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supportive of the artist, thoughtfully fram- ing the song with the right balance of instruments, in a live atmosphere.


“Jim also produced my previous


album, What I Know, and that was so much fun I wanted to do it again. The way I look at it, I brought the raw material, and Jim, Fergie the engineer, and all the fabulous players fashioned it into something really enjoyable. Jim is the perfect producer for me,” Tom explained. “I have a tendency to want to fuss and fiddle and fix every little thing until the song dies on the operating table. Jim has no patience for that. If it feels good, it’s done. On to the next!”


It can be a good experience. I assume the technical. What I’m after is the emotional. I need people to go for broke, go out on a limb and feel comfortable about doing it, to just play without thinking ‘We’re mak- ing a record, it’s gotta be perfect.’”


“R


My Best Girl is the kind of tune you’d probably play a few times in a row after discovering it on a Colorado or Tennessee jukebox. Like a kissing cousin of the Grate- ful Dead’s Sugar Magnolia or The Band’s Up On Cripple Creek, the lyric regales us with a tale about a seasoned woman who is both loveable and dependable when life’s knocks get a bit too hard. So, who is this indomitable spirit that has stood so faithfully by Tom’s side all these years and inspired such a loving ode?


ecording is not as hard as everyone makes it out to be,” Rooney explained. “It doesn’t have to be no fun at all.


“It’s actually a love song I wrote for


my guitar, ‘the Naked Lady’’ made by MacKenzie & Marr in Montreal,” Rush explained. “She’s a re-creation/upgrade of a guitar I travelled with for years before she burned up in a house fire.”


The sweet and easy swing of Life Is


Fine is a much-needed antidote to the insane times we’ve found ourselves living through these days. From Tom’s lilting whistle in the introduction, to the cute retort of “I love ya moster…” the tune evokes old-school American songsters like Hoagy Carmichael, from what seems to have been, in hindsight, a kinder, gentler time in this country.


“I believe in America,” Tom said. “But I fear some of the damage Trump is doing may be irreparable – to the environment, to our relationships with the rest of the world, to the way our government used to work. And, hitting a new low, the damage being done to the 2,500 children separat- ed from their families on the Mexican bor- der. This government has sanctioned child abuse, and the traumas will haunt these kids for the rest of their lives. But on a lighter note, I would have loved to hear what Hoagy or Fred [Astaire] might have done with it!”


The perplexed protagonist of Heaven


Knows is hoping he won’t have to choose between Jesus and his baby. There’s plenty of spirited picking and the natural fuzz bass of a jug (echoes of Tom and Jim’s long-departed pal jug master Fritz Rich- mond of the Jim Kweskin Jug Band) pro- pelling the rhythm of this country ramble.


“I’m told this album was #6 on the Bill- board Bluegrass chart a few weeks ago,” Rush said quizzically. “I can’t imagine why, unless it was the fiddle and mandolin parts by Sam Bush.”


“There’s a bit of jug band in this one. The jug takes me back to Mr. Fritz Rich- mond, my very first accompanist back in the day. He was a great musician on tub [washtub bass] and jug, but even more important, he was a major ‘Character’ and tons of fun. I recall that at one stage he would display a toothbrush in his front pocket, indicating his willingness to spend the night.”


Over the years, everyone from Bo Carter to Cab Calloway to Bob Dylan, Taj Mahal, Mississippi John Hurt, Steppen- wolf, Dean Martin and Joni Mitchell have sung the praises of that enchanting gal named Corrine, Corrina or Corina. No matter how you spell her name you could learn something about love from this song and Rush puts in a warm-hearted reading that transports the listener back to the days of folk clubs, before such glar- ing distractions as large-screen TVs and cell phones robbed the audience of its attention span. There’s a warm glow to this music that offers temporary shelter from a world that making less and less sense. A gentle reacquainting with one’s own spirit takes place in the contempla- tive timbre of Tom’s delivery. A tune like Corina, Corina puts you in touch with what’s good about life. It has a cathartic effect. After 3:27 you come out of it feel- ing whole again.


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