<body><div><figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=21vR7Q_1GpSW7sH00" alt="https://img.particlenews.com/image.php?url=21vR7Q_1GpSW7sH00" width="972" height="1296" ><figcaption>The timeless Marshall Crenshaw.</figcaption></figure>Clocking in at 73 by the time his birthday hits on Nov. 11, Marshall Crenshaw is at a point in his life where self-reflection comes in many forms.One way is a reissue campaign via Yep Roc Records that’s not only found his first two albums, the self-titled 1982 debut and 1983’s sophomore bow Field Day, getting the deluxe treatment, but also seeing a new collection of home recordings from that time period get unleashed on the public called The Bootleg Sounds of Marshall Crenshaw: 1984-87. A week-long project that was conducted at drummer Jerry Marotta’s Dreamland Studios, Bootleg Sounds was a labor of love that involved baking the tapes to preserve them within the confines of this cozy space packed with analog equipment that was formerly a church. This walk down memory lane proved to be a rewarding experience for the Detroit native.“There were some bittersweet memories of the time period, but it sounded to me like I was onto something, but whatever I was onto in the beginning, maybe it got corrupted along the way,” he said with a self-deprecating laugh. “To put it in a general way, I just felt good about hearing it. Plus, I’m hearing some instruments I used to have that I don’t have anymore. I’m like, ‘Damn, I wish I still had that Fender six-string bass or that had that 1960 Esquire that I don’t have anymore.’ There was nostalgia in there for different things, including instruments.”He added, “My favorite part was finding things like a little fragment of a recording by Kirsty MacColl that she sent me that made me really happy. I forgot all about that. I’m listening, and there’s one song of mine that finishes, and she just kind of popped up out of the speakers all of a sudden. It’s like, ‘Oh, hello.’ It was really cool because she was a really sweet human being and we were friends. It was a nice thing that was there.”A My Father’s Place regular dating back to the early ’80s, Crenshaw has been hitting the touring trail with the same sidemen for the past four years — Fernando Perdomo (guitar, vocals), Derrick Anderson (bass, vocals) and Mark Ortmann (drums). Given the chemistry the quartet has developed and a canon that runs 11 studio albums deep, the septuagenarian power pop icon is wont to hit the stage without the benefit of a set list.“My shows touch on all the points on the timeline,” Crenshaw explained. “If it’s somebody coming to the show that knows my stuff, hopefully they’re going to hear something of mine they want to hear. I should mention that the band is good too. It’s a band that I’ve had now…next year will be the fifth year. It really comes natural at this point for us to play together. Everybody in the band is really good.”Crenshaw’s own musical journey began in the Detroit suburb of Berkeley. He was entranced by his father’s playing on a cheap guitar (“It was always fun to see him clowning around with that thing. He was always very high-spirited, and it always made me want to play guitar”) and, when he was 10, finally picked up his own axe (“…it was probably a $17-dollar job from Sears”) after a cousin taught him how to tune it. Between an early fascination with Buddy Holly singles (“The first time I heard ‘Not Fade Away’ and the guitar solo, that was the one that stopped me in my tracks”) and the fact that he started playing guitar the summer before The Beatles broke in the States, the die was cast for a life of writing and recording music.Both the Fab Four and Holly loomed large for Crenshaw. For the former, it meant playing John Lennon in the touring version of the musical revue Beatlemania, a role Crenshaw landed after seeing an ad in the back of Rolling Stone seeking musicians. As a major Beatles fan, the Michigander felt a mix of revulsion and intrigue.“I’d read about Beatlemania in Time Magazine and seen the pictures and thought it was kind of abominable,” Crenshaw recalled. “But then when I saw the classified ad, I wondered if I could pull it off and maybe it would be a door that would open that would lead to some other opening in life.”After a two-year stint in Beatlemania, Crenshaw left in February 1980. Six years later, he was cast to play his hero Buddy Holly in the 1986 Ritchie Valens biopic La Bamba. And while it took director Luis Valdez and producer Taylor Hackford to convince Marshall to take the role, it’s a decision he looks back on fondly to this day.“Being in that movie was a significant thing for me because the movie has had such a long afterlife,” Crenshaw explained. “It was huge when it was out and the soundtrack was a number one album. It’s just continued to be iconic for lots of people. That is one of those great things that happened and while there were other things that happened, La Bamba was a particularly big one.”Marshall Crenshaw will be playing on Nov. 14 at My Father’s Place at the Roslyn Hotel,1221 Old Northern Blvd., Roslyn. For more information, visit myfathersplace.com or call 516-625-2700.</div></body>

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Clocking in at 73 by the time his birthday hits on Nov. 11, Marshall Crenshaw is at a point in his life where self-reflection comes in many forms. One way is a reissue campaign via Yep Roc Records that’s not only found his first two albums, the self-titled 1982 debut and 1983’s sophomore bow Field Day, getting the deluxe treatment, but also seeing a new collection of home recordings from that time period get unleashed on the public called The Bootleg Sounds of Marshall Crenshaw: 1984-87. A week-long project that was conducted at drummer Jerry Marotta’s Dreamland Studios, Bootleg Sounds was a labor of love that involved baking the tapes to preserve them within the confines of this cozy space packed with analog equipment that was formerly a church. This walk down memory lane proved to be a rewarding experience for the Detroit native.

Marshall Crenshaw hops on a time machine with new collection

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Clocking in at 73 by the time his birthday hits on Nov. 11, Marshall Crenshaw is at a point in his life where self-reflection comes in many forms. One way 

Marshall Crenshaw hops on a time machine with new collection

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