The Concert for 12.12.12

The “greatest rock lineup ever assembled” was, above all, a study in rock star aging. It also made you realize, if you ever forgot, what a great decade for rock the ‘70s were. Forty years later, when important people wanted to raise millions and millions of dollars for storm relief, where did they go but to stars of the ‘70s who sang songs from the ‘70s. They also sang some later songs, and there were some later acts, but none, with one exception, packed the same punch.

The biggest disappointment, if only because so much has been made of their current tour, was the Rolling Stones. Keith Richard seemed to exist in a haze, and Mick Jagger, who is almost a parody of himself, was wizened. It is amazing that he can move as well as he does, but Jumpin’ Jack Flash had no bite and overstayed its welcome. Their two-song set was the shortest of the night, and I wasn’t sorry to see them leave. Steve Buscemi’s following riff with the “Graybeards” – retired first responders from Long Island – was more enjoyable.

The Who, arguably as great as the Stones if not as long-lived, were represented by Pete Townshend, a true rock god, and Roger Daltry, who embarrassed by acting like he was 25. Their song selections, Pinball Wizard and Baba O’Riley, could not be faulted. Nor could Roger Waters’, presenting The Wall and Dark Side of the Moon in short form. Having Eddie Vedder alongside for Comfortably Numb was delightful. Waters himself has aged appropriately, unlike Daltry.

Eric Clapton, by contrast, appeared ageless, with glasses and preppie good looks. His songs were forgettable – at least, a day later I have forgotten them. Paul McCartney, on the other hand, was memorable specifically for singing such forgettable songs – Helter, Skelter, Live and Let Die, My Valentine and something from Wings. If ever I needed evidence that the Beatles were overrated, I could point to Sir Paul’s set.

American rockers may have been outnumbered, but they were clearly not outclassed. (In this comparison I am scoring a draw for the duet of Chris Martin and Michael Stipe. Both did what they do perfectly.) I am tempted to say Bruce Springsteen is in a class by himself, except he was given a run for his money by Billy Joel, who played the most numbers and is as identified with Long Island as Bruce is with New Jersey. Only the Good Die Young got us dancing, but Born to Run (with Jon Bon Jovi) made me cry. As much as the critics continue to admire the Boss’s new releases, nothing in the last 20 years has emotionally attached itself to me, including Wrecking Ball, a prominent part of his performance. Billy Joel didn’t dilute his tribute with “new” material; he stuck with the oldies we love.

For the sake of completeness, I should say that I skipped Alicia Keyes and Kanye West, both for lack of familiarity and lack of interest in their styles.  I think that only leaves Jon Bon Jovi. I find his stage presence a little grating, but his TK was the one exceptional post-‘70s song, a rousing anthem that was well worth Bruce’s reappearance on stage.

Fiona Apple

The single highlight of Monday night’s (July 16, 2012) Fiona Apple concert at the Orpheum came in the opening act, when Fiona’s lead guitarist, Blake Mills, performed ‘Sleepwalk,’ one of the great instrumentals in rock history. He gussied it up some with his wonderfully expressive guitar, but the song’s essence remained the same. The memories of slow-dancing in a basement rec room in 7th grade were only a part – well, maybe a big part – of the pleasure this performance gave me. Just as thrilling was the recognition that ’50s music sounds just as good 50 years later, and that a guitarist for one of the most challenging and lauded artists of 2012 can make it his own today. There was, however, one little time bump: rather than acknowledge 1959 as the original date for the Santo & Johnny hit, Blake recalled the song from the 1987 movie La Bamba.
As for Fiona Apple’s performance, she was a dynamo. I only knew one of her songs, “Criminal,” and it’s not a favorite, but you had to admire the ferocity with which she projected her music and, with her sprite-like body, controlled the stage. The musical highlight, coincidentally, was another oldie: she sang Conway Twitty’s “It’s Only Make Believe” for her encore, showing off every bit of her vocal range and power.

Too Old to Rock’n’Roll?

Seeing Jackson Browne (acoustic) at the State Theater May 29 completes my recent trifecta of Aging Rocker Concerts that started with David Crosby and Graham Nash (both age 69) at the Arlington in Santa Barbara and included Bob Seger (66) and the Silver Bullet Band at the Xcel Center. I have previously commented on the staying power of rock’n’roll in Seger’s case, and that comments holds true for all these performers. None of their work sounded dated in the least, and their performances sounded fresh and true, even though they must have sung some songs thousands and thousands of times.
On the other hand, my enjoyment of each show was less than total, not because of the performers but, perhaps, because of my aging. I loved the music, but petty annoyances at each venue distracted me and kept me from being fully engaged. At the Crosby/Nash concert, two women sat next to me and proceeded to chat with each other during the numbers. When they weren’t talking, the women to my left was on her iPhone, reading and sending messages. When I asked her to please be quiet, she and her friend got huffy, and suggested I stay home and listen to a CD instead of coming to a rock concert, where apparently their behavior was to be expected.
At the Seger show, I had a ticket on the main floor, which meant I was close to the action, but also meant I had a terrible sightline to the stage. When the audience stood, as it did most of the show, the short woman in front of me had no view of the proceedings at all. For Jackson Browne (62), I could see perfectly well, but the man in the adjoining seat was a beefy 300-pounder, whose arm rested fully in my space, and whose time-keeping thigh reverberated through my leg. At intermission I changed seats so I could be next to his wife, a mere 200-pounder, but he changed seats and was next to me again. Moreover, he had this piercing voice that yelled out a request before each number.
Jackson Browne’s set itself was all I could ask for, with favorites from almost every album. The depth of his repertoire was typified when he came out for his encore: “I could do The Load-Out, For A Dancer, or Late for the Sky,” he offered, before settling on the first. Nevertheless, I will say that either his voice was horribly overamped, or it just isn’t sweet anymore. He has always been a greater songwriter than singer, but here it was slightly painful. I eventually discovered that if I covered my ears, the songs came through cleaner.
Of course, the rest of the audience was delirious throughout, which leaves me to wonder if the fault is not mine. Should I, rather, stay home and listen to the stereo.
As a postscript, I should probably add the Bruce Cockburn concert I attended two weeks at the Cedar Cultural Center in the West Bank area of the U. Arriving 15 minutes early, I picked up a general admission ticket for $20. The first problem was that Cockburn (age 65) had decided to start at 8, instead of 7:30, which gave me 45 minutes to wait around – not my strength. The “Cedar” is a small hall, so every seat is fine for looking and listening. The problem is they are not so good for sitting. They use folding chairs, and for a sold-out show, I was crammed among the people next to and in front of me. Maybe I’m spoiled by the luxury you get in most movie theaters these days. Or maybe I’m just getting old.

Bob Seger at Xcel

     The message I took from the concert in St. Paul by 66-year-old Bob Seger is that rock’n’roll is here to stay. Although some songs he sang were 40 years old, this was not an oldies concert. The Silver Bullet Band played the songs as written, with no need for a musical update, and they sounded just as fresh, just as relevant as when they were new. When an orchestra plays a Beethoven symphony, you don’t like it because it’s an oldie-but-goodie.  It speaks to you today. The same is true for Seger’s music. I guess that’s why they call it ‘classic rock.’ I feel it will still have the same power to move people 40 years from now.
(This raises the question whether the hits of today will have the same staying power. Am I attached to Seger’s music because I was more impressionable when it first came out? It’s certainly true that there was a preponderance of 60-year-olds in the crowd. One answer is that music was more unified, and unifying, in the 1970s. There wasn’t the division on the airwaves among pop, AOR, soft rock, alternative, not to mention 50-some choices on Sirius. Songs like “Night Moves” and “We’ve Got Tonight” were anthemic in the way few releases can be today.)
As for the concert itself, it had sincerity and integrity. The bass player, acting like the music director, has been a Silver Bullet since 1969. The saxophonist, who looked like a refugee from the Sopranos, goes back to 1971, as does the lead guitarist, who hasn’t cut his hair since then and reminded me of Riff-Raff on steroids. With three backup vocalists and a four-man horn section, there were a total of 15 on stage. Seger himself was white-haired, heavyset and bespectacled, wore a black headband and a series of Harley-Davidson T-shirts, and looked a little goofy with his gap-toothed grin. His moves consisted of pumping his right arm, which you felt was quite age-appropriate. He didn’t burden us with new material, but his selections tended toward second-tier cuts off his best albums: the songs were recognizable but not the show-stoppers I was hoping for. Horizontal Bop and Katmandhu are not my favorite Seger.
In all, the energy was there, the crowd was enthusiastic and vocal, there was always someone to look at onstage, and the music made you stand and dance. It was straight-on rock’n’roll, Michigan-style, and we felt honored.