CAMBRIDGE, MA - November 19--I really do think that Ryanhood gives something of value to society. I really do think that they have something that enriches people’s lives. What they do amounts to something much more than merely recording magnificent CDs and playing spirited performances; they’re adding value to people’s lives.

At the core of the Ryanhood experience is a belief in the importance of a musical experience to the overall quality of life. Their songs contain themes that everyone can relate to, as well as songs that reflect their philosophy. Within a framework of remarkably sophisticated musical structures, they let the audience see them as real people with hopes, fears, struggles and weaknesses. They give the audience a glimpse of their own spiritual journeys, rather than to teach them or preach to them.

The audience has grown by quantum leaps. From humble beginnings back in 2003 as a duo performing and selling self-made CDs in Boston subway stations to touring with platinum-selling artists to wide applause (such as Jason Mraz) and recording with Grammy-winning producer Ross Hogarth, Ryanhood has become, according to Campus Activities Magazine, “one of the hottest new bands in the college market today.” This was the incarnation of Ryanhood that the Club Passim audience witnessed on November 19, 2006.
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The one single element about Ryanhood that never ceases to astonish me is their humility. I trust this humility comes from a strong sense of self-confidence. Ryanhood believes in what they do and they exude this attitude in their performances and their musical approach; they trust their own abilities, have a general sense of control in their lives, and believe that, within reason, they will be able to do what they wish, plan, and expect. Most important of all, they take risks—at least musical ones. They approach new experiences as opportunities to learn rather than occasions to win or lose. Doing so opens them up to new possibilities and hence increases their sense of self-acceptance. Not doing so would turn every possibility into an opportunity for failure, and would inhibit personal growth. As a result, Ryanhood as a performing entity has demonstrated perpetual evolution to the point where no two performances (or even sets on the same date) are ever the same.

Ryanhood, again, successfully created a sense of intimacy and immediacy at Club Passim. The performance we heard was exclusive to this audience and evening, if even in the slightest and subtlest manner— created just for us, and will never be done exactly this way again. Ryanhood, as always, adapted their program to the needs and mood of this particular audience. Their level of intimacy and sincerity with audiences always connects, and in a way uniquely appropriate for that particular group of spectators. An appreciative (and sold-out) Passim audience rewarded the duo with not just one, but two standing ovations at the performance’s conclusion—a Club Passim anomaly, to say the least!
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Some of the highlights of the evening included both revamped versions of some of Ryanhood’s earliest material and a brand new song. The set’s opening number, “Can I Kiss You” from their Sad and Happiness CD, featured an entirely new musical atmosphere whilst not losing any of the elements that made the song brilliant in its original form. Likewise “Helpless Hopeless” from their Forward CD, which (it was announced) will be featured in its re-recorded manifestation on their forthcoming studio follow-up to Forward. Whereas this is one factor of what makes for a great band (the ability to masterfully reinterpret familiar material), another facet which is just as telling is the resonance of brand new songs. Perhaps the evening’s greatest highlight was a new song called “The World Awaits You.” Equally strong was another relatively new song they performed, "Around the Sun."

“Army” is another song that has gone through a significant transformation in structure and style (without losing a scintilla of its initial substance). This is the first song Ryanhood ever performed at Club Passim, back when most of the Passim audience had never heard of them. It instantaneously caught the attention and imagination of that audience way back then, and continues to fulfill a spiritual space in a manner that if could be articulated clearly would not have nearly as much value. So just trust me on this one.

Ryanhood brought copies of the limited CD pressing of their iTunes-available Live at Fiestas ‘06 and performed most of its songs—including their rendition of Jars of Clay’s “Show You Love.” Ryanhood, like Jars of Clay, have firmly established the viability of fusing spiritual themes with mainstream alternative rock sounds. What was most impressive is how much sound they can produce as a duo as to actually match the full bands (both JOC and their own on the Live at Fiestas ‘06 CD).

Another notable thing about this performance was the occurrence of audience sing-alongs (a Club Passim first for Ryanhood, I think), first on “Gardens and the Graves” and then again during the encore, “Alright.” “Gardens…” was one of the audience-requested songs (along with “Ivy” and “Welcome You Into My Head”).
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Nobody today interprets the music of The Beatles as well as Ryanhood. Nobody! I’m sure of that to both a metaphysical and moral certitude. It’s something I’ve proclaimed time and again. I’ll continue to do so.

There was once an acoustic musical duo similar (perhaps parallel) to Ryanhood, who incidentally had direct ties to The Beatles during their pre-Sergeant Pepper years. This duo had several hit songs written by Lennon & McCartney that were unrecorded by The Beatles themselves, and one that was written by Paul McCartney under a pseudonym. The duo consisted of Peter Asher and Gordon Waller and was called, naturally, Peter & Gordon. In the annals of music history their successes were considered to be due as much or more to their important connections as to their talent (Peter Asher was the older brother of Jane Asher, Paul McCartney's girlfriend for much of the 1960s). However, many musical reference sources, such as All Music, acknowledge that Peter & Gordon were significant talents in their own right, a sort of Everly Brothers-styled duo for the 1964-era British Invasion of the U.S. charts. One anecdote that has survived the test of time is that when Gene Clark first approached Jim McGuinn in 1964 about working together in a group that would eventually evolve into The Byrds, he suggested that they could form a Peter & Gordon-styled act.

I had completely obliterated all memories of Peter & Gordon’s existence until one afternoon in the summer of 2004. Ryanhood were performing during their residency at Boston’s Faneuil Hall/Quincy Market Street Performers Festival and had just finished a fantastic version of The Beatles’ “Two of Us,” at which point an older fellow approached me and told me that these two young performers reminded him of Peter & Gordon. It was a remarkable observation, to be sure, but one I was not eager to share with Ryan and Cameron. My fear was that they wouldn’t know who the hell Peter & Gordon were! Perhaps they would have; Peter & Gordon were, after all, the very first British Invasion act after The Beatles to take the number one spot on the American charts with "A World Without Love."

Ryanhood brought the timeless music of The Beatles back to life again at Club Passim. They performed another mystical version of John Lennon’s “Dear Prudence” and explained to the audience the derivation of both the song’s title and its meaning. The Beatles’ music again manifested itself in the set, this time as a “mash-up” with “Sad and Happiness” (a verse and chorus of “Let it Be”). Ryanhood successfully and effectively does something, from performance to performance, that perhaps Peter & Gordon would have never dared attempted back in the day even if they had so desired—playing actual recorded Beatles songs, and doing so expertly.

It could be that Ryanhood are the link between The Beatles and modern mainstream alternative rock. I’d like to think so myself—and do, in fact.

David D[ionne]