Follow us: Follow us on Facebook Follow us on Twitter Follow us on Google+ Follow us on Linkedin Follow us on Tumblr Subscribe to our RSS or Atom feed
Sunday, December 17, 2017
Southern Weather Radar


Our Writers

  • Adam Peck
  • Alan Gordon
  • Alex Kearns
  • Alex Seitz-Wald
  • Alice Murray
  • Allison Korn
  • Alyssa Cagle
  • Amanda Marcotte
  • Amanda Peterson Beadle
  • Andrea Grimes
  • Andrea Lee Meyer
  • Andrew Bowen
  • Andy Brack
  • Andy Kopsa
  • Andy Miller
  • Andy Schmookler
  • Ann Marie Pace
  • Ann Woolner & Leonard Ray Teel
  • Anna Dolianitis
  • Anna Forbes and Kate Ryan
  • Annelise Thim
  • Anoni Muss
  • April Adams
  • April Moore
  • Ariel Harris
  • Armando
  • Arthur Blaustein
  • Austen Risolvato
  • Austin McMurria
  • Barry Hollander
  • Bert Roughton III
  • Beth Ostlund
  • Betsey Dahlberg
  • Bill Caton
  • Bill Hamm
  • Bill Mankin
  • Bill Montgomery
  • Bill Moyers & Michael Winship
  • Bill Phillips
  • Bill Semple
  • Bill Tush
  • Billy Howard
  • Bob Bohanan
  • Bob Pritchard
  • Booth Malone
  • Bootsie Lucas
  • Boyd Lewis
  • Brad Clayton
  • Braden Goyette For ProPublica
  • Brandon Collins
  • Brett Martin
  • Brian Randall
  • Brianna Peterson
  • Bruce Dixon
  • Bruce E. Levine
  • Burton Cox
  • Candice Dyer
  • Carl Kline
  • Carol Carter
  • Carson M. Lamb
  • Casey Hayden
  • Cathleen Hulbert
  • Center for American Progress
  • Chantille Cook
  • Charles Finn
  • Charles O. Hendrix Jr.
  • Charles Seabrook
  • Charles Walston
  • Chelsea Toledo
  • Chelsey Willis
  • Chris Bowers
  • Chris Kromm
  • Chris Wohlwend
  • Christopher Burdette
  • Chrys B. Graham
  • Chuck Collins
  • Cliff Green
  • Cody Maxwell
  • Collin Kelley
  • Craig Miller
  • Crissinda Ponder
  • Dallas Lee
  • Dan Kennedy
  • Daniel Flynn
  • Daniel K. Williams
  • Daniel Palmer
  • Danny Fulks
  • Dante Atkins
  • Darby Britto
  • Dave Cooley
  • Dave Johnson
  • Dave Pruett
  • David Bradford
  • David Evans
  • David Harris-Gershon
  • David Jenks
  • David Kyler
  • David Parker
  • David Roberts
  • David Rotenstein
  • David Swanson
  • Dean Baker
  • Deb Barshafsky
  • Debbie Houston
  • Deborah Chasteen
  • Denise Oliver Velez
  • Dennis McCarthy
  • Desiree Evans
  • Dian Cai
  • Diana
  • Diane Rooks
  • Dina Rasor
  • Dindy Yokel
  • Doc
  • Don Lively
  • Don O'Briant
  • Donnie Register
  • Door Guy
  • Doug Couch
  • Doug Cumming
  • Dr. Brian Moench
  • Dr. Dorothy Ann Boyd-Bragg
  • Dr. Nick De Bonis
  • Dr. Ravi Batra
  • E. David Ferriman
  • Earl Fisher
  • Eden Landow
  • Eileen Dight
  • Eleanor Ringel Cater
  • Elizabeth Shugg
  • Ellen Brown
  • Elliott Brack
  • Erin Kotecki Vest
  • Fatima Najiy
  • FishOutofWater
  • Francisco Silva
  • Frank Povah
  • Fred Brown
  • Frederick Palmer
  • Gadi Dechter, Michael Ettlinger
  • Gail Kiracofe
  • Gaius
  • Georgia Logothetis
  • Gib Ennis
  • Gina Williams
  • Gita M. Smith
  • Glenn Carroll
  • Glenn Overman
  • Gordon Anderson
  • Gregory C. Dixon
  • Gryphon Corpus
  • Hamp Skelton
  • Harriet Barr
  • Heather Boushey
  • Henry Dreyer
  • Henry Foresman
  • Hollis B. Ball III
  • Hugh
  • Hyde Post
  • Ian Kim
  • Ian Millhiser
  • Isabel Owen
  • Ivy Brashear
  • J.A. Myerson
  • Jack deJarnette
  • Jack Wilkinson
  • Jacklyn C. Citero
  • Jake Olzen
  • James Hataway
  • James Marc Leas
  • James N. Maples
  • Janet Ward
  • Jasmine Burnett
  • Jason Palmer
  • Jason Parker
  • Jay Thompson
  • Jaz Brisack
  • Jeff Cochran
  • Jeff Davis
  • Jeff Rayno
  • Jeff Spross
  • Jeffry Scott
  • Jennifer Hill
  • Jesse Harwell
  • Jessica Luton
  • Jim Allen
  • Jim Bentley and Jeff Nesmith
  • Jim Clark
  • Jim Cobb
  • Jim Fitzgerald
  • Jim Newell
  • Jim Stovall
  • Jim Walls
  • Jim Warren
  • Jimmy Booth
  • Jing Luo
  • Jingle Davis
  • JL Strickland
  • Joan Donovan
  • Jodi Jacobson
  • Jody Wegmueller
  • Joe Earle
  • Joe Shifalo
  • Joel Groover
  • Joey Ledford
  • John A. Tures
  • John Dembowski
  • John Hickman
  • John Hickman with Sarah Bartlett
  • John Huie
  • John M. Williams
  • John Manasso
  • John Sugg
  • John Tabellione
  • John Yow
  • Jon Sinton
  • Jonathan Grant
  • Jonathan Odell
  • Joni Hunnicutt
  • Jonna Pattillo
  • Joseph B. Atkins
  • Joseph Gatins
  • Josh Dorner
  • Josh Sewell
  • Joy Moses
  • Judith Stough
  • Judy McCarthy
  • Juli Ward
  • Julian Bond
  • Julian Riggs Smith
  • Julianne Wyrick
  • Julie Ajinkya
  • Julie Puckett Fodera
  • Just Plain Will
  • Kaili Joy Gray
  • Kate Greer
  • Kate McNally
  • Katherine A. Edmonds
  • Kathleen Brewin Lewis
  • Kathleen Harbin
  • Kathleen R. Gegan
  • Kathryn Hoffman
  • KC Wildmoon
  • Keith Graham
  • Ken Edelstein
  • Ken Haldin
  • Ken Hawkins
  • Ken Peacock
  • Kevin Austin
  • Kevin Duffy
  • Kip Burke
  • Kirk McAlpin
  • Kirsten Barr
  • Kos Moulitsas
  • Kristie Macrakis
  • Lacey Avery
  • Lamont Cranston
  • Laura Clawson
  • Laura Smith
  • Laurence Lewis
  • Lawrence S. Wittner
  • Lee Leslie
  • Lee Robin
  • Leon Galis
  • Leonce Gaiter
  • Les Eatwell
  • LikeTheDew
  • Linda Hunt Beckman
  • Linda Jordan Tucker
  • Lisa Byerley Gary
  • Lisa Kerr
  • Lois Beckett, Propublica
  • Lorraine Berry
  • Louie Crew Clay
  • Louis Mayeux
  • Lovell Jones, Ph.D.
  • Lucy Emerson Sullivan
  • Lucy Guest
  • Maggie Lee
  • Maisha White
  • Mandy Richburg Rivers
  • Margi Ness
  • Marian Wang, ProPublica
  • Marie Diamond
  • Mark Dohle
  • Mark Johnson
  • Mark Sumner
  • Martha W. Fagan
  • Mary Civille
  • Mary Elizabeth King
  • Mary Kay Andrews
  • Mary Lee
  • Mary Willis Cantrell
  • Matt Blakely
  • Matt Johnson
  • Matt Musick
  • Matt Renner
  • Matthew Wright
  • Maurice Carter
  • Meg Livergood Gerrish
  • Meghan Miller
  • Melanie Rochat
  • Melinda Ennis
  • Michael Bailey
  • Michael Beckel
  • Michael Castengera
  • Michael Ettlinger
  • Michael J. Solender
  • Michael Linden
  • Michael Lux
  • Michael W. Twitty
  • Mike ”Hunter” Lazzaro
  • Mike Copeland
  • Mike Cox
  • Mike Handley
  • Mike Lofgren
  • Mike Ludwig
  • Mike Williams
  • Mimi Skelton
  • Moni Basu
  • Monica Smith
  • Murray Browne
  • Myra Blackmon
  • Nancy Melton
  • Nancy Puckett
  • Nancy Robinson
  • Nancy Rogers
  • Neill Herring
  • Nelly McDaid
  • Nikki Gardner
  • Niles Reddick
  • Noel Holston
  • Occupy Wall Street
  • Overman & Senn
  • Pamela Sumners
  • Pat Garofalo
  • Pat LaMarche
  • Pat Norman
  • Patrick Andendall
  • Patrick L. Ledford
  • Patsy Dickey
  • Patti Ghezzi
  • Paul Buchheit
  • Paul Krupin
  • Paul Rutledge
  • Paul Thim
  • Pete & Jack
  • Peter Crawford
  • Peter Turnbull
  • Phil Gast
  • Phil Noble
  • Philecta Clarke Staton
  • Philip Graitcer
  • Phyllis Alesia Perry
  • Phyllis Gilbert
  • Piney Woods Pete
  • Polly
  • R S
  • R.L. Miller
  • Rafael Alvarez
  • Randy Conway
  • Randy Schiltz
  • Ray Bearfield
  • Raymond L. Atkins
  • Reagan Walker
  • Rebecca Sive
  • Ric Latarski
  • Richard Eisel
  • Righton C. Willis
  • Rob Chambers
  • Rob Coppock
  • Rob Douthit
  • Robert Allen
  • Robert Dardenne
  • Robert E Hunt Jr
  • Robert Jensen
  • Robert Lamb
  • Robert M. Williams, Jr.
  • Robert Mashburn
  • Robert Weiner & Richard Mann
  • Robin Marty
  • Rodney Adams
  • Roger Gregory
  • Ron Feinberg
  • Ron Taylor
  • Rose Aguilar
  • Rose Weaver
  • Rosemary Griggs
  • Russ Wellen
  • Sam Morton
  • Sao Magnifico
  • Sara Amis
  • Sarah Ayres
  • Sarah Bufkin
  • Saralyn Chesnut
  • Scott Anna
  • Scott Borchert
  • Scott Keyes
  • Scott Wooledge
  • Sean Manion
  • Seth Cline
  • Shane Gilreath
  • Sharon M. Riley
  • Shay Dawkins
  • Sheffield Hale
  • Sheila Barnard Nungesser
  • Sigrid Sanders
  • SoniaTai
  • Sonya Collins
  • Soraya Chemaly
  • Spencer Lawton
  • Stephanie Taylor
  • Stephen Lacey
  • Stephen Wingeier
  • Steve King
  • Steve Krodman
  • Steve Valk
  • Stuart Liss
  • Sue Sturgis
  • Sujigu
  • Susan De Bonis
  • Susan Soper
  • Susan Wilson
  • Suz Korbel
  • Tammy Andrews
  • Tammy Ingram
  • Tanya Somanader
  • Ted Kooser
  • Terri Evans
  • The Barnacle Goose
  • Thomas A. Bledsoe
  • Tiger Liliuokalani
  • Tim Oliver
  • Timothy Freeman
  • Timothy Hurst
  • Tom Baxter
  • Tom Crawford
  • Tom Ferguson
  • Tom Millsop
  • Tom Poland
  • Tom Walker
  • Travis Waldron
  • Travis Waldron & Pat Garofalo
  • Trevor Stone Irvin
  • Tricia Collins
  • Troubadour
  • Valerie Evans
  • Viveca Novak
  • Waldron, Somanader & Garofalo
  • Walter Rhett
  • Wanda Argersinger
  • Wayne Countryman
  • Wayne Johnson
  • We The People
  • Will Cantrell
  • Will Nelson
  • William Cotter
  • William Hedgepeth
  • Yana Kunichoff
  • Yasmin Vafa
  • Zack Beauchamp
  • Zack Ford
  • Zaid Jilani
  • Zaina Budayr




  • Writer Login


    rock, soul & blues

    Joe Cocker: From Sheffield To The Mad Dog Ranch

    by | 1 | Jan 4, 2015

    The surprising thing about Joe Cocker’s recent death might be that he made it to 70. The human body can be most resilient.

    Joe Cocker, 1970

    Joe Cocker, 1970

    More than half his lifetime ago, the obit for Cocker was likely being held in readiness at newspapers and periodicals throughout Europe and America. The reportage, even in Rolling Stone, by 1972, gave readers the impression that Cocker was trashing his career while on the way to becoming rock’s next drug casualty. This was only three years after his triumphant appearance at Woodstock. Only two years after his electrifying Mad Dogs and Englishmen tour — and its subsequent concert film and soundtrack. The soundtrack album yielded two hit singles, Cocker’s other-worldly takes on “The Letter” and “Cry Me A River.”

    Those were the days of great innovation in rock and roll, but for a brief time Cocker stood alone. He took the songs you knew by heart: standards from rock, rhythm and blues — even going as far back as the prohibition era with “Bye Bye Blackbird” — and made them his songs. The Beatles, the Rolling Stones, Bob Dylan, Leonard Cohen and even Ray Henderson, still around to hear a new twist on the 20s classic he wrote with Mort Dixon, had to be impressed with Cocker’s singular interpretations of their songs. Rock critic Robert Christgau, never free with praise, wrote that Cocker was “rock’s best interpreter.” For Joe Cocker, the only direction was up. Or so it seemed.

    Cocker had management issues. As with many artists, he likely had more dollars coming than he actually received. And as with many performers living on the road, he felt a sense of boredom that could only be vanquished by alcohol and drugs. Or so it’s said. In the May 25, 1972 Rolling Stone, Timothy Crouse wrote of catching up with Cocker the night before a big show at Madison Square Garden. The opening night of his tour. In New York City.

    Joe was drawing long deep tokes on his joint. Just one of those tokes would have sent any opera singer reeling, terrified, for the throat spray. But Joe kept on inhaling and holding his breath, and he showed no sign of remembering that his vocal chords were the band’s single most valuable asset.

    After the Madison Square Garden opening, Joe would say, “I was very hoarse at the Garden. We’d been rehearsing up to the day, which I’d forgotten about.” On the eve of the opening night, he seemed to be trying very hard to forget.

    Cocker’s girlfriend explained it all to Crouse, “You know, on the road, you need the booze and the drugs and what-not just to cope with all the creeps that push themselves on you.”

    She had a point about all the creeps. An artist is targeted by managers managing to manage — for themselves. There are leeches pitching this and that, knowing a performer can be an easy touch. So Cocker commenced to “cope.” Crouse again caught up with Joe later on the tour, this time in Boston. The New York show was a stinker, but the performances had been picking up some since the tour opener. In a hotel room before the Boston concert, Crouse witnessed Joe getting another sort of pick-me-up.

    Joe puts down his joint, poured out a neat pile of coke from a plastic pill bottle on the bed table, and took a deep snort. “Oh my, it’s fine! he crowed, “Wakes you right up.”

    A curious aspect of Crouse’s story, entitled What’s Going On Here, Joe Cocker? was the judgmental tone regarding drug use in — of all places — Rolling Stone. The partaking of illicit stimulants was seldom criticized in the magazine, which counted among its subscribers a large percentage of druggies. But Crouse, author of The Boys on the Bus, sensed Cocker’s career was going down fast. His article explained why.
    e
    As a follow-up to the success of the Mad Dogs and Englishmen soundtrack, in November ’72 Cocker released a self-titled collection of live recordings and studio tracks, which mostly tasted of leftovers. There were a couple of Cocker rave-ups, however. One was his rendition of the Allman Brothers Band’s “Midnight Rider;” the other, “High Time We Went,” a hit from the year before. Pushed hard by pianist Chris Stainton, “High Time We Went” is a barn-burner that doesn’t let up. Cocker gave it his all in the song — hardly a serious composition, just a groove that he and Stainton put down and drove hard, akin to a long, intense jam. Cocker and Stainton performed as if their lives depended on it. Just as we expected of Joe Cocker in those days. But expectations have a way of shifting.

    Again Rolling Stone, this time in Ken Emerson’s review of Cocker’s ’74 album, I Can Stand A Little Rain, shed light on the singer’s impasse. Given the title of the review, Return of the Ravaged, Emerson sure didn’t sugarcoat it, but he was spot-on with his perspective:

    His voice is ravaged almost beyond belief — but this is what makes I Can Stand A Little Rain so moving.

    It is a record about pain and decline, which to make its point, cruelly exposes and exploits Cocker’s damaged condition.

    One example of this is “You Are So Beautiful,” a Billy Preston song which, at its end, demands that Cocker reach two high notes he doesn’t have a prayer of hitting. He stretches, struggles, quavers and fails; his failure makes the track and the listener hurt, which is precisely the record’s intended effect.

    Yes, “You Are So Beautiful” was painful for many listeners, but masochists throughout America pushed the single all the way to number 5 on the Billboard Hot 100. Cocker’s pain was his gain, softening the blows from Emerson’s review, which also said that one cut, “I Get Mad,” “literally sounds as if Cocker is vomiting.” Emerson was most prescient. During the same month his Cocker review was on the newsstands, Cocker threw up during performances in Seattle and San Francisco. Those sad incidents would shape the image Cocker would deal with in the years to come, especially once John Belushi’s uncanny impressions were seen by millions. Here was a great artist hitting bottom. The acclaimed singer who once commanded the stage was regarded a laughing stock. Still, Cocker’s achievements of just a few years earlier would always matter; the great recordings still resonated. No doubt, that compelled Emerson, with his tough but honest review, to strike a thoughtful tone when called for:

    Even the titles of the tracks reflect Cocker’s meteoric rise and fall, “Performance,” “Guilty,” “Put Out The Light,” “Don’t Forget Me.” …. The painful pertinence of the material is remarkable because it was written by so many different people (Allen Toussaint, Jimmy Webb, Harry Nilsson and others).

    Amazingly, above Emerson’s review is a photo of Cocker, with a caption reading, “Cocker is far from a lost cause — but he is not the singer he once was.”

    Singing was Cocker’s job; he didn’t think himself a lost cause and wasn’t ready to throw in the towel. Like a young pitcher who lost his fastball and attempts to reinvent his style and motion, even if it meant a trip to the minors, Cocker hung in there. Those who knew there was no way Cocker could summon the power he did with Mad Dogs and Englishmen hoped he could at least come up with a “High Time We Went” on occasion. As it was, such hope was soon abandoned.

    Word got out that Cocker had recorded “Catfish,” Bob Dylan’s song about New York Yankees pitching great Jim “Catfish’ Hunter.” What seemed promising enough was a letdown. The low-key recording by Dylan* captured the essence of a “lazy stadium night” and imagery of what was then America’s national pastime. But Cocker swings amd misses at the fastball right in his wheelhouse. His “Catfish” has no atmosphere nor does it convey the sly humor Dylan intended. It could be that Cocker didn’t know Catfish Hunter from Peggy Fleming. The album featuring “Catfish,” Stingray, was no hit either, peaking at #70 on the US charts upon its release in spring ’76, just as Hunter was beginning what would be his last great year on the mound, displaying the endurance Joe Cocker or even Mick Jagger would envy.

    But again, Cocker hung in there. His personal life improved as he continued to record albums featuring songs by the likes of Dylan, Jimmy Cliff and Randy Newman. Parke Puterbaugh of Rolling Stone, reviewing Cocker’s ’82 album, Sheffield Steel, was encouraged that Cocker was showing some of the spirit of 10-12 years back, even if the fire didn’t run as hot. It was “rockin’ chair rocking,” said Puterbaugh. Sheffield Steel peaked at 105 on the American album charts. Cocker’s old fans gave him little thought at the time. Just a distant memory, like the brown acid and skinny-dippin’ at Woodstock.

    A few months after Sheffield Steel was released and quickly forgotten, Cocker hit pay dirt for the first time in more than a decade. Yielding to the gentle persuasion of producer Stewart Levine, Cocker, along with Jennifer Warnes, recorded the soppy “Up Where We Belong,” which was featured in a soppy moment of the film, An Officer And A Gentleman. “Up Where We Belong” wasn’t anything he would have played with Leon Russell and the boys at the Fillmore, but it was a huge hit. It went to number one on the pop charts, winning a Grammy and an Academy Award for best song. The song was omnipresent in the early Reagan years, just like the TV show, Family Ties, Debra Winger and Ed Meese. All one can hope was that Cocker made lots of money from the song. At one time he owed A & M Records, the label he made big money for, as much as $800,000.00. Given the ubiquity of “Up Where We Belong,” Cocker may have had a good bit left after settling his debt.

    Joe Cocker, 2013 (creative commons via Wikipedia.org)

    Joe Cocker, 2013

    For the rest of his life, Joe Cocker, his vocal fire burning much lower, became sort of an adult contemporary pop singer. His CDs shared space on shelves with Michael McDonald, Neil Diamond and the poster boy of fallen rockers, Rod Stewart. Aesthetically, that left lots to be desired but Cocker was just glad to be among the living. To his credit, Cocker embraced life beyond the stage. He and his wife, Pam, married for 27 years, settled in at their Mad Dog Ranch in Crawford, Colorado. There Cocker was well known for contributions to the community through the Cocker Kids’ Foundation. The kids in Crawford and throughout the North Fork Valley in Delta County have needed a little help from their friends. The average household income for families in Crawford is $27,500.00 with 29.4% of the population below the poverty line.

    Established in 1998, the Cocker Kids’ Foundation has succeeded due to close involvement by its namesakes and board members. According to its website, Joe and Pam Cocker “have made sure that the funds have impacted the kids who need it the most.” Since its founding, the Cocker Kids’ Foundation has funded over $1,000,000.00 to programs and grants aiding area youth under 21 in achieving their goals in the fields of education, recreation, arts and athletics. The Cocker Kids’ Foundation also honors dedicated school teachers in the region.

    This generosity of spirit and deed calls to mind a chance meeting with Cocker in the late ’70s. He was in Atlanta for a concert. The promo guy from Elektra-Asylum called us at the Peaches Records and Tapes on Peachtree to say he was bringing Cocker by to say hello. Along for the ride was the great saxophonist Bobby Keyes, who, ironically, died on December 2 of last year, just 20 days before Cocker’s death. We were happy to meet Cocker. After all, he was a guy, who despite his problems in years gone by, accomplished greatness that most people can only dream of. That day Cocker was politely detached; he knew Keyes would regale us with stories about the Rolling Stones, Buddy Holly, Waylon Jennings and many others. Talk about a thrilled group of record store guys. Here was Keyes, who arguably played the greatest sax solo in all of rock on the Stones’ “Brown Sugar.” And right beside him was his friend, Joe Cocker, who infused modern music with an inspired blend of rock, soul and blues. For just a few years, less than a decade earlier, Cocker commanded one’s attention. Learning more about life as the years passed, he was happy to share the stage.

    ###

     

    *Bob Dylan recorded “Catfish” in July 1975. His recording wasn’t released until 1991, when it was included on the Bootleg Series, Volumes 1-3.

    ###
    Jeff Cochran

    Jeff Cochran

    Jeff Cochran worked in advertising at The Atlanta Journal-Constitution for 27 years before accepting a buy-out in the Summer of 2008. In the seventies/early eighties, he handled advertising for Peaches Records and Tapes’ Southeastern and Midwestern stores. He also wrote record reviews for The Great Speckled Bird, a ground-breaking underground newspaper based in Atlanta.

     

    Print Friendly, PDF & Email

     

    • Linda Wolf

      For more about the Joe Cocker MAd Dogs & Englishmen Tour -- check out the new book:

      The Joe Cocker Mad Dogs &
      Englishmen

      Memory Book

      by Linda Wolf

      Go back in time and
      remember through over 150 never before seen photos from the archives of
      internationally recognized photographer, Linda Wolf. Get into the personal
      stories and memories of the legendary musicians in this book, through intimate
      photos and quotes with the alumni, Joe Cocker, Leon Russell, Rita Coolidge,
      Claudia Lennear, Chris Stainton,Bobby Jones, Bobby Torres, Bobby Keys, Pamela
      Polland, Daniel & Matthew Moore, Jim Keltner, Jim Price, Sandy Konikoff,
      the band, singers, girlfriends, wives, children, and furry friends.

      Bainbridge
      Island, WA.

      Just released: The Joe Cocker Mad Dogs & Englishmen Memory Book by official
      photographer, Linda Wolf. JCMD&E is considered one of the top 10 all-time
      rock n’roll tours. Linda traveled with the band from the first rehearsals at
      A&M Studio’s soundstage in April, 1970 through the summer after the Tour
      ended. She amassed over 4,000 B&W 35mm negatives, which have never been published.
      This book is a labor of love, created specifically for the 2015 Lockn’ Festival’s
      exclusive tribute concert to Joe Cocker and Mad Dogs & Englishmen, hosted
      and curated by Derek Trucks and Susan Tedeschi and featuring the Tedeschi
      Trucks Band, Leon Russell, members of the famed original Tour, and special
      guests. The tribute/reunion concert took place on September 11, 2015, in
      Arrington, Virginia. The JCMD&E Memory Book contains 64 pages, is softbound,
      8.5 x 11, 4-color B&W, and is for sale on Linda’s website.

      To Contact Linda Wolf: Email: lwp@lindawolf.net

      To order the JCMD&E Memory Book: http://www.lindawolf.net
      (merch)

      Encomiums
      for the Book:

      “Linda Wolf looks in places
      the rest of us miss. Her work is like the spaces between the letters, between
      the words, that give a sentence it’s meaning. The photos she took of this
      historic tour in 1970 makes me long for a rawness and spontaneity that seems
      missing from the overly commoditized music industry of today. ”— Peter Himmelman, Big Muse Media

      “It’snot just that her photos are iconic. They are so real. Linda Wolf has a way of
      capturing the essence of the Center of a moment. What else is there to do? You
      are There. Here. I love stepping into her frame … there is nothing else. So
      simple, she makes it look easy. Thank you Linda, from us all.” — June Millington, Fanny

      “LindaWolf’s photographs wondrously captured the zeitgeist of Joe Cocker, Mad Dog’s
      & Englishmen. She captured a pivotal time and space of one of the most
      influential rock and roll singers and bands of all time. It’s an extraordinary
      insiders perspective.” – Doyle Bramhall II

      For more information about the original 1970 Tour, album and documentary movie: http://tinyurl.com/nwhs3k6

      For Linda’s bio: https://en.wikipedia.org/wiki/Linda_Wolf

      For more information about the 2015 Tribute Concert: http://tinyurl.com/za95yfb

      To request photo files for PR: lwp@lindawolf.net

  • Worthy of Comment






  • Bruce Springsteen Sings "Robert Mueller's Comin' to Town"



  • Come Back, Barack - SNL



  • Indivisible at One

    Green Day - Back In The USA



  • The Most Honest Three Minutes
    In Television History


  •  
     
     
  • %d bloggers like this: