Rolling Stones, Bob and Earl : The Harlem Shuffle

There is Presence in Place Names.

There is Romance in Place Names.

There is Poetry in Place Names.

Ulan Bator. Medicine Hat. Yekaterinburg.

Valparaiso. Terra Del Fuego. Finisterre.

Spoon River. Brigadoon. Elsinore.

Kathmandu. Coeur D’Alene. Cahirciveen.

Firenze. Maratea. Vigata.

New York City. New York City. New York City.

Manhattan. Queens. The Bronx. Staten Island. Brooklyn.

Harlem. Harlem. Harlem.

Black and white image of a street scene in Harlem in the 1930s.

Now for profound reasons of History Harlem has felt compelled to Shout!

Now for profound reasons of History Harlem has felt compelled to Scream!

But in all ages and conditions Harlem has lived and breathed through Song.

Harlem Sings! Harlem Sings! Harlem Sings!

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Harlem sings in the photographs of Aaron Siskind.

Harlem sings in the poetry of Langston Hughes, Claude McKay and Georgia Douglas Johnson.

Harlem sings in the melodies captured by a Harlem Airshaft.

Harlem sings in the writing of James Baldwin, Countee Cullen and W.E.B. DuBois.

Harlem sings in the polemics of Hubert Harrison and Marcus Garvey.

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Harlem sings at Olympic Field as the Lincoln Giants win again.

Harlem sings in the words and melodies of George and Ira Gershwin.

Harlem sings in the escapades of Harry Houdini.

Harlem sings in the crazed cavorting of Groucho, Chico and Harpo.

Harlem sings through Count Basie and Coleman Hawkins.

Harlem sings in the Knockout majesty of Joe Louis.

Harlem sings in the fleet feet of Bill ‘Bojangles’ Robinson.

Harlem sings through the inescapable Joy flowing from Fats Waller.

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Harlem sings through Frankie Lymon and Garland Jeffreys.

Harlem sings through Ralph Ellison and Johnny Hartman.

Harlem sings as another winner pings off the racket of Althea Gibson.

Harlem sings in the firm Gavel of Thurgood Marshall.

Harlem sings at Club Harlem.

Harlem sings at The Alhambra Ballroom.

Harlem sings at Havana San Juan.

Harlem sings at The Lennox Lounge.

Harlem sings at Minton’s Playhouse.

Harlem sings at Monroe’s Uptown House.

Harlem sings at Small’s Paradise and The Sugar Cane Club.

Harlem sings at The Park Palace and The Park Plaza.

Harlem sings and sings and everybody, everybody, wants to sing, sing, sing at The Apollo Theatre.

You move it to the left – you go for yourself.

You move it to the right – if it takes all night.

Take it kinda slow  with a whole lot of Soul

Do The Harlem Shuffle.

Do The Harlem Shuffle.

The Harlem Shuffle.

 

Harlem sings through through the raise the dead glory of Bob Relf and Earl Nelson’s, ‘Harlem Shuffle’ from 1963.

Don’t move it too fast – just make it last.

How low can you go?

Yup, even Lazarus himself, when he was laying down, would have got up off the bed and on to the floor once that brass fanfare kicked in!

Barry White (yes .. that Barry White) played Piano and did the arrangement (with Gene Page?) while Fred Smith produced.

Bob and Earl sing their hearts out through every line.

Now come on – don’t fall down on me now.

Just move it right here to The Harlem Shuffle.

The Harlem Shuffle.

Ride. Ride. Ride.

And that’s what Bob and Earl do.

They ride, ride, ride, slide and swoop so that we ain’t got no choice but to shake a tail feather for all we’re worth.

The combination of the urgent vocals and the insistent rhythms intoxicatingly surrounds you ’til you feel you can’t stand it no more.

That last for about a nanosecond before you want to be out on the floor again – head spinningly lost for another lifetime encapsulated in 162 seconds.

Yeah, yeah, yeah to the Harlem Shuffle.

Whoa, Whoa, Whoa.

Do The Harlem Shuffle.

Do The Harlem Shuffle.

Take All Night.

Make it last.

Meanwhile ….

Far across the Atlantic Ocean in England in an unremarkable place named Dartford two young men found that they shared a passion for The Blues, Rhythm & Blues and Rock ‘n’ Roll.

Mick Jagger and Keith Richard were and are true aficionados of Black Music.

Maybe they heard Harlem Shuffle on the radio or through hipper than hip Guy Stevens DJ-ing at London’s New Scene Club.

It was Stevens running the UK arm of Sue Records who first issued the record in Britain in 1965.

Keith, in particular, was taken by the horn heavy blast of Harlem Shuffle and he knew that Mick could really shake a tail feather to this one on stage.

He also knew that he had in Charlie Watts the coolest drummer in the whole wide world at his back so the song would hit the groove and stay hit throughout allowing him to dig deep.

Being the wily old bird he is Keith kept putting Harlem Shuffle on tapes of songs he gave to Mick until one fine day Mick just sang along as Keith and Ronnie Wood ran the song down in a rehearsal studio.

And, when they hit the stage – all brass and backing singers blazing there can be no resistance.

You scratch just like a monkey.

Yeah you do real cool.

Real Cool.

Real Cool.

Do The Harlem Shuffle.

The Harlem Shuffle.

Tail Feather well and truly shaken!

Notes :

Bobby Relf died in November 2007.

Hailing from Los Angeles (born 1937) he was in The Upfronts with Barry White.

Harlem Shuffle owes a lot to a West Coast tune, ‘Slausson Shuffletime’ by Round Robin.

Bobby kept in touch with Barry White and provided lucrative material for his fabulously successful Love Unlimited.

Earl Nelson died in July 2008.

He had an earlier brush with fame when he sang lead on The Hollywood Flames’ hit, ‘Buzz, Buzz, Buzz’.

Van Morrison : My Lonely Sad Eyes (& The Immortal Jukebox Van Compendium!)

 

The 31st of August is always a Red Letter Day for The Immortal Jukebox because it’s the birthday of Van Morrison whose glorious recordings have been the keystone of my musical life for for nigh on 50 years.

Happy 73rd Van!

No one brings together all the traditions like Van.

In his songs, singing and performance you can feel he has viscerally understood and integrated into his art; The Blues, Soul, Rhythm and Blues, Folk, Country and Jazz – all delivered with blazing Celtic devotion.

Leadbelly is there.

Ray Charles is there.

Hank Williams is there.

Arthur Alexander and Sam Cooke are there.

Jimmy Witherspoon and Mose Allison are there.

Mahalia Jackson and Rosetta Tharpe are there.

The McPeakes and O’Carolan are there.

Fats Domino and Jerry Lee Lewis are there.

Bob Dylan is always there.

In Van it all comes together – traditions respected and added to creating a revelatory synthesis.

In celebration today a rhapsodic gem from 1966 pointing the way to the earth shattering triumphs of his solo career.

I remember at college playing a Them compilation for a friend and saying .. well here’s he honouring Ray Charles, here John Lee Hooker, here Bo Diddley and here Bob Dylan and then My Lonely Sad Eyes came on and we both shouted in exultation – here it’s all of them and it’s pure George Ivan Morrison!

Fill me my cup!

Fill me my cup!

Sparkling Wine indeed!

When Van sings like this he joins the Immortals.

You can pick out almost any line, any phrase or word and be dumbstruck by his vocal brilliance.

There’s a thesis to be written on the way he way he sings the word, ‘Lonely’ alone or on the oceanic surge he gives to :

Throw me a kiss
Across a crowded room
Some sunny windswept afternoon
There’s none too soon for me to miss.

He’s singing the Song and the Song is singing Him.

Into the Mystic.

Into the Mystic.

There are more Posts about Van than any other artist here on The Jukebox so, in case you missed one or would like to be reminded of an old favourite here’s the Van Compendium for your delectation and delight!

Brown Eyed Girl’.

An introduction telling the tale of my headlong plunge into obsession following my first hearing of Van’s best known song.

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Don’t Look Back’.

A meditation on Time featuring 2 astounding versions of John Lee Hooker’s tender Blues Ballad. One a reaching for the stars take of a teenager the second the work of a fully realised master musician.

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Carrickfergus‘.

A meditation on family, friendship and loss. How the shadows lengthen! Sung with infinite tenderness and bardic authority.

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In The Days Before Rock ‘n’ Roll’.

A miraculous meditation on the persistence of memory, the power of the radio and the post war world as seen by a young Irish mystic.

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Tupelo Honey’.

A rhapsodic meditation on the nurturing, redemptive power of Love. A Hallelujah!

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All in the Game‘.

A meditation on the carousel we all ride. It’s been sung by many singers but never like this!

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Domino’ .

A Founding Father joyously celebrated by a Master from the next generation.

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Sometimes We Cry‘.

Bringing it all back home to singing on the street corner Days. The sweetness of Doo-Wop seasoned with wry maturity.

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I Cover the Waterfront’.

Van and John Lee Hooker, Blues Brothers and Soul Friends, conjure up ancient tides.

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Buona Sera Signorina‘.

Van puts his party hat on and romps through the Louis Prima classic.

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Hey Girl’.

Van takes a stroll along the strand and suspends Time.

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Gloria! Gloria!’

Once, Now and Ever.

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Coney Island 

A Pilgrim’s glimpses of Eternity in the everyday.

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Brand New Day

Born again each Day with The Dawn.

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Happy Birthday Van!

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!

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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.

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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’.

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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.

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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’.

The Go Betweens : Cattle and Cane

What are we made of?

Well, you could say we are mainly Oxygen, Carbon, Hydrogen, Nitrogen, Calcium and Phosphorous.

Add some pinches of Potassium, Sodium, Sulphour, Chlorine and Magnesium.

Just the tiniest amounts of Boron, Chromium, Cobalt and Copper.

Traces of Flouridine, Iron, Iodine, Manganese, Silicon, Selenium, Vanadium, Molybdenum, Tin and Zinc.

Scientifically that’s absolutely the case.

Still, I prefer to think we are, each of us,  a whirling constellation of dreams and memories.

Dreams beget memories and memories beget dreams.

We are star shine, dreams and memories.

Just before you go to sleep – a shimmer in the mind.

Just before you wake up – slow spools of overexposed film.

A Life lived in a landscape of dreams and memories.

Sometimes pin sharp with hallucinatory detail.

The grain of the kitchen table, the fragrance of your mother’s perfume, the bark of a long dead dog, the leathery feel of your father’s hands.

Sometimes drifting in and out of focus – colours merging and fading.

The faces of the children you played with, snatches of skipping rhymes, the clang of trolley buses passing by.

Tracking shots, jump cuts, slow motion.

And, the landscape of dreams and scudding memories is so often the landscape of childhood.

A landscape that will never leave you.

When we are very old and our powers are failing we will forget today’s appointment and the name of the current political leaders.

But, until our last gasped breath we will remember the intensity of the light in our youth.

We will remember the sounds of our childhood home and street.

We will remember the breeze blowing our hair awry and the sound of the wind outside our window in the deep dark of night.

However old you become you will always in some sense remain the child you were all those years ago.

The child who will be your secret companion and your deepest mystery.

And, if you are a songwriter – an individual given to times of silent thought – you will find yourself returning over and over and over again to that landscape in search of that companion and that mystery.

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If you are Grant McLennan you will recall a schoolboy coming home.

Home.

Through fields of cane.

Fields of Cane.

To a house of tin and timber.

Tin and Timber.

And in the sky a rain of falling cinders.

A rain of falling cinders.

Falling cinders that will fall, fall, fall all around you all your life.

If you are Grant McLennan you will dream up a hypnotic guitar riff in the key and time signature of memory and write a classic song of recalled childhood and the greatest song ever to come out of Australia.

If you are Grant McLennan living in a world of books and music and silent times in thought you will write, ‘Cattle and Cane’ and you will be certain of immortality as a songwriter.

I recall ….

Grant recalled his childhood when he was far from Home, Queensland and Australia when he wrote Cattle and Cane.

In 1982 he was staying with fellow expatriate Nick Cave on whose guitar he conjured the unforgettable guitar figures threaded all through Cattle and Cane.

With Robert Forster (his song writing partner) and Lindy Morrison on drums as The Go Betweens the song was recorded in Eastbourne in 1983.

Forster added the enigmatic last verse identifying the heart of the song as both the consolations of Home and the sense of aloneness you feel when Home is far away.

Home first became far away for Grant when he went away to Boarding School leaving the fields of cattle and cane far behind.

Boarding school where he would never forget losing his father’s watch.

In silent times of thought he will have returned to the rain of falling cinders and the sky above his Home.

Dreaming in the night he will have returned on the virtual train to the fields of cattle and cane and been blessed by the rain of falling cinders.

Those dreams of home will have flashed brighter when he left Australia in search of his chance.

Recalling the genesis if the song Grant McLennan said in 1983:

‘I wrote (the song) to please my mother. She hasn’t heard it yet because my mother and stepfather live (on a cattle station) and they can’t get 240 volts electricity there, so I have to sing it over the phone to her.’

The beauty of the lyrical imagery is fully matched by the melody and rhythm.

Opening with a riff that seems to signal a dive into the subconscious the song builds and builds through the verse until there is a feeling of breathless elation.

This a song which has the space and time stretching quality of dream.

Further, longer, higher, older.

Further, longer, higher, older.

The adult and the child co-exist and find peace with each other.

For the duration of the dream and the song they live together surrounded by fields of cattle and cane.

Fields of Cattle and Cane.

For the duration of the dream and the song they live again in a house of tin and timber.

A House of Tin and Timber.

A House that will always shine bright in the memory.

And, Boy and Man, dreaming their dreams, they stand under the sky and a rain of falling cinders.

A Rain of falling Cinders. that will never stop falling,falling, falling.

There is the quality of an anthem about Cattle and Cane.

An anthem to an Australia that is both real and mythic.

The anthemic ‘Australiana’ nature of the song is very well captured in the version by Jimmy Little.

 

A Song that can be deeply personal and an anthem for us all is some Song.

So, ‘Cattle and Cane’ tales up an honoured place on The Immortal Jukebox as A45.

I’ll leave you with a glorious live version with Grant and Robert diving deep ….

‘I recall a schoolboy coming home

Through fields of cane

to a house of tin and timber

And in the sky

A rain of falling Cinders ….

 

 

In memory of Grant McLennan 12 February 1958 – 6 May 2006.

For Malcolm McCulloch.

 

 

Van Morrison : Coney Island (Epiphany)

My son and I – The Two Toms – are about to set out on a trip, actually a Pilgrimage to the Far North.

To God haunted Northumbria.

The land of Celtic saints and the Roman Wall.

The land of St Cuthbert, St Aidan, St Oswald and Bede.

Oak Groves, high moorland, the Cheviot Hills.

Bluebells, Campion, Hawthorn.

The rushing sibilant waters of  the Tyne, the Tweed, the Coquet and the Rede.

Lindisfarne and the Farne Islands – thin places where eternity whispers in the wind.

Ringed Plovers, Redshanks, Turnstones and Oystercatchers.

It’s a Pilgrimage I’ve made many times now drawn by History and deep friendship.

I’m by nature a Pilgrim.

I need to be physically present in those places, landscapes, which have challenged and nurtured the Souls of Pigrims for thousands of years.

There are two other Pilgrimages I’m planning.

First, The Way of St James.

The Camino, from my front gate to Santiago de Compostella.

More than a thousand miles.

That one requires a lot of research before I’m ready to go (though you’re never really ready – one morning you just have to tie your cloak, take up your Staff and go!).

The other Pilgrimage will be far easier to organise.

Across the Irish Sea to Ulster.

With Van Morrison, a Pigrim Soul if there ever was one, sign posting the Way.

The Way to Coney Island.

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Coming down from Downpatrick to visit St Patrick’s grave and maybe a few scoops in Mullan’s Bar.

On and On and On.

Stopping off at St John’s Point.

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Birdwatching – scanning the Sky for Arctic Terns, Red-throated and Great Northern Divers, Curlew and Purple Sandpipers.

Stop off at Strangford Lough early in the morning.

On and On and On.

Drive through Shrigley enjoying the craic and taking pictures as we go.

On to Killyleagh.

At Lecale District we’ll take a breath and read the papers.

On and On and On as Pilgrims must.

Over the hill to Ardglass.

Glorying in the sunshine carrying the light that has shone for thousands and thousands of years on Pilgrims – lighting their Way.

In case we get famished before dinner let’s stop of here for a couple of jars of mussels and some potted herrings.

On and On and On we go heading on over the hill, lit up inside, heading towards Coney Island.

Living, Being, in the moment, sunlight streaming, all the time journeying towards Coney Island.

Wouldn’t it be great if it was like this all the time?

Wouldn’t it!

Take it away Van.

 

A moment of eternity captured.

That’s what Van can do.

Epiphanies.

Time present.

Time past.

Time Future.

Captured in 120 seconds or so.

Cymbals, Strings, G and F.

Harp and Guitar.

Summoning up the previous time – the 1950s – before the career, before the fame.

A day trip with his Mother.

Images that enter the Soul – if you will allow them to.

Intimations of Immortality.

With Mussels and Potted Herrings.

Breathing life into reverie and reminiscence – Van Morrison.

Here’s Van demonstrating that there is a sense of humour animating the Visions.

 

 

And here’s another Son of Ulster, Liam Neeson, with a sonorous version.

On and On and On.

 

 

Things won’t ever be great all the time – this side of Paradise.

Be grateful for the Epiphanies.

Have Faith Pilgrim.

Have Faith.

On and On and On.

On and On and On.

 

Notes :

The Musicians on Van’s original recording are :

  • Van Morrison – vocal, guitar
  • Clive Culbertson – Bass Guitar
  • Neil Drinkwater – Synthesiser
  • Roy Jones, Dave Early – drums, percussion
  • Arty McGlynn – guitar

There is an excellent short Film set on Coney Island. ‘The Shore’ directed by Terry George and starring the brilliant Ciaran Hinds.

This Post for my boon companions of The Way – Tom & Ian.

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.

 

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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!

 

Steve Earle, Patty Loveless, The Proclaimers & Eddi Reader – My Old Friend The Blues

Lovers leave.

Friends will let you down.

You learn that as you fall in and out love and form friendships that flare bright before they fade away.

So, you’re left all alone with The Blues.

And, you can hug those blues close to get you through.

The Blues becomes your old and trusted friend.

But, remember, remember, sometimes you are the lover who walks away.

Remember, remember, sometimes you are the friend who’s doing the letting down.

So, don’t make The Blues your best and only friend.

We all get The Blues.

We all need The Blues to get through the lost loves and the failed friendships.

Loss and failure hurt.

But, they go with the territory.

Love and Friendship will be the treasures of your Life.

The Blues will see you through until you’re ready to face the joys and pains of Love and Friendship again.

Dont lean too long on your old friend The Blues.

Love again. Be a Friend again.

Meantime let’s have a hugely enjoyable wallow with our old friend The Blues courtesy of the young Steve Earle (this is a quintessential young man’s song).

Paradoxically it’s young hearts that feel the weariest.

Ah … a shiver of recognition and illicit pleasure in pain for all of us there!

Steve Earle, a natural songwriter, came out of San Antonio Texas fit to burst with energy and a desire to tell stories about the way the world was and the way it damn well should be.

‘Guitar Town’ from 1986 was his breakthrough record announcing him as a literate, rocking, rough, rowdy, romantic and righteous artist who was here to stay.

You could hear the influences of Folk Icon Woody Guthrie and Texas troubadours Guy Clark and Townes Van Zandt

Add in a dash of on’ry ol Waylon Jennings and workshirt era Bob Dylan and you’ve got a very potent and occasionaly explosive mixture which near guaranteed a vesuvial flow of songs.

Steve Earle’s best songs have drama and impact and emotional reach.

Across the Atlantic in Scotland, ‘My Old Friend The Blues’ reached the tender heart of Eddi Reader who was surely born to sing room stilling ballads.

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Listen to her here bring the same focus and sensitivity she gives to the songs of Robert Burns to Steve Earl’s cancion Triste.

Eddi has a voice that can croon or keen.

A voice laden with ancient knowing.

A quiet voice that sounds loud in your heart.

A voice of balm for weary hearts wherever they may beat.

Staying in Scotland we now turn to twins Charlie and Craig Reid, The Proclaimers.

Image result for the proclaimers images

Their Records are distinguished by the fierce commitment they bring to every song they sing.

Which, of course, brings even more allure to their tender moments.

The Proclaimers bring a stark echoing intensity to My Old Friend The Blues.

Patty Loveless is a blue Kentucky Girl – a State where lovelorn ballads are not exactly in short supply!

Patty made her mark at the same time as Steve Earle and like him she had done her fair share of hard traveling before she had the spotlight directed at her centre stage.

Playing small bars and clubs in nameless towns she learned a lot about lonely nights and weary hearts.

She also learned that if you have a voice shot through with plaintive grace you could offer a ray of hope to those battered hearts all around – including her own.

I’m showcasing a live version suffused with bluegrass duende.

 

Speaking of Duende, as we collect the glasses and turn out the lights let’s have one more take from Steve himself before we shut the doors.

Just when every ray of hope was gone ….

On those nights when sleep seems loath to appear and knot up ravelled care you can always turn to an old friend – The Blues.

Then, when dawn breaks, as it always miraculously does, take that weary heart of yours and go in search of love and friendship once again.