![]() There's something for everyone here, though, so just enjoy the show. Immediately preceding this is a gloriously menacing performance from John Cale in which he turns Johnny Mercer's jazz classic "I Wanna Be Around" into a leering, spitting threat to the listener's personal safety. Cerys Matthews and Tom Jones do their best smoochy version of "Baby It's Cold Outside" before it began to wear a bit thin, the strapping Matthews managing to come on like a cross between Bambi and that girl you fancied in the lower sixth. Along the way, though, there are plenty of highlights, the best of which add up to a triumph for the Welsh contingent. If in doubt, watch it at the end, as the everybody-up-on-stage version of Jeff Beck's "Hi Ho Silver Lining" that closes the show is unfortunately a shambles. Amusingly, the outing comes close to shooting itself in the foot by opening with Solomon Burke's rip-roaring "Everybody Needs Somebody to Love", thus giving the following 31 turns a near-impossible act to follow. Jools Holland's long-established Hogmanay/New Year's Eve celebration Later … Hootenanny remains TV's definitive dad-rock haven after 11 years on air. From 1993 to 2003, here's young British Rock and Roll flexing its muscles, history in the making. Last series Keane, Franz Ferdinand and 22-20s all came on 'Later' to stake their claim. They started as debutantes and came back as headliners. Travis appeared on 'Later' when they'd released their first limited edition single, Stereophonics, Catatonia and then Coldplay made their TV debuts on the programme and kept on coming back. Bands like Radiohead and The Verve would play the show when they wouldn't even do Top Of The Pops. Blur, Oasis and the rest kickstarted Britpop, Paul Weller found his stride again and they were all happy enough to come on the show and do what they do best and play live. When 'Later' started in 1992, British rock and roll was still in the doldrums and grunge ruled OK. One of the things LATER WITH JOOLS HOLLAND tries to do best is to spot those new bands as they emerge and put them on television. What Britain does best is breed new bands. I’d have liked to really see the band record Ghost, but “Montserrat” possesses some informational and entertainment value nonetheless. ![]() These will look very familiar to anyone who’s already watched the main collection of videos, as they show the same form of mimed studio work. The program fills out with studio videos for “Demolition Man”, “One World (Not Three)”, “Spirits In the Material World”, and “Every Little Thing She Does Is Magic”. Lastly, Holland speaks with Copeland about his drum kit and style. We get another jam with Holland, and Summers eventually joins in as well. He chats about how he came up with “Message” and we also meet “Brian”, his upright electric bass. Sting goes over the recording process and gives us insight into his songwriting. Summers offers a guitar demonstration that includes glimpses of “Message in a Bottle” with or with effects. Rather than focus on the recording of the album, we find separate sessions with Andy Summers, Sting, and Stewart Copeland. Hosted by keyboardist and TV personality Jools Holland, the program starts with an introduction to the island of Montserrat and then gets to the band in the studio. But playing his solo stuff live, you can hear where he draws his real inspiration from."Police in Montserrat": 45-minute documentary of the band recording Ghost in the Machine, including four songs performed in Montserrat: Demolition Man, One World (Not Three), Spirits in the Material World, Every Little Thing She Does Is Magic Yes, he’s done stuff with Sting, George Harrisson, Howard Devoto’s Magazine, bloody Bono - he even founded a small cool-as-cats outfit known as Squeeze who did some great songs, ‘Up the Junction’, ‘Tempted’, ‘Labelled with Love’, ‘Hourglass’, and a whole bunch of others. The whiskey’s burning in the veins and excreted from the flesh of a barroom full of revellers and Ginsbergs scribbling away in a Moleskine. You can envision Kerouac and Cassady pontificating, Dizzy Gillespie tapping along, Nina Simone probably griping in the corner (she’s notoriously difficult to please according to many peer-reviewed accounts). He evokes the bayous of Louisiana, the showrooms of Vegas he busts the Creole swing as though he was kicked to the curb of Bourbon Street with a songbook and a can of beans and basically went from there. He has got the classic British stiff demeanour, the slightly awkward smile, the pinkish complexion, he even gives off a slightly regal wave.
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