Remembering Aretha Franklin : R – E – S – P – E – C – T!

 

Before night comes each of us must work, in our few days, the work we were uniquely created to accomplish.

Surely, that’s exactly what the late Aretha Franklin did in singing with such splendour and grace from earliest childhood until the last year of her life.

Enormous gifts were bestowed on Aretha.

The triumph of her life was in her acceptance, nurture and stewardship of those gifts.

In so doing she became the greatest female singer in popular music since the Second World War.

Her profound legacy can be found in scores of breathtaking performances and in the inspiration she gave to fellow musicians and singers as well all of us privileged to hear her in our lifetimes.

When Aretha sang she summoned up her whole humanity to insist upon, to imperiously demand our attention!

 

 

R – E – S – P – E – C – T!

R for Roots :

Aretha’s roots lay in Church.

Her Father, the Reverend C. L. Franklin was a celebrated Baptist preacher – immensely influential in the community through his recordings, radio and touring appearances. New Bethel Church in Detroit was visited by all the great and good of the Gospel world.

Chuch and Choirs and Quartets.

In Church wide eyed young Aretha took into her deepest being the rhythms and dynamics of her Father’s Sermons, the soaring exultation of the choirs.

Aretha conquered far flung worlds in her career but she never strayed in her heart far from that Church in Detroit.

From her Father and the Gospel tradition she knew that singing was Important.

An important aspect of sacred drama.

Important to her, important to a whole community – the heart of Life.

Throughout her life when Aretha sat down at her beloved piano or took centre stage her very presence and every note she sang, every breath she took had the force of a sworn Vocation.

She knew from the Bible and increasingly from her own personal life that this world could be a vale of tears, a place of sore trial and torment.

But, she knew there was a further shore.

She knew that in turmoil she could turn to song to guide her there.

She believed that though you might be abandoned by all who you relied on there was yet a hand that would reach out for yours and gently lead you Home.

 

E for Ecstacy :

Rapture. Euphoria. Exultation!

Listening to Aretha on record or in person gave you the opportunity to stand outside yourself transcending the cares of your everyday shackles.

Filled with the spirit Aretha pierced the veil.

Filled with the spirit Aretha gave us glimpses of no time, glimpses of Eternity.

Filled with the spirit Aretha lifted herself and her audience into other worlds.

Filled with the spirit Aretha called out to us to respond with all our hearts.

FIlled with the spirit Aretha made us reciprocate her urgency to be understood, to be respected, to be heard.

Filled with the spirit when she sang Aretha was always reaching, reaching, reaching.

S for Soul :

If you gotta ask you don’t know what it is.

Aretha not only had Soul in her recordings and performances she came to define its essence.

She sang as a woman in full.

A woman who was unaffaid to expose her vulnerability.

A Woman Of Heart and Soul.

A Woman of blood and bone and guts and unabashed carnality.

A Woman who could shout and scald, scream or tenderly whisper.

A Woman who could thrillingly fuse the sacred and the secular to examine and embody our deepest emotions.

 

P for : Politics

Like Bob Dylan says we live in a Political World.

Aretha grew up knowing Martin Luther King.

Her Father ordained Jesse Jackson.

Aretha was an inspiration to all the struggles for Civil Rights.

Civil Rights and Respect for African Americans.

Civil Rights and Respect for Women.

Civil Rights and Respect for The Poor.

With Aretha’s Voice At your back and in your heart no barrier could seem insurmountable.

E for : Eternity

The greatest artists stop time when they sing.

Most music, most art is ephemeral.

It is given to very few to add to the cairn Human Beings have added to the treasures of Eternity.

Aretha has beyond all question added significantly to that cairn.

C for : Choir and Community

When Aretha sang she was always singing to a surrounding community.

A community including fellow singers and musicians and fellow pilgrims.

Even alone at the piano there was a senses that she was singing to Another.

In her singing offering up gifts.

In her singing offering pleas for redemption.

In her singing offering cries of supplication.

In her singing offering heartfelt sorrow.

In her singing shouting to be heard – to be heard and answered.

T for : Thankfulness

Aretha was fully aware of the plenitude of her gifts and was properly grateful for them.

Looking back at her wondrous career we should be properly grateful too.

Now that she has crossed over we are all immensely in her debt.

Take her hand Precious Lord.

Take her hand Precious Lord gently in your own.

Lead her Home.

Lead her Home.

 

 

Nick Lowe, Bruce Springsteen, Lucinda Williams : (What’s So Funny ‘Bout) Peace, Love and Understanding?

A true message always gets through.

Sometimes it just takes a while.

Over 40 years a Song can, starting out as an unremarked track on a little regarded album from a little known Band, become a veritable anthem recorded hundreds of times and exalted in concert by the great and the good from The Boss to Bill Murray to Mavis Staples.

My own relationship with today’s featured Song began many decades ago in my teenage gig going years.

Loyal readers of The Jukebox will know that I have made a series of House moves in the last few years before settling happily here in our South Downs hideaway.

One of the ‘finds’ of the moving process was a notebook with the title, ‘Gig Diary 1970 – 1975’ emblazoned in red ink on the cover.

Leafing through this historically important artefact I see that in that period I saw Nick Lowe with his then Band, Brinsley Schwartz, on stage at The Marquee, The Roundhouse, The Lyceum, The Hope & Anchor, The Torrington and The Edmonton Sundown among many other venues.

Embed from Getty Images

I was, of course, also buying their Albums as soon as they came out and looking at the sleeve of, ‘The New Favourites of … Brinsley Schwartz’ from 1974 I see 2 large red asterisks next to track 1, ‘ (What’s So Funny ‘Bout) Peace, Love & Understanding’.

I should tell you that the double asterisk was a very rare accolade indeed!

From the very first time I heard it I knew that this was a breakthrough Song for Nick Lowe –  a Song that would get up and walk away by itself into History.

A Song I have sung along with scores of times during Nick Lowe concerts and many hundreds of times at home through all the stages of my life.

Sometimes when the world did indeed seem a wicked place and this Song quickened my search for the light to counter the darkness all around.

‘ ….. There’s one thing I want to know:

What’s so funny ’bout peace love & understanding?

Ohhhh ….
What’s so funny ’bout peace love & understanding’

 

Nick Lowe has said that this Song represented his first truly original idea as a songwriter and that having had that idea he realised that his task was then not to mess up the song by trying to be too clever – let the song flow naturally.

Aided by his colleagues in Brinsley Schwartz – Brinsley himself on chiming hats off to Roger McGuinn Guitar,  Bob Andrews on hats off to Garth Hudson keyboards, Ian Gomm on Rhythm Guitar and Vocals and Billy Rankin on martial drums, Nick hits the dead bullseye of his ambition.

I remember walking back to the tube station in the rain after the first time I heard this song all the while serenading bemused passers by with:

‘ … Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside,
There’s one thing I want to know:

What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?’

That’ll do as a definition of an Anthem for me!

Image result for brinsley schwarz group 1974 images

Once a true Song arrives it begins to find its audience.

In Liverpool in the early 70s when Brinsley Schwartz played their gigs an intense young man with a burning desire to get his songs heard was always at hand  – Elvis Costello (then Declan McManus).

In Nick Lowe he found an established songwriter who was willing to take the time to listen and provide encouragement to an unknown novice.

So, in 1978 as Elvis’ career began to gain momentum, he turned to an old favourite written by his Producer, Nick Lowe.

The result was a call to arms, flamethrower version, that launched Nick’s great song into the American market and the consciousness of American songwriters and singers.

Elvis, characteristically, located the anger within the song accompanying the philosophical musing of the Brinsley’s original.

No one can ignore this take on the Song!

In a sense sending a song out to the world is like throwing a message in a bottle into the ocean – the tides and currents take over and you never know where it will end up.

Remarkably, in 1992, Nick’s Song ended up as part of the soundtrack of the film, ‘The Bodyguard’ featuring Whitney Houston and Kevin Costner.

Everyone will remember Whitney’s Diva take on Dolly Parton’s, ‘I Will Always love You’ many fewer will have noted the presence of, ‘What’s So Funny ..’ sung by Curtis Stigers.

For Nick the bonanza was that the soundtrack LP sold an astonishing 44 Million copies transforming his bank balance at a stroke!

He must have reflected as the royalty cheques steamed in that his decision a decade earlier (prompted by manager Jake Rivera) to buy sole rights to his publishing was a very wise move indeed.

Among the song writing community picking up on the mysterious power of the song was Lucinda Williams.

For walk on, walk on, though you’re bruised and battered, just makes me want to cry, heart on the sleeve directness you just can’t beat Lucinda!

Now, if you want to be uplifted, to take heart as you ponder the trials and struggles ahead there can be no better source of inspiration than Mavis Staples.

Mavis’ voice with its inherent power makes you want to fight the good fight whatever the odds and however bleak the outlook.

With virtuoso guitarist Robben Ford she makes real the Song’s call for harmony – sweet harmony.

Hope will never slip away while Mavis is around!

 

Did someone say Anthem?

It is a truth universally acknowledged in the music world that if there’s an anthem to be sung, a rallying cry to be roared out, that Bruce Springsteen is going to be on hand to do just that.

It’s particularly pleasing to me to see him trading vocal lines and guitar licks with the great John Fogarty here.

Hard to be down hearted when this version gets cranked up!

 

Nick Lowe never concludes a concert without playing, ‘What’s So Funny …’ so its been a difficult task to choose the clip to showcase how he plays his masterpiece in his maturity.

But, I kept coming back to the Lion in Winter version where he is accompanied by fellow Brits Paul Carrack and Andy Fairweather Low.

There is wisdom and grace here aplenty.

Straight to the heart.

Straight to the heart.

What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?

Few thing in life are certain.

Yet, one thing I can tell you – the next time Nick Lowe comes to town I’m gonna be in the front row and ready to sing with all the spirit I can muster:

As I walk through
This wicked world
Searchin’ for light in the darkness of insanity.
I ask myself

Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside,
There’s one thing I want to know:

What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?
And as I walked on
Through troubled times

My spirit gets so downhearted sometimes
So where are the strong
And who are the trusted?
And where is the harmony?

Sweet harmony.
‘Cause each time I feel it slippin’ away, just makes me want to cry.
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?

So where are the strong?
And who are the trusted?
And where is the harmony?
Sweet harmony.

‘Cause each time I feel it slippin’ away, just makes me want to cry.
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding? Ohhhh
What’s so funny ’bout peace love & understanding?

And then I’m gonna shake Nick’s hand and say Thank You.

 

Jukebox Jive with : Mark Bedford of Madness (Our House, My Girl)

I am delighted today to feature Mark Bedford, the Bass Player for Madness, in the ‘Jukebox Jive With … ‘ series.

It was a pleasure to converse with such a patient, thoughtful and generous interviewee. I would award Mark the high Jukebox accolade of RGB (Right Good Bloke) which in my estimation far outranks the OBE and such beribboned gongs handed out by the Queen!

Embed from Getty Images

It is no exaggeration to say that Madness, now with a 40 year history as a Band with some time outs for rest, recuperation and diversions, have become fixtures in the imaginations and memories of the entire British Nation.

It’s not simply a matter of the 15 top ten hits in the UK and the ubiquity of their albums in homes all over the world.

It’s the way their presence through the folk like memorability of their songs,  the quirkily brilliant videos and carnivalesque live appearances has made them seem like part of more than one generations extended family.

In a real sense many of us have grown up with Madness with them sound tracking the joys and terrors of ageing.

Their role as, ‘National Treasures’ has been officially certified by their performances at such red letter day occasions as the Queen’s Diamond Jubilee Concert at Buckingham Palace, the closing ceremony of the London Olympics and the farewell celebrations to mark the last day of programming from the original BBC Television Centre.

What has impressed me most about them is their creative energy – their ability to continually grow as musicians, songwriters and performers.

They have emphatically not fallen into the trap, which has captured many veteran bands, of becoming witting or unwitting cartoon versions of their former selves.

Madness today are still properly restless and minded to surprise themselves and their audience with new material and the vigour with which they present their gem filled catalogue.

And what a catalogue!

Starting out as devotees of Ska and Rock Steady from Jamaica they expanded their tonal palette to include Music Hall exuberance, downbeat drama documentaries, lyrical and lovelorn romantic ballads, risqué end of the pier jollity, sharp situation comedies (a la Clement and le Frenais), surreal pantomime and state of the nation proclamations.

Oh, and you can sing along and dance to all of them!

On the very rare occasions when I can be persuaded to attempt karaoke (usually fuelled by too much Tequila) I always chose a Madness song – invariably, ‘Our House’ because I can be certain that as soon as I launch into:

‘Father wears his Sunday best, Mother’s tired she needs a rest ..’

my own reedy warbling will instantly become a full throated choir singing;

‘The kids are playing up downstairs, Sister’s sighing in her sleep,

Brother’s got a date to keep, he can’t hang round …

then the roof’s durability is tested as the whole ensemble (including the moody ones who never sing) roars out:

‘Our house in the middle of our street

Our house in the middle of …’

Our House has instant memorability yet repays repeated listening to savour the superb song craft and the layers of feeling embedded in the lyric, melody and performance.

We can all recognise this family – the nuances of the relationships and the truth that comfortable familiarity and subdued foreboding can coexist.

Naturally Mark has insights into Madness in all their dimensions denied to the outside observer. So, it as a genuine privilege to prompt his  thoughts in our interview.

IJ – Was there a musician who inspired you to want to be a musician yourself?

MB-

Well, indirectly, it was Ian Hunter of Mott the Hoople.

Embed from Getty Images

 

I had seen them on Top of the Pops. I liked their songs and I liked the way he sang – ’And you look like a star but you’re still on the dole’, from, ‘All the way from Memphis’ was really intriguing.

I found out he had a book out so I went to Compendium Books in Camden Town and bought ‘Diary of A Rock ’n’ Roll Star’.

Image result for diary of a rock n roll star cover images

 

I read it and thought this is what I want to do. Unfortunately I was only 14, so I practised the bass and had to wait for a couple of years.

As far as playing Bass goes I, like everyone, adored Motown’s James Jamerson.

David Hayes, long time Bass Player with Van Morrison was an important influence.

Image result for david hayes bass player images

On the UK scene when I was starting out I took note of the playing of Bruce Thomas with Elvis Costello and Norman Watt Roy with Ian Dury.

The drummer Kieran O’Connor and pianist Diz Watson also taught me a lot.

Reflecting on my career as a musician I’ve come to realise how important it is to be generous to other musicians and how such generosity benefits all concerned.

IJ – What was the first record you just couldn’t stop playing?

MB

Technically, ‘Dark Side of the Moon’.

Given my age I straddled Punk, so there were key records pre and post.

At school I listened to Steely Dan, Neil Young (‘After the Goldrush’ is still one of my favourite records) and Little Feat.

Once Punk erupted I was a massive Clash fan and listened to a lot more reggae. 

I also couldn’t stop playing Elvis Costello’s first album.

IJ – Was there a radio station/radio show/live venue that was important in introducing you to the music you love?

MB

My first radio memory: Eating breakfast, before going to school and listening to Tony Blackburn play Motown records on Radio One.

Of course, if you were a music fan listening to John Peel was compulsory.

Things were a bit more lax in the 70s. When we were in our teens, me and a group of friends used to sneak into pubs and listen to music.

At the time it seemed that every pub in North London had a back room with a band playing in it. I soaked up a lot of musical education in the Hope & Anchor, Dingwalls and The Carnarvon Castle.

We widened our repertoire and then started going to the Sunday concerts at The Roundhouse. These were amazing.  

IJ What was the first record you heard by one of your contemporaries that made you think – ‘Wow .. they’ve really got it!’

MB

‘Ghost Town’, The Specials. A giant step forward. We felt this really raised the bar for our generation of bands. It was addictively listenable while putting over a strong political message.

 

 

IJ – Looking back over your career which 3 albums are you most pleased with?

MB The first one, ‘One Step Beyond’ because it showed us we could do it.

Going in to the studio to make our debut we were nerveless. We really had the songs down from playing them live so we didn’t go in for any timewasting, ‘noodling’!

Producers Alan Winstanley and Clive Langer made important contributions. Alan was very adept technically and Clive had a musically interesting and empathetic mind. They were an excellent combination.

The second album, ‘Absolutely’ because it was written under such time-pressure but produced some brilliant songs (it is my favourite Madness record).

And, of course, ‘the last one’. (which as of 2018 was ‘Can’t Touch us Now’)

IJ – Similarly which 3 songs are you most pleased with?

MB

These Singles, because they helped us take a step forward: ‘My Girl’, ‘Grey Day’ and ‘One Better Day’. 

 

My Girl showed the reflective side of Madness.

This is a domestic love song about the kind of real stop/go hesitant love so many of us have experienced.

Mike Barson’s melody owes something to Elvis Costello’s, ‘Watching The Detectives’ though the mood is more discomfited male puzzlement rather than noir threat.

‘I found  it hard to say … she  thought I’d had enough of her …

‘Been on the telephone for  an hour … we hardly said  a word  …

’Why can’t she see she’s lovely to me ….

’Why can’t I explain … why do I feel this pain?

Been there Brother! Been there!

 

 

Grey Day though recorded in 1981 was conceived in 1978.

It shows Madness were atuned to a sense of dread that seemed to hang heavily in tne air at that time for a host of economic and political reasons.

It might properly be called a dystopian diorama or Orwellian vision of a society where it’s casualties are treated as though they were invisible.

But, though the central character is made black and bloody he endures.

He endures . He endures.

 

One Better day was born with Mark running down a chord sequence on guitar. Given the era it was then recorded onto a cassette in Suggs house.

Something about the melody suggested the wistful atmosphere of the song.

Now it’s a rare person who doesn’t feel as if they’ve seen better days.

Yet as the song makes clear even in the most desperate circumstances one better day may be right before us.

If you take the time to look around.

The feeling of arriving when you’ve nothing left to lose.

One better day.

IJ – What was your greatest ever live show?

MB

Madstock, Finsbury Park, 1992. A home coming, a farewell and a rebirth, all at the same time. There wasn’t a dry eye on stage. (The concert reunited the original band for the first time since 1984).

IJ – Nominate one artist who you think is criminally under rated?

MB

Robert Wyatt. From Soft Machine, Matching Mole to his solo stuff – so much of it so beautiful. What a voice.

 

 

Mark plays the Bass on this classic recording. It’s probably Elvis Costello’s most poignant lyric perfectly married to Clive Langer’s plangent melody.

There were clearly powerful emotions present in the studio that day – beautifully offered up in Robert Wyatt’s vocal and Mark Bass playing.

One of those records that hangs in the air long after it has finished playing.

Mark told me that he would love to have Madness and Robert collaborate.

I fervently second that proposal.

IJ – Nominate one record (by yourself or anyone else) to take up an honoured place as A 100 on The Immortal Jukebox.

MB –  ‘It’s Too Late To Stop Now’, Van Morrison. Specifically, ‘St Dominic’s Preview’

It’s the record I learnt to play the bass to and still practise to. I know every single note of it. And I have such a close emotional attachment to it.

It’s the manual on how to play together as a band. The interplay between the musicians is fantastic.

And, as a lovely circular story – A couple of months ago I was sent a message, through Mez Clough Van’s current drummer, by David Hayes, the bass player who is on the record.

Speechless. 

Regular readers of The Jukebox will know my reverence for Van. I have written that ‘Too Late to Stop Now’ is the greatest double live album of all time.

I’m delighted Mark seems to agree with me!

Mark is right on the money in referring to the miraculous interplay between the members of The Caledonia Soul Orchestra as they support and inspire their mercurial leader.

St Dominic’s Preview seems to me to a prophetic prayer yoking dreams of youth and the enigmas of maturity.

No sense in trying to force a linear narrative on it.

Surrender, surrender and be uplifted.

Thanks again to Mark for participating in Jukebox Jive.

It seems to me that Mark and all the members of Madness have been fortunate in finding each other and in the chemistry of their combination.

And, fortunately for us they have shared their gifts generously with each other and with us.

Long may they run.

Notes :

The Classic line up of Madness:

Chris Foreman – Guitar

Mike Barson – Keyboards

Lee Thompson – Saxophone

Daniel Woodgate – Drums

Graham ‘Suggs’ McPherson – Lead Vocals

Mark Bedford – Bass

In addition to the albums referred to above I am particularly fond of:

’The Rise & Fall’, ‘The Dangermen Sessions Vol. 1’ and, ‘The Liberty of Norton Folgate’.

Bobby Bare, Arthur Alexander, Tom Jones, Pam Tillis : Detroit City

People leave Home for all kinds of reasons.

As many reasons as there are people.

Running from.

Running To.

In search of safety.

In search of Danger.

Wherever they go, for whatever reason, no one ever forgets the Home they left.

Even, especially, if they can never go back there again.

Except in dreams.

Everyone has those dreams.

Jimmy :

When Daddy got home from the War he was sporting a chest full of medals.

Trouble was now he had only one arm and poison headaches near enough every day.

Makes running a small farm damn near impossible.

Some people say that’s what turned him mean.

Those folks mustn’t have known him before the War.

He’d always been mean as a mean rattlesnake on his meanest day.

Don’t know how Momma put up with him.

Except she’s one of them people who when she makes a promise she means to keep it.

For richer, for poorer, in sickness and in health.

Drunk or sober.

Arms around or fists Flying.

Me, I had to take mean when I was a Kid and I put up with it, for Momma’s sake, when I  could have fought back.

Then, one blue hour of the morning I decided it was time to take a freight train north.

Leave them fields of Cotton far, far, behind.

It’s a long way from Lubbock to Detroit.

Cotton field to Car Factory.

Ford or Packard or Chrysler.

Momma never would leave Daddy or Texas for that matter.

Detroit’s got jobs.

Jobs that pay.

A man can make his way.

Another thing Detriot’s got – Baseball.

The Tigers.

See if Al Kaline is as good as they say.

Don’t doubt they got Jukeboxes I can pump some quarters into.

Surely they got some Hank Williams and some Buddy Holly.

I wrote a letter to Mary Margaret saying I’d send for her when I’d made my fortune.

Shouldn’t be more than a couple of years.

A couple of years.

We will still be young.

Left a note promising Momma I’d write home every week.

That’s a promise I mean to keep.

 

Henry :

They say working a shift at Ford is hard work.

Well, not if you spent years picking Cotton.

That is work.

Back breaking work in the Sun.

Cotton Fields at dawn and dusk can seem beautiful.

But, when you’re working in them until you drop it’s a cruel beauty.

Oh, sure, we ain’t slaves no more.

Might as well be.

Might as well be.

Stay in line.

Stay in step.

Lower your eyes.

Move aside Boy!

Mississippi Goddam.

Strange fruit hanging from Southern trees.

School children sitting in Jail.

Some say a change is bound to come.

But when?

How many people got to die first?

Not sure if I even hear the murmur of a prayer.

Gonna ride that freight train North.

To Detroit City.

Where a man can get a Man’s job.

Now, I know Detroit ain’t no paradise.

Still have to have be alert, wary.

But, plenty of us up there now.

They call it the great migration.

Add me to the number.

They got Baseball there.

The Tigers.

One of our own Jake Wood on the team.

Like to sit in the bleachers and cheer him Home.

Maybe after the game find a bar with a good Jukebox.

Hit the buttons for Ray Charles and John Lee Hooker.

One scotch, One bourbon, One beer.

Got to leave a lot of family behind.

Promised Momma I’d write and that’s a promise I’ll keep.

Soon as I can I’ll send for Wilma.

If I make enough money and things change down here maybe I’ll come back one day.

Everybody dreams of Home even if living there was a nightmare.

Gareth :

Mining villages are very close knit communities.

Everyone knows you.

And your Mam and your Da and all your brothers and Sisters.

At least they think they know you.

My Granda was a miner.

My Da is a miner.

My Brothers went down the pit too.

But not me.

Passed the scholarship exam to go to Grammar School.

Some people are just naturally good at Sport.

I’m just naturally good at writing essays and passing exams.

i was never going down the pit.

College.

Cardiff.

A new world.

Finding out who you really are.

Getting to know yourself.

Or, admitting something you always knew about who you were – what you were.

He was a sailor from Detroit.

Couldn’t help myself.

Love is Love is Love.

So, I moved to Detroit.

I write Home to Mam and Da and tell them how well I’m doing.

Let slip that I’ve met a very nice girl and maybe …

I can trust them not to read between the lines.

I go to Tiger Stadium to see Baseball.

It’s not the Arms Park but you do get that sense of a crowd becoming a community.

There’s a bar nearby with a good Jukebox.

Don’t think anyone back Home will have heard of Smokey Robinson – but I bet one day they will.

Amazing how often I dream of Home.

Maybe I’ll go back for a visit.

Next year.

Or the year after.

Linda :

When I was 16 I was just filled to bursting with dreams.

And, none of those dreams were about living a quiet life at Home.

No dreams about Cotton fields and calling on kinfolks to see how they’re doing.

No dreams about settling down with the quiet boy who lit up every time he saw me.

No dreams about catching the train South with my heart pounding louder and louder and louder with every turn of the wheels.

No, No, when I was 16 my dreams were about a life filled with colour and fanfares in far away Detroit City.

Detroit, where I would make my own money, in my own way.

Detroit, where people would see me as my own person, not – oh that’s the third Henderson  Sister.

Detroit, where I would find a man who would make every day feel like a holiday.

Nearest I get to a holiday now is when I put Patsy Cline on The Jukebox.

I write home every week.

In my letters life must seem glamorous up here.

I don’t talk about the man, the men, anymore.

I wonder if they can read between the lines?

 

I want to go home
I want to go home
Oh, how I want to go home

I want to go home
I want to go home
Oh, how I want to go home

I want to go home
I want to go home
Oh, how I want to go home

I want to go home
I want to go home
Oh, how I want to go home.

Notes :

Danny Dill and Mel Tillis wrote the Song.

Bobby Bare’s typically laconic Version from 1963 gave him his first top 10 Country Hit launching a career filled with expertly chosen songs examining the joys and pains of living an everyday life.

Detroit City was Arthur Alexander’s last recording for the Dot Label In 1965.

No one has ever sung with such quiet, affecting passion.

Tom Jones has always had the capacity to give dramatic burnish to a Song and it is cheering that in his autumnal years he is turning more and more to songs that allow him to express that side of his talents.

Pam Tillis has carved out an impressive career of her own. Her reading of her Father’s Song honours them both.

By happenstance I see I have published this post on Pam’s Birthday.

Many happy returns!

Alan Gilzean RIP : Elegance and Flair make for a Football Legend.

 

There are no heroes like the heroes of your youth.

And, none you miss more when they die.

The image of Alan Gilzean playing for Spurs alongside Jimmy Greaves always floods my mind and heart with sunlight.

To watch him play in his heyday was a rare and true privilege.

Just the mention of his name made you feel that sport and life could be expressed with elegance and style without any loss of effectiveness.

in his honour and with endless thanks I Reblog my earlier tribute to a unique footballer and a very fine man.

May he Rest In Peace.

 

http://

Elegance as a quality in life, sport and the arts is hard to define but easily recognised. It’s surely something to do with speed of thought, economy of movement, grace under pressure.

The elegant glide to triumphs without overt strain so that we catch our breath and sigh, ‘that’s how to do it!’. And, having seen the elegant work their magic with such panache we queue up to see them do it again so we can exclaim I was there and saw them do it.

Fred Astaire in every dance routine of his career. Lester Young launching into a saxophone soliloquy, Barry Richards caressing the cricket ball to the boundary, Barry John casually wrong footing an entire All Black defence.

P G Woodhouse crafting a perfect inimitable paragraph. Maria Bueno conjuring a Wimbledon winner.

The elegant performer wins your heart and your allegiance to their cause. This is not a matter of statistics, of heaped titles or medals but of indelible memories, stories of famous feats to be retold to your own and the following generations.

My own exemplar of elegance is the one and only Alan Gilzean a footballer whose fabled history at Dundee, Spurs and for Scotland feels more wondrous as each season passes.

At Dundee he scored an incredible 169 goals in just 190 games between 1959 and 1964. He was the glory of the best side they ever had under the tutelage of the great Bill Shankly’s brother, Bob.

With the Dark Blues he won the the league title in 1961/62 and the following year he was the spearhead of their thrilling run to the semi-final of the European Cup where they lost to the eventual winners – the lordly AC Milan.

At the end of 1964 the ever shrewd Bill Nicholson bought him for Spurs where he was to remain until the endof the 73/74 season. The Spurs fans quickly came to adore Gily recognising a player who met their demand for style as well as success.

In no time he was lionised as the King of White Hart Lane – a title he will hold in perpetuity!

The statistics relate that he scored 133 goals for Spurs in 429 games and that he was a member of the sides that won an FA Cup, two League Cups and a EUFA cup.

But, with Alan Gilzean it’s not the numbers that you remember it’s the breathtaking elegance of his play – the way he could amaze you game after game with the subtlety of his footballing imagination.

He insouciantly brought off feats of skill and technique that other fine players could only dream of – leaving opponents admiringly bemused and teammates exhilerated.

Alan Gilzean was to use a fine Scots term a supremely canny player. He seemed to have an advanced football radar system that allowed him to know exactly where he was in relation to his markers and his team mates.

He could compute the trajectory of any pass that came towards him on the ground or in the air and instantly assess whether the ball should be held up or delivered on.

He had exquisite touch on the deck regularly wrong footing defenders before setting up goal chances for himself or one of his strike partners.

His sense of football space and keen eye for opportunity made him one one of the great collaborators.

He forged a legendary striking partnership (the G men!) with the peerless Jimmy Greaves who profited greatly from Gilzean’s vision.

No one has ever been better at coolly converting chances into goals than Jimmy Greaves and Gilzean provided him with a wealth of those chances.

Indeed, Jimmy has called Gilzean the best player he ever worked with – some accolade. Where Jimmy was all poise and deadly sureness Gilzean’s other principal strike partner, Martin Chivers, was all power and swagger. Gilzean was a superb foil to both.

One of Alan’s great attributes was his ability to change the direction of play to open up seemingly closed paths to goal. He was the master of the shimmy, the feint and the dummy – leaving many a defender bewildered and bamboozled in his wake.

He turned the back-heel into an art form and won the plaudits for artistic impression from the White Hart Lane faithful.

However, the defining skill of his genius was his heading of which he was the supreme master.

To watch Alan Gilzean working his way through his heading repertoire was an intensely pleasurable privilege.

The power header, the precisely placed in the corner of the net header, the chance on a plate for Jimmy header, the eternal glory of the Gilzean glancing header and the masterpieces that were the Gilzean back headers will forever define the art and science of heading a football.

He seemed to intuitively understand a geometry too complex for Euclid when it came to directing headers.

Given his eminence and elegance as a player I propose some additions to the language to reflect his unique contribution to footballing and sporting culture.

Gilzean: Noun – A sporting term for a perfectly executed back header or back heel gemerally resulting in a goal being scored.

Gilzean: Verb – To display enormous technical skill with nonchalance.

Alan Gilzean was brave, hugely talented and gave unstintingly of those talents.

He is a footballing immortal whose legend will burn bright wherever elegance and beauty of style are celebrated.

God bless you Alan Gilzean.

Further reading: Happily there is an excellent book on our hero, ‘In Search Of Alan Gilzean: The Lost Legacy of a Dundee and Spurs Legend’ by James Morgan.

Jukebox Jive with Garland Jeffreys : Getting The Story Through

 

I’m delighted today to launch a new Feature, ‘Jukebox Jive with …’.

The aim is to provide an insight into the social and musical roots of artists close to the heart of The Jukebox.

It is a special pleasure that we begin with Garland Jeffreys for I have been an avid fan of his work for over 40 years!

Garland generously spared an hour of his time for a telephone interview with me to discuss his influences, his mentors and contemporaries and the records he most cherishes from his own catalogue.

Delightfully he also frequently broke into song down the line from New York to illustrate his answers.

 

 

 

Garland is a singer, songwriter and performer of immense talent.

Someone who was best friends with Lou Reed and regularly called up on stage by Bruce Springsteen.

People, ‘In the Know’ know what a great artist Garland is!

He has written dozens of haunting songs which provide searching insights into what it is to live an engaged modern life.

Drawing on the traditions of Jazz, Blues, Rhythm and Blues, Doo-Wop, Reggae and Soul his work shines a forensic light onto the issues of The Working Life, Race and Class, Love and Sex in post World War 2 America as refelected in the Nation’s premier City – New York.

Garland was born in June 1943 and grew up in Brooklyn’s Sheepshead Bay. His heritage was a mixture of Black, White and Puerto Rican – not forgetting a trace of Cherokee!

It’s undoubtedly the case that such a complex heritage gave Garland an outsider status – too black to be white, too white to be black.

While this provided a series of challenging scenarios in his youth it had the artistic advantage of making him a sharp and subtle observer of the world around him.

His parents were hard working people who instilled in him a love of music and pride in doing a job well.

Perhaps it’s better at this point to allow Garland to tell you himself; through his wonderfully warm and affectionate memoir song, ‘14 Steps To Harlem’ what it was like growing up in the 50s and 60s in such a household.

 

 

IJ – Who was the Artist who called your own voice (as Bob Dylan’s was called by Woody Guthrie)?

GJ :

Well, I grew up in a house filled with music.

My Mother loved Duke Ellington, Dinah Washington and Frank Sinatra.

I loved those and discovered for myself someone as great as Nina Simone who I used to see perform at The Village Gate.

All this stood me in very good stead later when I shared a stage with Jazz Giants like Sonny Rollins and Carmen McRae – you should have heard our duet on, ‘Teach Me Tonight’ (Garland croons … should the teacher stand so near, my love)

There’s a depth in Jazz I’m mining to this day.

I always could sing so naturally I sang along to the radio – those fabulous R&B, Doo-Wop and Rock ‘n’ Roll songs saturated the New York air.

If I have to pick one I’ll go for Frankie Lymon – he was a hell of a singer and he was my size!

Frankie could really sing and not just the uptemp hits everyone remembers but also heart rending ballads like, ‘Share’.

Frankie sang songs filled with energy and sweetness and you knew he was talking about the real life lived out on the New York Streets.

A record I just couldn’t stop playing?,,,

Well I’d have to say Frankie Lymon (don’t forget The Teenagers) with, ‘I’m Not a Juvenile Delinquent’.

 

 

IJ – Was there a Radio Station/Radio Show that was important in introducing you to the Music you love?

GJ :

We all listened to WINS and especially to Alan Freed’s Moondog Show.

I loved the Sports coverage on WINS too.

I was a true Brooklyn Dodgers fan – proud to say I was there in 1947 when Jackie Robinson played his first Major League game at Ebbets Field!

Later on I used to go to see broadcasting legend Bob Fass at the WBAI Studios

I went there a few times with the great Bass Player, Richard Davis, who played on my own records as well as being the instrumental star of Van Morrison’s Astral Weeks.

Richard was a great musician but a humble man.

He was something of a mentor for me as was Paul Griffin (who played Piano on Dylan’s Like A Rolling Stone among many other classic recordings).

Of course, I was close with Lou Reed from our days at Syracuse University – boy were we the odd couple!

IJ : What was the first record made by one of your contemporaries that made you think – Wow they’ve really got it!

GJ :

Oh, Yeh … Bob Dylan’s ‘Don’t Think Twice It’s Alright’.

I’m a couple of years younger than Bob Dylan.

I used to go to and play at New York Folk Clubs like The Gaslight and Gerde’s.

I saw him then. He has always been a fascinating character.

Managing to be a fantastic self promoter without obviously being one.

He had a unique style and his songs just made sense of the times we were living in.

He wasn’t afraid to be challenging politically and in personal relationships.

 

 

IJ : Which of your own Records was the first to turn out exactly how you wanted it to?

GJ :

I’d have to say that would be, ‘Ghost Writer’ from 1977.

That was an inspired record – the whole album where everything came together. The songs, my singing and the musicians I played with all playing at a peak.

Songs like, ‘Cool Down Boy’, ‘Why – O’ and, ‘Spanish Town’ said something then and they still do.

Dr John’s on there and David Spinoza.

Hugh McCracken who played Guitar and Harmonica deserves a lot of credit.

Sadly he died 5 years ago now – that’s the way when you’ve been in the music world as long as I have.

Ghost Writer as an individual song tells my story.

A New York City Son trying to make my way while having fun.

Someone who knows about tradition in Literature – Shakespeare, Spencer and Sydney and who knows that there’s a poetry in the streets that demands to be expressed.

I agree with you that Ghost Writer is a, ‘Blue Hour’ song – a vision that comes from the ghosts whispering in that hour that’s the last of the night or the first of the morning.

I also love that Dub Reggae feel we got down.

 

 

IJ – What other albums make up your top 3?

GJ :

‘Escape Artist’ from 1981 and, ‘The King of In Between’ from 2011.

As to individual songs I would have to go for, ‘Wild in the Streets’ which was a breakthrough song for me and something of a New York City Anthem.

It’s a Song every audience expects me to play and I make sure not to disappoint them.

I still love it – I make sure to play it straight just like I recorded it.

From more recent times I’m proud of  ‘Coney Island Winter’ which says a lot about modern America and stands up for people who need to be stood up for.

Garland started that menacing whispered intro…

This is a classic.

A Song alive, vibrating, with the energy of the Streets.

An energy that can be exhilarating  but which can also be threatening and at times even fatal.

It’s a song that has the beat, beat, beat of the summer sun and of hot young blood.

A song to be sung on the stoops and the fire escapes and on the baking roofs.

 

Garland was nearly 70 when he made one of his very best albums, ‘The King of In Between’.

What’s almost miraculous about this record is that it has the energy and rage of youth combined with the craft and wisdom of maturity.

‘Coney Island WInter’ has the unstoppable power of a Locomotive yet has a profound tenderness towards those left behind by a cruel and heedless system.

It’s a story that happens every day that only a rare storyteller could make come so thrilling alive.

 

IJ – What was your greatest ever Live Show?

GJ :

A show that really stands out for me was one from The Ritz in NYC with The Rumour backing me up.

Those English guys can really play! (the partnership is brilliantly captured on the Rock ‘n ‘Roll Adult CD)

IJ – What Song by another Artist do you wish you had written?

GJ :

For it’s simplicity, its power and its endless playability I would have to say, ‘Gloria’ by Van Morrison in his days with Them.

A Million Garage Bands can’t be wrong!

IJ – Who’s an under rated Artist we ought to look out for?

GJ :

Garland Jeffreys ! (Seconded! The Immortal Jukebox)

IJ – Nominate a Song – one of your own or by someone else to take up the A100 slot on The Immortal Jukebox.

GJ :

Garland Jeffreys – ‘Ghost Writer’.

IJ – Anything you’d like to add?

GJ :

Sure – I’d like to say that I’m forever grateful to all my fans and supoorters. I’ve spent my life trying to make the very best music I can and that’s what I’m always going to do.

Oh ..and if you’re starting out as a musician I’d advise you to protect your copyrights!

Start  your own record company. Of course the main thing you’ve got to do is love the music, the writing and the performing.

Wise words. Wise words.

New York has had many great chroniclers.

For my money Garland deserves his place among them.

His songs have an urban strength and urgency tempered by empathy for the outsiders and also-rans so often unblinkingly passed by.

Songs can be so many things.

For me Garland’s songs have been lifeboats when the tempest raged, lamps to light the way to a safer shore and ladders to climb up to the Stars.

What moves me most is the sense that I am witnessing a unique voice and vision telling me hard won truths.

Jackie Robinson said that the most luxurious possession, the richest treasure anyone can have is their dignity.

Garland has assuredly joined Jackie in that All Star Dugout.

Today, June 29, is Garland’s Birthday.

Happy Birthday Garland – may your Songs always be sung.

 

Notes :

Many thanks to Claire Jeffreys for setting up the Interview.

Thanks too to Mick Tarrant for the introduction.

A Garland Jeffrey’s Playlist :

In addition to the tracks above I regularly play

‘I May Not Be Your Kind’

‘One-Eyed Jack’

‘Matador’

‘Jump Jump’

‘Miami Beach’

‘Don’t Call Me Buckwheat’

‘Hail Hail Rock ‘n’ Roll’

‘I Was Afraid of Malcolm’

”Til John Lee Hooker Calls Me’

‘Roller Coaster Town’

That would make a hell of a mix CD!

 

The Meters : Mardi Gras Magic – They All Asked For You

This week it’s been school holiday time here.

So, you hope for blue skies, warm winds and sun kissed picnic afternoons.

Dream on!

From dark and glowering daytime skies fell apocalyptic rain.

Scouring winds shook the trees which at night stood spectrally shrouded in deep mist.

Though we had never heard him before a mournful dog, let’s properly call him a Hound, assaulted our ears with low moans interspersed with window rattling barks.

Nothing for it but to dream of a different clime filled with balmy magnolia scented breezes and the appetising aroma of crawfish boils.

Nothing for it but to dream of a City, The Music City, filed with rambling musicians and revelling crowds all in thrall to the rhythm.

The Rhythm.

Time to reside in the City of Dreams.

Time to take a Streetcar named Desire.

Time to sing and dance abondonly in the streets and on the corners.

Time to get in the Groove.

Time to join a people who have syncopation, swing, funk, soul and the blues in their very bones.

Time to Meet De Boys on the Battlefront.

Come on, Come on!  let’s go, courtesy of the mighty Meters, to The Mardi Gras!

 

Embed from Getty Images

Eh, la-bas!

Crawfish etouffee!

Red Beans and Rice!

Creole Gumbo!

And, in case you’re wondering – They All Asked For You.

They even enquired about You.

They All Asked For You.

 

 

Whatever ails you I’m Hear to tell you that’ll heal you!

There are many classic Mardi Gras songs (see my playlist in Notes below) but the one that always does it for me is the one that was the sensation of the 1976 Mardi Gras – They All Asked For You by the Meters.

Why?

Well, because it makes me smile until my face aches.

Because it makes me laugh right out loud.

Because it makes me happy in a gloriously goofy way.

Because it makes me dance and want to dance right out the door into the street grabbing passers by as I go!

Because it makes me want to lead a chant of Crawfish Etouffee! Creole Gumbo!

Because I want to hear it on a loop and dance until I fall down with exhaustion.

The Meters are guardians of The Rhythm.

They live inside it.

On Drums and Vocals – (Joseph)  Zigaboo Modeliste!

Drummer is to modest a term for Ziggy.

He is an artist in Rhythm.

They All Asked For You works it’s hypnotic way with you through his mastery of the irresistible second line rhythm.

And, if there’s a better name anywhere on this planet than Zigaboo Modeliste let me know.

On Bass and Vocals and production smarts – George Porter Jr.

Embed from Getty Images

When George plays the Earth sighs … now that’s a grounded rhythm.

You can hear the Spanish Tinge and the Creole, Native American and African American rhythmic heritage on every note George plays.

More than that you can feel it in the soles of your feet and deep in your guts.

On Guitar and Vocals – Leo Nocentelli.

Now the story goes that it was Leo who brought, ‘They All Asked For You’ to the Band – though he may have sung them a somewhat more bawdy version than the one you hear here!

Embed from Getty Images

Leo’s lazy, back bayou licks thread generous joy all through the song.

On Keyboards and Vocals – Art Neville.

Art is of course one of the dynasty of great musicians named Neville.

It’s his rolling, rhapsodic piano that gives the tune its sweep you away to paradise flow.

On Congas, percussion and Vocals – Cyril Neville.

Embed from Getty Images

Cyril has much, much Mojo.

When I’ve seen him in concert he throws out a force field of rhythm and bonhomie that grabs you – uplifting every molecule of your being.

We should also credit the Producer of this Mardi Gras Classic – none other than the peerless Alan Toussaint (whose Mother was Naomi Neville).

When a song is as popular as They All Asked For You it is bound to generate a ton of cover versions.

Given the centrality of the marching band tradition to Mardi Gras I’ve chosen a take featuring a gallery of New Orleans Jazzers.

Leading the Band is Big Bill Bissonnette – trombonist and drummer and crusader for classic New Orleans Jazz.

 

Image result for big bill bissonnette images

Prominently features on Trumpet – Milton Batiste.

Milton was a light up the room as soon as he walked in ball of energy.

His pedigree included being one of the original Shuffling Hungarians backing up the quintessential New Orleans pianist Professor Longhair.

Image result for milton batiste images

Are you ready to get grooving in the second line?

Aw do it !

Do it!

Eh la- bas!

Crawfish Etouffee!

Creole Gumbo!

You know what – Praise Be! As I look out the window now the rain has stopped.

The mist has cleared.

The Hound has howled his last howl.

Skies are blue.

The winds are warm.

Where’s that picnic basket!

Make sure to pack the King Cake and the Absinthe Frappe.

It’s Mardi Gras time!

Notes :

Immortal Jukebox Mardi Gras Playlist :

Professor Longhair – Go To The Mardi Gras & Big Chief

Earl King – Street Parade

Al Johnson – Carnival Time

Sugar Boy Crawford – Jock -A – Mo

The Hawkettes – Mardi Gras Mambo

Bill Sinigal – Second Line

Smokey Johnson – It Ain’t My Fault

The Wild Tchoupitoulas – Meet De Boys on the Battlefront.

The Wild Magnolias – Handa Wanda & New Suit.

i guarantee you’ll have a hell of a Party!

The Meters ‘Funkify Your Life’ Anthology CD will do exactly what it says!