Mystery Revisited! Iris Dement, The Velvet Underground & Blind Willie Johnson

By some mischance or gremlin one of my posts disappeared from the WordPress system leaving a spectral trace as, ‘Unknown or Deleted’ in my Stats.

It’s taken me a while to work out which post.

Now, I find, perhaps appropriately, it’s the one on the theme of Mystery!

So here it is again (with an additional track).

We are born into a world of blooming and buzzing confusion.

Yet we soon learn to discriminate. Magellans all, instinctive cartographers we test the boundaries of our physical and intellectual environments every hour of every day as we draw and redraw the map of the world we have made for ourselves.

We try, schooled and unschooled, consciously and unconsciously, to make sense of it all. We continuously attempt to construct a free flowing narrative which we hope will contain, order and give meaning to our lives.

Yet, on every mind map, every finely inked delineation of the rivers, the seas, the coasts and continents and the sheer mountains there is always, must always be, a blank space, that used to be called, ‘Terra Incognita’ the unknown world(s) coexistent with the known world.

And, who knows, perhaps that land sustains and shapes everything in the world we think we know.

We all understand that there is much, much, that seems far beyond our understanding. Much that may be beyond any human understanding.

I believe, without getting too catholically theological on you that there is essentially at the heart of every life much that will always remain – probably necessarily – a Mystery.

Each of us will have our own evolving sense of the mystery. A sense that grows not from interrogation but out of fleeting glimpses.

One of the graces my love of music has given me is a conviction that there will never be an end to the making of songs because there will never be an end to our sense of and need for Mystery.

Songs, even the greatest songs do not expain Mystery but they can, sometimes, illuminate Mystery and allow it to settle and perhaps to bloom in our own mysterious centre.

The songs that follow are best listened to in still, patient solitude. These songs are alive and if you open yourself to them they will speak. They may well carry you so far away that you find yourself confronting the most mysterious realm of all – your own inner self.

As one of the songwriters most dear to my heart Iris Dement (featured previously in the ‘Ordinary (Extraordinary) Stories’ post which provides her background) put it so much more eloquently than I can – ‘Let The Mystery Be’.

The version at the head of this post is Iris solo.

As a Bonus for this recovered post here’s a lovely version featuring David Byrne and Natalie Merchant with 10,000 maniacs.

Uncharacteritically, I will say little about my selections here. I’ll allow the artists to each evoke Mystery in their own way.

No one knows for certain. I think I’ll just let the Mystery be.

The Velvet Underground’s third album from 1969 could never have equalled the seismic impact on contemporary culture of their debut and sophomore records which seemed to have tilted the axis of music; opening up new thematic territory with a mixture of cool calculation and raging brio.

Maestro John Cale departed taking his unique combination of chapel fervour, conservatoire training and cathartic use of unleashed chaos with him.

There is a feeling of calm after the hurricane infusing the third Velvets album. Lou Reed, now unchallenged as leader, chose to showcase quieter, mor contemplative songs. Two of those ‘What Goes On’ (memorably covered by Bryan Ferry) and, ‘Pale Blue Eyes’ are among the most luminously beautiful and aching songs in popular music.

To close out the record Lou wrote a seemingly artless song, ‘Afterhours’ which was sung with limpid grace by the self effacing Mo Tucker, the band’s percussionist.

After Hours contains a lovely line that rings through my mind every time I am wending my way home after a late night in London – ‘All the people look well in tne dark’. I find comfort, disquiet and unfathomable Mystery in that line and the song that surrounds it. A song that speaks powerfully in the child like tones and cadences of a nursery rhyme.

My venture into Mystery concludes with a recording, a performance, from December 1927 which Ry Cooder (whom God preserve) has called, ‘The most soulful, transcendent piece in all American music’.

Blind Willie Johnson’s, ‘Dark Was The Night, Cold Was The Ground’ is rightly featured on the, ‘Golden Record’ sent in 1977 aboard The Voyager space probe to represent the human experiences of the natives of Planet Earth to whomsoever it might encounter!

However far Voyager ventures it will still be catching up with the immensities contained within Blind Willie’s masterpiece. I seems to me to be the most profound keening ever uttered on the essential loneliness of the human condition.

Listening to the songs above I’m reminded that music is the most pure, potent and direct means we have of engaging with the deepest, inescapable mysteries of life.

Guitar Visionary Kelly Joe Phelps plays Bob Dylan & Leadbelly

‘… Kelly Joe Phelps plays, sings, and writes the blues. HOLD UP before you lock that in – forget about songs in a twelve bar three chord progression with a two line repeat and answer rhyme structure – though he can certainly do that when he wants to.

I’m talking about a feeling, a smoky, lonesome, painful – yet somehow comforting groove that lets you know that you are not alone – even when you’re blue. Play on brother.’ (Steve Earle)

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‘I’ve heard Kelly Joe mention that he’s been inspired by people like Roscoe Holcomb, Robert Pete Williams, Dock Boggs, Mississippi Fred McDowell, and others. He seems to have absorbed all this (and all kinds of other stuff as well) and come back with something all his own.

Sounds like he’s coming from the inside out. The bottom up. He’s not just playing ‘AT’ the music or trying to recreate or imitate something that’s happened in the past. He seems to have tapped into the artery somehow. There’s a lot going on in between and behind the notes. Mystery. He’s been an inspiration to me.’  (Bill Frisell)

Modern music is saturated by the sound of you know what’s coming next, auto tuned, multi-tracked guitars.

Drowning in this aural tide you can forget that, in the right hands, the guitar can be a questing instrument; an instrument which can sound the depths of human emotions in this life of dust and shadows.

When Kelly Joe Phelps plays the guitar whether slide or finger picking what you hear is the sound of a musician who has indeed tapped into the artery.

I first encountered him more than two decades ago now at the tiny 12 Bar Club in London’s equivalent of Tin Pan Alley, Denmark Street.

Standing a couple of feet away from him I was able to read, as he tuned up, the scrawled set list at his feet. It included:

‘Goodnight Irene’, ‘The House Carpenter’, ‘Hard Time Killing Floor Blues’, ‘When The Roll Is Called Up Yonder’.

Fueled by my early evening libations I leaned towards him and said, ‘Wow, you’re going to have to be very good indeed to hold us with those songs without someone muttering every two seconds, ‘… Not as good as so and so’s version.’

Sensibly, he answered only with a wry smile before stilling the room in in the next hour with an astonishing display of instrumental virtuosity harnessed to a deep emotional understanding of both the Blues and the Gospel traditions.

Songs that were veritable foundation texts (in some hands museum pieces) came shockingly alive as Kelly Joe fearlessly explored the territory they opened up – voyaging wherever his heart and fertile musical imagination took him.

Listen now to his version of the canonical classic Leadbelly’s, ‘Goodnight Irene’ and marvel at the deliberate beauty and power of deep sea sway he brings to it.

Ever since I heard this take on Irene this is the one that plays in my dreams.

 

 

Born in the dwindling days of the 1950s Kelly Joe began his musical career as a bass player in modal and free Jazz combos where the ability to improvise and react to your fellow musicians was paramount.

At the same time, as an alert listener, he was immersing himself in the core deep works of artists like Blind Willie Johnson, Mississippi John Hurt, Fred McDowell and Dock Boggs.

Artists who made singing in the blood music which still casts a profound spell. Taking the slide guitar as his vehicle to explore this universe he began to cast spells of his own.

Kelly Joe’s music is all about reaching, reaching, for the other shore.

Listening to Kelly Joe play James Milton Black’s 19th Century hymn, ‘When The Roll Is Called Up Yonder’ there can be no doubt that we are brought in soul’s sight of that other shore.

Now, if you are a musician of Kelly Joe’s class and intuitive understanding of what makes the songs of the , ‘Old Weird America’ so profound and eternally relevant you will struggle to find such rich material in contemporary songbooks.

Happily, the Keeper of American Song, Bob Dylan, has laid down a storehouse of mystery filled dancing spells which musicians of spirit will always want and need to explore.

Bob once said that he saw himself a song and dance man. Kelly Joe takes him at his word here whirling, ‘Mr Tambourine Man’ round a mystic Maypole.

As his career has progressed Kelly Joe has featured more original material. His own fine songs show how deep he has drunk at the well of the blues and gospel masters.

 

Kelly Joe’s music is filled with ancient lore and wholly alive in the here and now.

Surrender to his spell.

Notes:

There is a handy 2 CD Kelly Joe compilation, ‘Roll Away the Blues’ on the Nascente label which I highly recommend.

My own favourites in his excellent catalogue are:

‘Lead Me On’

‘Roll Away the Stone’

‘Shiny Eyed Mr Zen’

‘Beggar’s Oil’

‘Brother Sinner and the Whale’

Kelly Joe is a transfixing live performer. Seek out You tube for some wonderful clips.

Guitar buffs should seek out his finger picking tutorials.

 

Rosanne Cash, Eric Bibb, John Phillips and Scott McKenzie sing Hedy West : 500 Miles

‘We leave something of ourselves behind when we leave a place, we stay there, even though we go away. And there are things in us that we can find again only by going back there’  (Pascal Mercier)

‘The desire to go home that is a desire to be whole, to know where you are, to be a point of intersection of all the lines drawn though all the stars, to be the constellation- maker and the center of the world, that center called love.’ (Rebecca Solnit)

‘You can’t go home again.’ (Thomas Wolfe)

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’ (Hedy West)

Much meaning can be expressed in so few letters of the alphabet

Just four will do.

Good. Evil. Luck. Fate. Time. Fear. Hope. Hate. Womb. Tomb. Life. Love.

And one four letter word might contain them all.

Home. Home.

The home you were born in; the home you grew up in, the home that was your shelter and refuge.

The home you left with tears in your eyes.

The home that lives forever in your heart and your mind’s eye.

The home that was your prison.

The home you left without a backward look.

The home you’ll never go back to now you’ve made a home of your own.

Home, home, home.

Should you write a true song evoking the longing for home when the tides of time have taken you far away you’ll find singers to sing that song for evermore.

Hedy West wrote such a song, ‘500 Miles’

 

Crystal clear. Mountain dew.

Banjo, voice, Presence, centuries of the ballad tradition.

Fiddle tunes and songs called Rueben’s Train, The Railroader’s Lament and 900 Miles all swirl in the imagination of a young woman growing up in a home suffused with tunes and stories and songs.

Great Uncle Gus plays the fiddle, Gradma Lillie plays the Banjo and has a bottomless well of ballads and laments that seem to float on the breezes all around.

Dad, Don West, is a poet (‘Clods of Southern Earth’), a labor organiser, a civil rights activist, an oral historian and inspiration.

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Hedy has a voice. She plays the Banjo in her own style.

She has the austere gravitas of a classical bard.

When she sings the room stills. When she sings she has something to say.

She has a calling.

A calling to tell the stories of the disregarded rural poor.

A calling to tell their stories in songs that express, and more honour, the depth of their struggles and the fullness of their humanity.

In a career of more than five decades taking her from folk contests in her native Georgia to Greenwich Village, Carnegie Hall, London and venues all over the globe it’s a calling she fulfills with steadfast hope, faith and love.

In the 1950s folk world a song as true and singable as 500 Miles scorches across the continent like a raging forest fire.

It instantly becomes a folk standard with each group or artist adapting the lyric and instrumentation to suit their own style and the image of home they carry with them.

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’

As far as I can tell the first notable recording of the song is by The Journeymen in 1961.

Now, you’d have to be a scholar of the American Folk Revival to sagely nod once their name is mentioned. Yet, almost all of us came to know the members of the group through their later careers.

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John Phillips became the leader of prolific hit makers The Mamas & the Papas, Scott McKenzie had a whole generation singing, ‘San Francisco (Be Sure To Wear Flowers In Your Hair) while Dick Weissman achieved eminence as a banjo picking musicologist and folklorist.

 

Listening to this time suspending version in soft sift black and white dreams I drift through the home of my own childhood.

Streetlights glow the palest yellow as they struggle to penetrate the blanket like London Fog of the 1950s.

Spectral trolley buses are boarded by attentively following their clanging sound until they suddenly loom up before you.

Snow surrounds market stalls piled high with cheap goods sold as wondrous bargains you must not be without – ‘Buy now Mrs! When they’re gone they’re gone!’

Cocooned in a two room first floor flat a young boy, certain in his bones that he is the constellation-maker and centre of the world, learns to read, ‘Treasure Island’ and dreaming of wooden ships, wooden legs, parrots, pirates and buried plunder begins to dream stories of his own.

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’

As we have seen from the previous post here on The Jukebox when it comes to recognising an American standard Johnny Cash is your go to man.

Johnny took his curatorial role so seriously that he drew up, ‘The List’ – a compendium of great songs he entrusted to his daughter Rosanne.

Following her father’s death Rosanne returned over and over again to The List and the result was a luminously beautiful record featuring haunting tracks like Dylan’s , ‘Girl from the North Country’, ‘Long Black Veil’, Motherless Children’ and, ‘Miss the Mississippi and You’.

The one I come back to the most though is her devoutly heartfelt take on 500 Miles.

Johnny sure would have been proud.

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’

Great songs call out across the miles, across genres and cultures and across time.

The veteran Acapella group The Persuasions uncover the longing, the loss, the mourning and the journey to the farther shore that awaits us all.

Their Gospel and Spiritual version of 500 Miles makes a congregation of us all.

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’

500 Miles is a song that speaks from and to the bonds of familial love.

I’ll conclude with a blessed version by a father and son, Leon and Eric Bibb, which has the quality of a foot sore pilgrimage concluding in longed for peace and reconciliation.

‘Lord, I’m one, Lord, I’m two, Lord, I’m three, Lord, I’m four,

Lord, I’m five hundred miles away from home.’

 

We are all pilgrims.

May we all find peace reconciliation and the home we seek.

Notes:

I love every record made by Hedy West.

Seek out her CDs on the Vanguard, Topic and Bear Family labels for a lifetime of inspirational listening.

The only CD I can find by The Journeymen is, ‘New Directions In Folk Music’ on Collectors Choice from 2010 which is a nice collection of thistledown folk.

Eric and Leon Bibb’s, ‘A Family Affair’ hard to find is a gem well worth the search.

 

Pop Staples : Faith, Friendship & Beguiling Guitar!

 

‘Think where man’s glory most begins and ends and say my glory was my friends’ (WB Yeats)

‘The greatness of a man is not in how much wealth he acquires but in his integrity and his ability to affect those around him positively.’ (Bob Marley)

Some of us spend our whole lives trying to figure out just exactly who we are.

For some creative artists that pursuit can be both furious and fruitful – consider the late much lamented David Bowie.

But there is a high cost in psychic and emotional wear and tear in living such lives.

Better to my mind to find out who you are early and then just be.

Easier, of course, said than lived.

So, I find that when I encounter that rare person who is entirely comfortable in their own skin and content to be nothing other than themselves I am both surprised and enormously impressed.

And, my ultimate example of such a person would be Roebuck ‘Pop’ Staples; singer, songwriter, guitarist extraordinaire and Patriarch of the greatest Gospel group of the modern era, The Staple Singers.

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I first saw him some time in the mid 1980s at one of my favourite music venues/watering holes of those times ‘The Borderline’ a small basement club in Charing Cross Road London.

Somehow, that night, Pop through his prophetic guitar, beguiling voice and grace filled songs turned a ramshackle crew of booze hounds and music aficionados into a joyful clapping on the off beat congregation.

The inner lit warmth of Pop’s faith and the transparent sincerity of his belief in the fellowship of mankind made for a transformative experience.

I had expected to be affected by his history and his talent.

I had not expected to be so moved by his person.

Actually to feel I was a better person simply by having been in the same room as him.

With Pop there’s no tortured theology, no secret knowledge for the elect alone.

Instead there’s faith, fellowship, fraternity and guitar playing throbbing with power and portent.

 

 

What more can I say?

Well, just that if you’re looking for some resolutions for 2017 (and every year thereafter) you might listen closely to the lyric above.

And if you want some watchwords as the year progresses you won’t do better than to remember and embody some more wise words Pop lived out every day of his life:

Respect yourself.

Reach out touch a hand – make a friend if you can.

In these troubled times that will certainly do for me

 

Christmas Cornucopia 2016 : Eighth Day

Eighth Day :

A Painting by El Greco (Domenikos Theotokopoulos 1541 to 1614)                                      

A Poem by Patrick Kavanagh (1904 to 1967)

Music by John Dowland (1563 to 1626) played by Julian Bream, The Chieftains with Nanci Griffith and The Trinity Lavra Choir

 

Our painting today, ‘The Adoration of the Shepherds’ is a work of blazing, visionary brilliance by El Greco who had the artistic bravery characteristic of genius in all ages.

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El Greco depicted the human body and used colour and perspective in a manner that was wholly individual.

The awe inspiring intensity of his vision breaks down any conventional, ‘tutored’ response.

To my mind his art is a true veil shredding glimpse into a co-existing reality : present then and present now.

This painting, more than any other I know, captures the enormity of the event which took place some two thousand years ago.

It is a peerless hymn of exultation and adoration.

Today’s spirit refreshing music comes courtesy of John Dowland who can genuinely be described as a Renaissance Man in view of the time he lived in and the depth of his talents as a composer, Lutenist and singer.

His works will enter your consciousness like a pebble dropped into a pond with ever widening circles of effect.

Julian Bream is another musician with, ‘The Touch’.

Music played by Bream flows purely and naturally from his fingers to our hearts.

 

 

Further music comes from two countries: Russia and Ireland which share a reverence for poets and prophets, visionaries, bards and shamans.

Both have produced more than their fair share of saints, scholars and wayward genuises.

In both lands a sense of the numinous pervades the air and prayers ascend unceasingly heavenward – even in the increasingly secular modern age.

Of course, both countries are filled with a hundred times the number of would be writers to actual page blackening writers and both have to deal with the drunken consequences of frustrated spirituality encountering the demon drink.

Still, veil-piercing poetry and song are central to the cultural life and achievements of Ireland and Russia.

Both peoples love to carouse until they are stupefied yet both are capable of being stilled to silence and tears by a simple lyric or an exquisite slow air.

Let’s listen now to the exquisite, ‘Wexford Carol’ performed by the veritable custodians of Ireland’s traditional music, The Chieftains (here accompanied by a Texas rose, Nanci Griffith).

 

The Wexford Carol may well date back to the twelfth century though it’s widespread popularity is due to the work of William Gratton Flood, who was musical director of Enniscorthy Cathedral in the late 19th century.

The Chieftains play with an authority born of thousands of hours of perfecting their craft as traditional musicians – always respectful of the source material while being alert to each other’s role in bringing a tune to shimmering life.

The Chieftains, led by Piper Paddy Moloney, who has proved to be a natural born networker, have recorded many inspired collaborations with leading artists in many musical genres (though their greatest collaboration is probably with an artist from their own island – Van Morrison).

Here, Nanci Griffith sings the carol with a beguiling gravity befitting the immensity of the events portrayed. Listening I feel as I were marching in a torchlit devotional procession with the same moon that shone over Bethlehem above the sentinel trees of the forest around me.

Next, from a powerhouse of Otthodox Russian monasticism, ‘The Song Of The Magi’. The choir is from the Trinity Lavra (monastery/hermitage) of St Sergius in Sergiyev Posad some 50 miles from Moscow.

This has to be the sound of the breath of the Russian soul. Russian Othodox services provide doorways to contemplate the divine – an opportunity in stillness to be lifted into a different realm of being.

Giving ourselves over to such an experience can be profoundly uplifting and over time transformative.

 

 

Russian spirituality opens itself to mystery and awe accepting that grace cannot be willed but only gratefully accepted.

The Magi travelled long miles in search of a new kind of King and gave their gifts to a babe in a manger. Perhaps, listening to this work we could learn to give the gift of an attentive soul.

The poem today, ‘A Christmas Childhood’ is provided by one of the great figures of 20th Century Irish Literature, the sage of Iniskeen, Patrick Kavanagh.

‘Cassioepeia was over
Cassidy’s hanging hill,
I looked and three whin bushes rode across
The horizon – the Three Wise Kings.

An old man passing said:
‘Can’t he make it talk –
The melodian’. I hid in the doorway
And tightened the belt of my box-pleated coat.

I nicked six nicks on the door-post
With my penknife’s big blade –
There was a little one for cutting tobacco.
And I was six Christmases of age.

My father played the melodeon,
My mother milked the cows,
And I had a prayer like a white rose pinned
On the Virgin Mary’s blouse’.

 

This post dedicated to the deceased members of The Chieftains:
Fiddler Martin Fay, Tin Whistle and Bodhran player Sean Potts and the mystical doyen of the Irish Harp, Derek Bell.

 

 

Christmas Cornucopia 2016 : Fifth Day

Fifth Day featuring :

A Painting by Taddeo Gaddi (1290 to 1366)

A Poem by Patric Dickinson (1919 to 1994)

Music by Charles Lloyd, Louis Armstrong and Kay Starr

Today’s painting is by the Florentine Taddeo Gaddi who was the star pupil of the great Master, Giotto.

His, ‘The Angelic Announcement to the Shepherds’ can be seen in the Baroncelli Chapel within Santa Croce in his native Florence.

It is a wonderfully dramatic painting.

 

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An Angel acts as God’s messenger alerting humankind to an event upon which all history will pivot.

The Sheep are stirring and the Dog’s keen senses alert him to the messenger from afar.

As the Angel speaks eternity merges with linear time.

How could the waking Shepherd find the words to tell his sleeping companion what he has learned?

Surely all he could say was:

‘Let us go – someone we must see is waiting for us just down the hill. Come now!’

It is an invitation which remains open.

Today’s new music selection is cool, clear water, drawn from a deep well.

Saxophonist Charles Lloyd is a musical pilgrim who has journeyed, as so may have, through trial and turbulence in search of a place of peace.

 

 

If this stunning version of, ‘Shenandoah’ from his 2016 released Blue Note CD, ‘I Long to See You’ is anything to go by he has found that place and a way of sharing that blessing with us.

The rhythm section of Reuben Rogers and Eric Harland and the stellar guitar duo of Bill Frisell and Greg Leisz add gorgeous shimmers of light as Lloyd horn calls us each of  us to set off on our own Camino.

Onward!

Our Sleigh is picking up a very special passenger today. He’s here to sing and play on a Christmas song, ‘Zat You, Santa Claus?’ that has the effervescence of a fine champagne.

Of course, I’m talking about Louis Armstrong.

If they ever get round to carving four heads into a mountain to celebrate musicians in the way that Presidents are celebrated at Mount Rushmore there can be no argument among men and women of reason that the first head to be carved must be that of Louis Armstrong.

 

Zat You, Santa? Zat You, Louis?

I could set out an exhaustive list of his astounding achievements as the preeminent musician of the 20th century with special reference to his role as the pioneer genius who transformed a pastime into an art form and who influenced everyone who ever had the good fortune to hear him play.

Others far better qualified than I have written major scholarly tomes on the subject. So, I will limit myself to a few remarks on the effect hearing the great man has had on me.

When I hear Louis play (at every period of his career) I hear the sound of a master musician revelling in the sheer joy of making music.

It was as if he lived and breathed through playing his horn – singing a song of exultation; using without reserve the wondrous gifts of imagination and creative daring yoked to technical brilliance that made him a such a unique musician.

Add to that his personal warmth and ebullience and you have a musician and a man who simply made everyone who encountered him feel better, more human and more glad to be alive.

Isn’t what Santa Claus is supposed to do too?

Next a singer, the late Kay Starr, who knew how to swing and who had the chops to share a bandstand with the finest musicians of her era.

Born on a reservation in Oklahoma with an Iroquois father and an Irish/Native American mother she was as American as you can be.

Maybe that’s how she could sing the hell out of any song in any genre of American popular music.

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Kay had an inbuilt sense of rhythm and the ability to musically inhabit and sell a lyric. Listen here to how she brings out the drive and the humour of, ‘Everybody’s Waitin’ For The Man With The Bag’.

One of the co-writers of the song was Dudley Brooks who featured earlier in the list featuring Elvis Presley.

I can’t honestly say I have done everything I should this year (extra special good) but I can recognise an extra special good singer when I hear one and Kay Starr must be one of the best and merriest we ever did have!

Today’s poem is, ‘Advent: A Carol’ by Patric Dickinson a writer who revered and translated the Classical poets while looking at the world himself with a sharply individual measured intelligence.

‘What did you hear?
Said stone to echo:
All that you told me
Said echo to stone.

Tidings, said echo,
Tidings, said stone,
Tidings of wonder
Said echo to stone.

Who then shall hear them?
Said stone to echo:
All people on earth,
Said echo to stone.

Turned into one,
Echo and stone,
The world for all coming
Turned into one.’