10/06/06 Nashville Preview


NASHVILLE CITY PAPER

Longtime Southern rock ensemble returns to fulltime touring
By Ron Wynn, (rwynn@nashvillecitypaper.com)
October 06, 2006

Widespread Panic’s origins date back to the early ‘80s, when John Bell and Michael Houser began playing together with Dave Schools while still students at the University of Georgia. Known for a bold and sprawling blend of rock, blues, pop and reggae, Widespread Panic has played more than 250 dates a year for much of the past two decades, but after more than 18 years on the road almost non-stop, they took a hiatus in 2004 before returning last year to active performances and concerts.

Now in the midst of their latest tour, which makes a Nashville stop tonight at the Municipal Auditorium, Widespread Panic has also had to make some adjustments due to a recent personnel change. But Bell says fans need not worry that their trademark sound has been greatly altered or affected by the recent defection of George McConnell and the addition of Jimmy Herring, a longtime friend and supporter who has also co-produced a number of their albums.

“One thing that our time off really did was reinforce for everyone in the group how important it was to keep on going,” Bell said. “We’ve always done different things apart from Widespread, but I think since we’ve been back there’s a renewed commitment and energy to the music. Also, Jimmy has proven a great addition, even though of course he’s a different player than George. So it’s been a positive thing from a standpoint of getting a fresh sound, a new look and attitude about things in the performances.”

Their most recent release Earth to America was recorded at the Compass Point studios in Nassau and produced by Terry Manning. In addition, Widespread’s May 9 show at Atlanta’s Fox Theatre was simulcast in live high definition to select movie theaters nationwide, and will be released on DVD Nov. 14 as Earth To Atlanta.

With a catalog over more than 300 original songs and collaborations with groups ranging from the Dirty Dozen Brass Band to Domingo S. Ortiz, Panic’s music is well known, if sometimes mischaracterized.

“We’ve always looked at ourselves first and foremost as a rock ‘n’ roll band,” Bell said. “But we’ve also always been interested in a wide range of styles, and incorporating all those influences into a sound that was clearly Widespread Panic. You can hear a lot of the blues on some songs, but then there are others where we get into anything from country to reggae, maybe even some jazz. It’s been fantastic that some songs have really become almost standards with our fans [“Chilly Water,” “Airplane” or “Sleepy Monkey” are prime examples], but it’s more important for us to keep growing and evolving as a band, something I think we’ve discovered since being back is still the case.”

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10/02/06 Dirty Dozen steals show from basic Widespread Panic

10/01/06 Rupp Arena, Lexington, KY
1: Proving Ground > Travelin' Light, C. Brown* > Crazy > Can't Get High > Dyin' Man > Mercy*, When The Clowns Come Home**, Walkin' (For Your Love)**
2: From The Cradle, It Ain't No Use, Blue Indian* > Climb To Safety > Christmas Katie*** > Drums**** > Superstition***, You Should Be Glad** > Imitation Leather Shoes
E: May Your Glass Be Filled, Sometimes

* with John Keane on pedal steel
** with John Keane on guitar
*** with Dirty Dozen Brass Band
**** with Terrence Higgins on percussion


Setlist by Everydaycompanion



LEXINGTON HERALD-LEADER -
CONCERT REVIEW

Dirty Dozen steals show from basic Widespread Panic
By Walter Tunis



"My body keeps on moving," John Bell sang at the onset of Widespread Panic's evening-long jam band fest at Rupp Arena Sunday night. "But my style gets in the way."

What telling words. For the better part of 31/2 hours, the veteran Georgia band had all the tools to keep the groove going. But a few times too often, the band reflected a stage attitude that seemed to suggest its often rudimentary music was a bigger deal than it was.

The Panic is a band that likes to keep the beat simple. Sometimes, as with the opening Proving Ground, the groove abruptly accelerated and then slowed back to the band's shuffle-friendly comfort zone. A panic? More like business as usual, really.

So it went for much of the first set, with Bell and company relying mostly on the shorter, song-structured grooves of the boogie-directed Walkin' (For Your Love) and the animated barroom flavor of Blue Indian. Longer jams were saved for the second set.

At times percussionist Domingo S. Ortiz would chime in (literally) to color a tune or two, as in the way he gave the Okie-meets-Atlanta roots groove of J.J. Cale's Travelin' Light a detour through Trinidad.

And it was difficult not to imagine how pale this music would have sounded without new Panic guitarist Jimmy Herring (an alumnus of the Allman Brothers Band and The Dead) and bassist Dave Schools on the job. Herring was rightly the evening's principal soloist. But the guitarist was just as commanding when he cemented the sturdy funk groove of Mercy with Schools.

Ultimately, though, the Panic's problem seems to be its material. Too many tunes locked themselves too quickly into static rhythms that even the most inventive of instrumental solos couldn't break.

Lyrically, the music didn't fare much better. From the Cradle, for example, was dime-store paranoia stuff that stylistically veered way too close to sacred Jerry Garcia-style balladry for comfort.

Things perked up a bit in the second set when the show-opening Dirty Dozen Brass Band joined the Panic for Christmas Katie and a resulting jam that took a crew of 14 onstage musicians (the entire lineups of both bands, plus steel guitarist/ producer John Keane, who sat in for much of the Panic's performance) down bluesy avenues and side roads of horn-happy R&B.

The Dirty Dozen's hourlong set was a total delight. Though born out of New Orleans tradition (it makes its bass the old-fashioned way -- with a sousaphone), the ensemble was progressive enough to address vintage funk, gospel and R&B with equal relish.

Opening with nearly 10 minutes of baritone saxophonist Roger Lewis' Use Your Brain, the band sailed off into staccato blasts of brassy soul that settled, briefly, into Sly and the Family Stone's 1973 hit If You Want Me to Stay.

But the biggest soul surprise came when the front line of Lewis, trumpeter Efrem Towns and tenor sax man Kevin Harris transformed Marvin Gaye's Right On into a fat-sounding Crescent City stroll.

This was clearly the Panic's crowd, of course. They danced and twirled madly throughout the band's lengthy sets and, despite their meager numbers (about 2,000), made the Rupp floor seem almost packed. But for sheer organic musical might, it was the Dirty Dozen that cleaned up.


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