CONCERT REVIEW
The groove keeps flowing from Max Creek
by Seth Rogovoy(PITTSFIELD, Mass., Dec. 1, 1996) -- Judging by the scene downtown on Saturday night, when nearly a thousand college-age fans packed The Studio, the 25-year-old, Connecticut-based Max Creek is living proof that if you hang on long enough your time will eventually come.
In Max Creek's case, a confluence of cultural trends and events -- none of any particular musical significance -- have conspired to give the band, which up until now has primarily plowed its trade on the Northeast bar-band circuit, a modicum of popularity and relevance, if not quite the elusive mass or critical acclaim that most bands strive for.
For a quarter of a century Max Creek has been cranking out its workmanlike soundtrack to a neo-hippie dance party. Taking its cues from improvisational, groove-oriented bands like the Grateful Dead and Santana, and funky, roots-rock outfits like Little Feat and the Allman Brothers, Max Creek plays an innocuous, almost hypnotic style of retro-rock seemingly untouched by anything that has happened in music since the day the band was formed in 1971.
Even before the Grateful Dead called it quits after its leader, Jerry Garcia, checked into rock 'n' roll heaven, the demand for more jam-oriented bands was being felt among the high school- and college- age crowds, giving rise to groups such as Phish and Blues Traveler. In what has to be one of rock's most fascinating subcultures, there seems to be no end to the supply of Deadhead-type fans who look alike, dress alike and swirl to the meandering sounds of psychedelia.
Tie-dye was de rigueur on Saturday night at The Studio, where Max Creek kept its vibe flowing for three-plus hours, not including a half-hour intermission.
In what is fast becoming a trend, not even an early visit by the Pittsfield Fire Department -- apparently lured to the scene by a false alarm caused by a hypersensitive smoke detector in a downstairs rest room -- dampened the concertgoers' enthusiasm. In fact, as seen from inside on the ground floor of the former England Brothers department store through the fogged-up display windows, the flashing lights of the firetrucks were just an added bit of psychedelic stimulus entirely appropriate for the occasion.
Max Creek's rhythm-heavy lineup consisted of a drummer and a percussionist, alongside a bassist, guitarist and keyboardist. What few vocals they boast were shared among the last three, but the main chore was to keep the rhythmic grooves flowing with little change or variety of color save for the occasional guitar solo or three-part vocal harmony.
The band mixed in original compositions with such classic rock tunes as "Who Do You Love," Eric Clapton's "After Midnight," Dire Straits' "Calling Elvis" and Paul Simon's "Late In the Evening." Most numbers lasted at least 10 minutes, as they were milked for their maximum utilitarian value as material to jam with.
Unfortunately for anyone looking for musical inspiration, the jamming itself had little to no value, as it consisted primarily of connecting the dots in the most obvious fashion when it wasn't just mere noodling. Not that this mattered one whit to the hundreds of fans who got maximum groove value for their bucks in what turned out to be the biggest dance party North Street has seen in years.
[This review originally appeared in the Berkshire Eagle on Dec. 2, 1996. Copyright Seth Rogovoy 1996. All rights reserved.]
Seth Rogovoy
rogovoy@berkshire.net
music news, interviews, reviews, et al.
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