A successful FAAC, and other news

This blog has been quiet lately; apologies from the authors! Things have been hectic during May, what with the First Annual Alanological Conference. The main conference took place in Grand Junction, Colorado in conjunction with an Alanesque Art Show. However, one Alanologist, Russ Montney, also made a pilgrimage to Mississippi where he jammed and conferred with Alanological Engineer Bob Walters. Other Alanologists including Kyle Fosburgh of the Blind Owls band celebrated Alan through musical performances in various parts of the Midwest. We're excited to hear -- and see -- all these different ways that fans have found to celebrate Alan's spirit and musical legacy.

In other exciting news, users of Facebook will want to join a group dedicated to encouraging Canned Heat's acceptance into the Rock and Roll Hall of Fame. Check it out today. And if you are not already on Facebook, why not join today? You can also join a group dedicated to Alanology, interact with other blues and roots music fans, and connect with Alan's biographer.

Alanology.org website

We're pleased to present Alanology.org, a new web site we've been developing this year. This site will be dedicated entirely to the science and study of Alan "Blind Owl" Wilson, and like this blog, will be open to contributions from Alanologists at every level and fans worldwide.

Some of the highlights of this new site include:

• A musicological analysis of Alan's guitar tone, by Technical Alanologist Bob Walters
• A listing of who's who in modern Alanology
• Information on the upcoming First Annual Alanological Conference
• An essay on the mystical meanings of Alan's identity as Blind Owl

Thanks for checking out the site, and be sure to drop us a note with comments or questions!

What’s that word in “On the Road Again”?

Today we’ll address a commonly misunderstood word used by Alan Wilson in his lyrics. Louise R. wrote in with the following question:

“Do you know if Alan sings 'fairo' or 'payroll' in his song ‘On the Road Again’? …I believe he uses the word [fairo] in that song as well as in "An Owl Song", but some disagree.”

“On the Road Again” is composed using a number of traditional blues lines and phrases. It is based in part on a 1952 record called “Dark Road” or “Dark Road Blues” by Floyd Jones. The term “fairo”, however, can be traced back further than this in blues history. One example is Tommy Johnson, whose influence on Canned Heat was so significant that the band named itself after one of his songs. He used “fairo” on the 1928 record “Cool Drink of Water Blues”; it can be heard online here.

In blues tradition, “fairo” can be interpreted as lover. In his classic work of musicological scholarship, Big Road Blues, ethnomusicologist Dr. David Evans gives “sweetheart” as a meaning and cites several possible etymological derivations. Those interested in learning more about traditional blues lyrics and composition are strongly encouraged to read Dr. Evans' book.

In his “On the Road Again”, Alan sings: “…the first time I traveled out in the rain and snow… I didn’t have no fairo, not even no place to go.” To those who are unfamiliar with the blues tradition from whence “fairo” sprang, and who are also unfamiliar with “An Owl Song”, the interpretation of this word as “payroll” might have particular appeal. If you have never heard of a fairo, the ear may attempt to process this sound into a word that does make sense. Replace fairo with payroll in “On the Road Again”, and you’ll still get a lyric that makes sense.

Listening to “An Owl Song”, however, this hypothesis breaks down quickly. Here, Alan sings, “I want to thank you fairo, just for what you promise me… you know I trust you fairo and I tell the world I do.” Insert the word payroll here, and you get something completely nonsensical.

In summary, sources citing this word as “payroll” are likely to be uneducated about blues vocabulary. Newcomers to Alan’s music, or to blues, may be confused by this kind of language and the misunderstanding of other listeners. Therefore it is important for Alanologists and Canned Heat scholars to study the blues, particularly the early rural blues of the 1920s, and examine the roots of Alan’s music before attempting lyric analysis.

Extant Alan Wilson-sung recordings: The Ash Grove 1967, Part 1

This exciting new Alanological series will discuss and analyze all extant Alan Wilson-sung recordings, recorded both solo and with Canned Heat. These include some items that might not be available commercially at this time. When available, dates will be given for songs, but they will not necessarily be analyzed in chronological order. Songs including vocals by both Wilson and Bob Hite will also be discussed.

In this installment, Wilson biographer Rebecca Davis Winters summarizes several recordings from the Ash Grove club in Los Angeles, 1967.

GOT MY MOJO WORKIN’

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

This song, associated with Muddy Waters and performed in his Chicago blues style, features Alan doing some intense harmonica playing including exciting upper-register runs. Bob Hite sings lead, with Alan providing backup vocals.

It can probably be safely said that Alan’s voice is heard to best effect when he sings lead vocals instead of providing backup for Hite on this kind of item; however, the song is interesting to hear just because it is so different. A similar kind of vocal interplay would eventually be recorded as “Boogie Music”, but this approach eventually would seem to have been phased out of the bands’ repertoire.

YOU’RE SO FINE

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

Unfortunately, only a portion of this Little Walter cover tune survives. The tape begins a verse or two into the song. However, what we have is well worth listening to and contains some of Alan’s most intriguing and evocative recorded singing. His range varies throughout, mostly in a true falsetto not heard on extant records, but sometimes dipping down into the high tenor range most fans are accustomed to hearing on his hit songs.

It is also unfortunate that the audio quality is so poor on this series of live tapes. The vocals and harmonica almost completely drown out the rest of the band. Tapes as preserved contain one channel and it seems likely that the other channel – possibly containing lead guitar and rhythm section – exists on a separate tape and has yet to be unearthed.

DEALING WITH THE DEVIL

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

This item is in the same vein as “Got My Mojo Workin’”, in Canned Heat’s repertoire at the same time. Bob Hite sings lead; Wilson provides backup and plays harmonica.

Much like “Mojo”, this is interesting if not the idea setting for Alan’s pure vocal tone, and the harmonica work is nice.

61 HIGHWAY (fragment)

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

It is most unfortunate that this traditional item is recorded only in part. Only the first few verses, with Alan singing lead vocals and playing harmonica, are recorded. It is done in an uptempo style and features his high tenor style, sounding very confident overall.

The Importance of Blues Roots to Alanology

In order to understand the music of Alan “Blind Owl” Wilson, we must look to the roots of his work with Canned Heat. Songs such as “Going Up the Country” and “On the Road Again” were based in early rural blues, and Wilson’s harmonica work was inspired by the work of Chicago master Little Walter, whose sound graced much of Muddy Waters’ classic-era work.

Wilson biographer Rebecca Davis Winters says, “All serious Alanologists will want to hear the artists Alan liked best. These include Charley Patton, Son House, Skip James, Geechie Wiley, and on harmonica Little Walter and Junior Wells (though Alan was critical of Junior’s singing, he liked his harp playing).”

Specific Canned Heat songs can be traced to rural blues recordings. “Bullfrog Blues”, for example, was first recorded by William Harris in 1928. “Big Road Blues” was associated with Tommy Johnson, Sterno addict whose 1928 work also gave Canned Heat their name. “Rollin’ and Tumblin’” was based on a 1929 Hambone Willie Newbern record. “Going Up the Country”, of course, was based on a 1929 Henry “Ragtime Texas” Thomas record in which Thomas accompanied himself on guitar and panpipes. The list goes on, and on, throughout Canned Heat’s catalog. They stood out from their contemporaries with their skilled incorporation of these early blues influences – and thorough understanding of their sources.

Where does one start an exploration of early blues? Rebecca Davis Winters recommends certain books such as Deep Blues by Robert Palmer, and for those who are really fascinated, Big Road Blues by David Evans (an old friend and musical colleague of Alan) is one of the ultimate blues scholarship works.

In terms of listening, the Document record label is a great resource to help build a pre-WWII blues collection. Yazoo has also released a number of excellent items. There is also a specific collection that Rebecca Davis Winters now recommends: The Roots of Canned Heat, released by the UK label Catfish.

To learn about some of the most significant influences on Canned Heat’s extant classic-era work, Roots of Canned Heat is an excellent starting point. It provides an overview of specific songs used as sources by the band. To dig deeper, you can then seek out more works by the individual artists represented here. These include all the luminaries such as Charley Patton, Skip James, Tommy Johnson, and even the obscure such as Barefoot Bill.

A little web research left Alanologists uncertain whether Catfish Records is still in business. However, the CD is still available through Amazon.com. Rebecca Davis Winters says, “Thanks to Alanologist Sean Kaye-Smith, who sent me this excellent CD; his kindness and constant Alanological diligence is deeply appreciated.”

Alan Wilson, Blind Owl and Tree Man

Alan Wilson is known as the "Blind Owl" of Canned Heat. However, history has mostly forgotten that he was also known as "Tree Man". This nickname was recorded in a few pop journals of the time during interviews with the band. It of course derives from Alan's deep and abiding love for trees, plants, and other green denizens of the natural world.

While this clipping is from a foreign magazine, and is sadly not intact, it informs us that Al Wilson "is also known as Tree Man".

The Weirdest Alan Links Ever?

Here are a couple of web pages with content about Alan “Blind Owl” Wilson. Alanologist Rebecca Davis Winters calls these items “among the strangest Wilson-related writings I’ve seen lately”.

This page features writing by one Salvador Astucia. He offers a unique theory on Alan’s death, hinting that foul play could be read into the situation given the detail – or lack thereof – offered by drummer Fito de la Parra in his Canned Heat memoir Living the Blues. He attempts to analyze the stories that have been told of Alan’s death scene; however, his analysis is hindered by his lack of real knowledge of the band members and their lives.

In general, Astucia’s website appears to be a front for anti-Semitic drivel. Davis Winters says, “This person’s writing is so bad that I cannot bring myself to read much of it. What I have seen seems to have one primary point, and that is to propagate political paranoia and propaganda regarding former President Kennedy and the country Israel. It is interesting that he feels Alan’s death is part of some political plot, but I don’t think his particular theory holds much water. Admittedly, my own findings indicate that there is far more to Alan’s death than mainstream pop history had recorded prior to the publication of Blind Owl Blues. However, I don’t think that politics, JFK or Israel has anything to do with it.”

This page, then, is not endorsed or particularly recommended by leading Alanologists. However, it’s best to know what is being written about Our Hero; therefore we present the link so that individual Alan-fans can consider the matter for themselves.

http://www.jfkmontreal.com/john_lennon/Chapter12.htm

We also have found a blog entitled “Follow the Money”. This author presents a somewhat different conspiracy theory centering around deaths of Laurel Canyon residents.

http://seeker401.wordpress.com/2010/01/04/laurel-canyon-part-3/

This author’s ultimate conclusion, if any, is obscure and as with most extremists, the writing is hard to read as it rambles on somewhat. However, it is again best for Alanologists to familiarize themselves with this material, since it is “out there” for public consumption.

Neither of these pages are particularly enlightening. However, they do signify one important fact, and that is that Alan Wilson’s death was too easily “written off” as a suicide. Leading Alanologists know that it’s time for the facts of the matter to be told.

To start understanding what really happened on the night the Blind Owl died, go to blindowlbio.com and get your copy of Blind Owl Blues today. There, you can read the autopsy and police report, along with verbal accounts from those who encountered Alan just before his last walk up the hill in Bob Hite’s backyard… along with, equally important, the reality of Alan’s life and mental state and his interactions with fellow members of Canned Heat. Alanologists, don’t listen to the shrieks and brays of extremists… get the facts and come to your own conclusions.

The Blind Owl's Lyrics: A Question

Here we'll address a question sent via email, from Blind Owl fan Glen. He asks:

The lyric "My Dear Mother left me when I was quite young" in On The Road Again fascinates me.I wonder whether it is a personalized reference to Alan`s real mother leaving the Wilson household when Alan was a toddler.Or is the lyric simply pulled out of an old blues song.?What do you think?

This is a great question, considering that many of Alan's lyrics contained "seeds" of blues poetry, or were inspired by specific blues songs. This particular lyric can indeed be heard in songs by other blues performers. The topic of the departure or death of the mother is a common theme in blues; Charley Patton, for instance, sang about wondering where his mother is now that she's dead and gone, and imagines her "dancing 'round the throne" in the heavenly realms. Booker White sang about standing at his mother's grave. Other songs refer to rejection by the singer's mother, which is a little more in line with Alan's lyric (Alan goes on to say that she has called him a "wicked son").

However, we know that Alan did not randomly select lyrics, nor did he simply sing songs whose musical attributes appealed to him. In interview, he consistently expressed the feeling that he wanted to sing songs whose lyrics had some personal meaning to him. He seemed to feel that it was, on some level, inauthentic for him to sing lines that he could not personally relate to. (It's important to remember that he did not hold this requirement for all singers, and pointed to Bob Hite as a contrasting example: an artist who could comfortably sing something traditional like "I was born in Alabama, and raised up in Tennessee," with no lack of feeling or emotion, but with no direct personal correspondence to the lyric.)

Ergo, Alan was left with two choices: to select only those blues lyrics which had some personal meaning for his own life, or to write his own lyrics. Eventually he would head more and more in the latter direction. When "On the Road Again" was recorded, however, he was at the stage of synthesizing highly traditional blues elements with his own innovations - such as use of the tambura instrument - and was still using a lot of "borrowed" lyrics and phrases. This included the reference to his mother leaving him. Since he did experience a separation from his mother in youth, we can safely conclude that while he knew this line as a traditional blues phrase, he invoked it for a very specific and personal reason.

In other words, the direct answer to Glen's question is: "Both. The lyric was pulled out of an old blues song, but chosen for a reason that reflects Alan's early experience."

It's also worth noting that since Blind Owl Blues has been published, more information has been discovered about Alan's family situation and early life. Author and Senior Alanologist Rebecca Davis Winters says, "When I was originally researching the book, I was only able to track down a few of Alan's family members. Those that I interviewed had some hesitations, shall we say, and were not always forthcoming with a lot of detail. I can understand their feelings on this as Alan's life has so often been misunderstood and misrepresented by the media. Since the release of the book, there have been a couple of family members who have contacted me and offered clarifications and details. While it's not appropriate for me to put all these details into the public sphere, I can say that I'm glad the book meets with approval from some of Alan's relatives."

Regarding the maternal relationship that inspired "On the Road Again", Winters says, "I'm pleased to report that Alan did continue to have contact with his biological mother, Shirley, throughout his life. When the book was published, I was a little unsure about their continued relationship - as the relatives willing to interview were not very forthcoming with details - and the text reflects this. However, the separation of his biological parents certainly did affect Alan on a deep and profound level; hence his healthy expression of his feelings in 'On the Road Again'. But we also know that he had a great relationship with his stepmother, Barbara. So, while I am no psychologist, I think it is safe to say that despite Alan's melancholy lyric, we need not think of him as an orphaned child."

Learn to play "Going Up the Country" on guitar

Alanologist Bob Walters has put together this analysis of the guitar part from "Going Up the Country". Thanks, Bob, for this great information!

Want to learn more? Join the Blind Owl Wilson group on Facebook, where Alanologists are constantly studying the works of this great genius!

See Blind Owl memorabilia and more on Facebook!

Blind Owl fans can now connect on Facebook and learn more about this amazing musician.

Check out the Blind Owl fan group here.

Alan "Blind Owl" Christie Wilson on Facebook

And you can also join Facebook to connect with Blind Owl biographer and leading Alanologist Rebecca Davis Winters.

Blind Owl Heaven

As part of our Blind Owl art series, we're pleased to present "Blind Owl Heaven, an original drawing by Doug Brown. Here, Alan Wilson has pitched his tent in a peaceful abode, enjoying the beauties of Nature while charming an owl and surrounded by his favorite musical instruments.

Image is copyright 2010, Doug Brown; unauthorized reproduction is prohibited.

Do you have Blind Owl-related art, poetry, or essays you'd like to share? Let us know! Thanks to Doug for sharing his art; we hope he and many others will be inspired to create more in the coming year!

Blind Owl and Canned Heat in the "Blogosphere"

In this blog post, one listener reflects on Alan Wilson's career with Canned Heat, and his legacy as the band continued into future decades up to the present day. He also shares some live videos that will be of interest to fans. Please be sure to check the comment section for Blind Owl Blues author Rebecca Davis Winters' clarification regarding Alan's death, and the blogger's gracious response.

Chuck Stetson remembers his Blind Owl Wilson encounter

Thanks to the constant researching of Kyle Fosburgh, a Senior Alanologist and blog contributor, we are pleased to find this story on the "Open Salon" website. A blogger named Chuck Stetson recalls a brief encounter with Our Hero in which Alan preaches the gospel of Henry Thoreau.

September 3rd, 1970: It's Been 39 Years Since Alan Wilson's Death

The thirty-ninth anniversary of Alan Wilson's death was yesterday. His death is one of rock and roll's most heavily shrouded mysteries, with various factors over the years pointing to suicidal inclinations, yet evidence suggesting that these did not actually meet fruition, but rather that his death was caused by other means largely accidental. The full story - or, perhaps we should say, stories - of Alan Wilson's demise can be read in Blind Owl Blues by Rebecca Davis Winters.

As for the Author of that biography, she tried to stay off the blasted Internet during yesterday's actual anniversary, having been buried beneath a mountain of projects, clients, books, class work, and folks seeking coffee and various espresso drinks. At a local coffee house here in the Rocky Mountains, we were pleased to honor Alan's life and observe the anniversary of his ascension to the celestial realms.

Fortieth Anniversary of Poor Moon Landing

Yesterday, July 20, was the fortieth anniversary of the United States manned moon landing. This month, Alanologists all over the solar system also observe the fortieth anniversary of his song, "Poor Moon", which was released as a single shortly after the moon landing. This piece is his response to the ego-driven exploration and defacing of the Moon, which is still burdened with rubbish and discarded equipment from NASA's meddling about.

The Moon is typically regarded as a satellite. However, you should note that according to one well accepted scientific definition, the Moon and Earth qualify as a double planet system. (Pluto, however, has never been a proper planet at all, blind sentiment and other such griping aside.)

In "Poor Moon", a recording done under Canned Heat's auspices and name but clearly composed, structured and directed by the genius of Alan "Blind Owl" Wilson, the Moon is addressed directly, almost as a lover. Alan fears that "your face" will be polluted and destroyed by the carelessness of humankind, as he had already seen happen to his beloved Earth.

Most people nowadays blindly swallow the concept of space "exploration" because they think it should be done for its own sake, for patriotism or human pride, or because they foolishly believe that humankind could (or should) attempt colonization of another planet. The space program has become a "sacred cow", so to speak, in our culture, even for those who should know better.

To all of this, the author of Blind Owl Blues echoes Alan's sentiment of the inverted flag seen on the cover of Future Blues later in 1970. It's a distressing situation indeed. Instead of such foolishness, let us get back to the Earth that nourishes us, ground ourselves in Her fertile soils and in gardens of our own making, and remember that gravity pulls us back to that Sacred Ground for a reason! We're not going to the Moon, we are simply admiring her as we take that road Up The Country. Baby, do you want to go?

Alan, of course, had a special connection with the Moon, it being the ruler of his astrological sign Cancer (July 4, 1943). This helps us understand his intuition and extreme emotional sensitivity.

Know of any other lunar-oriented protest songs? Have thoughts on Alan's relationship with the Moon? Leave a comment and join the Alanological community.

Happy Birthday Alan Wilson!

It's July 4, and for Alanologists everywhere it's more than the day of our nation's founding. It's also the appearance day of Alan "Blind Owl" Wilson! He was born approximately 8 a.m. on this day in 1943, in Arlington, Massachusetts.

Here at the Blind Owl Blues Blog we are pleased and excited to celebrate the day of his appearance. If Alan was living today, he would be 66 years old. We wonder what he would look like, but since we'll never know, we are content to pay tribute to his all-too-short earthly life of 27 years.

Alanologist and artist Cat has created a wonderful portrait, infused with the essence of Alan's gentle spirit and his love of nature. We thank her for this beautiful birthday tribute to the Blind Owl, and are proud to present its debut on the Blind Owl Blues Blog!


While you are celebrating Alan's birthday today, take some time to check out Cat's other artwork - including many Alan-inspired pieces - on her website here!

Stay tuned to this blog for more Alan birthday specials, coming up....

A Brief Review of the Alan "Blind Owl" Wilson Biography - By Dan Todd

For the discerning blues listener, no post-war figure has remained more shrouded in mystery and intrigue than Alan C. Wilson, inspiration and founding member of Canned Heat. The “Blind Owl’s” untimely death in 1970 left this seminal group without its signature voice, the voice of a lonely and powerful mind, heart, and soul. His introspective, absolutely original and creative modern blues drive and contributions have inspired musicians, young and old, blues and non-blues, for the 35 years since his passing. “Legendary” is not too strong a word, and the truth behind the legend can now be known. At last.

Rebecca Davis Winters cannot be congratulated enough for her ten-years-in-the-making research and documentation project, uncovering the full story of Al’s childhood, contributions to blues music and scholarship, and personal struggle to create true art in modern America. Her exhaustive research and clear and calm narrative voice can be experienced fully in her most recent book, Blind Owl Blues, (2007) now available through her website at http://blindowlbio.com.

Anyone interested in blues, unique musical expression, and the hardships necessarily endured by original creative artistic hearts and minds will find this book an indispensable addition to his or her collection. Blues is the true story told truthfully – do yourself a favor. Go out of your way to get this book!

- Dan Todd

Blind Owl Wilson FanFiction and Art

New ground is still being broken in the Alanological field of study! We at the official Blind Owl Blues Blog are astonished - and touched - by the many ways Alan Wilson, founder of Canned Heat, inspiration to blues legends like Son House and John Lee Hooker, continues to inspire artists today. Even those removed from him by both time and space are touched by his brilliant spirit, and he continues to urge us on to new levels of creativity.

Senior Alanologist Rebecca Davis Winters was delighted to receive first a book order, then a personal email from one young Alanologist, "Cat". Here's what she has to say about herself:

I'm a junior Alanologist and I specialize in drawing comics and playing classical piano. My website is http://newdivision-00.deviantart.com/.

Cat kindly shared some of her work with us at the Blind Owl Blues Blog.

• Here's a portrait of Alan paying tribute to his love of nature.
• Another portrait recalls Alan's poetry-as-song.
• This one, apparently done in some stylized form, is strange but interesting nonetheless.
• And here's a drawing in a more traditional medium.

Of even greater interest, owing to its unique nature, is Cat's Blind Owl Wilson FanFiction. While we at the Blind Owl Blues Blog are not very familiar with this genre, it is easy to spot a heartfelt tribute to Alan when we see it. In the Owl and Dove series, Part 1 and Part 2, the author imagines Our Hero being given a second chance at life... and at love!

Read Owl and Dove Part 1 here, and then read Part 2 here. Though the subject matter will likely strike traditional Alanologists as a bit odd, the author's feeling for his sensitivity and love of nature really comes through. Thanks to Cat for her continuing Alanological work. We hope she will be making further contributions to this blog in the future.

Alan Wilson/Canned Heat blog entries

New Blind Owl Wilson-related blog entries we found on the Internet include:

• "Cameron K's Blog: Canned Heat" , a general review of the band's history.
  
• A blog post about record collecting, featuring recollections of Canned Heat singer Bob Hite and his friend Claude McKee, can be found here.

If you have found a new Blind Owl Wilson-related blog entry, or a web page of note, send the url to wordworkshop@gmail.com and Alanological Priestess Rebecca Davis Winters will review it for listing here!

Alan "Blind Owl " Wilson astrology charts

This chart depicts the astrological calculations for Alan Wilson's birth time and location.


The next chart shows calculations for an approximation of his death time. It is, however, difficult to calculate the exact hour of his death.