Seeger, Guthrie hurry good music and combat bad manners at SPAC

by Nancy Altman, The Knickerbocker News, July 2, 1975

Artists are not the only people who are under contractual obligations during a concert. Just as the singer promises that he will entertain to the best of his ability, an audience ought to promise that it will listen attentively and speak only when spoken to.

Unfortunately, audiences attending the popular concerts at the Saratoga Performing Arts Center this year have not always remembered their manners. The 200 people who rushed forward during the Eric Clapton concert last Thursday made viewing and listening most difficult for many seated in the amphitheater. At Tuesday night’s Pete Seeger and Arlo Guthrie concert, a handful of hecklers made the air tense and uncomfortable for those who wanted to enjoy those two fine folk singers. Guthrie finally had to say, “Wait a minute, guys, this is our gig.” Since even his reprimand did not quiet people down, Guthrie and Seeger began every number before the applause for the preceding one had faded, and they made the concert shorter than they usually do. It was unfortunate, because the music was excellent.

Some of the old favorites were hauled out, such as “Why, Because and Goodbye.” That is a Seeger standard, and the response was very good. The wonderful nonsense lines such as “Why can’t a mouse eat a streetcar? Because a mouse’s stomach isn’t big enough to hold a streetcar,” particularly delighted the children in the audience.

When Guthrie sat at the piano to treat the audience to some Lead Belly boogie (which was very well played) Seeger sat Indian-style on the stage and gave his friend his complete attention. The camaraderie between the two men is pleasant to observe. “Oh well, it’s not concert pitch, but it’s our pitch,” remarked Guthrie as the two tried to tune guitars.

Guthrie’s inimitable style with a story-song was brought out once more. “I Don’t Want a Pickle” elicited these remarks from the young star: “I’ve been singing this song for a long time now, and it amazes me that I’ve gotten away with it for so long.” He embroidered another tale about the origins of the song. (It must be his sixth version.)

Guthrie also treated the audience to “Riding on the City of New Orleans,” written by Steve Goodman. Guthrie says he picked it up from Goodman in Chicago and was supposed to deliver it to Johnny Cash, but he liked it too much himself.

The evening’s bawdy offering was Seeger’s song about an afternoon of “photographing,” with nothing specific said and everything implied. Seeger brought forth “Kisses Sweeter than Wine,” for which he has been famous since his days of singing with the Weavers. He also introduced the audience to a beautiful melody for guitar and whistler, which he learned when traveling in China three years ago.

Guthrie and Seeger put on a very fine concert together, and the proceeds from it are going to the Hudson River Sloop, Seeger’s ecology promotion, rather than into the singers’ own pockets. Had members of the audience been as generous with silence, a good time by all would have been the result.

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