Fred and the boys returned to Chicago Thursday night for a show at Fitzgeralds. The opening act was the Mike Plume Band from Edmonton. Here's a few observations from the show. Every one of the sixty or so patrons seemed to all appreciate and know Fred and his music. Which maybe isn't so surprising given it was Thursday night and ten bucks to get in. During the ballads the place was appropriately quiet. Between the songs Fred had no problem coaxing the laughs and involvement from the crowd. Both the band and the audience seemed more relaxed than usual. I rarely go to shows during the workweek…maybe that's why it seemed a bit less hurried and a little more intimate. The show opened with "Blue Tick Hound", then "Mighty Big Car", then one maybe titled "Could You Act a Little Crazier", that's new to me. It was a slow straight country jukebox type of tearjerker that was soaked in the spirit of Hank Sr. Here's the chorus: Could you act a little crazier? Throw something through the wall Throw something through the window This old motel room is loosing its view Could you act a little crazier? Just like she used to. Next he reached way back to a wonderful old tune from "the boy who just went wrong" lp called "Flowers in the Dell". This +/- 15 year song sounded great and fit just fine with the entire set. This is a song where John Prine's "Diamonds in the Rough" was a clear influence. "Bell" was their next offering…the squirrels played and Fred, as usual, shouted the lyrics. Fred's tendency to shout or yell rather than singing during his live performances has been noted on the digest before. In my opinion it's fine and appropriate for "Bell", "Big Hair", "Got To Get Me a Gun", or "49 Tons", but it annoys me when he resorts to it during tune's like "Wilder than Her" or "White Rose" (which was played immediately following "Bell"). He commonly shifts back and forth between singing and growling while performing these songs. For me, the shouting adds no additional emotion or intensity to the song; it just gets in the way. Maybe if they do "Summerlea" prior to "White Rose", rather than "Bell" he'd sing and not shout? The next four tunes were "Summerlea", "Lucille" (with the usual introduction and the usual laughs), and two more old favorites, "30 Years of Farmin'", and "I'm Just Dreamin'". Another new tune was "Rodeo Boy". The guitar during first part of the song sounds exactly like another non-released tune, "Getting' To Me". The tune has great potential but sounded like a "work-in-progress". The background vocals during the chorus were terrible - it sounded like Skip or Willie trying to sound like Tiny Tim. I'm not talking bluegrass style upper harmony; I'm talking a cross between Tiny Tim and a Screech Owl! Another interesting part of this song was Willie's mandolin work. It seemed like he was still figuring out which of the electronics special effects to use, so he sort of used 'em all. It was a mess. Has anybody else heard this song? At this point Fred mumbled something about just learning that his publishing company was suing his record company who was suing his management company who was suing his publishing company. Nobody, especially Fred, seemed to care, and after we all just shrugged, the next song began. They then played "White Trash", "Freight Train", "Time to Get a Gun", "Alcohol and Pills", and "Harold Wilson". The Cowboy Junkies covered Fred's "Carmelita", making one of his best-known songs. This night they played it really hard, aggressive, and loud. Willie's sole was amazing. The song took on a dark and desperate feel. While listening I was reminded of one of Townes Van Zandt's most haunting pieces, "Marie". "Little Buffalo" was next, played just as rowdy as ever. The club quickly quieted down when they played a ballad that sounded vaguely familiar, but I can't place…maybe it's titled, "As Empty As My Heart". Fredheads - help us out, do you know this one? Next they played "49 Tons" including an extended intro and some cool solos by Willie and Hank. This one got the band the most active and animated of the evening. Skipper rocked his bass guitar back and forth in a wide arc. Washboard Hank took his washboard/radiator vest thingamajig and swayed it back and forth ala the brakeman in the song. Then came the first encore and the real highlight of the evening. Fred alone returned and introduced the next song as being from his next record called "Fifty Odd Dollars", he then totally stunned the crowd with an ode to Carter Stanley of the Stanley Brothers. Far from just a nod to Fred's sense of musical tradition, this powerful performance may have been the saddest song he's ever sung. Emmylou Harris should cover it. A stab at the lyrics… Rifles in the morning Turkeys in the grain Way up on that hilltop Carter's in the ground It makes you kind of hang your head And cry into the morn Cause it won't be the same Now that Carter's gone White Dove's in the hollow Heard somebody say And nobody's never gonna play Those songs that way again I drive through old Kentucky Tearing through the gears Trying no to think of him Through all my bluegrass tears Put that guitar beneath the bus I can't play another one They don't sound the same Now that Carter's gone Things will never be the same Now that Carter's gone Next, before playing "Wilder Than Her", Fred acknowledged Willie's Juno award. I was struck by how nonchalant about the whole thing they seemed to be. Well, the crowd wanted more, and hooted until they came out for a second encore. Fred declared, "It's time to go home now. You're tired. You know you're not as young as you used to be." Then they played "Might Be The Alternator, Could Be The Coil", which ought to open the new record. At the end we all applauded, the lights came up, people started moving around, but it was all kind of in slow motion…or was it that we were all still numb from, "Now That Carter's Gone"? Riley