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Bob Harris Saturday Show 19/04/08 - a review by Cherskiy

 
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Cherskiy



Joined: 08 Dec 2006
Posts: 3701
Location: near Amble, Northumberland

PostPosted: Sat Apr 26, 2008 4:50 pm    Post subject: Bob Harris Saturday Show 19/04/08 - a review by Cherskiy Reply with quote

The “middle hour” of Bob’s show tonight took on a slightly different look, celebrating what would have been Alexis Korner’s 80th birthday, with Geoff Griffin and Del Taylor accompanying Bob in conversation about the man and his music.

The show kicked off with Hootie And The Blowfish’s “Hold My Hand”, from their 1994 album “Cracked Rear View Mirror”. It’s not hard to understand their popularity across the pond – take Darius Rucker’s deep, reverberating baritone and add it to some heavy-duty guitar, all laid over a typical folksy Southern-fried arrangement. This CD is regarded by many as being one of the best debut albums a band could want. I’d be inclined to agree. As Bob said, “aren’t you feeling better for hearing that?”
Can’t say I’ve heard of the Raconteurs before, but “These Stones Will Shout” initially showed promise. Taken from their new album “Consolers Of The Lonely”, it should appeal to those who would normally gravitate towards the likes of The White Stripes but who stop themselves lest they expire through terminal embarrassment. There’s some wonderful guitar in the intro although when Jack Black opens his mouth, any warm feelings I had for the song suddenly evaporated. I can’t tell whether he’s trying to channel the Beatles here, but whatever he’s doing, I wish he’d stop. Give it up, boys.
My mate who’s a big Fairport fan also holds a candle for Kate Rusby, and continually tries to foist her material on me at every and any opportunity. Truth be told, I can see where the attraction is – but I’ve got so many albums on my wish list that it’s going to be months before I eventually get around to buying something by her. However, listening to her take on Sandy Denny’s “Who Knows Where The Time Goes?” tonight, I was minded to re-evaluate this opinion. It’s one of those songs for curling up on a sofa on a winter’s evening – so I guess this summer’s out – whilst there’s simplicity about the production, less is more here. This is a new single but I suppose it’ll end up on a new album at some stage.
No excuse needed, therefore, to follow that up with Sandy Denny’s “Moments” – from the album “The Attic Tracks 1972-1984”. Another song that succeeds due to sparse production. Bob’s documentary on Sandy was broadcast on Tuesday evening.
Pete Molinari’s voice harks back to the late 1950s/early 1960s – the cover of his recent CD “A Virtual Landslide” echoes this and “I Don’t Like The Man I Am” might as well be lifted out of the charts from fifty years ago, reminiscent of Ritchie Valens. It’s strangely likeable though in a quiet, understated way – one of those songs that you’re not entirely sure about when it kicks off, yet by the end you think you’ve heard it a thousand times before. The artist will be in session on Bob’s show this weekend.
Two tracks from Daniel Lanois were linked together, “Chest Of Drawers” and “Where Will I Be” being the first two songs on his recent album “Here Is What Is”. He’s been described as performing country-folk music with an electronic and jazz tinge, and whilst “Chest” is a quick spoken monologue by Brian Eno, the second track is a melange of musical styles held together with mature vocals. I can’t help thinking though that it’s all a bit arty and should be slotted into the likes of Private Eye’s “Pseuds Corner”…. Music for critics.
Can’t say that holds for Texan Hayes Carll, though. One of Bob’s favourite musicians, “Don’t Let Me Fall” was taken from the artist’s new release “Trouble In Mind” – an Americana tour-de-force if ever there was one, despite the fact that his drawling, sprawling delivery takes a little bit of getting used to. There are echoes of Steve Earle here, but the halting percussion style belongs to him alone.

The Alexis Korner-themed “middle hour” began with Alexis singing “Night Time Is The Right Time” – oddly reminiscent of Steve Miller’s early work. This was taken from the “BBC Alexis Korner Sessions”. Born in Paris in 1928, he lived in France, Austria and North Africa before arriving in London during the 1940 Blitz. He claims he was sold on performing the blues after listening to a recording of Jimmy Yancey during an air raid. Geoff Griffin became his producer in the mid-sixties – a fan of the late Humphrey Lyttleton, he recognised Alexis as a similar spirit. An initial show went out in 1964 featuring various bands, with Alexis as host. “Overdrive” came next, part of which was used as the theme for early “Top Gear” programmes featuring Brian Matthews. Bob said that Alexis was his mentor in many ways, learning from hearing of his experiences on BFBS and the BBC in the 1950s and 1960s. There was conversation about the Ealing Club in the 1960s, and how his band included most members of the Stones (except Bill Wyman). A list of performers one night in the sixties read like a Who’s Who’s – Manfred Mann, Alex Harvey, Georgie Fame…. Next was a live session by The Jimi Hendrix Experience who performed “Please Come Crawl Out Your Window?”, introduced by an enthusiastic Alexis – and who ended it by saying “and you can never predict what you’ll hear next on the BBC World Service!” Del Taylor, who managed Alexis, said that he could see talent in upcoming musicians, often before they recognised it themselves. “Blues Is Where You Hear It” was a re-titled programme in the late 1960s, part of which featured Alexis playing a Spanish-blues-orientated song “Jesus Is Alright With Me”. “Mighty, Mighty (Spade or Whitey)” followed up next – about as far un-PC as you can probably get away with nowadays – New Church featuring Alexis Korner, dating from 1969. Snape was an ‘accidental’ band, created by a different member of King Crimson joining up with Alexis each night. “Ooh Wee Baby” was a product of this meld, a rock-‘n’-roll side of the artist that hadn’t necessarily been seen. He received offers to take this material to the States but refused, not wishing to have control of his music taken away from him. There was a recording from one of his World Service, with him introducing Little Richard’s “Midnight Special” – I had only heard the Credence version before. The look back ended with Dr Strutt and “Strutting”, the theme tune to his R1 weekend show that was introduced in 1980. I hadn’t heard that in years!

The final hour started with another look back in time, 1972 in this case and Badfinger’s album “Straight Up”, which yielded their only gold-disc hit “Day After Day”. Turned down by Apple, George Harrison and Todd Rundgren produced this album in the face of an uninterested industry. George was apparently so impressed with this particular track that he added his own guitar solo to Pete Ham’s.
Big Star were up next, “September Gurls” coming from the 1970s-themed disc of the 2 CD “Thank You Friends: The Ardent Records Story” album. Great stuff – sounding like an early incarnation of The Fountains Of Wayne in many ways, least of all the tremendous harmonies.
Will Johnson has provided tracks from his two bands South San Gabriel and Centromatic on his new album “Dual Hawks”, Bob playing “Every Single Switch” again tonight. This must come from the South San Gabriel side of things as it’s a much more mellow affair, rooted in folksy Americana – and yet with the up-tempo rock Centromatic material, it may appeal to those who like The Drive-By Truckers – there are parallels to be drawn here with Jason Isbell’s work.
After last week’s “Friend Of Ours”, there was a repeat outing for Elbow again tonight too, “Mirrorball” also coming from their fourth and latest CD “The Seldom Seen Kid”. Guy Garvey might sound as though he’s contemplating gargling with gravel but the accompaniment is simple and pleasant here – almost too light and airy for the vocals. Truth is, it’s too light-weight when compared to other tracks on the album – I felt myself drifting off during it.
The Fleet Foxes track “Mykonos” – from their album “Sun Giant” – received another airing tonight too, but I felt this was always on the cards given Bob’s rather enthusiastic introduction last week. Actually, I felt it growing on me a little this time around after my slightly lukewarm initial reception. The band is from Seattle and were one of the high-spots at this years South-By-Southwest.
The banjo that kicked off Cath and Phil Tyler’s “Wild Stormy Deep”, from their recent album “Dumb Supper”, was just one component of a winning formula. Traditional Americana roots seems to be on the up across the pond – if you like anything from the soundtrack to “O Brother, Where Art Thou?”, you’ll be rather sympathetic to this. Nothing much is needed in the way of accompaniment to Cath’s rough-edged yet homely vocals – Phil provides minimal strumming and backing vocals on occasions, whilst the finale sees just the harmony on its own – great stuff. I really hope that Bob picks more tracks from this album in coming weeks, otherwise I’m going to have to buy it for myself…. They’re due in the studio in session shortly.
I’ve heard of but not heard Dawn Landes before, so was quite impressed with her clear, richly delivered vocals on “Bodyguard”, from her new CD “Fireproof”. This too is folksy yet is 100% more polished than the previous track, yet there’s a hint of banjo in the background to keep the whole thing rooted in Americana. Bob has tried to get the Brooklyn-based artist into the studio for a session without success recently – it’s now a case of “maybe next time” – one for my Amazon wish list, I fear.
I’d never come across the Waybacks before, but quite liked “Nice To Be Alone” from their new album “Loaded”. Forming back in 1999, this band are apparently alternatively labelled as purveyors of bluegrass and “acoustic mayhem”, the four-piece San Francisco-based outfit seamlessly melding acoustic and electric instruments into a coherent whole. This track appears in the current US Americana chart – yet it’s almost as if Jamie Cullum or Harry Connick Jr swapped genres and had picked up the microphone here. Old school vocals may be evident, but there’s a pleasant contemporary feel and warmth to the whole production, and the layered harmonies remind me of Crowded House’s more mellow moments.
Sister Hazel definitely nod towards the Southern rock end of the spectrum with Ken Block’s earthy vocals channelling the likes of Hootie (qv) and the Drive By Truckers – well, at least in Jason Isbell’s quieter incarnations. “Wanted It To Be” comes from their 1998 CD “Somewhere More Familiar”, the second by the band, and I’m surprised that they’re not more familiar on this show given the honest AOR – even poetic at times - that they’re dishing out here.
I finally took the plunge and bought Thea Gilmore’s 2003 album “Avalanche” the other week and haven’t regretted it for a minute – she’s arguably one of Britain’s finest song-writers from the last decade, even if she’s not exactly a household name outside the Bob Harris Saturday Show. Her talent for lyrical composition is evident on “Icarus Wind”, one of the tracks on her recently-released CD “Lie Jacker”. Something that’s maybe forgotten though when the plaudits re her writing are dished out, however, is that she’s also very capable of dreaming up some wonderful arrangements. Here it’s Thea at her most simple yet conversely most haunting – virtually just her and a piano. With strong yet clear vocals you don’t really need much else. Cheers, Bob, for including this tonight.
The show played out with Show Of Hands, who have featured in session on Bob’s show before. A folk group from Devon with a ‘big sound’, “Roots” was selected from their 2 disc “Best Of” album. You can’t really go wrong with this sort of material – it’s almost folk music for people who don’t profess to liking folk music, since it’s rooted in contemporary events rather than the traditional ‘trad’ folk!

Next week? Pete Molinari is in session.

I'll be listening to this show live next weekend (03/05) on the way home from seeing Gemma Hayes in concert in Glasgow - might even e-mail Bob to see whether he can play something for me whilst I'm driving home.
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igs007



Joined: 18 Aug 2007
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PostPosted: Sat Apr 26, 2008 5:04 pm    Post subject: Reply with quote

I disagree with the Raconteurs comment, they're a delightful accompaniment to the White Stripes, and I highly recommend their first album.
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Cherskiy



Joined: 08 Dec 2006
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Location: near Amble, Northumberland

PostPosted: Sat Apr 26, 2008 7:05 pm    Post subject: Reply with quote

Thank goodness someone actually disagrees with something I've written! Smile

Seriously though, these are just my own opinions and an attempt to open what Bob plays at weekends out to a (slightly) wider audience. I'm sure the Raconteurs are liked out there - just not by me!
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Barkingbiker



Joined: 11 Dec 2006
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PostPosted: Mon Apr 28, 2008 9:40 pm    Post subject: Reply with quote

Didn't manage to listen to it all, however, Sandy Deny was so much more talented than Mike Harding's favourite, Kate Rusby, IMHO, it sticks out like a bulldog's b*******s, sorry sore thumb. I enjoyed "Who Knows Where The Time Goes", such an eye opener. I only have one solo album of Sandy's, I must get more and some of her work with the Strawbs, Fairport, etc. We are off to see the Strawbs live on the 30th May, I only have one of their albums as well, mores the pity.

BB Twisted Evil

PS To my lovely lady, NO!!!!!!!
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