Concerts #447, 457 - Barry McGuire at Coffee Gallery Backstage (August 7, 2007 & December 30, 2007)

When I first heard Barry McGuire's voice in 1965, my young jaw dropped to the floor and it stayed there for months and years, while I was waiting for a follow-up to his brilliant "Eve Of Destruction". Well, the follow-up never came and to make things worse, Barry disappeared without a trace. It was two decades later when I learned about his becoming a new-born Christian and, at that time, I did not even dream about ever having the chance to see him perform live, let alone meet him and talk with him. Over the years, I kept listening to his long out-of-print early recordings, which I managed to find at swap meets and garage sales, but otherwise, as far as I was concerned, Barry McGuire was gone for good.

Fast forward to 2005. I'm sitting in front of my TV, watching one of those typical PBS pledge-drive nostalgia concerts that specialize in unearthing old musicians who have long gone from the public eye, and to my huge surprise, who do I see? Well, well, it's the New Christy Minstrels, with Barry McGuire in the line-up, singing "Green Green" and "Eve Of Destruction" and sounding unbelievably good, exactly forty years after my introduction to him. I could not have been more thrilled! What followed was a Google search and, a day later, I was in direct touch with Barry, via email. True story.

In August 2007, I went with my friend Hans to the intimate Coffee Gallery Backstage in Altadena to see Barry perform at the tender age of seventy two, alongside his friend and musical collaborator Terry Talbot of Mason Proffit fame. The show, titled "Trippin' The Sixties", featured some of the greatest American songs of the sixties, many of them with some direct connection to Barry.  His stories about Bob Dylan, Mama Cass and others were fun to listen to.

Sadly, the show was marred by a sound problem that persisted throughout the evening and the main culprit was the speaker that was supposed to carry primarily Barry's voice. Still, I loved  the songs and enjoyed watching Barry, whose vitality and "joie de vivre" are hard to forget. 

Barry McGuire at the Coffee Gallery Backstage

Yes, the sound was disappointing, but on the plus side, I got to meet Bary after the show. We shook hands and had a brief conversation. I mentioned to him that there was an opportunity for someone to write a Christian-themed song that uses a word-play on the title of his best known secular song. "What do you mean?", Barry asked. I said "The Destruction Of Eve would be a good title for a Christian song, wouldn't it?". Barry had a good laugh and said "I've never thought of that". What an unforgettable moment!

Partial set list

Green Green

Greenback Dollar

Eve Of Destruction

Hair 

Reason To Believe

If I Were A Carpenter

Creeque Alley

California Dreamin'

Mr. Tambourine Man

Woodstock

Daydream

Suite: Judy Blue Eyes

Do You Believe In Magic 

Times They Are A Changing

Quite often during the show, Terry Talbot's overzealous singing and loud strumming overpowered Barry's voice, something I did not appreciate, as I was there to hear Barry and no one else. In addition to backing up Barry, Terry also soloed on "Two Hangmen", from his days with Mason Proffit.

Barry McGuire (left) and Terry Talbot at the end of their set

While looking his age, Barry did not sound his age at all. I was impressed by the way he told his stories, without ever stumbling or halting. His singing voice was "trademark Barry McGuire", easy to recognize even after the passing of so many decades.

A few months later, in December 2007, I went back to the Coffee Gallery to catch Barry once again. This time the sound was perfect and I had a blast. The set list remained pretty much unchanged, not necessarily a bad thing. In addition to his repertoire of songs from the sixties, Barry also sang his own Christian song, "Cosmic Cowboy", which sounded quite good. Just like the first time, Barry was accompanied by Terry Talbot and just like the first time, I would have preferred him to be a lower-key partner, not because he is not a good musician in his own right, but simply because I wanted more Barry.

Here's a YouTube video of "Eve Of Destruction" with Barry McGuire and Terry Talbot:

The Coffee Hallery is a small venue, without green rooms and secret chambers, so once again I got to talk with Barry, both before and after the show. This time, our conversation went on for fifteen minutes or so.

My close encounters with Barry McGuire will forever remain a highlight of my concert-going life.

Barry McGuire (center), with My Better Half and Yours Truly

Barry McGuire (left), with Terry Talbot

Barry McGuire promo DVD, given to me by Barry himself

Barry McGuire card

Concert #642 - Jackshit at McCabe's Guitar Shop (June 23, 2012)

Those folks who are wondering why I'm always there when Jackshit plays Santa Monica should have been in the audience last night at McCabe's. For me, the fun started with the spotting of Leonard Cohen, who walked in just before show time and quickly disappeared upstairs. I wasn't expecting him to guest on the show - and he didn't - but just being under the same roof with the artist who has been delighting me for decades gave me an unforgettable thrill.

Then there's always the question about unannounced guests - will there be any? And yes, last night there were a few. Once again, Jackson Browne popped in as "Browne Shit" and delivered an outstanding four-song set that opened with Ween's "Pretty Girl", followed by Jackson's own "Here Comes Those Tears Again" and "Running On Empty" and culminated with the playing of Leonard Cohen's gorgeous "A Thousand Kisses Deep", with additional support from Spanish guitarist Javier Mas and Moldavian violinist Alex Bublitchi, both from Leonard Cohen's band.

Jackson Browne (center), with Val McCallum (left) and Pete Thomas

In perfect alignment with Jackshit's western wear dress code, Jackson Browne came out with a cowboy hat that he didn't really want to wear and, after struggling to find an adequate storage space on the crowded stage, he simply passed it on to me, as I was sitting in the front row, literally at his feet. I don't like having large objects on my lap while watching a show, but I can always make an exception for the headwear belonging to inductees of the Rock & Roll Hall of Fame!

Jackson got his hat back when he rejoined the band to sing "Take It Easy", a song he wrote for the Eagles in the early seventies. It was a fitting end to an incredible night of music that saw the Boys from Cochtotin in great vocal and instrumental form and I'm theorizing that Leonard Cohen's mere presence in the house must have given the band an extra-incentive to go the extra-mile. Val McCallum's guitar playing was as strong as ever. His treatment of "Pretty Polly" was something to behold, but then again, I could say that about anything else Val does. Pete's rapturous drumming on Johnny Horton's "I'm Coming Home" and Davey's bass intro to Pat MacDonald's "Drinkin' Or Drivin" were superb and so were Davey's falsetto sounds on "Ring Of Fire".

Last night also marked the welcome and long-overdue return of "Ugly And Slouchy" and its delightful rock & roll medley, which consisted of some classic Blood, Sweat & Tears, Sugarloaf and Doobie Brothers material. The always-fun Shit Horns also made an appearance, this time as a trio, to help the band with the playing of "Ring Of Fire" and "The Lonely Bull".

Two of the three Shit Horns, with Alex Bublitchi (left) and Davey Faragher (right)

Two new songs made their way into the set list: "If I Could Only Win Your Love", an old Louvin Brothers tune, and "Where Does The Good Times Go" from Buck Owens' repertoire.

One of the two set lists left behind on the stage

The other set list

With their unmatched musical skills, power and humor, Jackshit remains one of the best acts one can catch in LA or anywhere else, as a matter of fact. Be there the next time they are anywhere near you.

Jackson Browne leaving the stage

Javier Mas (left) and Davey Faragher exiting the stage

"Pretty Girl" lyrics sheet on Davey Faragher's music stand

Two of Val McCallum's guitar picks

 

Concert #641 - Rodney Crowell at McCabe's Guitar Shop (June 15, 2012)

Announced as "an evening of music, poetry, readings and storytelling", this show had the potential of becoming a real drag for those folks who, like me, are not into poetry and don't care for excessive "spoken word" delivered at the detriment of music. But things turned out just fine, as Rodney's music took center stage from the get go and it stayed there for the evening, with only minor and entirely enjoyable digressions of the non-musical kind.

The focus of the show was on "Kin", Rodney's just-released album, a collaboration with writer Mary Karr and featuring guest vocals by heavy hitters such as Lucinda Williams, Kris Kristofferson, Norah Jones, Vince Gill, Emmylou Harris and Rosanne Cash, Rodney's ex. We got to hear eight of the ten songs of the album and they were all of the highest quality. Songwriting this good is uncommon and I believe that Mary Karr deserves credit beyond her role as a lyricist - I'm pretty sure that her involvement had some catalytic effect on Rodney's creative juices when it came to crafting tunes.

The show started with Rodney solo - he played "Anything But Tame", which also happens to be the album's opening track. Following that, Rodney brought out guitarist Steuart Smith, who seated himself directly in front of me and I'm glad he did, as his playing was an absolute pleasure to observe. I'm still amazed by his intricate fingerwork and the beauty of the sounds he produced. No doubt, the Eagles knew what they were doing in 2001, when they picked Steuart to replace the fired Don Felder.

Rodney Crowell (right) and Steuart Smith at McCabe's

Soon they were joined by Mary Karr, who handled the poetry part of the show, although one may argue whether a poem that includes the F-word qualifies to be called poetry. For the storytelling part, Mary borrowed from her "Liar's Club" book and I must say that her control of the English language is stunningly good. Mary also soloed on one song, I think it was "If The Law Don't Want You", a song handled by Norah Jones on the studio version of "Kin".

Mary Karr delivering some "spoken word", with Rodney Crowell listening

Rodney was in great vocal form, he sang with precision and he did feel what he sang. The tone of his voice and his vocal inflections were Crowell-esque, in other words, he sounded just like I knew him from his recorded music. I also liked his on-stage demeanor - he gave Mary and Steuart the room they deserved and treated them as equals. Rodney spoke little, but said a lot - now that's an art that other performers should master as well.

Once again I must bring up the quality of Rodney's songwriting. Whether drawing from "Kin" or his older material, everything we heard last Friday was top-notch, essentially one highly listenable number after another. The sequencing of songs was great, too, and the end result was an exceptionally enjoyable show that could have gone on and on without anyone minding, certainly not me.

The set list

With songs as good as Rodney's, it's hard to pick a highlight, but if pressed, I'd go for "The Rock Of My Soul", "God, I'm Missing You" and "Sister Oh Sister". I also liked "I'm A Mess" and the faux-Hank Williams tune titled "Just Pleasing You".

Rodney Crowell acknowledging Steuart Smith at the end of the show

Rodney Crowell and Mary Karr receiving a standing ovation

All-in-all, Rodney Crowell's concert was yet another fabulous event, the kind you often see at McCabe's and probably nowhere else in the Los Angeles area. Where else can you attend a world-class event and be surrounded by a knowledgeable, well-behaved and respectful crowd, but at McCabe's?

Concert #640 - Val McCallum at McCabe's Guitar Shop (June 10, 2012)

This was Val McCallum's first-ever solo show, as far as I know. Come to think of it, it wasn't really a solo show. "Val McCallum & Friends" would have been a more appropriate description of  what took place at McCabe's last Sunday, as the only song performed by Val with no one else on the stage happened to be the very last song of the encore!

After my many previous encounters with Val, whether as a member of Jackshit or backing up performers such as Shelby Lynne, Freedy Johnston, Creed Bratton and Susanna Hoffs, I could safely say that I knew him better than most any other musician. But when it came to the concept of "Val solo", I just did not know what to expect.

Well, the verdict is in: Val and his friends put on an exceptionally good show, complete with a few high-caliber guests, some announced in advance, others not. It all started with Val singing four of his own compositions, with a young lady singer who goes by the name of Z Berg providing backup vocals. The songs were of the "kinder and gentler" variety, their quality was remarkably good. In two separate songs, Val sang lovingly about his daughter Stella and wife Shelli, the latter being the "Tokyo Girl" Val sang about in the song of the same title. Now that's quite a departure from Beau Shit, Val's alter ego, who often sings about young ladies being murdered (Pretty Polly, Rose Connelly and others).

Then Z Berg took over the lead singer role and what a pleasant surprise that was. She possesses a wonderful voice and a singing style that appealed to me very much. As far as I know, the four songs she sang lead on were her own compositions and they were all stunningly good, especially the one titled "Charades". Add her extremely relaxed and self-confident stage demeanor and what you get is a rare talent who, at least from my vantage point, came out of nowhere. I will now start looking for her work as a member of the Like, her earlier little-known band.

Next in line was up-and-coming singer and guitarist Blake Mills, introduced in a highly complimentary manner by Val. Blake's guitar playing was superb and he can sing, too. His extended guitar jams with Val were a beauty - Neil Young's "Pocohantas" was a highlight. They received support from drummer Danielle Haims and a bassist whose name I cannot recall.

Val McCallum at McCabe's (June 2012)

Jackson Browne and drummer Steve Mugalian took the stage for the playing of "Jesus On The Mainline", which turned into a delightful extended jam, complete with crowd participation.

Jackson Browne stayed on to sing two songs of his own, namely "Miracle Mile" and "Rarebird". For many years, even decades, I did not count myself among Jackson's most ardent fans, but now, after having witnessed a few a his guest appearances at various venues, I am a lot more appreciative of what he does.

The set list, where JB stands for Jackson Browne

The stage got real crowded when Val and Jackson brought out Spanish guitarist Javier Mas and Moldavian violinist Alex Bublitchi, two musicians from Leonard Cohen's current touring band. Out of courtesy, Blake Mills sat on the stage floor after giving his chair to the more senior Javier. What followed was pure magic. Their rendition of Cohen's "A Thousand Kisses Deep", sung by Jackson with the full participation of all other musicians, ranks among the finest performances I have ever witnessed. Just imagine - the lead guitar role shifting seamlessly between the three devilishly great guitar players present on the stage - from Val to Blake to Javier and so on, it was divine, and so was Jackson's singing, and when the song ended, the crowd was on its feet to give the musicians a rarely seen mid-concert standing ovation. Funny thing - the best song of the evening does not appear on the set list.

The set ended with Z Berg coming out yet again for a couple of more songs which were as good as the first ones she sang. Val then came back all by himself for a one-song encore, his own "The End Of The Day", then it was all over. In my book, the concert was a "Perfect 10". 

Val McCallum remained on the stage for the entire duration of the show and acted as a gracious host who allowed his guests to shine. As a long-time follower of Jackshit, I was happy to see his non-Beau side and I liked what I saw.

I just hope that there will be many more such episodes of "Val & Friends".

Jackson Browne and Javier Mas tuning up

Val McCallum thanking the audience

The hugely talented Z Berg, after the concert

Val McCallum (left) chatting after the concert

Guitarist-extraordinaire Blake Mills (left) after the show

Drummer and McCabe's employee Steve Mugalian

The stage

Concert #639 - JD McPherson at McCabe's Guitar Shop (June 9, 2012)

I'm afraid I'll run out of superlatives before I finish this short write-up. Last night at McCabe's, JD McPherson came out of nowhere to deliver one of the best concerts I've ever seen there. I said "came out of nowhere" simply because JD is a late-bloomer with a strikingly short resume - although he's in his mid-thirties, he has only one album under his belt. But what an album it is!

Sometime in April, I bought my concert ticket on the strength of JD's "North Side Gal" video, which was an instant knock-out with me. I showed up at McCabe's with a heightened sense of curiosity and excitement, wondering whether JD's excellent debut album and catchy video could possibly be matched by his live show. And it wasn't only me - there was a buzz in the air last night at McCabe's, some sort of a tension one could almost touch.

About JD. He's exceptionally likeable. Great personality, without a trace of an attitude, and up there on the stage he was just "one of the guys". Plays with a lot of intensity and abandonment. Has a sense of humor. Great guitar player. An outstanding songwriter as well. Has a voice that's seemingly made for the kind of music he does, namely old-school rockabilly, country-flavored rock & roll, with a touch of ska and blues thrown in just for fun. A tireless performer. Gave the crowd a generous four-song encore.  Classy enough to acknowledge the Americans, the evening's opening act.

In certain ways, JD reminded me of Willie Nile, with whom he has a couple of things in common: a huge heart and boundless energy, all housed in a small body.

JD McPherson (left), drummer Jason Smay and bassist Jimmy Sutton

The music was loud and I would not have wanted it any other way - that's how rock & roll is supposed to sound. I liked the way JD mixed his own songs with a few old classic numbers, such as "Farmer John" and Chuck Berry's "Oh Carol". Exceptionally good was "Oil In My Lamp", an old religious tune recorded by the Ska Kings, among others.

We got to hear most of the songs from his debut album and they all sounded great. The uptempo "Fire Bug" and "Wolf Teeth" were particularly effective, but then so were the slower "A Gentle Awakening" and "Signs And Signifiers". "North Side Gal" was fabulous, even though there were a few slight deviations from the recorded version.

JD's set list

A great musician deserves a great band, and that's what JD had - a great band. Jimmy Sutton is possibly the best upright-bass player I have ever seen. Hearing him play was a joy and it'll be hard to forget his intense facial expressions and body language. Moreover, as a special bonus for me, he was wearing the same "Bethlehem Steel" T-shirt I noticed and liked in the "North Side Gal" video. And he can sing, too. Bo Didley's "You Don't Love Me, You Don't Care", featuring Jimmy on vocals, was one of the best moments of the evening. By the way, Jimmy Sutton is the producer of JD's only album.

Jimmy Sutton during the soundcheck

Everyone else in the band was great - drummer Jason Smay, keyboardist Ray (last name?) and a saxophonist whose name I did not catch. The latter's contribution deserves a special mention, as it helped preserve the overall sound of the album.

JD McPherson thanking the crowd

The stage

Producer and bassist-extraordinaire Jimmy Sutton, after the show

The McPherson Express, parked in front of the venue

Concert poster

The show was opened by the Americans, a local band that seems to get better and better every time I see them. Their power-rockabilly style was a perfect match for JD's music.

Concert #638 - The Holmes Brothers at McCabe's Guitar Shop (May 20, 2012)

I was raised on classic soul and rhythm & blues, among other genres, and that is why my DNA contains substantial doses of Otis Redding, Booker T. Jones, Joe Tex, the Staple Singers, Solomon Burke and many others. In today's day and age, though, you'd be hard pressed to find a live concert featuring the old-school black music that's so dear to me. The Holmes Brothers may not have the name recognition of Aretha Franklin or Wilson Pickett, but in terms of giving me the thrill of the good old days, they certainly fit the bill.

One doesn't ofter hear gospel, R&B and electric blues at McCabe's Guitar Shop, but that's what the Holmes Brothers played there two weeks ago in front of a near-sell-out crowd. Well, whoever elected to stay home missed out on an evening of "the real thing", delivered with joy and intensity by brothers Wen­dell and Sher­man Holmes and brother-in-spirit Popsy Dixon, collectively known as the Holmes Brothers:

• Wendell Holmes - Vocals, Guitar, Piano
• Sherman Holmes - Vocals, Bass
• Popsy Dixon - Vocals, Drums

The proceedings kicked off with "Amazing Grace"and "Will The Circle Be Unbroken", played by the Holmes Brothers without the slightest attempt to imitate anyone. What followed was a dynamic mix of original songs interspersed with an intriguing choice of covers, some of which did not sound great to these ears, as they departed much too far from the "original intent". Two cases in point: "I'll Be Back", the Lennon-McCartney tune, and Jim Reeves' "He'll Have To Go".

But there were plenty of other songs that sounded absolutely great to my ears, particularly the classic blues numbers featuring Wendell on vocals and electric guitar. The two songs that worked the best for me were Jimmy Reed's "Big Boss Man" and Elmore James' "It Hurts Me Too". Other notable highlights were "You're The Kind Of Trouble", Ray Charles' "Come Back Baby" and "Close The Door", an original written by Sherman Holmes.

The Holmes Brothers at McCabe's

Vocal duties were shared by the three musicians, with Wendell and Popsy carrying most of the load. At times, Popsy's falsettos reminded me of the late Eddie Kendricks of the Temptations. I would have liked to hear more of the baritone voice of bassist Sherman Holmes, I really liked his singing.

The set ended with a rousing rendition of their "Had A Good Time Tonight", complete with plugs to purchase their latest album for "twenty Yankee dollars", as they humorously put it. In response to the crowd's standing ovation, the Holmes Brothers came back for a one-song encore, "Precious Lord", delivered by Popsy Dixon from the edge of the stage, away from his drum set.

The smile of cancer survivor Wendell Holmes

Sherman Holmes on stage at McCabe's

Selling and autographing merchandise after the show

The Holmes Brothers must be in their seventies, yet they are still capable of putting on entertaining shows filled with raw energy and lots of good music. If they ever come back to McCabe's, I'll be there.