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The Return of the Woofers

Mose, keyboard and harmonica, Wallace, bass fiddle, and Alison, vocals and jew’s harp were taking a well deserved break after a crazy summer on the road.  Their rusty 1979 Chevy van, Bobby Johnson – named after their favorite player of the blues, had miraculously made it from home in New York, NY in mid-June to San Francisco in early October and back again, with many stops in between, and also gigs north and south along both coasts.  It had been a successful tour.  Their new album, ‘Captain Arfheart’s Wagginess’ was selling well enough so they could afford better winter quarters than last year.  Last year they’d wintered in a dismal shelter filled with the biggest bunch of sad dogs and cats they’d ever met, out on Long Island.  This year they moved into a loft on Canal Street that was so nice and grand they decided to have winter performances, as well as adopt some of their friends from the shelter.  Well, maybe not the cats.

They made it home just in time to join Pete Seeger and his son, Arlo,  and the Wall Street protesters.  Pete, being over 90, had replaced his banjo with walking canes, so the Woofers had a blast  adding interesting orchestration to the protest songs as they marched up and down the streets.  They winged it with the unfamiliar union songs, but they’d always admired Woody Guthrie, and a jazz version of This Land is Your Land was part of their normal repertoire.   Afterwards, over beers and cheddar on saltines at McSorley’s , they drank a toast to the protestors who were protesting corporations and governments all over the world.  “Finally!” said Mose.  “It’s about Time!”  said Alison.  Wallace just nodded enthusiastically as he wolfed down an especially large pawful of crackers.  The winter ahead was looking better and better.

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A Studio Interview


In Anna Dibble's studio: Kimberly Wang of Eardog Productions
Studio shots, & Pepper, Radar and Theo

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Dogs, cats, and other animals as metaphors for our nonsensical human condition.
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All art images on this site are exclusively owned by Anna Dibble, and copyrighted. It is strictly against the law to use any of this art work digitally online or in reproduction.