My review of the Gershwin Prize Concert
black...@aol.com
diminish the significance of the honoree's work. With the thought of a
Paul Shaffer all-star jam featuring Joss Stone screaming "you got the
cool water when the fe-ee-eee-EEE-ver runs hiii-IIII-uh-uh-iii-uh-uh-
high," I approached the Library of Congress' First Annual Gershwin
Award concert honoring Paul Simon with a mixture of apprehension and
anticipation. The reason so many of these tribute shows are bland
and, frankly, boring is that the evening's backing band - while no
doubt very fine musicians - are unfamiliar with the complex subtleties
that make an artist's catalog truly noteworthy. So my fears were
dispelled as soon as I entered the Warner Theatre in Washington, D.C.
and saw Steve Gadd's drum kit - I knew that this was going to be
serious.
Choosing Paul Simon's own tour band - an outrageously talented and
sympathetic group of musicians - to back the guest musician's was a
stroke of genius. The band members this evening were: Clifford Carter
(piano, organ), Tony Cedras (accordion, syntheziser, guitar), Steve
Gadd (drums, percussion), Mark Stewart (guitars, mandolin, vocals),
Harper Simon (guitars, vocals), Jamey Haddad (percussion), Bakithi
Kumalo (bass), Jay Ashby (trombone, percussion), Andy Snitzer
(saxophones), Jim Hynes (trumpet). The music played this evening
truly reflected Paul Simon's compositional genius and - at the end of
the show when the auteur himself performed - substantial vocal
abilities. The following is a slightly expanded series of notes that
I made during the concert and gives a bit of a clue for what to expect
from the PBS broadcast scheduled for June 27. The only disappointment
is that the three hour concert will be edited in half - down to 90
minutes - for the broadcast.
The opening song was an instrumental version of "The Boy In The
Bubble" which I assume will run under introductory credits. The first
guest vocalists of the evening were Shawn Colvin and Allison Krauss
who performed "The Boxer" in a version plagued by feedback. Shawn
played acoustic guitar and sang lead, while Allison sang very nice
harmony and doubled her fiddle with Jim Hynes' muted trumpet on the
instrumental verse. Following the last chorus, Jerry Douglas played an
instrumental verse on dobro.
Mark Stewart on mandolin and Tony Cedras on accordion joined the dobro
master to give the performance a very rustic quality.
Bob Costas introduced Lyle Lovett who performed a remarkably facile
"50 Ways To Leave Your Lover." Harper Simon left the stage for this
number while Mark Stewart switched to acoustic guitar and the Jessy
Dixon Singers contributed energetic background vocals. Ira Tucker has
been with The Dixie Hummingbirds since 1933 and is still a powerful
singer at the age of 87. The Hummingbirds have been reinforced
recently with younger members including amazing bass singer Cornell
McKnight. The horn section - Jay Ashby, Andy Snitzer and Jim Hynes -
gave real punch to the choruses while Jay Ashby's mournful trombone
solo between the choruses and verses was reminiscent of his "You're
The One" tour performance.
Bob Marley's son, Steven Marley, followed with "Mother And Child
Reunion." This version was reminiscent of the original studio
recording which featured members of Toots & The Maytals but featured a
prominent and funky horn line. Harper Simon joined Mark Stewart on
electric guitar, while Vincent Nguini played the rhythm guitar part on
another electric guitar. Cliff Carter contributed tasty organ licks
and the Jessy Dixon Singers sang backup.
A video clip of "Under African Skies" from The African Concert video
preceded the entrance of Ladysmith Black Mambazo who sang a riveting
version of "Homeless," which lead singer Joseph Shabalala co-wrote
with Simon. Shabalala maintains an incredible energy level,
continuing his high kicks even though he is well over sixty years
old. Ladysmith is always a joy to see and hear and this performance
was no exception.
Bob Costas told the anecdote about Mickey Mantle asking why he hadn't
been included in "Mrs. Robinson" (Simon's famous response:
"syllables") and introduced a video clip of Paul performing a solo
acoustic "Mrs. Robinson" at Joe DiMaggio Day at Yankee Stadium.
James Taylor and The Dixie Hummingbirds followed with a really nice
version of "Slip Sliding Away." J.T. played acoustic guitar, Mark
Stewart and Vincent Nguini played electric guitars, and Cliff Carter
contributed some very tasty organ licks. Hummingbirds' bass singer,
Cornell McKnight, really stood out on this performance. His voice is
an operatically pure bass with tremendous range and vibrant tonal
color. James Taylor clearly enjoyed singing with him.
Poet Billy Collins gave one of the few completely unnecessary
performances of the evening, a recitation of his poem "Sunday Morning
with the Sensational Nightingales," backed up by gospel humming from -
who else - The Dixie Hummingbirds. OK, so Collins is a former poet
laureate and the poem was ok and even tangentially relevant but this
was supposed to be the music of Paul Simon and not be about the music
of Paul Simon. I did like the humming, though.
Lyle Lovett and Buckwheat Zydeco took the stage next with Tony Cedras
also playing accordion. Steve Gadd and Jamey Haddad set up a great
groove with washboard player Sir Reginald Dural (Buckwheat's
brother). Andy Snitzer and Mark Stewart each took a very hot solo,
while Lovett's vocal was (to me) surprisingly good.
Lorne Michaels introduced a collection of clips from Saturday Nite
Live, including the complete "Homeward Bound" with George Harrison.
Lorne recounted how for many years he has lived in the same building
with and just across the hall from Paul Simon. "When I'm asked how it
feels to live across the hall from a genius, I always say 'ask Paul,'"
Michaels deadpanned.
James Taylor followed the SNL clips with one of the many highlights of
the show - and a truly bizarre moment. Taylor sang "Still Crazy After
All These Years" accompanied by Clifford Carter on electric piano.
Andy Snitzer took the sax solo and Tony Cedras played a string
ensemble synthesizer. I've never been a James Taylor fan, although of
course I've respected his talent. His performance of this song,
though, converted me. I could never have imagined any singer other
than Paul Simon performing this signature tune but Taylor demonstrated
a skill so great it made the performance seem effortless. There were
times during Taylor's singing that I felt I was listening to a
precisely tuned instrument. Bizarre moment? During the coda, Taylor
vamped "still crazy, I'd be still crazy, I'd be mad-dog f**king crazy,
after all these years." That may be enough to get it clipped from the
PBS broadcast, which would really be a shame.
A short Woody Allen (!) film about George and Ira Gershwin was
followed by Dianne Reeves with her own jazz trio singing the Gershwin
tune "Our Love Is Here To Stay." She then sang a very jazzy version
of "Something So Right." Reeves has a powerful voice with a
beautifully rich timbre that she enriches with a mastery of lyrical
subtlety and nuance. She used those gifts to great effect here and
turned in a wistful rendition that was miles away from the original
version recorded by Simon. She showed that Simon's songs don't
require his crack road band in order to live and breathe.
Charles Grodin introduced a film montage of various performers,
including Roy Orbison, Elvis Presley, Willie Nelson and a military
band at Ronald Reagan's funeral, playing "Bridge Over Troubled
Water." At this stage of the show, Paul Simon was still seated in a
V.I.P. box with Edie Brickell and their children. During the short
film, Paul seemed to sag physically and I saw Edie put her head on his
shoulder to comfort him.
Yoland Adams joined Jessy Dixon to duet on "Gone At Last," another
highlight of the evening. The band really cooked with Clifford Carter
on organ and Tony Cedras on piano. The horn section gave the song a
much bigger sound and the performance seemed to take off like a
rocket. I gave my first standing ovation of the evening for this one,
although the rest of the crowd didn't seem as impressed as I was.
"Fools," said I, you do not know....
Costas introduced yet another film, this time narrated by Tom Brokaw.
Phillip Glass followed with Bizarre Moment No. 2, a solo version of
"Sounds of Silence" on the grand piano. My note for this performance
says only "weird!!!" Glass transformed what essentially is a simple
folk song into a harmonically complex, even dissonant in places, work
hinged on a three note minor key riff. Every few bars a trace of the
original melody would come through and then Glass would shove it back
under his technique. When I glanced at the V.I.P. box during this one,
Simon appeared to enjoy the performance. Maybe when I see the
broadcast I'll be able to understand this one, but then again, maybe
not.
Elmo and Grover from "Sesame Street" followed with "The 59th Street
Bridge Song." Grover: Wow, that song is short! Are all of Paul
Simon's songs that short?
Elmo: Yes, Paul Simon is a well-known short song writer.
Marc Anthony entered to perform "El Condor Pasa" with Harper Simon,
Vincent Nguini and Tony Cedras playing acoustic guitars, Mark Stewart
playing mandolin, Jamie Haddad playing a variety of percussion
instruments and Steve Gadd moving from his trap set to stage right, by
the horn section, to play a big red conga that looked vaguely like an
oil drum. Anthony turned in an overwrought vocal that made it seem
like he had just reached an epiphany in learning that "a man gets tied
up to the ground."
"Late In The Evening" was another story, however, and Anthony's vocal
abilities and personal charisma fit the song perfectly. The
guitarists all switched to electric guitars and the horn section took
full advantage of the opportunity to "blow that room away."
Alison Krauss and Jerry Douglas followed with a very country version
of "Graceland" with Douglas playing the signature riff on the dobro.
This was one of the most radically altered Simon tunes of the evening
(although compared to Glass' performance, it seemed like a note-for-
note transcription of the original record). Harper played acoustic
guitar, Mark Stewart played electric guitar and Tony Cedras played
accordion. Steve Gadd, Jamie Haddad, and Jay Ashby played an
interesting percussion line that didn't interfere at all with the
acoustic feeling of the new arrangement. Douglas' dobro playing again
was outstanding.
At this point, Shawn Colvin and Allison Krauss performed "The Boxer"
again, presumably because of the sound problems that had plagued the
first effort. This time, the feedback waited until Krauss started to
play the instrumental interlude on her fiddle. Perhaps they'll be
able to edit the two versions of the song to create a single
acceptable performance, but the technical problems may well prevent
this song from making the broadcast.
James Billington, the Librarian of Congress, nervously introduced Paul
Simon who entered the stage with Stevie Wonder. Paul sang "Me And
Julio Down By The Schoolyard" accompanied by Wonder on harmonica.
Wonder's harmonica playing has always amazed me; he plays a bluesy
style on a big chromatic harmonica which has much thicker reeds than a
standard diatonic harmonica. Yet Wonder is able to bend those thick
reeds effortlessly to create a stunning technique. At times on "Me
And Julio" Wonder's harmonica sounded like Airto Moreira's cuico on
the original recording. Simon clearly has a lot of affection for
Wonder and the performance was a real standout of the evening.
Paul then introduced his "brothers from South Africa" and sang
"Diamonds On The Soles Of Her Shoes" with Ladysmith Black Mambazo.
This was another bright moment in an evening filled with highlights.
After Ladysmith had danced off the stage, Paul introduced his old
friend and partner "in argument," Art Garfunkel.
Simon & Garfunkel sang "Bridge Over Troubled Water" in a version very
similar to the "Old Friends" tour version. Art sang the first verse
and Paul sang the second verse but without the reggae rhythm from the
2003-2004 tour. Paul strapped on an electric guitar and the two sang
in harmony on the third verse until the "sailing right behind" part.
Art gave one of his most impassioned performances, letting it all out
for the last sixteen bars. I thought that he might have cut off the
end a bit abruptly but that may have been planned. Art's singing was
a very fitting tribute to the man who wrote so much wonderful music.
Simon & Garfunkel continued with "Cecilia" although the sound gremlins
returned and Art's microphone appeared to be off for much of the first
verse. Paul followed with a beautiful version of "Father And
Daughter" that he sang straight to his children in the V.I.P. box.
Paul and Vincent played acoustic guitars on this, while Mark Stewart
played electric and Harper played a nylon string classical guitar.
This was another highlight for me and one that I hope makes it into
the final broadcast for a number of reasons, not least of which was
the fact that it was the only post-Graceland song of the entire
evening.
The evening ended with Stevie Wonder on grand piano, joining Paul
Simon and The Dixie Hummingbirds on "Loves Me Like A Rock." The group
really sizzled, with Simon taking the first verse and Ira Tucker
singing the second verse. Wonder missed his cue on the third verse
and stopped the song. The blind singer explained that he had "misread
the cue cards," causing everyone on stage to laugh. Simon instructed
the group to "take it from the top" and Wonder and Tucker engaged in
an extended call and response that was nothing less than masterful.
After the performance, we repaired to the hotel bar where Simon's
afterparty just happened to be scheduled. We people-watched until
about 2:00 a.m. (Steven Marley's group taking their picture with James
Taylor) and I got to talk to Tony Cedras and Phil Ramone. It was a
wonderful evening - look for me in the video!
Bob Rogers
a DVD of the entire show?
Yes, I only discovered JT vocal virtuosity late in life, now I'm a big
mad-dog f**king fan.
Bob
Bill Kawalec
<black...@aol.com> wrote in message
news:1180190461.0...@q69g2000hsb.googlegroups.com...
> Most black-tie gala tribute concerts are so lame that they tend to
Thanks! Very nice rundown.
With the thought of a
> Paul Shaffer all-star jam featuring Joss Stone screaming "you got the
> cool water when the fe-ee-eee-EEE-ver runs hiii-IIII-uh-uh-iii-uh-uh-
> high,"
Actually, I find that concept inriguing...
:-)
black...@aol.com
> <blackman...@aol.com> wrote in message
>
> news:1180190461.0...@q69g2000hsb.googlegroups.com...
>
>With the thought of a
>
> > Paul Shaffer all-star jam featuring Joss Stone screaming "you got the
> > cool water when the fe-ee-eee-EEE-ver runs hiii-IIII-uh-uh-iii-uh-uh-
> > high,"
>
> Actually, I find that concept inriguing...
> :-)
>
talented singers of her generation she seems to regard melisma as a
goal unto itself rather than a technique that is best applied
sparingly.
Bill Kawalec
<black...@aol.com> wrote in message
news:1180206558.5...@q69g2000hsb.googlegroups.com...
true. and, while I enjoy seeing her live (like on the Letterman show), I'm
not buy her CDs.
black...@aol.com
> Lyle Lovett and Buckwheat Zydeco took the stage next with Tony Cedras
> also playing accordion. Steve Gadd and Jamey Haddad set up a great
> groove with washboard player Sir Reginald Dural (Buckwheat's
> brother). Andy Snitzer and Mark Stewart each took a very hot solo,
> while Lovett's vocal was (to me) surprisingly good.
>
All that and I forgot to say that they performed "That Was Your
Mother," although I'm sure everybody here
figured that out anyway.
Julie
<black...@aol.com> wrote in message
news:1180190461.0...@q69g2000hsb.googlegroups.com...
Thanks for posting that....excellent review...beats everything that I've
read so far.
Julie
Gerard Eastwood
to get a first hand review from someone who we know is knowledgeable
and cares about the music.
I had googled news and read a reviews that focused on the feedback
problem and suggested the show was a long drawn out event.
It is a pity that you say that Father & Daughter was the only post
Graceland song in the show. There are many fine post Graceland songs
worthy of inclusion.
Gerard
Michael J. Anthony
> The reason so many of these tribute shows are bland
> and, frankly, boring is that the evening's backing band - while no
> doubt very fine musicians - are unfamiliar with the complex subtleties
> that make an artist's catalog truly noteworthy.
Like at the Kennedy Awards.
> So my fears were
> dispelled as soon as I entered the Warner Theatre in Washington, D.C.
> and saw Steve Gadd's drum kit - I knew that this was going to be
> serious.
Maybe somebody thought to ask PS for his preferences for the band.
> The only disappointment
> is that the three hour concert will be edited in half - down to 90
> minutes - for the broadcast.
As Elmo would say, it's normal for a PS concert to be cut short.
> Taylor sang "Still Crazy After
> All These Years" accompanied by Clifford Carter on electric piano.
> Andy Snitzer took the sax solo and Tony Cedras played a string
> ensemble synthesizer. I've never been a James Taylor fan, although of
> course I've respected his talent. His performance of this song,
> though, converted me. I could never have imagined any singer other
> than Paul Simon performing this signature tune but Taylor demonstrated
> a skill so great it made the performance seem effortless.
I would have bet that JT could do a decent Still Crazy. From your
description I'd say he made up for The Boxer at the Kennedy Awards.
> There were
> times during Taylor's singing that I felt I was listening to a
> precisely tuned instrument. Bizarre moment? During the coda, Taylor
> vamped "still crazy, I'd be still crazy, I'd be mad-dog f**king crazy,
> after all these years." That may be enough to get it clipped from the
> PBS broadcast, which would really be a shame.
Maybe you could put that under the heading of "updated language".
> Glass transformed what essentially is a simple
> folk song into a harmonically complex, even dissonant in places, work
> hinged on a three note minor key riff. Every few bars a trace of the
> original melody would come through and then Glass would shove it back
> under his technique.
I can't get passed the irrelevance of these mangled jazz-interpreted
vaguely-reminiscent-of performances. I say why not push it a bit
further and just play a different ****ing song entirely.
> The blind singer explained that he had "misread
> the cue cards," causing everyone on stage to laugh.
I was thinking the same thing.
Michael J. Anthony
www.michaeljanthony.com
Michael J. Anthony
wrote:
> Well...I think Joss Stone is very talented but like far too many
> talented singers of her generation she seems to regard melisma as a
> goal unto itself rather than a technique that is best applied
> sparingly.
Yeah. I always think of Bleeding Gums Murphy's tortuous rendition of
Star Spangled Banner from the Simpsons.
Michael J. Anthony
www.michaeljanthony.com
Bill Kawalec
"Michael J. Anthony" <michael_...@yahoo.com> wrote in message
news:1180244187.2...@i38g2000prf.googlegroups.com...
.
>
> I would have bet that JT could do a decent Still Crazy. From your
> description I'd say he made up for The Boxer at the Kennedy Awards.
>
that coulda been excellent. they f-ed it up in the editing.
Cathy F.
> diminish the significance of the honoree's work. With the thought of a
> Paul Shaffer all-star jam featuring Joss Stone screaming "you got the
> cool water when the fe-ee-eee-EEE-ver runs hiii-IIII-uh-uh-iii-uh-uh-
> high," I approached the Library of Congress' First Annual Gershwin
> Award concert honoring Paul Simon with a mixture of apprehension and
> anticipation. The reason so many of these tribute shows are bland
> and, frankly, boring is that the evening's backing band - while no
> doubt very fine musicians - are unfamiliar with the complex subtleties
> that make an artist's catalog truly noteworthy. So my fears were
> dispelled as soon as I entered the Warner Theatre in Washington, D.C.
> and saw Steve Gadd's drum kit - I knew that this was going to be
> serious.
A good, interesting read; thanks.
Cathy
Ears
Cathy F.
episodes there were two previews/plugs for tomorrow night's broadcast of the
Gershwin award tribute concert. :-)
Cathy
<black...@aol.com> wrote in message
news:1180190461.0...@q69g2000hsb.googlegroups.com...
Bill Kawalec
"Cathy F." <cl...@adelphiadotdedot.net> wrote in message
news:VO-dnYEXddL...@giganews.com...
> Watching PBS tonight (EastEnders, for the British here <g>), in-between
> episodes there were two previews/plugs for tomorrow night's broadcast of
> the Gershwin award tribute concert. :-)
>
> Cathy
>
...and if you have the HDTV, it is also on the digital broadcast.
Cathy F.
TV, must've been incredible, live.
And no, they didn't edit out JT's ad-libbed line at the end of SCAATY! ;-)
And, they saved P. Glass's piano rendition of SOS until the very end, while
the credits rolled. ;-P
I used your review post as a guide, checking off each song/portion as it
appeared - quite a few things switched re: order, but basically all in the
broadcast, AFAICT.
Cathy
<black...@aol.com> wrote in message
news:1180190461.0...@q69g2000hsb.googlegroups.com...
PattyC
I would have really loved some shots of PS watching the other performers.
Or shots of PS and family. I have never seen a tribute show without that..
The music was (surprise) so damn good.
PattyC
"Cathy F." <clfr...@adelphia.net> wrote in message
news:cdSdnZmkKI6...@giganews.com...
Cathy F.
IMO, instead of doing "El Condor Pasa" for his first song, M. Anthony
should've done "Bernadette" instead. I agree w/ BM's review - ECP was done
in a very over-wrought manner, yet he was *great* for "Late in the Evening".
Cathy
"PattyC" <pattycno...@verizon.net> wrote in message
news:oFFgi.2720$yp.738@trnddc08...
Bill Kawalec
> on TV, must've been incredible, live.
>
> And no, they didn't edit out JT's ad-libbed line at the end of SCAATY! ;-)
> And, they saved P. Glass's piano rendition of SOS until the very end,
> while the credits rolled. ;-P
What the hell was that?!?!?!?! I'm usually offended when they do voice over
with someone still playing, but, in this case, the less heard the better...
Bill Kawalec
"PattyC" <pattycno...@verizon.net> wrote in message
news:oFFgi.2720$yp.738@trnddc08...
>I loved the show, but...
>
> I would have really loved some shots of PS watching the other performers.
> Or shots of PS and family. I have never seen a tribute show without
> that..
Perhaps he wasn't seated in the audience?
Harper has many of the old man's mannerisms...
Cathy F.
"Bill Kawalec" <billk...@yahoo.com> wrote in message
news:N4SdnS3ygpi-ox7b...@comcast.com...
>
> "Cathy F." <clfr...@adelphia.net> wrote in message
> news:cdSdnZmkKI6...@giganews.com...
>> Holy crap, but that was a fantastic concert/tribute! If it was that good
>> on TV, must've been incredible, live.
>>
>> And no, they didn't edit out JT's ad-libbed line at the end of SCAATY!
>> ;-) And, they saved P. Glass's piano rendition of SOS until the very end,
>> while the credits rolled. ;-P
>
>
> What the hell was that?!?!?!?! I'm usually offended when they do voice
> over with someone still playing, but, in this case, the less heard the
> better...
SOS on... something. Something strong & mind-altering. ;-) Did you read
Blackmanny's opinion of it? Actually, if I didn't (somehow) know SOS, I
*might've* liked it, on its own merits. But knowing what its root song was
supposed to be... was a little... disconcerting.
Cathy
MFalc1
> "Bill Kawalec" <billkawa...@yahoo.com> wrote in message
>
> news:N4SdnS3ygpi-ox7b...@comcast.com...
>
>
>
> > "Cathy F." <clfrc...@adelphia.net> wrote in message
> >news:cdSdnZmkKI6...@giganews.com...
> >> Holy crap, but that was a fantastic concert/tribute! If it was that good
> >> on TV, must've been incredible, live.
>
> >> And no, they didn't edit out JT's ad-libbed line at the end of SCAATY!
> >> ;-) And, they saved P. Glass's piano rendition of SOS until the very end,
> >> while the credits rolled. ;-P
>
> > What the hell was that?!?!?!?! I'm usually offended when they do voice
> > over with someone still playing, but, in this case, the less heard the
> > better...
>
> SOS on... something. Something strong & mind-altering. ;-) Did you read
> Blackmanny's opinion of it? Actually, if I didn't (somehow) know SOS, I
> *might've* liked it, on its own merits. But knowing what its root song was
> supposed to be... was a little... disconcerting.
>
> Cathy
>
>
>
>
>
> >> I used your review post as a guide, checking off each song/portion as it
> >> appeared - quite a few things switched re: order, but basically all in
> >> the broadcast, AFAICT.
>
> >> Cathy
>
>
> read more - Hide quoted text -
>
> - Show quoted text -
To be fair to Glass, I thought his coda to "The Late Great Johnny Ace"
added immeasurably to the song's impact. But "Sounds of Silence"
isn't the song of Paul's that Glass' usual melodic droning can
enhance.
Mark L. Falconer-film and video links at
http://hometown.aol.com/mfalc1/links.html
Bill Kawalec
"Cathy F." <clfr...@adelphia.net> wrote in message
news:LtednYE38fJ...@giganews.com...
>
> "Bill Kawalec" <billk...@yahoo.com> wrote in message
> news:N4SdnS3ygpi-ox7b...@comcast.com...
>>
>> "Cathy F." <clfr...@adelphia.net> wrote in message
>> news:cdSdnZmkKI6...@giganews.com...
>>> Holy crap, but that was a fantastic concert/tribute! If it was that
>>> good on TV, must've been incredible, live.
>>>
>>> And no, they didn't edit out JT's ad-libbed line at the end of SCAATY!
>>> ;-) And, they saved P. Glass's piano rendition of SOS until the very
>>> end, while the credits rolled. ;-P
>>
>>
>> What the hell was that?!?!?!?! I'm usually offended when they do voice
>> over with someone still playing, but, in this case, the less heard the
>> better...
>
> SOS on... something. Something strong & mind-altering. ;-) Did you read
> Blackmanny's opinion of it? Actually, if I didn't (somehow) know SOS, I
> *might've* liked it, on its own merits. But knowing what its root song
> was supposed to be... was a little... disconcerting.
>
oh, I recognized the melody. That was sort of a rhetorical "what the hell
was that?"
Cathy F.
>
>
> "Cathy F." <clfr...@adelphia.net> wrote in message
> news:LtednYE38fJ...@giganews.com...
>>
>> "Bill Kawalec" <billk...@yahoo.com> wrote in message
>> news:N4SdnS3ygpi-ox7b...@comcast.com...
>>>
>>> "Cathy F." <clfr...@adelphia.net> wrote in message
>>> news:cdSdnZmkKI6...@giganews.com...
>>>> Holy crap, but that was a fantastic concert/tribute! If it was that
>>>> good on TV, must've been incredible, live.
>>>>
>>>> And no, they didn't edit out JT's ad-libbed line at the end of SCAATY!
>>>> ;-) And, they saved P. Glass's piano rendition of SOS until the very
>>>> end, while the credits rolled. ;-P
>>>
>>>
>>> What the hell was that?!?!?!?! I'm usually offended when they do voice
>>> over with someone still playing, but, in this case, the less heard the
>>> better...
>>
>> SOS on... something. Something strong & mind-altering. ;-) Did you
>> read Blackmanny's opinion of it? Actually, if I didn't (somehow) know
>> SOS, I *might've* liked it, on its own merits. But knowing what its root
>> song was supposed to be... was a little... disconcerting.
>>
>
>
> oh, I recognized the melody.
When it was apparent. Now & again it'd come through. <g> Then disappear
again.
That was sort of a rhetorical "what the hell
> was that?"
Yeah.
To answer (vs. rhetorical): Something... different; not exactly your usual
rendition of a classic folk-rock song. ;-)
Ears
to believe that it had been doctored... I noticed early in the song he
says I'm not the kind of man to socialize but his lips say "guy"...
fancy editing, I guess.
I, too, wondered why they didn't show Paul and family during the
performance but perhaps Paul wanted it that way for one reason or
another (perhaps he doesn't want his family photographed).
Bill Kawalec
"Ears" <bubblegu...@yahoo.com> wrote in message
news:1183052158.8...@e16g2000pri.googlegroups.com...
I thought I saw one shot of Edie, but I'm not 100% sure.
Michael J. Anthony
> To answer (vs. rhetorical): Something... different; not exactly your usual
> rendition of a classic folk-rock song. ;-)
I haven't heard it yet, but if you're referring to SoS, maybe we
should call it "The Sound Of The Sound Of Silence".
Michael J. Anthony
Bill Kawalec
find no fault whatsoever with the Alison Krauss/Shawn Colvin performance.
It's the S&G harmonies that are the exception. They almost have that sibling
harmony thing happening, like the Roches.
--
I never read email at the Yahoo address!
number6
> Caught a rebroadcast at 3 this afternoon on PBS Digital. I absolutely can
> find no fault whatsoever with the Alison Krauss/Shawn Colvin performance.
> It's the S&G harmonies that are the exception. They almost have that sibling
> harmony thing happening, like the Roches.
I finally got to see it ...I was on vacation last week but I set the
DVR to record it ... got preempted for a debate ...boo ... Glad for
the HD also ... terrific show all around ... Several things come
through ... I really am amazed and delighted at how much fun Mark
Stewart has appearing with Paul .. just watching him delight in Paul's
music is a joy in itself ...
And the other was the love expressed by Paul to Joseph Shabalala ...
In a world where respect, admiration and affection are bandied about
with "talking without speaking" and are so phony looking ... the
silent hug after Diamonds said many words expressing those
feelings ...