Jackson Browne at 60

Now that he's shaved off that crazy gray beard, Jackson Browne does not look even close to 60. He's part of that Dick Clark, Bela Fleck, Leo Kottke thing. Even after seeing him un-touched-up at the Fox Theatre Sunday, I'd still "say yeah".

Seems I've always been a huge Jackson Browne fan. That whole So-Cal crew wave, with him, Dan Fogelberg, the Eagles, et al, washed me out to sea and I never really made it back to shore. But I must admit that while I've got all the JB stuff, I haven't been as drawn to most of it in the past 15 years. Sure, every record had a couple of bright spots, but not a consistant, back to back listen like, say, "Late For The Sky". His new CD, however, has him back in my ears. "Time The Conqueror" is Jackson Browne's best work in years. So I was happy to hear most of the new songs live.

While it was unfortunate that he omitted the rally cry of "Drums Of War" ("Why is impeachment, not on the table?") the show hit most of the rest of the new songs. Title track, "Going Down To Cuba" which he did on the Cobert Report, "Giving That Heaven Away", "Off Of Wonderland" and my favorite, "Just Say Yeah." JSY is the kind of love song that you wish someone would write about you. It's sweet and simple and makes you remember how it was when you started to fall in love. Charmingly, Jackson forgot the words (okay, so he IS 60) and started the whole thing over. Oh, God bless him. Made my evening. I'm still saying "yeah".

Gord's still gold

As I stopped in the middle aisle of the Fox Theatre, I almost felt the need to genuflect before taking my seat. Gordon Lightfoot was present. Gordon was a major influence on those of us who travel in the acoustic / folk / rock vein. Along with the other early influences of Dylan, Joni, CSN and Neil, he inspired us, and our subsequent heroes, with lyrics ranging from poetry to literature and showed us the power of acoustic rooted music. Nearly seventy, Gord’s still gold. His voice has worn, but is still expressive, and the less-is-more arrangements allowed his lyrics and melodies to sparkle. My husband lamented the lack of “Canadian Railroad Trilogy” in the set, but I was more than delighted to hear an emotionally wrenching version of "Song for a Winter's Night". The night was moving, driving me to pull out records I'd not listened to in years. The songs are still relavent, still full of strength and beauty, still inspiring. I should have genuflected, yes, I should have.

Plant & Krauss

You can take Robert Plant out of Led Zeppelin, but you can't take the Led Zeppelin out of Robert Plant. Tonight at the Fox Theatre in St. Louis, a restrained Plant showed us why a Led Zeppelin without him would be a bad idea indeed. Even in the understated environment of the Raising Sand tour, he posed and postured, waved the mic stand and once even managed to sling the mic. At times he looked like he was going to break out of his skin, about to kick, gesture grandly, wail like a banshee or dance, but all that was mostly held back, much to the dismay of STL's classic rock mecca inhabitants. No matter, as the music was the thing.

Plant and Krauss have an odd chemistry. Their voices melt together finely, sometimes changing character so much as to lose distinction. Much of Raising Sand constructed the set, showcasing this vocal phenomenon. Their version of "Killing The Blues" is possibly the best cover of it ever, and tonight it was note-perfect. The one- two punch of "Please Read The Letter" and "Gone Gone Gone" hit the audience with both band and vocal excellence that left everyone smiling. Some of the best moments, though, were when they helped each other shine. Alison Krauss was stunning on "Down To The River To Pray", aided in lush harmony by Plant, Stuart Duncan and Buddy Miller. And girl still plays a mean fiddle. A reworked "Black Dog" was spooky, "Battle of Evermore" seemed to be the night's fan favorite. They could have played all night, as far as this fan is concerned. When you have royalty creating magic, everything is never enough.