Story and Photos By Andy Argyrakis
No, he wasn't the guy who sang "Jessie" (as that was
performed by Joshua Kadison). Nada on being the voice
behind "In the House of Stone and Light" (since it was
really penned by Martin Page). And strike three if you
guessed "I Wonder Why" (which was actually made famous
by Curtis Stigers). Though Marc Cohn rose up in the
early 90s when one hit wonder adult contemporary
signer/songwriters were the rage, his claim to fame
was the soulful and spiritual "Walking In Memphis."
Though the guitarist/pianist could stylistically and
chronologically be placed in the same category as the
aforementioned (and has seemed to disappear from
public light just as much as the others) he thankfully
had a bit more to offer at a pre-New Year engagement
at Chicago's Park West.
Besides having a handful of new tracks to debut from
the yet to be titled 2005 release (the first hint of
new material since 1998's Burning the Daze) the
headliner also recalled three prior Atlantic Records
releases and some material made famous by other
artists. Amongst the standouts were "Ghost Train" and
"Walk Through the World," both simple but tightly
tuned acoustic pop offerings with narrative lyrical
structures. They were followed up with the equally
easy to follow "She's Made of Yesterdays" (off the
forthcoming disc) which echoed with Cohn's scowling
soul singing. Those gathered cheered a bit more
bountifully with the announcement of "Saving the Best
For Last," clearly an album favorite that could've
easily followed in the primary hit's footsteps. Along
those same lines, he provided a take on "Silver
Thunderbird," a mid-tempoed southern tipped cut about
a guy buying his first car. Contemporary country
followers may recall Jo Dee Messina's spunky late 90s
version, though hearing it from the true source was
much more enlightening.
Listening to so many stories unfold across the ninety
minute engagement also solidified the props Cohn has
received from the illustrious likes of Rosanne Cash,
Martin Sexton and David Crosby. Hearing the instantly
familiar "Walking In Memphis," accentuated by an
intertwining cast of characters and its writer's cozy
scruff, was an additional example of his capability
despite dwindling public awareness. (It should also be
noted that the concert version- much like the studio
recording- is light years better than the pathetic
covers by farewell fraud Cher and country connoisseurs
Lonestar). In the end, it was this reality and Cohn's
generally magnetic personality that made the wait for
that single moment not only bearable, but also pretty
enjoyable.
|