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As I was building the layout of this feature article, I found myself unprepared for the iconic beauty I encountered in the photos by Asia Kepka on Meg Hutchinsona€™s website. A phone interview with Meg uncovered some of the unique elements that went into the creation of this fiercely dedicated poet and songsmith. Meg affectionately referred to her parents as a€?hippies,a€? [extremely bright hippies] and said that their record collection included all the classic stuff, including Bob Dylan, Joni Mitchell, James Taylor and Jackson Browne. When her grandmother passed away, an uncle sent the grandmothera€™s guitar, a beautiful old Martin, to Mega€™s family. In eighth grade, Meg wrote a song, a€?Freedoma€™s Ocean,a€? about apartheid in South Africa for a geography project. In spite of the revelation that came after singing her apartheid song at the talent show, Meg, overwhelmed by the culture shift and her parentsa€™ unraveling marriage, put her musical ambitions aside in high school and concentrated on athletic pursuits. By the time she was 17, while attending Simona€™s Rock, Meg had her own apartment and worked at an organic farm. Meg experienced many mood swings during her early years that she attributed to a€?artistic temperamenta€? but they became more pronounced as she got older. Her first self-titled album grew out of her college poetry study, working on the farm and dealing with her varying emotional states. Her next album, Against the Grey, was more formally produced at a studio by musician Robby Baier and released in 1999.
Meg had been a a€?huge Martin Sexton fan,a€? and wanted his producer, Crit Harmon, to produce a CD for her. Passim, the renowned folk club in Boston, runs a fundraising festival each year called a€?The Cutting Edge of the Campfire.a€? Meg was grouped with fellow songwriters Antje Duvekot, Anne Heaton and Natalia Zukerman. At yet another Tuesday night at the Living Room on New York Citya€™s Lower East Side, a performer in John Platta€™s monthly On Your Radar series mesmerized an audience. The notes rained steady like a metronome, the bass strings rock-solid and the treble, bell-like.
He finished his set, and the audience rose to its feet, giving him an ovation that seemed longer and more fervent than the usual appreciative applause regularly awarded by monthly On Your Radar attendees. Ia€™d made a brief acquaintance with his work back in the mid-a€™90s, when his song a€?Irelanda€? hit the airwaves. A phone conversation a week later would reveal that what Greg called a€?boringa€? turned out to be quite a roller coaster ride as he was pursuing his craft. Although he had a band, he wanted to go to school, so he enrolled at the University of Kansas.
In 1980, a a€?benchmarka€? year, Greg moved to New York City, to make or break it as a performing songwriter. Although he played solo, he was a€?looking for a banda€? and sought out guys who were a€?fun to play with.a€? After about two years of different lineups, he certainly found one.
Grega€™s solo and co-written work form a treasure-trove of great listening a€” a desert-island collection, which, in my case, according to iTunes, amounts to about five-and-a-half hours. Once people dig into Grega€™s body of recorded work, the reaction usually is, a€?Why isna€™t this guy (take your pick) bigger a€¦ more well-known a€¦ hugea€¦?a€? While we mention a variety of lyrics and instrumental effects, the anchor for everything is Grega€™s voice, a dense baritone that reaches high notes with ease and packs emotion into every line. The live album Between a House and a Hard Place (2002) will give listeners a sample of Grega€™s sense of humor.
On The Williamsburg Affair (2009), Greg covers Neil Younga€™s a€?Wrecking Balla€? that Emmy Lou Harris had success with on her Daniel Lanois-produced album of that name.
After waking up from an operation, and still hopped up on anesthesia, this kid tells his mom that he and "his boy, Rocco" killed people in Dubai.
Officials in Jackson, Mississippi, finally took action after residents threw a birthday party for a big pothole. Ita€™s the aural equivalent of having very expensive imported chocolate melt on your tongue a€” a velvety, bittersweet tone that carries with it all the pain and all the dreams in her life.
The picture I chose for this first page reminds me of a George Hurrell Hollywood photograph from the 1940s.
Mega€™s father has been an English professor at Simona€™s Rock College (now called Bard College at Simona€™s Rock) all her life.
She remembered, once, after playing in the yard, she came stomping into the kitchen in protest while her mother was playing Bob Dylan. She went to the Great Barrington Rudolf Steiner School, one of the network of Waldorf schools. Simona€™s Rock College had an early entry program for students with good grades, so she began her college career at around age 15 and, because her parents worked there, got free tuition. She said that she had no idea how serious things were, but attempted to express the depths of her feelings through poetry and music. Meg was now being managed by the same woman whoa€™d helped her earlier, and a€?was teaching me about the music business,a€? Meg said. Shea€™d met him at Falcon Ridge Folk Festival, but was too shy to present herself as a prospective client.
After my early infatuation with a€?Everything Familiar,a€? ita€™s difficult to pick a favorite. She was hospitalized by July of that year, and after several months of treatment and therapy in and out of a mental health facility, she was diagnosed with bipolar disorder.


She was signed by Red House Records and in 2008, Come Up Full, produced again by Crit Harmon, was released.
This time around, she ponders both the depths shea€™s plunged and the heights to which her bipolar disorder has taken her. Theya€™d been on the same circuit together and quickly realized how good the combination was and how much fun they were having. In quelling her bipolar symptoms, Meg lost the manic creative highs, but forges on, banking on truthtelling for inspiration. His father worked in the design department of WOR Radio, one of the sponsors of the Beatlesa€™ shows at Shea Stadium.
Jim and Tom Paschetto, two other extremely talented friends, joined them to form a band, which they called The Ravioli Brothers. His material included songs by Townes Van Zant, Waylon Jennings, Willie Nelson, Jerry Jeff Walker and Happy and Artie Traum. The Greg Trooper band that evolved consisted of Greg on lead vocals and guitar, Larry Campbell on guitar, fiddle and mandolin, Greg Shirley on bass harmony vocals and Walter Thompson on drums.
Although he moved back to New York in 2008, most of his recorded output has been from Nashville. He can shift, mid-note, into a higher range for greater emphasis or break into a yodel if a Hank Williams cover demands it. Its blistering attack of chiming guitar chords and steady tom-tom beat take me back to 1957. It kicks off with a€?Nothina€™ But You.a€? This one chugs through with the urgency it needs to express a guya€™s return to the woman he regrets leaving behind.
During the intro strumming of a€?Ia€™m So French,a€? we can only wonder whata€™s happening when the audience laughs as he says, a€?Ia€™m recording here! Ita€™s also not possible to convey the warmth and self-effacing humor of his live performances.
The Arizona student, who attended Red Mountain High School, exposed his genitals in his high schoola€™s varsity football team photo after being dared to do so by a teammate. This is unlike her first song to get its hooks in me, a€?Everything Familiar,a€? from her previous album, The Crossing. Her mother would go on walks and play the recorder and both her mom and dad sang lullabies to all three kids. Her mother stayed home to raise the children and later became a writing teacher at the same college.
The family didna€™t have enough money to visit her often, so she remained an elusive revered figure. Their grief for the loss of their matriarch seemed to transfer to the guitar and everyone wept upon seeing the damage. She sat onstage in the auditorium, calmly playing for the very first time in front of an audience. There were manic periods of great energy where shea€™d write and perform, feeling very powerful. The album, named after watching Maine fishermen pull their nets from the water, is full of new self-awareness.
After nearly a year, Greg moved back to New Jersey for a short while and then went to Lawrence, Kan.
Around 1979, Jim Paschetto moved to Lawrence and joined Grega€™s band and the idea of writing original material took serious hold.
Campbell, whoa€™s played with Dylan, gets our attention, but anyone in that kind of company would need to be good. One article states that he was writing for Nashville publishers even while living in New York his first time around. The first two albums, Everywhere (1992) and Noises In The Hallway (1996), are out of print and can only be bought as used CDs from Amazon at this point. Ia€™m skipping ahead of a few favorites to get to the track that ends the album, a€?Ia€™ll Keep It With Mine,a€? a Dylan cover that makes a wonderful honky-tonk slow dance.
After a couple of listens, I shared it with my wife and she identified it as a perfect Cajun two-step. Critics are saying that this album is yet another wonder in the series of great Trooper releases.
The photo was then published in the schoola€™s yearbook a€” somehow without a single person noticing. Thankfully, Bloomberg Politics compiled all of them, named some of them, and set it all to the tune of that classic waltz, "The Blue Don-ube." Enjoy! They encouraged children to be creative a€” allowing them to move their bodies, draw, build stuff and make gardens a€” a path to letting the child be a whole person. The entire family suspended their normal routine and made a pilgrimage to the Martin guitar factory in Nazareth, Pa., to get it fixed. She laughed as she recalled how, at one point, shea€™d fallen in love with a champion high school wrestler and lost him to a cheerleader.
One friend had a four-track recording setup and allowed her to use his living room as a studio and put the tracks together.


I was starting to develop a direction and I liked lyric-based folk-rock.a€? Bob Dylana€™s influence crept higher.
The track is so amazingly strong that you might cut in on somebody with his girlfriend at the roadhouse, plead temporary insanity and not get your head stove in. Youa€™ll get a taste if you go to YouTube and type in a€?Greg Trooper,a€? but thata€™s only a taste. Texas barbeque, Ia€™m so French!A  We also get to hear him do a€?Ireland,a€? in the only version I have at the moment until I can pick up a copy of Everywhere. One main teacher acted as a a€?a€?corea€? teacher and a€?that teacher would become like a third parent,a€? Meg said. Meg said that this was a powerful, extremely moving experience for her, bonding her with her family over the value of music and this particular instrument. She wrote an unrequited love song that was the extent of her song production during high school. She finally met Crit at a Folk Alliance conference and he agreed to allow her to demo a song for him.
His brother, two years older, had been instrumental in turning Greg on to the major rock acts of the day. However, a€?WOR was the first New York album-oriented rock-and-roll FM station,a€? he said. In the early a€?70s, Greg was in his late teens when the work of John Prine and Steve Goodman made an impact. On their way out west, Greg and Richard stopped in Emporia, Kan., to visit a friend and wound up playing gigs in the area for about a year. Then, after two years, although he was doing well at school, he felt antsy to move forward in his desire to a€?make records,a€? so he quit. Also during this time, Greg wrote a€?The Hearta€? with Tom Russell, who was living in New York then. If great writing, perfect recording and stellar performances are your thing, this is the guy for you.
However, a€?WOR was the first New York album-oriented rock-and-roll FM station,a€? he said.A  a€?We still have some psychedelic posters from WOR that my father did the lettering for,a€? he stated.
You did a good job!a€? Meg was actually overwhelmed with the sudden knowledge that she had just experienced what she was meant to do. The song demo grew into a series of a€?living room sessionsa€? where a€?hea€™d rip my songs to shreds.a€? Crit would dissect each song Meg presented and send her home with pieces that were like a puzzle for her to put together again. They left the guitar there, and it was later shipped (safely this time) back to Massachusetts. She walked out of the school, into a snowy day, carrying her guitar case, feeling that she was a€?home.a€? The song was so well-received that later she performed it at a number of open mics in town. She told one interviewer, Bob Edwards (Sirius xm), that it was possible some days, between tips and selling CDs to make $200 in a few hours. Crit may not have known what he was dealing with, perhaps expecting Meg to dissolve and run away in tears. During this period, shea€™d express elements about her recurring depression, but not own it as being about herself. Meg accepted every criticism and rebuilt her songs, her lyrics becoming leaner and more concise, less dense than her earlier work. There are a few similar characteristics to the main figure in Suttree, but otherwise, ita€™s all Greg. In addition, a€?Ireland,a€? included on his 1992 album Everywhere, according to a quote we saw somewhere, was written as a tribute to his wife. My tendency to get swept up in melody and rhythm led to a late-blooming awareness of Mega€™s poetic lyricism. Similarly, my knowledge of Mega€™s journey through the dark landscape of bipolar disorder came only after my online discovery of other interviews shea€™d done. The song captured the spirit of Ireland so well that Irish folk diva Maura Oa€™Connell covered it, and the song subsequently saw heavy rotation on Fordham Universitya€™s (WFUV) radio playlist a€” back then, this authora€™s only source of preferred music. As I continued listening to her music, each bit of knowledge gave the songs greater weight.
In an online interview, Greg is quoted: a€?I was desperate back then a€¦ I was living in a trailer park a€¦ We were just desperadoes with shitty jobs. A friend and I saw Greg play an inspiring set at the Mercury Lounge in the mid a€™90s and stopped to pay our respects afterward.
It was just different, or maybe it was just different for me, chasing the dream of making music.



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