![]() In that song, Wainwright revealed other ghosts that pursue him, insisting he doesn’t want to be any of those men-except for his father, folk musician Loudon Wainwright III. He prefaced “Want,” for instance, by noting that it mentions “great songwriters like John Lennon, Leonard Cohen and my dad.” Along with carefully chosen covers, he wove the influence of great artists into the fabric of his original work without waxing derivative. Dressed in black (and fabulous snakeskin shoes) in honor of Johnny Cash, Wainwright demonstrated he knows the value of homage. While clearly chastened by a recent recovery from his party-boy days, the diva in Wainwright couldn’t resist anchoring his set with a different kind of hymn-a rollicking, innuendo-laced ditty by the name of (paging controversy on line 1!) “Gay Messiah.” Wainwright (or “Rufus the Baptist,” as he dubs himself in the song) couched the number in a political context, urging the audience to get out the vote against anti-gay conservatives, but “Messiah” is more irreverent parody than outraged propaganda.Īs the sinking sun began to cast shadows, Wainwright gave the overwhelming impression of someone haunted by the past-his own, as well as those who’ve gone before him. Evidence of a religious conversion? Who knows. Wainwright also introduced several new pieces, including the lovely and tremulous “Agnus Dei”-sung entirely in Latin-from the upcoming Want Two. The lanky troubadour ambled into the cavernous outdoor amphitheater to scattered applause, the evening sky still light as concertgoers trickled in from picnic dinners on the lawn.Īlternating between sitting at his piano and perching on a stool with a guitar, Wainwright moved gracefully through a set that gave equal time to his older classics (“Cigarettes and Chocolate Milk,” a sly ode to the seduction of overindulgence), recent hits (the operatic “Vibrate,” before which he invoked the spirit of soprano Renee Fleming to help him sustain the final note), and favorite covers (a simple, unadorned version of Leonard Cohen’s “Hallelujah” that rivals Jeff Buckley’s rendition). The co-billed acts have been rotating the performance order throughout the month-long tour, and this was Wainwright’s night in the opening slot. ![]() Thankfully, they also remembered they were there to make music. By the end of the night, the unlikely tourmates had treated the audience to several wry soliloquies on their perception of the state of the union (“not so hot,” in case you were wondering). Such light-hearted civics lessons were par for the course Tuesday night, as Guster shared the stage with Rufus Wainwright and Ben Folds at the Wolf Trap’s Filene Center in Vienna, Va. ![]() Nowhere else in America could you expect to see scantily clad female fans waving magic-markered posters that declare, “Guster *heart*’s Campaign Finance Reform.” This set contains his four Atlantic albums - Bagpipe Blues, Scotch & Soul, A Tribute To Courage and Kings/Queens - along with two more rare tracks.It’s impossible to escape politics in Washington, D.C., even miles outside the city limits-even in a leafy national park, even during a rock ’n’ roll show. ![]() Harley was inspired by the bagpipes as he was watching JFK's funeral procession. He was known primarily as the first jazz musician to adopt the Scottish Highland Bagpipe. Rufus Harley was an American jazz musician. Sometimes I Feel Like a Motherless Childġ3. Who Can I Turn to (When Nobody Needs Me)ħ. Title: Complete Atlantic Recordings (2cd) (28 Tracks)ģ. Rufus Harley - Complete Atlantic Recordings (2cd) (28 Tracks)
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