POP MUSIC REVIEW : Conlee’s Voice and Folksiness Charm Crowd at Crazy Horse

John Conlee isn’t one to sport sequined blazers or rely on a lot of special effects. But his ability to turn a phrase, coupled with his wonderfully nasal voice is more than enough to bring a crowd to its feet, which he soundly demonstrated Monday at the Crazy Horse Steak House in Santa Ana.

It is refreshing to see a performer who is not afraid to go out and do what he does best: sing. In concert, Conlee’s voice takes on an even grittier texture, making songs like the set opening “Common Man” and “Back Side of 30” resonate throughout the hall, while lending an added sense of realism to the songs’ messages; Conlee looks like he may have lived each song he performs.

Introducing Guy Clark’s “The Carpenter,” Conlee talked of how much he enjoys the values the song espouses. From there, his Carolina Fever band took hold, propelling the song forward on a stream of chords. Rex Wiseman’s steel solo melted into Greg Sides’ piano fills during the bridge. But it was the final a cappella chorus that again struck a note with the fans, who clapped along with abandon.

A medley of many of Conlee’s mid-career hits, including “Friday Night Blues,” “Lady Lay Down,” the easygoing “As Long as I’m Rocking With You” and “I Don’t Remember Loving You” bore testimony to Conlee’s catalogue, while “The Domestic Life” and “Mama’s Rocking Chair” from his latest album, “American Faces,” indicate that he is still capable of turning in great music.

Beyond that, the stocky singer handled the audience like guests who had dropped into his living room for a chat. Midway through the show, Conlee hopped off the stage and made his way through the crowd, stopping to find out who the visitors were, how they were doing and posing for a few snapshots along the way.

Once back on the stage, Conlee went into his signature “Rose Colored Glasses,” which had the capacity crowd screaming for more. Keeping with the same poignant tone, Conlee continued with “The Old School,” a chilling song in which old-fashioned values are reaffirmed in no uncertain terms.

Perhaps that is why Conlee is still plugging along after all these years: He may not have Randy Travis’ looks, but he has an exceptional voice that he uses on songs that represent a collective school of thought, all of which has helped him maintain his audience for the last decade.

Even if John Conlee may never be as big as the Travises and Yoakams, his fans don’t seem to mind. They appreciate his powerful, ringing voice and his commitment to songs he believes in. But then, what else would you expect from a man who reportedly signed his last recording contract while seated on top of a tractor?