March 2009 Archives

Given that Abba are generally considered to be a frothy pop band par excellence, Knowing Me Knowing You is a remarkably sad song.

Not even the memory of Alan Partridge shouting "Aha!" can stop Knowing Me Knowing You being utterly heartbreaking.

I am very pleased at the news that Lloyd Cole will be playing at The Sage Gateshead later this year.

After an early career as an earnest (if rather good) singer-songwriter, Lloyd has of late developed a fine line in self-deprecation. I saw him at the Riverside in Newcastle in 1995 and he spent most of the gig joking about his sliding popularity, which was all rather engaging.

Sam Wonfor reckons our Love for Lionel is Truly Endless. Still.

Writing a review of a Lionel Richie concert is akin to falling headfirst into a pun-filled saucepan. With no obvious way out.

Taking inspiration from the common sense way to remove an Elastoplast I've decided the best way to deal with the situation is to simply get them all over with as quickly and succinctly as possible.

Ah-hem.

Sam Wonfor provides her take on night two of Gavin Webster's three-night stand at Live

When I spoke to Gavin Webster last week about his then upcoming three-night residency at Live Theatre, he was at pains to point out that he wanted all, sundry and sundry's best mate to feel welcome.

Comedy snobbery of any kind was not going to be order of the evening here.

And so it was that we had retired pensioners from Jesmond (big up to Harold and Anne) sitting alongside Viz founder Simon Donald, while a cluster of lager-swilling students were happily giggling away alongside some middle-aged ladies on a girls night out.

Is The Dark End of the Street the greatest song about adultery ever written?

Written in 1966 by Muscle Shoals songwriters Dan Penn and Chips Moman, it has been recorded by countless singers since, but the best version is the first, by James Carr.

It was apparently written in about 30 minutes while Penn and Moman took a break from playing cards at a DJ convention in Memphis. They were allowed to use the hotel room of fellow musician Quinton Claunch for the writing on condition that they gave it to Carr, which they promptly did.

Just as it was once illegal to refer to Doves without saying that they used to be the dance band Sub Sub, now it seems mandatory that reviews of them make them out to be this year's new Elbow.

The comparison seems based on the fact that (a) they are from the Manchester area; (b) they are an indie band who are a bit more adventurous than, say, the Pigeon Detectives and (c) they are mates.

Whatever the rights and wrongs of that, Doves can be rather splendid and it's good to have them back.

Like the dutiful daughter that I am, on Sunday I took my mum to see Young Victoria. I didn't expect a huge amount; though the combination of big dresses, country houses and the royal family is meant to appeal to us girlies, usually it really doesn't work for me.

But (and I can hardly believe I am writing this) I actually thought it was pretty good.

Occasionally I pick a CD and wonder why I haven't listened to it for ages: this week that has happened with The Lemonheads.

For a few years in the 1990s, Evan Dando's band released song after song of simply effortless, life-affirming pop music. They are probably best known for their cover of Simon and Garfunkel's Mrs Robinson and have a number of cracking cover versions in their back catalogue but Dando is also a great songwriter as this song, It's A Shame About Ray, proves.

Nicolle Thompson checks out Emma Deigman's short-playing debut

The first thing that stuck me hearing this track was Emma's voice.

She has a good voice.

Now this is not a flippant remark meaning her voice is acceptable, it really is good, and considering some of the pop acts around at the moment, this in itself makes her stand out.

The track is soulful yet still makes good pop.

It has depth but is still light enough so as not to feel incompatible with her relative youth.

It Was You is a great song to showcase her talent both as a singer and as a songwriter.

Paul Loraine and Christos Worsley offer their take on some of the jazz-soaked proceedings so far at The Sage Gateshead.

Well if Lionel Loueke set the standard, this will be a festival to remember.

The guitarist and his trio graced Hall Two at The Sage on Friday with a performance worthy of a headline slot in the larger Hall One.

Not that I'm complaining. The more intimate venue was packed and there was a buzz of excitement about the presence of one of the brightest young talents in jazz.