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(Above: The Wailers perform Bob Marley’s eternal “Is This Love” at Glastonbury 2014.)

By Joel Francis
The Kansas City Star

Bob Marley has been dead for almost as long as he was alive, but his music isn’t going anywhere.

Several hundred fans flocked to the Uptown Theater on Friday night to hear the late reggae legend’s music performed by his former backing band, the Wailers. Although only one member of the current lineup performed and recorded with Marley, the band does an outstanding job of replicating Marley’s influential sound.

The arrangements stayed faithful to the recorded versions, making the rare moments when the band stretched out even more insightful. Guitarist Audley “Chizzy” Chisholm added a pair of inventive guitar solos to “Lively Up Yourself” and “Jamming.” Despite the band playing it safe, the songs remained encouraging, inspiring and, at times, confrontational.

Songs from “Legend,” Marley’s omnipresent greatest-hits package, drew the biggest responses. The opening notes of “Could You Be Loved” and “Jamming” were all it took to get everyone dancing. An enthusiastic call-and-response during the chorus on “Buffalo Soldier” pumped up the already energized crowd.

Chisholm and singer Dwayne Anglin performed alone for a stirring version of “Redemption Song.” The full band returned for an extended medley of “Exodus” and “Punky Reggae Party” to close the 90-minute set.

rusted root FYI 03132015 sp (4)Rusted Root, a five-piece band from Pittsburgh, mixes world instruments and rhythms with jam-band sensibilities. Its 100-minute opening set included two new songs and highlights going all the way back to the band’s 1992 debut album.

Standout moments included the propulsive “Rain,” a duet between lead vocalist Michael Glabicki and utility player Liz Berlin, who also played washboard. The hypnotic “Laugh as the Sun” found Berlin on pennywhistle. A reworked cover of “Suspicious Minds” opened with dueling bass and drums.

The set peaked with a massive romp that started with the Indian-tinged chant “Voodoo.” That led into a drum solo and jam, before working into “Ecstasy.” Everyone sang along with the closing number, “Send Me on My Way,” the band’s first and biggest hit.

Boston’s Adam Ezra Group started the night with a heartfelt half-hour set.

The Wailers setlist: Intro; Easy Skanking; Could You Be Loved; Lively Up Yourself; Survival; The Heathen; Rastaman Vibration; I Shot the Sheriff; Who the Cap Fit; Trenchtown Rock; Buffalo Soldier; Jamming; Encores: Redemption Song; Medley: Exodus/Punky Reggae Party.

Rusted Root setlist: Welcome to My Party; Martyr; Lost in a Crowd; Suspicious Minds; Tumbleweed; Food and Creative Love; Laugh as the Sun; Cover Me Up; Save Me; Rain; Voodoo (drum solo); Ecstasy; Send Me on My Way.

Keep reading:

Review: Toots and the Maytals, the Wailers

Review: Skatalites

Review: Jimmy Cliff

(Above: D’Angelo exposes “The Charade” in the opening hours of Black History Month on “Saturday Night Live.”)

By Joel Francis
The Daily Record

Two anthems of the civil rights movement were released within days of each other, in the dying weeks of 2014. John Legend and Common wrote “Glory” for the civil rights film “Selma.” As the third track on D’Angelo’s long-delayed third album, “The Charade” was released with less fanfare but greater anticipation.

More importantly, after being shunted to the underground for more than a decade, protest music has reemerged in the mainstream. Both “Glory” and “The Charade” were performed on national, network television in February.

Glory-From-the-Motion-Picture-_Selma_-SingleOn paper, “Glory” almost looks too obvious. John Legend recorded an entire album of R&B protest songs with The Roots in 2010 (with Common guesting on the lead single). Common’s history of uplifting poetry has earned him invitations to perform at the White House and guest spots from Maya Angelou and the Last Poets on his albums. “Glory” isn’t the first time Common has invoked Martin Luther King for a film. In 2006, he collaborated with Will.I.Am an end-credits anthem for the movie “The Freedom Writers” that sampled King’s “I Have A Dream” speech.

It is clear from the opening gospel chords, that “Glory” is a celebration. It doesn’t challenge the listener like Common’s “Song for Asatta” or Legend’s version of “I Can’t Write Left Handed.” It something we can all feel good about while listening. That may sound like an insult, but it’s not. The civil rights movement brought out the worst in our society, and anyone who weathered that storm, or had a loved one who did, deserves a moment to catch their breath, smile and feel proud.

(Above: Common and John Legend show “Glory” at the Grammys.)

While “Glory” namechecks Ferguson, “The Charade” captures the confusion, frustration and anger of the injustice there. “All we wanted was a chance to talk,” D’Angelo pleads in the chorus. “’Stead we only got outlined in chalk.”

Like most of the songs on “Black Messiah,” “The Charade” doesn’t announce its presence as much as slink into being. D’Angelo’s lyrics are tough to decipher on the first listen, demanding repeated listens and close attention. “Glory” has a gospel choir; “The Charade” has multi-tracked vocals.

The difference between the songs is even more stark in performance. On “Saturday Night Live” D’Angelo and his band dressed in all black, with a chalk outline behind the singer on the floor. Backing vocalists wore shirts stating “I Can’t Breath” and “Black Lives Matter.” D’Angelo wore a hoodie, his face hidden in the shadows. The blistering delivery was a gauntlet – ignore this, America. Driving the point home, the ensemble raised fists in the air over the dying notes, summoning images of John Carlos and Tommie Smith at the 1968 Olympics.

Less than two weeks later, Common and Legend were tapped to close the Grammys. Backed by an orchestra and a gospel choir, everyone wore suits and was clean-shaven. The production dovetailed with Beyonce’s stirring version of “Take My Hand, Precious Lord,” King’s favorite song. The performance was moving, but if “Glory” didn’t feel as powerful as “The Charade” on “SNL,” it might be because it felt more safe.

“Glory” points to how far we’ve come and “The Charade” shows how far we have to go, but both songs end up at the same hopeful place. “Comin’ of the Lord, my eyes have seen the glory,” Common concludes. “With the veil off our eyes, we’ll truly see/and we’ll march on,” D’Angelo affirms. “And it really won’t take too long.”

Keep reading:

John Legend and the Roots – “Wake Up!”

Edwin Starr – “War”

Review: Gil Scott-Heron

(Above: “Funk n Roll” is the standout track on one of the best Prince albums in years.)

By Joel Francis
The Daily Record

Best-of lists are ubiquitous this time of year. Because The Daily Record loves you so much, we do it in haiku.

war on drugs1.      War on Drugs – Lost in the Dream
Title says it all.
Chet Baker sang let’s get lost.
Join me won’t you, please?

2.      TV on the Rado – Seeds
Title song is hymn:
“This time, I’ve got seeds on ground.”

Makes my soul smile.

3.      Flying Lotus – You’re Dead
DJ, hip hop, jazz
Introspective mélange iskelis
 feast for brain and ears.

4.      Old 97s – Most Messed Up
20 years later,
Too Far To Care gets sequel.
Band is best when messed.

5.      Kelis – Food
Ribs, cobbler, fish fry.
These tasty song titles whet
appetite for tunes.

6.      Hold Steady – Teeth Dreams?????????????
Lucero axeman
adds grit to busy lyrics.
The Ambassador.

7.      New Pornographers – Brill Bruisers
Supergroup returns
with best batch of power pop
since Twin Cinema.

8.      Lydia Loveless – Somewhere Else
Farm girl references
Verlaine, Rimbaud, Chris Isaak.
eno high life
Arty honky tonk?

9.      Brian Eno and Karl Hyde – High Life
2 albums, 2 months.
Ambient meets house, techno.
Second one is best.

10.  Warpaint –Warpaint
Female quartet takes
four years after debut.
Follow-up worth wait.

Keep reading:

Top ten albums of 2013

Top 10 albums of 2012

Top 10 albums of 2011

 

Review: Bootsy Collins

(Above: Bootsy Collins takes the stage in Kansas City, Mo. for the first time in a generation.)

By Joel Francis
The Kansas City Star

Bootsy Collins comes by the nickname Star Child honestly. He plays a light-up star-shaped bass, is famous for his star sunglasses and has a personality so radiant he could be nothing but a star.

But it has also been many moons since the R&B pioneer and right-hand-man in George Clinton’s Parliament-Funkadelic empire has been to town. Before Collins took the stage Saturday at VooDoo Lounge, his MC announced the last time the band was in Kansas City it played a funk festival at Arrowhead Stadium. If true, that would have been in the late 1970s.

Collins made up for lost time, opening with a torrential 20-minute medley of both solo and P-Funk classics. Snippets of “Hollywood Squares,” “Mothership Connection” and “Dr. Funkenstein” had the entire house dancing. Although he would perform some complete numbers, most of the night was basically a medley of his best-known songs and choruses.

The two-hour set only slowed down once, for the ballad “I’d Rather Be With You.” Even then, Collins slipped a few bars of “What’s a Telephone Number” and “I Just Called to Say I Love You.” It’s incredible this hit was selected from all of Stevie Wonder’s considerable contributions to funk. It’s even more remarkable that Collins and his band made it work.

DSC_4314Several members of the 10-piece unit have played together for decades. Vocalist Mudbone Cooper and keyboard player Razor Sharp Johnson date to the original Rubber Band from the ’70s.

MC and drummer Kash Waddy goes back even further. He played with the Collins brothers in a band called the Pacemakers that was discovered by James Brown in the 1960s. Collins touched on those days during his monologue about working with Brown on the jam “Funk (Making Something out of Nothing).”

Collins was a little too generous in sharing the spotlight. He left the stage for tributes to friends Bobby Womack and Buddy Miles, a cover of Dee-Lite’s hit “Groove Is in the Heart,” on which he originally played bass, and, oddly, Parliament’s “Flashlight.” The performances were fine, but Collins was missed. His personality is huge, and just him being onstage pushed the energy up a couple notches.

Every time Collins left the stage he returned in a different outfit. The best was the mirror-ball tuxedo and top hat he wore to open the show, and the red-sequined Casper the Friendly Ghost gown he debuted last. During “Tear the Roof off the Sucker,” a couple of bandmates helped Collins remove the ghost gown to reveal a Chiefs jersey of Alex Smith underneath.

Dressed as if he were ready to return to Arrowhead, Collins jumped into the crowd and spent about 10 minutes hugging fans, shaking hands and posing for selfies as the band roared on.

When he finally returned to the stage, Collins announced he was auctioning the jersey to raise money for his Bootsy Collins Foundation. The jersey brought $600, and the winner got the privilege of closing down the vamp on “One Nation Under a Groove.”
Setlist: Bootsy? (What’s the Name of this Town) > PsychoticBumpSchool > Hollywood Squares > Mothership Connection > Dr. Funkenstein, Groove Is in the Heart, Don’t Take My Funk, Body Slam > Funk (Making Something out of Nothing), I’d Rather Be With You (including What’s a Telephone Number, I Just Called to Say I Love You), Them Changes, Flashlight, Stretchin’ Out (In a Rubber Band) > Funk (Making Something out of Nothing) > Tear the Roof off the Sucker > Touch Somebody > Aqua Boogie > One Nation (Under a Groove).

(Above: Toad the Wet Sprocket “Fly from Heaven.” The band lands at the Uptown Theater in Kansas City, Mo. on Thursday, Nov. 20.)

By Joel Francis
The Daily Record

The question never went away. Inevitably, someone would ask Glen Phillips when his old band, Toad the Wet Sprocket, was getting back together.

When that finally happened, the question changed: When are you making a new album? Sixteen years after their previous release, the answer arrived last summer with “New Constellations,” a Kickstarter-funded set of 15 new songs.

If that sounds like a long wait for a fan, think of it from Phillips point of view. Although happy to be back onstage with his friends, he was confined to singing material written during his early 20s.

“It was nice to be young, but I don’t want to live there forever,” said Phillips, now 43. “The new songs feel like us, but also feel relevant to what we do now. In addition, they have also brought our older material into new, broader context.”

1-toad2Toad the Wet Sprocket formed in the late ‘80s, and peaked in the early ‘90s. The quartet’s laid-back vibe provided an antidote to the angsty grunge dominating the radio at the time. In 1998, after two platinum albums, one gold record and a dozen Top 40 hits, the band called it a day.

“Enough years have passed and there is enough ease between us now that it was fun to come in and get to deal with Toad as a project,” Phillips said. “It used to be every song I wrote I brought to the band. If it didn’t work there, I had no other outlets.”

That depth was also helpful in selecting songs. “Finally Fading” originally appeared on Phillips’ 2005 album “Winter Pays for Summer.” “Bet On You” was built on “See You Again,” a song from fellow Toadster’s Todd Nichols and Dean Dinning’s Lapdog project.

“We did a lot of culling. Todd and Dean brought some songs in where I’d finish lyrics on them,” Phillips said. “When we reached the end it felt like there was a lot of up-tempo pop songs. We needed more slower, emotional material. That’s when I came up with ‘Enough.’”

With the amount of time between releases and amount of preparation that went into “New Constellations,” Phillips cautions this may be Toad’s final album before conceding even he doesn’t know the band’s future.

“What we may do in the future is do a single than a full ramp-up to an album,” Phillips said. “Making an album puts you on a long schedule. It is interesting to think about. We may look back and say ‘Why did we go through all of that?’

“Or maybe we will do another whole album. I don’t know.”

When Phillips and his bandmates last came to town, they were previewing “Constellations” material. Now, 15 months later, audiences have had time to learn the new songs and sing them back with the same passion as old favorites.

“We were never the cool kids,” Phillips said. “the people who stuck with us did because our music means a lot to them. That really benefited us (with the Kickstarter drive). We have been speaking to people’s hearts for a while and they decided to give back.”

Keep reading:

Review: Toad the Wet Sprocket

Matthew Sweet returns to Midwest Roots

Review: The Rainmakers

Review: Los Lobos

(Above: Unplugged or electric, Los Lobos know how to move a crowd.)

By Joel Francis
The Kansas City Star

To celebrate how far they have come as a band over the last 40 years, Los Lobos went back to where they started.

Over the course of more than a dozen studio albums, the quintet from East Los Angeles has covered folk, blues, R&B, film scores, and traditional and experimental rock. For two hours on Friday night at Yardley Hall, the only English spoken came between songs, and there were no electric guitars in sight.

Instead, the set list focused on traditional Tex-Mex and Latin American songs, with a few originals tossed in for good measure. Despite their different sources, the material blended perfectly.

The songs also displayed different strengths and talents. Several showcased excellent three- and four-part harmonies. Guitarist David Hidalgo not only played violin during “El Gusto,” he also sang a lead vocal line that took him into falsetto on the chorus.

Perhaps the best singing of the night came during “Sabor a Mi.” The ballad allowed Cesar Rosas to show off a range and expression only hinted at on the band’s mainstream releases.

4006_loslobos_MARQUEE_SNP509546v1Taking the stage, spaced evenly in a single row across the front, Los Lobos opened with “Yo Canto,” a track from their latest album, 2010’s underrated “Tin Can Trust.” The song was typical of the night: rapid tempo, high energy and spot-on. In fact, the band slowed down only twice before pausing for a 20-minute intermission.

Behind the band rested enough guitars of different sizes and shapes to open a music store. Conrad Lozano, the only musician not to trade instruments throughout the night, played an acoustic bass so big it looked like a small rowboat slung over his shoulder with a short neck attached.

Steve Berlin was the night’s not-so-secret weapon. He didn’t play on every song, but his contributions added just the right color to the performance. He played two great soprano sax solos during “Borinquen Patria Mia” and “Bailar la Cumbia.” Berlin’s bass sax on “Chuco’s Cumbia” delivered the deep urgency that made the song hit even harder.

Several numbers were staples of Los Lobos’ earliest repertoire as a wedding and restaurant band. It wasn’t hard to imagine the band’s tip jar overflowing during the final three numbers of the night. “Volver Volver” finally got a few fans on their feet, while “Guantanamera” provided material familiar enough to sing with. Berlin also added a great flute solo on that one.

The quintet returned for a traditional reading of its biggest hit, “La Bamba.” The band has been playing this one since it hit No. 1 in 1987, but as the musicians traded verses and exchanged smiles it seemed no one, onstage or off, had gotten tired of it.

Setlist: Yo Canto, Colas, El Cascabel, La Pistola y el Corazon, Los Ojos de Pancha, El Cuchipe, Arizona Skies/Borinquen Patria Mia, Sabor a Mi, Pajarillo, El Gusto. Intermission. Los Mamonales, Cancion del Mariachi, Chuco’s Cumbia, La Feria de las Flores, Bailar la Cumbia, Mexico Americano, Ay te Dejo en San Antonio, Volver Volver, Guantanamera. Encore: La Bamba.

Keep reading:

Review: Ringo Starr

(Above: The run from “Don’t Pass Me By,” “Yellow Submarine” and “Black Magic Woman/Gypsy Queen” was one of the strongest parts of Ringo Starr’s long overdue return to Kansas City in October, 2014.)

By Joel Francis
The Kansas City Star

The last time both Paul McCartney and Ringo Starr both performed in Kansas City in the same year they were onstage together at Municipal Stadium.

The Fab Four’s drummer gave his first performance in the area since 1992 on Saturday night, only three months after McCartney’s concert at the Sprint Center.

Starlight Theater wasn’t quite full, but judging from the crowd’s reaction to “Yellow Submarine” and “With A Little Help from My Friends” many people had waited a long time for this moment.

Several members of Ringo’s All-Starr band were also making belated returns. Bass player Richard Page congratulated the Royals for their playoff success and noted that last time he played Kansas City his band Mr. Mister was opening for Tina Turner, and the Royals had just won the World Series. Guitarist Steve Lukather said he couldn’t remember the last time he was here.

ringoNow in its 25th year and 13th iteration, the All-Starr Band works as a round-robin jukebox with each musician taking the spotlight, then introducing the next band member up. Guitarist Todd Rundgren was the biggest name on the bill aside from the headliner. While the other names may not have been as familiar, the songs they helped take to the top of the charts – “Rosanna,” “Evil Ways,” “Broken Wings” – definitely were.

The seven-piece band had the most opportunity to stretch out and show off on the Santana numbers – “Evil Ways,” “Oye Como Va” and especially “Black Magic Woman/Gypsy Queen” – lead by organist Gregg Rolie, a founding member of the Santana band. Lukather handled lead guitar duties for most of the night, but seem to save his best solos for those songs. Surprisingly, the band also jammed over a slowed-down Bo Diddley beat during Toto’s “Roseanna.” Rundgren’s “Bang on the Drum” incorporated a bit of “Low Rider” during Page’s bass solo.

The only unfamiliar song in the two-hour set was Page’s “You Are Mine.” Rundgren’s amazing guitar arrangement for the ballad showed why he has been an influential and in-demand producer for several decades.

As expected, the Beatles material and early Starr solo singles drew the biggest response. Starr opened and closed the set with a trio of songs and peppered another five in between. His contribution to “The Beatles” album (known as “The White Album”), “Don’t Pass Me By” was a fun surprise. Lukather, Rundgren and Page were clearly having a ball playing their hero’s songs. All three huddled together, sharing one mic on the choruses of “Boys” and “I Wanna Be Your Man.”

The night closed with the introduction of Billy Shears and “With a Little Help from My Friends.” As the song was winding down, the band jumped into John Lennon’s “Give Peace a Chance,” a fitting tribute to the man who has made peace and love his motto.

Setlist: Matchbox, It Don’t Come Easy, Wings, I Saw the Light, Evil Ways, Rosanna, Kyrie, Bang the Drum All Day, Boys, Don’t Pass Me By, Yellow Submarine, Black Magic Woman/Gypsy Queen, Honey Don’t, Anthem, You Are Mine, Africa, Oye Como Va, Love is the Answer, I Wanna Be Your Man, Broken Wings, Hold the Line, Photograph, Act Naturally, With a Little Help from My Friends > Give Peace a Chance.

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