As a fan of a wide variety of popular (and not-so-popular) music from the 1950s (and sometimes even earlier) up through the present, one of my bucket list projects for years has been to put together a list of my 100 favorite songs of all time. At some point I decided that, once I got around to figuring that out, I could put it out on a blog, for the infinitesimally small proportion of the Internet world that might be interested. So, here we are. While the Top 100 will be a major focus, I also plan to post on a variety of other musical (and occasionally non-musical) topics, in which you may or may not be interested. (If a particular posting doesn’t ring your bell, you’re only a few clicks away from a dancing cat video on YouTube.)

Monday, August 13, 2018

Lyle Lovett & His Large Band – Wolf Trap, 8/10/2018


Row L, Seat 25 (leftmost “center section” seat)
 
The more things change, the more they remain the same.
 
This is certainly true of Lyle Lovett & His Large Band. You can count on impeccable musicianship in a wide variety of styles. (The Wolf Trap program blurb listed “country, swing, jazz, folk, gospel, and blues”.) Most of the players remain the same; some have been with him for over 20 years. The basic structure of the lengthy, intermission-free set (about 2 ½ hours) is pretty standard: an instrumental intro (typically “Blues Walk”) that allows all of the band members to stretch out before Lyle takes the stage, a mostly upbeat sequence featuring the full band, a more acoustic/introspective mini-set in the middle that includes headlining takes by fiddler Luke Bulla and guitarist Keith Sewell, and a rousing final sequence (ending this night, as is often the case, with “Church”), and an encore or two. Classics such as “If I Had A Boat”, “Here I Am”, and “That’s Right (You’re Not From Texas)” find their way into almost every show.
 
The changes, of course, are what makes the experience so rewarding over the years. When compared to the previous time I saw them two summers ago, “Penguins” found its way to the beginning of the show, right after Lyle came on, while Francine Reed’s “Wild Women Don’t Have The Blues” moved to near the end. A couple of non-Lyle songs that he had contributed to movies, “Gee, Baby, Ain’t I Good To You” and “Straighten Up And Fly Right”, appeared. And Lyle and Francine broke out some dance steps on both “Gee Baby” and “Penguins”. I don’t recall hearing “Choke My Chicken” before either live or recorded, and I don’t think I’d heard him do “Cute As A Bug” or “San Antonio Girl” live before. Those two are both from the stellar My Baby Don’t Tolerate album; an extended version of the title cut was one of the evening’s highlights.
 
My new favorite coming out of the show is “This Old Porch”, which he co-wrote with fellow Texan (and Texas A&M student) Robert Earl Keen. There’s a great article about it in an old issue of Texas Monthly, and the video is outstanding.

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