SINGER | SONGWRITER REVIEWED BY TOM WILK Dave Alvin and Jimmie Dale tual focus in a more relaxed setting. The jangly pop of “Umbrella,” sung by Gilmore HHHH “Content” and “Parvardigar” re- Maura and inspired by a dream of a Downey to Lubbock flect his following of the Indian reli- spinning quarter, is a celebration of Yep Roc gious leader Meher Baba and function the Kennedys’ 25 years together. In their careers, Dave Alvin and as prayers set to music. Solo versions The uplifting “Is Anybody Listen- Jimmie Dale Gilmore collectively have of “Pure and Easy” and “Let’s See Ac- ing?” and “Sing the Chorus” provide a played music professionally for more tion,” songs also recorded by The message of hope in trying times. The than three quarters of a century. Alvin, Who, show Townshend fully capable latter uses music as a metaphor for 62, and Gilmore, 73, have joined of working as a one-man band. The ex- daily living. “Sing the chorus strong forces for Downey to Lubbock, their panded edition of the album features and loud/When your world’s gone first album as a duo. It’s an inspired 17 bonus tracks and demonstrates wrong,” she declares. “Sing the chorus exploration of American roots music Townshend’s abilities as a multi-instru- loud and strong/And put your hope- that mixes original tunes with well- mentalist from the peaceful instru- lessness back where it belongs.” chosen covers. “Union,” written by British songwriter The title track, which refers to Andrea Glass, mines a similar theme in their hometowns, is an energetic re- urging couples to find strength in each counting of their musical lives from other. The environmental message of Alvin’s days with the Blasters and “Dancin’ on The Moon” draws inspira- Gilmore’s time with the Flatlanders to tion from the ’60s hit “Dancing in the the present. The wistful “Billy the Kid Street.” That Motown connection is and Geronimo,” an Alvin original, living. “I love you, but you won’t let reinforced with a folk-rock version of imagines a meeting between the West- go,” she sings with a touch of exasper- “Midnight Train from Georgia,” a hit ern outlaw (voiced by Alvin) and the ation. The title track is an effective for Gladys Knight and the Pips in 1973. Native American leader (sung by country/soul ballad dealing with ro- (11 songs, 42 minutes) Gilmore). The cover songs are a cross- mantic loss that Willis says was influ- section of blues, folk, and rhythm and mental “His Hands” to the keyboard enced by Crystal Gayle. With its fiddle Bob Rea HHH Southbound blues. Woody Guthrie’s “Deportee experimentalism of a nearly 10-minute and piano, “Freewheeling” has the feel (Plane Wreck at Los Gatos)” is plain- version of “Baba O’Riley.” Townshend of a traditional country ballad, while Shiny Dime Records tively sung by Gilmore and especially also dabbles in in bluesy soul (“I Al- the country/folk two-step “Fool’s Para- Bob Rea’s songwriting evokes the relevant where immigration remains a ways Say”), spiritual reflection (“Day dise” is a mid-tempo lament. With its storytelling of Steve Earle, the eye for topic of debate. Gilmore and Alvin add of Silence”) and the Great American accusatory tone, Willis turns “Only detail of Guy Clark, and the rueful Southbound a level of intensity, vocally and instru- Songbook (a shimmering rendition of You” on its ear and shows her depth as humor of John Prine on , mentally, to “Get Together,” a Top 5 hit Cole Porter’s “Begin The Beguine”). a writer. She revives “I’m a Lover (Not his first solo album in seven years. for the Youngbloods in 1969. Among the unreleased tracks, the a Fighter),” a 1969 hit for Skeeter The lively title song serves as a charac- Alvin pays tribute to John Stewart, rootsy “There’s Are a Fortune in Those Davis, and makes Randy Weeks’ ter study of a free-spirited woman a fellow Californian songwriter, with a Hills” recalls Townshend’s work with “Don’t Step Away” and Rodney Crow- who can’t be pinned down by a man. yearning performance of “July, You’re Thunderclap Newman and a lively ren- ell’s “We’ll Do It for Love Next Time” “She will leave them brokenhearted a Woman.” Gilmore takes the lead on dition of Ronnie Lane’s “Evolution” her own. All three renditions show- with a Mona Lisa smile,” he sings. a spirited rendition of “Lawdy Miss from 2004 pays tribute to the late case her strength as an interpreter and “The Highway Never Cries,” a restless Clawdy,” the early 1950s hit by Lloyd bassist with the Faces and Town- the ability to find songs that suit her rocker, finds the narrator leaving his Price, while Alvin and Gilmore trade shend’s occasional collaborator. (25 vocally. (10 songs, 31 minutes) troubles behind and anticipating a verses on an energetic reading of songs, 110 minutes) fresh start. Sonny Terry & Brownie McGee’s “Walk The Kennedys HHH1/2 Rea shows his bluesy side with On.” Downey to Lubbock is a strong Safe Until Tomorrow “Soldier On,” a meditation on right Kelly Willis HHH1/2 collaboration that should lead to a se- Back Being Blue Kennedys LLC and wrong, while “The Law” is a time- quel. (12 songs, 52 minutes) Premium Records/Thirty Tigers Music drew Pete and Maura ly commentary on political division. After recording a pair of CDs with Kennedy together, sustaining an artis- His aching vocal “Vietnam” is a sober- Bruce Robison, her husband of 22 tic and marital partnership that dates ing reminder of the collateral damage Pete Townshend HHH1/2 Who Came First: 45th Anniversary Ex- years, Kelly Willis makes a welcome re- to the 1990s. Safe Until Tomorrow, the of that divisive war and how three panded Edition turn as a solo artist with Back Being duo’s first album together in three lives were forever altered by the draw- Universal Music Enterprises Blue, her first album under her own years, is a satisfying collection of origi- ing of a lottery number. On “Screw Who Came First, the first solo name in 11 years. Her song selections, nal songs and a smattering of covers. Cincinnati,” Rea lightens the mood album by Pete Townshend, showed both her own and those of other writ- It’s a two-person operation with Pete with a humorous tale of star-crossed another side of the principal song- ers, show her ability to handle differ- handling most of the instrumentation lovers. “Fish Can’t Fly” finds Rea with writer and lead guitarist for The Who ent musical genres. and Maura serving as the principal an urge to wonder. “Fish can’t fly and upon its release in 1972. The album al- The rockabilly-flavored “Modern songwriter and vocalist. Opening with I can’t stay,” he sings with a phrasing lowed him to go beyond The Who’s World,” a Willis original, reveals her a Byrds-like guitar line, the upbeat title and creative use of language that re- hard-edged rock and explore folk, mixed emotions on the influence of track serves as a song of reassurance calls the best of Roger Miller. (13 country and pre-rock pop with a spiri- social media and cellphones on daily for caregivers helping elderly parents. songs, 51 minutes) n 26 ICON, JUNE 2018 | ICONDV.COM | FACEBOOK.COM/ICONDV.