Sometimes it’s hard to find the “click” with a new singer, one whose work isn’t presented to you on a platter by the radio, or a streaming channel or your kids or a friend or… And without someone to help you make a link to a song or a performer, sometimes you never find your way in.
So I don’t feel guilty about first being attracted to the singer-songwriter A.J. Croce because he is the son of Jim Croce because who of a certain age didn’t love Jim Croce? The answer is no one. Jim Croce was the greatest.
And while most people of my generation don’t agree on much, all of us at some time in our lives have thought, “Gee, I wish Jim Croce hadn’t died in that plane crash in 1973 in Louisiana.”
There were so many songs by him to love. But really you can only play them over and over again so many times.
And so it was a happy revelation to learn that his son, A.J. Croce, is coming out with an album this month that’s called “By Request.”
By a fluke, which I’ll explain in a minute, it is all covers of songs from the second half of the 20th century. They’re songs, he said in an interview, that his friends always ask him to play when he sits down at the piano or picks up a guitar.
It’s interesting to note that none of the songs was written by his father.
He does cover a song by his father’s good friend Randy Newman. He does “Nothing from Nothing,” made popular by Billy Preston; he’s got Neil Young’s “Only Love Can Break Your Heart;” he’s got “Ooh Child” by the Stairsteps, ubiquitous on the radio for so many years.
They’re all good. He’s a great guitar player and has a flexible voice that can be folk-y, ballad-y or have a deep bluesy growl.
I’ll confess though that even though I enjoyed every song by him on Spotify the first time I heard it, what will send me back to his music is the way he sings his father’s songs.
You have to search around a little to find a Croce cover of Croce. Mostly you can see them on YouTube. A.J. has had a long career in the music business, and for most of it he has not played his father’s music.
But when he does, it lights up a special nostalgia pleasure center of your brain. His voice sounds much like his father’s voice. But curiously, A.J. Croce’s life has been so full of tragedy that his renditions of his father’s very moving songs is grittier, bluesier and more soulful.
Croce has had a hard life. It’s not just that his father died when he was about 2. He also lost his sight when he was 4, either because of physical abuse by his mother’s boyfriend or because of brain tumors, depending on whose version of the story you hear (he did regain vision in his left eye many years later).
When he was a teen, the home he’d lived in with his mother for a decade and a half burned down.
Two years ago, his wife of 24 years died from a heart virus. That happened at a time when he was preparing this new album; he found he just couldn’t get himself to sit and write new songs, and so he decided to do an album of all cover songs, all performed live with a band of his friends (all experienced blues musicians).
This is a man who has a right to sing the blues, and he does it beautifully. Go to YouTube and find the unplugged version of Croce and a friend singing his father’s “Time in a Bottle,” out in the backyard (a song that his father wrote when he learned his wife was pregnant with A.J.). You might never go back to the original version.
Or find the YouTube video of him performing his father’s “I’ve Got a Name.” It’s about living the dream that his daddy kept hid, as he moves on down the highway, past all the tragedy that time has tossed at him.
These performances stand alone, but they touch me more profoundly because they’re songs I’ve heard a thousand times, and now they sound new again to me. The voice is almost the same, but has more patina.
If the videos move and intrigue you, or if you want a different access point to A.J. Croce, watch two live performances hosted by The Mahaiwe Performing Arts Center in Great Barrington, Mass., on March 18 and 25.
The first concert is a debut outing for the new album, “By Request,” which is scheduled for release by Compass Records on Feb. 27.
The second Mahaiwe show, on March 25, will be Croce and his band playing songs from the 10 albums he’s released in the past 30 years. He does blues, jazz, soul and rock ‘n’ roll, but in his hands really everything has a bluesy quality.
Tickets for the two Mahaiwe online shows are $15 for a single performance or $25 for both. To order, go to www.mahaiwe.org.
Aradev LLC’s plans to redevelop Wake Robin Inn include four 2,000-square-foot cabins, an event space, a sit-down restaurant and fast-casual counter, a spa, library, lounge, gym and seasonal pool. If approved, guest room numbers would increase from 38 to 57.
LAKEVILLE — The public hearing for the redevelopment of Wake Robin Inn is over. Salisbury Planning and Zoning Commission now has two months to make a decision.
The hearing closed on Tuesday, Sept. 9, after its seventh session.
Michael Klemens, chair of P&Z, had warned at the opening of the proceedings that “this might be a long night” due to a last-minute influx of material from experts hired by Wells Hill Road residents William and Angela Cruger to oppose the project, but this turned out not to be the case.
These 11th hour submissions set a sour tone to the start of the meeting, with commissioner Robert Riva stating that it was “not very professional to pull this stunt on this Commission.” Riva said he had diligently reviewed the already substantial documentation provided by both the applicant and the opposing experts, and was surprised to find a “dump” of additional information submitted just hours before the meeting’s start time at 6 p.m.
Tensions were quickly eased, however, when William Cruger offered his concise summation of his platform’s opposition to the expansion, which is the second iteration of the project after an earlier version was withdrawn late last year.
“It’s important for you all to hear from me that there was never any disrespect intended to the Commission, the commissioners, and to the process,” Cruger said. He defended the last-minute submissions as an effort on the part of the experts to be thorough in their analysis: “Our intention… has been and remains to do our best to get whatever we think will be helpful in your deliberations into the record.”
The Crugers formally entered the hearing process as intervenors for the first application from Aradev LLC, the applicant, in the fall of 2024, meaning they and their hired consultants had full party status in the hearing proceedings. During this cycle, however, they chose not to petition for intervenor status, yet during this round of hearings their role has been similar. Klemens described them as having “almost intervenor status — not quite.”
William Cruger summarized the consultant’s findings for Aradev’s revised application, noting they found it to be “virtually identical in scale to the previous proposal.”
“Our position is that the proposed expansion would absolutely negatively impact the usefulness, enjoyment and value of the surrounding properties,” he said.
Aradev’s attorney Joshua Mackey countered by saying that the special permit conditions would elevate the currently non-conforming hotel in the zone, describing it as a “community asset that is improved, regulated, and safeguarded for generations to come.” He characterized Aradev as “the next steward of this storied property.”
After Mackey and Aradev co-founder Steven Cohen concluded their remarks, Klemens closed the hearing with no public comment, which he had stated would be the case at last week’s hearing session on Thursday, Sept. 4. Klemens said that P&Z will begin deliberating the proposal in early October after the commissioners have had the chance to review the information in the record.
A total of 45 letters, including the Crugers’ experts’ testimony, were submitted since the Sept. 4 meeting alone, alongside hundreds of pages of application materials and additional testimony.
As the Commission deliberates and reviews, all of this information is available for public viewing on the “Meeting Documents” subpage under P&Z’s section on the town website, www.salisburyct.us.
The Commission must issue a decision on the application by Nov. 13, the end of the statutorily defined deliberation window.
The Weavery is Stanton Home’s oldest activity space, featuring a collection of vintage and modern floor looms. It offers opportunities for building dexterity, creative expression, and social connection through fiber arts.
Stanton Home is holding its annual Harvest Roast fundraiser on Saturday, Sept. 13 in Great Barrington, an evening of farm-to-table dining, live swing music, and community connection.
For nearly 40 years, Stanton Home has supported adults with intellectual and developmental disabilities through residential programs, therapeutic services and skill-building activities.
“Here in the Berkshires, adults with diverse abilities often face barriers like limited housing, tricky transportation, and fewer opportunities for meaningful work,” said Executive Director Peter Stanton. “Stanton Home flips that script. Our mission is to partner with adults to pursue healthy, self-determined lives.”
The Harvest Roast features locally grilled meats, roasted vegetables from Stanton’s own gardens, warm apple crisp with SoCo Creamery ice cream, and beverages —all set to the swing and gypsy jazz rhythms of the Lucky 5 Band.
“The Harvest Roast is a celebration of what makes our community strong, inclusive, and vibrant,” Stanton said. “Every ticket and sponsored table supports programs that make a lasting difference.”
Guests will begin in the gardens with a signature cocktail before gathering at long farm tables for a shared meal and celebration.
“Though this night matters, the work is year-round,” Stanton added. “People can help by shopping locally at the farm store or buying handmade weavery goods, pitching in with time or skills, gardening, lending a hand at events or by partnering with Stanton’s programs like composting or sourcing local goods. Folks can also speak up for inclusion in their workplace or community circle. Even the smallest action helps keep the mission alive.”
Tickets are $125 per person. Proceeds support Stanton Home’s inclusive programs. Reserve at donorbox.org/events/771775/steps/choose_tickets or call 413-441-0761.
Following the memorable benefit reading last season of Charles Busch’s Tony-nominated Broadway hit, “The Tale of the Allergist’s Wife,” the Sharon Playhouse will present a one-night-only staged reading of his riotous comic melodrama “Die Mommie Die!” on Friday, Sept. 12 at 7 p.m.
The production —a deliciously over-the-top homage to classic Hollywood mid-century thrillers — continues the Playhouse’s artistic partnership with Busch, who reprises his iconic role of the glamorous yet troubled songstress Angela Arden.
The playwright and performer is no stranger to the Playhouse and, luckily, he’s supported by a truly stellar powerhouse cast of top-notch comic actors — some returning to the Playhouse stage, and some making their debut. The cast includes Richard Kind; two-time Tony Award nominee Kristine Nielsen, who was part of the original New York cast; Tony Award winner Celia Keenan-Bolger; Andrew Keenan-Bolger; and Claybourne Elder.
The production also marks a fortuitous alignment of talent and history. It is directed by Sharon Playhouse Artistic Director Carl Andress, who performed in the play’s Los Angeles premiere in 1999.
“I have a long and happy history with this particular show,” Andress said. “At the Sharon Playhouse, we’re thrilled to offer unforgettable, one-of-a-kind live experiences. With Charles Busch and this phenomenal cast, ‘Die Mommie Die!’ will surely light up the Olsen Stage with laughter, wit and glamour.”
The original music is by Lewis Flinn, whose score for the 2007 Off-Broadway production is being adapted specially for this event.
The play is a classic Charles Busch concoction that, like all his work, lovingly and intelligently spoofs some of the greatest talents and tropes of stage and screen. The original production was praised by critics as his “funniest, most accomplished and, without question, raunchiest work.”
In 2003, Busch won the Best Performance award at the Sundance Film Festival for the film version of “Die Mommie Die!” His indelible contributions to American theater have been recognized with countless awards and he was recently inducted into the Theater Hall of Fame.
The event promises to be an unforgettable night of laughter, glamour and theatrical fun, with all proceeds going to benefit Sharon Playhouse’s productions and educational programs. The funds will help ensure that the Playhouse continues to thrive as a cultural destination for audiences and artists alike.
For tickets, visit: sharonplayhouse.org. Running time: 90 minutes.
Richard Feiner and Annette Stover have worked and taught in the arts, communications, and philanthropy in West Berlin, Paris, Tokyo, and New York. Passionate supporters of the arts, they live in Salisbury and Greenwich Village.
