BOSTON, MA—March 21, 2004 - The “Ryanhood” in the topic line refers to an amazing ‘electrified’ acoustic guitar duo consisting of Iluminada’s Ryan Green and his long-time musical collaborator, Cameron Hood, from a band called Easyco. The waltz reference connotes the humorous theatrical theme of their magnificent performance at Boston’s Paradise Club yesterday. I heeded the advice given me by a very talented musician I recently met and saw their show before reviewing the CD on AUI. This turned out to be sound counsel. Essentially the material on the CD and the live repertoire are the same, but the CD doesn’t contain an important element that more clearly defines them.

Fans of their CD “Sad and Happiness” will love their live act. For those uninitiated, Ryan Green has described Ryanhood as a modern Simon & Garfunkel meets Dave Matthews & Tim Reynolds. Imagine if Art Garfunkel played guitar along with Paul Simon with comparable skill, and further imagine S&G “funked up” with soul power and you have Ryanhood.

Ryan Green is one of the most gifted guitarists I have ever seen. He’s in the same league as fellow Berklee grads Pat Metheny and Al DiMeola. Yet everything Ryan plays is constructed within the framework of a song. All of his lightning fast phrases and beautiful harmonics add texture to the tune, and aren’t done merely for the sake of displaying his masterful grasp of technique. Ryan’s partner, Cameron Hood, is a very skilled guitarist in his own right, yet is cognizant that all his skill is dwarfed in the context of performing alongside a progeny like Ryan. Cameron’s strengths lie in his excellent songs, great voice, and superb stage presence.

Some of the highlights included wonderful renditions of fine songs from their CD such as “Oh No,” “Softly, Slowly,” “Something That She Saw,” and “I Am Asking.” They open with a unique take on “Also Sprach Zarathustra,” and they’re not adverse to incorporate familiar tunes extemporaneously within their own songs, and even did a unique cover of The Beatles’ “Dear Prudence.” Ryanhood possesses a level of talent that might justify a serious, ostentatious delivery; they could get away with it. Instead, these guys are very warm with their audience and are outright hilarious between songs. I don’t know if either Cameron or Ryan has formally studied theater, but their rapport with a crowd is both funny and motivational. Cameron has comedic potential over and beyond his musical talents, and Ryan doesn’t miss a window of opportunity to deliver a witty line either. This element of Ryanhood is what separates their recorded work from the live performance. They are highly skilled musicians, but they are by no means pompous, pretentious, or arrogant. They’re great fun! This may be a product of their tenure performing at selected Boston MBTA Subway Stations (folklore has it that they sold an entire run of their CD to appreciative listeners). As grateful as some passers-by are, Boston is still the heart of New England, which means it’s the hub of human ugliness—so many don’t properly relish its finer artistic offerings. Cameron told us a story about performing in a “T” sub-station. Evidently one woman didn’t exactly savor either the song Ryanhood was playing or its poignant words. She proceeded to violently fling a coin at them and said, “Here’s a quarter; call someone who cares!”

Ah, yes…the time-tested New England humility training program. It makes it difficult for anyone—even Ryanhood—to develop a big head.

David D