Discussion - Top 5 Vocal Performances - Rock, Pop etc. - July 12, 2005

TOP 5 VOCAL PERFORMANCES IN ROCK, POP, COUNTRY, FOLK OR BROADWAY MUSIC (in no order): Criteria doesn't have to be an outstanding vocal technically, just a vocal performance that stirs up the goosebumps. Could be a performance by anyone.

Naturally my list would change from week to week…

1. Time To Say Goodbye - Andrea Bocelli and Sarah Brightman: It's very rare that an 'opera-lite' song crosses over to the pop charts and sells millions of copies worldwide. Sarah Brightman has had a wonderful career singing Broadway, opera and pop songs, but the marriage of her voice with tenor Andrea Bocelli is heaven made. Doesn't hurt that the song is well written and wonderfully arranged too.

2. Wuthering Heights - Kate Bush: One of those songs that STILL gives me shivers every time I hear it. The original version had a great vocal, but she recorded a new vocal for the release of "The Whole Story" and it blows the original out of the water. To think she wrote this when she was 16 is even more astounding.

3. Hurt - Johnny Cash: Johnny Cash will never go down in the record books as a brilliant vocalist...he will go down in the books as a gifted interpreter, and "Hurt" is his best. I defy anyone to not be moved when they hear the delivery of this vocal. I would love to find out if this was done in one take...it sounds like it.

4. Thunder Road - Bruce Springsteen: First song I ever (consciously) heard by Springsteen. I remember sitting in my chair just stunned at the performance – one of those times when the world stops turning and all you hear is the song. The delivery of the last line “We’re pulling out of here to win” still cuts to the bone every time I hear it. I guess it was the timing too because it was really the first song that ever really ‘spoke’ to me when everything around me seemed to be turning to crap.

5. Goodbye - Emmylou Harris: Comes from the "Wrecking Ball" CD produced by Daniel Lanois - chock full of stirring vocal performances. "Goodbye" is a Steve Earle penned song and she delivers a breath-taking performance. She does this thing with her voice that is very hard to describe…she delivers a line and then pushes the vocal an octave higher, but it’s the transition that’s gut-wrenching. Her voice is so distinct, so clear, so mesmerizing...I'd listen to her sing the phone book.

HONOURABLE MENTIONS:

- Just about anything from "Pet Sounds" by the Beach Boys, but with more of a nod to "Caroline No" which is sung entirely by Brian Wilson, lead and back-ups...a classic in every sense of the word.

- In a canon of brilliantly sung material, it's difficult to choose a Bee Gee song that shines above the rest, but "Fanny Be Tender With My Love" would be my choice. The modulating crescendo near the end of the song where the three voices carry the song home gets me every time.

- I've never considered the Beatles great vocalists - they wrote amazing songs and sung them well, but great vocalists? Could be argued. That said, there is one song where the vocals are clearly, head and shoulders, the best vocal they ever put together. McCartney's nod to the Beach Boys with "Here, There and Everywhere" is about as good as you can get. His lead with the combined back-up harmony vocals of John, George and Paul are simply amazing.

- Just about ANYTHING by Joe and Eddie, the gospel/R&B/folk singing duo of the late 50's and early 60's. If you haven't heard them - run (don't walk) to your local record store and pick up a CD, any CD by them...you won't regret it.

- The Band's "It Makes No Difference". The studio recording has a great vocal by Rick Danko, but the live recording for "The Last Waltz" shatters it to pieces. Danko sings it like it was the last song he'd ever sing.

CD Review-John Hiatt-Master of Disaster - June 23, 2005

Gets my vote for Worst CD Cover...Ever. Thankfully the music within

makes up for the horrific cover art. At last Hiatt releases a CD that shows a

return to the late 80's early 90's form - though slight. While not his

best, it's certainly better than the last three releases...probably on

par with "Walk On" which was a strong album. Produced by long-time Memphis

musician/producer Jim Dickinson, who has produced Screamin' Jay Hawkins,

The Replacements, and Big Star - the latter arguably his greatest

accomplishment.

In the 80's Hiatt released 4 albums that were consistently brilliant,

but the 90's found him searching for a new sound. He returned to his first

love, the blues, and released a series of albums that were not nearly as

widely appreciated. Hiatt's last two or three albums have been rooted in

folk and acoustic blues and each release had two or three gems but the

rest of the album was forgettable. "Master of Disaster" is a return to the

melodic, rootsy Hiatt - it's closest relative being "Walk On", but not

nearly as tightly produced. The CD starts with the title track, a gentle

rock number that has Hiatt reaching for notes he's never sung, sometimes

hitting them, sometimes not...and there's a charm to that. The song also

includes a repetitive sax solo, which I believe is the first time these

ears have heard sax on any Hiatt album. Not the best opening cut on a

Hiatt album (see "Memphis In The Meantime" from "Bring The Family") but

certainly not the worst. "Howlin' Down The Cumberland" follows and this is classic

Hiatt...a song of doubt written in a sweet folk progression and driven

by wonderfully catchy drum shuffle. The melody is instantly memorable. This

is the material that Hiatt does best. "Thunderbird" follows, and at first

listen I thought Neil Diamond could sue John for copyright infringement

-

the intro is straight out of "Solitary Man", but that's where the

similarity stops. A song about driving through town in his Thunderbird -

sounds pretty boring, but it's actually quite enchanting after the 3rd

or 4th listening. "Wintertime Blues" follows and this is Hiatt at his

rollicking, bluesy best. This is a roadhouse type of blues song, all on

acoustic instruments and it kicks ass all over the place. Hiatt captures

the wintertime blues with astonishing accuracy "Three hours of daylight

and all of them gray / The suicide prevention group has all run away / I'm

running out of groceries / I ain't got no rubber shoes / Bring the bacon

baby / I got the wintertime blues." The CD slows down a bit from here

with one of Hiatt's textbook ballads titled "When My Love Crosses Over".

What makes this cut interesting is the tremelo guitar, which is so rarely

used.

"Love's Not Where We Thought We Left It", an electric blues number and

"Ain't Never Goin' Back", a country blues in 3/4 time are typical album

fillers, passable songs but not very memorable. "Cold River" is another

one of Hiatt's legendary arid, dusty story songs...the type of song that

lends itself to an extended video. This is where Hiatt shines - the lyric is

full of imagery, and the vocal is delivered by a tortured soul. "Find You At

Last" is another one of those Austin blues numbers where Hiatt leans

into the vocals with a ferocious intensity. This is the type of song that has

established Hiatt as a songwriter that artists love to cover...I could

hear the Fabulous Thunderbirds cut into this one. "Old School" is another

country folk number, and likely another number that will find its way on

another artists CD...I can hear Roseanne Cash (who has recorded Hiatt's

work in the past) cover this song and have some success with it. The CD

closes with "Back On The Corner", and acoustic, gospel blues number

about being poor and singing for your supper, but it has this uplifting feel

to it. It also has a brass bit that's reminiscent of the Band's "Life Is A

Carnival"...a fun little closer.

All in all, a strong album, but one that necessitates multiple listening

to find its charm. It's a CD you can put on for background music while you

work around the house, or one to just sit back with a cup of coffee and

relax. If you like Hiatt, I would recommend it - if you're new to

Hiatt...I recommend "Bring The Family" and then "Walk On" - both of those CD's

would lead you into "Master of Disaster" quite nicely. Hope you enjoy.

8 Guitar Picks Out of 10

Eagles Concert - Montreal - March 29th, 2005

Hi all - Hope everyone had a wonderful Easter weekend. Ours was quite good,

and ended on a very pleasant note...free tickets to see the Eagles last

night. When the show was announced Sue's company scooped of 50 of the

finest reds they could find, and as luck would have it we were given two

exceptional tickets. I wasn't feeling all that well yesterday - struggling

with (another) head cold, but the price was right!!!

Don't believe the Gazette review...believe this one. Why? We stayed for the

entire show - the Gazette reviewer did not.

When one purchases a ticket for an Eagles concert, one should know what

they will be getting for their money. The band has made no bones about the

fact that they are milking the "musical nostalgia cash cow", just like

every other successful band from that era. Let's face it, these guys

haven't been musically relevant in over 30 years, not counting the

occasional solo hit. Certainly the steep $125.00 ticket price is a lot to

ask for a trip down memory lane, and I'd be the first to lambaste the band

if they didn't deliver the goods, but they delivered on every count. The

musicianship, the harmonies, the sound, the use of video - it was all

there. It was a late start, but they promised to play their entire show,

and they did just that. They played twenty seven songs, 18 of them genuine

Eagle hits, with the occasional foray into the solo careers of Glenn Frey,

Don Henley and Joe Walsh. The band (Henley, Frey, Walsh and Timothy B.

Schmidt) were supported by 8 other musicians, including a killer 4 piece

brass section. They didn't have the guitar virtuoso's of Don Felder, or

especially Bernie Leadon of their early days, but they had a young lad

named Stuart Smith, who was likely in diapers when "Take It Easy" first hit

the airwaves. As a guitar player, and a critical one at that, I was very

impressed with Smith's playing. His deft touch and almost anal attention to

detail was impeccable, every solo played note for note, with the occasional

flourish just to remind you that he had his own chops to share.

The band started with "The Long Run", and Henley's voice was in fine form -

he was probably the strongest vocalists of the evening. They brought things

back immediately with some of the more softer material until they unleashed

Henley's classic "Boys Of Summer" - a definite highlight of the evening.

They used a series of video screens behind the band to display some great

video, and this accompanied by some great lighting/strobe effects made the

song even more powerful. Joe Walsh continued the mood with a rousing

version of "In The City". By all rights, this man shouldn't be walking the

planet - the amount of drugs and alcohol he has consumed is legendary, but

a few years of sobriety have served him well. He can still make a guitar

sound like a wild animal. A very short intermission and then they were

back. They kicked things off in low gear, a small little acoustic set that

included the abysmal "Hole In The World". To these ears, this song is the

musical equivalent of a chain-saw enema, but in a live setting it came off

far better, almost enjoyable ;-) The second set was generously sprinkled

with solo material, with Joe Walsh getting the lion's share of stage

time...and rightly so. If you want to end your show on a party note, he's

the man to hire. He started his stuff with "Walk Away", a song likely only

familiar to a handful of fans, but it paved the way for a rollicking

version of "Life's Been Good". He said that he first started writing this

as an "industrial love song", but it began to take on a life of it's own.

He also wore the "helmet cam" for this number and wandered around the stage

while visuals of the audience were transmitted from his helmet to the video

screen. Henley followed with a KICK-ASS version of "Dirty Laundry" -

another tune that benefited from video imagery and great lighting, not to

mention the remarkable solo's from Joe Walsh. Walsh returned with "Funk

#49" (a personal favorite) and ripped the arena apart. They closed their

second set with "Life In The Fast Lane" and they played like they truly

were enjoying every minute.

The first encore was predictably, "Hotel California". Unfortunately, at

least to my ears, the song didn't come off as hoped, largely due to the

fact that the studio version has 1/2 dozen guitars layered into the mix.

Still though, the closing guitar solo between Walsh and Smith is what

'arena-rock' is all about...and they delivered the goods. The second encore

started with THE arena rock song, "Rocky Mountain Way", and again Walsh was

the party animal. Not to be outdone, Henley delivered "All She Wants To Do

Is Dance", and the band pulled out all stops, including a rather spirited

dance from Glenn Frey. The final encore brought "Take It Easy" and

"Desperado", perhaps the two best known Eagle tunes, and both delivered

with the appropriate demeanor.

The sound of the show was great, save for the bass. You could see Tim

Schmidt play the instrument, and you could feel the vibrations, but

discerning different notes was an impossibility. The drums sounded amazing,

and naturally all the guitars were crystal clear. Most impressive though,

was the trademark vocals...flawless in every case.

Below is the set list for those who are interested.

Rob

The Long Run

New Kid In Town

Wasted Time

Peaceful Easy Feelin'

I Can't Tell You Why

One Of These Nights

Lyin' Eyes

Boys Of Summer (Henley)

In The City

Already Gone

INTERMISSION

Tequila Sunrise

Love Will Keep Us Alive

Hole In The World

Take It To The Limit

You Belong To The City (Frey)

Walk Away (Walsh)

Sunset Grill (Henley)

Life's Been Good (Walsh)

Dirty Laundry (Henley)

Funk #49 (Walsh)

Heartache Tonight

Life In The Fast Lane

First Encore - Hotel California

Second Encore - Rocky Mountain Way (Walsh)

All She Wants To Do Is Dance (Henley)

Third Encore - Take It Easy

Desperado

9 1/2 Guitar Picks out of 10