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Keith Richards/The Xpensive Winos

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Keith Richards/The Xpensive Winos aagffimi#ffitwi:#{aiffit!!n".1!.ti(!.r.!i.{#:aw}#!w.-.?1i.,fr.!.:tr' rll:Wiftr.tti2'i.i1;i'+*i)irilli;t: Keith Richards and The Xpensive Winos Universal Amphitheatre, lVed, Jan. 23 b1'' Pat Kramer thc comer of h is delivcry and long, susnined noos mouLh. Keith lit Dash also grcatly cnhance; up only oncc - "Gimme Shelter" and pausing neltrthe "lJod)nlk\" uhilc singcr B:bi cnd ol thc sct to Flol'd providcd gospcl hrmonie s introduce thc aa"l Hale itll'henl'ou Leave". brnd. On "r\irre Tanight," Wachtel's stcady leed, providcd Richlrds Introduccd by the frccdom to srum his guiur Richards as antl adC occasional guiur lills "lorgcd in stccl, u hilc hc phycd to Lhc croq d. enc:rsed in mclrrl" thc X- For simplc, straight ahead rock, Pensive \f inos "Rip it Llp," "Eileen," and, ot provided co$se, "llapp!" took the cale musicianship to wirh Happy, showcasing the Richards'stylc, urlcnts of thc uholc band. Thcir putting lorth 3n one - song cncore, "Take il So cncrgctrc and I|ard" cnded thc show wtth the colorlul show. entre bcnd, holding hands and Compriscd of urliing a bow. This small gesture co-writcr/ convcyed the closencsso[&e band Kr.)'r'lt RlcllARlls produccrs which Richards dcscribed in this ll you wcnt to scc Keilh Waddy lVachtel and Steve way. "I thrive on &e loyalty of a lichards to hcar Rolling Stones Jordan, kcyboardis Ivan Neville, band, that dcdication, to be able guys back oYcr luRcs, you would havc bccn bass playcr Jerome Smith, sax to pull the same to be iseppointcd with tiis show. With man Bobby Keys and vocalists togcther. It's vcry unusual is sccond solo album, ll{airr exraordinairc Sarah Dash and able to do that and iLs' amazing a all.thcse guys came back ffender, Richards' maLcrial is Babi Floyd thc Winos oflcrcd that implcr lyrically and not as "hcxtk strong lincup of backing agein". drivcn". Though Richards' voicc musicilns.' gctting up there in ; uniquc in it's hoarsc, olf - kcy Though hc is Richards ukcs agc for his solo cflbrts, Richards ull i L1', it bccantc l bit rcdund:rnt Thc dircction his placc in n thc son-ts u hcrc hc wa.s siLh this tour is a bir dillcrcnl hrs alrcedy carved r,rri,jing lc:id vocals. Topping from his *ork with Thc Stoncs. h.'t.'i'i r. l r\).k icdn. \\'hLlr hrs i.li ot-f. tic \ound was too ioud ii ic huds sl; s hr is cxpcrinl cnti ng rolc mo.dcls u'cre IIudd)\1'lters, Lee :J drstortr-d during this shorv, lith ncw sounds. "A lot ol Lhc Iloulin' 11'olf ancl John rii,irg it dilncult to hclr thc triidiLional musicltl lorms I grcw llooker, Richuds stylc is copied rnL\. \\'lrtn Richlrds did spclk up x rth and lor c Lo phl l'r'c.1ust morc thrn :lny othcr ror:k figure ,, thc audicncc, uhich *as tricd to put d ncw twiil on, like tod:ty. Llrcnt r I rcrlucn!, it u'as unc lcar * h:tt hc changing tirnings, mlking not so slruclurcd in thc vcrsc- Altcr 30;cars qith the Stones, ':is s:r;'ing. Nlostly it corrpriscd i:rti'rncnts likc, "IIaPPY New chorus--hook hrg as much as I KciLh Richards is an institution. ' u Lhc Stoncs. Wc'rc still e a r"," R e e n a* h ile", and "Crcal. ould wiih ro*'d, grcat to be back, wish I cxploring and wrLh this band, we me thai lherc ould stay lohgcr", can do it". A fricnd once told arc tso things ttnt will allaYs thc cockroaches Howcvcr, what rhe show laikcd For the L.A. show, thc set snnd tcstoftime: Richards. his n sound, it madc up for in stylc. fcaturcd many srraight ahcad and Keith Civen history ofexcesses, his ability to Joming out on slrgc wcaring his tunesoff" tr[ aitt OJfender,""TaIk prcvail is truly awe insPiring. ilvcr skull ring, a black jackct, is Cheap," and "I.ive at the Univ€rsal ems, a long white shirt, a black Hollywood Palladium" with a Seeing hinr at Amphitheater, upclose fora very nd whi!e sash,and aorangc titsscl sprinkling o[Stoncs tuncs. Kcith's pcrsonal display ofhisown music ranging from his'bclt, Richartls uncvcn vocals workcd bcst on lisplaycd the air of "primitive songs like "Il'icte d AsItSeems," was ai trbirin! and long awaited :ool" hc's so ivcll known for. "YouTake it so Hard,"and"How opportunity. I lYisft. " But thc highlighs ofthc His sngc antics werc also a key show wcre Lhe songs whcre the roint in the strow. During the Winos wcre givcn somc of the spotlighr like in Opcning hrnJ, Sole Asllum, r.':ul 1' 2-hour sct, Richards played "I'ockedAx'a1," o the crosd, hunching ovcr his whcn Neville's kcYboard plal ed a short but very loud set of his notcs into a grungc rock/alternative music ;uitar, twirling uound, kicking synLhcsizcr tumcd acoustic *'hich, despitc it's volume, was u r h i s lcg, and striding tc ross the bcrutiful laycring of R5 OPEN 9PJV1...'V\IDNIGHT g."Shove .. NEW E IIIIPROVED ;urc wi th gu iurr outstrctchcd. The guitar, complcmcnting Richards' musically engagin trI e," WARD-WINNlNC CAFE ,.nly thrng missing from the lcad. Singcr Sarah Dash lddcd a "Runa*'ay Train" and "To Sir ljch:fds' pcrfornenc!- was the nicc tourh to "Time is Ott .lly ll'i/l I-are " wcrc fur'orite pars of Sjde" with hcr slow. blucsy thc ihow. TI{tPALA(t''M dangling fronr :ldlmrk cigrcttc 1735 l,r. v1!! sr:rfio[Ywqo0, cA 90028, HOTII]IE ?!1'!6?jo9o p!157:ls7l : JANUAFY ?9. 1993 FNTSFI,AiN''gNf |ODAY PAG€ 25 .
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