When I listen to Herbert von Karajan’s take on Schubert’s No. Since jazz and rock aren’t terribly concerned with the right notes, the contrast is best demonstrated in classical music, where sounding the right notes is more important. It has nothing to do with “playing the right notes,” but playing the notes in ways that resonate with emotions and spirit. But there’s another aspect of feel that has nothing to do with style but is much more important-the feel that involves the relationship between the musician and the music (if soloing) or the relationship encompassing the music and multiple musicians. In that sense, the most obvious “feel” on Neck and Neck is American Country (with the exception of their cover of the Django Reinhardt-Stephane Grapelli number “Tears”). The concept of “feel” in music is usually associated with the style of music in play: this song has a Latin feel that song has sort of a jazzy feel. This probably isn’t the only review I’m going to revisit, but I decided to start with this one because: a.) with all the political tension in the world today I thought it would be nice to listen to something completely apolitical b.) Chet Atkins and Mark Knopfler formed a highly simpatico duo, and c.) with people all over the globe are feeling pretty grumpy these days with this bitch of a pandemic, I figured we all need something to make us smile-and Neck and Neck is an absolute hoot! Hence, an empty piece of garbage like the Spice Girls’ debut album earns as few words as possible, while richer pieces of work like Setting Sons or Dig Me Out deserve a more complete analysis. If the purpose of music criticism is to present a point of view that might enlighten, educate or inspire a reader to form a different opinion, then arbitrarily limiting the word count is the dumbest approach imaginable.Īlthough it took some time to sing “I’ve Gotta Be Me,” my approach now is to ignore word count, make the necessary apologies for my long-windedness and write as many words as demanded by the subject matter. which also happens to reflect my feelings about most contemporary music criticism.
Looking back on those reviews today, I would describe my writing as “utterly vacuous crapola”. In 1990 Atkins was joined by the British guitarist/singer-songwriter Mark Knopfler in a version of Yakety Axe on which Atkins recited verses written by Merl Travis, the man whose style of guitar picking originally inspired Atkins.This is a complete rewrite of a review I published during my first year of blogging when I tried very hard to obey the common wisdom that short posts are the way to go because no one has time to read anymore. As an actor in the 1970s, Reed co-starred with Burt Reynolds in several movies, including all three of the ‘Smokey and the Bandit’ films for which he also composed the sound track. Elvis Presley and Johnny Cash both recorded songs written by Reed. Reed was an associate of Atkins, and the latter is on record as saying that Reed helped him work out the fingering for Yakety Axe.Īs well as being acknowledged as one of the best country guitar players, Reed was an actor, composer and singer. A track I played frequently was Jerry Reed’s version of Yakety Axe.
Mark knopfler yakety axe tv#
Randolph and Atkins sometimes played the tune as a duet during joint TV appearances.įor a short while in the early 1990s I produced a country music record show for a small hospital radio station.
In 1965, Atkins recorded a guitar version of the tune which he called Yakety Axe. Yakety Sax was Randolph’s updating of a piece originally composed by James Q ‘Spider’ Rich and references a saxophone solo on a 1958 Coasters recording of the Lieber and Stoller song ‘Yakety Yak’.Īnother musician who worked alongside Randolph on recordings by Elvis and other Nashville based stars is the country guitarist Chet Atkins.
Hits featuring Elvis Presley, Roy Orbison, Brenda Lee and REO Speed Wagon all benefited from his distinctive saxophone style. British saxophonist Peter Hughes was responsible for the version used on Hill’s show.īoots Randolph was a Nashville based session musician who played on recordings by many country and rock artistes during the 60s and later. Originally recorded in 1963 by its composer, Boots Randolph, the raucous nature of the saxophone notes and the insistent rhythm were an ideal accompaniment to the jerky motion of Hill’s many pursuers. If you are old enough to remember the Benny Hill show, after it transferred to Thames Television in 1969, you will know the tune that accompanied the closing chase sequence.
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