Continental Drifters Archives

“Drifted”: Celebrating the Continental Drifters

By Ken Paulson

I last saw the Continental Drifters in a club in Columbia, Missouri more than a decade ago. The show wasn’t widely publicized and the turnout was disappointing, with the band barely outnumbering the fans.

But that didn’t matter to the Drifters, who played a great set, punctuated with one-on-one banter with audience members. Good people. Great band.

Drifted: In the Beginning and Beyond, set for release this Friday, is a testament to the Continental Drifters’ range and talent. Like the Band, the group tapped multiple lead vocalists, songwriters and players to creative a compelling collective.

The two-disc set showcases some rare and early Drifters recordings, reminding us that this was an Americana band well before the genre had a name.

Over time, the band expanded to include Susan Cowsill, the dBs’ Peter Holsapple, and the Bangles’ Vicki Peterson, and their recordings grew more melodic and pop-oriented.

As serious about their music as the Continental Drifters were, they were also playful. That’s captured on multiple covers on the new collection, including Mike Nesmith’s “Some of Shelley’s Blues,” Neil Young’s “When You Dance I Can Really Love” and “I Can’t Let Go,” recorded by the Hollies and written by Chip Taylor. They nail every song.

Most remarkable is their live rendition of the early Beach Boys track “Famer’s Daughter.” It opens with the James Bond Theme, shifts into tight harmonies from Cowsill and Peterson, and absolutely soars.

The album also includes tracks from the band’s 2001 EP Listen, Listen, a celebration of Richard Thompson and Sandy Denny of Fairport Convention.

Drifted is a fascinating overview of an underappreciated band and is an extraordinary gift to longtime fans.

30A Songwriting Festival: Rodney Crowell, Steve Forbert and the Bangles

By Ken Paulson

Seaside, Florida – The third annual 30A Songwriters Festival, closed out its three-day run today, wrapping up an ambitious and entertaining celebration of songs.

Very similar in scope and approach to Nashville’s’ Tin Pan South Festival, run by the Nashville Songwriters Association International, 30A showcases a wide range of artists and genres in both open-air and intimate indoor venues. There are still some growing pains – parking can be tight and some audiences don’t get the whole “listening” thing – but the festival is clearly moving in the right direction.

Among the highlights:

– Rodney Crowell at the Gulf Place Amphitheater: Crowell is savvy enough to complement his most challenging and topical songs with his country hits, including “Crazy for Leaving” and “Stars on the Water.” His cover of “Like a Rolling Stone” was great fun.

– An impressive solo acoustic set by Vicki Peterson of the Bangles. Her “Mixed Messages” was recorded by both the Bangles and Continental Drifters, and it was a pleasure to hear it as it began. Susan Cowsill followed with a very brief and off-kilter performance, but somehow it was charming. The show featured cameos and heckling by assorted Bangles and Cowsills. Truly memorable.

– Steve Forbert at Fish Out of Water: His introduction – something about a Grammy-nominated songwriter from Mississippi – badly undersold one of the most literate, consistent and prolific singer-songwriters over nearly four decades. The audience enjoyed his energetic and entertaining set, and then roared as they recognized “Romeo’s Tune.” So that’s who that was.

– The Bangles: We reported earlier on their great set; it was one of the most memorable of the weekend. Rock ‘n’ roll doesn’t get much more joyous.

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