R2OK!

Cherskiy

Steve Lamacq stood in for Bob this week and got the show off to a cracking start with Thin Lizzy’s “The Boys Are Back In Town”. No live session this weekend so plenty of room for tracks by the usual mix of new and established artists. All the tracks in the midnight hour had a reference to ‘midnight’….

“We Were Dead Before The Ship Sank” is the latest album release from Modest Mouse, a band that Bob featured some weeks ago. Steve played their new single taken from this, entitled “Dashboard”. Isaac Brock’s voice isn’t too bad – rather like a young David Byrne in places, whilst this particular track has something of a Talking Heads feel to it as well. Modest Mouse also now feature ex Smiths’ guitarist Johnny Marr among their number. Popular wisdom is that this is one of the weaker efforts the band has produced in recent years – if so, their extensive back catalogue must be worth a listen as this is really chugs along nicely.
Another new single just out is “Talk Of The Town” from the album of the same name by Mohair, which has been re-mastered and re-released. Some energetic stuff is on display here, very lively and upbeat. An ideal summer song, no doubt, although the mid-section loses its way a bit before getting back on track.
I already have Lisa Loeb’s album “Tails”, so knew how “Waiting For Wednesday” went before it aired tonight. She is quite prolific but hasn’t managed to make much of an impact across this side of the Atlantic. Her songs seem on the one hand to be intensely personal yet on the other hand rather twee at times, but she has a great voice and knows how to capture the essence of a three-minute pop song. Not the best song on the album (I’d put “Snow Day” and “Taffy” above this) but still rather pleasant.
Swedish folk-rockers Winter were a new band to me, their 2006 album “Ten Songs” (remarkably descriptive!) yielding “Out Of Sight”. Vocals are courtesy of Anna-Lena Winter, who has a slight edge to her voice, reminiscent of countrywoman Lisa Myskovsky. I wanted to like this but it didn’t seem to make much of an impact on me: her voice might benefit from a stronger tone as it was unfortunately lost among the backing on occasions. I would be interested in hearing other tracks on the album, however.
Didn’t care much for Elvis Perkins’ voice much either, but then again I’m not much in favour of random “la la’s” in lieu of actual lyrics. “All The Night Without Love” is released on Monday in advance of the album “Ash Wednesday” (already available in the States). He didn’t seem to have much of a range to his vocals but I’m sure this track will get picked up for airplay somewhere on the R2 schedule – it’s inoffensive and bland enough to fit in somewhere.
Pete And The Pirates were much more livelier, “Come On Feet” enticing the listener straight away with some energetic guitar and exuberant vocals. Daft, quirky and instantly forgettable until the next time you hear it, then think, “Oh yes”! This is a new single from what will be an album release later in the year from this Reading-based band.
“Two” is the new single by Ryan Adams, taken from his “Retrospective” album. A much quieter affair than most of his previous releases, it definitely ticks all of the boxes regarding mainstream airplay. It’s a well-crafted song, is delivered rather gently and will be loved by the country audience as well as the AOR one in the States. Ryan Adams is definitely becoming a major star in the States and on the evidence of this track, it’s not really surprising.
The Endrick Brothers are carving out something of a niche for themselves too, albeit on a much smaller scale. Having already provided a live session on this show earlier this year, Steve played their new single “Thorns On Every Rose” from their new album “Attraction Versus Love”, which was released a couple of months ago, and which Ryan Adams had a hand in writing. Comparisons between lead singer Niall Holmes and REM’s Michael Stipe have already been made by me here, which is all the more surprising since the Brothers come from Stirlingshire. This is really great stuff, cracking melodies from the combination of Holmes and Yorick Cormack and effective backing from the rest of the band. If this doesn’t get picked up for regular R2 airplay there’s no justice!
Catherine Feeny wasn’t a new name for me although I haven’t heard much of her material before. “Unsteady Ground” was taken from her recent album “Hurricane Glass”, which is part country and part folk, although she’s also been compared to the likes of Suzanne Vega, which is quite apparent on this particular track. Supporting the likes of the Indigo Girls won’t have done her any harm either. If I have one criticism, it is that the song sounds a little raw and unfinished in one or two places – some tracks are fine stripped down but this isn’t one of them. Still, it makes relaxing listening.
“Parallel Lines” was one of the first albums I ever bought so it was interesting to hear “11.59” again: I haven’t listened to a Blondie album for quite a while. Steve introduced it as “a bit of a tease” leading up to the midnight hour. Only their third release, this was the first time the band achieved the polished sound that brought them out of minor obscurity into the public eye, courtesy of such tracks as “Sunday Girl”, “Hanging On The Telephone”, “Picture This” and “One Way Or Another”. Having said that, “11.59” was one of the filler tracks that didn’t sound as though they had much time spent on them – some albums actually had some excellent filler on them (“Die Young, Stay Pretty” on “Eat To The Beat”, for instance), but this wasn’t one of them.

The midnight hour had the following tracks:

Judas Priest Living After Midnight
Dion Midnight Lover
Fleetwood Mac Isn’t It Midnight
Roy Brown Midnight Rider
Howlin’ Wolf Morning At Midnight
Little Walter Blue Midnight
The Killers Midnight Show
Red Hot Chilli Peppers Midnight
Buddy Holly Midnight Shift
Pasty Cline Walking After Midnight
Tony Joe White Across From Midnight
Jimi Hendrix Burning Of The Midnight Lamp
Black Crowes Midnight From The Inside Out
J J Cale After Midnight
The Ormond Brothers Midnight Rider

I thought I would lump this lot together as it was a themed hour, so here goes:

I had only heard four of these tracks before, and Dion’s “Midnight Lover”, from his “Fire In The Night” album recorded with the Streetheart Band, wasn’t one of them. Definitely got that seventies feel to it (it was released in 1979 so go figure!) and rocks along very nicely. I have Fleetwood Mac’s “Tango In The Night” somewhere among my collection so knew how good Christine McVie’s delivery on “Isn’t It Midnight” is. The Killers’ “Midnight Show”, taken from “Hot Fuss”, was really good, the second band tonight that struck me as having something of a Talking Heads influence, but I’m still trying to work out who they really remind me of. “Midnight” by the Red Hot Chilli Peppers features the usual first-into-second gear ‘kick’ in Anthony Kiedis’s vocals: this guy has a great way of raising his game and his voice when the song demands plus the trademark harmonies are there too. On their “By The Way” album, it’s one of the band’s weaker songs, quite mellow for them but still enjoyable. Patsy Cline was taken long before her time – I believe “Walking After Midnight” was the track that launched her to stardom. Equally enjoyable was Tony Joe White’s “Across From Midnight” – almost Chris Rea-type guitar work and ‘swampy blues’ from a guy that played at the Isle of Wight Festival in 1970 and celebrates 40 years in the business in a couple of years time. The Ormond Brothers’ “Midnight Rider” completed the hour, a track that was inserted at the last minute.

The Travelling Wilburys kicked off the final hour with “Handle With Care”, part of the “Deluxe Collection” that will be available in July. Dylan, Orbison, Waits, Lynne and Harrison together – what’s not to like?
Forever Like Red was another of the casualties from last week’s late start due to Eurovision, “What Will You Pay” being played this week as compensation. Although it has already been available for a little while on a sampler CD given out at the band’s UK concerts, this is due out as a single on download next month, with an album scheduled for later in the year. A fairly average and understated beginning is uplifted somewhat by a better chorus, although the end result is still reasonably mediocre.
Mediocre isn’t in The Black Rebel Motorcycle Club’s vocabulary, if the beginning of “Took Out A Loan” from their “Baby 81” album is anything to go by, the vocals here sounding a little like a laid-back Iggy Pop. However, the track fast descended into pure noise and little talent beyond the half-way stage and then outstayed its welcome. A pity, given the good start.
Finland doesn’t necessarily come top of anyone’s list of countries known for Motown, but Nicole Willis And The Soul Investigators may alter that. Although their album “Keep Reachin’ Up” was only released in Finland during 2005 (and re-released there last year), it sounds like something Brian Matthews might play on SOTS since it could quite easily be mistaken for a sixties production. The album will shortly be available in the UK (and via download). Ken Bruce should play this on his show – it would be right up his street.
I lost my way with Bruce Springsteen following the “Born In The USA” album for reasons that have never been entirely clear to me. Listening to “Roll Of The Dice” from his 1992 “Human Touch” album, it’s clear that the magic didn’t leave him but I’ve never considered this a particular coherent record unlike say “Born To Run” or “The River”, possibly down to the order the tracks are laid down. That’s probably a pity since this is still a very good song.
“Monkey Gone To Heaven” is arguably my most favourite Pixies’ song – and was covered here by Glasgow-based Steven Lindsay, the artist including it on his forthcoming (and second) album “Kite”, which is due out next month. Quite an enjoyable cover which takes nothing away from the original, thankfully – and I’ll have that track in my head for the rest of the evening now! Steve was going to play “Velouria” from the Pixies’ album “Bossanova” next but left the CD in his machine at home, only bringing the case instead – boo, hiss!
Steve did have the 6 Day Riot CD on hand, though. Bob played a track from this band several weeks ago, “Down In The Fox’s Ear” featuring tonight. Taken from their “Folie À Deux” album. Tamara Schlesinger’s dreamy, almost ethereal vocals shine here, complementing Soren Bonke’s instrumental accompaniment. Mind you, they had Steve Levine as a mentor and a producer so the finished product should be good.
Can’t say I’ve heard of Songbirds before, even though they have been on FNIMN and Aled’s Sunday morning show, which is a shame, since “The Weatherman (No Wonder I Feel Blue)” – due for release mid-June - was absolutely lovely. Wonderful harmonies and minimal acoustic guitar were to the fore straight away from this English trio, who are known simply as Amy, Flick and Lynette. They sound like the best anything that Wilson Phillips could put out. Their debut album, “Wake Up Call”, will be released in July, and on the strength of this track alone I feel its worth buying.
The Barker Band’s banjo-playing isn’t a patch on Alison Brown (listen to her “Stolen Moments” album if you don’t believe me – wonderful!) but if you’re looking for a slice of uncomplicated Americana with addictive harmonies and arrangements, then “Heart Like Mine” from their album “Lonesome Waltz” is recommended. Actually, it’s very good in its own right, with its bluegrass influence worn on its sleeve.
A complete contrast in styles followed with the Wannadies’ “Hit”, taken from the Swedish band’s 1999 album “Bagsy Me”. Remembered for their flouncy, bouncy, sparkling, fluffy pop (for instance, the extremely catchy “You And Me Song”), they seemed to strike a chord with UK audiences along with their contemporaries The Cardigans.
I had never heard of fellow Swedes Hello Saferide before, Annika Norlin’s jaunty lyrics on their new CD single “I Was Definitely Made For These Times” bringing a smile to my face straight away. Not as twee as Aqua, even catchier than the Wannadies (if that’s possible) and definitely in line for more airplay in future if there’s any sense in radio-land.
Miles Hunt used to front The Wonder Stuff, but in recent years has produced a couple of solo albums, the latest being “Not An Exit”, which was released last month. “Shake ‘Em Down” is truly excellent material, his almost snarling lyrics aided by some great violin accompaniment – when was the last time I said that to myself? Critics have suggested that if he had written this a few years ago, he would have never had to reform The Wonder Stuff. I am inclined to agree.

Bob's back next weekend - he was just having a short break.
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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)