POP MUSIC REVIEW : Kravitz Reminisces at Variety Arts

One thing Lenny Kravitz’s devotees and detractors can agree on: Despite the not totally unwarranted savaging he’s received for being shamelessly derivative, slavishly imitative and outrightly anachronistic, he hasn’t taken it too hard. Wednesday night at the Variety Arts Center, opening a sold-out three-night stand, Kravitz was unapologetically derivative, imitative and anachronistic--and (sorry, originality sticklers) pretty good.

Call this Wunderkind’s saga “The Story of the Gifted Mimic.” There was no doubt about just which era was being invoked--not with a lead guitarist (Craig Ross) whose antiquated red shirt collars were nearly as wide as his white ‘fro, various other straight-outta-1971 fashion statements and hairdos, or a Beatle-perfect vintage sound that has you scouring the rear of the stage for a sighting of Billy Preston on keys.

Clearly, Kravitz has listened to John Lennon’s “Plastic Ono Band” album a few dozen times too many(picking up production tips, though not a way with confessional lyrics). But he filters Lennon worship through Hendrix’s fuzzy amps, and his most recent album also shows off some adroit ‘70s R&B; touches--most evident in “It Ain’t Over ‘Til It’s Over,” one of the year’s most delightful hits and one of several songs uplifted by a horn section Thursday. Like it or not, Kravitz has an innate knack for such acquisition, and as he whips his dreads through the air, it’s hard not to think of the blades of a blender.

Meanwhile, there were signs that perhaps he has listened to his critics. In contrast to last year’s arena shows opening for Tom Petty and David Bowie, Kravitz steered clear of peace-’n’-love speeches, which were always uncomfortably reminiscent of your little brother discovering the ‘60s. Of course, it ain’t over ‘til it’s over. Hippie archeologist Kravitz did flash the inevitable peace sign at the end, but this time out he was content to primarily let his music do the talking, and the rewalking.