When most people think of songwriter Jimmy Webb, they think of the string of late ’60s hits that earned him five Grammy Awards by the time he was 21: “Up, Up and Away” for the Fifth Dimension, “Wichita Lineman” and “By the Time I Get to Phoenix” for Glen Campbell, “MacArthur Park” for Richard Harris, and “Worst That Could Happen” for the Brooklyn Bridge.
Webb, 46, who appears in a solo show Saturday at Quicksilver (3855 N. Lincoln Ave.), has hardly been idle in the intervening years. He’s penned hits for Art Garfunkel and Joe Cocker, contributed four songs to Linda Ronstadt’s latest album and wrote the hit theme song for the country supergroup the Highwaymen-Waylon Jennings, Johnny Cash, Kris Kristofferson and Willie Nelson. He has done numerous film and TV scores, collaborated with Ray Bradbury on a musical version of “Dandelion Wine,” with Peter Stone on “If You Love Me, Love My Dog” and is working on a book about songwriting.
Oh yes, he has also released a string of now out-of-print solo albums that are avidly sought out by Webbheads. Webb fans can take heart, though, in the release of his recent Elektra Records album “Suspending Disbelief,” co-produced by Ronstadt.
The album, which features backup vocals by Ronstadt, David Crosby and Don Henley, is an eye-opener for those who have written him off as a recording artist. Webb’s strong vocals fuel standout and largely autobiographical songs like “Too Young To Die,” “Adios,” “Sandy Cove” and “Elvis and Me” that are as good as anything he has ever done. Another song, the unflinchingly honest “What Does a Woman See in a Man,” will figure prominently in an upcoming Whoopi Goldberg film.
While the album has received great reviews, sales so far have been disappointing. In a nutshell, radio in the ’90s doesn’t know how to slot Jimmy Webb’s music.
“It’s unfortunate, but reviews don’t sell records,” said Webb by phone from his New York office. “Only airplay sells records. Radio formats are so strange these days that I don’t begin to understand them. It’s hard to tell what they’re looking for. I haven’t given up on this album, though, which is why I’m coming to Chicago. I just have to go with the music that I believe in and let the chips fall where they may.”
Webb’s infrequent Chicago appearances have drawn critical raves, the most recent being his 1991 one-nighter at the Pump Room. For his Quicksilver show Webb says he’ll be doing a good chunk of material from “Suspending Disbelief,” but won’t neglect his older tunes.
“I’ve finally come to a point where I really enjoy some of the older tunes, like `Wichita Lineman’ or `Worst That Could Happen,”‘ he said. “There was a period in my life where I didn’t want to hear or play some of these songs, but I’ve decided I like them again. I’ll also throw in something totally obscure and screwball from one of my earlier albums, like `P.F. Sloan,’ because if I don’t invariably some guy in the third row will yell out a request for it.”
Having recently played shows in New York, Los Angeles and Nashville, Webb is much more comfortable on stage since overcoming what he describes as chronic, “debilitating” stage fright. The night before this conversation he performed with Art Garfunkel at Carnegie Hall-an act that would have terrified him a few years ago.
“It’s a problem when you’re so frightened that you can’t sing or play properly,” he said. “I think I’ve gotten a lot better at live performing. I’m much more comfortable as a singer these days, which has really helped. Playing for people who really want to hear what you’re doing is inspiring, and it’s fuel for the next time you sit down at the piano to write a song.”
Short takes
Billy Ray Cyrus and Michelle Wright, Friday at the Rosemont Horizon: Is the “Achy Breaky” phenomenon over? “It Won’t Be the Last,” Cyrus’ follow-up to his 7 million-selling debut album, has sold a comparatively modest million copies to date, indicating that his days as country’s reigning hunk may be numbered. Opening is full-throated Canadian country star Michelle Wright, who ought to have her hands full getting over to the primarily female Cyrus crowd.
Warren Zevon, Friday at Park West: The self-styled “Mr. Bad Reputation” continues in the solo acoustic mode that has been his touring preference for the last few years. He may be unplugged, but the guy whose songs have chronicled mercenaries, murderers and con men will never be characterized as “mellow,” hence this show’s billing as an “acoustic rock ‘n’ roll” concert.
Black Sabbath, Motorhead and Morbid Angel, Friday at the Aragon Ballroom: Still plugging away years after Ozzy Osbourne had the good sense to split, pioneering headbangers Black Sabbath boast only guitarist Tony Iommi and bassist Geezer Butler from their original lineup. Expect all the familiar sludge-metal favorites (“Paranoid,” “Iron Man,” etc.). One gets inklings from time to time that second-billed Motorhead are a bit smarter than their carefully cultivated metaloid/biker image indicates. Then again, their current album includes such pensive titles as “Death or Glory,” “Born to Raise Hell” and “I Am the Sword.” Bring the earplugs.
Buffalo Tom and the Spinanes, Saturday at the Vic: Boston’s Buffalo Tom are being marketed as alternative rock, but in truth their current “Big Red Letter Day” album positions them smack dab in the middle of mainstream rock. Led by Bill Janovitz’s strong vocals and ringing guitar work, their “Sodajerk” and “I’m Allowed” are current album rock radio staples. Openers the Spinanes are a bit more interesting-a duo consisting of Rebecca Gates on vocals and electric guitar and Scott Plouf on drums. The two Oregonians create a remarkably full sound on their recent “Manos” album, and Gates’ forthright vocals and songcraft will appeal to fans of Liz Phair and P.J. Harvey.
The Gibson-Miller Band, Saturday at Whiskey River: Before he hooked up with former Bob Seger sideman Blue Miller in Nashville, Dave Gibson was a fixture on the Chicago folk scene in the ’70s. Together Gibson and Miller, who share lead vocal duties, play a raucous brand of hard-rockin’ country, which should be a perfect fit in Whiskey River’s neo-honky tonk setting.
“An Evening of New Country” with Jimmie Dale Gilmore and Monte Warden, Sunday at Park West: Gilmore is one of alternative country’s top songsmiths and has been a frequent visitor to Chicago of late, having recently appeared at Schubas and Lounge Ax. While lesser known, opener Monte Warden is a name to watch out for. A veteran of Austin, Texas’ Wagoneers, Warden’s excellent self-titled album, released last summer on the Watermelon label, echoes with the ebullient spirit of Buddy Holly and the rockabilly cats of the ’50s. Warden is an excellent songwriter whose work has been recorded by Patty Loveless and Kelly Willis, so don’t be surprised if he steals some thunder from Gilmore.
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