Review: Farah Alvin Is A 1970S Goddess In ON VINYL at The Green Room 42
Farah had us in the palm of her hand all evening.
Do you know what the world needs a little more of right now? Harmony and understanding, for sure, not to mention sympathy and trust abounding. These qualities, as paired together in “Age of Aquarius” from 1969’s iconic musical Hair, evoke the musical revolution of the 1970s perfectly. It’s easy to understand why someone may gravitate towards, or even create a whole album, around the music of this era, and that’s exactly what Farah Alvin has done. And it’s glorious.
In On Vinyl at The Green Room 42 this past May 19th, Broadway staple Farah Alvin celebrated, in glorious fashion, the recent release of her new record by the same name. Spanning the massive range of genres popular in the 70s, Farah was Joni, Joan, and Freddie, and, somehow, even more remarkably, uniquely herself. Boasting a belt emblematic of a true vocal virtuoso, alternated with a perfectly crafted, easy soprano, Farah made it clear that nothing is outside her wheelhouse.
Singing through the entirety of the album (no more, no less), Farah joked that “We didn’t do any extra work for you!” But there was truly no extra work needed. Between the already curated song list and the skilled, engaging storytelling, Farah had us in the palm of her hand all evening. Accompanied by an eight piece band (a delightful rarity on the small Green Room 42 stage) consisting of Matt Scharfglass on bass, Mike Rosengarten on electric guitar, Larry Lelli on drums, Candace DeBartolo on tenor sax, Neil Johnson on alto sax, Matt Owens on trumpet, Nick Grinder on trombone, back up vocals from Jeanine Bruen and Alexis Richelle, and cabaret scene staple music director Michael Holland providing piano, acoustic guitar, and backup vocals, the rich, full sound of the 70s was on full display.
Personal favorites from the evening included the vocal gymnastics by Farah on the folk rock classic “Crazy On You” by Heart. As with many of the numbers, Farah had no pretense about the absolutely wild nature of the song, as she tapped into her unique, powerful sound to unlock the truly unhinged essence of the rock scene in the 1970s. In an acoustic, more reflective moment, “Wichita Lineman,” in a new arrangement by Michael Holland, was haunting, Farah’s vocals floating as though she were truly up there on the line. “Wichita Lineman” was also proof of her dexterous navigation of genre in a time period marked by the solidification of several of the newest. Farah can do it all.
On Vinyl was a ritual of love, dedicated to one of the most iconic periods in music history, and Farah Alvin played the part of the priestess, leading us all in worship with her deep understanding and appreciation of the music of the 1970s. Directed by her longtime collaborator, the brilliant Marc Tumminelli, she praised Queen, Elton John, and Gladys Knight with authentic adoration. Farah is one of the great interpreters of the 1970s, and aren’t you lucky that she made this album?
ON VINYL is available now on all digital platforms. Read the Broadway World album review HERE.
Find great shows to see on the Green Room 42 website HERE.
Farah Alvin has a website HERE.
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