Goodbye 2020 (and Good Riddance)

Peter Green (Fleetwood Mac)

Needless to say, 2020 will be a year that we are all very happy to see come to en end. In addition to the usual ways in which we have seen people pass away, this was the year that brought Covid-19 into the picture. And that has only helped to add another manner in which many lives have been taken.

The following list is just a small representation of some of the people that we have lost over the past year.

Tony Allen (drummer – Fela Kuti, The Good, the Bad & the Queen)
Len Barry (singer)
Jennifer Bate (organist)
Bucky Baxter (guitarist – Bob Dylan)
Harold Beane (Funkadelic)
Ronald Bell (Kool & the Gang)
Salome Bey (singer)
Martin Birch (producer and engineer – Deep Purple, Whitesnake)
Julian Bream (classical guitarist and lutenist)
Harold Budd (composer, musician)
Paul Chapman (UFO)
Jon Christensen (jazz drummer)
Jimmy Cobb (drummer)
Tony Costanza (Machine Head)
Simeon Coxe (Silver Apples)
Noah Creshevsky (composer)
Cristina (Monet-Zilkha) (singer)
Stanley Crouch (music critic)
Charlie Daniels (singer-songwriter, musician)
Chris Darrow (Kaleidoscope and Nitty Gritty Dirt Band)
Wolfgang Dauner (German jazz fusion pianist)
Mac Davis (singer-songwriter)
Spencer Davis (The Spencer Davis Group)
Martin Davorin-Jagodić (composer)
Tommy DeVito (The Four Seasons)
Manu Dibango (saxophonist)
Judy Dyble (Fairport Convention)
Justin Townes Earle (singer-songwriter)
Steve Farmer (The Amboy Dukes)
Kali Z. Fasteau (musician)
Julie Felix (folk singer)
Wayne Fontana (The Mindbenders)
Fou Ts’ong (pianist)
Jon Gibson (minimalist composer, musician)
Andy Gill (Gang of Four)
Juliette Gréco (singer)
Peter Green (Fleetwood Mac)
Roly Greenway (Crowbar)
Dave Greenfield (The Stranglers)
Martin Griffin (Hawkwind)
Henry Grimes (jazz bassist)
Gordon Haskell (King Crimson)
Roy Head (singer)
Ken Hensley (Uriah Heep)
Jimmy Heath (saxophonist)
Toots Hibbert (Toots and the Maytals)
Bones Hillman (Midnight Oil)
Rupert Hine (Quantum Jump)
Steve Holland (Molly Hatchet)
Tony Hooper (Strawbs)
Dieter Horns (Lucifer’s Friend)
Brian Howe (Bad Company)
Joey Image (Misfits)
Lee Kerslake (drummer – Uriah Heep, Ozzy Osbourne)
Astrid Kirchherr (German photographer for The Beatles)
Toshinori Kondo (trumpeter)
Lee Konitz (jazz composer, saxophonist)
Ivan Kral (Patti Smith Group)
Derek Lawrence (producer – Deep Purple, Wishbone Ash)
Bunny Lee (reggae producer)
Little Richard (pianist and singer)
Giuseppi Logan (jazz musician)
Trini Lopez (singer)
Walter Lure (The Heartbreakers)
Vera Lynn (singer)
Johnny Mandel (composer)
Ellis Marsalis Jr. (pianist)
Barbara Martin (The Supremes)
Moon Martin (musician)
Phil May (The Pretty Things)
Lyle Mays (Pat Metheny Group)
Ennio Morricone (film composer)
Dave Munden (The Tremeloes)
Johnny Nash (singer-songwriter)
Alan Parker (director of Pink Floyd – The Wall)
Gary Peacock (bassist)
Neil Peart (Rush)
Ronnie Peel (Thunderclap Newman)
Krzysztof Penderecki (composer)
Bonnie Pointer (The Pointer Sisters)
Genesis P-Orridge (Throbbing Gristle, Psychic TV)
Charley Pride (singer)
Steve Priest (The Sweet)
John Prine (singer-songwriter)
Lou Ragland (Ink Spots)
Helen Reddy (singer)
Alto Reed (saxophone – Bob Segert)
Emitt Rhodes (musician)
Tony Rice (bluegrass musician)
Bill Rieflin (drummer – King Crimson, Ministry, R.E.M.)
David Roback (Mazzy Star)
Kenny Rogers (singer, songwriter)
Annie Ross (Lambert, Hendricks & Ross)
Jan Savage (The Seeds)
Adam Schlesinger (Fountains of Wayne)
Florian Schneider (Kraftwerk)
Matthew Seligman (The Soft Boys)
Peter Serkin (pianist)
Robin Seymour (American disc jockey, creator of Swingin’ Time)
Billy Joe Shaver (musician)
Jerry Slick (The Great Society)
Millie Small (singer)
Lucille Starr (singer)
Chad Stuart (Chad & Jeremy)
Richard Teitelbaum (electronic music composer)
Peter Thomas (German composer)
Keith Tippett (pianist)
Barry Tuckwell (horn player and conductor)
McCoy Tyner (pianist)
Eddie Van Halen (American Hall of Fame musician)
Jerry Jeff Walker (singer-songwriter)
Pete Way (UFO)
Eric Weissberg (musician)
Leslie West (Mountain)
Bruce Williamson (The Temptations)
Hal Willner (producer)
Jimmy Winston (English musician for Small Faces)
Mark Wirtz (musician and record producer)
Bill Withers (singer, songwriter)
Betty Wright (singer)
Eugene Wright (bassist – Dave Brubeck)
Charles Wuorinen (composer)

Florian Schneider (Kraftwerk)

Ready Steady… View!

As a follow-up to my recent post about Andy Neill’s book about the 1960s British music programme Ready Steady Go!, I’m posting links to some video collections currently up on youtube.

The first three are compilations of several artist including The Beatles, The Rolling Stones, Dusty Springfield and a host of others. The last two are RSG! specials featuring Motown artists and Otis Redding.

(Apologies in advance if any of these links go dead.)

Enjoy!

Ready Steady Go! by Andy Neill

Ready Steady Go! by Andy Neill (BMG Books, 2020)

As the 1960s dawned and the era of post-World War II austerity was fading away in Britain, many things in society started to change. One of those areas of change was manifested in the culture of the youth. Rock and pop music had started to blossom and teenagers would spend their pocket money on the latest records.

While there had already been programmes featuring music on TV, there seemed to be a need for something better. And in 1963, Associated-Rediffusion (the commercial competition to the state-owned BBC) decided to test the waters with something new.

The brainchild of Elkan Allan, the music programme Ready Steady Go! was prepared to start broadcasting in August of 1963. This was certainly good timing as it coincided with the pop music phenomenon of The Beatles.

Initially, the artists featured on the show would mime to their most recent release. As time went on, the bands played to backing tracks with live vocals. Eventually, the music was totally live.

The show started in a tiny, cramped studio space located in Rediffusion’s headquarters building in London. The bands were positioned in the space on tiny stages surrounded by an audience of enthusiastic young dancing teens. The space was crowded and the massive TV cameras would weave among the crowd.

What was unique about the programming of the show was that it did not just feature artists that were already well known. It was a springboard for new and exciting acts which the production staff (like Vicki Wickham) would often spot at clubs.

The show helped to launch the careers of The Rolling Stones, The Who, The Animals, The Kinks and a host of others. One regular performer on the show was Dusty Springfield. It was through her knowledge of the American R&B and soul scene that RSG soon started to feature the likes of Otis Redding, The Supremes, Martha and the Vandellas and James Brown. In fact, an entire episode was devoted to Motown groups.

While a number of hosts went in front of the cameras, the person who became synonymous with RSG was Cathy McGowan. Although not the most professional of hosts, her personality and sense of style won over the teenage audience. Initially paired with the older and more professional Keith Fordyce, this team is the most remembered.

In this book, Andy Neill has created an exhaustive document which put the reader straight into the vortex of a programme which was destined to change the face of how popular music was presented on television.

First-hand accounts of the action have been provided by almost every surviving person associated with the show including the most of the people responsible for getting the show on the air each week to the performers and members of the audience.

Fascinating insights are provided from the likes of the show’s creator Elkan Allan to Michael Lindsay-Hogg who directed many of the episodes.

Through its run, the series had its ups and downs. It eventually moved to a large stage housed at Wembley in order to accommodate live performances by the groups as well as a larger crowd. But, by December 1966 with the show still very popular, it ended its run.

The book ends with updates about many people who were associated with the programme over the years as well as a comprehensive list of the artists featured on each show.

As with many TV programmes of the era, most of the shows were not archived and just a smattering of shows survive. What did manage to remain was purchased by Dave Clark (yes, he of the Dave Clark Five). In the 1980s, a few compilations of surviving material were issued on home video. In those pre-youtube days, that is where I finally got to see this legendary programme.

Ready Steady Go! is a massive tome in a 12 x 12″ format weighing in at nearly six pounds. It is packed from cover to cover with incredibly detailed information and hundreds of wonderful photographs. If this era of music is of interest to you, it is well worth the investment.

In 2019, the BBC put together a documentary about the programme. Thanks to the power of youtube, here it is…

Wendy Carlos: A Biography by Amanda Sewell

In 1968, Wendy Carlos was thrust into the limelight with her synthesizer interpretations of the music of J.S. Bach. The LP Switched-On Bach caught the attention of both classical and non-classical music listeners alike.

As a child, Carlos began playing piano and eventually composing her own works. At the same time, she also developed a keen interest in electronics. By the time she was in high school in the early 1950s, she had built her own home computer.

Her interest in both music and electronics led to her studying composition at Columbia University with two pioneers in electronic music – Vladimir Ussachevsky and Otto Luening. It was during this time that she learned the trade of working in a recording studio and eventually met up with Robert Moog.

Her relationship with Moog was a fruitful one in which she provided much feedback to the electronics engineer regarding the design and construction of devices which would eventually be incorporated into Moog’s modular synthesizers.

Carlos’ meticulous sound construction process would eventually lead to her experimenting with producing a piece of music by Bach. The concept of an entire album of synthesized Bach works was presented to Columbia Records by her long-time collaborator Rachel Elkind and it was agreed to issue the set on their Masterworks classical label.

After its release in October of 1968, the set was so popular that it held the number one spot on Billboard’s Classical Music chart for three years. By the mid-70s, its sales surpassed a million copies in the US alone.

In 1969, she released a second LP entitled The Well-Tempered Synthesizer which included works by Bach and other classical composers.

1972 saw the release of an expansive double LP set entitled Sonic Seasonings. Here, she devoted each side to a different season and used a combination of real-world nature recordings combined with synthetic sounds to produce evocative soundscapes. This was well before Brian Eno introduced his concept of “ambient music” on such recordings as Discreet Music and Music for Airports.

It was around this time that Carlos was invited to record music for Stanley Kubrick’s upcoming film A Clockwork Orange. In the end, only a small portion of her recordings made its way into the film and original soundtrack album. But, she eventually released her own works on a separate LP.

In the 1980s Carlos began working with digital synthesizers and created her album Digital Moonscapes. The versatility of the digital domain also made her want to experiment with alternate keyboard tunings such as microtonal scales with as many as 35 notes per octave. This resulted in the LP Beauty in the Beast. As the ’80s drew to a close, she collaborated with “Weird Al” Yankovic on a unique take on the work Peter and the Wolf.

The 1990s saw Carlos enter a partnership with the label East Side Digital where she would eventually re-issue remastered versions of her older albums (and previously unissued material) as well as her final album to date entitled Tales from Heaven and Hell.

Of course, one cannot cover the life and work of Wendy Carlos without acknowledging the path of her personal life. The most obvious aspect of which was her gender transition which took place over several years. Author Amanda Sewell does not side-step this part of Carlos’s life and treats the subject with care and respect. This includes the effect which is had on both her personal and professional life.

The biography of Wendy Carlos is an engrossing read about a musical pioneer whose work helped to bring attention to the world of electronic music and provide a vision of music’s future.

Pynchon’s Sound of Music by Christian Hänggi

As a music fan, music collector and composer, I am always interested in finding musical references in works of fiction. American author Thomas Pynchon is one of my favourite writers and over the course of his work there are countless references to music.

At one point in time, I thought that it might be interesting to re-read his books and make note of the various musical references just for my own amusement. Luckily, I no longer have to consider this arduous task as author Christian Hänggi has now done all of the heavy lifting. And what a load it is!

Over the course of Pynchon’s Sound of Music, Hänggi has spotted and identified hundreds of musical mentions which encompass real works by real people, fictitious works by real people and fictitious songs and artists which have sprung from the mind of the author.

Since 1963 when Thomas Pynchon published his first book, V., he has only issued a total of eight novels and one collection of short stories. For his research on his subject, Hänggi has also included other uncollected short works which he considers as a tenth book. So, the task would not appear to be quite as daunting as considering the endless oeuvre as someone like Stephen King. But, a daunting task it was, taking some four and a half years to collate.

During the course of his research, countless areas were explored. These include the context in which music is mentioned, the mode in which it is presented (live, a recording etc…), its part in progressing the story-line etc…

He also catalogues the various instruments which play a part in the stories such as saxophone, guitar, accordion, ukulele, harmonica, kazoo etc… This includes the number of references in total as well as in each book or story.

The first three sections of the book: The Job of Sorting It All Out, Lessons in Organology and The Sounds of Societies to Come serve to open up the many worlds of Pynchon and to connect the dots within the various references to music.

In addition to real-world references to artists such as Pat Boone or Jimi Hendrix, Pynchon would introduce his own world of performers such as Sick Dick and the Volkswagens or the Paranoids in The Crying of Lot 49. But, there are also fictitious works by real people such as Vivaldi’s Kazoo Concerto.

Pynchon’s work is also scattered with songs from the author’s own imagination. From “Have a Banana” in Gravity’s Rainbow to “Polecat in the Parlor” in Mason & Dixon, the author carries the story with his own take on a musical moment.

In the chapter Analysing the Pynchon Playlist, numbers have been crunched to produce graphs and spreadsheets which highlight various details across the spectrum. The types and frequency of references are put under the microscope as well as detailing their distribution throughout the works.

In the end, the real icing on the cake is The Pynchon Playlist. This is the section in which each book is taken and had each of its musical references noted. This includes specific references to songs, composers and performers.

So, if this particular aspect of Thomas Pynchon’s work is of specific interest to you, you can stop googling the multiple sources scattered all over the internet. Pretty well everything that you will want to know is contained within the covers of this exhaustive volume. Sit back and soak it all in.

A Hipgnosis Oddity

Chances are that if you own records from the 1970s, you probably have an example of the graphic design team known as Hipgnosis.

Formed in the late ’60s with the team of Storm Thorgerson and Aubrey Powell, they were later joined by Peter Christopherson. In 1968, they were approached by Pink Floyd to design the cover for their second LP – A Saucerful of Secrets. They continued designing covers for the band for several years as well as providing artwork for several other artists including Led Zeppelin, The Pretty Things, Humble Pie, The Nice, Wishbone Ash, Genesis and a host of others.

I probably have dozens of albums with covers designed by Hipgnosis as well as two large format books featuring their work. However, I recently discovered an oddity by sheer accident.

I was perusing the selection of music books at Attic Books here in London, Ontario the other day and found a book that I had been wanting for some time. I am always on the lookout for books about British folk music and Folk Song in England by A.L. Lloyd was always on my wants list. Finally, there is was.

Originally published in 1967 by Lawrence and Wishart, this was a mass market paperback edition issued by Panther Arts in 1969. The cover illustration was created for this edition and did not copy the original release. It wasn’t until I got the book home that I noticed on the back the text, “Cover illustration by Hipgnosis“.

This seems to be a unique item in the history of Hipgnosis and I can find no mention of any other books that might feature their work on the cover.

An oddity, indeed.

Isolation Viewing: Soft Machine

Soft Machine were formed in 1966 and issued their first single in early 1967. Shortly after that, the original line-up including founding members Daevid Allen, Kevin Ayers and Robert Wyatt went into the studio with producer Giorgio Gomelsky to record some demos. These were not issued at the time but, eventually came to light four years later on the French Byg label (and subsequently re-issued many times over the years on different labels).

Their first proper LP was released in 1968 around the time that they were touring with Jimi Hendrix. By that time, Daevid Allen was gone from the line-up which was a precursor for numerous changes over the years.

I think that the first album of theirs that I heard was their third record imaginatively called Third. It was a sprawling double LP set with a single track on each side. It remains a favourite of mine to this day.

I’ve done a bit of searching and have compiled a selection of video clips covering 1967 to 1971 for your dining and dancing pleasure.

This must be the earliest clip of the band. It includes Daevid Allen reading his poetry. It was recorded at the legendary UFO in London, 1967.

Another clip from 1967 featuring Kevin Ayers on vocals (Daevid Allen is gone).

Possibly my favourite clip of the band. Love on French TV in 1968. The audience really get into it and a couple even join them on stage to dance.

A live performance from 1969.

A live performance of Out-Bloody-Rageous from their Third album. Paris 1970.

Finally, an entire concert from Belgium in 1971.

Phew!!!

Isolation Viewing: British Folk & Folk-Rock

When I hear a mention of British folk and folk-rock, a few names immediately pop into my head. Top of the list is usually Fairport Convention. That’s quickly followed by the likes of Pentangle, John Martyn and Michael Chapman.

So, I’ve collected a few clips together here that give a representation of all of those people.

Many people associate Sandy Denny with Fairport Convention as she was their on-again / off-again vocalist for a few years. Only a couple of minutes of the band exist with her on vocals. So, I’ve included a nice clip of Sandy with her short-lived band Fotheringay.

Here is a very early performance of Fairport Convention on French TV in 1968. It includes original vocalists Judy Dyble and Ian Matthews. Also, a very young Richard Thompson on guitar.

Another early performance of Fairport Convention in 1970.

A rare short clip of Sandy Denny with the band from 1975.

Sandy with Fotheringay on the German TV program Beat Club in 1970.

A very early broadcast of (The) Pentangle on Norwegian in 1968.

(The) Pentangle live on BBC TV in 1970.

A John Martyn performance from 1978.

Michael Chapman is still active today. Here he is in 1970.

And again in 1975.

Enjoy!

Isolation Viewing: Krautrock

Whether or not you are still feeling the isolation blues, it’s always nice to have something to watch. Especially in the way of interesting musical clips.

I sometimes scour youtube in search of enticing tidbits in the way of music. I quite often discover some quite interesting stuff.

Back in the ’70s, progressive music from Germany started to make inroads outside of the country and the British music press soon latched onto it giving it the name Krautrock. Some of the names which soon became familiar were Can, Amon Duul II, Kraftwerk, Cluster, Tangerine Dream and Neu! to name but a few.

Here are a few clips which I’ve collected for your viewing pleasure.

Kraftwerk on the German TV programme Beat Club ca. 1971. What is interesting here is that it is Florian Schneider accompanied by Michael Rother and Klaus Dinger who would later go on to be known as the duo Neu!

Here is another German TV clip for 1971 featuring Ralf and Florian with Wolfgang Flur on his freshly built electronic drum set.

Now, here is Can ca. 1970 on the German programme Rockpalast. Nearly an hour and a half. The Damo Suzuki era.

A wonderful documentary which covers the band’s career. Another hour and a half of Can bliss.

Here is a groovy set by Amon Duul II from Beat Club in 1970.

A compilation of Amon Duul II material spanning 1969 to 1975. Over two hours!

Here is a very unique clip of Tangerine Dream live in Berlin, 1969. This was before they acquired synthesisers and were a psychedelic, freak-out group. Edgar Froese, guitar. Klaus Schulze, drums. “Happy” Dieter, bass (according to the video notes).

The legendary performance of Tangerine Dream at Coventry Cathedral in 1975.

Well, that should keep you busy for a while!

Kraftwerk: Future Music from Germany by Uwe Schütte

The news that Kraftwerk co-founder Florian Schneider had passed away at the beginning of May was one of those announcements that seemed to strike a particularly resonant note for me. I had first heard their music long before their breakthrough album Autobahn courtesy of a radio programme featuring import albums back in the early ’70s. They were one of my personal inspirations to start making electronic music.

It was certainly a much more pleasant experience to learn of a new biography of Kraftwerk was being published by Penguin Books earlier in the year.

Kraftwerk: Music of the Future by Uwe Schütte is a rather succinct volume which covers the careers of co-founders Florian Schneider and Ralf Hütter. The pair met at school in the turbulent days of the late ’60s and immediately hit it off. In 1968, they formed a band called Organization who released a sole LP called Tone Float (only in the UK as German record companies had no interest in their work).

Keeping their base in their hometown of Düsseldorf, the pair then went on to create the concept of Kraftwerk (literally translated a Power Station). Their early work did include electronics but also guitar, flute and drums. Much of this work was based around improvisation and electronic sound manipulation.

Their first three releases were prime examples of their work at the time. It’s unfortunate that to this day these albums basically been written out of the band history and not been any part of a re-issue program for their recordings.

For Kraftwerk, it was their fourth album – Autobahn – that denoted the beginning of their recording career. It’s the album (and song) that brought the group to international attention (although, it was virtually ignored in their own country).

They subsequently built up their reputation with their next three releases of the ’70s – Radio-Activity, Trans Europe Express and The Man Machine. It was also at this point that their work started to reverberate into other forms of music. It became an influence in electronic dance music and what would develop into techno.

They brought in the ’80s with Computer World with it’s ubiquitous Pocket Calculator emanating from radios around the world.

After that, the space between album releases would become much greater. It was another five years before the release of Electric Cafe and another seventeen years until the Tour de France Soundtracks (with a stop-gap remix effort called The Mix in 1991).

But, that doesn’t mean that Kraftwerk were inactive during these long apparent silences. As the author points out, Kraftwerk were not really a “band”. They considered themselves to be a multi-media project. They spent a lot of time concentrating of visual elements to their work, as well. Stage presentations, museum exhibitions… you name it, they seemed to have their finger in it.

In the past twenty years, Kraftwerk were very active in the area of live performances. The miniaturisation of their music producing gear helped a great deal in this regard.

Throughout the book, Schütte puts the efforts of Kraftwerk in the context of the music, society and art of the times and also details how it affected the future of music. It is a good overview of their music and art helped to shape many things to come.

Isolation Reading: Fiction

Isolation can be fine when you have some good reading material

Over the years, the bulk of my reading has been non-fiction books. These have mainly been art-related books with a heavy emphasis on music. It’s really not been until recent years that I have gotten into the habit of reading fiction to any extent. In fact, fiction has made of about three quarters of my reading for the past few years as I play catch-up with a lot of interesting stuff.

Cosmopolis by Don DeLillo. This is the story of Eric Packer who is a financial industry billionaire living in New York City. Eric simply wants to go out to get a haircut. So, he gets into his limousine and heads across Manhattan. But, the trip is not so straight-forward. Along the way, he hops out of the limo for various interactions. Other times, he is stuck in traffic while at the same time dealing with others who have jumped into the car for meetings of different natures. Often hilarious and sometimes a bit frightening. Always involving.

Infinite Jest by David Foster Wallace. I first read this book three years ago. Since that time, seeing it on my bookshelf has often beckoned me to re-read it. I finally decided that now was the time.

For some reason, this book seems to have a reputation of being a difficult read. It seems to wind up on lists mentioning the likes of Gravity’s Rainbow and Ulysses. But, other that being a very long book, it really isn’t a particularly difficult book to get into.

The three main plots involved include a tennis academy for young people, the residents of a rehab house and the search for an illusive media called the Entertainment. As the story unfolds, the three plots are seen to intersect at various junctions.

Probably the aspect of the book that is most at the forefront is the detail. Wallace is one to stack detail upon detail upon detail. It often makes for very dense passages of text. And there is another aspect of the book that also makes it even more dense. End-notes. At the back of the book there are nearly 100 pages of notes regarding the main text. The reader is expected to pause their reading and flip to the back of the book in order to discover the subtext involved as they hit the number of an end-note. And I highly recommend getting involved in the practice – at least the first time you read it – as it often does lead to a deeper understanding of what is happening (although some seem a bit superfluous).

Stick to it and you will find yourself with a highly rewarding reading experience. It’s just as good the second time around, as well.

Ulysses by James Joyce. OK. Now, this truly is a difficult one. It certainly makes Infinite Jest seem like a walk in the park. Ulysses has a reputation of being one of the landmarks of twentieth century literature. It also has the reputation of being a notoriously difficult book to read. Correct on both counts.

I recently picked up the Dover reprint of the 1922 version of this book. It has undergone several revisions in succeeding years but, this was the way that it was first published (in a form corrected by Joyce).

It is basically the story of an advertising salesman called Leopold Bloom. The entire volume covers twenty-four hours of his life. During this time, he meets up with friends, goes to a funeral, goes out to drink and dine and other seeming mundane activities. All the while, he does his best to stay away from home as he knows that his wife is having an affair.

While the book seems to start as a fairly straight-forward read, Joyce changes styles quite drastically from section to section. There are sections that read like a play and other parts which unfold as a dense run-on sentence.

Often perplexing, it is worth the effort to soldier on. I can’t say that it is an easy task to make it through to the end. But, I certainly did find it an intriguing read.

The King by Donald Barthelme. What seems to start out as a fairly normal tale of King Arthur eventually starts to take a turn in an unexpected direction. This comes when the characters start making references to photographs printed in the newspaper and listening to speeches by Winston Churchill on the radio.

For some reason, King Arthur and the others have found themselves living in England during the second world war. It’s best to just go with the flow and see how things progress. A very amusing read.

The Yips by Nicola Barker. I first became aware of the author from a Guardian article last year. It made me curious to check out her work. This was the first book that I found. The story mainly revolves around the golfer Stuart Ransom. His life – professionally, financially and personally – is on a downward spiral. His encounters with such characters as a female priest and puzzling barmaid take his life into often comic turns.

Despite the book’s length, the rapid unfolding of the various story elements seem to make the book whip by at an accelerated pace. Very enjoyable, indeed.

The Secret Diary of Adrian Mole Aged 13 3/4 by Sue Townsend. Adrian Mole has just entered his teenage years and like most people of that age is finding the going a bit rough. He’s a self-proclaimed intellectual and he seems to attribute that fact as to why he has a difficult time relating to other people.

Adrian’s daily journal entries follow his relationship with his parents, girlfriend and others involved in his life on a daily basis. It’s apparently not an easy life for Adrian and this leads to countless chuckles and many laugh-out-loud moments. It reads like a modern day take on the classic British book The Diary of a Nobody by George and Weedon Grossmith from the 1890s (which is still in print and highly recommended!). A great read for some comic relief… especially in difficult times.

Isolation Reading: Music Books



During the current days of isolation, many people have taken to reading as a way to while away the time. Personally, I’ve pretty well always got a book on the go. According to my info on Goodreads, I read over 70 books last year. At the moment, I’m at the two dozen mark for 2020.

At this point, I thought that I’d share some of things that I’ve read so far this year. In this post, I’ll cover some of the music-related books.

Jaki Liebezet: The Life, Theory and Practice of a Master Drummer – Jono Podmore (editor). As a fan of the German group Can since I heard their first album (Monster Movie) on an import records radio programme in 1970, I was very pleased to learn of this new book on their incredible drummer.

This volume is bookended with a concise biography and a massive discography. But, the meat-and-potatoes of the book centres around the rhythm system of drumming known as dot-dash. Since this part of the book makes up about half of the content, this is where the value of the book will vary from reader to reader. Despite the fact that my own compositional work rarely deals with percussion or rhythm, I still found this section very interesting.

For me, one of the highlights of the book is the exhaustive discography which covers every release from his jazz beginnings through his work with Can and the last chapter of his life with Club Off Chaos.

Overall, I found this book to be a very engaging read. But, I’m not sure how it will appeal to people who are not interested in all of the technical information presented here.

The Life of Curtis Mayfield: Traveling Soul by Todd Mayfield with Travis Atria. The re-release of Curtis Mayfield’s first four LPs as a box set last year got me to wonder if there was a biography out there. Sure enough, I discovered this book by his son Todd.

The book covers his humble beginnings towards a successful career as a member of the Impressions and subsequent journey into his solo work. It reveals him to be a man focused on his music and also someone who was driven to retain the rights to everything he was involved with. It also shows how this drive could often lead to conflict in both this personal and professional life.

It is a thoroughly researched and well presented portrait of one of the most important figures to ever emerge from the American music scene.

Not Dead Yet by Phil Collins. Despite the fact that I have been a Genesis fan since the early ’70s, this book was not particularly high on my list to read. But, I stumbled across an advance uncorrected proof at a thrift shop and picked it up. I’m glad that I did as it proved to be a quite enjoyable read.

Collins covers his entire history from his early years as a child actor to his work with Genesis, his solo career and eventual situation of alcoholism and illness. It’s a warts-and-all account of both is successes where he does not shy from accounts of pitfalls and personal failures. A quick and enjoyable read.

Little Girl Blue: The Life of Karen Carpenter by Randy L. Schmidt. Whether you were a fan of soft rock in the ’70s or not, everybody seemed to agree that Karen Carpenter was a singular voice in the music world at the time. I can still recall buying the Carpenters self-titled LP on the same day as Paranoid by Black Sabbath. Both held appeal to me for different reasons.

While others had attempted to write a biography of Karen Carpenter in the past, the hyper-protective nature of her family always resulted in a dead end. Fortunately, this was not the case for Schmidt. He was able to finally dig beyond the surface in order to get to the roots of her life.

Of course, it was a life of tremendous success on the surface but, he manages to dig deep into a personal life which was far from perfect. It’s a touching portrait that shows the sad physical decline of Carpenter leading to her eventual death from complications related to anorexia. In the end, it’s a story that will no doubt be of interest to the fans of one of the most distinctive voices in popular music.

In the Court of King Crimson by Sid Smith

In the Court of King Crimson

Once upon a time there was a young boy named Robert who dreamed of one day making music that would be so unique that it would basically defy description. And he did.

Back in 2001, Sid Smith published a book entitled In the Court of King Crimson. It related the history of the first thirty years of the band King Crimson. With 2019 marking the fiftieth anniversary of the group, Sid decided to mark the occasion with an expanded edition covering that fifty year span. He didn’t, however, just tack on chapters covering the subsequent twenty years. He virtually started again from scratch.

For King Crimson fans, this is excellent news.

The first part of the book focuses on band founder Robert Fripp and his early life and progress into the world of music. This would eventually lead to the formation of a trio along with the Giles brothers – Michael and Peter.

The trio of Giles, Giles and Fripp were signed to Decca Records and released a period piece entitled The Cheerful Insanity of Giles, Giles & Fripp. Its contents featuring jaunty pop tunes interspersed with spoken tales linking them seems a perfect period of the times – that being 1968. It’s not until the last track on the second side – Erudite Eyes – that the sounds of improvisation appear and actually seem to give a hit as to the direction in which Fripp would soon head.

Indeed, the following year, Fripp would join forces Michael Giles, Greg Lake and Ian McDonald (plus lyricist Peter Sinfield) to create the first incarnation of King Crimson in 1969.

Before they even released and LP, the band were blowing audiences away with their unique brand of music. This included a spot as one of the opening acts at Hyde Park where the Rolling Stones headlined the bill.

But, it was the release of their debut album – In the Court of the Crimson King – that would solidify their stature in the world of new music later in the year.

With a unique painting by artist Barry Godber of a visibly disturbed figure gracing the cover, the contents ranged from the all-out sonic attack of opener 21st Century Schizoid Man to the pastoral mellotron strains of the title track. This was a record that demanded repeated listening.

But, the intensity of the creation of such music would take its toll of many of the people involved in its creation. By 1970, their second album – In the Wake of Poseidon – would include Mel Collins and Gordon Haskell along with contributions by Peter Giles and Keith Tippett. Even more changes were in order for their third release – Lizard.

By the time of their 1971 LP – Islands – Ian Wallace was brought in on the drums and Boz Burrell (later of Bad Company) was on bass. Reaction to the music on this album was a mixed bag.

The raw sounding 1972 live album Earthbound gave a brief snapshot of what was happening with the band dynamics at the time. Culled from cassette recordings, the sound was so raw that their US record label (Atlantic) passed on its release.

But, by 1973, things were really starting to percolate with the release of Larks’ Tongue in Aspic. With Fripp’s often scorching guitar sounds accompanied by Bill Bruford (drums), John Wetton (bass), Jamie Muir (percussion) and David Cross (violin) the band seemed to once again be reaching for the stars.

The same band minus Jamie Muir continued with Starless and Bible Black which was followed by their final studio LP of the seventies – Red. After that, Fripp dissolved the group and begin work on other collaborations and solo endevours.

By 1981, Fripp began to feel that it was time to revive Crimson and joined forces with Adrian Belew, Tony Levin and Bill Bruford. Initially performing live under the name Discipline, the band was re-christened as the latest incarnation of KC.

This line-up released a trio of fine albums – Discipline, Beat and Three of a Perfect Pair. And then it was over. Again.

Starting in the nineties, Crimson re-appeared in different configurations from a double trio to a double duo. In recent years, the line-up has once again expanded to the point of having a line of three drummers spread across the front of the stage. It’s this line-up that hit the road in 2019 to commemorate the fiftieth anniversary of the group playing a wide cross-section of classic material interspersed with brand new works.

Throughout the first section of the book, Sid Smith paints a detailed and vivid picture of a band whose nature and music has managed to stay faithful to the vision of its leader Robert Fripp.

After the chapters relating the KC story, there are other sections which are of equal interest to fans. Firstly, there is a chapter which provides details on what the many past members of the band go up to after their departure from the group. Sadly, some people like Greg Lake and John Wetton are no longer with us.

Next up is a track by track analysis of every song appearing on the studio albums from The Cheerful Insanity of Giles, Giles & Fripp to 2003’s The Power to Believe.

If that was not enough, Smith then provides an Annotated Gigography spanning 1969 to 2003. This consists of notes that he wrote for the countless concerts available for download on the DGM website. The capsule reviews of these shows provide a vivid glimpse as to the ever changing nature of the performances of the band.

At over 600 pages, this book is a true labour of love that provides fans of the band with the most detailed view of one of the most unique bands of the past fifty years. It’s a book that you’ll grab when you are listening to their music in order to jog your memory about the details surrounding the songs.

In the long run, Sid Smith is to King Crimson what Mark Lewisohn is to The Beatles. End of.

Giles, Giles & Fripp

Farewell 2019

Scott Walker

2019 was a challenging year for me personally. In the long run, I did not spend much time updating my blog. Hopefully, things will get back to normal this year.

During 2019, we lost more more musicians and entertainers. Here is just a brief list of some of those artists.

Ginger Baker
Paul Barrere (Little Feat)
Hal Blaine
Johnny Clegg (Juluka)
Dick Dale
Doris Day
Dr. John
Daryl Dragon (Captain and Tennille)
Gary Duncan (Quicksilver Messenger Service)
Keith Flint (The Prodigy)
Ian Gibbons (The Kinks)
João Gilberto
Mark Hollis (Talk Talk)
Robert Hunter (Grateful Dead lyricist)
Neil Innes (Bonzo Dog Band)
Daniel Johnston
Larry Junstrom (Lynyrd Skynyrd)
Roy Loney (Flamin’ Groovies)
Eddie Money
Art Neville
Ric Ocasek (The Cars)
Leon Redbone
Jack Scott
Kim Shattuck (The Muffs)
Peter Tork (The Monkees)
Scott Walker
Larry Wallis (Pink Fairies)

Neil Innes

Thomas Pynchon: The Demon in the Text by Albert Rolls

Thomas Pynchon: The Demon in the Text by Albert Rolls (Edward Everett Root, 2019)

For many readers, the name Thomas Pynchon signifies a special place in the world of fiction writing. Arguably one of the finest post-WWII writers to come out of the USA, Pynchon has only published eight novels and one collection of early short stories since his debut novel V. was issued in 1963.

His thick and densely packed 1973 tome Gravity’s Rainbow has been synonymous with some of the most demanding reading ever to grace the shelves of bookshops and libraries. However, little is known about the man behind the text. Over the past sixty years, Pynchon has managed to keep his private life private.

Often referred to as a reclusive figure, only a few early photographs have ever made their way into the public realm. He has never courted publicity or even granted an interview. This has made him a near mythical figure in the literary world.

With his new book, Albert Rolls has taken on the task of attempting to peel away some of the layers of the author’s writings to create a picture of his activities and thought processes. Through this means, he hoped to reveal the depth and breadth of a creative and complex literary mind.

Since Pynchon’s friends are as guarded about the author’s privacy as Pynchon himself, trying to assemble an accurate picture of his life via them is not a practical solution. They are apparently quick to perpetuate stories which are likely fiction, such as the one in which Pynchon once sold vacuum cleaners in Guadalajara.

Instead, Rolls has to rely on the various written works that Pynchon has released to the public over the years. He also examines some lesser known works such as his aborted play Minstrel Island as well as his earliest writings from his high school days.

This process can prove to be as challenging as playing connect-the-dots where the dots are located on a continuously shifting three dimensional plane. Or perhaps peering into a bag full of snakes and attempting to deduce which head belongs to which tail. Luckily, Rolls is up for the challenge.

Over the course of three lengthy essays, he dissects Pynchon’s writings and examines the author’s point of view on culture, sociology, relationships and politics. He manages this in a manner which is both well-informed and enthusiastic.

He examines the relationship between the perceptions of Tom Pynchon and Thomas Pynchon. He delineates between areas which are Pynchonian and Pynchonesque. It is a tapestry woven from the intersection of the genesis of ideas to the interplay of high and low-brow presentation.

In the end, it is a thought-provoking portrait of a man whose work has served to enrich the minds of those who have chosen to delve into his unique world of words.

There Goes 2018

The year 2018 was book-ended by the passing of members of two of my favourite bands from the Manchester area. Mark E. Smith of The Fall in January and Pete Shelley of Buzzcocks in December. The year also ended with the passing of one of my favourite film directors, Nicolas Roeg. Director Bernardo Bertolucci died this year, as well.

Here’s a list (quite incomplete) of some of the music-related folks whi have left us in 2018…

Charles Aznavour

Marty Balin (Jefferson Airplane)

Roy Carr (British music journalist) 

Roy Clark

Vic Damone

Dennis Edwards (The Temptations)

Geoff Emerick (Abbey Road recording engineer)

Nanette Fabray

Sonny Fortune

Hardy Fox (The Residents)

Aretha Franklin

France Gall

Mike Harrison (Spooky Tooth)

Edwin Hawkins

Dave Holland (Judas Priest drummer… not the jazz bassist) 

Jóhann Jóhannsson

Ed King (Lynyrd Skynyrd)

Danny Kirwan (Fleetwood Mac)

Didier Lockwood

Reggie Lucas

Vince Martin

Hugh Masekela

Abi Ofarim

Dolores O’Riordan (The Cranberries)

Vinnie Paul (Pantera)

Tom Rapp (Pearls Before Swine)

Pete Shelley (Buzzcocks)

Mark E. Smith (The Fall)

Tomasz Stańko

Cecil Taylor

Ray Thomas (The Moody Blues)

Wah Wah Watson (Funk Brothers)

Randy Weston

Nancy Wilson

For a more complete list check out:

Musician who died in 2018 list

 

 

The Hard Stuff by Wayne Kramer

Wayne Kramer – The Hard Stuff (Da Capo, 2018)

Growing up across the river from Detroit in Windsor, Ontario, it was hard not to be exposed to the wealth of music emerging from the Motor City. The sounds of Motown and beyond were ever-present on the radio airwaves.

The advent of so-called “underground” and “progressive” FM radio beginning in 1968 with WABX gave previously unheard sounds from AM radio a whole new venue for rock music. So, bands like the MC5 and Stooges would suddenly have an outlet for their sounds on the airwaves.

In this book, the MC5 founder and guitarist details the ups and downs of the band and music scene of the time from an insiders point of view.

Like most music bios, his begins with his childhood in and around the Detroit area. It follows his interest in music and particularly his attraction to the guitar which ultimately lead to the formation of one of the most highly regarded rock bands of the era.

The band encapsulated the raw energy behind the revolutionary talk and actions of the late ’60s. They dove in head-first and eventually came to the attention of Elektra Records who would release their debut album.

Kick Out the Jams was a raucous live recording which presented the group in their element at Detroit’s Grande Ballroom.  It was a warts-and-all presentation which Kramer was really not pleased. What could have been a hot national release was soon to have some major problems. Copies of the unedited album were rushed to promotional outlets and the major industry broadsheets which were incredibly influential at the time reacted negatively. They sited the obscene introduction of the title track (“Kick out the jams, motherfuckers!”)  and the inflammatory revolutionary rhetoric of the liner note as a reason to suppress its mass distribution.

So, no sooner had they started as a new hot commodity, their plans were dashed. It eventually lead to the band being dumped by the label.

This was only the start of their ongoing challenges as Kramer details the world that surrounded the band during those times. The White Panther movement. the incredible Detroit riots in the summer of 1967, the harassment from the police, the drug busts etc…

Kramer continues to spin the tale through the challenges of creating music, dealing with drug addiction and eventually to his own incarceration. It is often a harrowing read which eventually ends in redemption.

In recent times, Wayne Kramer has been back on the road celebrating his former band by currently using the banner MC50.

Over the years, the legacy of the MC5 has only been on the upswing. So, it seems quite appropriate that one of its founders tells its tale some fifty years from its beginnings. If you are a fan, this will help to shed some light on the full story behind the band.

 

Going for a Song by Garth Cartwright

Garth Cartwright – Going for a Song (Flood Gallery Publishing, 2018)

If you are a music fan of a certain vintage, you probably have many fond memories of cruising the bins of your local record shops. Before the days of internet “add to cart” methods of purchasing music and downloading, this is what people did.

In his 2009 book Last Shop Standing, author Graham Jones wrote about some of the remaining record shops across Britain. As the founder of Proper Music Distribution, his job took him across the land to provide stock to numerous stores. In the process, he was able to get to know the people behind the scenes and tell their tales of the trials and tribulations of music retail.

Writer and music fan Garth Cartwright arrived in the UK from New Zealand some time after the explosion of the record industry in the sixties and seventies. With this book, he has attempted to put together the puzzle pieces of the British music retail industry from its very beginnings up to its current state.

As someone who has been a music fan since the sixties and worked in music retail myself (initially at the Windsor, Ontario Sam the Record Man store in the seventies), these type of stories attract my interest. Not least because of my interest in British music.

The story begins with the longest last shop in the UK which is Spillers in Cardiff, Wales. An institution since 1894, it is still in operation today.

Throughout the book, Cartwright covers the story from the inception of wax cylinders to shellac 78s, to vinyl and eventually to CDs. It’s a story which includes the large chains such as HMV to the myriad of small independent shops serving the local community.

Much of the focus is on the once ever-expanding music market of London. Of course, this place was a melting-pot of cultures from around the world. Stores opened to often feed the musical needs of specific ethnic communities. These could range from Jamaican reggae to African sounds to those of European countries.

By combing many print archives as well as interviewing several of the people involved in the industry over the years, Cartwright has been able to assemble the stories behind countless shops which have come and gone over the years.

Although much of the information is about the countless London shops, he also relates events covering the smaller markets across Britain.

It’s an intriguing tale of ups and downs, devoted music fans, local heroes, scammers, gangsters and more. It manages to successfully tell the story of an industry that was virtually limitless in its expansion that eventually imploded at the dawn of the current century. The advent of internet downloading and CD burners put an end to that was once an important community of retail music . Suddenly, the experience of running to the shop to pick up the latest release from your favourite band was rendered almost obsolete.

Of course, not all of the shops have disappeared (thankfully) and the book also serves to shed light on the people who are still out there serving the community of music fans.

It’s an interesting story for those of us whose interest includes the history of the music industry. The book is exhaustively researched and presented in a very engaging and readable manner.

On a personal note… My first trip to the UK was in 1986. On that occasion, I had the good fortune to visit the fabulous Rock On in Camden Town and the original Virgin Megastore in London (as well as other smaller shops in Bath, Coventry, Stafford etc…).

I have been over a dozen more times since the late nineties and have had the pleasure to visit many more shops. I’ve been to a number of stores mentioned in the book as well as a few which were not. They include Probe Records (Liverpool), Record Collector (Sheffield), Crash Records, Jumbo and Relics (Leeds), Piccadilly Records, Vinyl Exchange, King Bee (Manchester), The Record Album (Brighton) and many, many others.

So, reading this book helped me to gain a perspective on the history of record shops across the UK.

 

Keith Rowe: The Room Extended

Keith Rowe: The Room Extended by Brian Olewnick (powerHouse Books)

The first time that I saw a reference to the British improvising ensemble AMM was probably in Op magazine in the late ’70s or early ’80s. I’m sure that their name popped up again in issues of Option and The Wire, too. But, it really wasn’t until into the 1990s that I was able to access CDs and finally discover their music for myself.

At that time, I had already been involved with creating improvised electroacoustic soundscapes and their sounds appealed to me in much the same way as Cage, Stockhausen or Feldman. It also helped to reinforce my own sonic ideas and provided added inspiration.

In this extremely well researched book, Brian Olewnick traces the path of one of the original members of the group and succeeds in connecting many dots within their historical picture.

After covering Keith Rowe’s earliest years growing up and subsequently becoming a member of Mike Westbrook’s ensemble, the real meat of the story begins to unfold.

Rowe eventually connected with percussionist Eddie Prevost and the ideas for a new form of group improvisation started to develop. Into the picture, Lou Gare (a saxophonist Rowe had worked with in Westbrook’s group) joined the duo. Bassist Lawrence Sheaff was also recruited, as well. And in 1965 a group with no name began to create unique sounds. Around this time, composer and pianist Cornelius Cardew also began to get involved, too.

For Rowe’s part, he envisioned the guitar as a tool with which he could produce raw sound. He was not interested in notes or riffs. He put the guitar on a table and proceeded to shove objects between the strings in an effort to create a new sonic vocabulary for the instrument.

It wasn’t until 1966 that the moniker AMM was stamped upon the ensemble. At this point, the group was invited to make their debut recording for the Elektra record label. Subsequent recordings from the 1960s (like the The Crypt, 1968) would not wind up  seeing release until the end of the 1980s with the formation of the Matchless record label.

While the members of the group continued to work together, some of them got involved with other musical projects including the Scratch Orchestra. Over the years, the lineup of the group was somewhat fluid with Sheaff leaving and others such as Christopher Hobbs joining.

As time passed, there were many states of flux and upheaval. Rowe and Cardew became well entrenched in their political ventures and friction was caused amongst others. This lead to an eventual split of the group and various iterations of the group starting to appear.

The story of AMM is one that has been going on for over fifty years. In this book, Olewnick manages to search every available dark and dusty corner to present a thorough and cohesive picture of the events which lead to the various stages of that lengthy career.

Of course, Keith Rowe is the main focus of this tome although it could just as easily been labeled as a history of AMM. But, the concentration on Rowe’s later solo and collaborative works does in fact make it more of his story.

In the long run, this is a long and winding tale which involves artistic ideas, disagreements, outright battles and eventual reunions. It is a fascinating story which was long overdue in its telling.

The inclusion of a well-detailed discography at the end of the book is icing on the cake. Collectors of their music (like yours truly) will likely wind up cursing the investment in future purchases as their wallets get progressively lighter. But, it’s the price that one pays to get exposed to such wonderfully creative sounds.

In the meantime, anybody who has an interest in AMM or creative sounds in general would be well advised to read this essential volume.

 

 

John & Yoko – Museum of Liverpool 2018 – 2019

Double Fantasy: John & Yoko – Museum of Liverpool (May 18 2018 to April 22 2019)

Whenever I am visiting friends in Sheffield, I always try to make a journey over to Liverpool. One of my stops is always the Tate gallery down at the docks. This time around, I saw a wonderful exhibition of works by Egon Schiele and Francesca Woodman. However, on this occasion, I also wanted to wander down the dock to check out the exhibition on the life and work of John Lennon and Yoko Ono. I was not disappointed.

If you got a chance to experience the David Bowie touring exhibition then you have a bit of an idea about what this display has in store. Of course, the exhibition deals with the time that John and Yoko were together so, there is little of the previous years on display. But, there is certainly no shortage of interesting material to showcase.

There are photographs, videos, handwritten lyrics, personal mementos (like John’s iconic glasses) on view. It’s a lot to take in but, it’s worth the effort to check it all out.

Since I realize that many fans will not get an opportunity to make it to Liverpool to check out the exhibition, I’ve gathered together a number of photographs that I took while I was there. The photos are in no particular order and were taken quickly so as to not interfere with anybody’s enjoyment of the exhibits. So, many are not are perfectly framed as I would like.

I hope that you enjoy this brief look at some of the exhibition highlights and that you might get to visit the museum to experience it for yourself before it ends in April 2019.