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Cowboy Junkies

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http://video.google.ca/videoplay?docid=320957770751060954&q=Cowboy+Junkies&total=207&start=0&num=10&so=0&type=search&plindex=0

(original lou reed cover of sweet jane - from the trinity session)

THE TRINITY SESSION
TheStar.com | entertainment | Cowboy Junkies lovingly recreate classic album in concert

Cowboy Junkies lovingly recreate classic album in concert
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Track for track, band takes us back 20 years with musicianship that tops the original

Feb 25, 2008 04:30 AM
Ben Rayner
Pop Music Critic

Sometimes we need a little nudge to remind us why we fell in love in the first place.

Toronto's venerable Cowboy Junkies offered such a nudge at Massey Hall on Saturday night in the form of a loving, song-by-song recreation of their iconic 1988 album The Trinity Session.

The band's recent CD/DVD package Trinity Revisited – an all-star return to the Church of the Holy Trinity where the original disc was famously recorded to a single microphone in November 1987 – has given the songs from that understated classic some renewed cultural currency of late. And the presence of "name" guests like Ryan Adams, Natalie Merchant and Vic Chesnutt makes it a much different beast than its grittier predecessor.

Adams had threatened to appear with the Junkies for Saturday night's Trinity session at Massey Hall, but a capacity crowd arrived at the venue to find notes taped to the box office windows declaring the roots-rock wild child too ill to perform.

A loss of guest-star wattage, perhaps, but it probably made for a better show, as the focus was instead placed squarely on the still-singular vision and uncanny musicianship of the Cowboy Junkies themselves.

Beginning with the chilling a capella lament "Mining for Gold," the band – singer Margo Timmins, her brothers Michael (guitar) and Peter (drums), and bassist Alan Anton, along with Jaro Czwewinec on accordion and Jeff Bird on mandolin, harmonica and a variety of percussive doodads – faithfully tackled the entire Trinity Session track listing in sequence. But with 20 years' worth of musical experience logged since that recording was made, this was arguably a more riveting performance than one would have witnessed back in the day.

The songs were always there, of course: "Misguided Angel," "200 More Miles" and the wonderful "Blue Moon Revisited (Song for Elvis)" have never left us. And Margo's husky alto remains one of Canada's most disarming instruments, lending a sense of utter desolation to country covers like "I'm So Lonesome I Could Cry" and "Dreaming My Dreams with You." The Junkies of yore, however, never made the hillbilly blues squawk and simmer with such coiled ferocity as they did during surprisingly raw and tense stalks through "I Don't Get It," "Walking After Midnight" and "Working on a Building" – a spiritual menacingly recast as an opiated potboiler akin to the Velvet Underground's "Run, Run, Run" – marked by violent bursts of distorted guitar and Bird's blazing harp.

For a band that often gets pigeonholed as a morose, one-trick pony, the Cowboy Junkies are evidently restless enough to make a 20-year-old album sound as fresh as the first time we heard it. Perhaps they deserve a bit more of our attention again.

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