids in awe.  As we talked I noticed that Ellis seemed really sad, and questioned him if he was o.k.  He said that he was just a little upset to have to miss game seven of the World Series, between the Cleveland Indians, and the Florida Marlins.  I told him I was thinking along those same lines, that his lucky day was my lucky day, and handed him over my new salvaged T.V.  He seemed surprised at first but eventually lit into a smile, after he realized it wasn’t going to explode. He tuned into the game as we sauntered away.  Later, after the concert, Herb played me a few lines of Danny Boy on his sunburst Gibson, and told me, like he wanted me to know, that he played that song for his wife each night before they went to bed.  As I thanked him, I pictured him at home with a Chanelle bedspread, and grossly flattered myself to think that we were in any way even.

Michael was on his way into Los Angeles where later that night he’d study Yin Yoga in a garage with his teacher Pauli Zink (who also taught movement techniques to David Lee Roth and others). “Don’t bend anything I wouldn’t bend” were my parting words, and the words now that I peel from my memory like the adhesive side of a bumper sticker

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Ben Harper: Waylon Jennings Tribute

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The Waymore’s Blues Session (RCA): a solitary account

by Patrick Brayer 2003

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As I’m writing, as well I’m thinking, that what is most likely an everyday eventuality for Ben Harper, like this session for the 2003 Waylon Jennings tribute CD (I’ve Always Been Crazy RCA), is for me rather akin to getting the part as Toto in The Wizard of Oz.

I packed in my low strung chestnut violin, and my mandolin, closed the enormous trunk of my caprice classic, and pulled out of the shade of the elm trees and into the awaiting heat. Summer in the Inland Empire is a patient thing, it knows you can’t hide its belt of peripherality, and the analogy of Ben Harper as an artist is much like this same sun, and, or, the phoenix of his very own youth.  To look directly at it is not the wisest decision.  You become far more learned by observing what it shines upon, than to be blinded by actually staring at it for source.

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Chris Darrow / Under My Own Disguise

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(photo: Patrick Brayer)

Chris Darrow / Under My Own Disguise / limited edition box set

Everloving Records 2009

In the form of a lavish LP-sized box set from Everloving Records, Chris Darrow / Under My Own Disguise (re-release produced by J.P. Plunier), we have the American re-emergence of two prime and pristine examples of straightforward Vietnam era country rock and folk from the forsaken vaults of United Artists. Part one contains the self-titled Chris Darrow (The Grey Album) from 1973. Part two contains Under My Own Disguise from 1974 (with one additional bonus track). The graffiti inspired box comes with a set of two CDs, two 180 gram vinyl LPs, a forty eight page booklet including within it an array of archival photos by Steve Cahill, and a full sized replica of the Darrow mask used on the cover of the Disguise album. The set lists for $80.00.

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Writer: Stephen Graham Jones

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Twelve Arrows by: Stephen Graham Jones

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My father claims to have no memory of the first one. But then, some mornings he doesn’t remember me so much either. If there were still doctors — or, if there were still doctor offices (I assume there’s still doctors scattered out there, living like we are) — the diagnosis would probably be some World War Three version of shell shock, synapses fried by the blast, pressure waves scrambling my father’s head, who knows.

Not that knowing why he doesn’t remember could in any way reclaim that arrow for us.

Like most everything else, it’s been consigned to ash. Like Mom, it was lucky enough to have gone on before all this.

At least that’s what Dad says.

The second arrow skipped past a frost-burned cow, skidded off a rotted tree, leaving a slanting-up scratch that I can still trace in the air, and then it winked out of existence. Just stopped being, like arrows do sometimes. This was four years ago. It’s still the arrow I look for the most, too. Maybe I’m sentimental.

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My Dinero With Fowley

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the persona of kim fowley is, to use his own vernacular, like lon chaney duct taped to david bowie, in the man who fell to earth / all that image compacted, he verbally hands you a live grenade while he swallows the pin and grins in meticulous disarray / he is too much americana for any one journalist, theatrical degenerate aside, melanoma scars tattoo his forearm, licorice like clark kent glasses, he whittles his roast chicken with a sculptor’s hint of royalty, and that is to be our first glimpse at the dropping of the guard into the belfry of a real life / to be all things at once is what honesty is, but to be all things at all is something the average joe cannot handle, not outside of the personal plushness of his own strip mall vaudeville needs anyhow

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Brayer Archives Signed Instrument Museum

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I’ve always allowed the musical instruments of my life to influence me more than I did actual people. Then at one point I thought to maybe somehow join the two, to adhere the human influence with the tone wood. When they are all put together like this I feel that they tell an extra-dimensional story to and beyond me, which affirms in it’s own biography, of what I have been pointing myself at, and into, as far back as I can even remember, that maybe, just maybe, all this is not a fluke.

When debating with long time friend John York about the subject of what we ourselves are actually doing in the arts, we kept coming back to the same conclusion, that what we do is plain and simple “beauty recognition”. There is no higher job, nor one more transparent to the ego. Just even the story of the history of the luthier’s craft here, and the voice given to a sawn tree, should be enough in itself. But I like layers and layers there are. For me, it’s not just the fact that they represent periods of American history, they are embedded with my own particular time phases, and then, not to mention the songs I’ve written on them, which there contain little head-of-a-pin portraits of threadbare family and foothill friendships, swaying naturally, because no one is watching. All this ending in, or bottoming out, in a sort of mythological lore.

Sometimes I was inspired by the shear humor of it, like getting author Joan Didion to sign my Dan Electro Longhorn bass. Still profound, perhaps diamond witted, but it was worth it just for the devilishly sweet cut-eye look in her eyes.

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Ray Bradbury wrote The Martian Chronicles, The Illustrated Man, Fahrenheit 451, and The New York Times once heralded him as “the writer most responsible for bringing modern science fiction into the literary mainstream.”

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You Gotta Start a Trinity Somewhere

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One electrifying set of childhoodish memory came rushing back to me today as I sat to watch a documentary film celebrating the career of record producer Ahmet Ertegun. The 1969 memory in question was presented to me via an old stand up, spring-motor driven, hand cranked, rosewood cabinet victrola that was stored in my grandfather’s house. I was fifteen years of age and just noticing, frightened by the stillness, how lonely it was in his empty house after his passing. I then happened across the player, and a clumsy black stack of musty shellac discs. It became my secret place of solace, and I hid in the listening, and it became the soundtrack of my life because nobody else wanted it. When you have three other siblings, and no money, you acquire your power where ye may. It was there that I stumbled across one particular 78RPM recording of one Big Joe Turner doing, Shake, Rattle and Roll on Atlantic Records.

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The Boy Who Wouldn’t Hoe Corn

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This is the song adaptation chronology of my slide guitar version of, The Boy Who Wouldn’t Hoe Corn.

My first experience with the tune was in my teens from the Harry Smith LP box Collection on Folkways Records, a folk goldmine which my brother Mike and I would wrangle from the Fontana Library every chance we could.  The song was originally titled The Lazy Farmer Boy.

Here’s a link to that first influential 78RPM recording, which was recorded for Columbia Records in 1931 by Buster Carter and Preston Young

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Move to Fontana, 1958

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Our family moved to Fontana, California in 1958. We came behind to join my grandfather John Brayer Sr. (1876-1969) already hunkered there. He moved into the valley region freeing himself from the past snow and cheese life of Marshfield Wisconsin. And this was where my father Ralph William Brayer (1921-1999) was subsistence-farm raised before his own WWII exodus into the Italian theater and purple-heartdom. In the 1950’s Fontana had a substantial population of Slovenians at the time, egg ranches, citrus orchard, and the Kaiser Steelmill was in full swing glory, later making our skies literally cough up iron. Slovenean polka music always swung hard at either the Slovene Hall, the KSKJ Hall, or at Mlakar’s Elbow Room on the main drag. It was also the nativity birthplace of the mythical real Hell’ s Angels motorcycle group, filling the taverns that embellished the mother road with smoke and threat, then later coming into prominence in print form by Hunter S. Thompson. My grandfather, upon migration from Yugoslavia, found himself in Calumet Michigan working as a copper miner, and there it was that himself, his wife, and two of their daughters were present in the tragic event which would lead to the Woody Guthrie ballad, The 1913 Massacre. It was amazingly a song which was already in my brother and I’s suburban hobo repertoire. When we finally learned or our grandparents involvement we were already barking it out on stage regularly at a coffee house plopped down in the barrio of Mt. Vernon St., San Bernardino, called The Penny University.

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Gary Lee Murray (1952-2015)

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This is a note concerning the passing of our friend Gary Lee Murray of Riverside CA.
Press Enterprise obituary:

http://www.legacy.com/obituaries/pe/obituary.aspx…

There is a guestbook there to share your remembrances and photos.

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It is very easy for me to say that Gary Murray was one of the most unique individuals i have had the worldly pleasure to meet. Just the mere thought of his name brings on a plethora of stories.

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