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Posts from the ‘R&B’ Category

Apr 28

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Still Kokomo

No band is more likely to make me smile from the first note than Kokomo. Almost 50 years after they emerged in the pubs of London, they’re still at it. Much changed, as we all are since we first gathered in Islington’s Hope & Anchor to marvel at the authenticity of their feeling for funk, but still keeping the faith.

Of the original members, the singer Frank Collins, the singer/keyboardist Tony O’Malley, the percussionist Jody Linscott and the guitarists Jim Mullen and Neil Hubbard were present last night at the Half Moon in Putney, one of their favourite venues. They were joined by the bassist Jennifer Maidman and the drummer Andy Treacey, long-term replacements for Alan Spenner and Terry Stannard, the saxophonist Jim Hunt, filling Mel Collins’s shoes, and the singers Helena May Harrison and Charlotte Churchman, who since 2014 and 2017 respectively have replaced the late Dyan Birch and Paddie McHugh.

The repertoire doesn’t change much as these reunions come around. No Kokomo fan would go away entirely happy without having heard Bill Withers’ “Lonely Town Lonely Street”, O’Malley’s instrumental “Tee Time”, Allen Toussaint’s “Yes We Can”, Hubbard’s sweetly soaring “Anytime” or their traditional showstopper, Bobby Womack’s “I Can Understand It”.

The sound was rough last night, and one or two instrumental stretches went on a bit too long, but the general vibrancy made up for it. The highlights for me were Churchman’s storming delivery of Stevie Wonder’s great “So What the Fuss”, Harrison bossing “Stuff Like That”, the divine Linscott’s beautifully subtle conga-playing on the closing “Third Time Around”, and Jim Hunt’s gruff Texas tenor touches throughout. It all made me very glad that there are still nights like these.

Mar 22

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Some universal truths

Back in 1982, Billy Valentine and his brother John recorded a song called “Money’s Too Tight (To Mention)”, a slice of disco-funk that made the lower regions of the R&B chart. Its lyric reminded me of Jimmy Witherspoon’s “Money’s Gettin’ Cheaper” and I liked it enough to buy the 12-inch from Groove Records on the corner of Greek Street and Bateman Street in Soho. Three years later it was covered by the Manchester band Simply Red, for whom it provided a first hit and the basis of a rather more successful career than was granted to the Valentine Brothers.

Now Billy returns with what will certainly end up among my albums of the year: Billy Valentine and the Universal Truth, a collection of rearrangements of eight well-known songs united by a certain social relevance. In age they range from the spiritual “Wade in the Water” to Prince’s “Sign of the Times”, first recorded by its composer in 1987. In between come songs written by Curtis Mayfield, Stevie Wonder, Gil Scott-Heron, Pharoah Sanders and Leon Thomas, the members of War, and Leonard Caston and Anita Poree.

Valentine brings the wisdom of his years to these “message” songs. The softened edge to his tone reminds me of the great southern soul singer O. V. Wright, but his vocal agility enables him to handle the rapid-fire phrasing of the Prince song with ease. The anguish in “Home Is Where the Hatred Is” matches that of Esther Phillips’s famous 1972 version.

The arrangements here are modern and imaginative, often making use of jazz gestures. There’s the eloquent improvising of the new star saxophonist Immanuel Wilkins on Mayfield’s “We the People Who Are Darker Than Blue”, sensitively accompanied by Larry Goldings on piano, Linda May Han Oh on bass and Abe Rounds on drums. There’s Claire Daly’s barely controlled baritone saxophone, preaching the spiritual jazz message on Sanders’ “The Creator Has a Master Plan”, and Theo Croker’s elegant trumpet on “Sign of the Times”. There’s Goldings again, reincarnating the spirit of mid-’60s Ramsey Lewis on “Wade in the Water” and a beautiful opening-up of Wonder’s scathingly political “You Haven’t Done Nothin'”. Other featured players include the vibraphonist Joel Ross, the percussionist Alex Acuña and the guitarist Jeff Parker.

Produced by Bob Thiele Jr, the son of the man who produced John Coltrane’s Impulse albums and recorded Ornette Coleman on his own Flying Dutchman label, this isn’t a jazz record any more than it’s a soul record, a funk record or an R&B record (some of the tracks have a rhythm section of Pino Palladino on bass guitar and James Gadson on drums). It’s all of them, mixed together in perfect proportions. And if the message of these songs isn’t new, it’s never a bad thing to be reminded of the continuing urgency of what they have to say. In a post-truth world, they hit even harder.

* Billy Valentine and the Universal Truth is released on 24 March on the Acid Jazz/Flying Dutchman label: http://www.acidjazz.co.uk. The photograph is by Atiba Jefferson.

Mar 3

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At the Marquee

Was the Marquee Club really the world’s greatest music venue, as the subtitle to a new history of the club suggests? There might be arguments from Carnegie Hall, the Olympia music hall in Paris, Ronnie Scott’s, the Berlin Philharmonie, the Village Vanguard and a few others. But from its opening in 1958 to the closure in 2006 of the last club to bear that name, it had a fair claim to the title, given that its attractions over the years went from Dexter Gordon, Chris Barber and Dudley Moore through Alexis Korner and Long John Baldry, the Stones, the Yardbirds, Manfred Mann, Graham Bond, Little Stevie Wonder, the Who, David Jones/Bowie, Sonny Boy Williamson, Rod Stewart, Jimi Hendrix, King Crimson, Led Zeppelin, Fela Kuti, Genesis, Dr Feelgood and Dire Straits all the way through the Damned, the Sex Pistols (supporting Eddie and the Hot Rods), the Jam, the Police, Motorhead to REM and Guns N’ Roses and hundreds and hundreds of others, most of them still in their formative stages, including seemingly every British blues band and prog rock outfit assembled via the Musicians Wanted columns of the Melody Maker.

It began as a jazz club at 165 Oxford Street, in a basement ballroom beneath the Academy Cinema. In 1964, as R&B took over, it moved a couple of hundred yards south, to the ground floor of 90 Wardour Street, bang in the middle of Soho. That was its classic location, which it occupied until the summer of 1988, when it moved around the corner to 105-107 Charing Cross Road, which had been a cinema between 1911 and 1987. The Marquee was there for seven years, hosting Spiritualised, Aerosmith, Megadeath and others until it closed and the name was sold to people who briefly ran clubs exploiting its renown in Leicester Square and Upper St Martin’s Lane until the final closure in 2006.

Among many other things, the new history of the Marquee, by Robert Sellars with Nick Pendleton, told me that a contributory factor to the move out of Wardour Street was the crumbling detected in the façade of the building, an effect of the loud music being played within. One night that may have done more than most to shake the walls was 6 October 1970, the second night of a 36-date tour of Britain by Tony Williams’s Lifetime, recently expanded to a quartet with Jack Bruce joining Larry Young and John McLaughlin. If forced to nominate the greatest gig I’ve ever attended, that would probably be the one. For some of the many musicians who were present, it was a life-changing experience.

The club’s story is well told, with plenty of detail and a cast of characters that changes constantly as the decades whizz by. Not just the musicians but the people who ran the place, starting with Harold Pendleton (Nick’s father), a jazz-mad accountant who became president of the National Jazz Federation, and his wife Barbara, and including the lavishly toupéed manager John C. Gee and his assistant Jack Barrie, along with characters such as Tony Stratton-Smith, the founder of Charisma Records, whose acts often started their careers there. And not just the club itself but ancillary premises like The Ship, the pub a few yards up Wardour Street, where members of the audience could have a beer before going down to the non-licensed Marquee, or La Chasse, the first-floor drinking club where musicians and other music business types did likewise. If you were there during any of the club’s many eras, and even if you weren’t but wish you had been, the book will provide much enjoyment.

* Marquee: The Story of the World’s Greatest Music Venue is published by Paradise Road (320pp, £22). The photograph of the audience waiting outside 90 Wardour Street is from the book and is uncredited.

Nov 6

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Just before the world changed

Sixty years ago this month, “Love Me Do” made the charts and the world changed. But what was it changing from? Not just the drab, complacent cardigans-and-Billy Cotton caricature of post-war British culture. Before the Beatles and Stones came along to provide a focus, there were plenty of signs, if you were looking, that something was about to happen. And two dozen of them are collected in A Snapshot in Time, a new compilation of sounds from 1960-63 that can be seen today as a series of premonitions.

I was 15 at the time, primed for change and and looking for those signs, in particular anything that resembled the incursion of the blues or modern jazz into mainstream pop music. “Sugar Baby Pts 1 and 2” by Jimmy Powell, a raw-voiced R&B singer from Birmingham was one. The more decorous Lyn Cornell — formerly of Liverpool’s Vernons Girls — singing Jon Hendricks’s lyric to Bobby Timmons’ “Moanin'” was another. Anthony Newley’s skewed Cockney-hipster version of “Strawberry Fair”, too. They’re included in this collection, which is subtitled “Society, scandal and the first stirrings of modernism 1960-63”.

One of the defining events of this fast-changing culture was the broadcast of the first episode of the satire show That Was the Week That Was by the BBC in November 1962. One track is a reminder of the national mood caught and amplified by TW3: “Christine” by Miss X exploits the Profumo affair in a cocktail-piano rhumba punctuated by lubricious faux-ingénue vocal interjections from Joyce Blair (sister of Lionel). Produced by John Barry, with the piano played by the Spanish aristocrat and film actor Jaime Mora y Aragón, and released on Jeff Kruger’s Ember label, it was propelled into the lower end of the charts by scandalised newspaper stories.

More seriously indicative of the future was the music evolving among those who had come out of the skiffle, folk and trad scenes, like Long John Baldry singing Willie Dixon’s “Built for Comfort” with Blues Incorporated, the guitarist Davy Graham’s solo set-piece “Anji” and two tracks, “Country Line Special” and “Chicago Calling”, released as the first single by the singer and harmonica player Cyril Davies, the Ken Colyer of British R&B. Others also came by way of the jazz scene, like the tenorist Red Prince with the Danger Man theme and the trombonist Don Lang with “Wicked Woman” (composed by the person who was to become P. J. Proby). Oh, and Sounds Incorporated’s Markeys-like “Sounds Like Locomotion” and “Why Should We Not”, Manfred Mann’s first single, a jazz-waltz instrumental heavy on alto saxophone, organ, harmonica and tom-toms.

A number of the tracks — including those by Powell, Lang and Cordell — came into being because Jack Good, the great producer of the TV show Oh Boy, had an A&R deal with Decca Records. Good was a visionary who wrote columns in the music press extolling the virtues of US records such as Gene Chandler’s “Duke of Earl” and Bruce Channel’s “Hey Baby” (which, of course, provided the inspiration for John Lennon’s harmonica on “Love Me Do”). Among the three Powell tracks is a version of “Tom Hark”, a South African kwela song that had been a hit for Elias and his Zig-Zag Jive Flutes, a pennywhistle band from Johannesburg, in 1958.

The track that sums it up best for me is “Orange Street”, a finger-snapping instrumental by the Blue Flames, with Georgie Fame on Hammond organ. I bought it on a school trip to London and yearned to be a part of the groovy scene to which it provided a soundtrack. Pretty soon, we all were.

* A Snapshot in Time, compiled by Rob Finnis and Roger Armstrong, is released on the Ace label.

Sep 1

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Gumbo on the King’s Road

Along with the Chelsea Potter, John Sandoe Books and Peter Jones, the Pheasantry is a rare reminder of how the King’s Road used to be before it was ruined by retail and food chains, a process that started in the 1970s. I hadn’t been there for many years until a couple of friends invited me to go with them to hear Jon Cleary on one of three sold-out nights this week.

It’s a Pizza Express now, and like the ones in Dean Street and Holborn it has a thriving music programme in the basement, taking over the cabaret function of the old Pizza on the Park. Cleary, the English-born singer and pianist who has lived in New Orleans for many years, was an ideal choice to perform solo on the club’s Steinway in the intimate, 70-seat environment.

To say he has metabolised the music of New Orleans during his decades in residence, and particularly that of its great pianists, is no exaggeration. In the first set, he started with Huey ‘Piano’ Smith and then mixed it all together in a great gumbo whose ingredients included Jelly Roll Morton, Professor Longhair, James Booker, Mac Rebennack and Allen Toussaint. He did the Booker thing of bringing Brahms to the boogie-woogie and the rumba to Rachmaninoff, wandering along the highways and byways of the keyboard to find lurid climaxes, crafty turnarounds and outrageous false endings that brought spontaneous cheers.

The second set was something else. This was about the songs. And not just the fine covers of “Lucille”, “Talk to Me, Talk to Me” and “Blueberry Hill” but his own compositions. One, the soulful “Frenchmen Street Blues”, was heard in season two of Treme. Another, a lovely wistful blues-ballad called “All Or Not At All”, is something he’s apparently been working on for years. A third, “When You Get Back”, is a strutting blue-eyed soul song that I can’t get out of my head. A very good night indeed.

Nov 30

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The blues came down from Richmond

Around the corner from where I live is an apartment that was once a crash-pad for Paul Simon, Jackson C. Frank and John Martyn. If I carry on to the train station, I pass the building where the Rolling Stones played the early gigs that attracted the attention of Andrew Loog Oldham and the four Beatles. On the way I see another building, now a Nando’s, where Eric Clapton and his fellow art students would while away an afternoon over a single cup of coffee. A couple of doors above it is the site of a clothes shop that was once vital to the Mod culture. I walk on past an independent book shop which, 50-odd years ago, was owned by Pete Townshend (who still lives a few hundred yards away, up the hill, past the house where Syd Barrett once had a flat). Beyond the station lies a rugby ground, the site of the festivals that, starting in 1961, created the enduring pattern for such open-air, multi-stage events.

If, instead of heading for the station, I were to walk in the opposite direction, I’d come to the footbridge to an island where, as the ’60s picked up speed, trad jazz gave way to R&B bands in a semi-derelict hotel whose ballroom featured the Cyril Davies All Stars, Long John Baldry’s Hoochie Coochie Men with Rod Stewart, the Yardbirds, John Mayall’s Bluesbreakers, the Downliners Sect, the Art Woods, the Graham Bond Organisation, and so on.

The place that featured the Stones was the Station Hotel in Richmond, where the back room hosted the first incarnation of the Crawdaddy Club. The coffee bar was called L’Auberge. The men’s boutique was John Simon’s Ivy Shop. Townshend’s book shop was called Magic Bus. The rugby ground is the home of Richmond RFC and London Scottish; their clubhouse became the second Crawdaddy, where the Yardbirds — mostly local boys — took flight. The Eel Pie Island Hotel is the legendary venue in the middle of the Thames at Twickenham, which opened with local trad jazz bands in 1956, closed in 1970 with Quintessence and burned down while being demolished the following year. Those are some of the locations, and there are many more, including the Hanging Lamp folk club, held in a church crypt, where the local teenager who would become Elvis Costello went to listen to guitarists like Davey Johnstone and John James.

The story of how Richmond and Twickenham — and particularly Eel Pie Island — became a seed-bed for the British R&B bands that, in conjunction with the Mersey Beat, reset the course of rock music is such a great one that I’ve often thought it was worth a proper book, particularly after I came to live here 20 years ago and realised that the buildings and the pavements had tales to tell. I never got around to it. But now someone else has, and he’s done it so well that I’m glad I didn’t.

Andrew Humphreys spent many years working on travel guides, first for Lonely Planet and then for Time Out. He lives in Richmond and runs a publishing company of his own. When he had the idea for the book, he offered it to three well-qualified music journalists, none of whom was interested. Eventually he decided to do it himself, and I’m glad he did because it could hardly have been done with a finer combination of basic enthusiasm, thorough research and authorial skills. Apart from getting the facts right and in the correct order, he’s talked to many of the people who made up the audiences and customers at these places, creating a vivid portrait of an extremely exciting and important time.

Alongside the musicians and their listeners, several key figures are identified. The first is a local businessman called Michael Snapper, who bought Eel Pie Island Hotel — built in 1830, mentioned by Dickens in Nicholas Nickleby, in and out of fashion over the decades — in 1951, when it was all but abandoned. The second is a young trumpeter named Brian Rutland, who persuaded Snapper to let his Grove Jazz Band use the dilapidated ballroom. The third is a rum cove called Arthur Chisnall, who managed one of Snapper’s shops in Kingston, saw his vocation as scooping up lost youth and putting them on the straight and narrow, took over the running of the venue and, responding to police demands that it be properly organised, created something called the Eelpiland Club, which soon became a focal point for beatniks, students from the area’s several art colleges, and other adventurous types.

The fourth is Harold Pendleton, a former accountant who loved jazz, managed the Chris Barber Band, ran the National Jazz Federation, founded the Marquee Club in an Oxford Street basement in 1958, organised the NJF’s first National Jazz Festival at the Richmond Athletic Association’s grounds in 1961 and saw it grow into an event of national significance, with the trad and modern jazzers gradually pushed out by the young R&B bands, first represented in 1963 by Georgie Fame, Graham Bond, Cyril Davies and, at the bottom of the bill, the young Stones.

The fifth is Giorgio Gomelsky, a refugee from Soviet Georgia who arrived in London in 1955, aged 21, and soon became known on the scene as a hustler and fixer, a colourful character never short of an idea. Through knowing Alexis Korner and Cyril Davies he met Brian Jones, whose new band he heard at a pub in Sutton in February 1963. It was Gomelsky who created the Crawdaddy for them at the Station Hotel later that month, first with an audience that could be numbered on one hand but soon with queues down the street. Gomelsky printed flyers, ran ads in the Melody Maker, buttonholed journalists on the music papers, and in general hyped the Rolling Stones as best he knew how. He did a great job, but within weeks he’d lost them to a younger hustler, the 19-year-old Andrew Loog Oldham, who came to see them in Richmond and persuaded them he could take them to the next stage. As, of course, he did, leaving Gomelsky to manage the Yardbirds and cook up countless further schemes — some good, some bad, none of them quite as good as the Stones — before his death in New York five years ago.

All this and much more is in Humphreys’ book, which is well illustrated with period photos, flyers, posters and adverts, and useful maps on the end-papers. It’s also hugely enjoyable, written with a delightful touch and an ear for the colourful anecdote. Here, for instance, is a trad-band musician describing the task of getting their instruments across to Eel Pie Island on the original chain ferry, before the footbridge was installed in 1957: “A decidedly dodgy affair, like the D-Day landings but without the gunfire.”

I hope I haven’t made Raving upon Thames sound like a book of local history. In fact it’s about us — all of us, even if we weren’t there.

* Andrew Humphreys’ Raving upon Thames: An Untold Story of Sixties London is published by Paradise Road (www.paradiseroad.co.uk). The photograph was taken at Eel Pie Island in 1960 for a feature in Weekend magazine headlined “Down Among the Dead Beats”.

Nov 19

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London Jazz Festival 4: What’s Going On

When the photograph of Marvin Gaye appeared on a large screen above the stage late in the evening, just as the rhythm section of the Nu Civilisation Orchestra was cranking up one of the familiar vamps from What’s Going On, the eyes started to prickle and a round of applause arose from the audience in the Queen Elizabeth Hall. Fifty years after his masterpiece entered our lives, what would Gaye have made of this occasion, had he lived to see it?

He would certainly have noticed that the concerns he voiced throughout the cycle of nine songs are even more relevant today. The point was driven home when that same screen carried the words of Rosa Parks, Margaret Mead, Mahatma Gandhi, Martin Luther King, Frederick Douglass and others over contemporary images of protest.

Fifty years ago! Gaye was 32. I was 24. So young! It’s sad for someone of my age to see today’s 24-year-olds still having to confront worldwide poverty, systemic racism, pointless war and the threat posed by climate change, which were the themes of What’s Going On. Extinction Rebellion and Black Lives Matter are responses to some of those concerns, and more effective ones that we managed in our younger days, but the issues remain unresolved.

Maybe some of them will be sorted out by the generation represented on stage last night: a 27-piece orchestra of strings, brass, woodwind and rhythm under the baton of Peter Edwards, drawn from the ranks of the invaluable Tomorrow’s Warriors project run for the past three decades by Janine Irons and Gary Crosby. None of the young musicians was born when Gaye recorded the pieces they were playing last night in Edwards’ rearrangements, but all of them clearly understood and were committed to its meaning and significance.

The 28th member of the ensemble, the South London-born soul singer Noel McKoy, brought a depth of experience as well as great vocal expertise to the role of Gaye. Without attempting an imitation, he inhabited the songs and negotiated their contours beautifully. But he was one among equals with the other musicians. A special commendation must go to the tenor saxophonist Chelsea Carmichael, who added immense presence and character to the solo parts originally played by Wild Bill Moore. The funk was brought by the unflagging team of Sarah Tandy (keyboards), Sonia Konate (guitar), Jihad Darwish (bass guitar). Romarna Campbell (drums) and Noda Oreste (congas), who hit a quietly simmering groove on one transitional passage which — with Tandy on electric piano — reminded me that Bitches Brew was released just a couple of months before Gaye embarked on the first sessions for what would become What’s Going On.

Edwards shuffled the running order of the individual songs, starting out with “What’s Happening, Brother” and “Right On”, leaving the title song until the middle of the set, and ending with the spiritual lift of “Save the Children” and “God Is Love”. There were photographs of modern urban wastelands to accompany “Inner City Blues” and wildfires and melting ice sheets for “Mercy Mercy Me (The Ecology)”. The actor Colin Salmon, the 29th member, delivered a poem/rap that summarised the album’s themes with emotional precison and dignity.

That was the second half of the evening. The hors d’oeuvres, before the interval, had been a selection of pieces from Trouble Man, the soundtrack to a blaxploitation movie, released in 1972 as the successor to What’s Going On. The hipsters’ favourite Gaye album, Trouble Man is an instrumental suite with vocal interludes, cutting and pasting the work of LA session men — Earl Palmer, Victor Feldman and so on — with Gaye’s own multi-instrumental rhythm tracks. Brass and string arrangements commissioned from a variety of seasoned pros — Dale Oehler, Jerry Long, Bob Ragland, J. J. Johnson, Jack Hayes and Leo Shuken — created and sustained a powerful mood of noir soul. Once more Edwards shook the pieces up, using Salmon as a narrator/commentator and again featuring Carmichael in the role, this time, of Trevor Lawrence, Gaye’s preferred saxophone soloist of the time.

A rearrangement of one of the original work’s gentler passages for the string section (led by Olivia Moore), with improvised solos passed in a round-robin between individual violin and viola players, was for me the musical highlight of the entire triumphant evening. In the way it developed and transformed an idea from the original recording, it reminded me of something Gaye said in 1976 while discussing Trouble Man in a radio interview with Paul Gambaccini: “If somebody took that album and did a symphony on it, I think it would be quite interesting.” I’d say Edwards and the Nu Civilisation Orchestra have done the groundwork on that project. They’re halfway there, and should be encouraged to see it through.

* The Nu Civilisation Orchestra perform What’s Going On at Birmingham Town Hall tonight (Friday 19 November), at Liverpool’s Philharmonic Hall on Wednesday 24, and at Canterbury’s Gulbenkian Theatre on Friday 26. Donations to the Tomorrow’s Warriors project can be made here: https://tomorrowswarriors.org/support/jointhemovement/

Nov 9

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Forever Curtis

No word of a lie, I was listening to a new compilation called People Get Ready: The Curtis Mayfield Songbook when I came across this photograph of me interviewing Curtis in January 1972, during the edition of The Old Grey Whistle Test in which he and his band so memorably performed “We Got to Have Peace” and “Keep On Keeping On”. It was the first time I’d interviewed him (last year I wrote about the second occasion, which took place in very different circumstances, here) and he was as wise and courteous as I’d been led to expect from all of the songs of his that I’d listened to over the years. You’ll have to forgive me putting the photo up here; it’s a precious memory.

The 24-track album, compliled by Tony Rounce, kicks off with the Impressions’ version of “Gypsy Woman” and includes Mayfield’s “Keep On Keeping On”, but otherwise it consists of versions of Curtis’s songs by third parties. A few of them he also produced, such as Jan Bradley’s charming “Behind the Curtains”, Barbara Mason’s “Give Me Your Love”, Gladys Knight’s “The Makings of You”, the Staple Singers’ uncharacteristically lubricious “Let’s Do It Again”, Aretha’s “Look Into Your Heart”, Patti Jo’s irresistible “Make Me Believe in You” and Walter Jackson’s majestic “It’s All Over”. But some of the finest moments come when outsiders are looking in on the material.

Rounce suggests that Dionne Warwick’s version of the much loved “People Get Ready”, recorded in Memphis in 1969, is the closest to Curtis’s original with the Impressions, and he’s right, but it’s different enough to make it a marvellous complement. The Techniques’ “Queen Majesty” and the Gaylads’ “That’s What Love Will Do” are chosen to illustrate the huge impact the Impressions had on Jamaican vocal groups (I think I’d have added the Uniques’ “Gypsy Woman”, with its gorgeous Slim Smith lead vocal).

My only other suggestions would have been to find a place for the Opals’ “You Can’t Hurt Me No More” and to omit Major Lance’s over-familiar “Um Um Um Um Um Um” in favour of the lesser-known “Delilah”, his first single for OKeh in 1963, with its great piano from Floyd Morris, Al Duncan’s kicking drums and little touches of Curtis’s guitar. Lance’s first hit, “The Monkey Time”, appears in a version from the Miracles’ Mickey’s Monkey album, allowing us to contrast the significant difference in feels between Duncan’s drumming on the original and Benny Benjamin on the Motown version.

I was pleased to be introduced to the Jackson 5’s intense and long-buried 1970 version of “Man’s Temptation”, produced by Bobby “Does Your Mama Know About Me” Taylor, its lead switched between various brothers, and to Keni Burke’s “Never Stop Loving Me”, which is early-’80s Quiet Storm music at its suavest. The version of “I’ve Been Trying” by Jerry Butler, an ex-Impression, may not be quite as sublime as the group’s original — the B-side of “I’m So Proud” — but what could be? It was their finest hour.

It’s always good to be reminded of the mark Curtis left, not just as a singer and composer but as a man who believed in taking control of his own destiny when so many in his position were being robbed of it.

* The photo was sent to me by Tim Dickinson, to whom many thanks. People Get Ready: The Curtis Mayfield Songbook is on the Kent label.

Nov 1

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Dylan 1980-85

While reading an interview with the filmmaker Jesse Dylan in the (London) Times last week, one quote caught my eye. The interviewer asked him about the continued productivity of his father, who is now in his ninth decade. Jesse replied that his dad wasn’t trying to outdo himself. “He’s just thinking, ‘Should I paint a picture today? Should I write a song?'”

It reminded me of of my own reaction to visiting the Musée Picasso in Paris a few years ago and realising how wonderful it must have been to be him, to get up in the morning and think, “Shall I paint a picture today? Shall I paint a few plates? Shall I make a bull’s head out of a pair of bicycle handlebars or a guitar out of a matchbox and some rubber bands?”

That’s not the only point of comparison between the two, for sure. But Dylan transforms farm implements into sculpture and photographs into paintings with the same unstoppable desire to make stuff. He’s not expecting everything he creates to be the equal of “Desolation Row”, just as Picasso didn’t think a painted soup dish needed to be a rival to the Demoiselles d’Avignon.

Jesse Dylan’s remark might have helped me to make a different kind of sense of the latest volume of the Bootleg Series, titled Springtime in New York and assembled from recordings made in the first half of the 1980s. This was a period that included Shot of Love, Infidels and Empire Burlesque, and most of the tracks on the deluxe five-CD version of the new release are outtakes from those sessions, in Los Angeles as well as New York, plus material from various tour rehearsals and a couple of live tracks (“Enough Is Enough” from Slane Castle in 1984 and “License to Kill” from the same year’s David Letterman show).

There are works of genius here, the two takes of “Too Late” and its eventual metamorphosis into “Foot of Pride” being the prime exhibit, showing Dylan functioning in 1983 at the peak of his powers, creating something that only his imagination could have produced, working away at its shape and structure and detail and angle of attack (and then still not being satisfied enough to put it on the relevant album). “New Danville Girl” has long been loved by bootleggers as a prototype of what would become, 18 months later, the epic “Brownsville Girl”, featuring a friendlier arrangement and more modest production but lacking some of the final version’s finer points. “Let’s Keep It Between Us” is a Dylan song recorded by Bonnie Raitt in 1982 and here performed two years earlier as a confiding southern soul ballad, with wonderful B3 interjections from Willie Smith.

By and large, however, this is an assembly of lesser material. Unlike The Cutting Edge or More Blood, More Tracks, it’s not the sort of compilation that enables the dedicated student to make a close scrutiny of Dylan’s working method over a tightly defined period of time. It’s a whole lot looser than that, and variable in quality. You don’t necessarily need Dylan’s versions of “Fever”, “I Wish It Would Rain”, “Green, Green Grass of Home”, “Abraham, Martin and John” or “Sweet Caroline” — or Jimmy Reed’s “Baby What You Want Me To Do”, which isn’t noticeably better than those performed by a hundred young British R&B bands in the mid-’60s (including my own). You might, of course, need his gorgeous version of Willie Nelson’s “Angel Flying Too Close to the Ground”. But what all of them do is remind us of what Dylan’s backing musicians often say, that he knows a very large number of songs — and if you’re in his band, you have to be ready to play them, at least in rehearsals.

Taken together with the outtakes of songs like “Blind Willie McTell”, “Jokerman”, “I and I”, “Don’t Fall Apart on Me Tonight”, “Sweetheart Like You”, “Tight Connection to My Heart”, “Seeing the Real You at Last” and “Dark Eyes”, some of them pleasingly devoid of the production touches added to the versions released on the original albums, they made me think of what it might be like if Bob Dylan turned up in your village with his band, rented the parish hall and spent an evening entertaining the locals. It wouldn’t be a show. It wouldn’t be for posterity. Nobody would be taking notes or keeping score. There might be false starts and missteps and re-runs. There would certainly be some things that didn’t work quite as well as others. Playing these five discs end to end, flattening out the artistic highs and lows, allowing the kaleidoscope of Dylan’s approach to American music to form and disperse and reform, you get a sense of how much fun that would be.

* Bob Dylan’s Springtime in New York: The Bootleg Series 1980-85 is out now in various formats and configurations on the Columbia Legacy label. The photograph of Dylan in New York is from one of the booklets that come with the deluxe version and was taken by Lynn Goldsmith.

Dec 8

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Back on Highway 61

Generally speaking, I prefer Bob Dylan to make his own cover versions, just the way he’s been doing for the best part of 60 years. There are maybe not even a dozen exceptions, mostly the obvious ones: Presley’s “Tomorrow is a Long Time”, Jimi’s “Watchtower”, Stevie’s “Blowing in the Wind”, the Fairports’ “Si tu dois partir”, Ferry’s “Hard Rain”, Betty LaVette’s “Things Have Changed”. But now there’s a definite addition to the list: Dave Alvin’s version of “Highway 61 Revisited”, a highlight of From an Old Guitar, his new album of rare and unreleased stuff.

To be honest, I haven’t followed the career of the singer/guitarist from Downey, California who started out at the very end of the ’70s with the Blasters and more recently led bands known variously as the Guilty Ones and the Guilty Women. My bad, as the young people say. From an Old Guitar is full of great stuff, drawing on country, blues, R&B and, in Lil Hardin Armstrong’s “Perdido Street Blues”, old-time jazz, with other songs from Mickey Newbury, Earl Hooker, Doug Sahm and Marty Robbins.

Dylan’s parable is set to a low-riding shuffle beat, the layered guitars of Alvin and Greg Leisz howling, nudging and screeching from multiple perspectives as the magnificent verses are recited in appropriately biblical tones. Alvin’s voice is one that wears its bruises, scars and calluses lightly, weighting and timing every line perfectly, drawing out the dark humour, simultaneously absurdist and apocalyptic. The video is well assembled and cut, particularly the chase towards the end between a hot rod and a Highway Patrol car on a two-lane blacktop.

My other favourite is a song called “Peace”, credited to Willie Dixon. It bears no resemblance to a song of the same name that gave the title to a 1971 Dixon album, but it carries the hallmarks of the composer of “Hoochie Coochie Man” and “The Seventh Son”. The buried hook — the thing that makes we want to listen to it again, straight away — is a funky little chorded figure from Joe Terry’s electric piano: peeping through two or three times, it seems to want to take the song in a different direction before thinking better of it and withdrawing.

I can happily listen to this album from start to finish, and then over again. Even better, I imagine, would be to wander into some bar or other — Dingwalls, perhaps, or the old Tramps on 15th Street in NYC — and drink a beer or two while listening to Alvin and his band working their way through the whole thing. One day, maybe. But whatever, that “Highway 61” is going to stick around.

* Dave Alvin’s From an Old Guitar is out now on the Yep Roc label.

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