Tag Archives: The Smothers Brothers

The Set List — Alicia Keys/John Legend, The Smothers Brothers, and more

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February 24, 2005

Alicia Keys/John Legend

There’s little to add to the success story of Alicia Keyes and her collection of bowling pins that are better known as Grammys. Casual fans should still go see her in concert, because they’ll be very impressed by the power of songs that they mainly know through osmosis. Opener John Legend is also a major rising star, although people react a little too defensively when you file him under hip-hop. The critics like to pretend that Legend is a genuine R&B guy—but if that were the case, his album, Get Lifted, would pale in comparison to Terence Trent D’Arby. The years spent working with Kanye West have turned Legend into a hook-happy soulster with an identity of his own. That still leaves him sounding like a really inspired hip-hop artist, and everybody should just be grateful for that. (Wednesday, March 2, at BJCC Concert Hall, 8 p.m. $38-52) –J.R. Taylor

The Smothers Brothers

Once one of the most important musical acts of all time, The Smothers Brothers are now the most neglected act in the history of CD reissues. Their 1961 debut with At the Purple Onion and the next year’s The Two Sides of . . . remain an example of the greatest leap for a performing artist in the shortest distance, as Tom & Dick went from being weird folkies to one of the funniest—and most disciplined—teams of all time. Tommy’s role of the befuddled innocent was handled with a perfect sweetness that would become even more touching in the wake of stoner comedy. Meanwhile, Dick had to serve as both straight man and a parody of a sincere folkie.

They were already working with Pat Paulsen by then, too. The later albums tilted even more towards comedy, and they were polished showbiz professionals by the 1967 debut of “The Smothers Brothers Comedy Hour.” Their battles with the censors overshadowed what was some brilliant mainstream work. Sadly, the brothers didn’t have Sonny Bono’s knack for goofing on changing times, and Tom & Dick were soon back on the nightclub circuit.

The ’80s were particularly unkind to the act, as Tom & Dick began to buy into some notion of themselves as important artists, and they undermined their own gentle chemistry. You were better off skipping the ’88 revival of their primetime show. They’ve never quite regained their early chemistry, but all political persuasions can still enjoy their live act. The occasional alleged insight is still comic relief. (Saturday, March 5, at BJCC Concert Hall, 8 p.m. $18-$85) –J.R. Taylor

Social Distortion/Backyard Babies

It’s been about 27 years now, and maybe five albums total, for Social Distortion. Remember when we used to think it was Mike Ness’ heroin addiction that caused the gaps between albums? That hasn’t been the problem since the mid ’80s, though. Judging from the discography, Ness is really just an unusually thoughtful songwriter who waits until he has something to say before going into the studio.

1996′s White Light, White Heat, White Trash should have been a huge hit, as Ness didn’t let the passing years keep him from examining his life from an unusually brutal perspective. Thoughtfulness was out of fashion, though, and two solo albums didn’t fare any better. Last year’s Sex, Love and Rock ‘n’ Roll responded by being a lightweight punk-rock expedition that’s still riddled with self-loathing and burdened by the search for redemption. Ness will be in big trouble if anyone ever figures out he’s the father of emo.

The Backyard Babies have only been around since ’87, and too much time was wasted when one member went off to pursue hipster stardom with The Hellacopters. Still, you can’t blame the guy. These Swedes were simply too uncool to be appreciated in the ’90s, but their glammy punk is sorta back in vogue, and they’re way overdue to get a big push for the American market. It probably won’t work out, but this is still a fairly memorable bill that you’ll be able to brag about seeing someday—at least, if you’re ever in Sweden. (Wednesday, March 9, at at Sloss Furnaces, 7 p.m.). –J.R. Taylor

The Vern Gosdin Show/Connie Smith

In 1960, Vern Gosdin and his brother left Alabama for California to play bluegrass with future Byrd and Flying Burrito Brother Chris Hillman. The Flying Burrito Brothers and The Byrds, along with Gram Parsons’ cowboy contributions, were the forerunners of country rock, and therefore Vern Gosdin can rightfully be cast as one of the genre’s godfathers. Gosdin later cemented that dignified position by contributing “Someone To Turn To” to the film Easy Rider. To put him in even more elite company, Gosdin is often placed on the holy pedestal of pure country vocalists along with George Jones and Merle Haggard.

Dolly Parton says there are only three female singers in the world: Connie Smith, Barbra Streisand, and Linda Ronstadt. Parton is out of her mind if she really believes this, but little blonde Connie Smith is even more delusional. According to her bio, Smith believes that classic country music is powerful because it has a strong commitment to “home, family, and living life.” She’s obviously has never paid close attention to George Jones, Hank Williams, or any other country music icons whose notions of “living life” are whiskey, sex, and threatening the wife with a shotgun. Nevertheless, Smith remains a legend. She had her first hit in 1964 with “Once a Day,” and her weepy ballads are the essence of genuine country and western music. The opportunity to see her and Vern Gosdin together at the Alabama Theatre is too good to pass up. (Friday, March 4, at Alabama Theatre, 7 p.m. $20-$35.) —Ed Reynolds