Brilliant 1971 solo acoustic performance
Scott Fitzgerald is often quoted as saying there are no second acts in American lives, but as he observed for himself, second acts abound; not least of which was his own. But third acts are indeed rare, and particularly in the fad-driven business of music. Dion DiMucci is one of the few who successfully reinvented himself twice, transitioning from 1950s doo wop to swaggering 1960s solo stardom, and when that spotlight dimmed, reinventing himself as a sensitive folk artist with Dick Holler’s “Abraham, Martin and John.†Although this latter hit marked the end of his mainstream chart success, it spurred a period of creativity that fueled this solo show at New York’s famed Bitter End, a renewed focus on songwriting and an award-winning career as a contemporary Christian artist.
With just his guitar in hand, Dion proved himself to be a consummate entertainer, seamlessly assimilating his recent folk material with earlier pop hits and cover songs. It’s a virtuoso performance that shows off his dexterity as an acoustic picker, his versatility as a singer, and his absolute command of the stage as a performer. The set list spans 1950’s blues and rock, Dion’s early ‘60s classics and late ’60s folk songs, and a generous helping of deftly picked covers of material from Bob Dylan, Chuck Berry, Leonard Cohen, Sonny Boy Williamson, Lightnin’ Hopkins and the Beatles. Dion opens the disc with a sensitive reading of Dylan’s “Mama, You’ve Been On My Mind,†and sings out strong and clear in a riveting take of his original B-side, “Brand New Morning.â€
He’s warm and funny as he introduces Chuck Berry’s “Too Much Monkey Business,†slowing the song into a croon that rides on a thumbed bass line, skipping through the verses, updating “Yokohama†to “Vietnam,†and adding some scatting for good measure. The song’s bluesy style was likely born of the material Dion recorded (but didn’t always release) in the mid-60s, exemplified here by covers of “You Better Watch Yourself†and “Don’t Start Me Talking.†He even turns his own 1961 hit “The Wanderer†into a 12-bar blues so compelling that you’ll be hard-pressed to match it to the original. 1962’s “Ruby Baby†combines a straighter reading of the melody with swaggering asides so easily interjected that they could only be the product of a decade’s nightly performances.
Dion’s resurgence as a folk performer includes Dylan’s “One Too Many Mornings,” Leonard Cohen’s “Sisters of Mercy†and a soaring taking of Paul McCartney’s “Blackbird.†His own songwriting is showcased on the singles “Your Own Back Yard,” “Sunniland†and “Sanctuary.†The former is a powerful piece about Dion’s then-recently-kicked heroin addiction, the latter two are notes of recovery and thankful living from the other side. Dion sounds content singing his love song “Sunshine Lady,†the breezy “Willigo,†and the nostalgic “Harmony Sound,†sharing the peace and happiness of his sobriety and new-found spirituality. It’s a powerful place from which to sing, and Dion let it all out for these stunning live performances. The live recording is crisp and clean, and Omnivore’s 12-page booklet includes a contemporary interview with Dion, photos and liner notes by Dean Rudland. [©2015 Hyperbolium] 