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At yet another Tuesday night at the Living Room on New York Citya€™s Lower East Side, a performer in John Platta€™s monthly On Your Radar series mesmerized an audience. The notes rained steady like a metronome, the bass strings rock-solid and the treble, bell-like. He finished his set, and the audience rose to its feet, giving him an ovation that seemed longer and more fervent than the usual appreciative applause regularly awarded by monthly On Your Radar attendees. Ia€™d made a brief acquaintance with his work back in the mid-a€™90s, when his song a€?Irelanda€? hit the airwaves.
A phone conversation a week later would reveal that what Greg called a€?boringa€? turned out to be quite a roller coaster ride as he was pursuing his craft. Although he had a band, he wanted to go to school, so he enrolled at the University of Kansas. In 1980, a a€?benchmarka€? year, Greg moved to New York City, to make or break it as a performing songwriter.
Although he played solo, he was a€?looking for a banda€? and sought out guys who were a€?fun to play with.a€? After about two years of different lineups, he certainly found one. Grega€™s solo and co-written work form a treasure-trove of great listening a€” a desert-island collection, which, in my case, according to iTunes, amounts to about five-and-a-half hours. Once people dig into Grega€™s body of recorded work, the reaction usually is, a€?Why isna€™t this guy (take your pick) bigger a€¦ more well-known a€¦ hugea€¦?a€? While we mention a variety of lyrics and instrumental effects, the anchor for everything is Grega€™s voice, a dense baritone that reaches high notes with ease and packs emotion into every line. The live album Between a House and a Hard Place (2002) will give listeners a sample of Grega€™s sense of humor. On The Williamsburg Affair (2009), Greg covers Neil Younga€™s a€?Wrecking Balla€? that Emmy Lou Harris had success with on her Daniel Lanois-produced album of that name. His father worked in the design department of WOR Radio, one of the sponsors of the Beatlesa€™ shows at Shea Stadium. Jim and Tom Paschetto, two other extremely talented friends, joined them to form a band, which they called The Ravioli Brothers. His material included songs by Townes Van Zant, Waylon Jennings, Willie Nelson, Jerry Jeff Walker and Happy and Artie Traum. The Greg Trooper band that evolved consisted of Greg on lead vocals and guitar, Larry Campbell on guitar, fiddle and mandolin, Greg Shirley on bass harmony vocals and Walter Thompson on drums.
Although he moved back to New York in 2008, most of his recorded output has been from Nashville.


He can shift, mid-note, into a higher range for greater emphasis or break into a yodel if a Hank Williams cover demands it.
Its blistering attack of chiming guitar chords and steady tom-tom beat take me back to 1957.
It kicks off with a€?Nothina€™ But You.a€? This one chugs through with the urgency it needs to express a guya€™s return to the woman he regrets leaving behind. During the intro strumming of a€?Ia€™m So French,a€? we can only wonder whata€™s happening when the audience laughs as he says, a€?Ia€™m recording here! Ita€™s also not possible to convey the warmth and self-effacing humor of his live performances. After nearly a year, Greg moved back to New Jersey for a short while and then went to Lawrence, Kan. Around 1979, Jim Paschetto moved to Lawrence and joined Grega€™s band and the idea of writing original material took serious hold. Campbell, whoa€™s played with Dylan, gets our attention, but anyone in that kind of company would need to be good.
One article states that he was writing for Nashville publishers even while living in New York his first time around. The first two albums, Everywhere (1992) and Noises In The Hallway (1996), are out of print and can only be bought as used CDs from Amazon at this point. Ia€™m skipping ahead of a few favorites to get to the track that ends the album, a€?Ia€™ll Keep It With Mine,a€? a Dylan cover that makes a wonderful honky-tonk slow dance. After a couple of listens, I shared it with my wife and she identified it as a perfect Cajun two-step. Critics are saying that this album is yet another wonder in the series of great Trooper releases. I was starting to develop a direction and I liked lyric-based folk-rock.a€? Bob Dylana€™s influence crept higher.
The track is so amazingly strong that you might cut in on somebody with his girlfriend at the roadhouse, plead temporary insanity and not get your head stove in.
Youa€™ll get a taste if you go to YouTube and type in a€?Greg Trooper,a€? but thata€™s only a taste. Texas barbeque, Ia€™m so French!A  We also get to hear him do a€?Ireland,a€? in the only version I have at the moment until I can pick up a copy of Everywhere.


His brother, two years older, had been instrumental in turning Greg on to the major rock acts of the day.
However, a€?WOR was the first New York album-oriented rock-and-roll FM station,a€? he said.
In the early a€?70s, Greg was in his late teens when the work of John Prine and Steve Goodman made an impact. On their way out west, Greg and Richard stopped in Emporia, Kan., to visit a friend and wound up playing gigs in the area for about a year. Then, after two years, although he was doing well at school, he felt antsy to move forward in his desire to a€?make records,a€? so he quit. Also during this time, Greg wrote a€?The Hearta€? with Tom Russell, who was living in New York then. If great writing, perfect recording and stellar performances are your thing, this is the guy for you. However, a€?WOR was the first New York album-oriented rock-and-roll FM station,a€? he said.A  a€?We still have some psychedelic posters from WOR that my father did the lettering for,a€? he stated. There are a few similar characteristics to the main figure in Suttree, but otherwise, ita€™s all Greg. In addition, a€?Ireland,a€? included on his 1992 album Everywhere, according to a quote we saw somewhere, was written as a tribute to his wife.
The song captured the spirit of Ireland so well that Irish folk diva Maura Oa€™Connell covered it, and the song subsequently saw heavy rotation on Fordham Universitya€™s (WFUV) radio playlist a€” back then, this authora€™s only source of preferred music. In an online interview, Greg is quoted: a€?I was desperate back then a€¦ I was living in a trailer park a€¦ We were just desperadoes with shitty jobs. A friend and I saw Greg play an inspiring set at the Mercury Lounge in the mid a€™90s and stopped to pay our respects afterward. It was just different, or maybe it was just different for me, chasing the dream of making music.



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