The documentary ‘Waiting: The Story of Van Duren’ has sparked significant interest in Van Duren’s music, leading Omnivore Recordings to unveil a live recording spanning over 30 years. This recording features Van Duren and his former band ‘Good Question’ and is titled ‘Cartwheeling: Live In Memphis.’
It stands as a triumph on various fronts, including the thoughtfully curated song selection, outstanding performance, impeccable sound quality, and extraordinary vocal delivery.

Sweet Sweet Music blog recently interviewed Van Duren, delving into the memorable evening in 1992 when the recordings were made and exploring the intriguing story of how it all came to light more than thirty years later.

Rarely does a live recording, spanning over 30 years, see its inaugural release. How did this unique occurrence come to be?

Good Question was formed in August 1982, and by late 1991–more than 9 years on–we had released a full-length album of original material (Thin Disguise, 1986) and played hundreds of shows. We had added a lot of new original songs to our live repertoire and thought a quick way to document those new songs was to record a live performance, which we scheduled for mid-January 1992. At the same time, I had been considering a pivot to embracing the “Van Duren” material again, possibly doing another Van studio album. So when it came time to put together the song list for the live show/recording, I included one song from my first album, ARE YOU SERIOUS? (“The Love That I Love”) and one from the second, IDIOT OPTIMISM (“Tennessee, I’m Trying”) which in 1992 had never been released. There were also a lot of new songs on the list as well. So we brought in 80 of our friends and family to a large room in Memphis equipped with multi-track recording, added my old friend Rick Steff to play keyboards with us, had one rehearsal, and went for it. A few weeks later, we did a mix of the show, and it sat in my music room for 30+ years. I finally pitched it to Omnivore Recordings and they very kindly agreed to release it.

Is it gratifying for you when there’s enduring interest in your musical history?

Very. Actually surprising as hell. My intention was always to write and sing and play to the best of my ability–and to always have fun with it. I think that you have to please yourself before anyone else will appreciate your work, whatever field you work in. That’s what I’ve always aspired to do. And it’s very sweet, extremely gratifying that so many people have enjoyed these albums–15 or so now. AND the documentary film from 2019.

That particular night sounds like you and the band were ruling the world. Were you aware in the moment that it was a stellar performance, and how could you tell?

Honestly, we played that well together at every show BUT we were keenly aware of this one being documented so it was very special to us. It was just a killer band, hilarious at times–a very magical group of guys. One of my biggest regrets, though, is that our terrific bassist for the first 12 years of Good Question, Ray Sanders, died of a brain hemorrhage in 2003 at age 53 and is not around to witness this grand appreciation of his genius. Ray was the soul of that group, and the best bass player I ever worked with. And you know, I am sure that his spirit is smiling.

From sharp rock to sweet soul to stubborn pop, you delivered an intense vocal performance in various styles. Is this versatility a defining aspect of your identity as a singer during that era?

Stubborn Pop. I love that, and it’s absolutely right on. We played what we wanted to play, and Ray, James Lott, and Joel Williams interpreted my songs perfectly. Vocally, I was blessed for decades with a voice that could deliver, and it really was just “there” when I started singing. Both of my parents had wonderful voices, sang around the house all the time, so I came by it naturally. The trick was always to have a good song, then see what I could do with the vocal to make it better.

In the liner notes, you mention this concert marked a transitional period as ‘Good Question’ seemed to be concluding, and you were venturing back into your solo career. Was that a complex phase?

It actually took longer than I thought at that moment in time. Within 6 months James and Joel had left the band while Ray and I carried on with a new guitarist and drummer. Ray left in late ’94 to play with Billy Swan (still an old friend) and Good Question continued to work in Memphis with several different players off and on until 1999. But we never recorded again. I did 2 albums with Tommy Hoehn (1999 and 2002) and then finally went solo again with solo albums number 3 and 4 in 2005 and 2010 (Open Secret and Resonance Road)

The early 90s musical landscape was intricate. While I cherished beautiful melodies, the prevailing advice was to embrace grungy, dissonant guitars. I’m sure you couldn’t have missed that cultural shift, could you?

No, I was completely aware of trends in music and always have had my ear to the ground, so to speak. And I’ll point out that there are some VERY grungy guitars on this album, as we’ve done before and after the “grunge” era. But all through my career (which now spans parts of 6 decades) I’ve followed my own muse when it comes to flavors of the month, if you will. There is ALWAYS terrific new music being released, and I adore artists like Khruangbin and Fiona Apple and Mol Sullivan–but I’d be an idiot to attempt to play their music, you know? I know my limits, and I also think that most original artists perform their work best. For the past 12 years I’ve been working with the brillant Memphis singer/songwriter Vicki Loveland–we have 3 albums out–and it has been so inspiring and rewarding to work with an artist who can write and deliver songs from the female perspective. Extremely artistically gratifying.

The music industry has undergone significant changes since 1992. What transformation has left the most profound impact on you?

Negative impact: Spotify etc, and AI

Positive impact: In my opinion, McCartney and The Rolling Stones still setting the standards for my generation, still doing it and doing it well, at least for 80 year olds. Also, so much great new music I discover all the time.

For me personally, I am just happy to still do what I do, day in, day out. And grateful for the random kindness from a guy in The Netherlands. Thank you, Patrick.