From: dap@portal.vpharm.com (David A. Pearlman)
Subject: Review: Peter Himmelman in concert
Organization: Vertex Pharmaceuticals, Inc.
Date: Sun, 20 Dec 1992 06:16:52 GMT

Concert Review: Peter Himmelman                 
                The Paradise Club, Boston, MA  
                12/13/92 

Peter Himmelman played the Paradise club last Sunday night in Boston. The same
night Bruce Springsteen came to town, playing the Boston Garden. And if nothing
else, Himmelman's appearance proved that god does play dice. Because if there
were any justice, Himmelman would have been playing his own garden-size crowd.
Instead, he played his heart out for a mere 100 fans who trudged through the
post-blizzard snow to see this wonderful entertainer. These fans didn't come
close to filling the relatively small club, while The Boss trudged out his
now-familiar moves and songs to the minions who helped sell out the
impersonally-large Garden. 

Drawing on a catalogue of five solo album, two of which are indisputably
excellent pop-folk efforts (last year's "From Strength to Strength" and the
recent "Flown this Acid World") and one of which (1986's "This Father's Day")
is a classic of the singer-songwriter genre, Himmelman alternately entertained,
amused and mesmerized the small crowd. One moment he had them bopping in the
aisles with an E-Street worthy rock arrangement of one his sturdy songs; the
next, he stripped down to a heartfelt solo reading that left them in
contemplative silence. 

I approached the concert with some trepidation, since I'd seen him previously
in a solo acoustic appearance, and I wondered how his material would make the
transition to a full rock band. But in a rare exception, this
unpluged-in-reverse approach worked completely. It didn't hurt that Himmelman
was backed by his long-time band, a unit so tight and flexible that it's 
suprising they aren't in greater demand elsewhere. But the real key here were 
the arrangements which didn't just reproduce the album productions, but brought
them to greater life. On album, Himmelman's ballads have typically overshadowed
the good-but-restrained rock tracks; here the two met head on, with the only
clear victor the audience. 

Given the high quality of both the material AND the performances this
night, the music itself would have been reward enough. But there was more, as
Himmelman displayed a sense of humor and stage ease that is quite rare in a
musical performance. Himmelman was truly funny. Not funny in the nervous or
self-depreciating manner that usually passes (in the best cases) for humor in
concerts, but a warm, endearing, natural and winning humor. At various points
during the concert, the audience was treated to rapid fire one-liners, tales of
dimwitted roadies of the past, a dead-on Bruce Springsteen parody, a medley of
Black Sabbath's "Iron Man" and Steve Wonder's "You are the Sunshine" and
humorous impromptu stabs at both rap and the blues. Sometimes the humor made
for unusual segueways, such as the hysterical commercial-cum-monologue about
his native Minnesota that preceded "Untitled", an intense track addressing
prejudice and the Holocost that builds from a quiet solo beginning to a melodic
full-band blast. The most amazing thing is: it all worked. 

Himmelman and band played for over two and a half hours without a break,
one of the longest club concerts I've attended. The show ended past 12:30
on a night before many people had to work. And yet, at the at the end of that
time there wasn't a person in the club who wasn't up near the stage clapping
for more. I don't think I could have been alone in thinking that--everything
considered--this was one of the best concerts I'd ever seen. Perhaps this is
what seeing Bruce Springsteen was like when he was still playing places like
the Stone Poney, when you could still buy your tickets on the day of the show
and stand three feet from the stage while he seemingly poured his heart out for
the first time in front of you and all those who'd been smart enough to go see
him. 

Maybe in the end the dice will come up a winner for Himmelman too. Maybe not.
But you won't be taking any chance at all to see him next time he comes to
town. 


A brief annotated discography: 

------- (As leader of band Sussman Lawrence) 

"Hail to the Modern Hero!" (Regency, 1980) 

A reasonable first independent effort, but a bit too similar to many other
power pop efforts during the "skinny-tie" era. Himmelman and his band have not
yet formed a distinctive style or voice. 

"Pop City" (Orange, 1984) 

A two-album set that is impressive in its diversity. Himmelman's humor shines
through on some tracks, and there are good tunes included here. But a lack of
coherency is ultimately a drawback. 

------- (As Peter Himmelman, with the rest of the band that comprised Sussman 
Lawrence backing him) 

This Father's Day (Orange, 1986; Island, 1986) 

An incredible leap from Pop City. Himmelman has now found a consistent style--a
moody singer/songwriter. Completely gone (for the better) are the gimmicks of
"Pop City". Instead, this is an exceptionally consistent set of tunes, delivered
with complete conviction. The high point is the title track, Himmelman's
compelling ode to his dying father. A must. 

Gematria (Island, 1987) 
Synesthesia (Island, 1989) 

Although each of these albums has some high points, neither sports either the
immediacy or the uniformly excellent tunes of "This Father's Day". 

From Strength to Strength (Epic, 1991) 

A return to form. Here he has progressed a bit from This Father's Day to a
somewhat more folk-rock focus, which suits the material just fine. Extremely
tuneful and often lyrically potent, another solid effort. 

The Musings of Someone (Epic, 1991, promo-only) 
Snap Sessions (Epic, 1991, promo-only) 
Only Innocent (Epic, 1991, promo-only) 

The Musings of Someone is a promotion-only interview-and-music CD. Himmelman's
humor and wit come through clearly during the interview, which also includes
several acoustic-in-the-studio versions of songs from "From Strength to
Strength," and others.  One of the very few interview albums that bears
repeated listening. 

"The Snap Sessions" contains live versions of several Himmelman songs, most of
which also appear on "The Musings of Someone." "Only Innocent" contains a
couple of decent non-album b-sides not available elsewhere. 


Flown This Acid World (Epic, 1992) 

Similar in style and scope to "From Strength to Strength", though with a
somewhat greater emphasis on rock-oriented material. Yet another consistent and
very worthwhile effort. "Untitled," the track that closes the album, is
Himmelman's strikingly powerful affirmation his Jewish heritige. 

Beneath the Damage and the Dust (Epic, 1992, promo-only single) 
Closer/Child Into a Man (Epic, 1992, promo-only) 

"Beneath the Damage and the Dust" contains both album and acoustic versions of
the title song.  Besides the two album tracks, the "Closer/Child Into a Man,"
EP contains two non-LP tracks, "Gonna Have to Wait" and "9-9-92". The latter is
an odd but oddly engaging stab at "industrial folk" that was recorded in
temporary confines somewhere in Los Angeles (or at least convincingly sounds
that way). 




-- 
=============================================================================
    David A. Pearlman

Vertex Pharmaceuticals Inc.                     email: dap@vpharm.com
Newsgroups: rec.music.misc