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Show The Park Record D Section B Thursday, September 7, 1995 D Page B7 Mary Chapih Carpenter captivates audience, keeps Mother Nature at bay by KAT JAMES and JOLENE S.AUBEL Record staff writers Even Mother Nature loves Mary Chapin Carpenter. The weather was perfect on Sunday night for her concert at Wolf Mountain. A balmy breeze, clear skies, and comfortable temperatures tem-peratures all contributed to a terrific ter-rific evening. Carpenter started off strong with "Passionate Kisses" and "Tender When I Want to Be" and built from there. She took the stage wearing boots, jeans and a flannel shirt, and displayed that down-to-earth quality as she related relat-ed to her audience. And they loved it. While not a capacity crowd, the audience was spirited and responsive, giving back the energy Carpenter showered show-ered on them. She told of having spent time in Park City in the winter, sliding down Wolf Mountain "on my a ," and how great the setting was for a concert. One of the highlights was her version of "Quittin' Time." Recorded as an up-tempo story of a dissolving relationship, she performed per-formed it as a heart-wrenching ballad, filled with emotion and pain. She performed a new song another ballad "Naked to the Eye," which will be included on her upcoming album. Altogether, she performed 16 tunes, with hardly any time to catch her breath. Carpenter has a rich, resonant voice that wraps around a song, as well as an audience, like a warm blanket. Her vocal versatility versatili-ty is remarkable as is her guitar playing. She moves from intricate finger-picking on her Guild acoustic to "Jimi Hendrix-style" chops on electric with complete ease. Five excellent musicians back her up piano, bass, drums and two lead guitars. Three of them sing wonderful, tight harmonies. They perform as if they are having hav-ing the best time of their lives, and it's pretty easy to believe that they get along as well off stage as they do on. The backdrop of the stage was made up of hanging framed images, one an album cover, another a lottery ticket. Naturally, "I Feel Lucky" was inevitable. She followed it with "He Thinks He'll Keep Her," which she wrote as an angered response to an old Geritol commercial that touted "That's my wife I think I'll keep her." Two encore songs followed. With "I Take My Chances," she changed the phrase "and lit another anoth-er cigarette" to "and threw away my cigarettes," which met with a positive audience response. Strapping on her electric guitar, Carpenter performed "Girls With Guitars," a song she wrote that became a hit for Wynona Judd. As her lead guitarists launched into an extended rock V roll instrumental, instru-mental, she casually unplugged their guitars and jumped into her own version of the Stones' "Satisfaction." Before leaving the stage, the entire band came together, arms around each other, for a final bow, once again reinforcing the "up close and personal" feel of the entire concert. One can only hope they return for another per formance soon. Warming up for Carpenter were The Mavericks, a countryrockjazzCaribbeansalsa band from Florida, who are bound to be the headliners next time around. Their lead singer, Raul Malo, displayed an incredible vocal range, reminiscent of Roy Orbison, as he performed the group's current hit "Here Comes the Rain." They also played a driving dri-ving rock rendition of an old country standard "Tonight the Bottle Let Me Down." In "Hell to Paradise," Malo related a story of his aunt who had protested against Castro in Cuba 30 years ago, and was not allowed to leave that country until recently. Her journey to the United States from Cuba was like going from hell to paradise. The song ended with a Spanish verse dedicated to the Cuban refugees and political prisoners. The Mavericks finished their set with a Latin salsa tune that left the crowd on its feet, wanting more, and ready for the main event. Night and Day tour brings old and new sounds of Chicago to Wolf Mountain by KATHY ECKEL Record staff writer At the end of a summer full of "strolls down memory lane" concerts con-certs including Boston, REO Speedwagon and Fleetwood Mac, Chicago capped off the season, Sept. 4, in style. The last scheduled Wolf Mountain concert broke no traditions tra-ditions in the weather department. depart-ment. It rained. But that really didn't matter because Chicago's Night and Day tour stop went on as scheduled with only a very brief rain delay. The intermittent rain and lightning did not deter the band during its tWjO-and.-a-ha1! hrbnnancellthough the croWclilrlinned during a brief, heavy downpour. The band opened with a locale-appropriate number, "Saturday in the Park," which could have been either by chance or by design, but a crowd pleaser nonetheless. This was followed by Chicago standard "Question 67 and 68". "Chicago is My Hometown," from the band's latest lat-est release, Then and Now rounded the first part of the show. Chicago member James Pankow stated at the beginning of the show that the band's performance per-formance will bring back "those memories of the backseat of the Chevy." "Old Days," did just that. The band's "Chicago Horns" section, comprising original Chicago members Walter Parazaiderv Lee Loughlin and James Pankow, filled out the songs with the full richness of the trademarked Chicago sound. A special treat of the evening was a fine rendition of Duke Ellington's "Mr. Saturday Day." OK, well then... While the entire performance was reminiscent reminis-cent of those early Chicago shows that most of the audience probably saw one or two of, the evening could have done without the very tired "Color My World." Chicago's repertoire is large enough that this one should be relegated to the dusty, cob-web filled nooks and crannies of the jmemory. Anyone who ever went to a high school or church dance anytime in the '70s had to have heard this one played one too many times (and usually by some duet from the school band not Robert Lamb and Walter .-..; Parazaider). If the b,and was try ing to tug at the old high school memories (especially those from the back seat of the Chevy) this one failed. Other Chicago favorites included "Searching," "Mononucleosis," and "Hard Habit to Break." The title track from "Then and Now" brought cheers from the crowd that made it obvious that this latest release has been well accepted by the music public. Near the end of the evening, a crowd started to form in front of the stage and people from the back of the seating area began streaming down to the front to get closer to the band and join in the dance area. The event staff should be commended for realizing realiz-ing that this was not a volatile situation and let the crowd move to the front. V' Chicago closed out the" show with an encore of an old big band standard followed by Chicago standards "25 or 6 to 4" and "Wishing You Were Here." if Cliched Dogmen fashioned after Wolves ! continued from B3 iGates (Tom Berenger) catches up to the cons, jail he finds are bloody rags, a vintage Cheyenne arrow and a glimpse of something in the mountain fog. Filmmaker Murphy unfolds his mystery with skill, which helps to conceal the tried-and-true elements in his story. When we first meet Berenger waking up with his hand still around a shot glass we know he's a hard-drinking cowboy with a troubled past. (To wit, he was unable to save his wife in a river accident.) We also get, for the zillionth time, the moment when the hero is surprised to find that the expert anthropologist he's looking for is, in fact, a woman (Barbara Hershey.) This is a movie, fortunately, where the actors do a lot to overcome some familiar material. The two stars make a nice whiskey-and-mineral-water combination. As grizzled as he looks, Berenger can still project a kind of naive, wanting-to-believe quality. Hershey is likable and tough and unpretentious unpreten-tious as she delivers the film's lectures about the abuses of 19th-century Indians, including the infamous Sand Creek Massacre in Colorado. It is the movie's conceit that a small band of Cheyenne dog soldiers escaped Sand Creek and fled into the Oxbow and it is their ancestors that are discovered by Berenger and Hershey. The pair befriend the Cheyenne. In true Dances With Wolves fashion, a glum, threatening threaten-ing young warrior (Steve Reevis) eventually becomes Berenger's bosom pal. But the tribe's hidden paradise is threatened when the local sheriff leads a posse into the mountains. The lawman does this because (1) he is the Berenger character's resentful, suspicious father-in-law and (2) because he's played by Kurtwood Smith, the same spoilsport meanie who pressured his son into suicide in Dead Poet's Society. Along with all this, the movie also features a cute dingo who tags along with the hero and is (as one character observes, without much irony) the smartest character in the movie. There is a small running gag about Berenger worrying that the Cheyenne will feature his pet as the lunch special. Last of the Dogmen is done with just enough skill to make its cliches work. You gotta love a picture that concocts a puffed-up narration about the characters' "searching and dreaming" and then has Wilford Brimley deliver it with just the right, off-hand touch. 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