Copyright 2001 The New York Times Company  
The New York Times

August 13, 2001, Monday, Late Edition - Final
 

 CRITIC'S NOTEBOOK;

Two Superstar Sidemen, Experts in Sharing the Spotlight

BYLINE:  By ANN POWERS

Rock 'n' roll is enjoying a green old age. Punk gave it a whipping in its middle years, and hip-hop has certainly superseded it in the role of communicating essential urges. But a three-chord stomp can still get a crowd jumping, and concerns about cultural relevance fade when such basic pleasures are invoked.

Yet any star who rides rock 'n' roll to the center of cultural relevance quickly faces a crisis, for that high never lasts. It's even worse now that the music television networks so quickly make musicians' lives into history, contained within narratives that demand neat conclusions. Elder rockers who do retain their currency usually do so through music that's about facing an endgame: Bob Dylan staring down mortality, U2 courting resurrection.

Last week saw two stars deeply challenged by their own historical standing return to the New York area to prove their vigor and make relevance seem irrelevant. Thursday, Ringo Starr brought the seventh edition of his All-Starr Band to the PNC Bank Arts Center in Holmdel, N.J., while Bill Wyman led the New York debut of his Rhythm Kings on Friday at Town Hall. Both survivors shrugged off their status and stressed the fun of rock made not so much for mythic meaning as for a good time.

Mr. Starr's concept was brilliant in its obviousness. Most pop artists have only a few peaks in their careers. Why not unite several, allowing them to revisit their high points and elevate one another even more by association?

The All-Starr Band changes with every tour and includes luminaries lesser than the Beatles but big enough to shine for about three songs per night. It is the living embodiment of that old fantasy about the great bands that must be jamming in heaven. Mr. Starr wisely decided not to wait, creating groups odd enough for the afterlife while their members could benefit from them on earth.

This year's All-Starr Band included Greg Lake of the 1970's bands King Crimson and Emerson, Lake and Palmer; the 1980's synth-popster Howard Jones; the percussionist and former Prince protegee Sheila Escovedo, known as Sheila E.; Roger Hodgson of the progressive-pop group Supertramp; and Ian Hunter of Mott the Hoople, one of the great glam-rock bands. Individually these artists would struggle to convince a crowd that they weren't outmoded, but together they could renew the crowd's taste for them.

Mr. Starr also gained from this approach. In the Beatles, he was the genial one, not driven by his need to express but tickled when given a turn at the microphone. Thursday's set let him sustain the role of special guest at his own show. He sang Beatles favorites including "Yellow Submarine" and "With a Little Help From My Friends" alongside solo hits like "Photograph" and the John Lennon-written "I'm the Greatest." But he seemed content behind his drums as his mates took their turns, acting like just another guy lucky enough to make the charts sometimes.

The highlights were not entirely predictable. Mr. Hunter delivered on Mott's "All the Young Dudes" and "Cleveland Rocks" and was daring enough to try one new song. Mr. Hodgson sounded surprisingly fine on Supertramp hits like "Give a Little Bit." The show stealer, however, was Ms. Escovedo, who is a far more versatile percussionist than was sometimes evident in her lingerie-wearing Prince days. Not just her solos but also her drumming throughout the night, in sync with Mr. Starr's own ingenious style, stood out.

Musical versatility wasn't the point at Mr. Starr's show, which gained energy from the fun of reignited star power. Mr. Wyman, once the most notoriously modest member of the Rolling Stones, used a different tool to minimize the irritating patina of his own fame. His Rhythm Kings featured few former Top-40 residents, instead highlighting the solid virtuosity of veteran roots rockers. Focusing on early rock chestnuts and some worthy but obscure songs, the Rhythm Kings made a case for classicism over stardom's glamour.

This band wasn't made for heaven, but for a lucky stumble into a nondescript English pub where masters past caring for fame gather for the bliss of one another's company. Mr. Wyman's neat idea played down his own importance by honoring the artists who had preceded and inspired the Rolling Stones. The band consisted of top-notch but not necessarily famous players, including the guitarists Albert Lee and Martin Taylor, the vocalist Beverley Skeete and the horn players Frank Mead and Nick Payn.

The group did include two celebrities -- Georgie Fame, once a pop idol in Europe, and Gary Brooker, who led Procol Harum and did a 1997 tour with Mr. Starr's ensemble. These two keyboardists and vocalists did not stress past triumphs, although Mr. Fame showed off his still-supple voice on a version of "Georgia on My Mind," which he first recorded in 1981, and Mr. Brooker performed a stirring version of his group's "Whiter Shade of Pale." Mostly, like the bandleader, they joined in a true ensemble effort, nurturing the roots of the music that gave them what prestige they've enjoyed.

The set list leaned toward the obvious, including versions of "Mystery Train," "Hit the Road, Jack" and "Good Golly Miss Molly," songs already overly familiar to anyone who has eaten in a chain restaurant or attended a few sporting events (though the group's enthusiasm and skill did restore some excitement to them). More intriguing were songs by J. J. Cale and Dan Hicks, also vintage but not so worn.

By putting the whole of rock 'n' roll before his own accomplishments, Mr. Wyman gained the integrity of relative obscurity. Mr. Starr, generously sharing his halo of fame, achieved the same effect. Perhaps because these two musicians spent their crowning moments as sidemen, smiling behind even bigger icons, these graceful leaps came naturally to them. At any rate, their success is proof that rock 'n' roll can sustain its patriarchs.
 

SECTION: Section E; Page 1; Column 2; The Arts/Cultural Desk

LENGTH: 986 words

HEADLINE: CRITIC'S NOTEBOOK;
Two Superstar Sidemen, Experts in Sharing the Spotlight

http://www.nytimes.com

 

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From The Manchester Journal
Ringo wows the crowd at Hunter Park
by Sara and Lee Krohn

The crowd was already picnicking on the lawns of Hunter Park Sunday night, and by 6:15 p.m. long lines of people stretched around the side of the building, waiting to see Ringo Starr's All-Star Band. Scores of security guards and staff watched the entrances, dutifully checking passes.

Backstage, Ringo was preparing for the concert, looking youthful and fit, wearing a grey t-shirt with a peace symbol, baggy pants, and unlaced tennis shoes. An earring dangled beneath his trademark sunglasses. Given his 27-year concert career, and the fact that he has posed for pictures
thousands of times, Ringo was surprisingly accommodating. At last, the crowd was seated and the lights went dark. Hunter Park General Manager Bill Daiek then handed Barbara Levin a bouquet of flowers, thanking her for underwriting the show. This generosity allowed the proceeds to benefit Smokey House Center in Danby and the Jonathin Levin Scholarship Fund at the rink. With that brief introduction, the band began to play its first song.

The excitement quickly erupted into a standing ovation for Ringo, as he waltzed onto the stage wearing a glittery sequined vest, with peace signs held high in each hand. A party atmosphere took hold over Hunter Park, and prevailed throughout the entire evening. After two short introductory tunes, Ringo began to introduce his eclectic band, giving each performer the lead on a song made famous by their former bands. Greg Lake led with "In the Court of the Crimson King", from his days with King Crimson. This certainly primed the crowd for the next tune, with Rodger Hodgson singing Supertramp's famous "Logical Song". Hodgson gave a superb rendition with his well-known, high-pitched voice, and the crowd responded with wild and enthusiastic applause.

Keyboard player Howard Jones was next in the spotlight, performing "No One is to Blame". Jones made this song famous in a 1986 recording with Phil Collins, and the audience joined happily in the refrains. Interestingly, Jones' voice had a distinctive sound quite similar to Collins; one could
easily imagine hearing both of them singing this song together on stage. Soon it was Ian Hunter's turn to lead on a hard rocking tune. Hunter's claim to fame was the British band Mott the Hoople. This reviewer had seen that band in concert at the Orpheum in Boston in the early 1970's; while Hunter
still puts energy into his playing, time has certainly taken its toll. Hunter's voice is rough and gravelly, and has little musicality left. Nonetheless, the crowd knew this tune well, and responded with more
enthusiastic applause. Ringo and Sheila E then gave the other performers a break, and entertained
with a dual drum solo. Sheila's solid, energetic drumming provided a fine counterpoint to Ringo's famed percussion.

The band then jumped back in with a long set. The excited crowd was up on its feet and dancing to Hodgson's famous Supertramp number "Give a Little Bit", the Beatles' "Yellow Submarine", and "You're 16, You're Beautiful, and You're Mine". After each of the other performers had a chance for another lead, it was time for Sheila E to take center stage.

For the most part, Sheila had provided incredible backup on drums; now it was her turn to shine with a wild, dancing solo. More than once, Sheila threw her drumsticks into the crowd, and at one point brought a little girl onto the stage to play, proclaiming that, "Girls can play drums, too!". Given the clarity and quality of her performance, Sheila made sure the crowd got that message loud and clear! Much to everyone's amazement, the concert continued on as Ringo again took center stage with "I Wanna Be Your Man". Greg Lake of Emerson, Lake, and Palmer then played his famous tune "Lucky Man", to which the crowd responded with cheers and a standing ovation. Yet another standing ovation was offered for Rodger Hodgson on "Take the Long Way Home", another much loved Supertramp tune.

Other favorites in the last set included Ian Hunter's "All the Young Dudes"; "It Don't Come Easy"; and the famous Joe Cocker tune, "With a Little Help from my Friends." Throughout all of the songs, the lighting technicians kept up a steady stream of colorful patterns of moving light, that combined with the mist emanating from backstage, added to the atmosphere, and made it hard to remember that we were all in concert hall that becomes a skating rink in the winter months!

The energy remained high throughout the show, and the crowd clearly would have stayed all night. That said, after the final numbers (including one encore), one could almost feel a sense of relief. How could the performers and the crowd maintain that level of intensity any longer?

One excited concertgoer noted that, "This was really like hearing five concerts in one, with all of the different band members and songs that were played!".

All in all, this evening was a landmark event. It was a tribute to Hunter Park, to Barbara Levin, and to the Manchester community that we are able to experience such renowned performers here in our own backyard. The crowd was incredibly energized, but overall, the event was a peaceful affair without any real difficulties. Congratulations to all for a job well done. The next concert will feature Jewel on Saturday, August 11; see you there!

 

 

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From today's Toronto Star
Jul. 27, 02:00 EDT
 

With a little help from his friends
Ringo thrills Casino Rama audience
with good-time show
 

Vit Wagner
POP MUSIC CRITIC

Here are a few pictures taken at the Jones Beach show.  Pictures were taken by Al Sayegh and used with his permission... thanks Al.      The pictures below were taken at the Chester, West Virginia show by Steve Kalinsky and used with his permission... thank you Steve.   Click on each photo to see larger versions.   The pictures below were taken at the Atlantic City show by Sal Bonagura and used with his permission... thank you Sal.   Click on each photo to see larger versions.