the Backroom

The Strypes Rock the 9:30 Club

by Chris Murray on August 21, 2014  |  2 Comments »

photo 4Govinda Gallery Director Chris Murray with the members of The Strypes. From left to right: Peter O’Hanlon (bass), Ross Farrelly (vocals/harmonica), Chris Murray, Evan Walsh (drums), Josh McLorey (guitar/vocals)). Copyright © Anna Jacoby. All Rights Reserved.

Tuesday night Irish rock band The Strypes played their first gig in Washington, D.C. at the 9:30 Club. They rocked the house with their fast-paced and dynamic show. Their recent appearance on the David Letterman show, a feature story in Rolling Stone, and Elton John signing them to his management company Rocket Music, testifies to this cool young band’s talent. I have a special affection for The Strypes as they hail from County Cavan, Ireland, where my grandfather was born and where I spend my summers. If you’re in New York catch their gig at The Music Hall of Williamsburg on August 23 before they return to London to record their second album.

verticalsideLeft: Strypes drummer Evan Walsh performing at 930 Club. Right: Guitarist Josh McLorey with journalist and author Leslie Cockburn backstage. Copyright © Anna Jacoby. All Rights Reserved.

photo 2The Strypes at the 930 Club. Copyright © Alessandra Beggiato. All Rights Reserved.

Category: Govinda Blog, The Back Room   

PhotoIreland Festival, Alex Sheridan, and John Kenny

by Chris Murray on August 15, 2014  |  4 Comments »

ireland skateboard billboardAndrew Loughnane and Deon McGarrity, Grand Canal Theater, Dublin.

Dublin’s premier photo festival, PhotoIreland, is on through August 31st and features an installation on the punk skateboard culture in Ireland by photographer Alex Sheridan. Curated by John Kenny, one of Govinda Gallery’s best friends in Ireland, Sheridan’s billboard-size photographs can be seen at the outdoor Art Lot Dublin exhibition space.

Govinda Gallery has organized three exhibitions that feature the punk/skateboard culture in the U.S. including two exhibitions by Glen Friedman and an exhibition by Susie J. Horgan.
chris and john kennyChris Murray and curator John Kenny, July 2014. © Carlotta Hester

Category: Govinda Blog, The Back Room   

Robin Williams 1951-2014

by Chris Murray on August 13, 2014  |  3 Comments »

Robin Williams by Arthur Grace© Arthur Grace

“It’s not so much what a comedian does on stage, it’s what remains on stage after the comedian’s left.” – Jack Rollins, from the Introduction to Comedians by Arthur Grace.

In January 1994 Govinda Gallery featured an exhibition of photographs of comedians by photojournalist Arthur Grace. The exhibition also celebrated the publication of Grace’s book of photos and stories called Comedians. Robin Williams was Arthur Grace’s entry into the world of comedians. Grace featured his wonderful portrait of Williams holding a baby on the cover of his book as well as a portrait of Williams as Mrs. Doubtfire on the invitation card for his Govinda exhibition… he dedicated his book Comedians to Robin Williams. Our lives are richer because of Robin Williams’ artistry.

Robin Williams Govinda Gallery Arthur Grace

“Ah, death. Nature’s way of saying, ‘Check, please!’” – Robin Williams

Category: Govinda Blog, The Back Room   

‘American Beauty’, Bob Colacello, Andy Warhol, and Chris Murray

by Chris Murray on June 27, 2014  |  8 Comments »

Bob Colacello, Andy Warhol, and Christopher Murray in Hats, 1979. Copyright © Paul Weiss. All Rights Reserved.

Online auction house Paddle8 recently presented Bob Colacello: Art, Photographs, and Memorabilia from the Warhol Years. The featured image was Paul Weiss’ portrait of Warhol, Colacello, and myself and was part of Weiss’ photographic series American Beauty. The photo was taken at his studio at The Corcoran College of Art + Design, where Warhol was doing a signing for his book Exposures which was edited by Colacello. In 1979 Govinda Gallery exhibited Warhol’s photographs from Exposures along with Colacello’s photographs from his Interview Magazine column Out. Here is Paddle8′s description of Weiss’ photograph…

“Christopher Murray was a fellow alumnus of Bob’s at Georgetown University. Murray opened a gallery in Washington, Govinda Gallery, where he showed mostly photographers, including Annie Leibovitz and Bob himself. At the time the photograph was taken, Murray was showing the work of Paul Weiss who was then engaged in a doing a series of men in lady’s hats. Murray asked Bob whether Andy would pose and the result was to have photographs of all three dressed in delicate fascinators and suits and several solo portraits of Andy. For Bob, ‘Bob in Drag,’ evoked memories of growing up in Brooklyn and Long Island where he donned his mother’s and grandmother’s hats to “entertain the grownups.” The photograph is one of Bob’s favorite.”

East Coast Rock & Roll Photography 2014 @ Hill and Dale Records

by Chris Murray on June 16, 2014  |  3 Comments »

Trash Talk at The Ottobar, Baltimore, Maryland. Copyright © Chris Suspect. All Rights Reserved.

Govinda Gallery is pleased to be presenting ten photographers who have been documenting current rock & roll bands from up and down the east coast. Emily Assiran, Julianna Clarke, Andy DelGiudice, Jessica Flynn, Vivienne Foster, Sarja Hasan, Nicholas Karlin, Chris Suspect, Jordan Swartz, and Clarissa Villondo’s photographs capture the energy and environment of bands that represent the face of musicians, their music, and the community of local music culture today.

There is a reception for the photographers on Saturday, June 21st from 8:00 to 11:00 p.m. at Hill & Dale Records in Georgetown that will feature performances by Boardroom Heroes, Jonny Grave, and Drew Champion (The Coastals, Boardroom Heroes). This event is free of charge. The reception will also celebrate the release of “Suspect Device,” a collaboration between Empty Stretch and East Coast Rock & Roll Photography 2014 photographer Chris Suspect.

East Coast Rock & Roll Photography 2014 is a Govinda Gallery ‘pop-up’ exhibition and opens at Hill & Dale Records, 1054 31st Street NW, Washington DC, 20007, on June 10th, 2014 and continues through July 13th, 2014. Exhibition and store hours are Tuesday through Sunday 1:00 p.m. to 7:00 p.m. Monday by appointment.

Hill & Dale Records was created for people who are looking for a place to discover, celebrate, and enjoy interesting music. East Coast Rock & Roll Photography 2014 was curated by Vivienne Foster.

East Coast Rock & Roll Photography 2014 features over 350 photographs of the bands Address, Aftermath, Aghast, Apocalypse Dudes, Anasazi, Aspects of War, Astpai, Boardroom Heroes, Blacksmithtomahawk, Bloodkrow Butcher, Born Wrong, Braceface, Captain We’re Sinking, Cassavetes, Catharsis, Cayetana, Crazy Spirit, Cry Baby, Collapser, Copstabber, Dismemberment Plan, Drop Electric, Empty Grave, Ex-Hex, Foul Swoops, Gasmask Terror, Global Threat, Glocca Morra, Goosebumps, Government Warning, Greek Favourites, Green Beret, Hank Wood & The Hammerheads, The Holy Mess, Hop Along, Humungus, Iron Chic, Joint Chiefs of Math, KIDS, Kite Party, Kill Lincoln, La Misma, Laura Stevenson & The Cans, Logic Problem, Luther, Lecherous Gaze, Lisabi, Ma Jolie, Mellow Hype, The Menzingers, Minimus the Poet, Municipal Waste, Murphy’s Law, Mutant Supremacy, Night Birds, NONA, Occultist, Parasytic, Priests, Ploy, Radiation, Restorations, Sad Boys, Shat Shorts, The Silver Liners, Slingshot Dakota, SSR, Sundials, Three Man Cannon, Stout, Sun Club, Sun Cycle, Trash Talk, Trenchgrinder, Two Inch Astronaut, Unholy Thoughts, Violent Society, The Walking Sticks, Waxahatchee, Who Killed Spikey Jacket?, The Worriers, Youth Avoiders, Your Cousin Marvin, Zatsuon and Zoom.

For more information contact Govinda Gallery at and (202) 333 1180.

Howard Finster, Francis Scott Key, and Flag Day

by Chris Murray on June 13, 2014  |  4 Comments »

Oh Say Can You See, 1990. Copyright © Howard Finster. All Rights Reserved.

Today is Flag Day as well as the 200th anniversary of Francis Scott Key’s Star Spangled Banner. During the spring of 1992 Govinda Gallery hosted an exhibition called Howard Finster: American Flag Paintings featuring an extraordinary collection of American flag paintings made by Howard Finster (1916 – 2001) one of America’s foremost folk artists. Govinda Gallery also published a catalogue of the exhibition as well as two limited edition silkscreen prints by Howard Finster called “Oh Say Can You See” and “More Than A Piece of Cloth”. Each print was hand-pulled, and signed and titled in pencil by Howard Finster. A portion of the funds from “Oh Say Can You See” were used to help establish the Francis Scott Key Park in Georgetown. We still have a few of these amazing prints available for collectors. For more information contact Govinda Gallery.

More Than A Piece of Cloth, 1990. Copyright © Howard Finster. All Rights Reserved.

Donovan, The New York Times, and the Songwriters Hall of Fame

by Chris Murray on June 12, 2014  |  4 Comments »

This evening Donovan will be inducted into the Songwriters Hall of Fame. Yesterday The New York Times published a terrific interview by Allan Kozinn with Donovan. Rumor has it that Roseanne Cash will be performing a duet with Donovan of his first hit song “Catch the Wind” at tonight’s ceremony. Donovan is from Scotland and Roseanne and her father’s family roots also trace back to Scotland. Donovan joins Hoagy Carmichael, George Gershwin, Woody Guthrie, Carole King, Little Richard, and many other legendary songwriters. Congratulations Donovan!

A Genre Dabbler Gets His Accolades
Donovan to Enter Songwriters Hall of Fame

Donovan Leitch, shown in 1972, is being inducted into the Songwriters Hall of Fame on Thursday. Credit Tony Evans/Getty Images

Donovan Leitch — or just Donovan, as he became known — might have become a painter instead of a musician. As he tells it, he was considering arts school when he decided, instead, to take his guitar and hitchhike to London, where he began performing as a folk singer. By 1965 he had won a following, as well as recording and publishing contracts, with ballads like “Catch the Wind” and “Colors,” guitar-accompanied folk songs similar to one Bob Dylan was writing — not surprisingly since they were both drawing from the large well of English, Irish, Scottish and American folk melodies.

Still, Donovan was stung early on by reviews in which he was called a Dylan clone, and quickly veered off to find a new path or, actually, paths. Without entirely leaving folk behind — he styled himself as a modern troubadour — he quickly produced “Sunshine Superman” and “Mellow Yellow,” “Epistle to Dippy” and “Wear Your Love Like Heaven.” This stream of mid-1960s songs with trippy, elliptical lyrics evoked the nascent drug culture of the time, along with mini-epics like “The Legend of a Girl Child Linda,” in which he experimented with instrumental textures and extended structures. He continued to broaden his palette with his paean to Maharishi Mahesh Yogi, “Hurdy Gurdy Man” (he has retained his devotion to Transcendental Meditation); his collaboration with the guitarist Jeff Beck on the rhythmically vital “Barabajagal”; and recent productions that include the jazz-tinged “Beat Café” (2004), the stylistically omnivorous “Ritual Groove” (2010) and his latest, “Shadows of Blue” (2013), which begins as a country album and veers toward rock.

At 68, Donovan likes touring less than he did in the old days — he dislikes airport security, and tour buses even more. Still, he is planning a celebration of some sort (he won’t be specific) for the 50th anniversary of his first hits, in 2015. And having been inducted in the Rock and Roll Hall of Fame in 2012, he will join the Songwriters Hall of Fame at that institution’s annual awards ceremony in New York on Thursday. He recently discussed his approach to songwriting. Here are excerpts from that conversation.

Q. You’ve touched on a number of styles over the years — the folksiness of “Catch the Wind,” the early psychedelia of “Sunshine Superman,” the bluesy sound of “Season of the Witch,” the almost Elizabethan quality of “Guinevere,” the jazz-tinged “Beat Cafe,” the country music on “Shades of Blue.” Were you consciously trying to embrace that variety, or is it just how things unfolded?

A. I think that must have come from my love of popular music and the idea of packing an extraordinary story into a three-minute disc. I found that I just liked to listen to, and to try my hand at, many different kinds of music. You know that we were all first powered by jazz when we were young, in the music scene in Britain, especially. Jazz, blues and folk are a great way of expression. But I also listened carefully to what Buddy Holly, the Everly Brothers and Elvis Presley were doing. Songwriting has always been at the center of what I do, and the making of well-made songs, with poetry in mind, and on subjects that pop music doesn’t necessarily cover, has always been, for me, a fine thing to be fascinated with. But the fact that the genres I used kept changing may have made it hard to put a finger on what Donovan does. At first it was, “Oh, he’s a folk singer.” Then I used a little jazz, a little classical music. And it was hard in those days, because everybody was in a faction. You played rhythm and blues, or folk, or jazz, or classical. I felt that putting them all together seemed a lot of fun.

Q. Your approach to arrangements has been one of your hallmarks, but you began very simply, with just voice and guitar. How did you become interested in orchestration?

A. My producer, Mickie Most, introduced me to John Cameron, in mid-1965. John had just come down from Cambridge, and he knew everything about classical music, folk, jazz — he could do anything, and he knew how to draw on all the elements I wanted. I would tell him: “On this song, I want a harpsichord, a theremin, Caribbean congas and upright bass, but it would be nice to have an electric bass, too. And a sitar.” And because I hadn’t been trained as a musician, I would draw out sections, and change the beat, as the song’s drama required it, particularly with something like “The Legend of a Girl Child Linda,” the seven-minute song on the “Sunshine Superman” album. It wasn’t a problem for John, because he was a free spirit — he would just write down what I wanted. But I remember him saying, at one point, “Wait a minute — you actually mean the music to be like a soundtrack to the lyrics.” And that was exactly right. The lyric was the story, and I wanted the music to illustrate it — to be the soundtrack to the movie you would see when you close your eyes and listen to the song.

Q. It’s interesting that you think of your songs in visual terms.

A. For me, it was experimental. But the actual trying out of different things, I think most of it came from art. Although I didn’t go to art school, I’m a painter, and by the time I almost entered art school, I decided that I wanted to do the music. But in modern art you have collage, and in film you have montage, and I think these elements must have entered the way I was putting all these bits together.

Q. You tended to choose unusual subjects. In “Atlantis,” for example, you use the story of that mythical submerged island to lament that we no longer pay attention to mythology and the ancient wisdom it embodies.

A. Yes, it’s changed. There has been a loss of understanding, and awe and beauty that was in the ancient cultures. Joseph Campbell knew it. Carl Jung knew it. We can’t rely on the old mythic structures anymore, but there will be a new one built. The old gods and goddesses are here, still, and they express themselves in all the things they do. And we would be well to study mythology more. So when “Atlantis” came along, I did go through the roles — the musician, the poet, the scientist, the farmer, all the people who produced knowledge for the society. But I also realized that the chorus — “way down below the ocean” — wasn’t about the physical ocean at all. It’s the ocean of consciousness. It’s about the 20th-century discoveries in psychoanalysis and psychotherapy, that this inner world that people no longer had access to was very important.

Q. You’ve devoted several albums, most notably “A Gift From a Flower to a Garden,” to what are supposed to be children’s songs, but which have always appealed equally to adults.

A. In my reading, I came across the Victorian obsession with children’s books. It was in Victorian times that childhood was given all these myths and legends and fairy tales, as if it was a child’s world, not an adult’s world. And I suppose that was all to do with the Industrial Revolution and the incredible dislocation of people out of the farming areas and out of the countryside into the new industrial and highly polluted, mechanical cities that were growing up all around, from the 1700s through the 1900s. And these stories were given to childhood, as if they were something that you only do when you’re a kid. When you grow up, grow up! I come from the tradition of Irish and Scottish storytelling and songwriting, which holds that these stories are not just the property of children, and I became fascinated with the idea of the song as a way to give knowledge to children. It was something I thought I had to do. These are stories in which there is a way to be a hero and a heroine, and where awe and wonder can be encouraged. It’s not just dance music. It’s a way for me to be a teacher.

Q. You have been organizing your archives lately. What kinds of things have you rediscovered?

A. I didn’t know I’d be carrying around the world so much material. We’ve moved so many times. But one day, it arrived from storage and there it was, everything. Extraordinary — the costumes, the guitars, the writings, my library, which moved around with me, 25 to 35 diaries, of songwriting and drawings, posters, memorabilia, backstage passes. I seem to have written a song about every social and spiritual and musical movement from 1964 to now. The whole thing is redolent, resonating with history. It’s fascinating because it’s all still here, but I need to say goodbye to it. We’ve been talking with the Rock and Roll Hall of Fame about taking it over.

Q. In 2012 you released “The Sensual Donovan,” an album you started in 1971, with John Phillips (of the Mamas and the Papas) producing, and the Crusaders as your band. Was that something you found in the archives?

A. Yes, there’s also an enormous audio archive, with, I believe, 400 multitrack tapes and 200 or 300 mixed stereo tapes. That’s a lot of tape and it’s all analog, and we’re just finishing five years of transferring it to digital. I had forgotten albums that I’d done. “The Sensual Donovan” was something I started with John Phillips in Hollywood, and we used the Crusaders because I wanted to do a Latin, sort of jazzy thing. But it was at a time when there were lawsuits going on, about the change from one label to another, so it was never released, and I’d forgotten about it. When I found it, I said, “My goodness, look at this!” There were parts left unfinished, so I completed those. But what is more amazing is the number of songs — we’re still going through them, but we’re up to about 200 now — that are in superdemo stage, most of them just acoustic guitar, although there’s a big orchestral section as well. So we’re plowing through those. That’s what I’ve been doing.

Category: Events, Govinda Blog   

The Forgotten Pictures Of A Music Photography Pioneer Featured on NPR

by Chris Murray on May 30, 2014  |  12 Comments »

It’s always fascinating to come upon an unknown archive of photographs. Jim Cummins photographs appeared on hundreds of album covers. Only now are his photographs becoming available to collectors. NPR just did a wonderful story on Jim Cummins. I was asked by NPR to talk about Jim Cummins’ photographs and my comments are included at the beginning of the story.

Jimi Hendrix. Copyright © Jim Cummins. All Rights Reserved.

“For more than three decades, Chris Murray ran the Govinda Gallery in Washington, D.C. He still curates shows and also edits books about rock ‘n’ roll photography.

“To find an archive that’s been lost, if you will, or overlooked, it’s always a wonderful and extraordinary thing,” he says.

In New York City, a trove of forgotten photographs depicting music icons such as Jimi Hendrix and Janis Joplin is being displayed for the first time. The original negatives had been boxed up for decades in photojournalist Jim Cummins’ basement.

“The thing I liked about Jim Cummins’ archive the most was the album covers,” Murray says. “I must say, it was the vinyl long-play album and the 45 [RPM record] jackets where I feel photography and music really had their greatest moments, because they entered into literally millions and millions of people’s homes.”

During the ’60s, ’70s and ’80s, Cummins’ work graced more than 900 album covers.”

Happy Birthday Bob Dylan!

by Chris Murray on May 23, 2014  |  3 Comments »

Bob Dylan, New York, 1965. Copyright © Daniel Kramer. All Rights Reserved.

Happy Birthday Bob. Yesterday was Daniel Kramer’s birthday, the photographer who took this great photograph of Bob Dylan. Happy Birthday Dan.

Daniel Kramer’s photographs are available through Govinda Gallery.

Danny Clinch, The Tangiers Blues Band, and Vanity Fair

by Chris Murray on May 22, 2014  |  13 Comments »

The Tangiers Blues Band. Copyright © Danny Clinch. All Rights Reserved.

Another musical highlight from my recent trip to New York was the Tangiers Blues Band at the legendary Iridium Jazz club, musical home of Les Paul. My friend and Govinda photographer Danny Clinch plays harmonica in the Tangiers Blue Band and their recent set of blues tunes at the Iridium was brilliant.

Govinda Gallery is proud to have had Danny Clinch’s first ever exhibition of his photographs in September of 2001. It was a wonderful show and so many collectors appreciated the opportunity to be able to get Danny’s photos. We also featured his book of photographs When the Iron Bird Flies, from the 1996-1999 Tibetan Freedom Concerts. Vanity Fair’s David Friend wrote a wonderful piece on Danny’s exhibition at Govinda. You can read an expert from that piece below.

Danny’s photographs were recently featured in the Sound and Vision: Monumental Rock & Roll Photography touring museum exhibition organized by Govinda Gallery with the Columbus Museum. If you’re in Washington DC go see Danny’s monumental portrait of Tupac Shakur at the Hamilton Live.

Danny Clinch’s photographs are available through Govinda Gallery.

Bruce Springsteen, New Jersey, 2007. Copyright © Danny Clinch. All Rights Reserved.

Danny Clinch, rock photographer, is on a roll. For a decade now, magazine spreads and CD covers have carried his gritty, off kilter pictures reinforcing the raw personae of bands such as Public Enemy and Urge Overkill. But Clinch, never one to chill, has been cranking it up to 11 lately.

This summer he went on tour with Sting, Radiohead, and the Dave Matthews Band. This fall he mounts his first ever solo exhibition at Washington, D.C.’s hippest photo venue, the Govinda Gallery. Raised in the streetwise school of Robert Frank and Danny Lyon, Clinch, 37, is known for his high-impact black-and-white studies of musicians. At the Govinda show, his portraits of Junior Wells, Tupac Shakur, and Pavement’s Stephen Malkmus have the resonance of power chords; a fringe of Clinch snapshots, thumbtacked along each wall provides a snaky bass line. Together, the pictures exhilarated like the speedy blur out a tour bus window. Next up: the photographer’s debut as director. Premiering early next year in college-town theatres and on Virgin DVD is Pleasure and Pain, Clinch’s feature-length biographical film on Ben Harper, rock shaman of the Innocent Criminals. Zip down to D.C. – or your local DVD dealer – and catch the buss.

– David Friend

Excerpt from Vanity Fair
November 2001 issue

Tupac Shakur, New York City, 1993. Copyright © Danny Clinch. All Rights Reserved.

T. + 202.333.1180     E.
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