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it was a REAL good night in asbury park. sorry i don’t have a setlist, gave that up after 8/9/95 but some of the
highlights for me were everything’s changed, too cool, atonement and changed the locks roared.this was my 3rd show in a bar and after last night i wish she’d play nothing but. sitting my fat ass in a sterile theater
just doesn’t cut after getting sweaty and groovin for 2+ hours. and despite it’s history, for those of you who have never been there the stone pony is sort of a grimy little dump but absolutely the perfect place for a night like last.the dublin house is a great joint, 2nd to last stop before walt st pub and finally
the train station on red bank pub crawls. gets kinda crowded pre-show but worth
the trip.there’s no parking garages in red bank per se, parking in red bank can be brutal. the best
place to park is at the train station, located right on monmouth ave about 4 blocks west of the
theater. no charge and there’s alway plenty of spaces. and across monmouth from the station is
my pre count basie stop for the past 20 years, walt street pub.typical bar fare but there are a
ton of places to eat within walking distance of the theater.they’re on sale now via ticketmaster, don’t even need a pre-sale password. count basie’s
a home game for me but mcsorely’s is 4 blocks from webster hall. wasn’t planning on
2 but………..>I’d never seen her with this band. Not bad. That drummer can pound those skins, huh?
and therein lies one of the problems with the current ensemble. at least for me.
show saturday night was ok, setlist didn’t do it for
me. as someone mentioned, the middle section was very
introspective. saw four songs i’ve never seen in 20 or so
previous shows but none were anything i really care to
hear. but, the fact she has been changing things up so
consistently is a major plus. even if saturday night wasn’t
my dream setlist i’m thrilled shhe’s taking the approach
and attitude of keeping things fresh.as far as the sorta new band, they’re, uh, sorta of noisy.
i’ve talked how much i enjoyed a previous configuration
and the subtlety they brought emphasizing the best
instrument on stage. lucinda. this group, we’ll see, it’s early on.>she’s not a charismatic perfomer…..
my gopod, where do you start with something like that?
she may not jump around like a chicken on acid but, regardless
how you feel about the backing band, stage antics at any
given show, whatever, that woman is a presence. some performers
have it, others, not so much. lucinda williams is major presence
when she walks out. well, imo anyway.i thought the wellmont was perfect. want to sit, go upstairs (i did for a few to check out
the sound and sight lines. place is VERY similar to the paramount in asbury) want to dance,
you have the whole floor. personally,i see lucinda (or any other artist) tearing it up, there’s
NOTHING worse than watching everyone planted in their seats. or worse, have someone start
dancing and get shouted down. i’ve witnesses that on more than a few occasions. talk about
energy sapping.tonyg, i was about to provide sustenance to the little creature who resides under a
bridge who spends alot of time here but i’ll heed your request. i’ll just wait for the
random list of 10-12, or 20 performers he’s listened to on his stereo to prove
his musical acumen in the next post. (i guess a few crumbs won’t mean much
after the meal overby just fed him)well tim, as you and i discussed a couple of years ago
at the time of the unfortunate reconfiguration of the rhythm
section, it seemed as it was just a matter of time until all of
the so called love band would be history. and so it is. things
do constanly evolve. everywhere. not always for the better but
that’s the way it goes.although he is a bit too close the the situation to be completely
objective, i really did appreciate overby’s insights and input here,
regardless of his taking me to task over expressing over what
seemed to be an obvious observation at the time.as someone who was, uh, devoted to a band i saw 150 or so times
over 20 years, strange (or maybe not so strange considering the
dynamic) thing is i had no interest in what went on back stage.
the only thing i cared about was the time between the lights going
down and coming up. even though i knew the stuff backstage was
affected what happened on stage, no interest, keep it, dont’ care.
even turned down laminates a couple of times.i was probably scared off by the observation of one semi-famous fan
*the grateful dead are like a star, brilliant and beautiful from a
distance, terrifying and hideous up close*brilliant and beautiful from a distance.
so pettibone -finally- split.
i believe there’s an old adage for stuff like this, something about
f*cking up a wet dream?anyone need a pair of wellmont tickets?
i’ve been made privy to some doublesecretundercover info that t.o.
and i.j. have never been seen in the same room at the same time.a little too seriously sometimes. a few years ago during the encore at toads
in new haven, a bunch of drunken frat boy asshats, watching a tv in back of
the bar, started cheering after the red sox won to (i think) get in the playoffs.
lu flipped them a double bird along wiht *i hate that f*ckin sh!t* or
something along those lines. some thought it was unprofessional. i thought
it was just exactly perfect.i’d venture a guess your chances of catching an obscure breakout are
relative to where in the tour you catch her. further on i’d say the chances
increase because if nothing else, she does not even approach being static in
her presentation. i realized on the way home from felt forum, i mean, that
theater under msg, last friday night was the first show in the past 17 or
18 i didn’t hear either 1-fruits of my labor, 2-ventura, 3-those 3 days. i
really missed foml but the new record’s taking precedence right now. and
rightfully so. for me, the stuff i’ve heard is really strong, much more so
than west but that’s just my take. and next time i get a foml, i’ll appreciate it
that much more.
