Buck 65 + Tom McRae + Sarah Slean
The Co-operative of May, Clermont-Ferrand October 13, 2005
(3/4 stars)

http://www.concertnco.com/critlist.php?
^french

google translated english:

[quote:525b466cf2]That could have been one evening of dream, but it was only one good evening... The poster proposing Sarah Slean , Buck 65 and Tom McRae on the scene of the Co-operative of May was more than promising on paper, so much it was difficult to forget filling with enthusiasm them preceding services of Buck 65 and Tom McRae in the same place.

Sarah Slean: a beautiful discovery!

But before the reunion with Buck and Tom, the public of the large room of Coop� has happiness to discover Sarah Slean , a Canadian young person only with the piano. From the very start of its show, and in spite of the barrier of the language, the beautiful tent to communicate in French between his very successful pieces, to establish the contact. In addition to a rather classieux songwriting, one thus discovers an original and funny personality. Quasi immediately, it is also noticed that the compositions and it (very pretty) voice of Slean Miss evoke by many aspects the music of Kate Bush and its gifted disciple Tori Amos ; its titles are crossed by the same dishevelled romanticism. The too short service of Sarah Slean gives desire for listening to its disc... and for re-examining it very quickly at greater length.



Buck 65: always the great class...

The opportunity to recross its road arises earlier than envisaged since Sarah Slean officiates on certain pieces of the new spectacle of her compatriot, ultra gifted Buck 65 . Only on scene the last times where it had been seen, our man arise this time accompanied - in addition to its pianist fetish - by his/her small French girlfriend, disconcerting Claire with the choruses (who will also propose an extremely languorous duet towards the end in the concert) and with the percussions (with rollers), but especially by an irresistibly funny actor performer. This spectacle is truly remarkable by its protean side: one attends at the same time with a concert of hip hop/country/chanson/pop, a theatrical performance worthy of a cabaret and amusing numbers of circus. The excellent pieces of Buck 65 , its superb rocky voice and its impressive style of scratches are indeed intersected by minis sketches or other absurd and drolatic interventions with its assistant actor (of which the style evokes Buster Keaton ). In front of such a display of absurd humour, Buck 65 is played it less Charlie Chaplin , it is put more in withdrawal, while sheltering behind the jokes of his/her playmate. That enables him to better concentrate on its titles, but the result is the same one: it manages to take along its audience in its attractive universe. All that finishes well too early unfortunately. But when the lights are re-ignited, one cannot prevent oneself from thinking that this artist has the great class definitely.



Tom McRae: a little sobriety would not have been of too.

Admittedly, it is very difficult to pass after the tornado Buck 65 , but Tom McRae had assets to compete: he could have left himself good manners there by playing sobrement his superb pieces between pop and folk. Mow, undoubtedly (badly) advised by the henchmen of its house of discs, Mr. McRae chose to draw on the sensitive cord by proposing a show supporting (too much) on all the effects. With too rare exceptions, the arrangements chosen for this round are not very relevant. The low one is useless, the second electric guitar also, the keyboards also, the effects are too ostentatious on the violoncello... Why overload the sound and give him heavier atours and FM, whereas these pieces are moving in the most total destitution (the preceding rounds proved it)? Perhaps to sell discs... To undoubtedly make strong impression on the scenes of the large rooms or the festivals. Without too much wanting to blacken the table - Tom McRae remains an upsetting singer and a good songwriter, even if its last disc seems less inspired -, one notices, moreover, that the scenic behavior of the artist flashes back unfortunately on the public; because of the judicious sound volume "to cover it", this one feels free to behave as a consumer of music (I speak extremely, I walk on the thrown beer goblets on the ground, I cough during 5 minutes without leaving room etc), thus wasting the rare moments when Tom and his assistants play sobrement... All this is really very very irritating! One leaves the places while thinking of the concerts successful of Tom McRae (two years ago already) and of the very good services of Sarah Slean and Buck 65 , and by thinking that that could have been one evening of dream...



To also read on ConcertAndCo.com, an interview of Tom McRae and a chronicle in its concert in Eurock�ennes of Belfort , in 2003.


Internet sites: www.buck65.com , www.tommcrae.com , www.sarahslean.com , www.lacoope.com .


Photograph Tom McRae Pirlouiiiit

24/10/2005
Signature: Pierre Andrieu[/quote:525b466cf2]

Cameron Bay.

LOL. I think that's a good review

I love how gendered pronouns and possessives break down in other languages, especially when translated back!