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Posts Tagged ‘Lucinda Williams’

(Above: ‘Song stylist’ Bettye LaVette captivates a sold-out crowd at Knuckleheads in Kansas City, Mo. with an a capella version of Sinead O’Connor’s “I Do Not Want What I Haven’t Got.”)

By Joel Francis
The Kansas City Star

Bettye LaVette didn’t write any of the songs she performed for 90 minutes in front of a sold-out crowd Saturday at Knuckleheads, but she owned every single one of them. It’s hard to imagine the original songwriters — including John Lennon, Pete Townshend, Lucinda Williams and Cee-Lo Green— investing more emotion than LaVette poured into her performance. Her voice ached and cracked with every syllable and her arms and legs writhed on every word.

Chatty and playful, LaVette told the audience the biggest reason why she covered Gnarls Barkley’s “Crazy” was so her grandchildren would think she was hip. By stripping the song of its kinetic energy and slowing the tempo way down, LaVette turned the ubiquitous hit into a cathartic confession. It also illustrated why she’d rather be called a “song stylist” than a singer.

09.03.08_bettye_lavette253At any other concert LaVette’s mournful, pleading reading of the Who’s “Love Reign O’er Me” would have been the showstopper. Saturday night it was only one of many powerful moments that earned pin-drop silence from the crowd. Other stand-out moments included “The Forecast” and the haunting country ballads “Choices” and “The More I Search (The More I Die).”

While many of the top performances were quiet, LaVette and her four-piece band did a great job of varying tempos and textures. A cover of Lucinda Williams’ “Joy” was bathed in a swampy funk. “I’m Tired” was wrapped in a twisted country-rock guitar riff. The band’s best moment came on “Your Turn to Cry” when it successfully re-reated the Muscle Shoals production from LaVette’s shelved, would-be 1972 recording.

LaVette discussed those disappointments frankly, sharing how much she wanted to be on American Bandstand and how crushed she was when the show’s producers found her debut 1962 single “My Man – He’s a Lovin’ Man” too suggestive. She said that much of her life had been pretty good, except that she was continually denied her biggest joy, the opportunity to sing.

The happiness LaVette has found over the past 10 years when her career finally started taking off was evident in the night’s final songs, “Close As I’ll Get to Heaven” and an a capella reading of Sinead O’Connor’s “I Do Not Want What I Haven’t Got.”

Setlist: The Word; The Forecast; Take Me Like I Am; Choices; Joy; Your Turn to Cry; They Call It Love; Crazy; My Man – He’s a Lovin’ Man; The More I Search (The More I Die); I’m Tired; Love Reign O’er Me; Close As I’ll Get to Heaven; I Do Not Want What I Haven’t Got.

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(Above: Pieta Brown sings to Loretta Lynn.)
By Joel Francis
The Kansas City Star
When Pieta Brown was in town almost two months ago, she played her songs before a sold-out Midland Theater. As the opening act on Mark Knopfler’s tour, she had a dream gig of full houses and open-minded audiences.

Opportunities like that can boost a career, but it doesn’t happen overnight. Which is why just seven weeks later, Brown was back. The material may have been the same, but without Knopfler’s boost, Brown had trouble drawing more than three dozen people to her early evening set Friday night at Crosstown Station.

These are the roller coaster realities of an emerging artist, all too familiar to Brown. The daughter of folk singer Greg Brown, she released her first solo album in 2002. Her latest release dropped in April. On those albums Brown has crafted a sound that will please fans of Kathleen Edwards, Carrie Rodriguez and the Cowboy Junkies.

As before, Brown arrived armed with guitarist Bo Ramsey, who not only produced several of her father’s albums, but has also worked with obvious influences Lucinda Williams, Ani DiFranco and Calexico. Brown’s songs provided ample space for his tasty, slow-as-molasses solos to drip out.

Above: Bo Ramsey, left, and Pieta Brown during a 2009 performance.

The duo’s 75-minute set included several stand-out numbers, including “In My Mind I Was Talking To Loretta,” an homage to the time Brown’s parents took her to see “Coal Miner’s Daughter” and she came home wanting to be “Roletta Lynn.” The song is also a tribute to the run-down Iowa shack she grew up in surrounded by “miles and miles of haystacks and miles and miles of gravel roads,” as she told the crowd.

Other high points included the new song “Prayer of Roses,” and “4th of July,” a poignant memory of a rural holiday. The country girl also mixed in several blues numbers, including an adaptation of “Rolling and Tumbling” and a cover of Memphis Minnie’s “Looking the World Over.”

The sparse crowd sat attentively, appreciative, but distant.  It was the type of polite crowd that would wait until between songs to get up and head to the bathroom. No one thought, however, to stand up and move closer, which left a 15-foot chasm between the stage and the first row of tables.

Although Brown’s material was strong, the similar moods and arrangements caused them to blend together after a while. Some of the audience started to get bored, as the chatter from the bar picked up until it threatened to overwhelm the last quarter of the set.

For all of her considerable talents, Brown would be better off teaming up with similarly minded and situated artists. This would take the pressure off of having to sustain a full set, and broaden her reach. She would be a great addition to the July bill at Crossroads that includes Dar Williams and Rodriguez.

Brown was long gone by the time Truckstop Honeymoon took the stage an hour later. The quartet not only had the benefit of a later time slot, but also a local following. After Hurricane Katrina washed out bass player Katie Euliss and guitar/banjo player Mike West’s New Orleans home, the couple relocated to Lawrence, Kan.

Augmented by mandolin player Jake Wagner and drummer Colin Mahoney, the pair traded and harmonized on verses like Johnny Cash and June Carter, refusing to take anything seriously. When Euliss sang about the Christmas she got her mama high it was hard to tell how much was she made up. Later, West introduced the original “My Automobile” as a P-Funk cover.

The 90-minute set also included several new songs, like “Latch Key Kid Recipe Book,” an ode to absent parents and oven pizzas. “Kansas in the Spring” drew a parallel between tornadoes in the heartland and hurricanes on the coast.

The best moment was “Vacation Bible School,” another song that felt autobiographical. After coaxing the crowd into singing along on the ridiculously convoluted chorus about getting kicked out of bible school, West broke the audience into three parts and held a yodeling competition.

Keep reading:

Carrie Rodriguez honors family, roots on new album

Review: Robert Plant and Allison Krauss

Elvis Costello – “Secret, Profane and Sugarcane”

(Below: You have to hear it at least once – Truckstop Honeymoon’s ode to vacation Bible school.)

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(Above: Cross Canadian Ragweed show off their new song “51 Pieces.” What’s with the Raiders shirt on an Oakie?)

By Joel Francis
The Kansas City Star

The television show “CMT Crossroads” found a niche by pairing seemingly disparate artists like Taylor Swift and Def Leppard or Lucinda Williams and Elvis Costello for a one-hour performance. With their blend of arena-ready country channeled through classic rock radio, Cross Canadian Ragweed could fill a show all by themselves.

The Oklahoma-based quartet preached to a half-full Crossroads Friday night delivering nearly two dozen tracks from across their 12-year career and several songs from their just-released seventh album. Singer and lead guitarist Cody Canada played like a character from the latest edition of “Guitar Hero,” flipping between Eddie Van Halen’s finger-tapping technique, the heavy rhythm riffs inspired by Angus Young and subtle finger-picked solos a la Mark Knopfler.

Although it’s fun and easy, the congregated faithful weren’t playing spot the influence. They were too busy dancing in bliss, rocking to the music, hands raised, hallelujah. Their following is so loyal Canada could toss a lyric to the crowd and get it back twice as loud, but even he was impressed when the boisterous bunch sang along to material released just 10 days ago.

The high points of the two hour set came from opposite ends of the spectrum. “Anywhere But Here” opened like the country cousin of “Panama” and benefited from the extra muscle the band put into the extended reading. When snippets of “Won’t Get Fooled Again” appeared, it was less a cover than an assimilation.

Canada’s three-song solo acoustic set showed off his songwriting and storytelling chops. “Lonely Girl” was inspired by his sister while new number “Bluebonnets” was written for his four-year-old son. The trilogy of acoustic numbers was followed by a three-part medley Canada dubbed “The Trifecta,” which swaggered from rock to blues before ending with another new cut, “Pretty Lady.”

Bass player Jeremy Plato gave Canada a smoke break by handling lead vocals on two songs. His voice was a nice change of pace but too many bass solos – including two in the final three numbers – bogged the energy a bit. Ditto for the drum solo that preceded “Number.”

Ragweed’s set ended with guaranteed crowd pleasers “Carney Man” and “Late Last Night.” For “Time To Move On” Jonathan Tyler, who led the first act on the bill, joined the quartet on guitar. The night ended with a new song that felt old. Although it wasn’t officially released until Sept. 1, the crowd went ballistic for “51 Pieces” based on the opening lines of the story that introduced the number.

Lucero got sandwich billing between opener Jonathan Tyler and Northern Lights and Ragweed. The Memphis-based quartet sounds like the E Street Band via Uncle Tupelo and front man Ben Nichols sounds like Jay Farrar after too many cigarettes and way too much whiskey.

Their one-hour set was heavy on fan requests and included “Kiss the Bottle,””Raising Hell” and new material like “Darken My Door.” Although Lucero weren’t the band most of the crowd came to see, they did a great job of firing up the sizable swarm in front of the stage.

Setlist: Sister, Alabama, Burn Like the Sun, Mexican Sky, Deal, To Find My Love, Hammer Down, 42 Miles, Soul Agent, Anywhere But Here (including Won’t Get Fooled Again), Drag, drum solo, Number, (acoustic set) Let the Rain Fall Down (unsure if this title is correct), Lonely Girl, Bluebonnets, The Trifecta (including Pretty Lady), Carney Man, Time to Move On (with Jonathan Tyler), Late Last Night, (encore) 51 Pieces

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