Come on, Eileen! These things are real!

OK, so a day and a bit back from Green Man, work’s started again and already the weekend’s revelry is beginning to recede somewhat.

An evening’s fiddling around with these recordings, however…


I’ll confess that the sheer scale of Kevin Rowlands’ majesty has only recently been revealed to me, having been give a copy of Don’t Stand Me Down by a friend. In the past months, however, I’ve given it a fair old play, and bought the new one. I admire his honest song writing; am more than a little nervous of his mad-eyed intensity and love the spoken conversational elements of his songs. Where have I been, eh?

Wasn’t entirely sure how he’d approach Green Man or how he’d go down, but I needn’t have worried. I loved the Field Music set I posted yesterday, but for sheer fun and exuberance, Dexys was certainly the best hour of the weekend.

Introduced by the careful and understated keyboards of Mick Talbot, and ably supported by long time crony Pete Williams, Rowlands came on immaculately dressed and ripped through an hour of intense, brassy passion, striking “tongue in cheek” poses and embodying his fearsome songs with swagger and no little fun.

Half way through, singer Madeleine Hyland came on to play the toyed-with and, ultimately, spurned lover who falls foul of her man’s weaknesses. She was as full of attitude as Rowlands himself and played her part admirably.

Generally the set focused on material from “One Day I’m Going to Soar”, but there were some older numbers, including a ten-minute “Come On Eileen”, which he then topped with a 15-minute “This Is What She Is Like”. Wow!

Towards the end of the hour, some wag with a west country burr shouted out “Kevin, ya mad bugger!”, which pretty much summed up the occasion for me.

What great fun it was!


Come On Eileen

This is What She is Like

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