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Laura Veirs is terrific. But more important is the idea that Big Sandy, Chuck Prophet, and Charlie Louvin are playing The Star during the next few weeks… Now that’s some good lookin’ music.
Not a problem, LWJ. Several years ago, I continued my involvement in music and concerts via writing reviews along with helping promoters with hospitality and artist handling. One in particluar that I remember was helping Bob Wier and Rob Wasserman (of Ratdog) two days after Jerry Garcia died, but that’s a different story–it was hectic with the amount of fans trying to get access to Bob in light of Jerry’s passing… Thankfully, this visit with Lucinda was one where I wasn’t officially “working” so I really enjoyed the evening–although I did help with a few things in terms of the hospitality end of things (mostly keeping the micro-beer selection fresh and cold). In addition, I was actually at the concert that was referenced in your quote although not the meet-and-greet. I really value and enjoy my music/event memories as I can frame some artists differently and more realistically (humanly) as a result. Glad you enjoyed the additional dialog as did I. Enjoy the day.
David
Yes, the backstage pass is made of satin with the one I have was issued and I used for a meet and greet in or around 2001 (I tend not to perseverate around the details although my ticket stubs do). My best recollection is that it was from Lucinda’s first leg and offering of her Essence tour, hence the flower motif, when Bo Ramsey and Doug Pettibone were involved in her touring outfit–in fact, this might have been Doug’s debut in terms of touring with Lucinda (not show, but tour). I do know that the concert was November 12, as listed on the pass, at the now closed State Theater in Portland where I was lucky enough to attend the meet-and-greet (yeah, she was doing many in those days) along with sitting with Lucinda, her manager and a few others on her bus for an hour or two after the meet-and-greet (of course, complete with red wine). Great concert, tour, memory, and conversation. Saw several shows on the tour and always sat in front of Doug as he was helping Lucinda call the shots and her quarter-backing. Here is an ad-hoc review of the concert from the archives (not from my pen!):
Subject : Lucinda in Portland, Maine
I had the good fortune of seeing Lucinda Williams at the State Theatre in Portland, Maine last night. It was a very good show. I believe the whole band was new for me, with the exception of the masterful Bo Ramsey of Greg
Brown fame. I’d seen LW with Bo before at the Tramps concert in NYC on the debut date of the Car Wheels release. I missed the other lead guitarist’s name tonight, but he was quite solid. Together, the two guitarists made one
plus one = 10. They screamed. The entire band was smoking, but the two lead guitars in unison stole the show. I like bass sounds and thought the bass guitar was relegated to more of a background role versus previous concerts.
I thought he could have been more pronouncedly involved in several of the songs, particularly CWOAGR. I liked some of the new arrangements, at the very least because they were new, but my gut is the originals were superior.Lucinda was great as well. Her voice was raspy on some songs, but I liked it. I hope it was done for effect and not a sign of vocal chords tired from touring. We were in the upper balcony so we couldn’t see if she was straining. If she is tired, hopefully she will treat herself to good old natural rest.
I think before “JOY”, she started talking about what a bummer these times are. She talked about going inward in tough times. Good advice always.
She then started talking about folks crimping her JOY and at one point, mentioned the “President of the United States”.
She talked of the blues, and how these were tough times.
But then she did a song that was “as relevant today as it was some 30 years ago” — Bob Dylan’s “Masters of War”. At the end of the song, the audience’s previous steadily exuberant applause was a bit muted. Many got up and left at this point. I could not clap at the end of that song, and I noticed a several people around us not clapping as well.
Now had she addressed the song to the terrorists that killed thousands on September 11, it would have been different. Rather, the only prelude as to who it might have been aimed at was her earlier remark about the President
of the United States.She then did a song called Broken Butterflies that she said was about forgiving your enemies.
Then she made some comments about realizing this was not Portland, Oregon, a “Hippy Town”, but alas, Portland, Maine, “not a Hippy Town”….
After playing almost 5-nights a week for the last as many years, Dale Watson and his Lonestars are tighter than white on rice–except when the tequila starts to flow, which it always does. Great stuff early on but thankfully, I was tired so I left as the party really start to unfold. Glad I saw the first hour (Made in Japan is such an excellent reflection of an Americana piece of music) and am looking forward to seeing them at The Continental next time I am in TX as they are the house band every Monday night. Oh yeah, along with Heybale on Sundays!
Glad it hit the spot, LWJ. Yeah, The Carolina Chocolate Drops are incredible musicians, performers, and simply nice people. A band not to be missed, for sure. Their training and ear for real-time Americana is sweet beyond words–including unmatched jug and banjo playing. Wow… Tonight it’s one of country music’s original advocate’s Dale Watson at a very small place right down the street from L.L. Bean’s called Venue. Good luck, good truckin’ tonight! Wonderful music for sure…
Cool runnings, Rainy and no worries. I am not seeing that much difference save a few newbie songs now and again. Same Buick 6 (opening/backing) and same vein of delivery. And this is by no means meant to be a blanket statement. I am just not seeing anything all that different. Like when she toured behind CWOGR with Kenny Vaughn and Jim Lauderdale or when she started her Essence tour with Charlie Sexton, Bo Ramsey, Doug Pettibone. Now, that’s changing the batting order up. I simply am saying it’s not that different and I think the proof is in the set lists and players…
@ramblinrose wrote:
What was that last night at Lupos?? I’ve been to numerous shows but last nights was a total waste of time and money. She clearly was on something because she could not even remember the words to the songs and read all night from the paper lying next to her. I can handle swearing but insulting people who paid $50 for a ticket is just rude. I will think twice about going to another one of her concerts sorry to say.
No complaining here. Just people talkin’. Take a look at the set-list portion of this webpage and scroll through the ones from ’07, ’08. Not much different really. Yeah, the “30th Anniversary” shows have a few new additions, there’s really nothing that much different except a guitar player with a rock and roll bend (played with Bowie, Iggy, etc) versus an Americana lean (Bo Ramsey, Charlie Sexton, Doug Pettibone, Gurf Morlix, Kenny Vaughn, etc). No need to get up on your hind legs and howl, really. There are reasons for these different opinions… David Byrne played almost the exact same set every night during his last tour (Songs of Eno and Bynre). No complaints–that’s just the way that celebratory tour was (a 30th anniversary tour by the way). However, there was nobody saying that the sets were different either. I am not seeing much difference in LWs sets these days and the sets-lists seem to speak for themselves (For example, Honey Bee every night in such a long run, etc).
Now that the cheering has subsided, other opinions and observations are beginning to surface. And the set-lists seem to mirror the last three or so years minus the occasional gem or two… Funny, no special guest musicians to speak of in terms of the “30th Anniversary Tour.” I don’t think I would use the term “epic shows” for this run…
In light of the pending tour and its energy, I hope ticket sales start moving northward–I don’t like seeing so many empty seats available for sale at this time…
As far as special guests are concerned, I know Gurf Morlix is opening a few shows for and playing with Maine and Austin’s very own Slaid Cleaves who frequently gives a nod to Don Walser and his music. Maybe one or both could slide by. Also, LW was nice to create a slot for Tim Easton as a opener several years ago. And every time I have seen Ohio’s favorite singer/songwriter, he always and happily dips into LWs songbook with deep appreciation and a smile. Maybe he and even The Sadies could sit in. The possibilities are fun to ponder, really…
Unfortunately, the second night is not the same story… Hopefully, in time, it will sell-out. Boy howdy, it would be nice to see some interesting double-bills…
I know I’m being stubborn, but, as an old curmudgeon, I reserve that right…
Not so sure there is much difference between this message board and Twitter–I think the difference lies only in the delay in posting, the number of characters available for a post, and simple semantics, actually. Lot’s of postings here are “ham sandwich” in nature and actual content…Right?
Indeed, that is welcome news especially as it relates to disc 2. It will be super great to have another well-recorded and mastered record of LWs along with sounds of Gurf Morlix on lead (any thoughts of having the Grammy winning Bob Ludwig of Portland’s very own Gateway Mastering do the final polish of this set?). With minimal hesitation, one could point to the idea that Lucinda’s 1989 tour was a terrific time in her career and sound, all things held equal. Great to have this record as a part of the collection and what fun it will be on its first listen… Also, what are the chances of revisiting her October 13, 1989 performance on ACL? Any copies kicking around of that bad boy? Not a bad set, huh?
Lucinda Williams—Live From Austin TX ’89: 13 Oct 1989 appearance on Austin City Limits (65 minutes): (all songs composed by Williams except as noted)
1. Big Red Sun Blues
2. Wild and Blue–Billy Sherrill
3. Am I Too Blue
4. Crescent City
5. Nothing in Rambling–Memphis Minnie
6. The Night’s Too Long
7. Abandoned
8.I Just Want To See You So Bad
9. Side of the Road
10. Price to Pay
11. Disgusted–Son Jackson
12. Something About What Happens When We Talk
13. Passionate Kisses
14. Changed the Locks
15. Happy Woman Blues@tonyg wrote:
I hadn’t bought an Elvis record since My Aim is True but I might pick up his latest after last night, a highly entertaining night under the stars in Hollywood listening to bluegrass and country and other roots music…I only recognized 4 songs: the opening song Mystery Train, Every Day I Write the Book, Angels Wanna Play My Red Shoes, and Allison, all played in the Americana style. Lu came out and I enjoyed the performance of Jailhouse Tears much more than the studio version.
(Almost) without question, EC is one of the most prolific and learned songwriters of today. He continues to span the entire range of the musical continuum to include everything from his classical music work with orchestras from around the world and the Brodsky Quartet (who he has collaborated with for many, many years) to being a mainstay at San Francisco’s Hardly Strictly Bluegrass Festival and everything in between (he was recently married for the 3rd time to Diana Krall at Elton John’s estate so some long-time fans argue that he has become somewhat of a sophisticate). He is known for his work with George Jones, Jerry Garcia (great bootleg from The Sweetwater in Napa’s wine country), Burt Bacharach, Nick Lowe and many other collaborations. What’s more, he has been working with T-Bone since the early ages (early ’80’s). Plus, it is no secret that he has an insatiable pension for Americana that goes way back to his early recordings not to mention his incredible release of all country standards entitled Almost Blue (in 1980 w/The Attractions) that was produced by the legendary Nashville producer Billy Sherrill (orginally hired by Sam Phillips/Sun Records and worked with Johnny Paycheck, Tammy Waynette, Johnny Cash, and so forth).
Although excellent and arguably in the top-ten of all modern record releases, My Aim is True only shows a split nanosecond of Elvis Costello’s brilliance, influential early sound that mixed reggae, punk, rock, and country (well before Sting and The Police wondered into the arena) in a trendsetting manor along with his true appreciation for music (whose real name is Declan Patrick MacManus). Last year, Elvis and his backing band from My Aim, called Clover, reunited for a two-part, one-off benefit concert for Austin DeLone and his family. Audie DeLone is an old chum of Jim Lauderdale, Emmylou, Bill Kirchen, Nick Lowe, Elvis and many other’s in this “hybrid” music scene. Exploring the planet that is Elvis’ music presents a world and landscape unto it’s own, which is very much worth the effort. For those of us who have listened intently since the 1970’s (saw him first when I was 12 and many times throughout his career in his many different forms) are never surprised by his country outfits, rather we can–and are forced to only wait ’till he comes out with his Americana visions. It’s really what we long-timers truly wait for and cherish ’cause he’s one of the best in the business! Measuring Elvis only through My Aim is like measuring The Grateful Dead through Terrapin Station (ahh!, that Jean Godchaux voice–make it stop!) or LWs only by Little Honey. Elvis’ career is now going towards 40-years and counting. Aren’t we lucky for his vision and talent…
