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Posts Tagged ‘Oye Como Va’

(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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(Above: Santana and Nas put their spin on AC/DC’s “Back In Black” on the “George Lopez Show.” Believe it or not, this is one of the better moment’s on Santana’s new album.)

By Joel Francis
The Daily Record

It’s hard to believe it has been a ten years since “Supernatural.” Back then, Santana was just another fading Woodstock star. He has been living in the shadow of “Smooth” and “Maria Maria” ever since.

With a title like “Guitar Heaven: The Greatest Guitar Classics of All Time” one could be excused for thinking Santana’s latest album was a repackaging of “Oye Como Va,” “Soul Sacrifice” and the rest of the jams that made him a guitar icon. Instead we are gifted with an album much more panderous.

“Guitar Heaven” reunites Santana with label president/marketing guru Clive Davis for the first time since “Supernatural” and is the third consecutive album to follow its formula. The blueprint is simple: pair Santana’s guitar with some of the biggest pop voices of the moment in every genre. The twist this time is that every tune is a well-known cover, a great guitar classic, no less.

The result is a dozen pedestrian, uninspiring performances. None of the musicians associated with this project even pretend to muster the effort to add something new to these well-worn staples of classic rock radio stations. It’s hard to imagine anyone clamoring to hear Train’s Pat Monahan aping early Van Halen or anxiously waiting to see what Chris Daughtry could do with Def Leppeard’s “Photograph.”

Predictably, Davis invited Rob Thomas back into the fold, but this time the man who brought Santana his biggest hit is anything but smooth. The Matchbox 20 singer seems completely overwhelmed by “Sunshine of Your Love.” Joe Cocker fares better on the Jimi Hendrix staple “Little Wing,” but the performance still begs the question why anyone thought this project was necessary.

At best the outcome is merely redundant; at its worst it an embarrassment. The only inventive choices were including India.Arie and Yo-Yo Ma on “While My Guitar Gently Weeps” and rapper Nas trying to inject some hip hop into “Back In Black.”

Neil Young’s “Le Noise” is a true celebration of the guitar. For his 32nd album, Young worked with famed producer Daniel Lanois. Lanois’ productions are frequently criticized for their big echoy sound and stark separation of instruments. They can often sound like Lanois conformed the artists to his vision, rather than the other way around.

Although some of Lanois’ swampy trademark exists in “Le Noise,” his distinct fingerprints are absent for the most part. The reason is simple: there’s less for him to work with. All of the album’s eight tracks were cut live and feature only Young and his guitar. The result is a pastoral yet invigorating portrait of Young seated on his amp, volume cranked to 11, intimately and intently debuting his latest song cycle.

While the guitar makes all the noise, Young’s songwriting makes all the difference. Without a bed of strong material, “Le Noise” would be a curio, like “Arc,” the album-length experiment of feedback and noise Young released in 1991. These songs could just as easily been delivered acoustically. Fortunately, Young and Lanois muck them up with waves of feedback and distortion.

In the mid-‘90s, both Young and Santana were regularly releasing solid, if unremarkable albums that clearly came from the heart. Today their paths couldn’t be more different.

In movie terms, Young is the actor who with a questionable resume, but has remained unquestionably independent. Santana, on the other hand, resembles the washed-up actor willing to do anything to land one last big role.

But show-biz loves redemption stories. Let’s hope Santana has some Mickey Rourke in him.

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