Dave Ray Avenue

 The city of Saint Paul recently designated a three block section of Franklin Avenue as "Dave Ray Avenue". Dave was a musician from Saint Paul, featured here previously. With cohorts John Koerner and Tony Glover, Dave was a pioneer of the new generation of folk-blues musicians in the early 1960s, influencing numerous artists. I thought this would be a good excuse to revisit his fiftieth birthday party—a gathering of friends and family. All images taken in Minneapolis at the Cabooze night club in August of 1993, Dave is wearing a cap.

Setting up with Rochelle Becker (center):


Dave the raconteur:


Dave and Tony Glover:


Raymond Muxter (left) celebrates with fellow well wisher:


John Koerner and Tony Glover:


West Bank regulars:


Dave enjoys the scene:


Stylin’ among the fans:


Mary Grace and Sam Scher:

Snaker

As in Dave "Snaker" Ray. I had been reading Bob Dylan’s Chronicles and, of course, Dave’s name came up. It was 1959 when Bob met him, along with Tony Glover and John Koerner. They were all folk-blues aficionados; Dave was but a teenager when he started playing on the folk stages. In a few years Koerner, Ray and Glover, as they had come to be known, had signed with Elektra Records, were playing the Newport Folk fest, John Lennon was buying (and digging) their albums, and Bob- well, I think you might have already heard about Bob’s career. Dave’s star was rising as well. As engineer of Bonnie Raitt’s first album and builder of a recording studio in rural Minnesota, Dave was a force to be reckoned with in the music world. It all fell apart when Dave was hit (while stopped!) on his motorcycle, he suffered a divorce, and a bottle was always sure to be nearby.

But Dave came back. He found true love, he dried up, he even worked in the insurance business—long enough to realize he liked music better—and then devoted himself full-time to his passion. And he began putting out great music, with new collaborators as well as old. He was a sagacious old master now, and his story-telling only got better with age. He inspired, educated and helped many a younger (i.e., me) musician and producer. He developed a website full of his slightly bent take on things with lots of photos from his archives. He was gigging a lot, in the Upper Midwest and nationally at blues and folk festivals, alone or with Tony and John.

And then came the x-ray, showing a spot on his lung. He decided against medical intervention and kept playing, right up to a few weeks before he passed away. But Dave lives on, in his music, in the memories of those that worked with him. Still thinking about you, Dave. Your song isn't over yet.

Dave Ray on Work

Mary Jane Mueller and Dave, Minnehaha Park, 1995

   Note: This extended "rant" by the late Dave "Snaker" Ray is about his daily life and the misunderstandings people have about musicians. Dave was a celebrated blues singer and guitarist, a legendary raconteur and internet pioneer. His now defunct website was active from the mid nineties until about 2005, but is still accessible via The Wayback Machine.

This is one of several essays by Dave and was written shortly before his death in 2002.
 

                          "WHAT DO YOU DO ALL DAY?"

   Guys in jackets and ties walking into the pretty blue buildings downtown never get asked what they do all day, unless it's by their wives, recalling "Angel From Montgomery," and wondering if he can be gone eight hours and have nothing to report. Guys with ladders on top of their vans and tools in the back never get asked what they do all day. People don't ask them because the assumption is there, based on the evidence of dress or implement, that these people work for a living. Most people could care less what someone else does all day, as long as it looks like what they do is productive and somehow conducive to an incremental increase in the GNP, or DNP or whatever it's called these days. Try to make a living playing the guitar, though, and people are constantly asking you: "What do you do all day?" When I try to make an appointment to meet someone in the morning, they give me the wink and say, "You mean around 3:00?" If I tell them I'm too busy to see them in the next couple of days, they start with the "What do you do all day?" I guess they figure the guitar player's life consists of rolling out around noon, kicking back in the Barca with a cold one, catching some ESPN, maybe take in a ball game, smoke a little rope, take a nap, have dinner, get driven to the gig, noodle for a couple hours, go back to chicken shack for a snack and little what-you-may-callit with the old lady and nod off around three AM. Maybe a few observers are acquainted with some of your more serious type of musicians who spend a lot of each day trying to decide which foods to eat and which pills to take to get them to just the right level of performance before they go to work that night. Most of these analysts must figure that musicians spend the whole day just thinking about their personal weltanschauung, you know, man, their space, and not much else.

   I ran an insurance agency for fifteen years. Nobody ever asked me what I did all day. Nobody in their right mind would ask an insurance man what he did all day unless their Nembutal script just wasn't strong enough and they really needed some winks. I once went to the trouble of cataloging what my Finnish amanuensis and I did all day. It was 1986 and I thought we ought to automate our agency. I wanted to be able to justify the high cost of automation, so she and I kept a log for two weeks of what we did. By dint of heritage and fear of narrative, she was somewhat less than forthcoming in what she actually did all day. She had entries like: "answered the phone," "wrote checks," "filed," "had lunch," stuff like that, usually with no times attached. I put all my post-Catholic, workaholic, Germanic obsessive traits to good use by pencilling in the duration of phone calls, mileage for errands, applications filled, all the numbers any efficiency expert would love to see. When it was all over, the eighty-twenty rule was affirmed. Most of the tasks we accomplished were devoted to satisfying twenty percent of the clientele. We proceeded with automation, although it was pretty obvious the computer would never be able to do what we were doing. In those days, "paperless" was a bold dream and what the machine actually did was increase our workload by a factor of ten and nearly bankrupt our operation. By the time I sold the agency in 1996, the machine had fulfilled its Peter Principle goal of serving as an elaborate adding machine and typewriter. We still had drawers full of paper and we still had to go to the bank and we still had to use the telephone. The computer forced a certain organizational hierarchy into our thinking and our way of doing business that resulted in an unquantifiable gain in productivity but made us feel mainstream.

   My point in relating this automation history is to let you know I'm no stranger to computers. If you're not either, then you know what I'm talking about when I say that any answer to the question "What do you do all day?" must include a certain allotment to the care and feeding of the computer. I can't work without a computer. When it's doing a maintenance task and I can't access it, I have nothing to do. All my work is connected to the machine: music programs for writing and recording, addresses and phone numbers, bookkeeping, this Web page, my schedule, my list of vitamins–everything. It's been a slow, inexorable process and one from which there is no return: I'm cybernetically attached, like a life-support system. When I can't use it, I have to resort to some really time-wasting, ephemeral busywork, like reading or practicing guitar, sleeping or vacuuming.

   Except for major maintenance tasks, you won't see in the following logs any of the time spent in file manicuring, error analysis, software grooming, learning programs, disk defragging, reindexing and all the myriad time-consuming tasks required to keep a clean hard drive and a sporty desktop. We nerds know how long it takes, the rest of you will have to accept that what might appear as too much time allotted to certain tasks is the overhead inherent in owning the machine.

   Other than computer-related busywork, my time is spent like yours: looking for meaning in life and trying to stay Two Steps Ahead Of The Blues.

Appropriation — Attribution

Over the last twenty years I’ve posted numerous images on the internet. Mostly here on FITK, but many were on various forums and even some in Wikipedia. In the early days of the internet  people were generally conscientious about asking for permission and would dutifully give credit where credit is due.

That was then, this is now.

When the internet’s leading guru/pundit blatantly steals a copyrighted image and defaces it, he is lauded for his efforts: the image goes viral and even earns him a book deal. I’m not too concerned about my images however, my only hope is that others are glad to see them and that their lives have been enriched by the experience. My Wikipedia images, however, come with a caveat (my emphasis in bold) :

I, the copyright holder of this work, hereby publish it under the following license:

w:en:Creative Commons: attribution share alike

This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

You are free:

to share – to copy, distribute and transmit the work
to remix – to adapt the work

Under the following conditions:

attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
share alike – If you remix, transform, or build upon the material, you must distribute your contributions under the same or compatible license as the original.

Recently Neal Bond, a Facebook group host, used a couple of my images in an AI-generated video about Koerner, Ray, and Glover, a seminal folk-blues trio from Minnesota. The original black and white images (bottom) were transformed into impasto-style paintings and impressively so, I must admit. But there was no attribution and he claimed a copyright. The video (and the AI song on the soundtrack) isn’t exactly AI slop—it’s more like AI treacle. Neal’s heart is in the right place, he’s made dozens of these ‘tributes’ but they would be classier with some attributions, even a split-second mention in an end title would suffice.

Here is Neal’s AI rendering of my photo of Dave Ray (his AI rendering of Tony is above):

And here are my originals:

Perhaps I protest too much. But if my work had been represented by Getty Images, I just might have a case.

John Beach…

… was one of the last remaining Minneapolis “West Bank” musicians of his generation.

He died earlier this week.

I knew him personally and professionally, he was always musically inspiring and he was always his own man. He played an ever-changing assortment of keyboards in a funky, syncopated style. Born in 1942, Beach was from Stillwater, Minnesota where he had begun performing in the late fifties. He wrote many of the early Willie and the Bees songs and played on Bonnie Raitt’s first album. He was in a group with Dave Ray and did innumerable solo gigs over the last 60 years. I did some recording of him and worked with him on some other side projects over the years. He had ‘retired’ to Bisbee, Arizona a few years ago but continued to perform well into his 80s.

My favorite memory of him is visiting him at his Airstream trailer parked in Camp Cozy, just north of the city of Elk River in central Minnesota. The Airstream was the ultimate bachelor pad. Grooving with John and his 300 disc CD changer with the river flowing just outside his door was about as far from the Viking/Triangle/Five Corners bar scene as you could get.

One project with him that I did featured these tracks from The Later Years, an Explodo Boys LP:

Soundtrack of My Misspent Youth - IV

This is the fourth part of a chronicle of my old high school band.

British Invasion!

We were not immune to the influx of British Bands that came after Beatles, although most of their songs which we covered were also covers, primarily of black artists (there's a theme going on here.) Be that as it may, the reason they were covered was that they were great songs, fun to play, and all of them rock standards:


Money - Berry Gordy wrote it, we got it via The Beatles

Do You Love Me - Berry Gordy, via The Dave Clark Five

Reelin’ and Rockin’ - Check Berry, via The Dave Clark Five

Mona - Bo Diddley, via The Rolling Stones

Route 66 - Bobby Troup, via The Rolling Stones

The Last Time - Jagger/Richards, The Rolling Stones

Satisfaction - Jagger/Richards, The Rolling Stones

Gloria - Van Morrison, Them

Tobacco Road - John D. Loudermilk, via The Nashville Teens

You Really Got Me - Ray Davies, The Kinks

We’ve Gotta Get Outta This Place - Mann, Weill, via The Animals

Two of the above songs, Route 66 and Tobacco Road, were by “established” songwriters and not originally “rock” tunes. Route 66 had been done in the 1940s by Nat “King” Cole and also Bing Crosby with The Andrew Sisters!

The following songs were all done by The Yardbirds, a group that we had actually seen perform in person. They really inspired us to stretch out musically, although these kind of songs (“Rave-ups” with extended guitar solos) were not as popular with the girls!

Shapes of Things - McCarty/Relf/Samwell-Smith

Train Kept a Rollin' - Tiny Bradshaw, made popular by The Rock ‘n’ Roll Trio

I'm A Man - Bo Diddley (Elias McDaniel)

Smokestack Lightnin' - Howling Wolf (Chester Burnett) 

Wrap-up of this series tomorrow…