Chicago, IL

 HOMETOWN BOY MAKES GOOD !    
NAVY PIER--LOOKING AROUND
JUNE 17 & 18, 1997--Jerry Briggs (WOG)

 NAVY PIER, CHICAGO, 2ND CONCERT

John Prine and his latest collection of Lost Dogs graced the stages of Navy Pier in a second performance that had enough time to let out all the stops.

From the rousing kick-off of "Blow Up Your TV" to the finale "Paradise" with his brother Chuck, production manager Maple Byrne, and new OH BOY recording artist RB Morris, John provided music, memories, and more.

  Songs heard in this city 25 years ago were mingled in with John's newer works, such as novelty numbers "Quit Hollerin' At Me," "Space Monkey," and "Big Old Goofy World." Those dusty but relevant numbers included his now-classics of "Sam Stone," "Grandpa Was A Carpenter," "Dear Abby," "Angel From Montgomery," "Souvenirs," Hello In There," and "Six O'Clock News."

  John has assembled an impressive array of talent to help him convey his thoughts and sounds to his fans. Jason Wilbur on guitar, Phil Parlapiano on keyboard, and David Jacques on bass help develop a rhythm section second to none. Their work on the instrumentals between verses is spectacular in many cases.

  A number was featured in the course of this show that is seldom done on John's current tour, "Far From Me." John preceeded the number with his tale of a lost girlfriend, a waitress with whom he helped count tips, but who saw better things for her future than poor John. It is a remarkable song, with a typical line being, "She still laughs with me, but she waits just a second too long...." It is typical of John's ability to convey a complicated relationship into just a word or two.

  While John is the star, and his band the vehicle to help him reach his fans, he operates a little differently than his peers. Wednesday night, finding the spotlight on him nearly all the time, John would physically walk over to the keyboard, slowly, or over to his guitar player, as they soloed their piece of the song. This got them that same spotlight and invariably earned them a round of applause. John is secure enough in his own abilities that he is not threatened by any "overshadowing" by his fellow musicians.

  John's relationship with his audience is of special note, also. While in the middle of a song, John sang, "Wished I had a woman/made my knees knock!" and instantly a feminine voice shot out, clear as a bell, "Right here, John!" John, doing "Big Old Goofy World," without his band present, never missed a lick, added a couple measures to allow him to laugh, then proceeded with the song. At the end of the number, he walked out to stage edge and faced, spotlight full upon him, toward the unseen voice from earlier. He played directly to her, and the applause was thunderous. Fans enjoy seeing one of their own treated with such respect.

  John's demeanor throughout the concert was a more relaxed, more confident style. This is his town, he had friends scattered throughout the audience, and he was determined to give them a show. His frequent trips away from the protection of his black boxes and closer to the audience were applauded. All John has to do to create a frenzy with his people is pace around the stage, hinting that he may come close to the screaming fans. His big smile, back and forth to reach all corners of his room, seems personally aimed at each and every fan.

  After "Hello In There," John came back and gave his cheering fans FIVE encore numbers. One of them, of course, was "Illegal Smile," another classic which has the audience singing the final stanza to John. There were no fans sitting after the band returned for the encore numbers. "Daddy's Little Pumpkin," a rollicking fun-song featuring lots of instrumental flourishes, ended with Phil beating the keyboard with his right foot, a fun bit appreciated by this screaming, cheering, flock of fans.

  Something special about a concert by John in Chicago? Absolutely.

GOING PLACES, MEETING PEOPLE, SEEING THINGS
--Jerry Briggs (WOG) June 18, 1997

  Leaving the motel early on Wednesday, I decided to tour a bit in the city of Chicago. Like many other people, I had been there--O'Hare, driven through--Interstates--and had gone to ball games at both stadiums.

When you go to Chicago it is usually for a specific reason, and often there is not the time to look it over, and that was always my case. I drove about and found this immense city actually a breeze and a pleasure to drive in, once off the interstates.

On the streets of Chicago, there was plenty of traffic, but I found other cars and cabs, especially, very tolerant of rubber-necking, hesitation at corners, and outright stupid driving. I talked with half a dozen cab drivers, one UPS lady, and many pedestrians. Not once did I find an unfriendly person. Everyone did their best to direct this geezer to wherever I was heading at the moment.

I saw banners on all the electric light poles, and they proclaimed, in one section, "Lincoln Park," and as I crossed streets such as Franklin (Late John G), Wells, State, Armitage, and found poles saying "Old Town," I realized that I had been putzing about in John's old areas, unknowingly.

The new tape from Phil Parlapiano was the backdrop for my driving about on this sunny morning. The lyrics from his interesting works often fit the mood of the city. I could easily spend a couple days just driving the area and visiting the shops, and people-watching. Going nowhere at all, but making darn good time, while music shakes the windshield, is my idea of a full day. I have simple tastes, I guess.

Seeking a Kinko's was less than easy. Everyone knew there was one about, and directed me this way or that, without luck. I finally chanced on one where there was no parking, so parked with the blinkers going. No problem; it was still there when I got out, but the time was later than I wished.

Planning on a meeting at 6:30 with Kathy and Tom, I was already late; it was 6:35. Heading into Navy Pier an up-to-date scrolling sign informed me I'd have to use alternate parking for my attendance tonight. I circled the block, watching for the signs...and missed the correct turnoff. I found myself back on the same street, same sign, but different message. Suspecting a few spots might have opened up, I went on in to the Pier, and was directed to the East Lot, about 2.5 shoe soles down from the bar where I was to meet my chat pals.

By the time I stuck my head in Perchy's (should be called The Parrot Head) I found only one redheaded lady with glasses, and her name, she said WAS Kathy, but she now went by Kate, and no, she wasn't expecting to meet a guy like me in there. Her escort agreed, and I headed for the theater.

I wandered down and found RB Morris about to start, and got to hear his presentation, again with two sidemen. RB is reluctant to look at the audience, preferring to look "at" them but actually a point somewhere over their collective heads. His individual contact with his audience is not there, but the general feeling in the applauding crowd seemed to be highly receptive to his efforts. RB's version of Johnny Horton's "North To Alaska" was extremely well done. RB has many clever and interesting stories to tell with his singing.

Talking with Mitchell, John's Tour Manager, after RB's show, I was interrupted by a lady who asked me, "Are you WOG?"

Shaking my head, backing away, "No!"

"Well, do you know where I could find him?"

I grinned and admitted who I was, and Kathy smiled and grabbed me in a bear hug. It was nice, so we did it again. I was starting to enjoy this attractive, perky redhead, so I grabbed her again. "Where's your husband? "

Tom was on up in the stands, and it was he who had actually spotted me. The three of us wandered around, talking, laughing, getting to know each other. I gave them the backstage passes I had obtained the evening before from the obliging Mitchell, and we were all set...except they had paid for a seat and had assigned places, and I had none. A "patio" was the destintion for Prineheads With Passes, while the others had seats. I decided to sit with Tom and Kathy since there was an empty seat, and it worked out to be unclaimed all night, so I got to sit with this fun couple all evening and we enjoyed John's show together.

The show was terrific, as all of John's are, but this one seemed to just click. It was right. They were in sync with the crowd, and the show rolled on like a steamroller, stopping only briefly between songs to accept the enthusiastic response from the fans.

After the show, we waited with others and finally were admitted into the reception area to see John. This evening the room was fully lit, and everyone stood around quietly waiting for John. Our usher and another man carried in a table for John to sit at; the previous night he just rested on the make-up ledge in front of the mirrors.

RB was there, with his bass man, and Jason also showed up. They had been missing the previous evening. Kathy met and had a nice chat with Phil, and gave him a picture of some hand-painted cartoon characters she has done in her home. "Taz," a favorite of Phil's, was in the one she gave him.

  Kathy's husband Tom, tired of waiting and not a real gotta-wanna-better-meet-'im kind of guy decided to go elsewhere after gaining entrance backstage! Kathy made up for it, cornering John and talking with him until I thought the others waiting were going to lynch her. (I was searching for the rope myself)!

  John was most gracious with all his guests, and seemed less tired than after some shows. Look for further information on this nice evening in another place: I am sure Kathy will provide plenty of insights and glimpses into this special evening with John Prine.

NAVY PIER SET LIST, JOHN PRINE, 
JUNE 17 AND JUNE 18, 1997