“Before there were Radiators, there were Rhapsodizers. Before New Orleans had art punk, it had Room Service. Skulking in the background of the city’s most innovative musical entities of the 1970s and early ’80s was a gaunt, half-crazed musical Tesla named Clark Vreeland: sideman and foil to James Booker, cosmic architect with Earl King, muse to Little Queenie. After he left town in 1983, it was not uncommon to hear people cite him as the Crescent City’s best songwriter without being able to name a single song he’d written. Everyone knew he was a genius, but no one could say exactly what made him one. ”
“Vreeland’s New Orleans resume of the ’70s and early ’80s encompasses Ritz Hotel, an ensemble that included future Radiators bassist Reggie Scanlan. The Rhapsodizers featured Vreeland, the late Becky Kury on bass, and two future Radiators, keyboardist Ed Volker and drummer Frank Bua. The Rhapsodizers established the weekly Wednesday night gig at Luigi’s, a pizza joint near the University of New Orleans campus, which the Radiators later inherited. As Vreeland recalls, “Suck the Heads,” the classic Radiators ode to crawfish, originated in the back of his white van outside Tipitina’s prior to a Rhapsodizers gig. At the 1976 New Orleans Jazz and Heritage Festival, the Rhapsodizers backed Earl King, the rhythm & blues guitarist who wrote “Trick Bag” and “Let the Good Times Roll.” Vreeland and King hit it off. They often hung at the Tastee Donuts on Jackson Avenue, King’s de facto office.”
“Spanky's sets are dirty blues sessions that might include a gritty, Delta-mud-between-the-toes version of Willie Dixon's "I Want to Be Loved" along with a wiggly, slide guitar rendition of the narcotic, New Orleans hymn "Junko Partner"”
“Demonstrating the typical New Orleans musician’s appetite for experimentation, Vreeland has jumped from band to band between taking time to focus on his visual art, which is displayed in galleries and private collections around New Orleans and Atlanta.”
“Artwork throughout the house includes paintings by Malise Dennard's mother, Haydee Ellis, a well-known local artist. In the den is her over-sized portrait of guitarist Clark Vreeland.”
"unglamorous gigs playing for tourists and the backs of strippers."