Sorry Spleen, but I think you're rather missing the point that I'm trying to make.

6Music offered up the opportunity to showcase how The Full English has affected music ever since.

In the unlikely event that that call had come to me, one approach I might have taken would be to take certain songs from The Full English and tracked them through to the present day. Yes there probably would have been some 50s, 60s and 70s stuff in there, because that's an important part of where we are now; but also the 80s rockers like Jumpleads or The Men They Couldn't Hang, the 90s and 00s revival, and modern acts using the same material or building on it (the wyrd and psych folk movements, Jim Moray and his astounding sound palettes, Trembling Bells, etc etc).

Or maybe I'd have taken a theme suggested by a song recorded in The Full English and tracked that theme through to the present day - maybe as broad as Loss and Parting or a Broken Token ballad, maybe something more specific like the particular story of Spencer The Rover (give me the commission and I'll spend more time working that vague idea up more).

There's two ways that the opportunity could have been better used. Kate Rusby, for example, would probably still get in, because I happen to think she's central to the whhat positive engagement there is with 'folk music' in the wider world, but I'd probably have chosen her doing a traditional song rather than her version of Village Green Preservation Society. Unless VGPS that linked through to The Kinks, and that ill-defined concept of 'English viewpoint' in which case you're off into a whole different area (Lily Allen and Ian Dury, say).

I'm thinking out loud here. But the list of tracks that *was* played, let alone the original vote that our anonymous OP asked us to join in with, shows no such overall concept, no engagement with The Full English or the idea of that collection as representing and making available one of the roots of English music today, no real sign of any thought other than slinging together a lazy list of the usual suspects (Joni Mitchell?????) with a few token 'new' acts of dubious relevance.

To be honest I'm not over-pleased at having my argument dismissed on the straw man grounds of 'older men who like revivalist folk from the 60s and 70s.' I hope I've demonstrated that I'm actually giving it a good deal more thought than that.

Cheers all