random live pic
Great talent, nice work
Published in Berkshire Eagle, 7/2/10
By Jeremy D. Goodwin
PITTSFIELD--Rosanne Cash delivered a positively splendid, if narrowly focused, set of acoustic duos with husband and longtime collaborator John Leventhal at the Colonial Theatre on Tuesday.
The performance focused almost entirely on selections from The List, Cash’s 2009 covers album, and Black Cadillac, her previous, loss-drenched studio effort. As such, there was a somewhat claustrophobic feel to the song selection, but Cash surveyed the nuances and dark corners of this territory with a steady, even gaze.
Cash’s warm, gently thrilling voice took center stage, though it was supported ably by Leventhal’s ever-tasteful instrumental prowess. Leventhal, a Grammy-winning composer, producer and performer who is probably best known for his work with Shawn Colvin, played an acoustic guitar outfitted with gear to allow for electric-sounding flourishes. (Cash played guitar on some tunes but mainly stuck to her impressive vocal instrument.)
The two paired up on guitars and harmony vocals for greatest hit “Seven Year Ache,” and up-tempo Black Cadillac number “Dreams Are Not My Home” was pleasantly enlivening, spiced by a particularly zinging Leventhal solo. But there was a dimly lit introspective feel for much of the set, such as in the wickedly simmering “Burn Down This Town,” the slinky “Dreams Are Not My Home,” and the gorgeous, if down-beat, opener “Girl From the North Country.”
Published in Berkshire Eagle, 7/2/10
By Jeremy D. Goodwin
PITTSFIELD--Rosanne Cash delivered a positively splendid, if narrowly focused, set of acoustic duos with husband and longtime collaborator John Leventhal at the Colonial Theatre on Tuesday.
The performance focused almost entirely on selections from The List, Cash’s 2009 covers album, and Black Cadillac, her previous, loss-drenched studio effort. As such, there was a somewhat claustrophobic feel to the song selection, but Cash surveyed the nuances and dark corners of this territory with a steady, even gaze.
Cash’s warm, gently thrilling voice took center stage, though it was supported ably by Leventhal’s ever-tasteful instrumental prowess. Leventhal, a Grammy-winning composer, producer and performer who is probably best known for his work with Shawn Colvin, played an acoustic guitar outfitted with gear to allow for electric-sounding flourishes. (Cash played guitar on some tunes but mainly stuck to her impressive vocal instrument.)
The two paired up on guitars and harmony vocals for greatest hit “Seven Year Ache,” and up-tempo Black Cadillac number “Dreams Are Not My Home” was pleasantly enlivening, spiced by a particularly zinging Leventhal solo. But there was a dimly lit introspective feel for much of the set, such as in the wickedly simmering “Burn Down This Town,” the slinky “Dreams Are Not My Home,” and the gorgeous, if down-beat, opener “Girl From the North Country.”
As Cash discussed with the audience, her latest album is based on a list of “100 Essential Country Songs” provided to her by her father, Johnny Cash, when she was but 18. The historical survey implied by that set of facts notwithstanding, this was not a night for musicological inquiry. A perfectly nice, slow-simmer encore of “Wouldn’t It Be Loverly” from the musical My Fair Lady was introduced as one of the oldest songs of the evening; Cash curiously declared that “There is no country music, there is no American roots music, without this song” in regard to “Long Black Veil,” a song that’s become a beloved standard but was written in 1959, skillfully constructed for country music radio to sound like an old folk tune. But on both numbers, Cash’s warm vocal effort, sweetened with about 15% country-twang, was particularly rich and satisfying; this was a performance that required no footnotes.
Through what appeared to be finely honed instinct, Leventhal kept things moving even when Cash’s laid-back demeanor and lyrical lapses might have threatened to retard the pace. (Indeed, at one point, after Cash spent a few minutes unsuccessfully tuning her guitar, her partner reached over and did it for her. “He can lift really heavy things too,” Cash quipped, perfectly droll.) Leventhal produced a positively (Johnny) Cashian boom-chica-boom sound on “Sea of Heartbreak,” strummed breezily aching jazz chords on “Miss the Mississippi,” and introduced “I’m Movin’ On” with some dirty blues licks.
All told, this was a pleasing effort from a great talent, going at her own pace and covering precisely the ground she wished to cover, with just-right support from her one-man-band. Bravo.
Through what appeared to be finely honed instinct, Leventhal kept things moving even when Cash’s laid-back demeanor and lyrical lapses might have threatened to retard the pace. (Indeed, at one point, after Cash spent a few minutes unsuccessfully tuning her guitar, her partner reached over and did it for her. “He can lift really heavy things too,” Cash quipped, perfectly droll.) Leventhal produced a positively (Johnny) Cashian boom-chica-boom sound on “Sea of Heartbreak,” strummed breezily aching jazz chords on “Miss the Mississippi,” and introduced “I’m Movin’ On” with some dirty blues licks.
All told, this was a pleasing effort from a great talent, going at her own pace and covering precisely the ground she wished to cover, with just-right support from her one-man-band. Bravo.
