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In his 2013 book, Odd Tales and Wonders 1964-1974: A Decade of Performance, singer-songwriter Travis Edward Pike wrote about his performances in Chelsea and Portsmouth Naval Hospitals and coffeehouses across New England in the sixties. Reconstructed Coffeehouse Blues is a collection of eleven audience favorites from the repertoire he composed for those venues. For these current incantations, he and his younger brother, Adam Pike, preserved vestiges of his picking and strumming, augmented, and in some cases, replaced by other instruments.  Back in the day, Travis performed all of them as a solo act, and in these recordings for 21st century listeners, he basically held to that solo style, but did add some chorus harmonies for “Mesmerizing, Tantalizing, Hazel-eyed Jane,” “She’s Gonna Be A Woman Someday,” and his Rhode Island pirate song “Tommy Tew Run Run,” all songs which, in live performance, would have elicited audience participation.  He also restructured “You and I Together” as a duet and asked Adam to sing it with him, a certainly appropriate move, since Travis could never have updated and recorded his back catalog without his brother’s production, engineering and musical participation.  The unreleased 1984 recording of “A Red-backed, Scaly, Black-bellied, Tusked, Bat-winged Dragon” has been remixed again for this release, with an “amusement park” sounding accordion added to the chorus, and it has been shortened to its original coffeehouse length.  But the most striking new arrangement is in “Don’t You Care At All,” which one fan called, “one of the finest of all antiwar songs.”  Travis’s finger-picking underscores the horrors of America’s first televised war and for this version, he added and sang harmony parts throughout, and featured attack helicopters, machine guns, air strikes and exploding napalm in the “instrumental” release.  To replace the period audience participation this song evoked, Travis assembled a “hippie chick” choir, whose parts are probably more elegant than any concert crowd ever managed, but this is a recording, after all.  Typical of all recordings of Travis’s back catalog, the songs have clearly evolved since they were first conceived between 1965-1969, but they remain undeniably true to their original inspirations.