R2OK!

Cherskiy

Bob managed to find another excellent selection of music to fill his three hours, his picks drawing from various genres but this week thankfully eschewing the sometimes weary ‘world music’ offerings (apart from one which could loosely be described as such). My highlights:

Apostle of Hustle’s “Cheap Like Sebastien”, from their album “National Anthem Of Nowhere”, was another of the new raft of Canadian bands (this one being a satellite project coming from the pool of musicians under the ‘Arts and Crafts’ label) that are featuring on Bob’s show these days, this one benefiting from the addition of a guitarist from “Broken Social Scene”. An odd drum ‘heartbeat’ intro soon led into clearly defined lyrics and an almost fey set of backing vocals, a compromise that shouldn’t really work but does.
Great guitar work from Lonnie Mack on his instrumental version of Chuck Berry’s “Memphis”, part of a re-packaged new release called “The Wham Of That Memphis Man”.
London-based violinist and vocalist Lisa Knapp was another unknown artist to me, her track “Wild And Undaunted” from the album of the same name to be released at the end of this month. Her soaring delivery had an almost haunting, chilling and heart-rending ring to it, yet mesmerising at the same time. Violin and vocals gave way to an extremely pleasant fiddle and drum chorus. Bob promises to play more in forthcoming weeks.
A friend of mine went to see Fairport Convention in Berwick a weekend or two ago and got chatting with guitarist Dave Pegg (‘a lovely chap’) in the bar. My mate, who knows I’ve never really listened to any of their releases, told me I’d missed out on a great night out, and listening to Sandy Denny’s vocals on “She Moves Through The Fair”, I have to admit he was spot on.
Bob has played music from The Cowboy Junkies before, this week’s track being “Brand New World”, the opening track from the forthcoming album “At The End Of Paths Taken”. This song emphasised just how good Margot Timmin’s gentle voice is, backed up by some accomplished yet rather understated accompaniment from her brothers. The album is released in April and is already on my Amazon wish list on the strength of this track alone.
“The Sue Story Vol.2” is a vinyl collection of 60s tracks, including Professor Longhair’s “Baby Let Me Hold Your Hand", which surely qualifies for a repeat playing on SOTS some time in the future, for me due solely to the great sax playing.
Running with the blues theme, Chicago-based Otis Taylor was next up with his “Love And Hesitation”, from the album “Definition Of A Circle”. This, his eighth album, combines classic blues with a more rock-like influence (so alt-blues?) and judging by the simply amazing riffs in this track it certainly works.
Aynsley Lister continued the blues offerings, “Falling Down” from his fourth studio album “Upside Down” demonstrating his vocal range and expertise with the guitar (and that of his backing guitarist, Jo Nichols) to good effect. Again, another unknown artist for me but one I’m sure I’ll be hearing much more of in the future, one way or another, since he’s playing live for Bob in the studio in two weeks time.
Bob played John Mellencamp’s forthcoming single “Our Country”, from his new album “Freedom’s Road” – his nineteenth(!), a few weeks ago, and gave it a repeat play tonight. Dropping the ‘Cougar’ tag from his name several years ago, John Mellencamp still manages to tell great stories about heartland America, tales of ordinary blue-collar America featuring in his songs. If this track sounds as though it has a rather raw ‘garage’ feel about it, that is due to the fact that the album was recorded in a garage….
Valerie Marshall was another new name for me, the track “Cupid’s Butterfly” from her album “If I Had My Time Again” being a vibrant slice of traditional song-writing tinged with a little country influence. A contributor to the forum on Bob’s website and a musician for the last three years or so, she plays virtually all of the instruments on what is a home-spun album in the Sandi Thom tradition, except I like Valerie Marshall’s vocals and acoustic guitar work much better. On the strength of this track I can see Bob inviting her into the studio to do a live session – her voice and acoustic guitar would lend themselves very nicely to this.
Jory Nash followed this track with his equally gentle delivery and simple accompaniment on “Careful How You Break My Heart”, from his album “Folk Jazz Blues And Soul”, which seems to sum up what type of music he is capable of. His simple yet evocative melodies are extremely soothing. The first artist that Fish Records ever picked up for onward sale (Fish being a recognised trader in excellent folk, country and acoustic artists), this, his fifth solo album actually sells himself short in the titling as you could probably add ‘Country’ as well.

Another Toronto-based artist (like David Celia last week), Jory Nash is a good friend of Justin Rutledge, who provided the session for Bob this week. His 2006 album “The Devil On A Bench In Stanley Park” provided inspiration for the two live tracks he played tonight, the first being “Does It Make You Rain”, which could be almost described as ‘melancholy Americana’ in the Neal Casal mould, complete with Bob Dylan-inspired harmonica to complement his simple acoustic guitar. The three artists described above demonstrate the best qualities of what is fast becoming a hotbed of talent in North America. Bob and Justin talked about the comradeship between the musicians who either live in or have been drawn to Toronto in recent years, especially during the annual ‘North By North East’ festival, and the Canadian Government’s fund to help emerging artists develop their talent, record demos and play venues – a Can$2000 grant ostensibly for a demo allowing Justin to actually record a full-blown album at one stage. Another interesting conversation described the lure of the independent record labels for the singer-songwriter versus the music-making machine that is Nashville, money and album sales not necessarily being the all-important factor for the Toronto-based outfits. “I’m Your Man, You’re My Radio” followed, an intriguing title for another four minutes of gentle vocals and acoustic guitar. I suspect we will be hearing more from this artist in future shows on the strength of these performances. Bob played “Come Summertime” from “The Devil On A Bench In Stanley Park” to finish off with, demonstrating just how good the studio versions of his songs are, a welcoming smattering of backing instruments being the only difference from his live set. Part of the attraction of Bob’s ‘middle hour’, apart from the obvious live artists, is the varied topics of conversation featured, these being the insights either into their song-writing methods, subjects or influences. When he finally gets Gemma Hayes onto the programme someday, I’ll be in heaven!

Prince Buster’s “Al Capone”: a fairly obvious influence for The Specials, British ska at its rude-boy best. A much needed prod for me to go and dig out my Madness, Selector and The Beat records from up in the loft…. This track was released no less than 40 years ago.
Kissaway Trail was yet another unknown artist, “Smother Plus Evil Equals Hurt” from their album of the same name, which is due for release next month. Echoes of Peter Gabriel abound throughout the track from this five-piece Danish outfit, but that’s not a bad thing.
Due for release on the same day is The Earlies’ “When The Wind Blows”, from “The Enemy Chorus” album which came out in January this year. Another incumbent from my Amazon wish list, The Earlies have been described as playing progressive rock but there seems to be a complete mishmash of styles represented on the album itself – all which seem to work well together.
My prediction last week for an early repeat of Rachel Harrington’s obvious talent came true as Bob could not resist playing “Summer’s Gone” from her forthcoming debut album “The Bootlegger’s Daughter”. Traditional ‘old-time’ subject matter, banjo and rich vocals, absolutely superb – not available via Amazon yet but by pre-order via her own website for $19 mailed: a steal!
“Blue Light” from Mostly Autumn’s new album “Heart Full Of Sky” was a minor revelation, Heather Findlay’s silky vocals and the mellow yet ultimately expansive accompaniment showing another side of this band’s recent achievements. I was almost in two minds about “Fading Colours” which was played last week (even though I listed it among the highlights) but this track has won me over.
I had been looking forward to hearing Lucy Kaplansky’s track “The Gift” from her new album “Over The Hills”, as I have had several of her previous albums in mind for future purchases for a while now (“The Tide”, “Ten Year Night” and “The Red Thread” included), but other artists seem to get in the way. Another Canadian artist, her music seems to be worth the wait if this particular track is anything to go by, Americana with a Canuck slant delivered sweetly, yet with a subtle edge to it. She has an impeccable pedigree, duets in the past with Shawn Colvin, film soundtracks with Suzanne Vega and backing on Nanci Griffith albums, whilst her new album features contributions from Jonatha Brooke and Eliza Gilkyson. This would not go amiss on the regular Radio 2 play list, and going by this offering tonight, her albums now take priority for my future purchases.
I don’t know a lot about Richard Shindell other than him being one third of “Cry, Cry, Cry” (along with the afore-mentioned Lucy Kaplansky and Dar Williams). A look at his website shows he is a New York ex-pat based in Buenos Aires of all places, and the track that Bob played, “Cancion Sencilla”, from “Vuelta” (‘Reconsider’), has definite South American influences although they are not intrusive (although it is sung in Spanish) and it remains a true acoustic performance.
The Endrick Brothers completed this week’s rundown, “Questions And Answers” from their album “Attraction Versus Love” being a great inducement to listen to Bob’s show next weekend when they are providing the live session in the midnight hour. From Stirlingshire, but sounding as though they could be REM in their “Automatic For The People” guise, their album is apparently full of divergent styles, all the while returning to good-old-fashioned Americana.

Another excellent three hours’ worth of entertainment. Find time to ‘listen again’ to it sometime this week!
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Author: “To the Ends of the Earth: A Snapshot of Aviation in North-Eastern Siberia, Summer 1992”
(Free to read via Kindle Unlimited)

Lord Evan Elpuss · Joined: 10 Dec 2006 Posts: 3417 Location: Cloud Cuckoo Land

For once I missed 'His Bobship'! Shocked

But there was a reason for this heresy. I was out watching a band for which I can thank 'his Bobship' for putting me onto, they being the DIY Cravings followed by another band which I had not previously heard of called 'Sattelite State' both were very good. I popped into my local boozer on the way home where some more live entertainment was in progress, this in the form of a jazz band that one of the regulars belongs to, Jazz is not normally my thing but the traditional type I can take, and this was very good. All in all, a great evening of live music for me.
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Lord Evan Elpuss, Your ideal job is a Lumberjack.