• printer friendly
• mail this article
• iPod format
• digg

Photo

Stan Ridgway performs in Royce Hall during Shock and Awe, The Songs of Randy Newman.

Among the inventors of the tribute album, UCLA artist-in-residence Hal Willner knew what to expect from a live equivalent.

“Before any goddamn critic says it – yes, the best thing is the original, which was last night … AND WE KNOW THAT! … But this should be pretty cool,” Willner wrote in the event’s program notes.

Though a bit modest, Willner’s comments as producer of Saturday night’s Randy Newman tribute “Shock and Awe: The Songs of Randy Newman” proved more or less prophetic. Backed by both a rock band and a chamber ensemble, an eclectic cast, including Rip Torn, Jimmy Fallon, Vic Chesnutt and Victoria Williams, interpreted selections from Newman’s catalogue just one night after Newman himself performed live.

The logistical challenge of gathering so many artists together in one place certainly gave the show a loose and spontaneous feel, somewhat befitting of Newman’s own whimsical style. The audience was left in the dark as to which artist would be performing which song next, and the artists were not even introduced until the end of the show.

This unrehearsed atmosphere also resulted in some bumps in what could have been smoother sailing. A few of the performers depended heavily on the lyrics sheet, sometimes looking like students struggling for eye contact during a class presentation. Rip Torn drew laughter for the timely subject matter of “Political Science,” then drew more when he forgot the words and began ad-libbing.

Even so, the diversity of such a group resulted in its share of high points that were more than just “pretty cool.”

Howard Tate delivered classic soul renditions of “Louisiana 1927,” “Every Time It Rains” and “I’ll Be Home” with a stunningly well-aged voice. Wearing a pair of what he called “Randy Newman tribute glasses,” Stan Ridgway injected some much appreciated fire and energy into the proceedings with his performances of “Bad News From Home,” “Rider In The Rain,” and “Baltimore,” throwing in whoops and howls and, on one occasion, furiously blowing into his harmonica. Jennifer Charles of Elysian Fields added a smoky, seductive dimension to “Let’s Burn Down the Cornfield,” “Lonely At The Top,” and “Beat Me Baby.” And Gavin Friday may have stolen the show with a lustfully gyrating “You Can Leave Your Hat On.”

Over the course of 46 songs, however, a few of the slower and less distinguished performances began to run together, adding unnecessary dead weight to an otherwise inspired production that was interesting at worst. Before the show, UCLA Live director David Sefton warned, “Anyone bootlegging, I hope you have plenty of tape with you.” In retrospect, he wasn’t kidding.

Despite some minor snags and a slightly bloated running time, Willner’s debut event as artist-in-residence was a successful and entertaining homage to one of America’s most beloved singer-songwriters.

-Alfred Lee