![]() It’s pop’s version of Catchphrase: one half expects Roy Walker to appear on stage between songs, calling out: “Say what you see!” Wind on the Water, the one about whales, plumbs depths no cetacean ever reached: “Now you are washed up on the shoreline / I can see your body lie / It’s a shame you have to die / To put the shadow on our eye.” There’s not an ounce of subtlety to the writing. There’s drama, too – Cathedral, first recorded by Crosby, Stills and Nash, is dramatic and surging, changing pace and mood, bringing shadows. It’s like bathing in sunshine, musically at least. Even at 81, his high tenor is straight and true, and when Fontayne and Caldwell join in the results are meltingly gorgeous. In this two-part show, Nash – backed by the excellent Shane Fontayne on guitar and Todd Caldwell on keys, both also singing harmony – takes a skip through his career, from the Hollies’ Bus Stop (1966) through CSNY to the present day, with a couple of songs from this year’s album Now. He seemed to pluck tunes from the air – Marrakesh Express, Our House, Teach Your Children, all present this evening, though there’s no room for the Hollies’ amazing King Midas in Reverse – that permeated the consciousness and transitioned from being hippie anthems to staples of MOR radio. All rights reserved.There are few melodicists in rock as gifted as Graham Nash, who – and this is not a pejorative – was the missing link between light entertainment and the counterculture through the second half of the 1960s and the first part of the following decade.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |