An Interview with Johnny Marr

The legendary Smiths guitarist discusses his new solo LP 'Playland,' his musical foundation, and the abiding pursuit of his next creative move.

An Interview with Dwight Twilley

The Tulsa pop-rocker talks his latest LP 'Always,' matters of songwriting and recording, and the memory of Elvis almost cutting one of his songs.

An Interview with Mac Wiseman

On the eve of his induction to the Country Music Hall of Fame, the Nashville legend discusses his 70-year career along with his new LP, Songs From My Mother's Hand.

Clapton Weighs Retirement in New Tour Doc

Should Slowhand indeed retire from the road next year as he suggests, it won’t be because of a lack of passion or musical decline.

An Interview with Randy Owen of Alabama

The band's lead vocalist and songwriter of some of its greatest hits discusses the music that has made Alabama legends.

April 17, 2009

Like Water Under the Bridge: Simon & Garfunkel, Live 1969

Almost forty years have passed since the release of Bridge Over Troubled Water, Simon & Garfunkel’s swan song. While they’ve collaborated on various projects and shared concert stages in the intervening decades, this landmark effort remains the duo’s final studio LP.

Not long before Bridge entered the consciousness of a generation, Simon & Garfunkel embarked on what would amount to being their final concert tour as a current act. This closing chapter — epilogues notwithstanding — is exceptionally preserved and chronicled on Live 1969.

Considering the relative brevity of their musical partnership, even the eldest of S&G songs performed here — “The Sound of Silence,” “Kathy’s Song,” “Leaves That Are Green,” and “I Am A Rock” — had yet succumbed to the whims of nostalgia. As such, they’re presented from a contemporary perspective, which distinguishes this live album from subsequent ones — The Concert in Central Park (1982) and Old Friends (2004) — not just in how the material is received by audiences, but also in how it’s presented to them.

“This is also one of our new songs,” Paul Simon timidly remarks at one point. “It’s called ‘Bridge Over Troubled Water,’” enunciating each word in case anyone may want to hear it again once the new album comes out.

The merits of his songwriting aside, whether strumming his guitar in accompaniment or even when singing lead, Simon maintains an inconspicuous, concentrated presence throughout. It’s Garfunkel who shines brightest here, be it with wistful variations on “So Long, Frank Lloyd Wright” or in pining, seraphic passages of “For Emily, Wherever I May Find Her.” And, even if all you had to go by was the tremendous ovation following “Bridge Over Troubled Water,” it’s safe to say he does a mighty fine job on that one as well.

Live 1969 finds Simon & Garfunkel toward the end of their run yet very much in their prime, enriching their works with indelible chemistry and respective fidelities to their craft.

April 3, 2009

London Calling: It's Leonard Cohen

Before Leonard Cohen embarked on his current world tour — which is now winding its way through the United States and Canada — few, if any, could have predicted the septuagenarian would deliver a nearly 3-hour, multiple-encore performance for all of his headlining dates. That the tour would be so well received proved — if not at first to Cohen, then certainly to his devoted fans — far less surprising.

Recorded on July 17, 2008 at the O2 Arena in the United Kingdom, Live in London — released this week as a 2CD set as well as on DVD — finds Cohen in unassuming command of his audience while paying unselfish deference toward his songs.

In serving the character and enduring distinction of his works — from early ruminations like “Hey, That’s No Way To Say Goodbye” and “Bird On The Wire” to latter-day prophesies like “Democracy” and “The Future” — Cohen enlivens them on the stage, revisiting his acute perceptions of the human psyche and soul.

Considering the dreary complexion that has long beset his canon and reputation, it’s striking (and refreshing) to behold Cohen in such good spirits as he is here, injecting some self-deprecating humor between songs or, better yet, within them. The audience often chokes up in laughter when he sings particular lines, many written decades ago — like “Well my friends are gone and my hair is grey/ I ache in the places where I used to play,” from “Tower of Song” — as if only then had everyone gotten the joke that was originally intended.

All the more remarkable, though, is what hasn't changed, particularly that the setlists haven’t varied considerably over the extensive arc of this tour; Cohen’s banter between songs hasn’t even deviated all that much either. And yet, for those who’ve taken in a show, even for those who’ve taken in multiple shows — witnessing Leonard Cohen summoning these timeless, treasured songs to fresh life — each concert feels altogether exhilarant and genuine.

For those, including this writer, who have attended a performance during this singular and epic concert tour, Live in London serves as a befitting and thoroughly enjoyable souvenir. For those who haven’t but who appreciate Cohen’s music nonetheless, both the audio and visual presentations make for outstanding live documents.