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I guess the visuals trumped the verbals this time, but here goes:
1 Can’t Let Go
2 Drunken Angel [with much nostalgic talk of the Houston Theodore’s venue, of meeting “the guitar player Gurf Morlix” there–“lots of beginnings, and some endings too. . .”]
3 The Night’s Too Long
4 Concrete and Barbed Wire
5 I Lost It [with due mention of the Happy Woman Blues album being recorded in Houston]
6 Crescent City
7 Born to Be Loved [followed by “we all need to be reminded of that sometimes”]
8 Buttercup [more on misguided FM DJ’s and the post-badboy era]
9 Essence
10 Changed the Locks
11 Honeybee
______________________________________
12 Joy [with the former Mellencamp guitarist, as noted by Lafayette]
13 For What It’s Worth [with DG}I’ll let the videos stand as supplements; Billy Joe Shaver does a good “White Freightliner” on the Poet Townes tribute record, but this one rocked out, flat. Grissom played with Joe Ely throughout his set, though Lu retreated to the shade/bus after this one song, I think. Despite it being a one-hour afternoon fest slot, Lu was emotional and happy and solid throughout. All the difference in the world between a 4:30 post time and a 1:40 one. . . So the no-more-than-three-days-in-a-row rule was suspended to great effect in this case, and here’s to a well deserved off night for fans and Lu personnel alike…
Good detective work West words, and good comments everybody. It is true that “Angel” was skipped, haven’t heard that one in ages, Hendrix indeed. I was hoping for the other side of the virgule with song nine, but the duo on the older song was fine.
Here are a few remembrances:
“Can’t Let Go” got mucho mention of Austinite Randy Weeks by way of intro, though I don’t think he was in the house.
“Buttercup” was framed by talk of a DJ who had announced it was about Lu’s current disillusionment with husband Tom. She mock-warned us about future interpretations of any such creations by others. “Buttercup” was deemed the “final chapter” in her bad boy saga.
Not long after, she noted that both “Essence” and “Come On” were “bad boy songs” and said if she were Marianne Faithful she might reveal the source of each (perhaps will anyway in the future). I leave it to savvy Forum members to interpret the MF reference, or not, as a Doug Pettibone allusion.
So it was a fine show, 30 shy of selling out I hear. Though I must note that Black Pistol Fire was a bit too “rock[y]” for my taste; it was nice to kind of settle into the courtyard with the Texas raccoons rather than catch their act indoors, late night.
Once I got my footing about a half hour before Erica’s opening song, all was stable for the show’s duration. Thanks to paulinlosangeles for these clay/sand/dirt soundings some weeks ago. Stubb’s Outdoors is unique.
Erica did seven songs, three newbies I think, three from The Mountain, one from the HB’s first record. she abandoned the cowboy hat four or so into the set, and she had one sideman throughout. for my money (not that it’s a question of funds), this was the best in the working experiment of “local/regional” first acts.
What, no eight-track option? I bought the real deal in disc from merchman Matt at last night’s HOB show, ten bucks in a straight line to the artist’s pocket. Mellower than I thought, occasional back-up drum and vocal support, but mainly Mills on all nine cuts. Artwork might not package well on cassette. Oh yeah, a few guitar licks are hit in the course of the proceedings. . . .
I do too, Lafayette, but I’m too much the grammarian to let the slight misquote of “Crescent City’s” opening line and the added consonant to the Fats title rest. You lose a whole syllable going from “everybody” to “everyone” (though they are synonymous really), and the great rhythm established off the bat would be completely whacked by the line delivered as the blogger said. And isn’t the whole point of the Fats song/title to live in the present, not the past? Oh well, what point carping over pronouns and verb tenses? The blogger evoked the scene well, though that “Stand on the Rock” sequence needs to be forefronted, imho (correct cyberspeak, Mr. Tracy?).
Well, a 1996 release would have been under the pre-Twang Trust, Morlix auspices–and we can each speculate whether THAT would have been “Grammy-winning.” But thanks for digging up this Tennessee tidbit, LWJ–and for not making me too guilty I was not in attendance in my native state.
You didn’t get your namesake tune, lafayette, but one of your faves off West, no? [tour debut/Blake debut] Despite that one and the Hank left off, much to love with the Fats Domino cover et. al.–semi- “heavy” on Car Wheels, yes, but not overwhelmingly, six I think. Thanks for the report, SS. I can’t speak for West Words, but I’m experiencing mild regret (albeit ensconced here in the Crescent City at moment) at skipping the Lafayette gig. My day will come again soon.
Great report, Parker–I’ll even forgive you for going to the Iphone during a Lucinda set. Did you meet anyone who had been to Memphis?
“The Night’s Too Long” and “Well Well Well” as Blake/tour debuts: sweet.
Conference room, hunh? If I had to swallow a ticket for one show, this might have been the right choice–though I paid a good deal more than 17 bucks. Hope those with “premium” seats got at least a close, seated spot. Your description of the venue sounds like where the Americana Conference Awards Show was held before it got moved down the street to the Ryman; even Jim Lauderdale as emcee couldn’t enliven the proceedings at the original site.
Those security guys must have gotten transferred from Humphrey’s San Diego and/or Lincoln Rococco Theatre. Been there, got treated like that. . .
Here’s hoping OK treats you better. . .
1 Buttercup
2 Car Wheels on a Gravel Road
3 People Talkin’
4 World Without Tears
5 Bus to Baton Rouge
6 Crescent City
7 Drunken Angel
8 Lake Charles [solo]
9 Ugly Truth [with Blake only]
10 Everything Has Changed
11 Blue
12 Born to Be Loved
13 Steal Your Love
14 Blessed
15 Convince Me
16 Essence
17 Real Live Bleeding Fingers…
18 Righteously
19 Changed the Locks
20 Honeybee
_____________________________
21 Hard Time Killing Floor Blues
22 Joy [with Rick Richards of the Georgia Satellites]
23 For What It’s Worth [with RR]West Words?????????????????????????
Fine job, West Words: I think it’s Dub Cornet, and “BB Morrison” is actually R. B. Morris, a fine bard and writer-in-res. at UT Knoxville, though I’m not sure he was at the show after all. Have seen him on stage fairly recently at the Down Home in Johnson City and 3rd & Lindsley of Nashville, the latter with Scott Miller.
About the only omission I can come up with is what Lu said right before she introduced the band: “are we still Buick 6?” Then she slowly rotated on tiptoe in a vaguely counterclockwise direction and seemed to get ambiguous answers from the 3 guys, concluding “OK, so much for that.” I gather despite Butch’s t-shirt of the previous night, they are not billing themselves as Buick 6 any longer. My row mate tntracy was sporting a “Love Band” t-shirt that evening, so perhaps they can revert to that moniker.
Suburban Atlanta or bust. . .
@ParkerCA wrote:
Got this notice today:
Due to the extreme cold expected on May 1, the Lucinda Williams and Billy Joe Shaver concert has been moved from The AMP at the Northwest Arkansas Mall to The Fayetteville Town Center on the Fayetteville Square
Well, “extreme” is a relative term (see Minneapolis Dakota Club from Feb.), but OK. Guess this doesn’t affect the potential sale of my ticket, since I can’t make the trip 🙁
The Hooters was a one-off (or two-off, as it were), I suspect.
I can’t believe both tntracy and I failed to mention a couple of other aspects of the Charlotte show, including the stained-glass, ex-church aura (cp. Tabernacle of Atlanta and The Shedd of Eugene). Lu duly took note, and hesitated (or mock-hesitated) before playing “Essence,” in light of the f-bomb in its final verse. She played it of course, and neither fire nor brimstone ensued. Though in Knoxville she noted the predicted end of the world on May 21 (“We’re going to be in Chicago that day”), just before picking up on the Glen Beck motif.
Also, something was bothering Butch’s drum kit in Charlotte, which turned out to be a wasp, according to Lu. I thought she meant White Anglo Saxon Protestant briefly, but she definitely used the singular and there were four of those other kind (I think) on stage. Appropriate in some way I think, though it would have been cooler if the creature had appeared later in set, say right in front of “Honeybee.”
Noelle, tntracy, or west words, what else needs to be said about that fine Charlotte show?
Hmh, not sure the Alcoa/airport area has a Hooters franchise (nor downtown near the venue), only west Knoxville. Guess we’ll have to find an alternative to the “Big Orange” in the land of the Volunteers. . .
Nice report, Tom: that intro to “Fancy Funeral” alone was worth the price of admission. Aunt Cecil from Slidell, my my my–quite an account of mortuary doings. Still, let’s hope west words puts pencil to paper again tonight–I’ve forgotten a fair amount of what came out of Lu’s mouth in Charlotte already. . . .
