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Bonnie Dobson - review Bonnie Dobson - review
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A welcome new twist in what has been a curious career. Born in Canada, Bonnie Dobson was one of the most intriguing singer-songwriters to emerge from the North American 1960s folk movement. She was best known for her brooding, post-nuclear war story Morning Dew – which would be covered by singers from the Grateful Dead and Robert Plant to Lulu – but her style ranged from folk ballads to hints of R&B. "I was compared to Joan Baez," she said, "but I wanted to be Aretha Franklin."A welcome new twist in what has been a curious career. Born in Canada, Bonnie Dobson was one of the most intriguing singer-songwriters to emerge from the North American 1960s folk movement. She was best known for her brooding, post-nuclear war story Morning Dew – which would be covered by singers from the Grateful Dead and Robert Plant to Lulu – but her style ranged from folk ballads to hints of R&B. "I was compared to Joan Baez," she said, "but I wanted to be Aretha Franklin."
In the late 1980s, Dobson retired and became an administrator at London's Birkbeck College, although she was once coaxed back on to the stage by Jarvis Cocker for his Meltdown festival six years ago. And now, after another bout of gentle persuasion, this time from the Hornbeam team responsible for reviving Tom Paley's career, she has teamed up with a younger band (referred to as "my boys") to record a new album.In the late 1980s, Dobson retired and became an administrator at London's Birkbeck College, although she was once coaxed back on to the stage by Jarvis Cocker for his Meltdown festival six years ago. And now, after another bout of gentle persuasion, this time from the Hornbeam team responsible for reviving Tom Paley's career, she has teamed up with a younger band (referred to as "my boys") to record a new album.
This was their first public outing, at an exquisite church near Tottenham Court Road. Coming on stage over an hour late, there were inevitable rough edges, but the lineup, featuring electric guitar and fiddle, matched well against Dobson's sturdy acoustic guitar work, and she surprised with her power and range. Her set included traditional songs from Canada, an unaccompanied treatment of the gospel-edged Dink's Song, and reminders that she has a spooky edge. Winter's Going, from the 60s, sounded as dangerous and psychotic as anything from the new psychedelic folk revival. "Jarvis Cocker liked that song," she said. "He seemed a nice boy otherwise." Then there was a jaunty, half-spoken divorcee's song, Living on Plastic, an angry bluesy stomp, Mean and Evil, and a gently chilling, fiddle-backed treatment of Morning Dew. She is still an impressively original lady.This was their first public outing, at an exquisite church near Tottenham Court Road. Coming on stage over an hour late, there were inevitable rough edges, but the lineup, featuring electric guitar and fiddle, matched well against Dobson's sturdy acoustic guitar work, and she surprised with her power and range. Her set included traditional songs from Canada, an unaccompanied treatment of the gospel-edged Dink's Song, and reminders that she has a spooky edge. Winter's Going, from the 60s, sounded as dangerous and psychotic as anything from the new psychedelic folk revival. "Jarvis Cocker liked that song," she said. "He seemed a nice boy otherwise." Then there was a jaunty, half-spoken divorcee's song, Living on Plastic, an angry bluesy stomp, Mean and Evil, and a gently chilling, fiddle-backed treatment of Morning Dew. She is still an impressively original lady.
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