Tommy Ramone Dead, Legend of The Ramones Endures

One of the pivotal bands to emerge from the New York City punk scene in the mid-seventies, the Ramones provided a subversive antidote to much of the over-produced, over-indulgent pop and rock music of the era.

An Interview with Paddy Moloney of The Chieftains

For over half a century the Chieftains have served as global ambassadors of traditional Irish music, and Paddy Moloney has been there from the very start.

Interview: John Illsley, Formerly of Dire Straits, Celebrates Survival with New Solo Album

While Mark Knopfler has enjoyed more critical and popular success since the band’s demise, Illsley has nonetheless produced a string of respectable solo works as well, including his latest LP, Testing the Water.

DVD Review: Elton John - The Million Dollar Piano

“It has to be a little over the top,” Elton says. “It’s Vegas.”

Boz Scaggs: The Instinct of a Musical Survivor

Call it intuition or a sixth sense or just faith in his own perception: Boz Scaggs knows when he’s onto something good.

Friday, 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.

Friday, 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.