Monday 31 August 2020

Brief 15: The Impostor

 I'd been having a couple of thoughts about "Impostor Syndrome", so I'll tie that into a music documentary I just watched, called 'Lost Songs: The Basement Tapes Continued', made in 2014 about the recording of the album 'The New Basement Tapes' which involved five artists - Elvis Costello, Jim James, Rhiannon Giddens, Taylor Goldsmith and Le Marquis de Mumford - coordinated by T-Bone Burnett, to record new tracks from a stack of old lyrics Bob Dylan found from the Woodstock 'Basement Tapes' era.

The doc was shot by the sam Same Jones I mentioned in my last post. I listened to, and enjoyed, the album at the time but hadn't seen the film before. It has a voiceover from Bob D himself, as well as Robertson Robertson, talking about the original basement recordings, which Jones juxtaposes (alongside some slightly corny pretend grainy footage featuring lookalikes of Dylan and the Band) with the two-week recording period in 2014.

Although it's primarily all very cordial and promotional, there are some interesting undercurrents relating to the expectations of each musician, how prepared, collaborative and confident they all were.

In any case, if you have a negative opinion of Le Marquis de Mumford and his merry band of filial ersatz Americanists, as many do, it's worth watching this doc, as he comes across very well indeed, both in terms of his character and his talent.

But anyway, it struck me that he's probably a very good example of something that I think is very prevalent among a certain type of ex-public schoolboy (not the worst kind, by any means). To me, it seems self-evident that having gone to public school leads to a certain kind of impostor syndrome, a certain undercurrent of "everything i achieve in life owes a great deal to luck and circumstance, and anyone from a state background who has achieved the same as me unquestionably deserves it more and is, by definition, more qualified".

E.g. with me, I have gone through a lot of my life thinking "why would anyone be the slightest bit interested what I have to say on this topic?" ... and yet, the point is, as people who know me know, I am hardly, in many circumstances, shy of giving my opinion at great length and volume. 

That's the dichotomy that I think accompanies many public school boys with a smidgen of self-awareness - "Well, I'm a bit of a phoney and only here by pure luck, but, hell, I've got the confidence and sense of entitlement to impose my position/opinion, so I will" ...

Le Marquis de Mumford seemed, from this brief glimpse of him, to embody this contradiction, this kind of well-meaning, well-to-do bohemian, who is insecure and nervous, up to a point, but then confident enough in his own skin to come up trumps. It is also to be said for Mumford that his empathy and his bonhomie and spirit of collaboration really shine and probably do more than anything else to bring the project to a pleasing conclusion.

Anyhow, I've more to say here, I was just about to turn left into how professional football is Britain's only true meritocracy (or near as can be) but I've hit 500 words, so that'll have to wait for another day.

Saturday 29 August 2020

Brief 14: On Camera, Off Camera

 I've only watched one Chadwick Boseman film, Black Panther, thus far, not having yet got round to watching Da 5 Bloods, as I'd intended, nor being a big Marvel devotee. 

I have, nevertheless, watched a great deal of him talking/being interviewed, so feel saddened by his loss. In particular, I've seen a lot of him talking on a youtube show called 'Off Camera With Sam Jones', which I'd highly recommend.

Sam Jones, who I first became aware of directing the Wilco documentary 'I Am Trying to Break Your Heart' (he also shot the iconic cover photograph, of which the below is my own personal version!), is, primarily, a celebrity photographer.



One supposes it is the fact his job has involved making celebrities feel at ease in his presence which makes the hour-long 'Off Camera' interviews (which I usually watch in the short youtube clips he edits them into) so rewarding. 

They are the best "Hollywood" interviews I've seen. It is just him, in black and white, talking, at ease and leisure, to a famous person, and you'll never see famous people so relaxed, so open, so interesting. He gets them to talk about what got them into acting, who their heroes are, their processes, their hang-ups. Nearly all of them come across humanised and normalised, and even those that are clearly still "on" have interesting things to say.

Chadwick Boseman was one of those interviewed - I think his interview is from 2017. Hindsight I know but , perhaps you could see, in his uncommon intelligence and sense of purpose, that it was a sense of purpose sharpened by the uncommon and awful circumstance he'd already found himself in. 

Youtube being youtube, that took me to further Chadwick Boseman interviews - there is so much fascinating about how he perceived the importance of his role as 'Black Panther' and the film itself. I enjoyed the film a great deal, though of course it was not the event for me it was for others - in particular, though, I thought his performance a marvellous, finely balanced thing.

Anyway, it's a deeply sad happening.

And check out the Sam Jones interviews, they're really good.  Equally, the acting process may be of little interest to you, nor indeed seeing film stars flattered by appearing down-to-earth. The only minor irritation is the way he goes "Right" when someone says something half-interesting then "Riiight" 10 seconds later as if he's just fully grasped the deep insight. But that's a minor quibble!

Friday 28 August 2020

Brief 13: Landfill Indie

This list about “Landfill Indie” has caused quite a stir in the small world. I usually get very cross about lists and/or people slagging off indie rock, but I found, in general, this list had a nice affectionate touch and sense of its own absurdity.

I had a few thoughts about it, but this is the one I’ll stick to: it made me remember that, yes, there did used to be lots of music I kind of hated, and that was kind of ok.

Now, with streaming, I listen to what I specifically want whenever I want, don’t listen to the radio much, if I like the recommendation something’s getting, I listen to it, carry on listening if I like it, don’t if not. My listening is, in a way, wide but limited – very little comes along unexpectedly.

Whereas, back in the day, I’d listen to a lot more different bands, mainly via listening to the radio (XFM or early 6 Music), there’d be a lot more music on TV (especially indie bands, which were actually in the charts) etc… so, though part of me, when confronted with a list like this says “there you are, people being snobby and too cool about indie music again, how tiresome” … but then I remember, no I really did used to dislike a lot of those bands. And I disliked them not because I was trying to be cool but because I heard their songs/read their interviews and had a reaction to them.

So, in each case, they were specific, but properly formed opinions. I was looking at the line-ups for festivals I went to in the mid-2000s and I remembered avoiding Keane, the Kooks and Kasabian, but really enjoying Franz Ferdinand, Maximo Park and Kaiser Chiefs. Of course, to some people (and even in one’s own memory), those might all be lumped in together as successful, solid 2000s indie-man-rock but at the time, there was a world apart in the details.

I guess the ones I like there are more “arty” per se than the ones I don’t (yes, even the Kaiser Chiefs are a certain kind of arty and clever) but, saying that, I’ve never been averse to a solid, straightforward indie-rock anthem if done right. It's just I didn't like a lot of those bands, even at their best. I think as you get older and you find a way to enjoy the soundtrack to ‘Frozen 2’ and just generally loosen up, you can tell yourself that there’s no point disdaining music. But actually, that disdain, if you’re really into your music, is not really a choice.

That “rock radio/rock magazine” culture I grew up with asked you to listen to and get to know a lot of groups of skinny white guys and those skinny white guys were not, actually, all the same, and any music fan was applying various finely-honed tools for discernment, to sift out those worth spending a tenner, and potentially a lot more, on, and those who were wasting your time.

I never paid to see any of the bands on the VICE list – I saw a few at festivals, a few as support acts, only bought a handle of their singles and albums, so realise, despite being a “2000s indie fan”, I’m adjacent to the people offended or delighted to the article, but, you know, I think it just reminded me that it’s ok to take the piss out of bands, it’s ok to not like bands … not much of a thought really.

Thursday 27 August 2020

Brief 12: Dude, the Obscura!

 


I’ve always found it hard to describe succinctly the kind of music I like when people ask me (not that many people ask me anything anymore).

But I thought about Camera Obscura yesterday, for the first time in ages, and I really think, if I wanted someone to have a pretty good idea of what my musical sweet spot is, it’s that.

Not that Camera Obscura are, per se, one of my all-time favourite bands, or that I listen to them all the time. That’s the funny thing. But, in terms of a band through which I can explain what I’m after in music, they tick most of the boxes.

Especially their fourth album ‘My Maudlin Career’, the one after the one that contains perhaps their closest encounter with the mainstream. The extremely perfect single ‘Hey Lloyd, I’m Ready to Be Heartbroken’. ‘My Maudlin Career’ contains more of the same, but more so.

Some “indie” music doesn’t really sound like it’s interested in success or mass connection (and that can certainly be fabulous) but to me, there’s a parallel universe where ‘My Maudlin Career’, with the clear and perfect singing of Tracyanne Campbell, its plentiful string and brass arrangements, its clean production and heady choruses, is a massive hit loved by the kids and the mums and dads and grannies up and down the land.

It’s music made with care and love and with a sense of scale. The lyrics also bite, that’s one of the things that’s so marvellous about it. Not in an incongruous, sneaky way. I can actually find it a bit disconcerting where really dark lyrics are sneaked into a big tune by a pretty voice, but here, the voice, and the arrangement is just so capable of conveying love and longing, sarcasm and irritation, all at the same time.

It is both music made (probably, relatively) cheaply which sounds expensive, and music with great direct impact which is also very subtle.

Lines like “so you want to be a writer … a fantastic idea” on ‘Swans’, and ‘When you’re lucid you’re the sweetest thing” on ‘Sweetest Thing’ have so much nuance and backstory to them.

So, yeah, Camera Obscura, part of that world of lovely, not particularly successful, indie music made by grown-ups which is never quite in fashion but is always good, that, broadly speaking is what, year on year, decade on decade, you’ll find me liking.


Wednesday 26 August 2020

Brief 11: Checking 'Chernobyl'

 

I’ve had a little more time to watch TV lately. Everyone was raving about ‘Chernobyl’ last year so I watched that.  It was great, though I think those calling it one of the greatest TV shows of all time are going a little far. All of the acting was tremendous, and it reminded me that almost no one has been putting in such superb performances in quality pieces for the last 25 years as Emily Watson. She’s never not great, and never seems to be in anything which isn’t excellent.

What it particularly made me think about was how close to the truth a drama should be, if it is about something that really matters. I usually don’t mind at all and completely understand the need to twist and stretch the truth for dramatic purposes, always find it pretty gratuitous (eg with ‘The Irishman’) when someone close to real events is reeled out to say “this is a disgrace, it didn’t happen like that”. Who cares?

But, actually, with ‘Chernobyl’, when I read up a bit at the end, I was a bit disappointed at how far from the truth it was in some significant details. Without giving too much away, there is a major character who is not a real person, the “villains” are over-villainised, and the dramatic denouement is pure fiction, even to the extent of whether the main character was even there (I guess that gives a lot away, oh well).

Why has it bothered me with this show and not others? I think creators are, and should be, beholden to how well known the event is, how nuanced the truth is, how important the event is, how much they put weight, in how they shoot and frame the event, on chronological and geographical detail.

The Chernobyl Disaster was 34 years ago. We all know a bit, but not everything, about it. It really matters. I recall it was one of the first news stories that, as such, mattered to me. We discussed it in school, along with the Herald of Free Enterprise, Terry Waite etc. As I was growing up, I couldn’t fully grasp how and why it stayed in the popular consciousness more than other disasters, why it was such a deep and major moment in human history and why it’s effects are still being felt today.

This TV show, dramatization though it is, has to be seen in that context, as an educational, historical document of a still-raw event. You can play fast and loose with some stuff to do with US gangsters, especially if you frame it that you may be playing fast and loose (which ‘The Irishman’ does) – ‘Chernobyl’ asserts itself like it’s the truth. It does so compellingly. But, I just felt, in this case, the truth does matter.


Tuesday 25 August 2020

Brief 10: Writers on the Storm

 In the last year or two, I’ve noticed several of the writers for the NME that I used to read have died. It’s not a big enough story to make the news, it’s just because I follow a lot of journalists on twitter and you see them paying tribute to their former colleagues and friends.

I started buying the NME in early 1995 and then bought it close to every week for, I’d think, 12 or 13 years. I learnt more from it than pretty much anything else.

I’d also get Melody Maker occasionally, and some of the monthlies intermittently until, in 1998, I settled on Uncut, which I still subscribe to. A lot of the writers whose names I’d see have gone on to bigger things. As in, a lot of them were really good writers. It wasn’t cheap hackery.

I think I initially bought it as much as because I’d just started to get into “indie” music (i.e. I quite liked Blur and Paul Weller) as because I knew it had a full rundown of all the charts, and I was interested in charts.

It caught me at the perfect moment – I was starting to have a bit of money to spend on music, I had a burgeoning political awareness and, of course, I was right in time for the haphazard heyday of that old beast Britpop.

I feel like the way NME covered Britpop is itself retrospectively mischaracterised, perhaps by slightly matured journalists ashamed of their youthful indiscretions. It was rarely jingoistic, tunnel-visioned and uncritical. In the first few issues I bought, I was baffled and intrigued to see East 17, Tricky and Orbital on the cover, perplexed that though Paul Weller was the lauded cover star, his ‘Stanley Road’ only received 6/10 in the all-important album reviews. The famous Blur/Oasis Boxing cover felt like an incongruous joke even at the time.


The reviews were much more honest and brutal than they are now. There were lots of 4s and 5s for much-hyped albums, lots of wit and malice.

A lot of the writing will probably not have aged well, but I remember, on the occasions I ever made the mistake of reading the “lad mags” of the era, the tone in the NME was very different, much more right-on, less misogynist. Of course, most of the NME writers were white and male, not all of them. They seemed like they were from all parts of the UK too.

It was funny and incongruous for those first few years that they didn’t write “fuck” and it had to be f*** or fook or fack – ridiculous, really. Alongside that, I was shocked, especially when I first read it, that journalists would openly write about artists’ (and their own) drug use. Would the police not get involved?

Mainly, it was funny, and it was copious. Every week, it was full to the brim with words – interviews and reviews, comedy features, puzzles, charts, letters, news. There’d be enraging stuff, journalists I came to be wary of, journalists I came to value. It took up happy hours of my time.

Anyway, “critics” get a rough time, especially from some artists, these days but, to me, criticism is utterly integral to rock’n’roll culture – at its best, its alive and glorious, a kind of hyperfandom which elevates and mythologises the artists, and the wise ones know to be grateful for it.

Sunday 23 August 2020

Brief 9: Arma virumque cano

 

People were being rude about Media Studies as a degree on twitter this week, and then it for some reason turned into ‘Media Studies Vs Classics’, as if anyone does Classics anymore, and there necessarily have to be false oppositions.

I did Classics. I think I’m more of a Media Studies guy in real life, indeed I briefly looked into doing some kind of Media Studies postgrad thing in my early 20s, but, my education and academic leaning being what it was, I classicsed it all the way.

I never loved it. You meet classicists, a pretty high percentage of those that do it, who love it. I can only say that it was my strongest academic subject, I was most at ease in it, and I had a grounding early on which meant I could coast through a lot of it, in a way that I couldn’t with other subjects.

I find with quizzes I’m doing at the moment that my classics-based knowledge, both in terms of history and language/etymology, is way off what it used to be, and that does make me a little sad.

I may not love it, but it is a good academic subject, perhaps uniquely multidisciplinarian. You do translation, literary criticism, poetry, history, philosophy, politics, linguistics, mythology, theology, the greeks, the romans, the comedies, the tragedies … it’s all in it.

The thing is … you know Boris Johnson did classics … and I kind of get that, and I shudder to think he has a mind like mine, but, I liked in classics that you didn’t have to go toooo deep into anything … it’s not about bullshitting, it’s just, it’s a bit of everything, you understand everything, but you don’t necessarily specialise in one area like in some subjects.

I mean, I think he’s a bullshitter, and maybe he’s a total bullshitter, but maybe he’s able to understand things up to a point pretty quickly and then doesn’t bother going too deep. I think that’s a bit like me … a lot of my teachers and tutors used to say I was getting by on “native wit”, whatever that is.

Well, I can safely say, if his mind is at all like mine, I do not have the skillset for running a country. But I think we differ in other ways, thankfully.

Anyway. There it is. I don’t think it’s particularly important that people do Classics, I think there are more important things to do, and it’s being thoroughly sullied by cheap quotes from Tory MPs. My favourite quote is “Italiam non sponte sequor” … Paul Gascoigne, 1991.

Saturday 22 August 2020

Brief 8: Remembrance Day

Shouldn’t every day be remembrance day? I tend to think every day shouldn’t be remembrance day, but sometimes it feels like it is.

When I was young, I developed an actual physical aversion to some of the ostentatious acts of remembrance to which this country regularly commits.

As I got older, despite continuing to be generally suspicious of patriotism and militarism, I eased towards considering my former reaction somewhat churlish, childish and disrespectful. The elixir of heroism and sacrifice is a heady one.

Many modern war films and books tended to tow the right line – not overtly jingoistic, often shocking and beautiful, they chimed with the need to pay tribute to the uncommon deeds of the common man.

I continue to be somewhat torn, but what is clear to me now, as we survey this divided, bloated wreck of a country, is that the suspicion and unease I felt as a young man at what manifested as straightforward acts of gratitude and respect have been borne out.

The obsession with remembrance as an act of self-glorification only continues. It seems like it is almost the only thing that effectively interrupts the news cycle, and several times a year – look, there is the Queen, there are some guns, it is the anniversary of another date. Stop what you’re doing. Respect, only respect.

If it were only remembrance and respect, of course … but it is so clear now that something insidious is in the national character, a suffocating imposition of past glories and ersatz solemnity.

Just as we are asked to accept that there is a difference between remembrance and glorification, when they manifest in exactly the same way, I have come to see that, for all that many hold patriotism as a great good versus nationalism as a great evil, they too manifest, so often, in such a similar way as to be virtually indistinguishable.

All of this is bad. It has been a burgeoning, enforced badness that has constrained, bullied and sucked the life and goodness out of the wonderful country this might have become in the post-war years.

We elevate the idea of honour and gesture – make dates in our diaries to look like we care deeply, but learn nothing from the past or the present.

There was a Remembrance Day a couple of decade ago. I was in church, and, as I recall, the National Anthem or other patriotic song was sung. I remember being almost overcome with a peculiar, shameful horror.

The same day, an elderly relative of mine who’d fought in the Battle of Britain died. It was a strange thing. It was so long ago.

Friday 21 August 2020

Brief 7: Paul Scholes, Leonard Cohen and other forced analogies

 You may know me as a man who holds, in total, two strong opinions, one on Bob Dylan, one on Ryan Giggs, but you’ll be delighted to hear that after years of trying, I’ve finally been able to condense those two opinions down to one opinion – here it is. - Thinking Paul Scholes is greater than Ryan Giggs is the same as thinking Leonard Cohen is greater than Bob Dylan.


As soon as I’d had this marvellous thought, I tried to push the analogy a little further. Look I could pair Cantona with The Beatles, Thierry Henry with Joni Mitchell, David Beckham with Stevie Wonder, Frank Lampard with Bruce Springsteen, Roy Keane with The Who, Alan Shearer with Cliff Richard etc … but where’s the fun in that, apart from a lot of fun?

I’ll leave that for another time. Back to Scholes and Cohen; this growing new orthodoxy that seems like it makes perfect sense … oh Scholes was the key, Scholes was the best, Cohen was the great artist/poet, the one who touched perfection. (I believe, in the latter case, I have invented what is known as a straw man, but don't get me started on David Bowie ...)

I wrote far too much about Giggs here, and that covers most of the ground. But, here’s the main thing, Dylan came before and after Scholes, Giggs could do everything Cohen did, Scholes could not do everything Giggs did. Scholes operated, at his best, in a small zone of perfection, but was lost when he tried to stray outside that, Dylan began as one thing, became another, then another, went back to being the same thing, learnt and changed, went on and on, produced close to his best time after time late on in his career.

There were a couple of “Greatest Champions League XIs” this week curated by different media outlets  – Scholes was the only British player in either (his inclusion met by considerable protest). Giggs was not even mentioned as a possibility. This led me to a revelation, a bit like hearing ‘Series of Dreams’, ‘Dark Eyes’ or ‘Red River Shore’ for the first time, and just going “what there’s more, hiding in plain sight?”

This is what I found out - Giggs has more assists in the Champions League than any other player … Messi, Zidane, Ronaldo, anyone … he’s  3rd on the official UEFA list, behind Ronaldo and Messi, but when it comes to Assists, the UEFA list only goes back to the start of Opta Stats in 2002 – his rate of assists per game since that point (considering he retired 7 years ago) is higher than anyone else, and, then, if you look at the TransferMarkt unofficial stats, you can see that, if you total all his assists (pre and post Opta), they’re higher than anyone else’s. I’ve checked that against any potential pre-Opta rivals – Seedorf, Zidane, Beckham, Pirlo etc.

Bearing in mind that he is 3rd on the UEFA list, when that list only takes into account the 2nd half of his career, a time some have described him as a utility player somewhere past his best, this really puts him in proper context, considering the Champions League is the consistently highest quality of football that exists, as a world class player alongside the very best, not just a parochial perennial.

Look, 500 words, you know I could write (and indeed have written) 500,000 words on all this, but still – Scholes/Cohen, Giggs/Dylan, the great unifying theory you've been waiting for.

Wednesday 19 August 2020

Brief 6: Commuter Comedy

I wrote a poem a couple of years ago which was, kind of, about the success one could have as a right-wing comedian in this country. It’s a funny thing.

Comic Timing

Years ago, I went, with two school friends, to the Comedy Store – I think we were 17. It was a school night, very exciting. Had a beer, wore a baseball cap. The compere was Fred MacAuley, there was a guy called Nick Wilty, the Tracy Brothers, who were the guards Gary and Graeme from ‘Maid Marian’ (one of whom is now the crime novelist Mark Billingham), a nervous unknown guy given a try-out slot, which was endearing and awkward (I do think most comedy audiences aim to be generous). And the headliner was Lee Hurst, who was famous and well-liked for a while in the 90s but is now a “right-wing comedian” and object of online bile.

Hurst was fairly good – a man in front of us laughed so much he fell off his chair, which certainly made it memorable.

He persists, bete noire that he is – he plays places like Sevenoaks and Ashford and one assumes still knows how to make people laugh.

There are clearly interesting and unhealthy dynamics in comedy. It is evidently horribly sexist, and probably a lot of the folk who present as right-on are anything but. There are a lot of pretty mediocre comedians, who just know how to do the job. I had an interesting conversation with one once, a TV guy – he admitted he wasn’t brilliant, but he was just working hard and making a career out of it. Fair enough.

The thing is, there are a lot of places like Sevenoaks, Ashford and Tunbridge Wells where people go to see comedy, and the crowd is not likely to be wild and revolutionary.

We’d go quite regularly to the comedy night in Sevenoaks – the guy who ran it slagged off his opener, who’d driven 200 miles and had a shocking cold, and was consequently a bit apologetic and off-form. That was deeply unpleasant of him. He (the host) also “tried out” new material which included old-fashioned racist stuff, then had the get-out clause that he was just “testing the line” and saw that these jokes weren’t quite right yet. That was also deeply unpleasant of him.

But, yeah, the point is, in places like the Noaks, I’ve seen comedians meet a brick wall when they’ve been too right-on. There remains a massive space for old-fashioned right-wing comedy. No one’s being silenced.

There’s also always a space for terrible comedy. When a friend was having a go at comedy a few years ago, including running his own night, and we went to see him a few times, he was very good, and there were a lot who were very not good. I did my best to laugh heartily at anything which was the germ of a good joke, which sometimes happened about 4 times in a 3 hour period. When things started to go bad, the jokes would get more offensive. It was all pretty fascinating.

All of the above might suggest I’m a bit sniffy about comedy and comedians – whereas, anything but – I think great, or even good, comedy, is powerful alchemy, which deserves to be treated as an art form like novel-writing or poetry, or even, dare I say it, hosting quizzes.

Tuesday 18 August 2020

Brief 5: Sweet Sorrow

Another summery book I’ve read recently is ‘Sweet Sorrow’ by David Nicholls. It’s the third of his I’ve read, after the bestseller ‘One Day’, then ‘Us’. I’ve also seen the film of his ‘Starter for Ten’. He occupies a similar space to Nick Hornby, and, lately, Sally Rooney – popular, rather than “literary” fiction – not disdained, by any means, but, I imagine, the kind of book that people who read fancy books are a little embarrassed to have read, but they read, and enjoy, nevertheless.


His writing is unpretentious and funny – he has a knack for grounding his story in situations that people will recognise (no doubt targeting specifically the English middle-class who left school between 1980 and 2000, which would make up a large proportion of his readership.)

The titles pretty much lay out what the book’s all about – ‘One Day’, ‘Us’ …  now, ‘Sweet Sorrow’ … the joy and pain of a man recalling his first love in the summer of 1997. This is such very well-worn territory, but Nicholls really is excellent on the detail – on the films and the music and the chat and the awkwardness, on the pain boys who think themselves boisterous but benign can cause to sensitive souls, on the way family situations can completely mess with the best intentions on school, on how most of our teenage summers were purest, purest boredom and the golden memories we hold on to usually just make up a fragment of the time.

In the previous two books of his I’d read, the central female character is drawn as well as, if not better than, the central male, whereas, here, the focus is on the young male protagonist, Charlie, and his adult memories, while Frances, the object of his affection, is never given her own voice. That allows the reader, I suppose, to become fully immersed in Charlie’s nostalgic recollections. Though Charlie sees/recollects himself as Mr Dull Everyman, he is suspiciously sharp and endearing.

It being the summer of 1997, there is a very newsworthy event at the end of that summer which Nicholls uses to draw a line under the main action in the plot. It is not heavy-handed though.

Nicholls is very good on class in all his books – the characters don’t exist in a Richard Curtis nebulous neverland – he carefully draws distinctions between the different strata which, to less observant writers, might all be jammed together. He is also, as one would expect of someone who has been an actor and written for film and TV, very good at comic setpieces. Properly funny scenes which could, and almost certainly will, lend themselves to being filmed.

There is an argument the story peters out a little, a brief thought it might subvert its title with a ‘Before Sunset’-like plot twist and a mild disappointment that it doesn’t.

But, fuck it, it’s lovely to read something unambiguously enjoyable here and then, to read someone who’s aiming to entertain, amuse and move you. If you love films like ‘Adventureland’ but set in a small Surrey/Sussex nowhere town, this is a book for you.

Brief 4: David Essex (and Laurence Fishburne)

One of the first times I ever played men’s cricket, David Essex was playing. I’d have been 13 or 14, it was a Sunday game at Thames Ditton in Surrey. David Essex has remained one of those generally, consistently, famous people, so that even though this was the early 90s, I 100% knew who David Essex was, even though in the scorebook, it said “Cook” (David Cook being his actual name, I later discovered).



He bowled a few overs of tidy dibbly-dobbly right-arm seam. I was sitting by the boundary waiting to bat and he must have come over to field on the deep cover boundary. I remember he had an earring, he sat on a chair, lit up a fag, gave me a big smile and said something like “My feet are facking killing me” … you couldn’t ask for much more from David Essex, really, could you? I can’t be sure those details are correct, but it was something a bit like that.


That being one of the first times I played men’s cricket, that set a high standard of expectation for rock stars in opposition teams, but, sadly, Eric Clapton never turned out for Ripley, nor Mick Jagger for Roehampton. The next best after Essex was FA Cup hat-trick hero Tim Buzaglo being a regular for Byfleet.


It reminds me of the fact that on my first day working at Blackwell’s, Charing Cross, Laurence Fishburne came in and asked where the drama section was. A similarly high standard set, though, in that case, famous faces were quite regular thereafter. Bloomin' Tom Baker, he was never out of the place.


Some of those cricket days were pretty idyllic, looking back. If you’re like me, a cricket ground is, by definition, a thing of beauty, but some are certainly more so than others. Some were pretty standard suburban recreation grounds, but a fair few were classic English images, elegant pavilions, stunning backdrops, summer paradise.


If you turn up at a cricket ground, you learn to very quickly take in a series of details – how big’s the outfield, are there any short boundaries, are there good sightscreens, is the wicket grassy, is there any rough for a spinner, is there a slope, is the outfield well kept, are there bushes a ball might be lost in, is there a road which puts nearby cars at risk, does the pavilion have a TV, what beer’s on tap, are there decent showers, a good spot for watching the game, are there nets … all of these details will become important at some point in the day.


As a left-arm spinner, I’d be looking to bowl, ideally, slightly uphill and into the wind, if such factors exist. You take everything in within the first 10 minutes or so of arriving at a ground.


I’ve had many conversations about the effect weekend cricket can have on your general spirit. If you’re a bit dispirited in general, being a batsman and being out cheaply can be such a bummer and it can be hard to feel part of anything. If it’s gone ok, you’ve got 3 for 30, 20 not out, how lovely that after-match pint can see.


Even if David Essex can’t always be there.

Monday 17 August 2020

Brief 3: Context

 I wrote this poem a few years ago, called 'Context'. I think I already put it on the blog alongside some others, and I'm posting it again, since everyone from Nick Cave to Noam Chomsky's been talking about "Cancel culture".

The whole thing's a bollocks, really, and I come down on the side of no line.


Probably, on balance of balances, I'd say that the most important thing is that people consider the consequences of saying horrible and stupid things, but very clearly, there is an extremely self-righteous nuance-free element out there who could just see a bit more nuance.

Anyway, I wrote about context, I've just rounded it off by repeating the first two lines in the first two lines.

Just a quick note - the penultimate word of the second line and of the last line, I could have chosen the word "woke" but chose not to, because I'm just not going to be someone who castigates wokeness. Perhaps the thing suffers for it, because "folk age", which I've used, is a personal notion of mine which makes little sense to anyone else. Well, there we go.

CONTEXT

Context is the casualty of the constant “Oh, humanity!”s

from the council formed by Pharisees in the folk age.

Concepts like cold sanity fade to heated faux humility

in the cloth-eared cloistered malady of bespoke rage.

Constrained by their fallacies come a thousand fraught apologies

from a hundred caught-out Socrates in the courtroom.

Consecrated effigies made for bonfires of false vanity

feed the hungry, maddened Manichees’ lost proportion.

Concern turns to calumny just as fast as last week’s amnesty

on poor broken, panicked Salomes fades to nowhere.

Content cast out casually makes a martyr far more rapidly

than the lately feted banishee can manoeuvre.

Context is the casualty of the constant “oh, humanity”s

of the council of the Pharisees in this broke age.



Brief 2: Time of the Season of the Time

 I’ve finished reading ‘Summer’, the last in Ali Smith’s remarkable “Seasons” tetralogy. It’s for books like this that I wish I was a better reader - that I lingered longer on a phrase, made copious notes and cross-referenced flashing thoughts, that I worked harder to experience the work on every level, rather than just work my way through as quickly as I can, understanding what I can.

How to describe Smith as a writer to someone who’s never read anything by her (as I hadn’t before I read ‘Autumn’ a couple of years ago)?

Witty, wild, angry, allusive, hopeful, in love with art, in love with words, childlike at times, confusing, undoubtedly confusing, magic-real, real, topical, historical, quizzy … sometimes it’s like reading a particularly articulate twitter rant, sometimes a crossword puzzle, sometimes you just stop and wish you could read a particular sentence or thought over and over for the first time.

Each book takes a particular work of art/artist as its centrepoint (Pauline Boty, Barbara Hepworth, Tacita Dean, Lorenza Mazzetti, though others such as Rilke, Chaplin and Einstein play significant roles too).

Each book stands alone but gradually the links, thematically and plotwise, between them are revealed.

The books take place in real-time (or as close to real-time as has ever been attempted in the novel before) – Brexit is all over the first one, ‘Autumn’, written in 2016, and Covid is all over ‘Summer’. Fear, nature and the fate of humanity, immigration, war, activism, these themes run heavily through each book.

Sometimes the unexplained and the loose ends are frustrating, sometimes I think she thinks we’ll understand what she’s saying better than we do.

But the overall effect is overwhelming and enormously beautiful. It is also educational in the best way, someone sharing what excites them and drawing hitherto unconsidered links from the present to little & well-known moments in history.

I think “ekphrastic” is a good word to describe the books – the author is always saying to the reader “here, here’s a picture, look at it, dwell on it,” whether that’s an actual work of art or an image she creates.

There is so much of the absurdity, corruption and bureaucracy of modern life. There is such a keen and empathetic understanding of modern technology and the world as encountered by young people.

Yet the “main character” (as much as there is one main character) is a 100+ year old Jewish German-British man who has lived through the two World Wars.

I never reread books, haven’t reread anything since I was a child, but I’d be quite tempted to with these. There’s so much I’ve missed first time around – so many links, so many hints, so many exquisite phrases and unforgettable images. I don’t feel I’ve made good sense of it at all yet, and I’d really like to.

Perhaps a few years will be needed to fully judge if these are great novels or not, but, if they are, at the very least, urgent documents of our times, then what desperate yet magical times we live in.

Sunday 16 August 2020

Brief 1: Ronnie and Serena

I’m going to write posts which are only 500 words long. I keep on trying to write long pieces and getting bogged down. So if I set an artificial limit, they may be easier to write and more readable.

They’ll be on anything – music, sport, film, books, politics, personal … anything ... here's the first ...

Ronnie and Serena 

Ronnie O’Sullivan is the Serena Williams of snooker and vice versa. It is not a perfect comparison, I know. With Ronnie, for starters, there is no Venus figure. Venus Williams herself is one of the great undersung heroic enigmas in sport and, like it or not, the Serena Williams story does not happen without her, but, for the purposes of this brief comparison, I’ll have to pretend she doesn’t exist.

What particularly fascinates me about Ronnie and Serena is that they were both, in their day, seen as too easily distracted, not focused enough on their careers, somehow disrespectful to their profession, and yet, here they are, way after most of their peers have faded, still at it, still battling and striving.

It raises questions about whether too much intensity at a young age shortens careers, while a bit of distraction and hinterland does the opposite.

In both their cases, as well, their natural talent is almost held against them, or taken so for granted that people don’t notice what battlers and tacticians they are. O’Sullivan doesn’t magically win all his matches by hitting 147 breaks in 5 minutes every frame. Williams doesn’t serve down 130mph ace after ace. They have peaks and troughs in every match, they fight and commit, they’re prepared to get ugly if needs be.

They invite polarisation where none needs exist. If Serena Williams is being deeply rude to a linesperson, or Ronnie is slagging off his fellow pros, you don’t actually have to defend that if you love them. They are overwhelming wonderful and great for their sport, but that doesn’t mean they can’t do shit which is out of order sometimes. And if you hate them, if you think something they've done along the way mars the grandeur and magnitude of their achievements, well that's a shame for you.

They have both had to endure more than the usual amount of off-court/table trauma, they’ve both had to endure far more intrusion into their personal lives than is usual, both had to carry the full weight of their respective sports. There is, with both, a peculiar fragility which belies their extraordinary winning ratio. I often feel Serena’s on the point of cracking, of giving up, but how rarely she does. Likewise Ronnie.

They both seem to care little about the opposition. Unlike, say, Michael Jordan, who was apparently always inspired by making it personal, it hardly ever seems personal with Williams and O’Sullivan. They both seemed baffled as much as anything by the “rivalries” that the likes of Sharapova and Shaun Murphy sought to establish with them.

I’d say that Serena seems a pretty benevolent presence off-court these days, whereas Ronnie’s dismissiveness of the younger generation of snooker players is funny but sour.

They also differ in that I genuinely believe Ronnie when he says it’s not about winning and losing for him, it’s about how he plays. It’s clear that winning doesn’t always bring him satisfaction, which must be terrible in a way, but I would also imagine has brought him a calm and a reasonable ability to deal with losing in and of itself.

Whereas, with Serena, I think, it’s all about the winning, more than the process. Rightly or wrongly, she’s never been seen as the Federer of women's sport, the artist-champion, the great aesthete, whereas Ronnie has had to put up with that notion throughout.

Anyway, here they both roll along - here's Ronnie struggling his way to further greatness, winning his 6th world title 6 years after his 5th, probably after many thought he'd still be able or bothered to. Look at Serena, almost 39, she's lost her last couple of Grand Slam titles, people are looking towards the end ... I think there'll be one more.

Saturday 8 August 2020

101 Songs (Encore)

 It's been about 5 years since I put out a list of my 101 favourite songs (and when I did it in 2015 that was 5 years after the previous time), so it's as good a time as any to do it again.

Here the two previous lists for reference - one more verbose than the other

https://101songs.blogspot.com/2010/08/101-101-songs.html (2010)
https://101songs.blogspot.com/2015/11/my-favourite-101-songs.html (2015)

There is no attempt or pretence at objectivity here, these are just my favourites.

There's a lot that is the same as last time and the time before, a fair bit that is different. It's a bit sappier, reflects a little bit, but not too much, how these last five years have been spent.

I haven't put much thought into it, haven't applied any formulae, just looked through my various playlists and thought "yes, still love love love that" or "love that but it's a little in my past right now".

The order is pretty much entirely specious, except that I'd say that I do think 'All My Friends' has pretty solidly become my favourite song in the world. Saying that, I'll probably compel myself to be bored of it (for the first time) shortly.

Apart from the obvious, the other big lifestyle/music change from 5 years ago is that I don't run while listening to music anymore (I don't really run at mo, and even when I do it's sans headphones). That's surprisingly important. A lot of the euphoric listening to music I was doing between 2006 and 2016 was pounding the streets/treadmill, and it suited a certain type of song.

I might put in the odd note of explanation/mitigation here and there ...

  1. All My Friends - LCD Soundsystem
  2. From the Morning - Nick Drake
  3. Pa'lante - Hurray for the Riff-Raff
  4. Doo Wop (That Thing) - Lauryn Hill
  5. In California - Joanna Newsom
  6. When the Haar Rolls In - James Yorkston
  7. Idiot Wind - Bob Dylan
  8. My Baby Don't Understand Me - Natalie Prass
  9. Thunder Road - Bruce Springsteen
  10. I See a Darkness - Bonnie "Prince" Billy
  11. The Modern Leper - Julien Baker (cover of Frightened Rabbit)
  12. Being Alive - Stephen Sondheim
  13. Grace - Jeff Buckley
  14. Take it with Me - Tom Waits
  15. Song for Our Daughter - Laura Marling
  16. Lean on Me - Bill Withers
  17. Blind Willie McTell - Bob Dylan
  18. Family Affair - Mary J Blige
  19. Girl in Amber - Nick Cave
  20. Heatwave - Martha and the Vandellas
  21. Danny Callahan - Conor Oberst
  22. The Trapeze Swinger - Iron and Wine
  23. A Case of You - Joni Mitchell
  24. Place to Be - Nick Drake
  25. Mercy Mercy Me (The Ecology) - Marvin Gaye
  26. Witness (1 Hope) - Roots Manuva
  27. Isis (live) - Bob Dylan
  28. Yes - McAlmont and Butler
  29. Floating in the Forth - Frightened Rabbit
  30. Up With People - Lambchop
  31. She's a Jar - Wilco
  32. First Day of My Life - Bright Eyes
  33. Bring da Ruckus - Wu-Tang Clan
  34. Bills, Bills, Bills - Destiny's Child
  35. Holes - Mercury Rev
  36. King Kunta - Kendrick Lamar
  37. Random Rules - Silver Jews
  38. Rise - Josh Rouse
  39. So Long, Marianne - Leonard Cohen
  40. Shake - Otis Redding
  41. No Children - Mountain Goats
  42. Diamonds and Rust - Joan Baez
  43. American Trilogy - The Delgados
  44. Bryte Side - The Pernice Brothers
  45. Black - Dave
  46. Be My Baby - The Ronettes
  47. Nutmeg - Ghostface Killah
  48. Amsterdam - UNPOC
  49. Better Son/Daughter - Rilo Kiley
  50. Rosalita (Come Out Tonight) - Bruce Springsteen
  51. There She Goes, My Beautiful World - Nick Cave and the Bad Seeds
  52. Angela Surf City - The Walkmen
  53. Dancing on My Own - Robyn
  54. Caroline No - The Beach Boys
  55. Green Light - Lorde
  56. St Elmo's Fire - John Parr ... sometimes the ones we love ironically end up being the ones we love most of all
  57. I Want You - Elvis Costello
  58. The Rat - The Walkmen
  59. Send in the Clowns - Barbra Streisand (Sondheim)
  60. The Whole of the Moon - The Waterboys
  61. Simple Man - Graham Nash
  62. Unfollow the Rules - Rufus Wainwright ... this is pretty brand new, but it's really pure unfettered Wainwright and i love it
  63. How Far I'll Go - Moana
  64. Your Love Keeps Lifting Me Higher - Jackie Wilson
  65. Sign of the Times - Jamie T
  66. Jesus Etc - Wilco
  67. Danny Nedelko - Idles
  68. Ice Hockey Hair - Super Furry Animals
  69. Love Child -The Supremes
  70. Au Fond Du Temple Saint - Jussi Bjorling
  71. A Whole Lot Better - Brendan Benson
  72. You've Got a Friend - Carole King
  73. Sweet Jane - Velvet Underground
  74. Downtown Train - Tom Waits
  75. Kung Fu - Ash
  76. Ol' Man River - Paul Robeson
  77. Lithuania - Dan Bern
  78. Pink Rabbits - The National
  79. Be not So Fearful - Bill Fay
  80. Galveston - Glen Campbell
  81. Branches - Midlake
  82. Fight the Power - Public Enemy
  83. Love Love Love - Mountain Goats
  84. On and On - The Longpigs
  85. You Are Everything - Marvin Gaye and Diana Ross
  86. Tilted - Christine and the Queens
  87. Free Falling - Tom Petty ... after years of indifference, this one caught up with me recently
  88. There There My Dear - Dexys Midnight Runners
  89. Anyone - Joan as Policewoman
  90. Where Does the Good Go - Tegan and Sara
  91. Down in the Tube Station at Midnight - The Jam
  92. Dear Lord and Father of Mankind ... it's still can give me the shivers just to think about this one being sung well, let alone to here it sung well
  93. Mid Air - Paul Buchanan
  94. Ladies and Gentlemen We are Floating in Space - Spiritualized
  95. Shake it Off - Taylor Swift
  96. Friday Night - The Darkness ... pure silliness
  97. No One Know Me Like the Piano in My Mother's Room - Sampha
  98. The Judgement of the Moon and Stars - Joni Mitchell
  99. Time for Heroes - The Libertines
  100. The Lonesome Death of Hattie Carroll - Bob Dylan
  101. Redemption Song - Bob Marley


Wednesday 5 August 2020

Song 90: Mr Brightside

OK, I’m going to condense lots of thoughts into a small space. This is about 2005, not really 'Mr Brightside' specifically.

Why 'Mr Brightside', then? Two reasons 1) I remember Gregor McNie driving us back through Spain from Benicassim to Barcelona after we’d been to the festival in early August – he was trying to get us to remember a song, he said it went “destiny, destiny” or something. We finally worked out it was 'Mr Brightside'. That’s not overly interesting but it’s a memory. I think the scenery was lovely, and Gregor's not a good singer, and we finally got there, it was a release of tension! 2) 'Mr Brightside' is still in the charts. Not much connects 2005 and 2020, apart from 'Mr Brightside', a song from 2003, still hanging around the lower reaches of the charts.

'Mr Brightside' by The Killers is not one of my favourite songs in the world. 'Bryte Side' by The Pernice Brothers is. That was never in the charts. That was my sound of 2001, another London Ashes summer. I could write plenty about that summer too.

2005 is the last summer of the previous age. Something like that. Do you know that? Do you feel that? It’s a personal thing, I know, because it was my last summer off, my last summer before I had this job.

It was my last summer of feeling like a kid who’d failed. I had failed. I’d messed up my PGCE and felt like hiding from the world.

Thanks to London, Benicassim and cricket, I didn’t.

Although I lived in London for 27 years before that and another 7 years afterwards, it may be in the summer of 2005, as I grow older, that I’ll remember London most vividly.

The summer of the Olympic announcement on the 6th July.

The summer of bombs. 2005 was the last year before this one that it felt like everything had and would change forever. I mean, there’s been so much change in between, but I’m really talking about the physical day-to-day. The bombs on 7/7, followed by the attempted bombs on 21/7, it briefly felt like this was it, this was life now, a city relentlessly targeted.

The locations for the bombs, both the ones that detonated and the ones that didn’t, were so real, so very much the places we all went through every week.

I really think, though I’d loved London before, I really felt it deeply that summer. We carried on and embraced the city and it felt like something to do so then.

Right now, I haven’t been to London for 5 months. That’s the second longest period in my life, but it’s weird to be only 50 miles away. I could almost see it from a high hill.

It was the last summer of the real routemasters.

I used to run for the 137, a routemaster which went past my top floor flat on King’s Avenue near the junction with Acre Lane. We were 10 minutes walk from both Clapham Common and Clapham North, 15 from Brixton, sometimes I’d walk the 20 minutes to Stockwell to avoid the terrifyingly tight and busy platforms of the Clapham stations. Stockwell where Jean Charles de Menezes happened to go one day.

I could get the 137 to Queenstown Road/Kings Road/Oxford Circus, the 35 to Clapham Junction and Brixton, the 37 to Brixton and Peckham one way, Clapham Junction and Putney the other way. I think the 417 went to the Junction as well, or maybe just to Clapham High Street.

If you got the 37 from Putney to Peckham then, you saw a lot of the different aspects of South London. Some places were born fancy, some were post-gentrification, some were mid-gentrification, some were barely gentrified at all.

Kings Avenue was amidst all that – on the border of Clapham and Brixton, estates in a couple of directions, a prison across the way, the extremely fancy Abbeville Road (Abbevillage) just behind, general young upstarting Londoners nearby.

Clapham could be fine, but the high street gave it a reputation. There were some great pubs down streets, the common was great. I didn’t love that flat, I had a tiny room with a hole in the window, it was full of the 1000-odd CDs I was still listening to, there was so much dust.

We’d watch, on freeview, Sky Sports News, pop videos, Scrubs, Moonlighting, the OC etc. No constant Sky sports yet. We’d watch the cricket on Channel 4.

I had my first mobile phone, a Nokia brick, not a smartphone which didn’t exist yet, I didn’t have broadband, facebook, even an ipod, not any of that stuff. I had one talk21 e-mail account. That was it. I still have that.

I remember the news talking about people's online responses, on blogs, social media, whatever, and it seemed like a dim and distant world.

Look, here's a poem I wrote in in the immediate aftermath, I think I wrote it the week after De Menezes was killed. It's pretty crass.

IN A SEQUENCE OF REACTIONS

wrapped up again in the language of death

choosing to run with "defiance" or "resilience",

I've slipped to the heart of my city of chaos

where the cunts have got the cops killing brazilians.

 

my city on standby merits solemn laments

not rolling hysteria and fatuous weblogs.

my lines are long down, though, my rhymes so crass -

stung by this simply dismantled deadlock.

 

what knows he of London, whom London knows

to be taped up and tucked in and listlessly trapped? -

my city of safe self -mythologising

still seeking an epithet ample and apt.

 

wrapped up in my own lazy language of death -

romance via Klute and Zhivago and Vegas -

my white life, my light life - my fight might return

in a bang and a flash if I'd duelled with these dangers

 

but Stockwell's not a quick walk down the road,

it's a Hollywood film set, a shallow black comedy

and 'I'M NOT AFRAID' of a thing but myself

and the myriad ways I find to dishonour me.


It was the last summer Labour won an election. But the Tories were coming back. Justine Greening won Putney. Cameron won their leadership election.

But it was still Blair in the UK, Livingstone in London.

All over London, always with on an eye on the cricket, the greatest test cricket series of all time. When I got to Benicassim, my phone ran out of battery within a day, I lost my wallet, I was completely cut off from reality most of the time. But I still queued up in the internet tent to check on the cricket.

Funnily, looking back at the line-up, there wasn’t that much music I enjoyed that year. I somehow managed not to see LCD Soundsystem and Doves, who I loved, and definitely didn’t watch Kasabian and Keane, who I didn’t.

I think I liked the Polyphonic Spree, Devendra Banhart, Richard Hawley, Kaiser Chiefs, Maximo Park. Very 2005.

To keep a bit of money ticking over, I did various bits of tutoring, mainly in the fancy parts of south and west London. It at least told me that whether it was one attentive posh kid for an hour or 30 poor kids, half of them with SEN, in Peckham, I was the problem and teaching was 100% not for me.

At the end of the summer, I think literally the Monday after the Ashes finished, I went to the Fox in Putney to do a pub quiz with a few guys from school. Winning the jackpot regularly was another little bit of cash. And so it went from there.

On the bryte side.

I also wrote a poem about it this week:

THE LAST EXPLOSIONS

I ran to catch the late routemaster poised

on Acre Lane that ashen summer free

from trying to mould this world or any world,

to disappear in garden afternoons

with Camel Lights and one of two cask ales,

redeemed by failure and the city’s blaze

of love and fear and hope and broken glass.

 

On Baker Street, I shuddered for a lift

to green and clean elasticated hills,

another wedding song, a hiding place

pretending separation from the flow

and grind, the dust and freeze of youth contained –

a hog roast, conversation barely born.

this idyll isn’t anyone’s, we know

but it’s a breath, a catch, a gratitude

long after all the details are just smoke.

 

How London wouldn’t let me hide too long

that July, how it found a path for me

through swamps and snakes to waltzing wild at dawn.

How sorry London’s not recovered since.

 

Rewrite your evidence-free histories

to pay due heed to each fresh faultline in

that liminal ground of epiphany

and prejudice reborn before its time.

It’s rolling news, it’s rolling news, it rolls

and rises sneering its explosions at

your innocence, terrestrial impotence.

 

For long enough, the city let you leap

for gaping hope in managed danger games,

a stumble and a shy bravado sprung

in constant sounds, I am the man, the man

upon the Clapham Omnibus alone

who never thought that it would happen, but

it looks like anything can happen here

if everything stays pretty much the same.

 

I watched the city’s epoch switch as stone

cold towers swayed to western terror chords

in error - forces jumping barriers where

We walked, we packed, we breathed still free and fair.

We watched the city rise and fall so fast.

That was the summer when everything changed,

one of those summers when everything changed.


Tuesday 4 August 2020

Song 89: What's Going On

I watched a couple of really interesting music documentaries recently – one was called ‘Hitsville’ and was the authorised story of Motown. One was called ‘Laurel Canyon’ and was about the Laurel Canyon scene of the late 60s/early 70s.

They were different kinds of docs – the Motown one had a lot of on-camera modern interviewees, whereas the Laurel Canyon one mainly had the recent interviews as voiceover.

They both told their stories pretty thoroughly though (while skipping some, though not all, the darkness in the tale).

The Motown one was a joy, while the Laurel Canyon one made me feel more uneasy.

I am a fan of a lot of the music from both scenes. They are both incredible stories. The old ham Crosby had the last word on the Laurel Canyon documentary, in comparing Laurel Canyon then to the Italian Renaissance and Paris in the 30s. Perhaps the Monkees are meant to be Michelangelo.

In any case, bearing in mind the odds and obstacles, the Motown story is considerably more remarkable – Smokey Robinson has a clear answer for why all that genius was able to come together – he says it was Berry Gordy.

Gordy and Robinson were the crux of the documentary – still best friends, interviewed together, exuding charm and joie de vivre (Gordy will have been in his late 80s when interviewed, Robinson his late 70s).

The idea of Gordy I’d had was as this money-obsessed domineering industry guy – he’s clearly so much more than that. I mean, he admits it was all about the business and the money, but I didn’t know he was himself the co-writer of hits from ‘Reet Petite’ to ‘I Want You Back’.

He’s known for pushing back at Stevie Wonder’s kaleidoscopic expansion in the 70s and at Marvin Gaye’s What’s Going On. And he admits there’s truth in that, but, ultimately, those records were released on Motown – he backed down at the right time. Apparently, he hated the song What’s Going On when he first heard it, forbidding its release, but the A and R team sneaked it out to radio stations, it became a hit, and once Gordy saw that, he gave Gaye carte-blanche to release the album.

I always loved the song 'What’s Going On' – I remember singing it beyond woefully at karaoke once, flushed from the success of 'Raindrops Keep Falling on My Head', and not fully grasping the very different set of skills required.

I didn’t entirely love the album when I first heard it as a teenager – there were parts that seemed a bit naff. It really doesn’t sound so naff now.

Marvin Gaye is probably the greatest male pop singer in history – Sinatra, Presley, Buckley, Redding all at once – Diane Ross is also, I always think, a massively underrated singer. She obviously doesn’t have the power of Aretha Franklin or Tina Turner, but she’s a bit like David Bowie, in a way, in that, though the basic timbre of her voice is quite light, it rises to every occasion – she does justice to 'River Deep Mountain High', 'I’m Gonna Make You Love Me', finds something extra. Her duet with Marvin Gaye on 'You Are Everything' is one of the greatest.

It is mind-blowing watching the documentary – look, there’s Diana Ross, there’s Smokey Robinson, there’s Stevie Wonder, there’s Michael Jackson …

… maybe there really was something in the air …

A thing I always find amazing is that Prince, Michael Jackson and Madonna were born within 3 months of each other in states on the Great Lakes. I mean, it’s hardly the same street, there were 100s of kms between them, but still.

Just like the thing that amazes me about the Beatles is not, per se, that Lennon and McCartney existed, but that the third guy wrote 'Something', 'Here Comes the Sun' and 'While My Guitar Gently Weeps'.

But then again, the reason he wrote them is because he met Lennon and McCartney and George Martin.

So, you see, with Berry Gordy at the head, how Motown just sprouted more and more geniuses.

Motown is surely the most uncontroversial, undeniable force in popular music – I know no occasion not enlightened by a Motown song, no person I’ve met just doesn’t really like it.

Though, of course, lumping “it” together is way off – ‘Reach Out’ is so different from ‘My Girl’ from ‘ABC’ from ‘Livin’ for the City’ from ‘Heatwave’ from ‘War’.

You get these moments, well-worn but still thrilling, in music documentaries, where they talk about the construction of a song, the calm before the storm, and then you hear it, and the impact depends on just how highly you rate it and how bored you are of certain mythologies.

With the Motown doc, there were several moments like this, and with the Laurel Canyon one too, to be fair – however hackneyed the Crosby and Nash tall tales are, I still love that music – when they talk of the magic of when they first harmonised with Stills, I go, yep, fair enough.

The two scenes are not diametrically opposed – did you know Neil Young was briefly in a group signed to Motown called The Mynah Birds? The psychedelic soul of the Temptations, the 70s Stevie Wonder albums and 'What’s Going On' have plenty in common with the ideology of Laurel Canyon. Motown moved to LA at the end of the 60s, became a slightly different, but still magnificent, entity.

Dylan lingers in both tales – the first track on Motown’s first Chartbusters compilation is Stevie Wonder’s version of 'Blowin’ in the Wind'. His famous line about Smokey Robinson being America’s greatest poet is mentioned by John Legend.

Anyway, I had a crack at a Motown compilation and a Laurel Canyon compilation – the former has pretty clear guidelines, the latter is a bit all over the shop, in terms of what constitutes “Laurel Canyon”. I didn’t think about either for long.


MOTOWN

  1. Heatwave
  2. You Are Everything
  3. I Want You Back
  4. Love Child
  5. Just My Imagination
  6. What's Going On
  7. Tracks of My Tears
  8. What Becomes of the Broken Hearted
  9. He's Misstra Know-It-All
  10. Easy
  11. Reach Out I'll be There
  12. Ain't No Mountain High Enough
  13. I'm Gonna Make You Love Me
  14. Dancing in the Streets
  15. For Once in My Life
  16. War
  17. Ball of Confusion
  18. Hold On I'm Coming
  19. This Ole Heart of Mind
  20. My Girl
LAUREL CANYON

  1. Alone Again Or
  2. The Circle Game
  3. Carry On
  4. Daydream Believer
  5. Make Your Own Kind of Music
  6. Light My Fire
  7. Suite: Judy Blue Eyes
  8. Hot Burrito #1
  9. California Dreamin'
  10. For a Dancer
  11. Fire and Rain
  12. California 
  13. You've Got a Friend
  14. Desperado
  15. Slip on Through
  16. Simple Man
  17. Old Man
  18. Mr Tambourine Man
  19. Our House
  20. 7 and 7 is