Page 7 of 13

PostPosted: Mon Mar 26, 2007 5:28 pm
by KarenL
Great pictures, Keith! Keith and Gerry, how was the show in Northampton last night?

PostPosted: Mon Mar 26, 2007 6:56 pm
by keith from ny
KarenL wrote:Great pictures, Keith! Keith and Gerry, how was the show in Northampton last night?

I wasn't there myself cuz I had to come home yesterday for a meeting at work early this morning, but my Boston companion Roger from Tennessee (who's seen upwards of a hundred shows the past five years and is probably Lucinda's biggest fan) reported it was a good but not outstanding show. He did get a big hug from Lu outside the bus, so that was worth the trip for him.

PostPosted: Mon Mar 26, 2007 8:01 pm
by Gerry
KarenL wrote:Great pictures, Keith! Keith and Gerry, how was the show in Northampton last night?


Great pictures Keith! I am sorry I missed you at the Calvin theater. I looked for you during intermission.

Lucinda and her band were blistering Karen. Just an amazing show. I love seeing her play at the Calvin and any theater that has no curfew since she seems to play longer sets. Song highlights for me were;
Rescue
Fruits of my labor
How to live
Right in time
Out of touch(a blistering guitar solo by Doug Pettybone which set the show for the night!!)
Righteously
Essence
Joy
What if
Wrap my head.

The whole show was great. Lucinda was in a happy fun mood and the band jammed on many of the songs. The crowd ate it up and at times you could hear a pin drop during the quiet songs.

I went by the tourbus after the show. Lucinda immediately went from the backstage to the bus but I got to speak to Doug for a few minutes. He was very nice and chatty about the tour. He even signed a set list for me =)

Image

Image

Image

Image

I wish I could go to the Albany show tomorrow night.

Enjoy!
Gerry

PostPosted: Mon Mar 26, 2007 8:33 pm
by keith from ny
Gerry wrote:Lucinda and her band were blistering Karen. Just an amazing show.

Glad to hear it -- Roger's pretty jaded, I'm afraid! I heard y'all weren't appreciative enough of Come On, though. ;)

Nice pics Gerry, thanks! Sorry I couldn't get there.

PostPosted: Tue Mar 27, 2007 10:47 pm
by Turk
Thanks, you guys for the great pics and recounts of the shows.
Awesome.

PostPosted: Wed Mar 28, 2007 7:06 am
by bivester
the brown theatre. louisville. april 24th. carrie rodriquez opens. row b. my first lucinda show. can't wait.

not that these pictures and reviews have made me even more excited or anything. :)

PostPosted: Wed Mar 28, 2007 10:05 am
by Gerry
bivester wrote:the brown theatre. louisville. april 24th. carrie rodriquez opens. row b. my first lucinda show. can't wait.

not that these picture and reviews have made me even more exicted or anything. :)


Have a great time at your first show, you'll be hooked to go to more!!

Here are some more pictures from Sunday night.

Image
Image

PostPosted: Wed Mar 28, 2007 6:44 pm
by bivester
Gerry wrote:
bivester wrote:Have a great time at your first show, you'll be hooked to go to more!!

thanks much. great pics. yeah, i've been looking forward to seeing her for years and for some reason, it just never seemed to work out. so, i'm more than ready for this one.

Lucinda @ The Brown Theatre (Louisville) 04.24.2007

PostPosted: Wed Apr 25, 2007 5:29 pm
by bivester
damn, what a show, my first of lucinda's, hopefully not my last. she started out slow, on stage by herself and opened with "passionate kisses." after she finished, the was joined by band, which was incredible. doug pettibone may play the best "dirty guitar" that i have ever heard, the rest of the band was great and tight but pettibone just blew me away. amazing. the show was a slow build, a mix of old and new, she only played 4 or 5 songs from "west" and the highlights for me were; pineola, crescent city (dedicated to the people of NO), fancy funeral (was beautiful), righteously (which she said people labelled as "hip-a-billy"), world without tears (while introducing it she discussed the virginia tech tragedy and dedicated it to those effected), tears of joy (about her new love, john) her 5 song (yes 5!) encore started w/joy, joined by carrie rodriguez and her band (carrie stayed out for the rest of the show) for a killer jam and closed it out w/a ripping come on and real live bleeding fingers.

can't wait to see her again...

a few pics.
Image

Image

Image

Image

Image

Image

Image

PostPosted: Wed Apr 25, 2007 5:31 pm
by bivester
Image

Image

Image

Image
the "jam"
Image

Image

Image

Image

Image

i also posted some pics from carrie rodriguez's set in her thread

PostPosted: Wed Apr 25, 2007 6:07 pm
by Turk
Wow - great photos, Bill.

I got chills reading that she related World Without Tears to the VT ordeal. That song struck me hard when I first heard it, as it related to my niece when she was shot.

Also cool to see CR onstage with the band. I would love to have a recording of her playing with Lu.

Thanks for posting this.

PostPosted: Wed Apr 25, 2007 8:35 pm
by keith from ny
I thought you might like Lucinda, Bill. ;) I'm jealous Carrie didn't open for her out this way.

Fantastic Fotos, as usual! Thanks for posting them. :D

PostPosted: Thu Apr 26, 2007 12:03 pm
by marybeth
Great shots, Bill! I think I need to hire you to come to a gig of mine and take some pics! 8)

PostPosted: Thu Apr 26, 2007 1:03 pm
by bivester
marybeth wrote:Great shots, Bill! I think I need to hire you to come to a gig of mine and take some pics! 8)


thanks much ya'll.

and marybeth, i've never been to germany, i'm in. :)

PostPosted: Thu Jul 26, 2007 8:04 am
by Gerry
Lucinda Williams explores, but not all fans go with her out `West'
By LEN RIGHI
On her latest disc, Lucinda Williams decided to branch out from the blend of country, folk and rock that since the 1980s has made her a cause celebre among critics and an object of adoration to fans.
However, since the February release of "West," some critics, along with fans of the old Lucinda, have been sawing away unhappily at the limb Williams climbed out on.

At first, the reaction to "West" - an intense, deceptively low-key, sometimes harrowing examination of personal loss, emotional stagnation, bewildering betrayal and the challenge of carrying on - perplexed the 54-year-old performer, who broke through with her 1998 disc, "Car Wheels on a Gravel Road." In fact, Williams has discussed it at length in virtually every publication except Horse & Hound, the fictitious magazine Hugh Grant purported to work for in "Notting Hill." Now, Williams thinks she may have arrived at an explanation.

"Almost all of the negative reviews were by men," she observes via cell phone from her tour bus, which is headed toward Kansas City, Mo.

Williams then repeats what a (male) writer theorized could be behind those notices: "As an older, more mature woman, I've grown into another part of my life," she says, "and a lot of the songs I've written are about me coming into this part of my life. My mother died, a tumultuous (romantic) relationship ended, and I met Tom (Overby, her fiance and manager).

"`West,'" she points out, "is a very life-affirming album. Since I wasn't like the desperate young girl in the bar, since I wasn't looking for Mr. Goodbar, maybe they couldn't appreciate the image."

When it is suggested that some men also like to see themselves as a hero rescuing damsels in distress, she exclaims with a laugh, "That's it! That's the reason! The man wants to be the knight in shining armor!"

Debates and theories aside, Williams believes "West" ultimately will win its share of admirers if given a chance, adding that there have been albums she initially had a hard time listening to but ultimately came to love.

"When I first heard `Dusty in Memphis' I thought, `Oh, it's too overproduced,'" she says. "I kept listening to it every day for a couple of years before I came to like it. I had a hard time with Jimi Hendrix in the 1960s because I hadn't heard anything like it before. And Nick Drake ..."

One group of people already in Williams' corner are the voters for the Americana Honors & Awards. A month ago, they made "West" one of the four nominees for Album of the Year. The "West" tune "Are You Alright?" was nominated for Song of the Year, and Williams herself was nominated as Artist of the Year. (The awards will be given out Nov. 1 at the Ryman Auditorium in Nashville.)

"I just found out (about the nominations) because I've been busy touring," says Williams. "I didn't realize it was that time of year already. But I always look at it as a good omen. That's what happened when `Car Wheels' came out. I started getting a lot of nominations."

"Car Wheels" brought Williams her second Grammy (Best Contemporary Folk Album). In 1994 she won her first (Best Country Song) for a Mary Chapin Carpenter hit recording of her tune "Passionate Kisses." She also won in 2002 (Best Female Rock Performance) for the single "Get Right With God."

Williams is an unequivocal Dylan fan - during the interview she cites his 1997 disc "Time Out of Mind" and the consternation it caused critics as indicative of "what I'm up against." So when she is told that she is competing against Dylan's "Modern Times" for Album of the Year, Williams replies, "Then I might as well forget (winning). I can't believe I'm competing against Bob Dylan. It's great to be nominated anyway."

Told that Patty Griffin is in the running for Artist of the Year, Williams says, "I adore Patty Griffin. I first heard her 10 years ago, when I was living in Nashville. I need to send a congratulations (note)."

Williams, a Lake Charles, La., and daughter of poet and literature professor Miller Williams, proudly points out that she has built up a grassroots following over the last 35 years without commercial radio play, or videos.

She also underscores that her maverick inclinations date back to the beginning of her career. "As a folksinger in the 1970s, besides Bob Dylan and Judy Collins, I did Jimi Hendrix's `Angel,' and even Queen. I did `White Room' by Cream, and `Politician,' which is a blues song."

Williams attributes her recent willingness to shake things up to Overby. "I met Tom and my life changed," she says. "He's this down-to-earth, Midwestern steak-and-potatoes kind of guy. And he's a phenomenal music guy."

He introduced her to "West" producer Hal Willner, jazz guitarist Bill Frisell, D.C.-based electronica duo Thievery Corporation and Austrian dub remixer Richard Dorfmeister. "There's a whole other world of music out there, and it's great," says Williams.

Her relationship with Overby "is a special gift," she says. "It's not something we wonder about, `Will it work out?' We're just together. The marriage part is a fun ritual. I just wanna get my ring, my rock."

(At this point in the conversation, Overby promises Williams a visit to Borsheim's in West Omaha, Neb., a store known for its huge selection of exquisitely designed and opulent jewelry.)

Overby also was instrumental in convincing Williams to include the emotionally naked "Everything Has Changed" on "West."

"I didn't want to put that one on the record because I recorded it when I was real tired," admits Williams. "I did the original vocal at 2:30 in the morning. ...

"Because we had 24 or 25 (demo) tracks to choose from for the record, I made an A list and a B list. (`Everything') ended up on my B list, but Tom and Hal wanted it on the A list. Tom was just adamant. He said, `Trust me, this song will be important,' and it's becoming an anthem of sorts."

So is "Come On," where, sounding a bit like Concrete Blonde's Jeanette Napolitano and her voice dripping with contempt, she mocks a former lover with the double entendre: "You didn't even make me, come on!"

"It was kind of a joke at first," says Williams. "I didn't think that much about it at first, but people just go crazy for it."

Perhaps the biggest surprise is the blues- and hip-hop-flavored "Wrap My Head Around That," a nine-minute dissection of a snakey lover's lies that is not only full of disgust, but awe.

Because it is unlike anything she has done before, "I'm almost afraid to bring it up," says Williams of the song, which has a steady, hypnotic pulse embroidered by pointed guitar riffs and squiggly atmospherics. "It was really off the cuff. I took it in the studio right after I wrote it. I have to credit Hal and Eric (Liljestrand), our engineer, for the production. That's why I decided to work with Hal. He's the king of that kind of stuff."

And what about the guy who is the subject of the song?

"I haven't gotten his reaction yet," says Williams.

"All the guys I went out with were rock `n' roll musicians: They drank too much and were noncommittal."