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(Above: Gil Scott-Heron performs “We Almost Lost Detroit” in concert. His June 20 performance at Blues Alley in Washington, D.C., earns an honorable mention as one of the top shows of the year.)

By Joel Francis
The Daily Record

Jonsi, April 22, Liberty Hall

Sigur Ros concerts have a sustained emotional intensity matched only by Radiohead’s events. On his own, Sigur Ros frontman Jonsi ratcheted the passion even higher. The 80-minute set focused only on Jonsi’s solo release “Go” and a few outtakes. Although the material was original, the textures, delivery and emotions echoed Jonsi’s other band, including a climax that was one of the most sustained and forceful moments in which I’ve ever had the joy of being included. Read more.

Emmylou Harris, July 18, Stiefel Theater, Salina, Kan.

Four days after delivering a short set in the blistering heat to the Lilith Fair crowd at Sandstone Amphitheater, Emmylou Harris took her Red Hot Band to tiny Salina, Kan. For two hours she gave an intimate set in a theater slightly smaller and slightly newer than Kansas City’s Folly Theater. The set reprised many of the songs performed at Lilith – including a beautiful a capella rendition of “Calling My Children Home” and Harris’ hymn “The Pearl” – a lovely tribute to her departed friend Anna McGarrigle, and other gems spanning her entire career. Harris’ enchanting voice captivates in any setting. Removed from the heat and placed in a charming surrounding it shined even brighter. Read a review of Lilith Fair here.

Pearl Jam, May 3, Sprint Center

Nearly all of the 28 songs Pearl Jam performed during its sold-out, two-and-a-half hour concert were sing-alongs. Kansas City fans has waited eight years since the band’s last stop to join in with their heroes, and the crowd let the band know it. Near the end, Eddie Vedder introduced Kansas City Royals legend Willie Wilson by wearing a No. 6 Royals jersey. Vedder later invited onstage wounded Iraqi war vet Tomas Young, who appeared in the documentary “Body of War.” With Young in a wheelchair to his left, Vedder performed “No More,” the song the pair wrote together. During the encore, a member of the gold-medal winning U.S. Olympic bobsledding team, joined the band on bass for “Yellow Ledbetter.” As the song ended it felt like the evening was winding down, but guitarist Mike McCready refused to quit, spraying a spastic version of Jimi Hendrix’ arrangement of “The Star Spangled Banner.”

Sharon Jones and the Dap Kings, Sept. 21, Midland Theater

An ice storm and obscurity kept many fans away from Sharon Jones’ previous show in the area, a January gig at the Granada three years ago. With those obstacles removed, a crowded Midland Theater audience witnessed a soul revue straight out of the early ‘60s. With a band rooted in the Stax sound and a performance indebted to James Brown and Tina Turner, the diminutive Jones never let up. Jones only stopped dancing to chastise over-eager fans who kept climbing onto her stage. The tight, eight-piece horn section provided motivation enough for everyone else to keep moving.

Flaming Lips, Jan. 1, Cox Area, Oklahoma City

The year was less than an hour old when the Flaming Lips provided one of its top moments. After performing their standard 90-minute set, complete with lasers, confetti and sing-along versions of “Yoshimi Battles the Pink Robots” and “She Don’t Use Jelly.” Then more balloons and confetti ushered in the new year. The Lips celebrated by bringing opening act Star Death and White Dwarfs onstage for a joint performance of Pink Floyd’s “Dark Side of the Moon” in its entirety. Read more.

Izmore/Diverse – Like Water for Chocolate Tribute, March 19, Czar Bar

Combining hip hop and jazz became something of a cliché in the 1990s. The results typically only hinted at the union’s potential, and didn’t satisfy fans of either genre. Ten years after Common released his landmark album “Like Water For Chocolate,” a hip hop album that paid tribute to jazz, Afro-beat and gospel with the help of Roy Hargrove, Femi Kuti, Cee-Lo Green, J Dilla and others, some of Kansas City’s finest artists decided to celebrate the anniversary. MC Les Izmore delivered Common’s rhymes while the jazz quartet Diverse provided innovative and imaginative new backdrops. The result was both jazz and hip hop at their finest, with neither form compromising to the other. Read a feature on the event here.

David Gray, March 17, Uptown Theater

After releasing several solid albums in obscurity in the 1990s, David Gray finally broke into the mainstream at the turn of the century. As his tours grew bigger and catalog became richer, a Kansas City date remained elusive. On St. Patrick’s Day, Gray finally satisfied a ravenous capacity crowd with a two-hour set sprinkled with the songs that made him a household name. Songs like “Babylon” and “World To Me” are written well enough to make the show memorable, but the passion and energy Gray and his band invested in the night made this an amazing night for even this casual fan. A strong opening set from Phosphorescent made the evening even better. Read more.

Black Keys, June 4, Crossroads

The Akron, Ohio, garage blues duo opened Crossroads’ summer season with a sold-out night that focused on their latest effort, the spectacular “Brothers.” Drummer Patrick Carney and guitarist Dan Auerbach were augmented with a bass player and keyboardist on several numbers, but their trademark sound remained unaltered. Read more.

Public Image Ltd., April 26, Midland Theater

On paper, fans had a right to be cynical about this tour. After embarrassing himself with a handful of half-assed Sex Pistols reunions, Johnny Rotten recruited two new musicians to reconstitute his Public Image Ltd. project. Although Rotten was PiL’s only consistent member, and his current X-piece band had never played together before, they managed to flawlessly replicate the band’s finest moments. The Midland was embarrassingly empty – the balcony was closed, and the floor was less than half full – but Rotten played like it was the final night of the tour in front of a festival crowd. Read more.

Allen Toussaint, Jan. 8, Folly Theater

Seventy-two-year-old New Orleans pianist Allen Toussaint has been writing, producing and performing hit singles for more than 50 years. His songs include “Working In A Coal Mine,” “Mother In Law,” “A Certain Girl” and “Get Out Of My Life Woman.” Toussaint performed all of these numbers and more in what was remarkably his first concert in Kansas City. His own remarkable catalog aside, the evening’s high point was an amazing solo version of Paul Simon’s “American Tune.” Read more.

Keep reading:

Top 10 Concerts of 2009

Top 10 concerts of 2008

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(Above: Roy Orbison performs “(Oh) Pretty Woman” on “Austin City Limits” in 1983.)

By Joel Francis
The Daily Record

The musical landscape of television was of a different world when “Austin City Limits” debuted on Public Television 35 years ago. Brief performances on late night talk shows or segments on “Don Kirshner’s Rock Concert” were the only options for fans hoping to catch a glimpse of their favorite act.

Baloons and the capital building, trademarks of the Flaming Lips and Austin City Limits.

The Rock and Roll Hall of Fame celebrates the show that put long-form performances on the air with the new exhibit “Great Music. No Limits. Celebrating 35 Years of Austin City Limits.”

“There were certainly music shows on television before, like Ed Sullivan, ‘Shindig’ or ‘Hullabaloo,’” said Jim Henke, vice president of exhibitions and curatorial affairs for the Rock Hall. “But ‘Austin City Limits’ was the first show where the performers didn’t lip synch and were provided with a platform that extended beyond just a song or two.”

The exhibit includes photographs, setlists, documents and video footage of the show’s greatest moments.

“A big part of the exhibit are the photos from the show. We have 30 or more pictures of artists ranging from B.B. King, Dolly Parton and Elvis Costello to Pearl Jam, R.E.M. and the Dave Matthews Band,” Henke said. “We also have a lot of different documents, including lots of early stuff like the proposal for underwriting the pilot episode and several handwritten memos.”

The memos show the evolution of the show’s title from “River City Country” to “Austin Space” before finally settling on the current title.

The Hag on ACL.

“We also have three setlists from Wilco’s performance where you can see which songs were added and changed before they went on,” Henke said.

“MTV Unplugged,” “Sessions at West 54th Street” and “Soundstage” are but a few of the shows Austin City Limits has inspired during its run. In 2002, the show spun off into the three-day Austin City Limits Music Festival.

“The show started out with Willie Nelson on the first episode then expanded,” Henke said. “If you look at who’s appeared since then it’s been a nice mix of artists.”

Henke pointed out recent episodes with Ben Harper sitting in with Pearl Jam and Mos Def with K’Naan as examples of the show’s continued innovation.

“The producers don’t just book established artists. They’re looking at younger artists as well,” Henke said. “Our video reel has everyone from Ralph Stanley and Bill Monroe to Damian Marley. It’s not just focused on one era or genre. I think this is not only what made the show so innovative, but has given it such longevity.”

For museum hours and ticket and general information, visit the Rock and Roll Hall of Fame Website.

Keep Reading:

Rock Hall Celebrates 50 Years of Motown

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Rock Hall celebrates the 40th anniversary of Woodstock

(Below: The Polyphonic Spree party on Austin City Limits in 2004.)

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(Above: “April In Paris” brought spring to many parts of the world whenever it was played. Few did it finer than the Count Basie Orchestra.)

By Joel Francis
The Daily Record

Spring arrived on the calendar several weeks ago, but Mother Nature didn’t get the memo until recently. The half dozen songs that follow don’t explicitly mention chirping birds, budding flowers, sun dresses and deck parties, but they certainly conjure the feeling.

“Starting a New Life” – Van Morrison

Van the Man throws off the shackles of winter in the jubilant first verse of this song:

“When I hear that robin sing,
Well I know it’s coming on spring,
Ooo-we, and we’re starting a new life.”

In a little more than two minutes, Morrison and his buoyant country/folk melody captures the romance of the season and the essence of why so many couples get married in the spring.

“Starting a New Life” was one of the first songs Morrison wrote after relocating from Woodstock, N.Y. to just north of San Francisco. Although the move wasn’t his idea, he was clearly relishing his new surroundings.

The last time the Cleveland Indians won the World Series, in 1948, Satchel Paige was in their rotation. He is pictured here during his time with the Kansas City Monarchs.

“Satchel Paige Said” – The Baseball Project

For many fans of the nation’s pastime, spring doesn’t arrive until Opening Day. Wind chill and even snow are mentally eliminated once the boys of summer line up along the base paths.

Dream Syndicate’s Steve Wynn and Scott McCaughey of the Minus Five and Young Fresh Fellows teamed up in 2008 under the name “The Baseball Project” and cut 13 tributes to their favorite sport.

“Satchel Paige Said” sounds like an outtake from Tom Petty’s “Full Moon Fever.” McCaughey’s lyrics draw on elements of Paige’s biography and his famous advice: “Don’t look back. Something might be gaining on you.”

“Radio Head” – Talking Heads

Generation X is littered with great bands that take themselves too seriously. Perhaps the only common element shared by Pearl Jam and the Smashing Pumpkins is that neither band wants to provide its audience with the opportunity to laugh.

But the biggest and most serious of all Gen X bands is Radiohead. Which makes it even more delightful that they titled their first album after a Jerky Boys gag and named themselves after this supremely silly Talking Heads track.

But even if the English quintet had chosen another moniker, “Radio Head” would deserve a footnote in music history. David Byrne’s song about a man who can pick up radio transmissions with his noggin is set to a poppy zydeco rhythm that makes it the perfect song for that first spring car ride with the windows rolled all the way down and the stereo turned all the way up.

“Bowtie” – Outkast

Once the temperature swells, the unshapely layers of winter clothing are shed. And when the flimsy summer apparel is donned, it’s time to strut. Urban radio stations bank on this transition, building their warm-weather playlists around the singles designed maximize swagger.

The funky horns on this cut from Big Boi’s half of “Speakerboxxx/The Love Below” will make any stroll seem like a parade. The hip hop equivalent of ZZ Top’s “Sharp Dressed Man,” this track exudes more than enough confidence to turn a timid Romeo into a pimp daddy for one night.

“April, Come She Will” – Simon and Garfunkel

Ah, the fickle fancy of spring flings. On “April, Come She Will,” Paul Simon uses the changing seasons as a metaphor for a girl’s elusive affection following a brief affair. Thematically, the romantic longing of “April” was echoed on “For Emily, Wherever I May Find Her.” Both songs hover around the two minute mark. The economy of Simon’s lyrics and arrangements and the power of Art Garfunkel’s vocals make both songs potent vignettes.

Although it was written three years before the film, “April, Come She Will” is used to great effect in “The Graduate” as Benjamin Braddock chases the heart of Elaine Robinson.

If you haven't seen the original 1969 film of "The Producers," you are missing out.

“Springtime for Hitler” from “The Producers”

You don’t have to be an English major to see the metaphor in the title song from Bialystock and Bloom’s failed musical. As chorus girls parade around in beer stein bustiers, and pretzel tassels, the faux fuhrer solemnly intones: “Springtime for Hitler and Germany/Autumn for Poland and France.” Any remaining sensibilities are purged when storm troopers in a Busby Berkeley-style dance form a swirling swastika.

The coup de tat that saves the song from being an anti-Semitic nightmare comes from the fact that Mel Brooks, a Jew who fought the Germans at the Battle of the Bulge, gleefully wrote all the lyrics to this brilliant satire. (That’s his overdubbed voice delivering the line “don’t be stupid, be a smarty/come and join the Nazi party.”)

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(Above: The video for “Love Kills,” one of two songs Joe Strummer wrote for 1985 film “Sid and Nancy.” These songs represented his first post-Clash solo work. )

By Joel Francis

Every Christmas Eve, a significant block of time is set aside to honor the late Joe Strummer, who died on Dec. 22, 2002. This year, The Daily Record examines four songs from the last days of The Clash and Strummer’s reluctant transition to solo artist.

“This Is England” by The Clash, from “Cut the Crap”

The final single in the Clash’s illustrious career, “This Is England” has been unfairly overlooked. After firing manager Bernie Rhodes in 1978, Strummer convinced the rest of the group to bring Rhodes back in 1981. That decision hastened the end of the band. Rhodes played Mick Jones off of Strummer, and after the difficult “Combat Rock” sessions convinced Strummer the band would be better with him in charge and without Jones.

Strummer fired Jones, but regretted the decision for the rest of his life. Realizing he had been duped, Strummer and Paul Simonon, the only remaining members in the band at the end, abandoned the material recorded for the post-Jones album “Out of Control.” Rhodes finished the album alone, changed its title to “Cut the Crap” released the album without the band’s permission.

As sad and unfortunate as this tale may be, it shouldn’t detract from the greatness of “This is England.” The synths and drum machine may not line up with the Clash’s established sound, but the diatribe against the Motherland, soaring chorus and knife blade guitars are pure Strummer.

“Sightsee MC” by Big Audio Dynamite, from “No. 10 Upping Street”

When Mick Jones found artistic success with his post-Clash ensemble Big Audio Dynamite, Joe Strummer was both elated and devastated. He was happy for his old friend, but fell into a depression, because he knew the Clash were over. Strummer found a way to work with Jones again, though, when he appeared in the studio and offered to produce the group’s second album.

Despite being penned by its two best-know members, “Sightsee MC” sounds nothing like The Clash. Full of samples, synth beds and big drums, the production hasn’t aged well, but the song was very its time when it was released in 1986. Jones’ rap delivery recalls the Clash song “The Magnificent Seven,” and the Jamaican patios fits in with the band’s love for reggae.  Spidery guitar line and references to “send out a mayday to London” delineate Clash connection.

Strummer frequently performed “Sightsee MC” in concert during his 1988 “Rock Against the Rich” tour with his new band, the Latino Rockabilly War.

“Filibustero” by Joe Strummer, from the “Walker” soundtrack

After writing songs for “Sid and Nancy” and “Straight to Hell,” Strummer became British director Alex Cox’ go-to guy for soundtracks. “Walker,” Cox’ 1987 “acid Western” starring Ed Harris and Peter Boyle has been mostly forgotten, but its soundtrack stands proudly as Strummer’s first post-Clash, solo LP.

Strummer was surprisingly tentative in his leadership of the project, though. Every day he showed up at the Russian Hill recording studio in San Francisco with a boom box and cassettes of sketches and ideas he had heard and recorded the night before. Instructing his musicians to “work something up” he’d disappear for several hours, then return to hear what developed. Under those circumstances, it’s amazing the music not only turned out well, but pleased Strummer.

The lead-off track, “Filibustero” sounds like something out of the Buena Vista Social Club or Afro-Cuban All-Stars. The former punk rock warlord uses Latin American rhythms, arrangements and melodies to capture the film’s Nicaraguan setting. For some reason, “Filibustero” was released as a single, which included several remixes. It did not chart, but it did establish Strummer on the road to world music he would explore in depth a decade later with the Mescaleros.

“Trash City” by Joe Strummer and the Latino Rockabilly War, from the “Permanent Record” soundtrack

Strummer’s work on the “Permanent Record” album marked his fourth soundtrack in as many years, but these sessions were different. After flirting with world music on “Walker,” Strummer was ready to rock out again. He recruited several L.A.-based underground musicians, including former Circle Jerks bassist Zander Schloss and former Red Hot Chili Peppers/future Pearl Jam drummer Jack Irons, and dubbed them the Latino Rockabilly War.

Of the five songs the group contributed to the “Permanent Record” soundtrack, only “Trash City” was released as a single. The track fades in like a party already in progress, as Iron’s drums and Strummer’s guitar hammer the rhythm home. Dropping his normally serious, political façade, Strummer sings about visiting “a girl from Kalamazoo” and tosses in non-sequiturs about coffee shops in Seoul, bowling and vandalism for good measure. The yelps and scream on the outro show how much fun Strummer is having.

Keep reading:

Happy Clash-mas Eve (2008)

Review: Carbon/Silicon at the Record Bar (Mick Jones/Terry James project)

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rock hall dvds

By Joel Francis

When the Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989, a tuxedo-clad Mick Jagger famously announced “Tonight we’re all on our best behavior — and we’re being rewarded for 25 years of bad behavior.”

That irony is on full display throughout eight of the DVDs in a new collection of induction ceremony performances released by Time Life and the Rock Hall this month. (A ninth disc features highlights from the 1995 Concert for the Rock and Roll Hall of Fame held in Cleveland.) Despite white tablecloth banquet tables and austere surroundings, great music frequently prevails.

The “Rock Hall Live” discs each run between 75 and 90 minutes and have a loose theme of soul, punk or ‘50s pioneers and the performances span the first ceremony in 1986 to this year’s Metallica induction. The performances tend to fall in two camps.

The early ceremonies were all-star celebrations of the inductees’ songbooks shot with on a couple video camera. Through fly-on-the-wall footage we see Jerry Lee Lewis and Chuck Berry swap verses on “Roll Over Beethoven” and Little Richard rejoice through “I Can’t Turn You Loose” as Jagger, Bob Dylan, members of the Beatles, Beach Boys and other rock royalty stand shoulder to shoulder, holding mics and strumming instruments. It’s fun to play spot the artist during these early presentations. Sometimes the results are shocking, as when Stevie Ray Vaughan appears – playing a Les Paul, no less – during “Beethoven.”

As the ceremonies grew in stature, the performances were better preserved and choreographed. The past 15 years of inductions play like one massive VH1 special, makes sense as these events have been a spring broadcast staple on that channel for better than a decade. Although the production is smoother, the spontaneity is retained when Jimmy Page casually strolls onstage to join Jeff Beck on “Beck’s Bolero” and Queen jam with the Foo Fighters on “Tie Your Mother Down.”

With are more than 100 performances across the nine discs, some unevenness is expected. Some this is because of the health of the performers. These discs capture some of the final appearances by The Band’s Rick Danko, Ruth Brown, Lynyrd Skynyrd’s Billy Powell and Johnny Cash. Brown and Powell are fine, but Danko and Cash labor through their sets. Sometimes the pairings misfire, as on Bruce Springsteen and Axl Rose’s duet through “Come Together.”

These missteps are minimized by the tight pacing of each disc, which moves from artist to artist like a well-paced soundtrack, with occasional snippets of introduction and induction speeches. (Complete version of selected speeches are available as bonus features.)  Despite the loose themes, each disc boasts a variety of guitar heroes, singer/songwriters, tributes and hits.

The best moments come when the performers reach beyond the formal atmosphere, like when Patti Smith spits onstage, or two kids bum rush the stage to help Green Day commemorate the Ramones. There is an impressive display of solos from guitar heroes Beck, Page, Eric Clapton, Buddy Guy, B.B. King, Joe Perry, Carlos Santana, Peter Green, and Kirk Hammett, but the greatest six-string moment is Prince’s searing tribute to George Harrison on “While My Guitar Gently Weeps.” Anchored by Tom Petty, Jeff Lynne and Harrison’s son Dhani, the immaculately tailored Prince soars on an jaw-dropping solo that is long on both melody and style.

Each disc contains about a several bonus features, which highlight backstage moments like watching Steven Tyler and Joe Perry induct Led Zeppelin from the wings of the stage with the band (and Willie Nelson!). It’s fun to watch Robbie Robertson, Bruce Springsteen and John Fogerty work out “Green River” and to eavesdrop on Hammett and Perry talk about guitars, but one viewing is probably enough.

One downside to this set is the packaging and sequencing. Each disc is housed in its own separate, full-sized case. This takes up a lot of shelf space. It would have been nice if they all came bundled in one compact, cardboard and plastic unit like seasons of TV shows.

The greater inconvenience is the sequencing. Cream’s three-song reunion from 1993 is spread across three discs. Ditto for the Doors’ 1993 set with Pearl Jam’s Eddie Vedder (three songs over three discs) and Bruce Springsteen’s E Street revival from 1999 (four songs on four discs). Culling the best moments is understandable, but it would have been great to get the multi-song sets in one place. It is also puzzling that less than two hours of the six-hour Concert for the Rock and Roll Hall of Fame are included.

Oversights aside, any of these discs stand alone as a fun romp through rock history and celebration of its greatest songs and players across most genres and eras. At $120, this set isn’t cheap, but it’s a heck of a lot more affordable – and easier to come by – than the ticket that gets you a plate at one of those sterile, banquet tables. You don’t have to dress up, either.

(Full disclosure: The Daily Record received a complimentary review copy of “Rock Hall Live.”)

Keep Reading:

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Bruce Springsteen Rocks the Hall (part one)

Bruce Springsteen Rocks the Hall (part two)

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