First a couple of Alter-reviews, then Reed:
Last Friday I went around the corner to Symphony Space on the occasion of Theatre Within’s 33rd Annual John Lennon Tribute. I’ve been to a couple of these before, but I don’t recall anything like the terrific line-up they amassed for Friday’s show. To be honest, it could hardly suck, given the material. But it could, and occasionally did, drag, in the middle. It got off to a really strong start with Teddy Thompson, who will almost certainly grow more and more popular as more people hear him. He’s got a powerful and often beautiful voice and a winning stage persona. I can’t remember what he sang anymore, but I remember hearing it anew. (Each performer, pretty much, did one Beatles song and one Lennon solo song.) Performances by Dan Bern, Dana Fuchs , Bettye LaVette, Toshi Reagon and Rich Pagano (of the Fab Faux). Lennon Tribute creator and MAD Magazine Senior Editor Joe Raiola followed and were either great or not so great depending on your taste. Since we’re talking about my taste I think things really began to take off again with Steve Earle dong “Cry Baby” and something else and then insanely great performances by Raul Malo (looking like a dead ringer for Lunciano Pavarotti) doing “The Ballad of John and Yuoko” and “Twist and Shout.” Joan Osborne batted clean-up as she says, and funked up the place with Ms. Lavette and left everybody feeling good, though “And So this is Christmas was the lamest of sing-a-long closers one could imagine. Great band too, led by Mr. Pagano.
The Tribute was produced in association with Music Without Borders and shared its profits with the Spirit Foundations, established in 1978 by John and Yoko as a vehicle to support charities that address “the problems of the aging, abused women and children, and victims of terrorism and natural disasters.” Theatre Within, meanwhile, is dedicated to “furthering the performing arts as a positive social force through concerts, theatrical productions and workshops.” Look ‘em up here
Speaking of the Fabs, while I don’t think I’m up to Mr. Lewisohn’s Tune In anytime soon—almost a thousand pages and it ends in 1962—and if you feel that way too, you might enjoy, as I am, Philip Margotin’s All The Songs: The Story Behind Every Beatles Release, which is a thumb-through kind of picture and data book for obsessives who don’t have as many blocks of time on their hands but find this stuff endlessly interesting. (It relies on earlier work by Mr. Lewisohn’s research.) It’s a big fat doorstop/coffee-table book with wonderful photos and decently-footnoted stories, pretty-well written and impossible not to like for Beatle-types (unlike at least one other Fab coffee table books published this season).