Nottingham Evening Post, June 15, 2015: Difference between revisions
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He sounded a bit under the weather, mind. The voice was slightly more ragged than usual, something he jokily blamed on the "lovely Cumbrian air" in Carlisle the night before. | He sounded a bit under the weather, mind. The voice was slightly more ragged than usual, something he jokily blamed on the "lovely Cumbrian air" in Carlisle the night before. | ||
There were plenty of hits. "[[Accidents Will Happen]]" was taut and sharp as ever, even stripped back to one guitar. "[[Green Shirt]]" was stunning, as menacing as in the old days. "[[Oliver's Army]]," "[[American Without Tears]]," "[[Ghost Train]]," even "[[She]]" | There were plenty of hits. "[[Accidents Will Happen]]" was taut and sharp as ever, even stripped back to one guitar. "[[Green Shirt]]" was stunning, as menacing as in the old days. "[[Oliver's Army]]," "[[American Without Tears]]," "[[Ghost Train]]," even "[[She]]" — on they came. | ||
But the less-well-known stuff was equally interesting. Ascension Day, his post-Leadbelly collaboration with Allen Toussaint, hailed the efforts of the people of New Orleans to rebuild their city. "[[The Last Year Of My Youth]]" | But the less-well-known stuff was equally interesting. Ascension Day, his post-Leadbelly collaboration with Allen Toussaint, hailed the efforts of the people of New Orleans to rebuild their city. "[[The Last Year Of My Youth]]" — unveiled on the Letterman show last year, even though he'd only written it the day before — showed that his brilliant songwriting skill remains undimmed. | ||
Occasionally things hit the buffers, usually when he played the piano. He seemed ill at ease on the instrument, and an ill-advisedly jazzy Shipbuilding was dogged with a dragging tempo and some clunky playing. Later, a gospel reinvention of "[[I Can't Stand Up For Falling Down]]" was impeccable | Occasionally things hit the buffers, usually when he played the piano. He seemed ill at ease on the instrument, and an ill-advisedly jazzy Shipbuilding was dogged with a dragging tempo and some clunky playing. Later, a gospel reinvention of "[[I Can't Stand Up For Falling Down]]" was impeccable — but I was always relieved when he picked up a guitar again, especially for a magnificent, loop-powered "[[Watching The Detectives]]." | ||
There were laughs, too, with stories of his dad, a singer with the Joe Loss Orchestra, and a song from 1930 dedicated to his two eight-year-old sons. He even did "[[Side By Side]]," its opening "Well, we ain't got a barrel of money…" drawing further chuckles. | There were laughs, too, with stories of his dad, a singer with the Joe Loss Orchestra, and a song from 1930 dedicated to his two eight-year-old sons. He even did "[[Side By Side]]," its opening "Well, we ain't got a barrel of money…" drawing further chuckles. |
Revision as of 16:36, 15 June 2015
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