http://annarborchronicle.com/2011/09...-in-ann-arbor/
Ann Arbor, MichiganMonday, September 19, 2011
Gordon Lightfoot in Ann Arbor
From Canterbury House to Michigan Theater: Four decades of folkin'
By Alan Glenn
September 19, 2011 at 12 pm
This Wednesday Ann Arbor is in for a rare treat when Gordon Lightfoot – the fair-haired troubadour from north of the border whose repertoire includes such classics as “Early Mornin’ Rain,” “If You Could Read My Mind” and “The Wreck of the Edmund Fitzgerald” – makes his first local appearance in more than nine years, performing at the Michigan Theater.
Gordon Lightfoot in a recent publicity shot. He'll be performing at the Michigan Theater on Sept. 21, but has a decades-long history of touring here.
For his part, the 72-year-old singer-songwriter is glad to be returning. “I’m looking forward to it,” he says via telephone from his home in Toronto. “I’ve always gotten good vibes from Ann Arbor.”
Lightfoot first brought his guitar to town almost exactly 45 years ago, to play a three-night stint at a funky Episcopalian coffee house located in a former print shop at 330 Maynard Street. Today the unprepossessing brick building is home to Madras Masala, purveyor of exotic Indian delicacies; but in the ’60s it was Canterbury House, purveyor of coffee, donuts, and a hip spirituality that meshed nicely with the countercultural ethos of the day.
Canterbury House is actually a generic name used by many Episcopal student ministries at colleges across the nation. Ann Arbor’s incarnation was established in the mid-1940s and by the ’60s had become an important feature of the city’s increasingly progressive landscape. It began offering folk and blues music in 1965 as an experiment in reaching youth through the arts. Though mostly local performers were featured, the new program proved phenomenally successful, and the next year it was moved to a bigger location to bring in nationally-known acts.
First to appear at the extensively remodeled Maynard Street venue was the California-born “one-man folk festival,” Michael Cooney – “brandishing guitar, kazoo, banjo, autoharp, microphone, guitar strap, and truck,” according to the ad – who played three sold-out nights in early September.
Next up was a singer-songwriter from Ontario named Gordon Lightfoot, whose first album – the appropriately (if a bit over-exuberantly) titled “Lightfoot!” – had recently been released by United Artists. Although the young Canadian himself wasn’t that well-known in the states, his songs were. Marty Robbins took Lightfoot’s “Ribbon of Darkness” to the top of the country charts in 1965, and Peter, Paul and Mary made a Top 40 hit out of “For Lovin’ Me” that same year.
“If I had not gotten my songs recorded by some other artists very early on,” says Lightfoot, “I wouldn’t be talking to you right now. It was my songwriting, actually, that got me started.”
Which according to Herb David, proprietor of the famous guitar studio that bears his name, made Lightfoot very similar to another famous troubadour of that era, Bob Dylan.
Like Dylan – Except He Could Play
Herb David was a central figure in Ann Arbor’s vibrant ’60s folk scene. He saw all the acts that came through town – including Dylan – and often sold them something from his shop. Sometimes he even joined them onstage. David remembers liking Lightfoot’s music and looking forward to his appearance at Canterbury.
“In Dylan’s case we used to say that he couldn’t play worth a damn, and he couldn’t sing worth a damn, but he sure wrote some nice songs,” explains David. “It was the same thing with Lightfoot – except he could play.”
Gary Rothberger, at the time a University of Michigan senior majoring in American Studies, also remembers Lightfoot’s Canterbury gig. “Not only do I remember it,” he says, “I remember the grass I smoked on the way there.”
Detail of Gordon Lightfoot's 1966 contract with Canterbury House in Ann Arbor. The document is part of the Bentley Historical Library collection. (Links to larger image.)
Rothberger was one of the leaders of the campus chapter of Students for a Democratic Society, meaning that his real major was radicalism. By 1966 rock and roll was well on its way to replacing folk music as the soundtrack of the protest movement, but at that point folk was still holding its own. Rothberger liked it all: the Stones, the Beatles, Motown, Dylan, the Dead – and also Gordon Lightfoot.
“The thing about him,” explains Rothberger, “was that his lyrics were incredibly poetic, and his music was relatively complex, not just the strum-strum-strum of a lot of so-called folk singers. Plus he sang great love songs.”
Lightfoot played at Canterbury House for three nights, from Friday, September 23, through Sunday, September 25, 1966, doing three 30-minute sets each night – all for the princely sum of $500.
In fact, Canterbury operated on a razor-thin margin and could barely afford to pay the small fees that it did. With a seating capacity of 150 and tickets going for $1.25, simply breaking even often required a sell-out crowd. Which it had in most cases, including Lightfoot’s. But Canterbury’s goal was never to make profits, and the intimate setting suited both the earnest folk musicians of the mid-’60s as well as their thoughtful audiences.
Are You Gonna Be There (At the Teach-In)?
It was a wholly different affair when Lightfoot next played Ann Arbor four years later as the headline act at the kickoff rally for the University of Michigan’s week-long environmental teach-in.
After slowly gaining momentum throughout the ’60s, the environmental movement all at once exploded into the leviathan-like Earth Day 1970, a nationwide celebration-cum-protest in which millions of people participated. The Ann Arbor teach-in was one of the first and biggest of thousands of ecologically-themed events taking place that spring.
James Swan, a junior faculty member of the UM School of Natural Resources, was part of the teach-in’s entertainment committee. “We wanted Pete Seeger, badly,” he recalls, “but he had other commitments that he couldn’t get out of.”
As a replacement Swan suggested Lightfoot, whom he had helped bring to Canterbury House back in 1966. Lightfoot didn’t have the same name-recognition as Seeger or some of the other possibilities that were kicked around, such as Joan Baez; but his songs expressed a love of the land, of wide-open spaces and natural beauty, that resonated with the themes of the teach-in. The committee was especially pleased to learn that the Canadian was willing to perform for free, asking only to be reimbursed for expenses.
Lightfoot’s chaperone on the day of the concert was Bill Manning, a UM senior and one of the teach-in’s central organizers. When they arrived at Crisler Arena it was to find the nearly 14,000 seat auditorium filled to capacity – and beyond. “The place was jam-packed,” remembers Manning. “Not everybody could get in. We had busloads of kids show up from different parts of the state.”
Three-Ring Circus
In addition to Lightfoot, the evening’s lineup included UM president Robben Fleming, Wisconsin senator Gaylord Nelson, Michigan governor William Milliken, radio personality Arthur Godfrey, ecologist Barry Commoner, and the Chicago cast of “Hair.” “It was like a three-ring circus,” recalls Manning fondly.
As with much of the teach-in, the kickoff rally was a highly-charged, heavily-politicized event. The crowd was noisy and animated, and many speakers were heckled. But by most accounts Lightfoot’s performance received a good response, especially considering the wide diversity of the audience and that many were probably hearing him for the first time.
James Swan remembers the mostly-Michigander crowd reacting strongly to “Black Day in July,” one of the Canadian’s few overtly political compositions, about the Detroit race riots of 1967. “It upset some ecology folks because it was more racial protest than ecological,” he says.
“I loved ‘Black Day in July,’” recalls Gary Rothberger. “I liked that it didn’t blame the rioters, but condemned the politicians.” Not everyone was so pleased – released as a single in 1968, the song was banned from many American radio stations and reportedly got Lightfoot banished from Detroit for a while.
After wrapping their 11-song set with the perennial favorites “Canadian Railroad Trilogy” and “Early Mornin’ Rain,” Lightfoot and his backup band of Red Shea and Rick Haynes packed up their gear and prepared to depart. But not before handing the surprised teach-in organizers a bill for expenses totaling $2,000.
“We were a bit miffed,” remembers Manning. “I mean, $2,000, at that time – that was real money.” (Adjusted for inflation it comes to about $12,000 today.) Ultimately it wasn’t a significant problem, as the teach-in had in fact raised more money than its organizers were able to spend – all told nearly $70,000, or almost $400,000 today.
“It all worked out in the end,” says Manning. “But at the time it was a little off-putting to think that the expenses would be that high.” Still, Manning is the first to admit that their own lack of experience in the business side of the music world was probably a big part of the misunderstanding.
PART 2 next post