Episode 46 of Hooked on Creek features my review of Max Creek’s performance on August 19, 1994, at Woody’s Roadhouse in Washington, Massachusetts.
A live recording of this entire Max Creek performance is available to stream or download here.
Episode 46 transcription
You’re listening to Hooked on Creek, a podcast celebrating the music, history and fans of the best band in the land — the legendary Max Creek. I am your host, Korre Johnson, and you are listening to episode 46.
Thank you for joining me on episode 46 of Hooked on Creek. In this episode, I am going to discuss Max Creek’s performance on August 19, 1994, at Woody’s Roadhouse in Washington, Massachusetts. Now, I know there are a ton of incredible performances from 1994. I mean, it’s a joy ride cruising through 1994 Creek. That said, I want to make sure you don’t overlook this recording from August 19, 1994, because I think this one is solid from top to bottom. I will tell you more about that in a bit, but first I have a just couple things I want cover.
To start, no Camp Creek this year. That hurts. I was planning to fly in and see the band again at Camp. But, now I will just have to wait and see if another opportunity comes up for me to fly in and catch a show or possibly a Creekend later this year. I sure hope so.
But, I am going to see Scott Murawski play in Mike Gordon’s band in Chicago next month on June 24th and 25th. I wish Mike Gordon would have included a stop in Milwaukee on his tour this year, like he did in 2017, but Chicago is not too far away. Rest assured I will be representing the Creek Freaks at both of these Mike Gordon shows.
And, I want acknowledge it’s now been four years since I started this Hooked on Creek podcast. it’s been an incredibly rewarding experience for me and I hope this podcast has contributed to the recognition and awareness I think Max Creek deserves. I am not exactly sure how long this podcast will last, but I know my love for Max Creek will never end.
OK, moving along. You can find a direct link to stream or download the entire Max Creek show I am about to review in the episode show notes, or simply head over to hookedoncreek.com. And while you are there, click the contact link and let me know what you think of the podcast. Alright, now let’s get started.
Max Creek’s performance back on August 19, 1994, occurred at a venue called Woody’s Roadhouse located in Washington, Massachusetts. When I saw this, I remembered something Bob Gosselin told me about this venue during my interview with him back in episode 22. Here is a clip of what Bob said:
“The spring of ’71 went into the summer of ’71 and then we started playing Sunday afternoons at what was then called the Mapleview Ballroom in Washington, Mass. It was called Woody’s Place later. It was just a lot of fun. It was a shabby rundown place. The guy served spaghetti dinners on Sunday afternoon. I think we made 15 bucks a piece for that gig and probably bought 16 bucks worth of beer.”
So, this venue carries significance in Max Creek history as it was one of the first places Max Creek ever played together as a band. I have to assume that significance was not lost on the band as they returned to this venue over the years. I also want to acknowledge this August 19, 1994, show at Woody’s Roadhouse was taped by Fred Moore. I interviewed Fred back in episode 42 of this podcast and during our conversation, he shared some great stories about seeing Max Creek at Woody’s Roadhouse, and went on to say this:
“That place was something else though. Woody’s Roadhouse, there was something about that room where they just absolutely killed it every time. It was a hard ride. It was in the middle of nowhere. There was not even a last-chance gas station type of thing. But you knew you were going to see some serious shit if you went there.”
Well, I think it is fascinating to think of the connection between Max Creek and this venue. So keep all of that in the back of your mind as I dig into the band’s performance at Woody’s Roadhouse on August 19, 1994.
Max Creek kicks off the show with a massive Louisiana Sun that stretches past 21 minutes in length. Now, if you are a fan of Louisiana Sun, like I am, then I certainly think you will enjoy this recording. And while Louisiana Sun is a reliably jam-heavy Creek tune, this performance of the song shines with a unique beauty that rewards repeat listens. About seven minutes into the song, John lays down a delicious bass solo that serves as a gateway, guiding the band into a new place, free from constraints or expectations.
And then, this Louisiana Sun breaks free and really takes shape, first through an enchanting groove led by Mark on the keys and then through some mesmerizing guitar work by Scott. With an organic feel, the band fuses jazz and psychedelic rock into a breathtaking musical expression that simultaneously punches my open-mouthed admiration while comforting my instinctual awareness of my own relative insignificance, reminding me I am but a tiny grain of sand in an ocean of humanity.
And then as this Louisiana Sun sets beyond the horizon, a transition jam emerges that gently places us in the arms of Fire & Brimstone. And it is from here, with our minds reclined and comfortably seated, the storyteller in Mark compels our undivided attention. Now, I want to acknowledge the ending of the Fire & Brimstone jam is something special, presenting itself with an ethereal quality during the last two minutes that perfectly sets up the band’s transition into Rainbow. Collectively, I love how these first three songs, Louisiana Sun, Fire & Brimstone and Rainbow, all work together to open the show.
And then after finishing Rainbow, the band takes a moment to reset and this is when Scott checks in with the crowd and introduces the next song by saying, “This song is about guitar players everywhere.” Moments later, we are gifted a stunning version of Dance. For me, Scott’s delivery of Dance swirls with strokes of percipience, as if painted with a pensive brush by the hand of master. Now, I absolutely love this song, as you can probably tell. And when I attempt to interpret the lyrics of Dance from the perspective of a guitar player on stage — and more specifically Scott Murawski himself — Dance further distinguishes itself as not just a Max Creek song, but as a piece of art. To illustrate, I will indulge in reciting a few lines from Dance.
You’re a guitar man
Who only understands
The things that you can play
You finger your way through
The patterns that they drew
And two years from today
It’s the music melody maker
You are the taker
Then take it to your soul
And play to the people
And play to the dancer
You better watch her
Dancing in the midnight
Dance away my troubles if you please
Dance away until everything is alright
Dance away my sorrows and fears
Dance your life away
Dance your life away
Alright, after Scott delivers Dance, Max Creek takes a sharp turn and rips open a tasty cover of Up on Cripple Creek, which of course is a song by the The Band that dates back to November 1969. As I see it, Up on Cripple Creek is one of the most enduring songs sung from the point of view of a truck driver that has gained enough popularity to be routinely covered by bands across genres over the years. That said, Max Creek seems to always add something special to their take on the song, and I think you can definitely hear that in this recording.
And then over the next 30 minutes, Max Creek unwraps two beefy songs to close out the first set. They start with a majestic cover of Eyes of the World that is simply intoxicating. To me, it feels like this killer performance of Eyes of the World is fueled in part by the noticeable jubilation that seems to be overflowing from the audience to the stage. And while every live Max Creek recording is intrinsically historic, I would describe this version of Eyes of the World as museum quality. It’s that good. Which begs the question, how do we get this performance archived in the music collections at the Smithsonian? I don’t know, but that is where it belongs.
And then, presumably inspired by the heights of that Eyes of the World, Mark takes the wheel and tears into a powerful version of Big Boat to punctuate this massive first set of music back on August 19, 1994. Simply incredible.
After the set break, the band comes back and slowly works their way into The Field. But as the tune is gently assembling itself, John takes a moment to remind the crowd of an upcoming show at Bucksteep Manor, and in doing so, mentions that as a child he attended a camp near Bucksteep Manor called Camp Chimney Corners. And that memory prompts John to tell the audience that this song is dedicated to Camp Chimney Corners. Now, I did a little bit of research online and I confirmed the camp still exists today, but it was acquired by the YMCA in 1972.
Anyway, it’s from this dedication to Camp Chimney Corners that Max Creek sets course on a mind-bending, 15-minute version of The Field to open the second set. Listeners to this podcast have heard me say several times how much I love The Field, so pardon me while I continue to rave about this song, especially after being exposed to a version like this. First, I want to praise the hypnotic rhythms developed in this performance between the drums and the percussion by Greg Vasso and Rob Fried. My entire body shakes when I listen to the two of them banging it out in this song. And, what the band does with the jam in this performance of The Field is inimitable. To me, it evokes a transformational feeling. I am reminded that I am not beholden to any God, any politician or any prison in my mind. I am what I decide i am. Ah, what a song and what a performance!
In related news, I have been watching a lot of David Lynch recently, including Eraserhead, Blue Velvet and all of Twin Peaks. Fans of the director David Lynch probably know about his fascination with dreams. So, if somebody out there listening to this podcast knows David Lynch, please introduce him to the song The Field because I am certain it would be a good fit in the soundtrack for one of his films.
OK, as the band jams out the ending of The Field, the music spreads out and then reassembles into a souring cover of I Want to Die Easy. Creek leans in on this one, pushing this I Want to Die Easy past 16 and a half minutes in length, giving each member of the band ample space to musically explore this traditional song that dates back to a painful period in American history. Honestly, I didn’t know the history of the song or the meaning behind the lyrics until I looked it up. I learned the lyrics of I Want to Die Easy reflect the thoughts of an enslaved person who has toiled in the fields and is ready to see heaven. Knowing that, the song is a poignant reminder that at that time, some enslaved Black Americans equated death with freedom.
Eventually, Max Creek transitions out of I Want to Die Easy into a 14-minute-long cover of You Can’t Always Get What You Want, which of course is a song written by Mick Jagger and Keith Richards that was recorded by the Rolling Stones on their 1969 album Let It Bleed. About 11 and a half minutes into You Can’t Always Get What You Want, it seems as if the music places us in a luminary space decorated in a beguiling sonic mixture of what was and what could be. For a few moments during this transition jam, Scott’s guitar playing reminds me of something Jerry Garcia might play deep in a 1973 Playing in the Band jam.
But this feeling is short lived, as this delicate transition jam quickly slips through a wormhole and then reappears as Just a Rose to close out the second set of music. Spanning over 15 minutes in length, this Just a Rose is, like so much of this show, rich with temerity and deserving of repeat listens to ensure none of the subtleties and nuances escape your attention.
Upon returning to the stage for their encore, Mark announces to the crowd that he found somebody’s lost glasses, which I presume fell of their head during the face-melting jam that ended the second set. And with this information top of mind, Max Creek decides to end their night at Woody’s Roadhouse by playing a cover of Can’t You See, a song by The Marshall Tucker Band that dates back to The Marshall Tucker Band’s 1973 self-titled debut album. This encore is a lot of fun to listen to and is bursting with audience participation. A great way to end an overall beautiful night of music.
Now let’s hear a couple songs from this amazing show. Coming up, I am going to play Dance from the first set and I Want to Die Easy from the second set. This is Max Creek performing live at Woody’s Roadhouse in Washington, Massachusetts, on August 19, 1994.
And now, this is Max Creek performing I Want to Die Easy.
And that concludes my review of Max Creek’s performance on August 19, 1994, at Woody’s Roadhouse in Washington, Massachusetts. You can stream or download this entire Max Creek show on archive.org, just take a look in the episode show notes for a direct link.
And if you have feedback about this episode or recommendations for future episodes, visit hookedoncreek.com and click the contact link to send me a message. I look forward to hearing from you. Thanks for tuning in!