In celebration of the 23rd anniversary of The Old Grey Cat (sans the hiatus of about seven – or was it eight? – years), here’s a post from the original website. Just as I do on this blog at year’s end, I recapped one aspect of 1998 once December rolled around…
DECEMBER 14th– This time of year, magazines, newspapers and the broadcast/cable networks look back at the year that was. And why not? It’s a cheap, easy way to fill space. Of course, few new insights are proffered; instead, we’re served clipped headlines and predictable analysis. For instance, 1998 is already being called “The Year of Monica.”
Uh, excuse me? As far as I’m concerned, 1998 was “The Year of Lucinda.”
Aside from being an instant classic, Lucinda Williams’ Car Wheels on a Dirt Road was the best album of the year, hands down. In years to come, folks will write about it with the same reverence that they share for such albums as Gram Parson’s Grievous Angel or the Byrds’ Sweetheart of the Rodeo, a genre-busting effort that is more than the sum of its parts. In a live setting, backed by a powerhouse band featuring the likes of guitar slinger Kenny Vaughn and vocalist extraordinaire Jim Lauderdale, Lucinda offered a stew of sublime, superb and incredible songs, tasty morsels all.
1) Lucinda Williams – June 26th – Philly/TLA – The circumstances were suspect, at best. Due to thunderstorms, Lucinda’s plane was detoured to NYC; she took a train south, and didn’t hit the stage until 10:30 p.m. Add to that the fact that she’d had two hours sleep the night before…but, to quote Stephen Stills, it’s “No matter. No distance. It’s the ride.” And what a ride this night was! She and her band were right in time; and we, the audience, were left moaning at the ceiling… especially on the extended guitar jam that brought bliss to “Joy.”
2) Steve Earle & the Dukes – Feb. 7th – Philly/TLA – The term “ragged glory” must have been invented to describe a Steve Earle show. After opening with the timely “Christmas in Washington,” Steve led the audience on a two-hour, 20-minute tour of society’s “other side”… “Taneytown,” “Copperhead Road” and Fort Worth were just a few of the stops. Others: “Guitar Town,” New York City and … the soul. This was a night of glorious, guts-first music that rocked the soul even as it connected with the intellect. I was lucky enough to see Steve twice this year, four months apart. The main difference? The band. Here, he was buttressed by Buddy Miller on guitar and Brady Blades on drums (half of Spyboy, in other words). Small wonder that, after Steve and the Dukes left the stage, the Philly crowd took up the chorus of the night’s closing song, “I Ain’t Ever Satisfied,” and brought him back for more.
3) CPR – July 1st – Philly/TLA – A sparsely attended show, but you’d never know it from the way Crosby, Pevar and Raymond played. Same goes for the magical opening act, Anastasia & John. An incredible, magical night. CPR remind me of Steely Dan, but minus (what to me is) the Dan’s smarminess. Crosby was in exc. voice, and the new songs are among his strongest. That’s not to say the old songs weren’t appreciated… don’t pass on seeing CPR, if given the chance. These guys rock (and Pevar’s guitar playing blows the mind).
4) Maria McKee – Dec. 6th – Philly/Tin Angel – This year, the Absolutely Sweet Maria undertook a brief tour billed as “A Close Encounter with …” At the Tin Angel, those words are oh-so-true. It’s a small venue, fitting no more than 125. Despite suffering from a cold and “airplane throat,” Maria took hold of the audience for a good 75 minutes… yeah, 75 minutes. Too short, to say the least, yet it was a riveting show. Suffice it to say, she is not collecting dust. She opened with “Life is Sweet,” played a hand-full of new songs and just a few of her older classics. “Panic Beach,” for example, tho’ these ears missed “Breathe.” The night’s highlight: An intense “I’m Not Listening.”
5) Steve Earle – July 15th – Philly/TLA – Minus Buddy Miller and Brady Blades, but still damn good. “Won’t get far on 37 dollars and a Jap guitar… WANNA BET!” See him, buy his albums, help him pay off that 16,000 pound phone bill he racked up in London last year… I could go on, but why?