“Jesus Christ,” Colin Hay proclaimed looking at his watch some 90 minutes into his performance Friday at the Cedar Cultural Center. “I do go on.”
Indeed. Probably 70 of the 90 minutes had been devoted to Hay’s  long-winded but LOL yarns about performing at the Sydney Olympics, touring with Ringo Starr, encountering  Little Richard and Jerry Lee Lewis at the Grammys, traveling solo in the U.S., dealing with his wandering (and legally blind) right eye, smoking pot and taking mushrooms, and doing impressions of Ed Sullivan, Peter Lorre and Bob Dylan (which sounded more like Robert DeNiro).
Even if you’d heard a few of these stories at Hay’s Cedar gig last year (I had), you grinned, giggled and guffawed once again. He’s very, very funny. Throw in the songs he offered – a few Men at Work hits, a couple of solo radio favorites and several things from last year’s “American Sunshine” album – and it added up to a delightfully entertaining 2 ¼-hour performance. (Just don’t bring your kids; there are many f-bombs, drug references and sex jokes.)
Since Hay is performing again Saturday at the Cedar, I won’t give away any of the stories. But I will offer an observation about his singing. He was born in Scotland, moved to Australia as a teenager and settled in Los Angeles about 20 years ago. (He has done some acting on “Scrubs” and “Larry Sanders Show.”) He sang his Men at Work songs with his Scottish/Aussie accent, but the “American Sunshine” tunes were curiously delivered with an American accent.
That kind of versatility enables him to pull off all kinds of impressions. Plus, he can be very spontaneous. For example, when some rube shouted a request for “Roxanne” on Friday, Hay, whose voice sounds like Sting’s, bellowed “Roxanne” in perfect Sting intonation. “What comes after that?” he asked. What a charmer.
"I love saying ‘Minnesota’ with a Scottish accent,” Hay said in his opening remarks, which stretched to a good 10 minutes before he played any music. In fact, he did a mere three songs in the first 35 minutes. Eventually, he made up for it, with a closing flurry of tunes (the highlight was a gorgeous rendition of Men at Work’s “Overkill,” which resonates so differently solo) with very few if any words between them.

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