Some things ain't ever gonna change...

Not too long ago, I was reading this particularly pretentious book about how people love to reminisce about the past ("Retromania: Pop Culture's Addiction to Its Own Past" by Simon Reynolds). And while I took issue with a lot of the author's points, I freely admit that I love to reflect on past pop culture. It's one of my favorite pastimes. And because our culture IS so willing to do so, it's probably the reason why a lot of my favorite '80s acts have been making the rounds recently.

But I'm finding these chances to revisit earlier favorites brings me new revelations across the board. Last week's John Parr-Tommy Tutone-John Waite show -- strike that, make it Glen Burtnik-Tommy Tutone-John Waite concert -- illustrates the point beautifully. The event took place at the Mayo Performing Arts Center in Morristown, with a retro burger joint literally next door. (Apparently Don's also likes to live in the past, judging by the decor and stream of '70s songs piped overhead.)

So after downing some great burgers, we walked past a shrill clache of young women in heavy jackets and pantyhose (not sure if they had skirts on or not and wasn't about to check) and found out ... well, John Parr would not be in attendance and Glen Burtnik would appear in his place. Which led to two questions from those coming in after us. 1.) Who is Glen Burtnik? (I have to admit the name sounded really familiar but I could not place a song, even after a Google search) and 2.) Who is John Parr? (Come on, "St. Elmo's Fire" aka "Man in Motion" ... "Naughty Naughty.") Apparently his absence wasn't going to bother a healthy portion of the attending population.)

So Mr. Burtnik comes out to a wary audience and charms the hell out of us. He opens with the acerbic "Kiss Your Ass Goodbye," which if you can't get into the set off that, well, you're probably not going to anyway so head for the lobby now and don't ruin it for the rest of us. And then "The Trouble With Sally," a humorous but wistful autobiographical tale about Glen's daughter ... Sally.

Glen proclaimed himself the fill-in stunt man for John Parr, who missed his flight for the show. John Parr: A Man NOT in Motion! Naughty, Naughty!! OK, got that out of my system. Then he was joined by the ladies -- Emily Grove and Christina Shafer. And oh yeah, they give me a reason to recognize the name ... Glen co-wrote "Sometimes Love Ain't Enough" with Patty Smyth, who had a big hit with Don Henley on the ballad.

They capped their show with a montage (apparently put together in the car on the way to the show, talk about on the fly!) that included Peter Gabriel's "In Your Eyes," "Don't Dream It's Over" by Crowded House, the VERY well-received Steve Winwood tune "Back in the High Life Again," Mr. Mister's "Kyrie" and capped by, of course, John Parr's "St Elmo's Fire." You wouldn't know it was off the cuff the way it was delivered, which set a very high bar for the evening.

And then came Tommy Tutone (and I really wish I bought the CD he had available 'cause I don't know the titles). Mark gets to Googling to read up on people he doesn't know back story on and points out that his name is actually Tommy Heath and Tommy Tutone was the '80s band's moniker. But he still performs as Tommy Tutone so people know who he is.

Tommy Heath/Tutone also did a striking acoustic set (and I really wish I bought the CD he had available 'cause I don't know the titles and they aren't available on his website as yet.) There was "his version of a country song," which consists of the protagonist singing his tale of love/woe to two different women. And "Tiptoe In," a nod to Archie Bell and the Drells -- complete with little dance of tiptoeing across the room.

As Tommy explained, he likes to mix and match styles that don't sound particularly suited to each other, but wind up complementing each other perfectly. There was Jim Croce's "Operator," which he said was performed like the Clash, but also showed undertones of Elvis Costello and Van Morrison.

And thus bringeth the revelation. It's too bad that these artists were hamstrung by pop singles and the three-minute video format. Because there's a lot more to Tommy Tutone/Heath than a one-hit wonder, no matter how inviting and insinuating that song may be.

So then "867-5309 Jenny," which has the dubious distinction of being one of the catchiest one-hit wonders ever (in a good way, not "Safety Dance/Tubthumping"-catchy.) And out come the people who just went to hear certain songs from the performers, singing the lyrics at the top of their lungs. Dudes and dudettes, we did not pay our money to hear YOU sing, we came to hear the ARTIST perform.

John Waite went the full-band treatment, and he started off with my favorite solo song, "Change." That's a great way to get the crowd into the set, but as his voice got stronger as his show went on, I sort of wish it was later. But no time to fret or complain, because the rarely played "Tears" was on the setlist.

John's got this petulant but self-effacing manner that completely disarms an audience. Kind of reminds me of Rick Springfield, so it makes sense that those two performers are friends. (John appeared on one of Rick's fan cruises and also has sung backup on the new album, "Songs for the End of the World.") Some great interplay between John and his New Jersey-born drummer Rondo made me wonder about how contentious their practice sessions get.

The John Waite back catalog spans several decades, so there was a wide variety of material to choose from. There were Babys tracks such as "Every Time I Think of You," "If You Ever Get Lonely" and "Midnight Rendezvous." Late director Tony Scott got a shoutout and a dedication on "In Dreams" from "True Romance." Tina Turner has covered "Missing You," so it was very fitting that John performed her "Sweet Rhode Island." And his pipes more than withstood that workout too!

The whole set reminded me of the artists who understandably haven't been able to sustain their vocal range in the ensuing years and how absolutely that isn't so in John's case. (The next week, John said on a radio show that when he wasn't able to do that any longer, it would be a sign to call it a career.) Very glad it's not the case yet.

Oh, and revelation No. 2, it really sucks to be older and more mature, 'cause you're trying to be so considerate to the people behind you that it tends to override the impulse to stand up and rock the f out. It wouldn't have even had to be the whole time, as there was a balance between rockers and ballads. One vote cast here for small club shows.

As the '80s "addiction to pop culture" continues to bear fruit, I left the venue pondering the other artists I would like to revisit. Joan Jett definitely, that'a a long-standing wish. John Parr? I ain't missing him at all. Does Joe Jackson count? He's another one. The Go-Go's! I hope for more packaging tours that let us see some favorites who were pegged into MTV corners. That list could be endless. And of course, I hope to see Glen Burtnik, Tommy Tutone and John Waite some more!