Newspapers / University of North Carolina … / Sept. 28, 2000, edition 1 / Page 12
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12 THE SEAHAWK/SEPTEMBER 2B, ZOOO An Original: of the tp Music preview/ review scction of : ^ ^ Wilmington. MEGAN D’BRIEN A&E editor The night scene All covers and starting times are subject to change at the door. SEPTEMBER 28 -OCTOBER 4 © WHERE WHO WHEN COVER Alleigh's Sean Higgins 6:30 p.m. No cover Charley Brownz Glue 10;30 p.m. $3 piamond’s Grille Stretch 8 p.m. No cover and Billiards Firebelly Lounge Humchuck Fire 11 p.m. $3 Katy’s Great Eats Songwriter's Jam 10 p.m. No cover The Reel Cafe Powell and Parker 7 p.m. No cover Water Street Dixieland Society 5:30 p.m. No cover Restaurant Alleigh's Mudbone 7 p.m. No cover The Stingers 9 p.m. No cover The Arena Jet 22 10 p.m. $3 Captain Bill's Jeff DeBonis 7:30 p.m. No cover Backyard Grill Circa 1922 Bill Strickland 8 p.m. No cover Firebelly Lounge Mosquita t^ite 11 p.m. $3 Marrz 2 Skinnee J's 8 p.m. $15 Vinnle's Steak The Four Knights 9 p.m. No cover House and Tavern Water Street Kathy Covert Jensen 8 p.m. Restaurant (D Si M ^The Reel Cafe Stretch 7 p.m. No cover Alleigh's Grenaldo Frazier 7 p.m. No cover Keith Burkhart 9 p.m. No cover Captain Bill's Stretch 7:30 p.m. No cover Backyard Grill Circa 1922 Shaun & Colby Duo 8 p.m. No cover Charley Brownz Sonja’s Kitchen 10:30 p.m. $5 Fii^belly Lounge Seeds and Stems/ 11 p.m. $3 Moe Black Raw Bar Lindley Park 10:30 p.m. $3 Reggie's It Doesn't Matter 10 p.m. No cover Water Street Don Carmen & Friends 8 p.m. No cover Restaurant Alleigh's Buddy McCloud’s 7 p.m. No cover 2 Reel Band The Reel Cafe Guy Phillips Trio 7 p.m. No cover Water Street George Herbert Moore 6 p.m. No cover Restaurant Alleigh’s Travis Dent 8:30 p.m. No cover No cover Eric Clapton and B.B. King’s: Riding with the King The picture on the front of Eric Clapton and B.B. King’s new al bum, Riding with the King, has Clapton, dressed in a rumpled suit, in the driver’s seat of an old Cadillac convertible, his guitar in the passenger’s seat, and King, slouched down in a tuxedo, in the back seat with his guitar to his right. The album reflects that same carefree, mellow feeling. It’s the blues, yes, but there’s joy to it too, the joy of two legendary musicians fulfilling a dream, playing together on this album of standards and original songs. The first song, “Riding with the King,” really sets the mood for the album. It’s a blues song, there’s no doubt there, but the blues are only nominal. The singers are just as happy to be out riding as they were at their good jobs. Another standout song on the al bum is “I Waiit to Marry You.” Clapton’s pop experience really makes the song rock, while King’s skills keep it grounded in that same blues tradition. It’s a lyrically sweet song, but the wailing gui tars, the subtle but pervasive drum beats, and the rough edges of Clapton and King’s voices keep it from being a sappy, saccharine song. “Hold On, I’m Coming,” the song made famous by Aretha Franklin, isn’t one I expected to find on this album, but it’s so dif ferent from the version we all know and love, it works really well. They’ve slowed it down, deepened it and made it a much more mellow and bluesy version than Franklin, but the same ur gency lies underneath it all. The song actually speeds up during its six-minute duration, and by the end, the urgency is no longer bur ied. If there’s anything the album really lacks, it’s a feeling of spon taneity. Most of the songs feel more produced than more tradi tional blues songs, but the techni cal talent and feeling Clapton and King put into the album more than make up for any lack. It’s a great album, and really helps to define Clapton’s career as a blues man. For listeners new to the music of B.B. King, Riding with the King serves as a great introduction to a brilliant musician. PAL (JREEK
University of North Carolina Wilmington Student Newspaper
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Sept. 28, 2000, edition 1
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