Tom Jones - Glastonbury, UK, 06-28-2009

Tom Jones - Glastonbury, UK, 06-28-2009
Soundboard
So Many Roads to Ease My Soul
2009

Tom Jones has been a popular presence since 1963, when he sang for Tommy Scott and the Senators in his South Wales home.  His voice has lost little of its innate power, a smooth baritone as expansive today as when he sang "The Green, Green Grass of Home" in 1966 (it is reprised here vividly).  This 2009 soundboard at Glastonbury captures a fit 69-year old Jones performing above himself with a smoking band.  One listen to "Delilah" and the listener will know that this is not "easy listening" fodder.

Jones opens the show with a potent cover of Otis Redding's "Hard to Handle," demonstrating what children the Black Crowes were when they did the same in 1990.  He sprinkles his standard concert fare ("I'll Never Fall in Love Again," "What's New, Pussy Cat") with the best of Randy Newman. "Mama Told Me not to Come," using the Three Dog Night arrangement, is dispatched with a knowing wink and wise sardonicism.  "You Can Keep Your Hat On" is a steamroller, propelled by Jones' considerable "charm."

Jones transforms his standards, giving them a 21st Century edge.  "She's a Lady" begins with a hard electric guitar and is performed as if composed by Peter Townsend for Tommy.  He does the same with the aforementioned "Green, Green Grass."  There are those songs resistant to updating, "What's New, Pussy Cat" and "It's not unusual" come off as quaint period pieces out of place with "Unbelievable" which closes the show.  These quibbles mean nothing, Tom Jones remains the MAN!

Creedence Clearwater Revival - Woodstock '69

Creedence Clearwater Revival
Woodstock '69
Blog Stoned
1969

Why is this poorly recorded soundboard source of Creedence Clearwater Revival's Woodstock performance so important?  Its importance lies in the effect of the period's technological and political uncertainty and the creative muse that provided the band.  CCR was very much a studio band whose live performances remained faithful to the recorded version of songs.  With the exception of the longer songs like "Keep on Cooglin'" and "Susie Q" the band was a singles (as in 7-inch 45 rpm records) phenomenum.  John Fogerty was not much on improvisation or other inventiveness in concert.  Concert goers always knew what to expect.  The atmosphere at Woodstock was one that did not encourage the status quo: rain and a half million people insured that.

CCR took the stage at Woodstock at 12:30 AM, Sunday Morning, August 17.  They were following an aggressive set by Mountain and preceded Janis Joplin's breakout performance.  They began the show with their typical starter, "Born On The Bayou," sounding as if they were playing in a hurricane of their own making.  The traction grabbing momentum warmed up both the band and crowd, so that by "Green River" The well-oiled machine was cruising.  "Ninety-Nine and a Half Won't Do" provided a blistering John Fogerty guitar solo.  A chugging "Bootleg" fully established the show's momentum which was then kicked up a notch on "Commotion" and "Bad Moon Rising."  "Proud Mary" and "The Nighttime is the Righttime" bring things to just below a simmer, where they stay for "Keep on Cooglin'" and "Susie Q."

CCR appeared at Woodstock during the most productive period of their short career, between the releases of Green River (Fantasy, 1969) and Willie and the Poor Boys (Fantasy, 1969) and the single releases of  "Green River" and "Sown on the Corner."  There was scarcely a record collection at the time that did not host all of these recordings and for good reason.  CCR tapped directly into the blues and r&b psyche of America, strumming that heart-chord of the hopeful anxiety of the period.  This was solid music that required little to be written and recorded save for the genius of John Fogerty.

Tedeschi-Trucks Band - Revelator (Sony Masterworks, 2011)

Tedeschi-Trucks Band
Revelator
Sony Masterworks
2011


Echoing All About Jazz's Doug Collette:

"Revelator follows in the grand tradition of The Paul Butterfield Blues Band, Michael Bloomfield's Electric Flag and Al Kooper's (original) Blood Sweat & Tears, as a magnificent fusion of pop, blues, soul and jazz." 

Following on the heels of  Warren Haynes Man in Motion, Revelator succeeds in presenting a more unified and integrated message, one that orbits Susan Tedeschi's soulful voice and Derek Trucks' equally soulful slide guitar playing.  A full horn section and Hammond B-3 are gravy.   Musicians this good can do no other than make music this good.  And when the material is this good, you can't go wrong...