Every year towards the end of June I head off on my annual pilgrimage to witness, experience, hear, and enjoy the Glastonbury Roar. It’s a roar of an audience like you hear nowhere else in the world. It very organic and natural and it comes from nowhere other than a crowd of mostly non-partisans reacting to an excellent performance by artists at the peak of their art.
My adventure starts at Paddington Railway Station where the train company seems to be working on the infamous cattle market approach BA perfected in the good old days at their LHR Gate 49 for the Belfast shuttle. At Paddington anyone carrying a rucksack, tent and wellies were herded into a compound (literally) and then crammed onto special festival trains, leaving the scheduled trains free for the humans. I manage to avoid this zoo by booking a seat on a train to Taunton, the stop after Castle Cary. Castle Cary is the official station for the festival from where there is a free shuttle bus service into the site. This year I moved accommodation to The Wookey Hole Hotel just outside of Wells and my room is in the infamous Witch’s Hat-shaped tower of the hotel - I kid you not - certainly a good way to pick up the local vibe if not the festival vibe. The Hotel is attached to famous caves (where the aforementioned witch was turned to stone - something to do with unrequited love) and a paper mill museum, which I had intended to visit all over the weekend but never got around to.
Friday morning I make my way over to the site, secure the necessary passes and head straight to The Acoustic Stage, which I have programmed for Michael Eavis since 1993. The state of our field when I arrive testifies to the fact that it had rained for 9 out of the 11 days the team have been on site for the set-up and the resultant mud is already ankle-deep. If it rains when the festival plant is being moved on site it’s a disaster; if it doesn’t start to rain until the festival starts then that’s much more manageable. To the seasoned festival goers it’s water (and a bit more) off a duck’s back and they have all their personal favourite mud-free hang outs (like the cosy Acoustic Stage backstage Bar) while, for the festival virgins, there’s so much energy flying around and between the lay-lines they hardy even notice the mud on their boots is getting dangerously close to their knees.
At the Acoustic Stage the first act on, the Secret Sisters, do us proud with their heart-warming old-fashion styled, American Country Music approach. Their first album received great reviews and they most certainly lived up to expectations but the surprise of the day, maybe even the weekend, is Rainy Boy Sleep. No one knew a thing about him, yet he held the Secret Sisters large audience and even added to it with his charm, arresting lyrics and magic melodies.
The afternoon flew by all the more quickly due to John Ottway’s madcap performance including 7 death defying summersaults (while simultaneously playing the guitar) and a box of Brownies. The home-baked brown squares are pure, simple and (even though it’s Glastonbury) restricted to classic brownie mix. They’re amazing, probably the best ever and left as a present in the Asgard site office. The Ottway performance needs to be seen to be believed.
There’s lots of sound spillage from the main stage and the rain continues to bombard us, but with Michael Eavis one-man-vibing campaign it’s impossible for anyone to feel down for too long. It’s also impossible to keep anyplace tidy with all the mud. Everyone is sitting around waiting for the sun. Down on the main field regular festival attenders have long ago learnt that performing mud-dancing for the cameras (TV and Press)is a very quick route for national attention. I am fascinated by the way people walk through the mud. They have the arms outstretched liked wings and look like they are tip-toeing past a sleeping dog fearful of waking it. As I vainly search the skies for that breakthrough ray of sunshine I think of the classic George Harrison, song called Here Comes The Sun (which Sunday artist Paul Simon sometimes performs) and I remember Michael Eavis admitting to me a few weeks previous that his biggest Glastonbury regret was the year he was offered George Harrison but he couldn’t accommodate the former Beatle because he’d already confirmed his headliners for that year and Michael is too honourable a man to go back on his word.
This year he has a great reason to celebrate the name George because two weeks before the festival Emily (Michael’s daughter) and her husband, Nick, (who are both very involved with Michael in organising the festival) celebrated the birth of their first child, George.
This year the first Glastonbury Roar (that I experience) happened during Newton Faulkner’s set. He’s been an Acoustic Stage regular since before he broke big and he’s a big favourite with both the Acoustic Stage audience and crew. He’s been hanging around the tent all day (and most of the weekend) listening to the other acts and generally enjoying himself. He completely filled the tent himself later in the (Friday) afternoon and went down incredibly well with the audience. Towards the end of his set he performed his version of Bohemian Rhapsody using the audience as his backing band to cover all of the complex harmonies – note perfect - and when they get to the end of the song the Roar emerges from deep in the heart of the tent and erupts to fill the tent and the field beyond. The Roar really is a wondrous experience.
What rain and mud indeed?
Hothouse Flowers gain a Roar from the crammed Acoustic Stage tent for their unique blend of infectious Celtic Soul music. They just love to perform and it seems to matter little to them how small or how large the audience is. Size has nothing to do with music. Brit Floyd close the night for us and several of the crew where seen and heard wandering around muttering variations on, “it sounds just like the record.”
Back to my spooky room in the witch’s hat and by the time I get there it’s the early hours of the morning and the BBC are winding down their coverage of the first day of the festival. Glastonbury on TV doesn’t really work for me. The screen is much, much too small to catch even a millionth of what’s going on at the festival at any one moment, which we’ll discuss later in more detail. My worry is that people watching Glastonbury in TV-land will think what they see is all there is and never have a real idea of what’s occurring down on Worthy Farm. I’d hate people to think that one of two couples of “radio” presenters sitting around in clean wellies, talking a load of absolute rubbish, is all there is to Glastonbury. The BBC would be much better served with a set of different presenters each year who might inject some freshness and enthusiasm. And while we’re on the subject of telly, why on earth would U2 (and Coldplay on Saturday Night) agree to come straight from the stage to the BBC studio to do an interview? Can’t they see all they are doing is damaging their mystique? They came, they conquered; end of story. Napoleon certainly didn’t do interviews after his victories; no, he kept his box of tricks up his sleeve for his next battle.
My Saturday starts with an early morning adventure in Wells and a visit to the stunning Bishops Palace and Gardens, which I’ve earmarked for a return visit to investigate the amazing buildings closer. I then pottered around the market being greatly amused by a stall owner’s dog who’d been tied to the foot of a bench and obviously had been ordered to sit and keep quiet. The dog’s tail betrayed exactly how hyper the poor dog was and he’d cleared a spotless arc on the very dusty footpath in order to vent his pent up enthusiasm.
One of the big highlights of Saturday afternoon at the Acoustic Stage is Thea Gilmour, a very heavily pregnant Thea in fact. Her new album is her version of Dylan’s classic, John Wesley Harding (in its entirety). Thea’s version is adventurous and vital and I’d really been looking forward to her promise to perform the album live. Thea and her excellent band are in fine form and the adventurous project works just as well live as it does on her CD. She gets to the end of her set, singing her heart out and our Stage manager breathes a sign of relief as she safely sets foot on the earth without needing to visit her doctor.
Nick Lowe and his fine band have a new sense of purpose about them. Could it be due to the fact that they were playing with new found confidence now that they have what’s certainly their best ever album, The Old Magic, under their belt and due for a release this September. As they leave the stage and head to their makeshift dressing room, Alan Yentob, still buzzing from the show, nearly knocks me over in his enthusiasm to tell Nick how much he really loved the performance.
Next up is Pentangle and even with their (the 5 musicians) combined age of 350 years, they still raise a Roar with a truly virtuoso performance of their unique first class music.
Saturday’s closer Deacon Blue, led by major music fan Rickie Ross, pack the tent to the rafters with their loyal followers, and it isn’t long before we all experience another mighty Celtic Roar.
Sunday morning I bum a lift onto site in Don McLean’s pure luxury-on-wheels tour bus, which costs the entire budget of a small nation to rent. As we arrived on site the Fisherman’s Friends are making a strong connection with the growing audience at the Pyramid Stage, which is where Don will also be appearing. A whole different set of passes are required for this area of the site but it’s well worth the additional wrist bands and laminates if only because of the amazing spicy bean burgers in catering. The main stage area is packed for Don with fans keen for his world famous song but surprising the Glastonbury Roar happened long before he performed American Pie, during a spine tingling version of Crying. Don’s stripped down set-up with no frills and absolutely everything going into the power of the performance. And the performance is so emotionally charged that before very long every single member of the 100,000 audience is glued to the stage, lost in the song and in the performance of the song. As it ends 100,000 people from 9 years old to 90 years old, overcome by a communal lump-in-the-throat and tear-in-the-eye, react spontaneously to create a genuine Glastonbury Roar. But Don Mclean doesn’t play to the showbusines tradition and use that momentum of his second Roar, for American Pie, to go in for the kill. No, his band leaves the stage and he, accompanying himself only on guitar, does a show-stopping, heart-wrenching, version of Seaman, another of his own songs, and the amazing thing is that each and everyone one of the audience who had being going ape at the end of American Pie stay exactly where they are, magnetised to the layline and genuinely moved by the power of music – truly an amazing experience to behold. You see that’s part of the magic of Glastonbury; artists like U2, Elbow, Don McLean, Beyonce, Radiohead, Plan B, Primal Scream, Fisherman’s Friends, etc., can share the same stage and gain the same attention, respect and devotion from the audience.
That’s all down to Michael Eavis’ vision for Glastonbury.
If an artist is great Michael wants to try to find a spot for them at Glastonbury.
With an audience of 140,000 (plus performers, crew, staff, traders, stewards, security etc.,) it is officially the 3rd largest village in the SW of England over that weekend; bigger even than Bath!
This year was the 41st anniversary of first festival and the 30th actual festival and Michael had 1939 acts playing on 51 stages!
On top of that there was a Cinema, (Pilton Pavilion); the Kidz field; Circus tents; healing fields; dance tents; spaces for poetry, cabaret, comedy, talks and workshops. There are regular festival goers who never visit a single music stage over the course of the entire weekend. Still even for them there’s just so much going on they never get a chance to do all the things they wish to do.
Me, I’m happy just to wander around knowing there is the chance I’ll be able to experience the unique and soulful Glastonbury Roar.
And now the bit before I go...
This time I’ve seen:
Transformers
Larry Crowe
X Men
Senna (amazing!)
Water For Elephants.
Wallander – the first 2 Swedish series. (Consistently incredible, the best TV detective series since Morse)
Life – the first 2 series – I’m still trying to work out why this got cancelled after the 2nd series.
And read:
Hans Fallada – Alone in Berlin
And heard:
Live Taste – Taste CD – very exciting and shows the band at their peak. I was disappointed though to see that the sleeve notes I did for the original vinyl album (1972) haven’t survived. This was my first professional engagement as it were. Well… it wasn’t really professional in the true sense of the word in that I didn’t get paid for my work. Eddie Kennedy, the Taste manager, said at the time he commissioned me that I could either receive a payment or a credit on the sleeve for my work, but not both. Vanity won out.
Dylan at Finsbury Park – a legendary performance.
Christy Moore & Declan Sinnott at Finsbury Park – working men in their prime.
Ray Davies his band, Choir & Orchestra @ The Meltdown Festival – a major treat.
Alan Price Set @ The Meltdown Festival – his between song chat is hilarious but didn’t distract from his perfect performance. He was in fine voice and he did all the songs and hits you long for.
Michael Eavis @ The Meltdown Festival – enlightening and inspiring.
Several Glastonbury Roars
Until the next time…
Cheers
pc
Thursday, July 14, 2011
Monday, June 6, 2011
A Question of Balance
Okay, Ireland as a nation has, over the years, produced fine artists such as:
Billy Brown
Christy Moore
Dave Lewis
Damien Rice
Enya
Gary Moore
Gilbert O’Sullivan
Glen Hansard
Henry McCullough
Hothouse Flowers
Johnny McEvoy
Joseph Locke
Juliet Turner
Liam O’Maonlai
Lisa Hannigan
Luka Bloom
Mary Black
Mary Coughlan
Rory Gallagher
Séamus Ennis
Sinead Lohan
Sinead O’Connor
Skid Row
Taste
Them
The Chieftains
The Clancy Bros With Tommy Makem
The Cranberries
The Dubliners
The Frames
The Interns
The Undertones
Thin Lizzy
Paul Brady
Paul DiVito
Phil Lynott
Planxty
U2
Van Morrison
So could anyone please tell me why when the President of The United States of America recently visited these shores our musical representatives were:
Jedward and Westlife?
I’m just asking the question and not meaning any offence.
Cheers
pc
Billy Brown
Christy Moore
Dave Lewis
Damien Rice
Enya
Gary Moore
Gilbert O’Sullivan
Glen Hansard
Henry McCullough
Hothouse Flowers
Johnny McEvoy
Joseph Locke
Juliet Turner
Liam O’Maonlai
Lisa Hannigan
Luka Bloom
Mary Black
Mary Coughlan
Rory Gallagher
Séamus Ennis
Sinead Lohan
Sinead O’Connor
Skid Row
Taste
Them
The Chieftains
The Clancy Bros With Tommy Makem
The Cranberries
The Dubliners
The Frames
The Interns
The Undertones
Thin Lizzy
Paul Brady
Paul DiVito
Phil Lynott
Planxty
U2
Van Morrison
So could anyone please tell me why when the President of The United States of America recently visited these shores our musical representatives were:
Jedward and Westlife?
I’m just asking the question and not meaning any offence.
Cheers
pc
Wednesday, March 2, 2011
Excuse me while I kiss the sky
An adventure in wonderland.
“Excuse me while I kiss the sky,” so wrote Mr James Hendrix and surely an extremely weird thing to want to do but, at the same time, he still showed what a gentleman he really was by asking to be excused before he attempted his indulgence. The imagery did however set me to thinking about what might have been the weirdest thing I ever did in my Adventures in Wonderland – the music business.
I was working with a gentleman by the name of Eddie Kennedy. I was publicist for two of his groups, Taste and Anno Domini. Now the thing I need to admit to you here is that I was hopelessly out of my depth. It is my belief that he only gave me the Taste account because he was losing them and he hoped/thought it would be a carrot for me to work on his smaller (and soon to be only) group, Anno Domini. Taste (Rory Gallagher, guitar, sax and vocals, John Wilson, drums and Charlie McCracken, bass guitar) at that stage were quite possibly the best live band in the world and Rory Gallagher’s talent and natural stage presence was one of the most effective publicity generating machines in existence. Even John Lennon raved enthusiastically about Rory in an interview the Beatle did for Disc and Music Echo a weekly music paper.
Anno Domini was another matter altogether. They enjoyed a very pleasing Crosby Stills & Nash type of sound and approach to song-writing and Tiger Taylor, their guitarist, was, in his own right, also a force to be reckoned with. I’d spotted him in an earlier incarnation with his own band - Tiger’s Tale - and the reason he stood out in my mind was because the night I first saw him (in Belfast) he and his fine band had performed, note perfect mind you, Dylan’s John Wesley Harding album from beginning to end. His two fellow band members in Anno Domini were Terry Scott - vocals and percussion - and David Mercer - vocals and guitar. David had the gift of delivering beautiful melodies and could craft his lyrics with the best of them. Anno Domini supported Taste everywhere, it seems that they couldn’t get any other gigs. That was their main problem. Taste’s audience just weren’t really interested in Anno Domini and if they’d supported more suitable artists perhaps they’d still be on the radar today.
Anyway I digress. One day I’m in my room in Eddie’s suite of offices at Command Studios (currently the home of Waterstones in Piccadilly) and I’m on the telephone to a journalist. The journalist was most likely a true gentleman by the name of Roy Hollingsworth. Roy was famous due to the fact that during a legendary interview with Leonard Cohen, they both, disillusioned by the music business and, no doubt inspired by a fine claret, made a pact to give it all up and retire to the country to get it together… as was very in vogue in those halcyon days. As I say I was, most likely, on the phone with Roy. I’m quite confident about this fact simply because he was one of the few, if not the only, journalist who would always take my calls, on top of which he frequently gave Anno Domini the requested, “wee mention” in the Melody Maker when ever he could, which I seem to remember was probably quite frequent and was also most likely the reason why I kept the job.
So as I was saying, I’m on the phone to Roy, and Eddie is loitering around my door with intent. I’m stringing the call out with Roy as long as humanly possible in the hope that Eddie would take a wee dander elsewhere and leave me alone to work out the finer points of my world domination plan. I mean just because he employed me surely didn’t mean I had to be at his beck and call all the time? When I eventually got off the phone - as in the second I set my heavy bakelite handset back in the saddle of the phone - Eddie saunters into my room and he says something like…
“So Paul, what are your plans for tomorrow?”
“I was hoping to hop on a flight to LA…” I began and waited for the delayed effect of him nearly choking on his milky coffee, before continuing, “…but the petty cash tin is pretty low.”
He flashed me one of those I-didn’t-think-that-was-funny-but-I’m-going-to-remain-good-humoured-because-I’m-going-to-ask/order-you-to-do-something-you-won’t-want-to-do kind of looks.
“Of course I’m going to be in here bound to my desk and the phone,” I conceded.
“Ah good, because I’ve got a wee job for you.”
I’m thinking, ‘please don’t have another new group you need press for,’ knowing my friendship with Roy Hollingsworth was stretched to the limit as it was.
Then I think I hear Eddie say something that sounded like, “And ah… what will you be wearing?”
“Sorry?” I ask immediately knowing he couldn’t possibly have said what I thought he said.
He says, “I mean will you be wearing your current outfit?” as he looks at my dark blue loon pants, lavender granddad shirt and tan desert boots?”
I make a fuss over checking my diary and respond with, “The Royal Variety Performance is not on for a few weeks yet so I suspect I, most likely, will be in my normal attire.”
“Great,” he said, mentally rubbing his hands, “and ah, will you be washing you hair,” he continued looking over his glasses at my mop-top, which was more Italian Monk than the Beatles’ Rubber Soul look I’d been trying for.
A hundred scenarios flashed through my mind and none of them pleasant but none of them quite as uncomfortable as what he actually had in mind.
Eddie encouraged some of his artists and their friends to use down-time in the studio to work on songs, record demos (demonstration tapes) as they pursued the song-writing side of their careers. One such session with a co-operative of musicians from various groups had in fact produced quite a passable master recording, and Eddie had secured a record deal for the song with Deram Records (an off-shoot of Decca Records). He’d been duly paid for the recordings and then didn’t Deram only go and want to release the track as a single.
Which was good normally; in fact a release on a hip label (the home of Procol Harum amongst others) was what most artists gave their eye-teeth for. But not in this case; the main problem being that the artists in question were all contracted to other record labels and bands, so the group on the tape Deram had accepted quite simply just didn’t exist. So Eddie urgently needed to form a fictitious group and do photographs for press and artwork. This was apparently where I came in. I was to be (at least on camera) one of the members of his group. The next day we did the photo shoot on a building site in the west end. I don’t remember any of my fellow band members but we were a rag-tag and bobtail mob, which was in fact my suggestion for the group name by the way. Anyway we each got paid a fiver, signed a release (so we could be willingly exploited) and two months later an advert with our moody photo appeared in an advert in the Disc and Music Echo. There was talk about Top of The Pops and a world tour… but… well you know, I’ve always thought that Eddie held the group back just so I would have to stick around and do the press for Anno Domini.
This time I’ve read.
Damage by John Lescroart – one of the most consistent and enjoyable authors around.
A Few Kind Words and a Loaded Gun – the autobiography of a career criminal by Noel Razor Smith – he most definitely takes you there, an incredible read!
First Frost by – Henry James.
Chaplin by David Robinson - the read, not the book, inspired by the BBC Radio 4 series. The book is a major, not to mention wonderful, work by Mr. Robinson.
No Angel – The Secret Life of Bernie Ecclestone by Tom Bower - very unputdownable but you have to keep reminding yourself that you are not, in fact, reading a work of fiction.
And saw:
Brighton Rock – not in the same league as the good old Portrush Rock
Chaplin – excellent biopic
The Kid
Limelight
Secretariat – Seabiscuit wins by several lengths.
Animal Kingdom
Half Nelson
The Killing (BBC 4 TV series)– totally amazing, by far the best series on the telly at the moment.
And listened to:
Magic by Sean Rowe – a 100% classic.
Until the next time…
Cheers
pc
“Excuse me while I kiss the sky,” so wrote Mr James Hendrix and surely an extremely weird thing to want to do but, at the same time, he still showed what a gentleman he really was by asking to be excused before he attempted his indulgence. The imagery did however set me to thinking about what might have been the weirdest thing I ever did in my Adventures in Wonderland – the music business.
I was working with a gentleman by the name of Eddie Kennedy. I was publicist for two of his groups, Taste and Anno Domini. Now the thing I need to admit to you here is that I was hopelessly out of my depth. It is my belief that he only gave me the Taste account because he was losing them and he hoped/thought it would be a carrot for me to work on his smaller (and soon to be only) group, Anno Domini. Taste (Rory Gallagher, guitar, sax and vocals, John Wilson, drums and Charlie McCracken, bass guitar) at that stage were quite possibly the best live band in the world and Rory Gallagher’s talent and natural stage presence was one of the most effective publicity generating machines in existence. Even John Lennon raved enthusiastically about Rory in an interview the Beatle did for Disc and Music Echo a weekly music paper.
Anno Domini was another matter altogether. They enjoyed a very pleasing Crosby Stills & Nash type of sound and approach to song-writing and Tiger Taylor, their guitarist, was, in his own right, also a force to be reckoned with. I’d spotted him in an earlier incarnation with his own band - Tiger’s Tale - and the reason he stood out in my mind was because the night I first saw him (in Belfast) he and his fine band had performed, note perfect mind you, Dylan’s John Wesley Harding album from beginning to end. His two fellow band members in Anno Domini were Terry Scott - vocals and percussion - and David Mercer - vocals and guitar. David had the gift of delivering beautiful melodies and could craft his lyrics with the best of them. Anno Domini supported Taste everywhere, it seems that they couldn’t get any other gigs. That was their main problem. Taste’s audience just weren’t really interested in Anno Domini and if they’d supported more suitable artists perhaps they’d still be on the radar today.
Anyway I digress. One day I’m in my room in Eddie’s suite of offices at Command Studios (currently the home of Waterstones in Piccadilly) and I’m on the telephone to a journalist. The journalist was most likely a true gentleman by the name of Roy Hollingsworth. Roy was famous due to the fact that during a legendary interview with Leonard Cohen, they both, disillusioned by the music business and, no doubt inspired by a fine claret, made a pact to give it all up and retire to the country to get it together… as was very in vogue in those halcyon days. As I say I was, most likely, on the phone with Roy. I’m quite confident about this fact simply because he was one of the few, if not the only, journalist who would always take my calls, on top of which he frequently gave Anno Domini the requested, “wee mention” in the Melody Maker when ever he could, which I seem to remember was probably quite frequent and was also most likely the reason why I kept the job.
So as I was saying, I’m on the phone to Roy, and Eddie is loitering around my door with intent. I’m stringing the call out with Roy as long as humanly possible in the hope that Eddie would take a wee dander elsewhere and leave me alone to work out the finer points of my world domination plan. I mean just because he employed me surely didn’t mean I had to be at his beck and call all the time? When I eventually got off the phone - as in the second I set my heavy bakelite handset back in the saddle of the phone - Eddie saunters into my room and he says something like…
“So Paul, what are your plans for tomorrow?”
“I was hoping to hop on a flight to LA…” I began and waited for the delayed effect of him nearly choking on his milky coffee, before continuing, “…but the petty cash tin is pretty low.”
He flashed me one of those I-didn’t-think-that-was-funny-but-I’m-going-to-remain-good-humoured-because-I’m-going-to-ask/order-you-to-do-something-you-won’t-want-to-do kind of looks.
“Of course I’m going to be in here bound to my desk and the phone,” I conceded.
“Ah good, because I’ve got a wee job for you.”
I’m thinking, ‘please don’t have another new group you need press for,’ knowing my friendship with Roy Hollingsworth was stretched to the limit as it was.
Then I think I hear Eddie say something that sounded like, “And ah… what will you be wearing?”
“Sorry?” I ask immediately knowing he couldn’t possibly have said what I thought he said.
He says, “I mean will you be wearing your current outfit?” as he looks at my dark blue loon pants, lavender granddad shirt and tan desert boots?”
I make a fuss over checking my diary and respond with, “The Royal Variety Performance is not on for a few weeks yet so I suspect I, most likely, will be in my normal attire.”
“Great,” he said, mentally rubbing his hands, “and ah, will you be washing you hair,” he continued looking over his glasses at my mop-top, which was more Italian Monk than the Beatles’ Rubber Soul look I’d been trying for.
A hundred scenarios flashed through my mind and none of them pleasant but none of them quite as uncomfortable as what he actually had in mind.
Eddie encouraged some of his artists and their friends to use down-time in the studio to work on songs, record demos (demonstration tapes) as they pursued the song-writing side of their careers. One such session with a co-operative of musicians from various groups had in fact produced quite a passable master recording, and Eddie had secured a record deal for the song with Deram Records (an off-shoot of Decca Records). He’d been duly paid for the recordings and then didn’t Deram only go and want to release the track as a single.
Which was good normally; in fact a release on a hip label (the home of Procol Harum amongst others) was what most artists gave their eye-teeth for. But not in this case; the main problem being that the artists in question were all contracted to other record labels and bands, so the group on the tape Deram had accepted quite simply just didn’t exist. So Eddie urgently needed to form a fictitious group and do photographs for press and artwork. This was apparently where I came in. I was to be (at least on camera) one of the members of his group. The next day we did the photo shoot on a building site in the west end. I don’t remember any of my fellow band members but we were a rag-tag and bobtail mob, which was in fact my suggestion for the group name by the way. Anyway we each got paid a fiver, signed a release (so we could be willingly exploited) and two months later an advert with our moody photo appeared in an advert in the Disc and Music Echo. There was talk about Top of The Pops and a world tour… but… well you know, I’ve always thought that Eddie held the group back just so I would have to stick around and do the press for Anno Domini.
This time I’ve read.
Damage by John Lescroart – one of the most consistent and enjoyable authors around.
A Few Kind Words and a Loaded Gun – the autobiography of a career criminal by Noel Razor Smith – he most definitely takes you there, an incredible read!
First Frost by – Henry James.
Chaplin by David Robinson - the read, not the book, inspired by the BBC Radio 4 series. The book is a major, not to mention wonderful, work by Mr. Robinson.
No Angel – The Secret Life of Bernie Ecclestone by Tom Bower - very unputdownable but you have to keep reminding yourself that you are not, in fact, reading a work of fiction.
And saw:
Brighton Rock – not in the same league as the good old Portrush Rock
Chaplin – excellent biopic
The Kid
Limelight
Secretariat – Seabiscuit wins by several lengths.
Animal Kingdom
Half Nelson
The Killing (BBC 4 TV series)– totally amazing, by far the best series on the telly at the moment.
And listened to:
Magic by Sean Rowe – a 100% classic.
Until the next time…
Cheers
pc
Wednesday, January 26, 2011
Pictures With Words In Deep Shades of Blue
The Art of The Singer Songwriter.
According to my spellcheck the word “songwriter” doesn’t exist, well at least not as a single word. Folksinger, as a single word, is acceptable, which says a lot because Singer Songwriter became the hipper name for Folksingers when record companies and managers wanted to distance their charges from the bushy beards, bulging beerbellies and sweaty caps of the minority and (apart from Mr. Zimmerman) waning folk genre for their own newer wave of charges who were not considered part of the blossoming rock market but who were very keen to become recording and performing artists.
It would appear that the singer songwriter term was first used to help James Taylor shed his Apple Records skin for his brand new Warner Bros. coat of many colours. But because of the obvious Beatle connection I bought Mr. Taylor’s Warner Bros. Debut, Sweet Baby James, and added it to my fledging collection, which in hindsight could be classed, either directly or indirectly, as being biased towards singer songwriters.
As a reference point here is my all time
Top 20 Classic Singer Songwriter Albums.
(Listed alphabetically)
Beatles - Abbey Road (1969)
Jackson Browne - Late For The Sky (1974)
JJ Cale - Troubadour (1977)
Leonard Cohen - Songs of Leonard Cohen (1967)
Crosby, Stills & Nash - Crosby, Stills and Nash (1969)
Neil Diamond - Hot August Nights (1972)
Nick Drake - Bryer Layer (1970)
Lesley Duncan - Sing Children Sing (1971)
Bob Dylan - Time Out Of Mind (1997)
Carole King - Tapestry (1971)
Cat Stevens - Tea For The Tillerman (1970)
Van Morrison - Moondance (1970)
Don McLean - American Pie (1971)
Gilbert O’Sullivan - Himself (1971)
Paul Simon - SongBook (1965)
James Taylor - Sweet Baby James (1970)
Loudon Wainwright III - More Love Songs (1986)
Tom Waits - Swordfishtrombone (1984)
Hank Williams - The Best of (1998)
Neil Young - Everyone Knows This is Nowhere. (1969)
How did I amass this collection? Well mostly by word of mouth. In those pre Amazon days, way, way before their, “if you like this, you might also want to try this,” approach, the key was really self-discovery. Graham Nash was a member of the Hollies and I enjoyed their singles and distinctive vocal approach and I was intrigued by the fact he’d gone to America to form Crosby, Stills & Nash. David Crosby I knew was a member of the Bryds. I’d been introduced to their music because they’d successfully covered a few Dylan songs, not to mention the fact that they’d openly praised the Beatles. Stephen Stills I only knew of his work through the Supper Session album (1968), which I’d bought because the other two key musicians on the album, Al Kooper and Mike Bloomfield, has done some recording with Dylan. Anyway the CSN combination was enough to tempt me to part with my hard earned cash. I bought the CSN album the day it was released and I loved it, still do. Then there was some CSN connection to Neil Young so I bought his then current album, Everyone Knows This Is Nowhere (1969) and loved it so I also purchased his other album, Neil Young. Then David Crosby produced Joni Mitchell’s first album and I bought that, then I read somewhere – probably Rolling Stone, that David Crosby and Graham Nash sang on an album by another new artist called Jackson Browne, and what a reward his album Jackson Browne (nicknamed Saturate Before Use due to the sleeve artwork) turned out to be.
With Nick Drake I bought Bryer Layer because it was on Island Records, that was enough in those days, and I couldn’t believe the absolute heart-wrenching gem I discovered within. Tom Waits was also an Island artist, yes he started on Asylum Records but with his first release on Island (Swordfishtrombone) he totally re-invented the singer-songwriter genre using colours no one had ever dreamed of using before. Around the time of Elton John’s first album, I went to see him and his (then) band Hookfoot record a BBC Radio “In Concert” and during the performance he mentioned Lesley Duncan as being the writer of the hypnotic Love Song, one of the great songs in his set. I scouted out her album, Sing Children Sing, shortly thereafter, probably in Musicland in Dean Street. I was absolutely convinced she was going to become a major artist and perhaps if she’d been based in USA and on Warner Bros. or Asylum, she would have. I was hooked on Gilbert O’Sullivan’s head-turning, gobsmacking, classic single, Nothing Rhymed, but I still wasn’t prepared for how strong his debut album would be; absolutely every track turned out to be a perfectly crafted song. Don McLean was a similar process for me, the singles (American Pie & Vincent) hooked me and the album reeled me in the whole way. Simon and Garfunkel were another matter. I quite liked some of their songs, liked them a lot in fact but I found the production somewhat unsympathetic to the songs. Then I discovered The Paul Simon Songbook and all was fine because I’d another lifelong friend in an album. On and on I worked my way building up my record collection, some – mostly the ones on the above list became life-long friends – while others are tied to memories of a time or a face.
But these were the writers who preferred to do their own songs. At the same time other talented artists like, Joe Cocker, Rod Stewart, The Carpenters, Jennifer Warnes, Otis Redding, Don Williams and Christy Moore where doing great work interpreting some of the great songwriters of the day and perhaps those albums are for a future top 20.
I apologise in advance if anyone is offended by the fact that I’ve included a few artists I was lucky enough to go on to work with, but… I would also like to point out that in all cases it was the artist’s work, that sooooo made me want to work with them in the first place. Apart from Abbey Road I have not included any bands on the list. The Beatles: okay, okay, I hear you say; it’s PC so the Beatles can’t be very far away… but… in my defense I’ll say by the time of Abbey Road they were not so much a band but more a collective of the finest English songwriters this side of Ray Davies. So what I’m saying is not that Abbey Road is my favorite Beatle album but it is my favorite Beatle album in the singer songwriter category. I’ve also not included more than one album by any artist. It was hard enough to squeeze in all I wanted to include, so several Dylans, or Jackson Brownes, no matter the temptation, was just out of the question. I opted for Van’s Moondance rather than the classic Astral Weeks for this list only because the tracks on Moondance work better as stand alone songs. I’ve also tried to resist including in the above list amazing yet obscure albums; you know, some incredible album, where no one but myself, and literally a few others are aware of said album. So, with this in mind I’ve tried to stick to albums that have enjoyed at least some degree of critical and commercial success.
It’s also most definitely worth noting that the sleeves of all of the above, maybe because of the stature of the albums or maybe because of the physical size of the artwork – 12 inches square - also became iconic.
And finally a special mention in the best-songwriter-never-to-make-an-album section: I’m talking about one of the all time great songwriters, Mr. Bob McDill. He’s had over 30 (and still counting) No. 1 hit singles on Bilboard’s US Country Charts. He’s been covered by everyone from Alan Jackson, Waylon Jennings, Perry Como, Jerry Lee Lewis to Bobby Bare, who recorded an entire album of his songs called Me and McDill. And a very fine album it was too, but, in my humble opinion his songs are at their best when showcased by Don Williams who always included 2 or 3 Bob McDill songs on his excellent collection of successful albums. When I was in Nashville once I tried to track down Bob McDill if only to see if he’d ever made an album. I ended up speaking on the phone to someone from JMI, the publishing company Bob McDill was signed to. The gentleman I was speaking to turned out to be none other than Cowboy Jack Clements and we’d a great long chat. Mr. Clements originally worked as a producer and engineer on sessions with the likes of Roy Orbison, Carl Perkins and Johnny Cash for Sam Philips at Sun Records. Word has it, it was he who ‘discovered’ and recorded Jerry Lee Lewis when Sam Philips was outta town. Anyway Jack Clements said he’d never been able to persuade Bob McDill to make a serious attempt at a recording career of his own. The writer was more than happy spending his time writing songs and lecturing English classes at a local University. Just as I was giving up hope and feeling I was in danger of overstaying his hospitable welcome, Cowboy Jack Clements mentioned in passing that Bob had recorded several of his songs, just with a few good friends you understand, and mainly for a demonstration disc to be sent out to producers who were considering recording some of the songs for artists they were working on.
“Oh, any chance of buying one of those?” I said with all the subtly of an X Factor contestant.
He laughed (as you do).
I got the picture (as you do).
We chatted some more and as he was closing he did throw me a scrap by saying he’d have a wander around the office, next time he’s a moment to spare and see if he could find a copy of the McDill demo album lying about ... before adding something like, “…but that was ages ago and we didn’t press up very many copies.”
I got back to London, forgot all about it until one day a month or so later a mint copy of Bob McDill’s extremely rare album turned up in the mail. The album was called Short Stories, It escaped (the opposite to having a proper release) in 1972, self-produced, front-room sounding, and contained 10 beautiful songs Bob McDill had written or co-written in 1971 and 1972. The, ‘some of his friends’ who played on the album turned out to be musicians who became regulars on Don Williams albums and tours. The album was in a classy sleeve, complete with lyrics on the back and made from the very stiff American cardboard, which protected the album and the art. Which is probably why I still have it today, and why it’s still in such good condition. Now the reason for the tale is not so much to show lucky I was, because I most certainly was, but more to demonstrate – with his courtesy and eye for detail - how Cowboy Jack Clements ended up being so successful. These things don’t happen by accident.
Maybe more about collecting in the future, but in the meantime...
This time I’ve seen in the cinema:
Hereafter
Something
Black Swan
Get Low
True Grit
The Fighter
Harry Potter Seven Part 1.
Fair Game
The American
Little Forkers
Rabbit Hole
King’s Speech
Blue Valentine
Love and Other Drugs
Season of The Witch
Next Three Days
Never Let Me Go
Tron
The Company Men
Barney’s Version
Inside Job
All Good Things
How Do You Know
Country Strong
What can I tell you? I was on holiday and it rained a lot! If it were up to me all the Oscars would go to Hereafter, Low, Fair Game and Inside Job with a special mention for the best trailer to Blue Valentine.
And on the small screen:
The 5th series of Bones
The Apostle
And listened to all of the above albums, which is where we came in, so, until next time…
Cheers
pc
According to my spellcheck the word “songwriter” doesn’t exist, well at least not as a single word. Folksinger, as a single word, is acceptable, which says a lot because Singer Songwriter became the hipper name for Folksingers when record companies and managers wanted to distance their charges from the bushy beards, bulging beerbellies and sweaty caps of the minority and (apart from Mr. Zimmerman) waning folk genre for their own newer wave of charges who were not considered part of the blossoming rock market but who were very keen to become recording and performing artists.
It would appear that the singer songwriter term was first used to help James Taylor shed his Apple Records skin for his brand new Warner Bros. coat of many colours. But because of the obvious Beatle connection I bought Mr. Taylor’s Warner Bros. Debut, Sweet Baby James, and added it to my fledging collection, which in hindsight could be classed, either directly or indirectly, as being biased towards singer songwriters.
As a reference point here is my all time
Top 20 Classic Singer Songwriter Albums.
(Listed alphabetically)
Beatles - Abbey Road (1969)
Jackson Browne - Late For The Sky (1974)
JJ Cale - Troubadour (1977)
Leonard Cohen - Songs of Leonard Cohen (1967)
Crosby, Stills & Nash - Crosby, Stills and Nash (1969)
Neil Diamond - Hot August Nights (1972)
Nick Drake - Bryer Layer (1970)
Lesley Duncan - Sing Children Sing (1971)
Bob Dylan - Time Out Of Mind (1997)
Carole King - Tapestry (1971)
Cat Stevens - Tea For The Tillerman (1970)
Van Morrison - Moondance (1970)
Don McLean - American Pie (1971)
Gilbert O’Sullivan - Himself (1971)
Paul Simon - SongBook (1965)
James Taylor - Sweet Baby James (1970)
Loudon Wainwright III - More Love Songs (1986)
Tom Waits - Swordfishtrombone (1984)
Hank Williams - The Best of (1998)
Neil Young - Everyone Knows This is Nowhere. (1969)
How did I amass this collection? Well mostly by word of mouth. In those pre Amazon days, way, way before their, “if you like this, you might also want to try this,” approach, the key was really self-discovery. Graham Nash was a member of the Hollies and I enjoyed their singles and distinctive vocal approach and I was intrigued by the fact he’d gone to America to form Crosby, Stills & Nash. David Crosby I knew was a member of the Bryds. I’d been introduced to their music because they’d successfully covered a few Dylan songs, not to mention the fact that they’d openly praised the Beatles. Stephen Stills I only knew of his work through the Supper Session album (1968), which I’d bought because the other two key musicians on the album, Al Kooper and Mike Bloomfield, has done some recording with Dylan. Anyway the CSN combination was enough to tempt me to part with my hard earned cash. I bought the CSN album the day it was released and I loved it, still do. Then there was some CSN connection to Neil Young so I bought his then current album, Everyone Knows This Is Nowhere (1969) and loved it so I also purchased his other album, Neil Young. Then David Crosby produced Joni Mitchell’s first album and I bought that, then I read somewhere – probably Rolling Stone, that David Crosby and Graham Nash sang on an album by another new artist called Jackson Browne, and what a reward his album Jackson Browne (nicknamed Saturate Before Use due to the sleeve artwork) turned out to be.
With Nick Drake I bought Bryer Layer because it was on Island Records, that was enough in those days, and I couldn’t believe the absolute heart-wrenching gem I discovered within. Tom Waits was also an Island artist, yes he started on Asylum Records but with his first release on Island (Swordfishtrombone) he totally re-invented the singer-songwriter genre using colours no one had ever dreamed of using before. Around the time of Elton John’s first album, I went to see him and his (then) band Hookfoot record a BBC Radio “In Concert” and during the performance he mentioned Lesley Duncan as being the writer of the hypnotic Love Song, one of the great songs in his set. I scouted out her album, Sing Children Sing, shortly thereafter, probably in Musicland in Dean Street. I was absolutely convinced she was going to become a major artist and perhaps if she’d been based in USA and on Warner Bros. or Asylum, she would have. I was hooked on Gilbert O’Sullivan’s head-turning, gobsmacking, classic single, Nothing Rhymed, but I still wasn’t prepared for how strong his debut album would be; absolutely every track turned out to be a perfectly crafted song. Don McLean was a similar process for me, the singles (American Pie & Vincent) hooked me and the album reeled me in the whole way. Simon and Garfunkel were another matter. I quite liked some of their songs, liked them a lot in fact but I found the production somewhat unsympathetic to the songs. Then I discovered The Paul Simon Songbook and all was fine because I’d another lifelong friend in an album. On and on I worked my way building up my record collection, some – mostly the ones on the above list became life-long friends – while others are tied to memories of a time or a face.
But these were the writers who preferred to do their own songs. At the same time other talented artists like, Joe Cocker, Rod Stewart, The Carpenters, Jennifer Warnes, Otis Redding, Don Williams and Christy Moore where doing great work interpreting some of the great songwriters of the day and perhaps those albums are for a future top 20.
I apologise in advance if anyone is offended by the fact that I’ve included a few artists I was lucky enough to go on to work with, but… I would also like to point out that in all cases it was the artist’s work, that sooooo made me want to work with them in the first place. Apart from Abbey Road I have not included any bands on the list. The Beatles: okay, okay, I hear you say; it’s PC so the Beatles can’t be very far away… but… in my defense I’ll say by the time of Abbey Road they were not so much a band but more a collective of the finest English songwriters this side of Ray Davies. So what I’m saying is not that Abbey Road is my favorite Beatle album but it is my favorite Beatle album in the singer songwriter category. I’ve also not included more than one album by any artist. It was hard enough to squeeze in all I wanted to include, so several Dylans, or Jackson Brownes, no matter the temptation, was just out of the question. I opted for Van’s Moondance rather than the classic Astral Weeks for this list only because the tracks on Moondance work better as stand alone songs. I’ve also tried to resist including in the above list amazing yet obscure albums; you know, some incredible album, where no one but myself, and literally a few others are aware of said album. So, with this in mind I’ve tried to stick to albums that have enjoyed at least some degree of critical and commercial success.
It’s also most definitely worth noting that the sleeves of all of the above, maybe because of the stature of the albums or maybe because of the physical size of the artwork – 12 inches square - also became iconic.
And finally a special mention in the best-songwriter-never-to-make-an-album section: I’m talking about one of the all time great songwriters, Mr. Bob McDill. He’s had over 30 (and still counting) No. 1 hit singles on Bilboard’s US Country Charts. He’s been covered by everyone from Alan Jackson, Waylon Jennings, Perry Como, Jerry Lee Lewis to Bobby Bare, who recorded an entire album of his songs called Me and McDill. And a very fine album it was too, but, in my humble opinion his songs are at their best when showcased by Don Williams who always included 2 or 3 Bob McDill songs on his excellent collection of successful albums. When I was in Nashville once I tried to track down Bob McDill if only to see if he’d ever made an album. I ended up speaking on the phone to someone from JMI, the publishing company Bob McDill was signed to. The gentleman I was speaking to turned out to be none other than Cowboy Jack Clements and we’d a great long chat. Mr. Clements originally worked as a producer and engineer on sessions with the likes of Roy Orbison, Carl Perkins and Johnny Cash for Sam Philips at Sun Records. Word has it, it was he who ‘discovered’ and recorded Jerry Lee Lewis when Sam Philips was outta town. Anyway Jack Clements said he’d never been able to persuade Bob McDill to make a serious attempt at a recording career of his own. The writer was more than happy spending his time writing songs and lecturing English classes at a local University. Just as I was giving up hope and feeling I was in danger of overstaying his hospitable welcome, Cowboy Jack Clements mentioned in passing that Bob had recorded several of his songs, just with a few good friends you understand, and mainly for a demonstration disc to be sent out to producers who were considering recording some of the songs for artists they were working on.
“Oh, any chance of buying one of those?” I said with all the subtly of an X Factor contestant.
He laughed (as you do).
I got the picture (as you do).
We chatted some more and as he was closing he did throw me a scrap by saying he’d have a wander around the office, next time he’s a moment to spare and see if he could find a copy of the McDill demo album lying about ... before adding something like, “…but that was ages ago and we didn’t press up very many copies.”
I got back to London, forgot all about it until one day a month or so later a mint copy of Bob McDill’s extremely rare album turned up in the mail. The album was called Short Stories, It escaped (the opposite to having a proper release) in 1972, self-produced, front-room sounding, and contained 10 beautiful songs Bob McDill had written or co-written in 1971 and 1972. The, ‘some of his friends’ who played on the album turned out to be musicians who became regulars on Don Williams albums and tours. The album was in a classy sleeve, complete with lyrics on the back and made from the very stiff American cardboard, which protected the album and the art. Which is probably why I still have it today, and why it’s still in such good condition. Now the reason for the tale is not so much to show lucky I was, because I most certainly was, but more to demonstrate – with his courtesy and eye for detail - how Cowboy Jack Clements ended up being so successful. These things don’t happen by accident.
Maybe more about collecting in the future, but in the meantime...
This time I’ve seen in the cinema:
Hereafter
Something
Black Swan
Get Low
True Grit
The Fighter
Harry Potter Seven Part 1.
Fair Game
The American
Little Forkers
Rabbit Hole
King’s Speech
Blue Valentine
Love and Other Drugs
Season of The Witch
Next Three Days
Never Let Me Go
Tron
The Company Men
Barney’s Version
Inside Job
All Good Things
How Do You Know
Country Strong
What can I tell you? I was on holiday and it rained a lot! If it were up to me all the Oscars would go to Hereafter, Low, Fair Game and Inside Job with a special mention for the best trailer to Blue Valentine.
And on the small screen:
The 5th series of Bones
The Apostle
And listened to all of the above albums, which is where we came in, so, until next time…
Cheers
pc
Tuesday, November 9, 2010
Feathering Death Through Astral Weeks
The beauty and the magic of Astral Weeks,
Like all things pertaining to love, will last forever.
The above was the two-line review I wrote in 1968 for City Week, a Belfast newspaper, of Van Morrison’s groundbreaking album, Astral Weeks. The Editor, Chris Moore - who was more used to wielding his red pen on my double page reviews (as with the triple-disc Woodstock Album) - said, politely, “And would you like to expand even just a little on that?”
“No, I think that covers it for me,” I replied, not even realising that it was then, and still is now, an impossible album to review. Astral Weeks was and is, so totally engaging, demanding even. It’s not even that it’s haunting album; it’s more it’s an album that haunts you. It is impossible to put on your record/CD/cassette player unless you’re prepared to forsake everything else, bar breathing, for the next 46 minutes.
I remember like it was yesterday how I was initiated into the world of Astral Weeks, the album I have most definitely listened to more than any other in the intervening 42 years. I’d moved to London from Magherafelt 18 months previously and I was making one of my regular excursions from Wimbledon up to The Marquee Club in the West End, in Wardour Street, this time to see and hear Terry Reid perform. I was greeted by a notice, posted on the securely locked door of the club, stating that the show had been cancelled due to Mr Reid’s illness. On my way back to the tube station I visit Musicland’s record store in Piccadilly Circus for a browse and on said browse I happened upon a shrink-wrapped, American import copy of Astral Weeks. In those days there could be as much as a six-month delay between the US and the UK release of certain albums. So people like the Musicland chain would import copies at the time of the US release and charge a premium to impatient fans for doing so. The price for the album was a lot more than the coins remaining in my pockets so, I paid a deposit to secure the album, returned to Wimbledon, scrounged the necessary funds from my mates and returned immediately to Piccadilly Circus to collect my prize. And the reason for my excitement? Well quite simply at that stage my top five favourite albums were:
1. The Beatles - Rubber Soul
2. Otis Redding - Otis Blue
3. The Freewheeling Bob Dylan
4. Them - Them Again
5. Van Morrison - Blowin’ Your Mind
By the end of that weekend I had a new Number 1 favourite album and I spent every waking minute listening to it. If I said I was totally addicted to it you might get the picture. It wasn’t just that it was way beyond its time in 1968, because it is still beyond its time. It wasn’t just that Astral Weeks might be the best album ever made – I mean to even consider this to be so, might just, in a way, serve to sully the work somewhat.
I remember the Astral Weeks trips (never assisted by chemicals) as being full weekend sessions. People who really love music spend so much time and energy pursuing their next fix. I have found to my delight that Astral Weeks has always repaid this commitment completely and perfectly. A few years later I even wired up two stereo systems and played two copies of the album a lyric line out-of-sync with each other for a basic, but truly mind-blowing, quadraphonic sound. Most people I knew who were into Astral Weeks had bought several copies because they’d played the vinyl so much, they’d actually played it out.
One of the major points I keep coming back to with this work was the total contrast between this album and the scene it had come out of. Three minute pop songs were not just the rule; they were the regulation of the music industry. Even by hinting it was an Opera and entitling side one, “In The Beginning” and side two, “Afterwards” shows someone was aware, at least to some degree, what it was they’d tapped into.
Even the way the album concludes, it leads you to believe that it’s not really ending, it’s continuing on out there somewhere, it’s just that you’re no longer involved on the musical journey; you need to return to earth to revive yourself mentally and physically before making a return trip.
Van Morrison was a member of Belfast’s finest ever band, THEM (Decca Records). They’d recorded a couple of albums: The Angry Young Them in 1965 (featuring garage band classic Gloria recorded by everyone from Jimi Hendrix to The Doors and a US top ten hit for Shadows Of The Knight) and Them Again, in 1966. They enjoyed a couple of hit singles, Baby Please Don’t Go (the UK Top 10, and the flip side of Gloria) and Here Comes The Night. The latter single was composed and produced by Bern Berns who flew a dejected Van to the US at the demise of Them.
Blowin’ Your Mind was Van’s first solo album and was produced by Bert Berns (for his own label Bang Records). The album featured Van’s first (of 2) US top ten hits, Brown Eyed Girl. The other being Domino from 1970’s His Band and the Street Choir, where Van used what became his signature, ultra-melodic Irish Showband brass-section, led sound for the first time. Van Morrison and Bert Bern’s battles are well documented. Suffice to say, that even just a few months after his top ten hit, Van, due to the ensuing dispute, penniless and unable to record, took to the road around the Boston area, basically to pay the bills. The economic line-up was Van on Guitar and vocals, Tom Kielbania, bass, and flautist, John Payne. Months passed, Bert Berns died, and Warner Bros Records stepped in and resolved the situation and signed Van.
Warner Bros in turn co-opted Lewis Merenstein from Inherit Productions to produce the first album under the deal. Merenstein visited Van in Boston to hear the material Van intended to use and was immediately floored by the song Astral Weeks.
One of Merenstein’s first revolutionary decisions was to take Van out of his comfort zone of R &B/Soul/Pop and guide him towards the jazz world by booking veteran jazz bassist Richard Davies; guitarist Jay Belinger (who worked with Charlie Mingus) and drummer Connie Kay, from the Modern Jazz quartet. This was the core band for the planned recording sessions.
These musicians met Van for the first time when they turned up for the first session on Sept 25th 1968, in Century Sound Studios in New York. Van was less than a month over 23 years old. There were no chord charts for the material. Van showed them his guitar parts and asked them to follow him, encouraging the musicians to play what they felt. That day they recorded Cyprus Avenue, Madame George and Beside You, all with a mysterious flautist, who was replaced for the final cut of the day, Astral Weeks, by Van’s regular gigging musician, John Payne. The second session, early morning on Oct 1st, was somewhat less successful. Barry Cornfield (guitar) stood in for the unavailable Jay Berliner and the only track they managed to catch from this session was As Young Lovers Do. The revised combo and resultant studio vibe obviously explained the different feel/sound of the track compared to the rest of the album. The final session (Oct 15th) engineered (as were all the sessions) by Brooks Arthur with Jay Berliner back on guitar and John Payne on flute, produced The Way Young Lovers Do, Sweet Thing and Ballerina. Then they spent a considerable period of time searching for a track to close the album. They attempted several songs from Van’s book of songs until they settled on Slim Slow Slider, which featured John Payne on flute and soprano saxophone.
Also involved in the Astral Weeks sessions were Warren Smith, percussion and vibes, and Larry Fallon, an arranger & conductor who also played harpsichord on Cyprus Avenue.
The Astral Weeks songs were written over a five-year period. One of the earliest would appear to be Ballerina because Jim Armstrong, the guitarist in one of the constantly changing versions of Them, remembers trying to put a shape on it in the earlier Them days. Beside You and Madame George were recorded for Bang Records in December 1967. With Bert at the helm and the obvious slapstick approach we can see exactly how much Lewis Merensten and his vision added to the artistic success of the work. Sweet Thing is the only song Van has so far permitted to appear on any of his approved complication albums. Slim Slow Slider is the only track on the album not to have strings.
The album itself – a song cycle, a concept album, an opera, call it what you will and it certainly has been labelled all of the above at various times – is (still) like nothing you’ve ever heard. The major problem, I find, with trying to describe something like this is the fear that someone will read your words and think, “So it’s not a verse/chorus/verse/ chorus /middle-eight/ verse/chorus/chorus type of song, Oh I wouldn’t like that.” And pass the album by. Or they might think, “It doesn’t have a hook, I love songs that have hooks, the hook helps me remember the song. So I wouldn’t like this.” Or even, “if I can’t whistle it, I won’t buy it.” And not listen to the album. That quite simply would be the crime of the century.
All I can tell you is that you will not be prepared for the shock of experiencing Astral Weeks for the first time, nor will you have any idea of the joy you will experience by going back to it again and again.
Like all great works of literature, Astral Weeks enjoys the classic beginning, middle and end, each with their respective dramatic pay-offs.
During the first two songs, Astral Weeks and Beside You the singer and musicians jostle you along. You’re tempted to be careful because you’re unsure of your surroundings, but they refuse to allow you to relax and be comforted. The result is you’re continuously on edge, exhausted even, but too excited by the soundscape to be scared. In Sweet Thing though the singer and musicians do allow you to loosen up (a little) but by now you’re ready for your journey and keen to get on with it. Then you realise the combo have just been setting you up, setting you up to destroy you, destroy you totally with Cyprus Avenue.
“Afterwards,” (or “side 2” in old money) opens with The Way Young Lovers Do, during which you’re tempted to come out of the dream, but you find yourself resisting this because it is, “between the viaducts of your dreams,” as the artist very visually puts it, that your need to be for the next two tracks; the monumental Madame George and the vibes led Ballerina with it’s perfectly drawn poetic imagery. The string arrangements are, purely and simply, perfect. Perfect but never, ever predicable and as vital as Robert Kirby’s were to Nick Drake’s classic Bryler Layer album. Slim Slow Slider is the album closer they searched so diligently for during the final recording session. With hindsight they really couldn’t have picked any other song in the world for this slot. The artist sets up the closing scene flawlessly and we see the girl, perhaps his girl, perhaps not, “with her brand new boy and his Cadillac.” As Slim Slow Slider, and the album, ends abruptly, you’re left wondering where she is going and why she won’t be coming back.
There are many myths and legends about Astral Weeks; some factual some clearly fictional. Some say there is a 40-minute piece of this opera that was recorded at the same time but never released. Van denies this and perhaps the legend grew from the several unused tracks they attempted on the final session (Oct 15th) when they were searching for their final track. The album has always sounded like a completed piece of work to me, although Into The Mystic (from the Moondance album) and Hey Girl (from Them Again album) sound as though they could have been from the same writing vein. Interestingly enough, when Van recently attempted a live version of the album he included Listen To The Lion (from St Dominic’s Preview) in the concert. Martin Scorsese claimed that the first half of his film Taxi Driver was based on Astral Weeks. Astral Weeks was one of the biggest, reportedly THE biggest, ever selling Import album in the UK. The album continues to do well in best album polls; significantly Astral Weeks was voted the Best Ever Irish Album in Hot Press Magazine, Dublin, in 2009. Van has suggested that Astral Weeks is a total work of fiction, just stories. I don’t believe this to be true. If it is, then it just might be one if the best collection of short stories ever written.
Could he have been writing about, or even to, the same person he addressed in the devastating powerful and equally unnerving, TB Sheets, from the Blowin’ Your Mind album? Is there a code to his writing? . In American Pie Don McLean knew in detail the complicated solution to the sublimely crafted, cryptic lyric of his classic song. But what are the lyrics to Astral Weeks about? Do they all have a spiritual backdrop or is there a more sensual sub-plot? Did Van create his own code to deal with subtle sexual overtones perhaps? Around the same time Jim Morrison was publicity breaking down the sexual barriers of the late sixties. It could be argued, that, while doing so, he found it impossible to retreat from his stance and regain the treasured, hallowed, solid-ground again. Maybe the process even helped to ruin his already troubled life. Did Van find a more discreet way? You know some times, in this work, you have a hint of someone, maybe the writer, trying desperately to reclaim something or other; or perhaps longing to return to a another, perhaps, happier time. Maybe we’re talking about something as difficult to achieve as unscrambling an egg, or, put another way, reclaiming their innocence or the innocence of a third party? But, you know what? A big part of the success of writing is creating a space, a void if you will, that others can inhabit and relate to. We can’t expect sign-posts and clues at every turn and if we do we’re certainly not going to find them in Astral Weeks.
In 1979 I was in a very privileged position of working with Van as his agent and promoter. I always found him a) to have an incredible sense of humour and b) to be an extremely professional individual. I eventually became his quasi manager; the legendary Pee Wee Ellis was credited with Van’s, ‘brass arrangements’ and I was credited with, ‘business arrangements.’ When I eventually worked up the courage to discuss Astral Weeks with him, Van agreed that when first released, the album had enjoyed great acclaim and reviews, but reviews weren’t paying the bills; he had a wife and a young baby daughter and was quite literally struggling to earn enough money to survive. So, basking in the glory of Astral Weeks was not his priority. Elsewhere he seemed, on the one hand, to downplay the album, yet still occasionally confessed his pride in it. The obvious difficultly must have been: when you create such an incredible work of true genius so early on in your life, artistically speaking, where is there left to go?
In the six years I worked with Van, I attended most of his concerts and, on very rare occasions he included selections from Astral Weeks on the song list. As the intros for these masterpieces started you could actually sense the audience collectively hush and slip back into their seats in disbelief and anticipation as they embarked on a journey, a journey that left both the artist and the audience gasping for air.
Perhaps, in a way, Astral Weeks over the years has outgrown the artist. For the original album Van was part of the deal, he wasn’t the entire deal; he was the singer and the writer. He allowed himself to be totally arranged and produced. Interesting to note that, artistically speaking, he never ever gave anyone that amount of control over him again. It’s not even that the original is a warm acoustic, seductive sound that caresses and soothes you. No, it’s a hard and edgy sound and because of that it keeps you attentive to the degree that you’re never disappointed with whatever it is. In a way it’s a bit like experiencing a brush with death; well on consideration maybe it’s more like feathering death. Sometimes, and I know this might sound a bit hippyville, but it actually sounds as if Van’s the instrument and the piece is playing him.
To be fully aware of how vital the production was to the success of the piece, you have to listen no further than earlier attempts Van had made on some of the pieces at previous Bang Records recording sessions. When you listen to the (December 1967) attempts of a few of the Astral Weeks tunes, on various Bang outtake sessions, the scary thing you start to think is: if Van hadn’t joined Them… if he hadn’t left Them… if Bert Berns hadn’t signed him to Bang Records and flown him to America… if Van hadn’t gotten away from Bang Records… if Van hadn’t needed to tour with a scaled down acoustic biased set-up for financial reasons … if he hadn’t signed with Warner Bros… if Warner Bros hadn’t enlisted Lewis Merensten… if Merensten hadn’t been so moved by the material… if Merensten hadn’t made the inspired choice of musicians…if… well on and on, really. The point I’m trying to make I suppose is, luckily all of those things did happen and this breath-taking thing of beauty was realised because, like all works of true genius, it came so scarily close to not happening.
And now for the bit before I go.
This time I saw:
Seamus Heaney, another one of the great voices of our time, at The Queen Elizabeth Hall, London.
Stephen Fry with his entertaining and engrossing one-man show at The Royal Albert Hall, London.
Sir Stephen Hawking at The Royal Albert Hall, London – just totally amazing and perhaps the quickest two hours of my life.
Van Morrison at the Royal Albert Hall, London – a workingman in his prime, the best concert I’ve seen him do in over 20 years!
Ray Davies at The Olympia Paris – the prefect venue with the artist and audience both in perfect form.
Sir Michael Parkinson – One Man Show at the Cadogan Hall, London - now that’s entertainment!
Christy Moore and Declan Sinnott, flawless at The Royal Festival Hall, London.
The Waterboys with their triumphant An Appointment With Mr Yeats at The Grand Canal Theatre, Dublin
And read:
Howard Sounes - The Intimate Life of Paul McCartney. Even thought we all know the ending it’s still sad.
Nicholas Evans - The Brave.
Michael Connelly – The Reversal. A 10 outta 10.
Dave Fanning – the thing is this was a very quick and enjoyable read.
Deborah Cadbury – Chocolate Wars – I felt like a silent investor so I just had to read it. A surprisingly great and informing read.
And watched:
Friday Nights Lights, DVD Season One – and it might just be the best American TV series this side of West Wing.
House – series 6. It’s getting better all the time.
And (surprise, surprise) listened to:
Van Morrison - Astral Weeks
Cheers until next time.
pc
Like all things pertaining to love, will last forever.
The above was the two-line review I wrote in 1968 for City Week, a Belfast newspaper, of Van Morrison’s groundbreaking album, Astral Weeks. The Editor, Chris Moore - who was more used to wielding his red pen on my double page reviews (as with the triple-disc Woodstock Album) - said, politely, “And would you like to expand even just a little on that?”
“No, I think that covers it for me,” I replied, not even realising that it was then, and still is now, an impossible album to review. Astral Weeks was and is, so totally engaging, demanding even. It’s not even that it’s haunting album; it’s more it’s an album that haunts you. It is impossible to put on your record/CD/cassette player unless you’re prepared to forsake everything else, bar breathing, for the next 46 minutes.
I remember like it was yesterday how I was initiated into the world of Astral Weeks, the album I have most definitely listened to more than any other in the intervening 42 years. I’d moved to London from Magherafelt 18 months previously and I was making one of my regular excursions from Wimbledon up to The Marquee Club in the West End, in Wardour Street, this time to see and hear Terry Reid perform. I was greeted by a notice, posted on the securely locked door of the club, stating that the show had been cancelled due to Mr Reid’s illness. On my way back to the tube station I visit Musicland’s record store in Piccadilly Circus for a browse and on said browse I happened upon a shrink-wrapped, American import copy of Astral Weeks. In those days there could be as much as a six-month delay between the US and the UK release of certain albums. So people like the Musicland chain would import copies at the time of the US release and charge a premium to impatient fans for doing so. The price for the album was a lot more than the coins remaining in my pockets so, I paid a deposit to secure the album, returned to Wimbledon, scrounged the necessary funds from my mates and returned immediately to Piccadilly Circus to collect my prize. And the reason for my excitement? Well quite simply at that stage my top five favourite albums were:
1. The Beatles - Rubber Soul
2. Otis Redding - Otis Blue
3. The Freewheeling Bob Dylan
4. Them - Them Again
5. Van Morrison - Blowin’ Your Mind
By the end of that weekend I had a new Number 1 favourite album and I spent every waking minute listening to it. If I said I was totally addicted to it you might get the picture. It wasn’t just that it was way beyond its time in 1968, because it is still beyond its time. It wasn’t just that Astral Weeks might be the best album ever made – I mean to even consider this to be so, might just, in a way, serve to sully the work somewhat.
I remember the Astral Weeks trips (never assisted by chemicals) as being full weekend sessions. People who really love music spend so much time and energy pursuing their next fix. I have found to my delight that Astral Weeks has always repaid this commitment completely and perfectly. A few years later I even wired up two stereo systems and played two copies of the album a lyric line out-of-sync with each other for a basic, but truly mind-blowing, quadraphonic sound. Most people I knew who were into Astral Weeks had bought several copies because they’d played the vinyl so much, they’d actually played it out.
One of the major points I keep coming back to with this work was the total contrast between this album and the scene it had come out of. Three minute pop songs were not just the rule; they were the regulation of the music industry. Even by hinting it was an Opera and entitling side one, “In The Beginning” and side two, “Afterwards” shows someone was aware, at least to some degree, what it was they’d tapped into.
Even the way the album concludes, it leads you to believe that it’s not really ending, it’s continuing on out there somewhere, it’s just that you’re no longer involved on the musical journey; you need to return to earth to revive yourself mentally and physically before making a return trip.
Van Morrison was a member of Belfast’s finest ever band, THEM (Decca Records). They’d recorded a couple of albums: The Angry Young Them in 1965 (featuring garage band classic Gloria recorded by everyone from Jimi Hendrix to The Doors and a US top ten hit for Shadows Of The Knight) and Them Again, in 1966. They enjoyed a couple of hit singles, Baby Please Don’t Go (the UK Top 10, and the flip side of Gloria) and Here Comes The Night. The latter single was composed and produced by Bern Berns who flew a dejected Van to the US at the demise of Them.
Blowin’ Your Mind was Van’s first solo album and was produced by Bert Berns (for his own label Bang Records). The album featured Van’s first (of 2) US top ten hits, Brown Eyed Girl. The other being Domino from 1970’s His Band and the Street Choir, where Van used what became his signature, ultra-melodic Irish Showband brass-section, led sound for the first time. Van Morrison and Bert Bern’s battles are well documented. Suffice to say, that even just a few months after his top ten hit, Van, due to the ensuing dispute, penniless and unable to record, took to the road around the Boston area, basically to pay the bills. The economic line-up was Van on Guitar and vocals, Tom Kielbania, bass, and flautist, John Payne. Months passed, Bert Berns died, and Warner Bros Records stepped in and resolved the situation and signed Van.
Warner Bros in turn co-opted Lewis Merenstein from Inherit Productions to produce the first album under the deal. Merenstein visited Van in Boston to hear the material Van intended to use and was immediately floored by the song Astral Weeks.
One of Merenstein’s first revolutionary decisions was to take Van out of his comfort zone of R &B/Soul/Pop and guide him towards the jazz world by booking veteran jazz bassist Richard Davies; guitarist Jay Belinger (who worked with Charlie Mingus) and drummer Connie Kay, from the Modern Jazz quartet. This was the core band for the planned recording sessions.
These musicians met Van for the first time when they turned up for the first session on Sept 25th 1968, in Century Sound Studios in New York. Van was less than a month over 23 years old. There were no chord charts for the material. Van showed them his guitar parts and asked them to follow him, encouraging the musicians to play what they felt. That day they recorded Cyprus Avenue, Madame George and Beside You, all with a mysterious flautist, who was replaced for the final cut of the day, Astral Weeks, by Van’s regular gigging musician, John Payne. The second session, early morning on Oct 1st, was somewhat less successful. Barry Cornfield (guitar) stood in for the unavailable Jay Berliner and the only track they managed to catch from this session was As Young Lovers Do. The revised combo and resultant studio vibe obviously explained the different feel/sound of the track compared to the rest of the album. The final session (Oct 15th) engineered (as were all the sessions) by Brooks Arthur with Jay Berliner back on guitar and John Payne on flute, produced The Way Young Lovers Do, Sweet Thing and Ballerina. Then they spent a considerable period of time searching for a track to close the album. They attempted several songs from Van’s book of songs until they settled on Slim Slow Slider, which featured John Payne on flute and soprano saxophone.
Also involved in the Astral Weeks sessions were Warren Smith, percussion and vibes, and Larry Fallon, an arranger & conductor who also played harpsichord on Cyprus Avenue.
The Astral Weeks songs were written over a five-year period. One of the earliest would appear to be Ballerina because Jim Armstrong, the guitarist in one of the constantly changing versions of Them, remembers trying to put a shape on it in the earlier Them days. Beside You and Madame George were recorded for Bang Records in December 1967. With Bert at the helm and the obvious slapstick approach we can see exactly how much Lewis Merensten and his vision added to the artistic success of the work. Sweet Thing is the only song Van has so far permitted to appear on any of his approved complication albums. Slim Slow Slider is the only track on the album not to have strings.
The album itself – a song cycle, a concept album, an opera, call it what you will and it certainly has been labelled all of the above at various times – is (still) like nothing you’ve ever heard. The major problem, I find, with trying to describe something like this is the fear that someone will read your words and think, “So it’s not a verse/chorus/verse/ chorus /middle-eight/ verse/chorus/chorus type of song, Oh I wouldn’t like that.” And pass the album by. Or they might think, “It doesn’t have a hook, I love songs that have hooks, the hook helps me remember the song. So I wouldn’t like this.” Or even, “if I can’t whistle it, I won’t buy it.” And not listen to the album. That quite simply would be the crime of the century.
All I can tell you is that you will not be prepared for the shock of experiencing Astral Weeks for the first time, nor will you have any idea of the joy you will experience by going back to it again and again.
Like all great works of literature, Astral Weeks enjoys the classic beginning, middle and end, each with their respective dramatic pay-offs.
During the first two songs, Astral Weeks and Beside You the singer and musicians jostle you along. You’re tempted to be careful because you’re unsure of your surroundings, but they refuse to allow you to relax and be comforted. The result is you’re continuously on edge, exhausted even, but too excited by the soundscape to be scared. In Sweet Thing though the singer and musicians do allow you to loosen up (a little) but by now you’re ready for your journey and keen to get on with it. Then you realise the combo have just been setting you up, setting you up to destroy you, destroy you totally with Cyprus Avenue.
“Afterwards,” (or “side 2” in old money) opens with The Way Young Lovers Do, during which you’re tempted to come out of the dream, but you find yourself resisting this because it is, “between the viaducts of your dreams,” as the artist very visually puts it, that your need to be for the next two tracks; the monumental Madame George and the vibes led Ballerina with it’s perfectly drawn poetic imagery. The string arrangements are, purely and simply, perfect. Perfect but never, ever predicable and as vital as Robert Kirby’s were to Nick Drake’s classic Bryler Layer album. Slim Slow Slider is the album closer they searched so diligently for during the final recording session. With hindsight they really couldn’t have picked any other song in the world for this slot. The artist sets up the closing scene flawlessly and we see the girl, perhaps his girl, perhaps not, “with her brand new boy and his Cadillac.” As Slim Slow Slider, and the album, ends abruptly, you’re left wondering where she is going and why she won’t be coming back.
There are many myths and legends about Astral Weeks; some factual some clearly fictional. Some say there is a 40-minute piece of this opera that was recorded at the same time but never released. Van denies this and perhaps the legend grew from the several unused tracks they attempted on the final session (Oct 15th) when they were searching for their final track. The album has always sounded like a completed piece of work to me, although Into The Mystic (from the Moondance album) and Hey Girl (from Them Again album) sound as though they could have been from the same writing vein. Interestingly enough, when Van recently attempted a live version of the album he included Listen To The Lion (from St Dominic’s Preview) in the concert. Martin Scorsese claimed that the first half of his film Taxi Driver was based on Astral Weeks. Astral Weeks was one of the biggest, reportedly THE biggest, ever selling Import album in the UK. The album continues to do well in best album polls; significantly Astral Weeks was voted the Best Ever Irish Album in Hot Press Magazine, Dublin, in 2009. Van has suggested that Astral Weeks is a total work of fiction, just stories. I don’t believe this to be true. If it is, then it just might be one if the best collection of short stories ever written.
Could he have been writing about, or even to, the same person he addressed in the devastating powerful and equally unnerving, TB Sheets, from the Blowin’ Your Mind album? Is there a code to his writing? . In American Pie Don McLean knew in detail the complicated solution to the sublimely crafted, cryptic lyric of his classic song. But what are the lyrics to Astral Weeks about? Do they all have a spiritual backdrop or is there a more sensual sub-plot? Did Van create his own code to deal with subtle sexual overtones perhaps? Around the same time Jim Morrison was publicity breaking down the sexual barriers of the late sixties. It could be argued, that, while doing so, he found it impossible to retreat from his stance and regain the treasured, hallowed, solid-ground again. Maybe the process even helped to ruin his already troubled life. Did Van find a more discreet way? You know some times, in this work, you have a hint of someone, maybe the writer, trying desperately to reclaim something or other; or perhaps longing to return to a another, perhaps, happier time. Maybe we’re talking about something as difficult to achieve as unscrambling an egg, or, put another way, reclaiming their innocence or the innocence of a third party? But, you know what? A big part of the success of writing is creating a space, a void if you will, that others can inhabit and relate to. We can’t expect sign-posts and clues at every turn and if we do we’re certainly not going to find them in Astral Weeks.
In 1979 I was in a very privileged position of working with Van as his agent and promoter. I always found him a) to have an incredible sense of humour and b) to be an extremely professional individual. I eventually became his quasi manager; the legendary Pee Wee Ellis was credited with Van’s, ‘brass arrangements’ and I was credited with, ‘business arrangements.’ When I eventually worked up the courage to discuss Astral Weeks with him, Van agreed that when first released, the album had enjoyed great acclaim and reviews, but reviews weren’t paying the bills; he had a wife and a young baby daughter and was quite literally struggling to earn enough money to survive. So, basking in the glory of Astral Weeks was not his priority. Elsewhere he seemed, on the one hand, to downplay the album, yet still occasionally confessed his pride in it. The obvious difficultly must have been: when you create such an incredible work of true genius so early on in your life, artistically speaking, where is there left to go?
In the six years I worked with Van, I attended most of his concerts and, on very rare occasions he included selections from Astral Weeks on the song list. As the intros for these masterpieces started you could actually sense the audience collectively hush and slip back into their seats in disbelief and anticipation as they embarked on a journey, a journey that left both the artist and the audience gasping for air.
Perhaps, in a way, Astral Weeks over the years has outgrown the artist. For the original album Van was part of the deal, he wasn’t the entire deal; he was the singer and the writer. He allowed himself to be totally arranged and produced. Interesting to note that, artistically speaking, he never ever gave anyone that amount of control over him again. It’s not even that the original is a warm acoustic, seductive sound that caresses and soothes you. No, it’s a hard and edgy sound and because of that it keeps you attentive to the degree that you’re never disappointed with whatever it is. In a way it’s a bit like experiencing a brush with death; well on consideration maybe it’s more like feathering death. Sometimes, and I know this might sound a bit hippyville, but it actually sounds as if Van’s the instrument and the piece is playing him.
To be fully aware of how vital the production was to the success of the piece, you have to listen no further than earlier attempts Van had made on some of the pieces at previous Bang Records recording sessions. When you listen to the (December 1967) attempts of a few of the Astral Weeks tunes, on various Bang outtake sessions, the scary thing you start to think is: if Van hadn’t joined Them… if he hadn’t left Them… if Bert Berns hadn’t signed him to Bang Records and flown him to America… if Van hadn’t gotten away from Bang Records… if Van hadn’t needed to tour with a scaled down acoustic biased set-up for financial reasons … if he hadn’t signed with Warner Bros… if Warner Bros hadn’t enlisted Lewis Merensten… if Merensten hadn’t been so moved by the material… if Merensten hadn’t made the inspired choice of musicians…if… well on and on, really. The point I’m trying to make I suppose is, luckily all of those things did happen and this breath-taking thing of beauty was realised because, like all works of true genius, it came so scarily close to not happening.
And now for the bit before I go.
This time I saw:
Seamus Heaney, another one of the great voices of our time, at The Queen Elizabeth Hall, London.
Stephen Fry with his entertaining and engrossing one-man show at The Royal Albert Hall, London.
Sir Stephen Hawking at The Royal Albert Hall, London – just totally amazing and perhaps the quickest two hours of my life.
Van Morrison at the Royal Albert Hall, London – a workingman in his prime, the best concert I’ve seen him do in over 20 years!
Ray Davies at The Olympia Paris – the prefect venue with the artist and audience both in perfect form.
Sir Michael Parkinson – One Man Show at the Cadogan Hall, London - now that’s entertainment!
Christy Moore and Declan Sinnott, flawless at The Royal Festival Hall, London.
The Waterboys with their triumphant An Appointment With Mr Yeats at The Grand Canal Theatre, Dublin
And read:
Howard Sounes - The Intimate Life of Paul McCartney. Even thought we all know the ending it’s still sad.
Nicholas Evans - The Brave.
Michael Connelly – The Reversal. A 10 outta 10.
Dave Fanning – the thing is this was a very quick and enjoyable read.
Deborah Cadbury – Chocolate Wars – I felt like a silent investor so I just had to read it. A surprisingly great and informing read.
And watched:
Friday Nights Lights, DVD Season One – and it might just be the best American TV series this side of West Wing.
House – series 6. It’s getting better all the time.
And (surprise, surprise) listened to:
Van Morrison - Astral Weeks
Cheers until next time.
pc
Thursday, July 1, 2010
The Men Who Would be King
Did you ever notice that the more they trailer a movie in the cinema the worse it in invariably turns out to be when, and if, you eventually get to see it? The other thing I’ve found, and this is also quite consistent as well, is that the more The Sunday Times slags off a movie the more I seem to enjoy it. And why do you think this is Paul? I hear you say. Well gather around and I’ll try and explain.
My wife and I and a couple of our friends went out to the cinema a few weeks ago to see the highly rated Dogtooth and the weird thing was that all the reviewers seemed to get right was the fact that the movie was weird. Dazed and Confused, the poster proclaimed, thought it just might be the best movie that the reviewer in question had ever seen, which led us all to believe that the said reviewer might just be... yes, you’ve guessed it… dazed and confused.
But the point I’m trying to make is not that The Sunday Times reviewers seem to continually get it wrong and that the Dazed and Confused reviewer might have got it wrong on this particular occasion. No, I think what I’m trying to say is that we’re all different and, yes it is a clique, but we all do have different opinions. And then the bit I’d add to that is that even with reviews, we’re all still subjected to and influenced by, the marketing machines of the big movie companies. Like, for instance, the editor or the reviewer from whichever newspaper or magazine you care to think of, realise that if they slag off a movie then there is no way they are going to get their name mentioned on the poster and adverts advertising the said movie and so they are going to miss out on a major marketing opportunity of their own.
Then from out of nowhere you’ll get a feel-good word-of-mouth movie, and it doesn’t matter how much money the movie company does or does not spend marketing the said movie it will do amazing box office. I’m talking here about sleeper movies like Sideways, Juno, 500 Days of Summer, Lost in Translation, Dog Day Afternoon and, more recently, the totally amazing, The Secret in Their Eyes.
It’s a bit like starting a fire, how these movies get started. My dad is brilliant at lighting a fire; he’ll get a few bits of rolled up newspaper, yes maybe even the aforementioned The Sunday Times, a few sticks of wood, two or three lumps of coal and a match and he’s away first time, every time. Whereas I’ll have all of the above, plus a pack of firelighters as well and no matter how much huffing and puffing I do my efforts will mostly fade to darkness. Again no matter how much expensive huffing and puffing the relevant record company, book publisher, or movie company do, if it’s not in the grooves, figuratively speaking, it’s never going to lift off.
I’ve found it’s the exact same thing with bands, television shows, books, records, comedians, plays, the single most effective way to success is pure and simply word-of-mouth. Perhaps it could be argued that the various companies either think that the latest Johnny Depp - probably currently the biggest marquee name in terms of opening a movie - is going to do very well on their own thank you very much (ditto for the all mega projects in the different fields) and so the money people channel all their funds and energy into the poor cousins; the projects they have spent a lot of money on which haven’t tested well or received favourable reviews. When the reality is it really doesn’t matter what they do or don’t do for those particular projects. If it’s a turkey it’s never going to fly and if it’s a work of considerable beauty it might be shaky at first but mostly (if enough people are exposed to the project in question) it’ll take flight.
In my own chosen business I find that usually a project will stand a reasonable chance if the record companies only have the sense to leave it (all) to the artists. It’s when they start to meddle and “create”, that things can, and do, go drastically wrong. When it does work thought they’re not beyond basking in a reflected glory. For instance the chap who just happened to be the boss of the record company involved with the current pop factory (where all music is deemed, 'product') now acts like he’s personally invented the wheel. But here’s the thing: who remembers the name of the boss of the record company at the time of the Beatles success. Actually I do, it was Sir Joseph Lockwood, but I know his name just because when it comes to Beatle facts I’m just S-A-D and I remember reading that John Lennon invited him to manage the Beatles. But here’s another a test for you, pick your favourite movies and you’ll most probably remember the main actors, maybe even the director, and, if you’re a real anorak, maybe even the writer and if you’re an Oscar awards ceremony nut you might, just might guess the name of the producer, but you’re never ever going to guess the name of the boss of the studio at the time the movie was made. But these people, yes the very same men who would be Kings, are powerful and they do have their vanity projects, where they “create.” I suppose we’re maybe wandering off the beaten path a wee bit now, and then again, maybe not. Such a person is quite likely to insist that we all should have an opportunity to enjoy (or be subjected to) the latest in the long line of Dogtooth type projects, which is exactly where we came in.
And now, the bit before I go.
This time I’ve seen:
Martian Child – a truly beautiful film featuring John Cusack and Bobby Coleman.
The Mystery in Their Eyes – a definite must-see film.
Solitary Man.
And heard:
Don McLean @ The Royal Albert Hall, London – a majestic concert.
Ray Davies @ The Canal Street Theatre, Dublin – Artist, band and audience all in perfect form for a perfect concert.
Eric Bibb @ The Bloomsbury, London – a true blues legend in the making.
John Connolly & Mark Billingham @ Waterstones Bookshop, Piccadilly, London – they’re both so sharp and so genuinely entertaining they should take their (duo) show on the road.
Jackson Browne & David Lindley @ The Hampton Court Palace - a beautiful performance with perfect sound.
And read:
Popism by Andy Warhol and Pat Hackett – a revealing period Polaroid.
The Men Would Would be King by Nicole Laporte - a must read for film fans and fans of the foibles of human nature.
You Never Give Me Your Money by Peter Doggett who very subtly reveals to us how and why the Beatles were split up, when they all individually admitted they’d have been just as happy to continue making music together albeit in a less permanent format.
Until the next time,
Cheers
pc
Friday, April 16, 2010
All The Great Songs Are Sad Songs
Over the Easter weekend I watched The Yellow Bittern, a film about the life and times of The Clancy Brothers and Tommy Makem through the eyes and words of Liam Clancy and it moved me, disturbed me, upset me like nothing has since the death of George Best.
With George Best I knew, I felt, exactly why I reacted so emotionally to the news of his passing away. I never met the man (saw him on the pitch a few times though) but at the time I moved from Ireland to London he was, perhaps, the sole, role model for Ulster folk in London. A figurehead, if you will, someone to look up to who also came from Northern Ireland, a small country continuously battered with a bad negative press in the late 1960s. George Best was an undisputed true artist, a genius who majestically carried on his frail, but agile shoulders, the hopes and dreams of each and every exiled Ulsterman and woman.
The Clancy Brothers and Tommy Makem were different though.
The eldest two of a Carrick-on Suir family - Paddy (born 7th March 1922) and Tom (born 29th October 1924) – immigrated to the USA in the 1950s. They were followed a few years later by younger brother Liam (born 2nd September 1935) and, from Armagh, Tommy Makem (born 4th November 1932). The four aspired to become actors but accepted whatever manual work was available to finance their meagre lifestyle while, at the same time sending whatever they could back home to help keep the home fires burning. They were part of the infamous New York/Boston Irish scene.
Initially all four future members of this group concentrated on what was undoubtedly their first love: acting, choosing only occasionally to sing for their supper, or their drink, at New York’s famous Irish infested White Horse or folkie haven, Kenny’s Castaways. Although they released two albums in the 1950s – Rising of The Moon (1956) and Come Fill Your Glass (1959) – the Clancy Brothers and Tommy Makem didn’t really burst onto the scene until 1961. By then, after considering names as diverse as The Blacksmiths and the Druids – and, even at one point very nearly opting for, The Chieftains – they had finally, under the deadline of a fast approaching Boston concert appearance, settled on the professional name of The Clancy Brothers and Tommy Makem. By this time they had a tried and tested concert song list and had adopted the look/image of the Betty Duggan-knit Aran sweaters.
Their theatrical training hadn't all gone to waste because their invaluable experience on the boards, in no small way, helped to mould their dramatic stage performance and they set up the pace of their shows by quite literally running on to the stage at a gallop. And boy did they make an almighty racket, albeit an immensely pleasing one, with their four distinctive voices, Liam’s guitar and Tommy’s banjo all played and delivered with such gusto and enthusiasm. Initially this would have been an attempt (with very unsophisticated PA equipment) for them to hear what they were playing and singing and, equally, to be heard by their quickly growing audience. At the same time though they could drop to a ‘hearing-a-pin-drop’ near-silence for a dramatic, perfectly positioned ballad, or three, which could, and did, destroy many an audience in a heartbeat.
On the 12th March 1961 they won a coveted spot on the famous and influential Ed Sullivan Show. Their fourteen minute infectious performance, natural charm and wit not only won over the massive TV audience – like they’d been doing in concerts for several months in fact – but it also resulted, first thing the following morning, in them being awarded a recording contract by Columbia Records, complete with a record breaking advance of $100,000 (around $750,000 today).
The timing of The Clancy Brothers and Tommy Makem was perfect. They arrived on the blossoming folk music scene with the Spinners; Peter, Paul & Mary; Joan Baez, Woody Guthrie, Pete Seeger and the fledging Robert Zimmerman. You’d have to say that the advantage The Clancy Brothers and Tommy Makem enjoyed was, thanks to Sarah Makem (Tommy’s mother and renowned song collector) and the wealth of the Irish traditional song-writing cannon, they had an in-built individuality in their repertoire.
For the next eight years The Clancy Brothers and Tommy Makem toured the world setting box office records everywhere they played, particularly America (where they performed for JFK in 1963), Australia, the UK and Ireland where they returned to a hero’s welcome in 1962. By 1964 one third of all the albums sold in Ireland bore the proud name of The Clancy Brother and Tommy Makem.
The group were authentic, honest and incredibly popular with the general public. They loved what they did and this was blatantly transparent in every note they sang. Their sound was based more on a tribal combination of their powerful voices than on cleverly arranged harmonies. Thanks to some of the children’s street songs the boisterous group were happy to include, audiences instinctively already knew some of their programme. The Clancy Brothers and Tommy Makem also sang songs of exile; patriots; regret; lost love; lack of love. They shone the bright light of song-writing into Ireland’s many darkened alleyways. When a song wouldn’t do the trick Liam would step up to the mike and deliver a WB Yeats poem with such power and passion there’d be a run on all the great man’s work in the local bookstores the following morning. Their songs were easy to remember because they (mostly) followed a clear developing story line and no more so than with Tommy Makem’s show-stopping The Cobbler.
Their concerts were carefully constructed with a thread running throughout; a dramatic trick they’d clearly learned from their acting days. They had an overall picture they were building to reveal and when the said picture eventually emerged you could see and enjoy exactly how the concert had worked as an overall piece. Their classic 1963 live album, The Clancy Brothers and Tommy Makem - In Person At the Carnegie Hall, catches the group at their peak.
The Clancy Brothers and Tommy Makem never took themselves too seriously. They all had to agree on a project before they’d commit to it as a group, meaning they all wholeheartedly supported everything they did together professionally. They wore their heartaches and heartbreaks on the sleeves of their snowy Aran sweaters. They showed one of the great endearing qualities of the nation of their birth; to care about those less well off than themselves. They were a band with a social conscious; a social consciousness that cost them dearly in concert tickets sales and album sales on several occasions. No matter how hip or unhip the Clancy Brothers and Tommy Makem were, they always, but always, enjoyed the genuine love of their audience.
They were relentlessly and powerfully driven by the possibility of making their dreams come true.
And then as the 1960s came to an end they ran off stage for the final time. Yes there were to be years of replacement musicians and reunions, including a high profile gaining effort in 1985, but it has to be said that the band had run the end of its natural course by the close of the decade.
And then just over forty years later I happened upon the Liam Clancy film.
Why did it have such a powerful effect on me?
Was I upset because in the course of the film Liam took a few verbal pops at his brothers?
No, I figured he was still having a hard time forgiving them for passing on (Tom in May 1990 and Paddy on 11th November 1998) and leaving him, even at 74 years of age still always the baby brother, alone without his mentoring siblings.
Was it because my father is also a Clancy Brothers and Tommy Makem fan?
No, not really that either, although that fact did make me stop and listen to them more closely in the beginning.
But my hurt might have come from, you know, with the passing of Tommy Makem in August 2007 and Liam himself on 4th December last year, a line had finally been drawn under their fabulous career. I suppose the thing that hit me hardest of all was the fact that all families like to, and should, take pride in their sons’ and daughters’ successes and I figured that particularly in today’s selfish climate, what with all these weekly revelations and disclosures, I couldn’t help but feel that as a nation maybe we should have taken some time to stop and acknowledge the genuine success and real talent of our most exciting group.
Maybe on the other hand though, it’s just like they say: all the great songs are sad songs and when I saw and heard the Clancy Brothers and Tommy Makem singing once again The Parting Glass, that the well aimed arrow hit its mark and proved it was still as lethal as ever.
And now the bit before I go.
This time
I’ve seen
The Waterboys: a totally inspiring and soulful performance of An Appointment with Mr Yeats at the Abbey Theater, Dublin.
Jean Michel Jarre with his absolutely perfect combination of music and visuals at Bercy, Paris
Lisa Edkahl just keeps getting better and better all the time and this time, at the QEH, London, was just the best!
In Treatment (the HBO Series) with a career-best performance from Gabriel Byrne
And heard
Love Is Strange the incredible new (live) double CD from Jackson Browne and David Lindley.
And read
the enlightening The Importance of Being Kennedy by Laurie Graham
Until the next time,
Cheers
pc
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