Photo credit: Daniel Ojeda
Ringo Starr is the corny old uncle of classic rock. He has a silly sense of humor and a slightly bumbling way about him that, were he anyone else, you might give less slack. But Starr was also a Beatle. There are only two left, and even if tickets to his and his ever-changing All Starr Band's shows aren't commanding the prices Paul McCartney's are, he's OK with that. At the BMO Harris Pavilion Saturday he exuded a genuine sense of gratitude for having been part of the biggest band the world has ever witnessed, yet he still comes across like a mere bloke who wants to keep working with musicians he likes and playing for people who like him. It's almost a favor to his fans that Starr continues to tour; he can't be needing the money. Whatever the reason Starr continues to hit the road, it's heartening to still have him around.
All Starr Band gigs aren't merely about their leader, though. Since he began the group in 1989, the format has given 78-year-old Starr opportunity to be a facilitator and benefactor to other fondly remembered rockers past their commercial prime. This time out, lead singing duties volleyed between Starr, Toto singer/guitarist Steve Lukather, Graham Gouldman of 10cc, Milwaukee touring mainstay/Men At Work frontman Colin Hay and singing keyboardist Greg Rolie, favoring his work in Santana over his contributions to Journey. Warren Ham from pop-prog bands Kansas and AD performed multiple duties on saxophone, flute, supplementary percussion keyboards and intermittent background and duet vocals and drummer Greg Bissonette sat behind a second drum kit, with the headliner joining him much of the time on a second set, emblazoned with a black star on its head, when other All Starrs weren't singing their own respective hits.
That Starr has gone through 13 All Starr Band iterations with members from his own 1960s vintage to ’80s luminaries speaks at least as much to his cultivation of multi-generational goodwill as any given musician's desire to play with a Beatle. The varying makeup of the act, however, means any audience member's enjoyment may be contingent on who is surrounding Starr on any given go-round.
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Gouldman may have been the night's dark horse standout. His old band's work hasn't quite become the oldies and classic rock radio highlights they deserve to be, but he was in fine voice on one of the stranger Top Ten smashes of the ’70s, "I'm Not In Love," as well as 10cc career highlights "The Things We Do For Love" and "Dreadlock Holiday," the latter a cod reggae piece elsewhere around the globe than it was in the U.S.
Apart from multi-tasking Ham, the most versatile member of the band was arguably Lukather. He presented Toto's yacht rock oeuvre assuredly, giving a roundabout shout out to Weezer for their recent "Africa" remake, but was at least as essential reprising Carlos Santana's guitar parts behind Rolie's vocals.
Hay can't help but give his native Australia some shine since he can't help but revisit his Men's "Down Under" most every time he hits a stage. Giving ballast to that tourism brochure of a song's giddiness, though, were the paranoid "Who Can It Be Now" and the restless “Overkill.” Though possessed of a slapstick aura akin to Starr's, Hay isn't a spotlight hog, either.
As for Starr, it may have been a bit of an off night for him. Starting off the evening strong with The Beatles' turn on Carl Perkins' "Matchbox," he sounded distracted following it up with what may be his most vital solo 45, "It Don't Come Easy." He rebounded nicely enough others he recorded with his old Liverpudlian mates like "What Goes On" (his only writing credit with John Lennon and McCartney) and hits of his own including "Photograph." As for his amicable "peace and love" call outs to his audience, they’re articulated well enough in his 2012 album track "Anthem." And apart from his request for his listeners to flash him their own peace signs, Starr encourage audience participation with a sing-along throughout "Yellow Submarine."
“A Little Help From My Friends” made for a fitting send off, though all the All Starrs also joined Starr for the chorus of Lennon's "Give Peace a Chance" before the lights came on. And even though there was no encore, that's OK. It's just good for Starr to stay active with friends before appreciative audiences.
