The “tough, rough couple of weeks” I mention at the start was that the company I worked for, TVSM, was being purchased by the top TV listings magazine in the land, TV GUIDE. That meant the magazines I wrote for, The Cable Guide, See and Total TV, were likely to be axed and everyone would be laid off. And, sadly, most folks were let go – something that pains me, still. But as the fates would have it, by the time the dust settled (the following November), I signed on with TV GUIDE and joined their “pop and politics” team.
Anyway, one thing that I failed to mention in the Lucinda portion of the piece is that she arrived late to the show; while flying into Philly from parts unknown, her plane was detoured to New York because of thunderstorms. She was forced to take a train from the Big Apple to the City of Brotherly Love and then a taxi from 30th Street Station to the venue. As a result, opening act Jim Lauderdale, who was also part of her touring band, went on later and played longer than usual. She still rocked the house when she reached the stage, however. (I named her performance my Concert of the Year for 1998; CPR’s set was third.)
Also, the quote from David Crosby hints at this: The TLA was a sea of empty chairs for the CPR gig; at most, and I’m likely being generous, 25 fans were there. The main reason, I think, wasn’t a dearth of interest in Crosby, but that all of the venue’s advertising billed the band simply as “CPR.” No one knew that the C stood for Crosby!
It’s been a tough, rough couple of weeks for the Old Grey Cat, punctuated by a few moments of feverish glory.
Lucinda Williams in Philly 6/26 was one such moment. Backed by a crack band, she played just about every song from her brand-spanking new album, Car Wheels on a Gravel Road (it’s great; buy it), as well as classics from her past. She hit the stage a little past 10 p.m. and played ’til 12:30. No breaks. Backed by a killer band, she played acoustic guitar for the first half, then switched to electric guitar. With Bo Ramsey on electric and slide guitar, Jim Lauderdale (who opened for her, too) on acoustic rhythm and Kenny Vaughn on lead guitar, it was – no joke – a massive, near-overwhelming sound.
Kenny Vaughn and Bo dueled during “Joy,” stretching that song to what must have been 10 minutes. Time stopped there, on the delta of the blues, what with Lucinda’s distinctive vocals wavering from orgasmic moans (“Right in Time”) to out-right bitterness (the aforementioned “Joy”) – and often in the same song.
I mention the above to let folks know: I’m not just into the David Crosby’s music. I step back often and listen to what might best be called “American music.” Not the generic rock ‘n’ roll you hear on the corporate-run stations that plague the nation, but music like Lucinda’s that caresses the soul.
After a very engaging opening set by Anastasia & John that sent the Cat scurrying to the lobby to purchase their lone CD, David Crosby, Jeff Pevar, James Raymond and company hit the stage. “Thank you for coming,” intoned David. “Without you we’d be playing to an empty house.”
The magic I talked about in my reviews of their two CDs? It was present from the get-go, with a rendition of “Morrison” that actually improved upon the studio version. Hard to do? Maybe, maybe not. Live music is better, after all. Up next was a delicate, harmony-laden “In My Dreams.” “Two or three people fading in and out/like a radio station that I’m thinking about…” and guess what? Those “two or three” voices are right there, up on stage. With Pevar and Raymond, one does in fact forget about Crosby’s erstwhile partners Stills, Nash and Young – CPR is that good. A jazzy, uptempo version of the “perverted” “Triad” came next, and while I think I prefer the more genteel take from Four Way Street, I have no complaints about this arrangement. It was rather exciting to hear Croz recast an old favorite. “Thousand Roads” was another gem recast into a heavier number. To be succinct: It rocked.
Another high point: “Delta.” One of the Old Grey Cat’s favorite Crosby tunes, here it was simply. . . hell, I’ll crib from myself. I’m not proud. In my review of the Neil Young bootleg Blue Notes, I wrote: “You feed off the performer, he feeds off you and…you’re there, wherever there is, not stoned but STONED, and not from drink or drugs but from the music itself.” That about sums up the entire night, but most specifically the performance of “Delta” – and, in this case, it wasn’t just “performer” but performers, as in Crosby, Pevar and Raymond.
Jeff Pevar, aka “The Peev,” is simply phenomenal. His solos during “Delta” brought the audience to its feet. The thing about him, too, is that he’s in sync with the songs. His solos never veer into flash for flash’s sake but, instead, echo and expound the melodies with grace and warmth. Likewise, James Raymond is a true find. Forget the fact that he plays the piano with a precision and passion missing from most folks who tickle the ivories. His contributions to the set, “One for Every Moment” and “Yesterday’s Child,” easily surpass most of the music passed off as “meaningful” in today’s rock ‘n’ roll climate. Think of him as a mix between Jackson Browne, Bruce Hornsby and … who? I can’t think of who else at the moment, but maybe that’s the point. He’s talented. A real find. David has reason to be proud.
Of course, although CPR is a band, it is David who’s out front. He’s the one who the fans come to see and he’s the one who makes or breaks the show. Have no fear, folks. Aside from the fact that he’s in excellent voice, he’s singing some of the best material of his illustrious career. Check out the driving version of “That House,” which puts into song one of his old nightmares. Or what might be considered that song’s flip side, “At the Edge”:
And it’s life and it’s dying
It’s beginnings and ends
it’s what did you do
with the life they gave you?
It’s a memorable moment in the show, because you know: The song, the sentiments, are from his heart. This music, and the emotions behind it, aren’t fantasies fabricated for radio airplay. It’s the real deal, ego, anger, lust and love rolled into one.
I’d be remiss if I didn’t mention the crowning moment to the show: “Ohio.” Yes, that “Ohio,” by the wayward Y of CSNY. This version was electric – and I don’t just mean “plugged in.” It was hot. “Tin soldiers and Nixon coming/we’re finally on our own/this summer I hear the drumming/four dead in Ohio.” Simple lines about a complex time, when for all intents and purposes American troops were patrolling American college campuses – and for what? To quash kids exercising their freedom of speech?!
We in the audience were singing along, stamping our feet, on our feet and clapping. Don’t – I mean, don’t – miss CPR…or Lucinda, for that matter. Support great music!
set list: Morrison, In my Dreams, Triad, One for Every Moment, That House, Little Blind Fish, Homeward Through the Haze, It’s All Coming Back to Me Now, At the Edge, Delta, Rusty & Blue, Somebody Else’s Town, Thousand Roads, Yvette in English, Ohio, Deja Vu encore: Eight Miles High