Showing posts with label soul. Show all posts
Showing posts with label soul. Show all posts

Monday, October 11, 2010

Layer 361 . . . Soul Music, The Emperor, Chisels, Oil Cans and More Taoist Advice

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Soul Music

There's a series on Radio 4 about "pieces of music with a powerful emotional impact". It's called Soul Music. The latest programme featured Beethoven's 5th piano concerto.

http://www.bbc.co.uk/programmes/b008mj7p

As part of Oxzen's investigations into classical music, this programme was duly listened to. (This is a bit like Rik Mayall doing his Kevin Turvey thing. Several of his 'investigations' are on YouTube - work, depression, the supernatural, etc. Anyone remember John Sparkes and his 'Shadwell' or 'Siadwell' monologues? Also on YouTube. Inspirational Welshness. http://en.wikipedia.org/wiki/Kevin_Turvey )

Soul music!!! As if!

This concerto is known as The Emperor. Someone said he loves it because it's 'heroic' and 'imperial'. Someone else prattled on about 'intense sadness', 'melancholy' and 'joy'.

This isn't soul music. This is music for manic depressives. Music to experience mania and depression to.

It's also very obvious that the only other people who like this stuff - that's to say who REALLY like this stuff, as opposed to listen to it sometimes because it's SUPPOSED to be good music - are people who have played, do play, or used to play in orchestras. And the reason they like it is because they appreciate how DIFFICULT it is to play. The Emperor is WELL hard, apparently. During the programme people kept going on about how you need to be a VIRTUOSO in order to play the piano part. So all in all it's also music for clever bastards who enjoy being in the club of people who can either play such CHALLENGING music or else they KNOW that they're not quite good enough to play it. Obviously truly great music HAS to be difficult to play. So now we know. Nothing to do with 'soul', whatsoever.

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In a similar vein, the most important work - the really high status work in our society - is work that's intellectually demanding. It doesn't have to be satisfying or enjoyable in itself, but it does need to be intellectually difficult and impossible for most people to do. Skilled craftsmanship, on the other hand, which is also exceedingly difficult and demanding, is generally not seen to be something to aspire to.

Simon Jenkins wrote this excellent piece about work last week.

Graduates shouldn't be afraid of the chisel and oil can

George Osborne's call for a manufacturing revival is welcome. Working by hand is better than doing it solely with the head

http://www.guardian.co.uk/commentisfree/2010/oct/07/george-osborne-manufacturing-revival-welcome

George Osborne  this week called on the nation to revert to "manufacturing" and reject the culture of the City.

Well he might. The credit crunch seems certain to lead to widespread graduate and white-collar unemployment, forcing young and old into work they would have considered beneath them a generation ago. Job-starved young people must go into cooking, gardening, decorating and personal services, even if they call them catering, landscaping, interior design and consulting. Eton now teaches cookery. Oxford has yet to pioneer a course in motorcycle maintenance.

Ever since Ruskin deplored the onset of mass production, craftsmanship has been elevated as an intrinsic virtue. Only recently have psychologists and sociologists suggested that working with hands is more than just aesthetics, but is embedded in the human gene. Hands are what drew us from the slime. Thumbs differentiated us from other mammals. Neglect the hand and you distort, torture and dissatisfy the brain. That is why pianists live so long.

When Matthew Crawford's The Case for Working with Your Hands came out last year it was treated as amusingly eccentric. "Real men" were told they should stop being slaves to their screens and Wi-Fis. They should drive nails into planks and wield spades and frying pans.

Nor is this another case of the lawyer who became a plumber because the hourly rate was higher. Crawford did indeed notice that graduate entry into the American professions was plummeting, with those supposedly educated for them drifting into listless semi-employment, "a state of uncommitted future potential". But he also noted something quite different. He himself doubled as academic and motorbike mechanic, and wondered why he always tired after a day at the former yet felt strangely exhilarated by the manual labour of a newly restored motorbike.

The sociologist Richard Sennett likewise noted a cerebral reward from playing the cello and cooking. In his book, Craftsmanship, he concluded that the handling of tools was far more than just a passing stage in human evolution. There were "skills in manual labour that link hand and brain and which are still not recognised". To Sennett it is cruel "to assume downward mobility in those who love working with their hands". It is a natural human activity. We likewise recognise the satisfaction a parent gets from caring for a baby. Childcare is skilled manual labour that delivers more than just family bonding.

Crawford assaults the binary tradition of grammar versus technical schooling that developed through the 20th century, "a partition of thinking from doing that has bequeathed us the dichotomy of white collar versus blue collar, mental versus manual". In Britain this saw its apotheosis in the 1944 education act. The 11-plus test distinguished "high aptitude" as theoretical and grammar, from low aptitude which was technical and hand-working. It then enshrined the separatism in different institutions and, de facto, different social classes.

If the career path that has been the assumption of British higher education for 50 years is outdated, the good news from the academics is that its replacement may be better adjusted to human nature. A key indicator is what many brain-workers do in leisure or retirement. The civil servant who plays chamber music, the lawyer who turns to cabinet-making or the banker who takes up cooking would once have been regarded as stepping down from their true calling and indulging in hobbies. Properly intellectual "retirees" dabbled in consultancy or wrote a novel.

The message of Crawford and Sennett, as it was for Ruskin and Morris, is that there is nothing mentally subordinate in working by hand. The gardener, the cook, the needleworker or the craftsman is not pandering to some Ruskinian aesthetic. He or she is pursuing a route back to the inner self that may indeed be more direct than working solely with the head – or the screen.

These are skills that cannot be mastered in a day. Many require disciplines learned over generations by trial and error and thus a structure of rule-based apprenticeship and training. They are thus woven into the custom of the community. But they may also be activities more attuned to the human body and brain than, say, reading or writing a book. Perhaps Milton's "precious lifeblood of a master spirit" has been sanctified too long. It is time to hear it for the chisel and the oil can.

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Taoist Advice for Great Leaders - Part 2

Deviation from the path of reality (of Tao), and avoidance of change, can result in the harming of life by power. There is then no value in power.

The leader is secure when he is in a state of tranquility and peace. There is no situation where one cannot use illumination, and there is no place that can damage true illumination.

When illumination does not penetrate reality, injury is caused.

Self-governance, selflessness, and the refinement of the inner self is a serious matter.

Timing, knowledge, illumination, and true recognition make the difference between leadership success and failure.

Wrath, cupidity, and other disruptive conditions eat away at the natural reality of tasks and goals.

The manager should avoid excessive force. Parting is a natural process where reason prevails.

Impetuosity must give way to a path that travels between intensity and laxity.

Mundanity and obstacles are encountered constantly. The leader who follows the path of the Tao wards them off when they are met.

Learning from those who can teach and avoiding blind practice offer the leader a clear path of accomplishment without obstacles or obstruction.

Ignorance, arbitrary action, and vain imaginings of growth result in a rising into darkness, not into illumination.

Avoid complacency, self-satisfaction, and false joy.

Every leader is deeply involved in the development of others. However, the most important development is self-development.  This is the precondition for the development of others. Self-development is the true basis for an inexhaustible source of nourishment and development for all.

Every leader must get rid of his ego to move along a path of development and creativity.

Sincerity, selflessness and illumined strength are to be strived for by the leader and those around him.

Knowing the Tao is knowing when to stop.

Be aware of those many occasions when the leader must await proper timing. Manage oneself and others in such a way as to turn back from error.

The leader who achieves illumination and action in concert finds the path of the Tao effortless and clear.

The way of the Tao is to achieve richness and presence through attainment and balance. These represent fundamental leadership values, as do the importance of dealing with all matters adaptively and to depend on oneself, not on fate.

The leader in tune with the Tao deals with the world without destroying it, and transcends the world while he is in it.

To follow the path of the Tao, a leader knows when to hurry and when to relax. He knows what will bring good results,a dn he knows when to stop.

Joy is the delight found in leading along the path of the Tao. The leader who finds fulfillment encounters the true reality and essence of joy. Wealth and material gain alone are not the delight of the leader who follows the path of the Tao. Would you rather indulge yourself in self-satisfaction and outward appearances?

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Ed Miliband on the Politics Show yesterday was a bit like an eager young puppy. He was OK, but it was all pretty lightweight and insubstantial. It's doubtful whether, at the moment, he's convincing people who don't already rate him, and doubtful if he's converting anyone to the Labour cause.

http://www.bbc.co.uk/programmes/b00v94rt#clips

The show ended with a clip of Anne Widdecombe dancing in a blue tent. That's entertainment!

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Football, Business and Governance

The chief executive of Liverpool FC says they've had two very good offers for their business. Which says everything, really, about the mentality of people who run football. None of them give a damn about the 'club', as such; none of them care about the non-business aspects of football; none of them has any loyalty to the fans, the community, or even the players - who are presumed to be mercenaries to the core.

Most people would love to see Liverpool, and its greedy owners, crash and burn. It would have been helpful in that respect if Gerrard and Torres had both left in the summer, thereby reducing the monetary value of the business to very little indeed. In which case there could have been some proper consideration of how the fans could become owners of the enterprise, and turn it back into a proper club - run for the benefit of the team and the fans, and not just a business, run entirely for the financial benefit of the owners and shareholders.

There's an analogy here, bursting to get out, with the way that entire countries are run - but there's a distinct lack of time and energy and inclination to pursue it at this juncture.
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Wednesday, July 28, 2010

Layer 335 . . . Tom Jones, Soul, Blues, Praise, Blame, Glam and Glitter

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Tom Jones was always a great soul and gospel singer, and now he seems to be increasingly turning to the blues and boogie. It also seems his new album has been rubbished by the head honchos at his new label. They had apparently signed him in the expectation that he'd crank out more Sex Bombs and maybe another Delilah. Ha!

On Jones' 70th birthday, 7 June 2010, the single "Burning Hell", a cover of the John Lee Hooker classic, from the forthcoming Praise & Blame album, was released. In July 2010 it was reported, however, that David Sharpe, vice-president of Island Records (to whom Jones had moved, from EMI, for £1.5m in October 2009), had emailed colleagues demanding that they "pull back this project immediately or get my money back" and asking if the record had been "a sick joke". Jones later attacked Sharpe and revealed that he was furious about the leaked email. - Wikipedia

First track on "Praise and Blame" is Dylan's sublime "What Good Am I?", which is about a million miles away from the green, green grass of home. Or Las Vegas. Lyrics here:
http://www.bobdylan.com/#/songs/what-good-am-i

Performance on 'Later' here -
http://www.youtube.com/watch?v=qFs_glRugzE

One of Yentob's 'Imagine' documentaries was shown recently, featuring Tom J, obviously as a tie-in for the release of the new album. He really came across as a very decent and likeable guy, and very honest. If it's still available on iPlayer it's worth watching.

This is a decent page about Tom - http://www.theartsdesk.com/index.php?option=com_k2&view=item&id=1787:imagine-tom-jones-what-good-am-i?-tv-review&Itemid=30

Also on this site is a brilliant video of Tom duetting with the amazing Janis Joplin - a song called Raise Your Hand - an Eddie Floyd and Steve Cropper soul classic.
http://www.youtube.com/watch?v=8ib2b4BOZIQ&feature=player_embedded

The sheer joy on the faces of both of them as they belt out the song makes you realise all over again what an incredible loss it was to the planet when Janis died. She's never been equalled as a blues and soul singer.

Janis singing it on her own (with her band) here: http://www.youtube.com/watch?v=8TDw8v1Gi1E

Incidentally there's an interesting version of Talking Heads' excellent 'Burning Down The House' by Tom Jones with The Cardigans available on Spotify.

"I'm just an ordinary guy
Burning down the house."

And did anyone know that Tom recorded an entire album with Jools Holland in 2004? Boogie Woogie! Some nice Hammond playing on this. Track 1 is terrific - "Life's Too Short". Listen here:
http://il.youtube.com/watch?v=zjhJHjNj80o&feature=related

http://www.tomjones.com/

Also on Spotify I came across an album Tom made in 2002 called 'Mr Jones'. First track is a very funky thing called 'Tom Jones International', which is credited to Tom and Wyclef Jean. Practically hip-hop.
'Younger Days' is also a great piece of funk, with brilliant drums and bass.
"I was young and rowdy
Now I'm old and rowdy."
Way to go, Tom.
 

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Tony Palmer's an interesting guy. His excellent 17-part documentary "All You Need Is Love, a history of popular music", is being re-broadcast nightly by Sky Arts.

http://www.tonypalmer.org/Tony_Palmer_biography.htm

Last night's episode, Glitter Rock, focused on the bands and singers that emerged in the early 70's, sandwiched between the eras of 60's Hard Rock and Punk. Lester Bangs (http://en.wikipedia.org/wiki/Lester_Bangs) laid into it with relish, calling the music slick, shallow, superficial and deeply depressing. Also vacuous, bland, ignorant, stupid, mindless, drab, dumb and self-indulgent frippery. And you can't say fairer than that.

He also pointed out that this music had no intellectual energy whatsoever - it had nothing to say of any interest. Which is generally very true, and in contrast to the traditions in jazz, blues and rock, where emotional honesty and honesty about the state of the world was taken for granted. As was great musicianship.

Glitter and glam were pure escapism - shiny and dumb. It was hard to see how it could appeal to a teenager with even half a brain, but easy to see how retards of any age could get off on it. Its only goals and values were fame and riches.

Stupid clothes, stupid hairdos, ridiculous attitudes. Nothing countercultural or rebellious whatsoever. Vacuous materialism - like the rest of society, only taken to extremes.

Music for escapism, 100% style, packaging and presentation; 0% content.

As Ian Anderson said in the programme, rock isn't meant to be a professional, organised branch of show business. Though Pop is.

So-called Glitter Rock was strictly for kids who were looking for self-aggrandisement, seeing it as a business, and not a calling, or an artform.

Bryan Ferry couldn't even hold a tune. His use of pin-ups and glamour girls on his album covers certainly had nothing to do with art and everything to do with blatant eye-catching packaging. Art has something to do with the communication of feelings and the revelation of truths.

None of the individuals in the bands that peaked in the early '70's had any soul, any authenticity, any truth to reveal. T Rex? Gary Glitter? Alice Cooper? Kiss?

Bowie said on the programme that he'd started out as a jazz sax player, but wasn't much good at it. Therefore he'd gone into pop and rock, which he could 'fake' (his word) quite easily. Theatricality and showmanship came very easily.

Elton John and Bowie were maybe the most interesting of the glam rockers, in that they were extremely good at what they did, and actually recorded the odd exceptional track. You could possibly same the same of Roxy Music. Unfortunately these people were all posers and fakers, to use Bowie's word. They had much more in common with Gary Glitter than, say, Chuck Berry, Jerry Lee Lewis, BB King, the Stones, Doors, Neil Young, etc.

Did Glam and Glitter have any durability and quality? Would anyone pay to see it performed now? Maybe if you were an adolescent in the '70's and felt like wallowing in nostalgia for stuff you thought at the time was pretty exciting. After all, a reformed Roxy did a show in Victoria Park about 10 days ago, and it seems plenty of people paid to watch.

http://www.gigwise.com/news/54847/Roxy-Music-Grace-Jones-To-Headline-Lovebox-Festival-2010

Roxy Music: as decadent as ever, they noodled their way beautifully through a bunch of slowies, before ending on an intoxicating blast of Virginia Plane, Let’s Stick Together and Love is the Drug. A band once described as 'the triumph of artifice’ proved they were the perfect headliners for a crowd of East End peacocks.

http://www.telegraph.co.uk/culture/music/music-festivals/7897968/Lovebox-festival-Victoria-Park-review.html
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Wednesday, September 9, 2009

Layer 193 . 09.09.09 and Beatlemania

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Beatlemania – A Girl Thing

High on the news agenda today is the release of the entire works of the Beatles on digitally remastered CDs. For several days now there's been high excitement and sheer hype, as well as lots of documentaries and magazine articles, about the Beatles. There's also going to be an announcement that Apple (computers) are going to start selling Beatles tracks on iTunes.


Beatlemania was essentially a girl thing. Whereas - the Stones, the Animals, the Kinks, the Yardbirds, John Mayall's Bluesbreakers and Peter Green's Fleetwood Mac, being mainly scruffy and rough-looking long-haired  guys singing their interpretations of the blues and rhythm & blues in the early 60s, were primarily a bloke thing. I never knew a girl in the 60s who was a big blues fan. They did exist, and they went to gigs, but they were in the minority. Whereas the Beatles played to concerts that were overwhelmingly full of screaming teenage girls.

This is most apparent on the footage of the Ed Sullivan Show, where guys in the audience were vastly outnumbered by screaming girls. The few guys that are caught on camera sat in near-isolation and silence, and are practically immobile as the surrounding girls bounced around and screamed. Loudly!

The Beatles, post-Love Me Do with its bluesy harmonica – that's to say from their second single onwards - were primarily inspired by rock n roll, soul and Tamla. Which is not a bad thing! I loved those genres too. Theirs was more of a melodic, up-tempo, major chord kind of a thing; a Little Richard, Chuck Berry, Smokey Robinson, Holland Dozier Holland, Elvis, Carl Perkins, Lieber & Stoller, Berry Gordy and Buddy Holly kind of a thing.

'Merseybeat' was mainly a girl thing. Gerry & the Pacemakers, the Swinging Blue Jeans, Freddie and the Dreamers, Herman's Hermits and indeed the Merseybeats were pretty much a girl thing. They all produced some good records, and some good songs, but their appeal was primarily a girl thing, based on pretty boy looks, groovy clothes and catchy pop songs. Lots of guys got off on it as well. Lots of guys didn't 'get' the Stones, the Animals and the Fleetwood Mac.


Even by their fourth album, Beatles For Sale (1964), the Beatles were still recording for this 'LP' some classic rock n roll songs like Rock & Roll Music (Chuck Berry), Kansas City (Lieber-Stoller), Words of Love (Buddy Holly), Honey Don't (Carl Perkins) and Everybody's Trying to Be My Baby (Carl Perkins). At that time many of those songs were unknown to most Brits, and for that matter unknown to a lot of Americans too. The Beatles' recordings helped to popularise and promote them. The writers of those songs probably got rich on Beatles royalties alone.

For me the Beatles' best ever track was the sardonic 'Money', sung by John, and written by Bradford & Gordy.

"Money (That's What I Want)" is a 1959 hit single by Barrett Strong for the Tamla label, distributed by Anna Records. The song was written by Tamla founder Berry Gordy and Janie Bradford, and would become the first hit record for Gordy's Motown flagship label. - Wikipedia *
http://en.wikipedia.org/wiki/Money_%28That%27s_What_I_Want%29

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Here's a weird website - http://www.guardian.co.uk/music/interactive/2009/sep/04/beatles-paul-morley

Paul Morley's an interesting guy. Too far up his own arse, but interesting.

http://www.guardian.co.uk/music/2009/sep/06/showing-off-the-beatles

http://www.buzzle.com/articles/304379.html

Why does this article (Imagine a world without the Beatles - Would anyone except Oasis notice the difference?) irritate me so much? It took a while to figure it out, but eventually I realised it's partly because of his writing style, but mainly because Mr M completely misses an important point.

He completely fails to mention an enormously important aspect of the Beatles' attraction, which is that they were extremely good looking (though Ringo was more what you'd called quirky or funky) and they were sexy as hell. Apparently. You can ask any girl from back then.

Of course Mr Morley wouldn't be aware of that because he was far too young at that time. Strange that he hasn't caught up in the meantime though.

http://en.wikipedia.org/wiki/Paul_Morley

I'll have to explain this as best I can, to the best of my memory. The Beatles' power and attraction came from a variety of sources, such as their charisma, their insolence, their charm, their iconoclasm (admitting to drug-taking!), their wit, and most of all their looks and their sexuality. None of these things had anything to do with their music.


On the musical front they sang well, they had great harmonies, they were original and inventive and eclectic. They were also aided and abetted by George Martin on the technical and creative front.

But how important were they musically? How much impact did they have on the history and the development of popular music? Let's start by considering the Stones and Hendrix, whose music was based on the blues and its derivative, rhythm and blues. Bear with this.

The Mississippi delta (acoustic blues) and urban Chicago (electric blues) were far more important than Liverpool or the Beatles in purely musical terms. The people who were the true originals and creative geniuses – those who created the templates and the musical standards for others to aim for – were a whole lot of  individuals ranging from Robert Johnson to Muddy Waters, and included blues and jazz greats such as John Lee Hooker, Louis Jordan, Cab Calloway, T-Bone Walker, Big Joe Turner, BB King, Ray Charles and Slim Gaillard.

Their legacy was picked up by the likes of Chuck Berry and Little Richard, and white guys like Eddie Cochran, Bill Hailey, Carl Perkins, Roy Orbison and Elvis, and turned into rock n roll.

The British bands that loved, admired and were inspired to follow in the blues tradition in the early 60s were the likes of Alexis Korner, John Mayall, the Stones, the Animals and Fleetwood Mac. Lennon was also into the blues. Hendrix took the blues to new levels of expression and musical genius.

McCartney was more of a Chuck Berry and Little Richard kind of a guy – in a line of great vocalists, great showmen and great rhythm kings, who were also great with words and witty lyrics. Which is not a put-down by any means. Those guys also had originality and genius, but of a type that began and ended with the individual performer and song-writer, working within genres that others had created and developed. They didn't create or develop a genre, unless you think Chuck was an improvement on Louis Jordan, for example, or Paul an improvement on Chuck.


The Beatles were never great as musicians or performers, except maybe in their Cavern and Hamburg days, when they were fresh, new, raw and exciting.

They wrote some great songs, were great entertainers, and with George Martin they made some great records. And above all they had that charisma, those good looks and they had sexuality. Girls wanted to kiss them and make love to them. Girls wet their knickers with excitement.

They were photogenic and they could fool around in front of news, documentary and feature film cameras. They knew how to charm and how to market themselves, and they played the role of 'Beatles' to perfection, until they got tired of it, and it all became too much of a strain, individually and collectively.

Ultimately they became rock and roll casualties, vacuous and remote. NB Polythene Pam, Maxwell's Silver Hammer and Octopus's Garden – all on Abbey Road, reckoned by some to be a great album. Jolly little ditties do not a great musician or great songwriter make.


Even worse were Two Of Us (Riding Nowhere!), Dig A Pony(even with its name-check of BB King and Matt Busby), I Me Mine, Let It Be, Maggie Mae, I Got A Feeling, One After 909, The Long and Winding Road and Get Back – all of them on Let It Be, the final album. No wonder they gave up after that.

All of those tracks are complete unlistenable rubbish, and insulting rubbish - to think that they expected people to pay full price for half-baked uncreative, derivative crap like that. George Harrison, bless him, made some jokey references to 12 bar blues, Chuck Berry and Elmore James on 'For You Blue', but nothing any of them could do could possibly redeem that appalling album. This was Paul's big beard phase. Please!

The one decent song from those Abysmal Road sessions was written by George and didn't make it on to the album – only on to the 'anthology' that was released much later – All Things Must Pass. Amen to that.

Sunrise doesn't last all morning
A cloudburst doesn't last all day
Seems my love is up and has left you with no warning
Its not always going to be this grey

All things must pass
All things must pass away

Sunset doesn't last all evening
A mind can blow those clouds away
After all this, my love is up and must be leaving
Its not always going to be this grey

All things must pass
All things must pass away
All things must pass
None of life's strings can last
So, I must be on my way
And face another day

Now the darkness only stays the night-time
In the morning it will fade away
Daylight is good at arriving at the right time
Its not always going to be this grey

All things must pass
All things must pass away
All things must pass
All things must pass away

This song became the starting point for George's great album of the same name, which he recorded immediately post-Beatles.


The strange thing is that in those desperate last days, apart from George, who clearly knew the gig was up, they were still trying to hark back to their roots, and they half-heartedly recorded Rip It Up, Shake Rattle and Roll and Blue Suede Shoes – tracks which also appeared only on the Anthology CD. Paul even came up with an appalling ditty called Teddy Boy, which Lennon understandably and mercilessly took the piss out of, even as they were working on it. This rock n roll medley was a precursor to the rock and roll album Lennon subsequently released as a solo album, but on the anthology it just sounds like a very sad and pathetic, and nostalgic, attempt to recapture the glory days, or possibly the pre-glory days, when they were just the Prefab Four.

Paul, post-Beatles, never wrote a decent song. John became a recluse. He reinvented himself and was on the way to a new and better place, making good and original music, when he was shot.

George, the 'spiritual' one, did very well to move onwards and upwards and became a considerable artist in his own right, ultimately making some brilliant music as a Travelling Wilbury.

But if it's profundity, originality and sheer artistry you need and you're looking for, then post-60s it's not music influenced by the Beatles you go to. You have to look to the real masters of lyrics and melody and soulful expression - Dylan, Cohen, Jagger/Richards and Springsteen. Maybe a dash of Van Morrison and Neil Young as well.

What the Beatles did better than anybody before or since was make huge numbers of girls wet their knickers, and Paul Morley is seemingly oblivious to that crucial aspect of their career and their fame. This was a not inconsiderable talent.

Their music was good, and sometimes very good. They could sing, and they created great harmonies. They looked good, they dressed well, and on a good day they were droll and acerbic, vaguely anti-establishment and vaguely counter-culture, in a millionaire kind of a way. You couldn't ignore them.

But in the end, if you were a guy, you didn't really want to wear a 'Beatle suit', or have a Beatle haircut. Whereas you did want to be a Mod, or a Rocker, and later on a hippie. The Beatles were important, but not that important. They were 'lovable', or likeable, and extremely marketable, at least during the period that Brian Epstein was their manager and they were so desperate to be successful they willingly did as they were told.

After Epstein's death, and after Yoko's arrival on the scene, they became a bit of a shambles as far as music, creativity and band unity was concerned. No doubt the ego inflation and the drugs didn't really help either. The deadening and the paranoia were very apparent.

And in the end, what did it all amount to? John became a recluse and a homemaker whilst his so-called 'artist' wife got on with becoming a businesswoman who took care of the family business. Paul recorded Mull of Kintyre. Ringo disappeared to America.

George was the one who got better and better, as any true artist should. Paul could never have passed an audition to become a Wilbury. As far as musicianship and songwriting was concerned he was way below the level of Dylan, Roy Orbison and even Tom Petty.

Paul's inclination was towards Michael Jackson and, well, Linda. Nothing wrong with that. Just not very credible as an artist, which he certainly had been, in the beginning, alongside John, George and Ringo.

You can hear Paul's uninspired version of  George's All Things Must Pass on Spotify, a performance he did at the 'Concert for George'  - though personally I wouldn't bother.




http://en.wikipedia.org/wiki/All_Things_Must_Pass

http://searchwarp.com/swa363309.htm

http://www.guardian.co.uk/music/2009/sep/09/beatles-video-albums-game-launch


    Postscript – Money (from Wikipedia)

"I Need Some Money," a song John Lee Hooker may have been performing live for some time previous to 1959, has lyrics that are more than coincidentally similar to "Money (That's What I Want)". For example, even though the music is different, the first verses are:

"The best thing in life is free
But you can give it to the birds an' bees
I need some money, Need some money. Oh yeah, what I want"

versus:

"The best things in life are free
But you can keep 'em for the birds and bees
Now give me money, (that's what I want) that's what I want."

The question of which lyrics came first never seems to have been settled in any formal way; John Lee Hooker has full composition credits for "I Need Some Money", and it has been independently covered by other artists such as James Blood Ulmer and The Doors.

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Monday, August 17, 2009

Layer 180 Woodstock, Hendrix, Political Egos, Religion, Faith and Humour.

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Woodstock

This weekend was the 40th anniversary of Woodstock. On Saturday night the 'Director's Cut' of the movie was shown on TV, and it was quite difficult to watch. The whole thing, apart from some of the music, was quite a shambles. Now that I stop to think about it I realise that a) I never bothered to buy the album of the event, and b) I didn't even enjoy the Woodstock movie when it first hit the cinemas - just as the era of peace and love (and anti war demos) was drawing to an end.

My outstanding memory of the film was the Santana section – full of pulsating music from a band that was at that point unknown in Britain. Superb throbbing bass guitar, thundering drums, pounding percussion and wailing Hammond organ. And of course the incredible Carlos and his brilliant guitar.

As for the rest of the event . . . That ridiculous chain-link fence that was so easy to break down or climb over! Sheer amateurish idiocy on the part of the organisers. The rain, the appallingly muddy ground, the lack of food and water, the incessant tannoy appeals to share food . . .

It seems completely incredible that Jimi Hendrix didn't get on stage till the Monday morning – till it was all over, and all that remained in front of the stage were a few bedraggled, wet and stoned stragglers, squelching through the mud and the piles of garbage.

I wonder what Jimi thought of that, as he cranked out his electric blues version of the Star Spangled Banner, which remains stunning to this day in its sonic invention, its painful intensity, its emotion, its sheer audacity and its implicit judgement on a country that was still embroiled in a war in Vietnam that continued to shock the rest of the civilised world for its barbaric conduct, its incredible cost, and its determination to impose the American state's wishes and authority on the people of a small country, all in the name of fighting Communism.

By sheer coincidence my ex-wife is currently enjoying a two week holiday in Vietnam, and the daughter of a friend has recently returned from an activity holiday in Vietnam, learning how to scuba dive. Had a great time, apparently.

According to Wikipedia, “Hendrix got into trouble with the law twice for riding in stolen cars. He was given a choice between spending two years in prison or joining the Army. Hendrix chose the latter and enlisted on May 31, 1961.”

http://en.wikipedia.org/wiki/Jimi_Hendrix

Imagine that – two years in prison for just riding in a stolen car – not even stealing it. Two years, mind you. Either that or incarcerate yourself in the army. Jimi chose the army. The army threw him out after less than a year.

Check out three different versions of 'Machine Gun' on Spotify. Also Star Spangled Banner. Play it loud.

And 'All Along The Watchtower'. The greatest song by the greatest songwriter, played and sung by the greatest musician, ever recorded. I've said it before and I'll say it again - get some good headphones, and crank the volume right up.

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Minister of Defence.

Mr Ainsworth says, “I can't keep helicopter crews permanently in theatre. I have to bring them home. I have to train them.” If it were me, I'd train them beforehand.

This kind of language reveals perfectly the mind set of our current politicians. Egocentric and elitist language. I, I, I. Me, me, me.

Check this. WE have to do certain things. WE have to look after our armed forces personnel. WE have to train them. He's doing what he does on behalf of US. It's US that matter. Not him. We're still SO far away from having a government that understands ministers are public servants and do things for US, on OUR behalf.

They may be political leaders, but they still need to understand that they lead in the directions that WE want to go in, and work for the benefit of all, including non-voters and children.

I've just discovered an excellent website that monitors the actions and views of MP's -

http://www.theyworkforyou.com/

It also reports on MPs' 'interests', their voting record, their expenses, etc.

It seems Mr Ainsworth, MP for Coventry North East:

Voted strongly against a transparent Parliament
Voted very strongly for introducing ID cards
Voted very strongly for introducing foundation hospitals.
Voted strongly for introducing student top-up fees.
Voted very strongly for Labour's anti-terrorism laws.
Voted very strongly for the Iraq war.
Voted very strongly against an investigation into the Iraq war.
Voted very strongly for replacing Trident.

I think this gives a pretty clear impression of where he stands on the political spectrum. Pretty much four-square with the Tory party, and, of course, the leadership of New Labour.

“In the 2009 Parliamentary expenses scandal, in which some MPs were criticised for their expense claims, it was revealed that, in 2007-8, Ainsworth had allegedly claimed the maximum permissible amount of £23,083 for second-home allowances, making him the joint highest claimant in that year.” - Wikipedia

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“Religion is of the soul. Faith is of the spirit.”

This is a quote by someone taking part in a Sunday TV programme yesterday, and it's the first time I've heard the divide between religiosity and spirituality expressed in this way. This may well be a cliché in religious circles. But still, I think it's true – if we equate religious needs and religious tendencies with emotional needs and desires, and if we agree that emotions emanate from the soul, then religion is of the soul.

To belong to a religion, and to let your life be directed and shaped by the rituals, beliefs and dictats of a priestly caste and 'holy' scriptures, must be because you feel the need for a set of simple (or complicated) rules to abide by, because you feel an emotional need to put yourself and your life in the hands of some 'Superior Being' (or beings), and because you don't trust yourself to be able to grapple alone with life's challenges and a search for meaning and purpose.

'Faith' is an interesting word. To have faith. Mmmmm. How, exactly, does that work? Self-hypnosis?

On a different programme about religion yesterday the leaders of the major 'faiths' in Britain were asked how they knew that God existed. “It's faith”, said the Hindu guy. You take it on trust. You believe it because you believe it. Or not.

Interestingly, there were no interviews with any Buddhist leaders. Surely that can't be just because Buddhists don't believe in God?

When asked what God actually IS, the Archbishop of Canterbury said, “Something greater than I can conceive of, or put words to.” So that's fair enough then. He can't imagine what God is, and he can't describe God either. That's not what's called copping out, is it?

Apparently Hindus also believe there's one Supreme Being, but they also like to have lots of little Gods as well. Why not? The more the merrier.

There's an exhibition on at the British Museum at the moment called Garden and Cosmos. Don't bother going to it unless you really, really like Hindu art, or you don't mind parting with £8 just out of curiosity. The pictures on the website pretty much do the job for you. Check out painting number 9. What's that guy going to do to all those women with that strange-looking instrument?

http://www.britishmuseum.org/whats_on/all_current_exhibitions/indian_summer/garden_and_cosmos.aspx

The most interesting part of the exhibition for me was about the Naths, whom I'd never heard of, and who use hatha yoga and meditation to become like the “great perfected beings”.

http://en.wikipedia.org/wiki/Nath

"Our aims in life are to enjoy peace, freedom, and happiness in this life, but also to avoid rebirth onto this Earth plane. All this depends not on divine benevolence, but on the way we ourselves think and act."

Here's an interesting blog, which I've just had a quick look at.
http://www.nathsociety.org/lalitas-blog/

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My Big Decision
BBC Three

From the website of Love Productions:

“This series follows girls, on the cusp of womanhood, on the brink of making huge decisions. Each week two girls wrestling with the same issue embark on a road trip across the UK. There's just one catch... They're taking their mums and grans with them. A week of family "bonding" is the last chance for the older women to influence their daughters' decisions.”

In fact this week's (repeated) programme was about just one young woman, her long-suffering mother, and her mum's mum. The young woman is not so much 'wrestling' with an 'issue' as living a lifestyle of binge drinking, casual sex and terminal selfishness.

She says she loves her mum, and she clearly does, but it's obvious to viewers that her over-tolerant and loving mum is desperate for some respite from her daughter's “evil” attitude and constantly obnoxious and challenging behaviour.

After a lifetime of being unable or unwilling to say 'No' to her daughter, this mother, who's clearly a lovely woman in every way, is considering the downside of giving and desiring 'unconditional love'. This seems to be something that a lot of women, and a lot of mothers, need to think about. As well as 'tough love' and 'anything for a quiet life love'.

After a week of activities such as observing alcohol casualties in A & E, talking to the victims and parents of victims of drunk drivers, and talking to long-term alcoholics, the girl has to decide whether or not she will change her lifestyle, in response to the pleas and urgings of her elders.

Three months later the film crew go back to interview the family and find them completely changed. Everyone looks happy and positive. It's like someone's waved a magic wand and filled young miss with emotional, social and spiritual intelligence. She's only been out on the town drinking and partying on one occasion, and she's had no casual sex. She's cut right down on the alcohol too. She's started speaking to her mother respectfully, considerately, and appreciatively.

It looks like her week's 'road trip' has worked a miracle, and she's been brought to her senses by her experiences, and her reflections on her 'issues'. And then the voice-over casually mentions the fact that six weeks ago she met a young man and started seeing him regularly. Er . . .

So she now has an intimate, affectionate and loving relationship with a guy she seems to spend a lot of her time with. They go shopping, they talk, they hold hands, they go for long walks, they gaze into one another's eyes and they experience hitherto unknown natural 'highs'. Or at least we can assume they do, if we've been there and done that ourselves.

Question – what does this tell us about the real needs of teenagers and young adults?

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How to explain to my Japanese friend the stuff on a repeat of The Fast Show?

Anna Gestapo, on 1970's 'Spanish' TV?
Surgeons snogging whilst carrying out a transplant?
“This season I are wearing mostly no pants.”
“Drill Bit” perfume, by Taylor Woodrow, 'for particularly manly men'. What's funny about an Africaaner perfume sales lady?
The Twelve Ronnies, on Spanish TV?
Ron Manager on 'Match of the Day'?

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This week's Celebrity Wife Swap featured Ron Atkinson and Tessa Saunderson. After spending a few days with Tessa's husband, Ron's wife finally 'got it', and was subsequently able to explain to Big Ron why it was really, really unacceptable and inexcusable to call someone a “fucking lazy nigger”. On or off microphone.

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Heard on radio -

“Richard Prior said it took him 15 years as a comedian to really find his 'voice'.”

What lessons are there here for our education system, and the need to enable our young people to find both their spoken and their written voices? If we value self expression, self-knowledge, authenticity, etc, that is.
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Saturday, April 19, 2008

Layer 12 Buddhi, Can You Spare A Dime? Who's Missing?

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Today - on Radio 4

Thought for the Day

The Chief Rabbi, Sir Jonathan Sachs.

Passover - the Exodus.

Children have suffered badly in the modern world. They suffer the effects of an appalling rise in depressive illness, drug and alcohol abuse, eating disorders, and other stress-related syndromes among the young. There are more than 3 million children who live in poverty in Britain, even in this age of affluence.

There’s another kind of child poverty - emotional and psychological, says JS. Children need their parents’ time more than they need money. They need their parents’ attention more than they need computer screens and video games. They need values and a sense of identity more than mobile phones and credit cards.

The average child spends 35 hours a week looking at a screen, but only 35 minutes a week talking to their father. Those that value lifeless things eventually become lifeless. Only civilisations and cultures that cherish the young, stay young.

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I’d go further than the Chief Rabbi and say that since children spend so many hours per week in schools, it’s crucial that schools are the place where they get quality time and attention.
They need positive interaction with adults and children alike, opportunities for communication and collaboration, and an atmosphere of caring and trust. They need all these things far more than they need sitting passively in silence, attention focused on the teacher at the front, desperately being drilled towards better test results.

Emotional deprivation and abuse goes on in too many schools, mainly because of the corrosive effects of pressure for higher test scores. The curriculum and the ability to perform in tests are now all that matters. Those who suggest we should be ‘child-centred’ are regarded as dinosaurs and idiots, if not actual loonies.

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Enemies of Mankind

Tyranny, poverty, disease and war are the 4 common enemies of mankind, according to the late John F Kennedy. G. Brown is calling on Americans to remember these words and engage with these enemies. Meanwhile, 30% of children in Britain are officially living below the poverty line, whilst the richest and fattest in our society have got richer and fatter under his economic policies. More on happiness and inequality below. And don’t even mention the war.

Brown wants the US to lead the ‘remaking’ of global institutions - the World Bank, the International Monetary Fund, etc. Brown at least seems to recognise that tackling the causes of poverty, disease, tyranny, anger and resentment is more important than and more effective than trying to contain and deal with their effects.

America, however, according to informed opinion, cares not a fig for the impoverished and the wretched of the earth and will continue to use its incredible wealth and power mainly and essentially to fight its ‘war on terror’ and combat its declared enemies, principally Islamists and leftists. No time or money there for greater equality and fairness in the world. What we have is ours. I got mine. I’m keeping it. I may have stolen and embezzled a lot of it in the first place, but I’m planning to grab a whole lot more of it whenever and wherever I can. So fuck you.

Remember - world illiteracy could be eliminated for the cost of two weeks’ operations by American forces and ‘contractors’ in Iraq.

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Happy Go Lucky

Mike Leigh’s new film, released today, is called Happy Go Lucky. Primary school teacher Poppy refuses to let herself be unhappy. She’s fulfilled, centred, focused, non-materialistic, anti-miserablist, serious and sensible, caring for others and determined to make life better for others. Where does resilience come from in certain individuals? Upbringing, family circumstances, attitude? Luck? Genes? Schools and parenting? Mike, in his interview, was clearly not sure, and as an artist he probably doesn’t even aspire to certainty, isn’t interested in analysis or the ‘science’ of happiness, as such.

Professor Richard Layard has made ‘happiness’ an academic study. I’m about to start reading his book on happiness which is subtitled Lessons From A New Science. He says the three keys to happiness and resilience are 1) caring for others - not just living for yourself, 2) seeing the glass as half full, 3) living within a ‘trusting society’ - eg Scandinavia, where progressive social and economic policies have contributed to a sense of social solidarity and collegiality, where differences in earnings and wealth have been for decades kept within a much narrower band than in the UK and the USA, thanks to progressive tax and redistribution policies.

He’s particularly concerned about schools - the wellbeing and happiness of children - and creating programmes (of cognitive behaviour therapy?) to build resilience, enjoyment of life and better behaviour. We especially need sympathetic treatment of disadvantaged and challenging children, he says.

And so say all of us.

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Amazing Journey - The Story of The Who (BBC4)

Two hours of pure joy. Watched it on D’s bass-rich TV, with the clean, digital sound also pumped through the sound system in the sitting room. Great crashing waves of sound - thumping and pounding drums, throbbing bass; scolding, scowling, scalding, howling, screaming and wailing lead guitar. Just like it sounded live back in the Sixties - immediate, raw, dynamic, thrilling . . . and quite shocking and scary.

Before The Who nobody actually frightened an audience, but back then we were innocent and unprepared for a bunch of unpredictable maniacs who thought nothing of smashing guitars, bashing in and toppling speaker stacks, scattering drum kits and hurling microphone stands.

If you were a working class lad who felt exactly what they were feeling and understood what they were saying (Bam bam bam bam . . . bam bam bam bam - People try to put us down! - talking ‘bout my g-g-g-generation!!!!) you absolutely loved it - after taking a few seconds to adjust to the initial shock of what you were witnessing. If you were a middle class mid-teens girl just out there having fun, or waiting for your heart-throb Herman and the wretched Hermits to come on as top of the bill - you covered your ears and ran for the safety of the back of the hall.

They revelled in their own power and fury, and if you happened to be standing next to the stage, up close and personal, you were likely to be flattened and blown away by the loudest, baddest and most anarchic experience of your tender young life.

Interesting to go back to the very beginning of the band, the accidental way they came together, the energy, the personality clashes, and their collective love of soul and blues. Mods weren’t into pop - we loved Tamla, soul and blues. The Who synthesised all of that, made it their own, and cranked it back out again with a full-on rock sensibility. They ROCKED!

But The Who were more than that. They were experimental, they took risks, and they were highly original. And “so much more powerful than anyone else”, says the Edge. And there’s a man who should know.

Noel Gallagher said some very acute and some very moving things about the right of Sixties bands to continue to perform, to tour, to keep on rocking. He’s always interesting to listen to when being interviewed because he’s such an intelligent observer and student of what’s gone on through the history of rock, and he speaks with wit, passion, precision and absolute conviction. Easy to see why Russell Brand considers him a mate.

John Entwhistle died of a heart attack whilst on tour at the age of 57. He was a unique musician. Nobody ever played a bass guitar in a manner so arresting (whilst being so still and minimalistic in his movements on stage), so outstanding, so inventive, so technically and dynamically perfect. He was the only trained musician in the band and he played bass like it was a lead instrument. That’s why they only needed, they only had room for, two guitars in the band. There was barely space for Townshend to perform in, let alone another rhythm instrument. In any case they didn’t have and didn’t need rhythm. They rocked.

Townshend and Daltrey both spoke with real love and affection for John, and for Keith Moon, who was a tragic figure in many ways, but whose drumming powered the band from the back of the stage with an awe-inspiring cacophony. He too was irreplaceable, which basically means that all three of the instrumentalists in the band were original and had a talent that touched on genius.

Townshend, the ex art student, was without a doubt a stunningly original and powerful artist. He peaked early, it’s true, and didn’t write very much of real quality either musically or lyrically after he fell into pretension and ego-tripping with Tommy, the first so-called rock opera (yuk!), which was one of the most over-rated albums ever. Belatedly he seems to have recognised that with the odd exception (Won't Get Fooled Again) his early stuff was by far the best, and so now he’s happy to be still performing those great, original songs from the Sixties. No shame in that at all.

It’s fairer to say that the first hour or so of this documentary was pure joy, rather than all of it, as it contained the best of the music and described the band’s joyful growth and development into a world-wide phenomenon. The second hour, the story of The Who’s decline and descent into musical mediocrity and craziness, together with the deaths of two of its members, was quite sad and disturbing, though still fascinating and insightful.

Seeing them back together again playing live at Wembley Arena with Sue in 1996, from a sitting/standing area quite close to the stage, was utterly brilliant. Zak Starkey, Son of Ringo, was on drums and was excellent - very powerful and reminiscent of the great Keith. Roger sang really well, and Pete windmilled away as effectively and enthusiastically as ever. And of course Steady Eddie, Johnny the Bass, drove it all with massive vibrations that jiggled and twanged every fibre in your body for every second of the show. You left with your ears ringing, your brain spinning and your whole body vibrating. And a great big grin on your face. The smile of the Buddha.

I doubt if I’ll ever see them again. Or the like of them. Last year’s show, back at the Wembley cattle shed, only this time with my good friend N, the only black guy in a sea of white, just wasn’t the same. I’d spoiled it anyway by seeing a ‘preview’ on TV. (They did virtually the same set at Glastonbury, just a couple of weeks before Wembley, including having the same fairly naff videos on a huge screen behind them.) Hence no surprises and no thrills. Also - we were too far away.

About as far away as I was when I saw them at Charlton football stadium in the Seventies - the last open air gig I went to? The last tour before their 1996 reunion? A gathering of bad vibes, violent throwing of half-full beer cans by drunken twats, and typical stadium-show crush, tedium and hassle. A nasty business that for me signalled the end of the dream, drew a line under any hope there ever was for a peaceful revolution through love and togetherness. By then all the mods and the hippies had disappeared anyway, leaving only a detritus of long-haired echos of something that used to be genuinely rebellious, idealistic, peace-loving, beautiful, stylish, dynamic and original.

So then there were two. Two men who nowadays love and respect one another, and have fun when they get together. Two men who as The Who have been through it all. But it just isn’t the same. RIP Keith and John.

Noel G suggested that if you could translate the amazing bass figures that John did in My Generation into words then he should have them for his epitaph on his gravestone. Bam bam bam bam, bam bam bam bam - tuddly dum, duddly dum, dum dum dum. Brilliant.

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And to think I was meaning to write something about economics and the credit crunch. But fuck it. Why don’t they all just f-f-f-f-f-fade away?
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