What In Music’s Name Is This?:
Marcel’s Miller/Moptops Mayhem
A small package arrived in the post. Square, the size of a CD. It was a ESD* and was covered in writing. There was no mystery who it was from, as it was signed, but it had an air of mystery around it.
“Martin, follow these five simple steps to nausea and amazement. 1. Log on to http://forgottenalbums.com/albums/?p=59. 2. Bask in a warm nostalgic glow as you enjoy the album cover. 3. Read the blog, remembering that this guy is not making this album up. 4. Play the CD 5. Ask yourself ‘Why?’ P.S. The guitar solo on Let It Be is THE FINEST thing I’ve ever heard x Marcel.”
From: Martin Colyer
Date: 24 January 2013 07:56:31 GMT
To: Marcel Ashby
Subject: Has a song not benefited from the…
Glenn Miller treatment more than Something? God Almighty, that’s horrific! Oh, hold on, I’ve just listened to Michelle. Still trying to locate the original melody. Let It Be? Let It Stop, more like. I’m thinking you shortened it by one track (that great Beatles classic, Bird Cage Walk) just out of the kindness of your heart. I must lie down now.
Oh, and don’t get me started on that guitar solo in Let It Be, which seems to actually be playing a different song. It’s as if there was a surf guitarist walking past the studio door playing, and they grabbed him, hit record and didn’t miss a beat. The fact it has nothing to do with the tune of Let It Be, or, indeed, any tune, is neither here nor there. And the last two notes are to die for. Or something.
*Evil Silver Disc, according to vinyl obsessives.
In Bob News This Week
First impressions, Inside Llewyn Davis Trailer
1) They’ve captured the look of 1962 New York rather well.
2) It’s nice that a lesser-known Bobsong soundtracks this teaser.
3) Looks like Carey Mulligan has some good lines.
4) Bob-strokes-cat a little earlier than Guy Peellaert would have us believe (although the character of Llewyn Davis could equally be based on Dave Van Ronk).
5) John Goodman will have plenty of raucous lines, and his will be the haircut of the film.
6) Fresh from Homeland, F Murray Abraham as the owner of the Gate of Horn Nightclub in Chicago. Which makes him Albert Grossman in this scenario.
7) Oscar Isaac’s teeth are in way-too-good condition for 1962.
Uh Huh—It Was The Manfreds
From Tom McGuinness’ sleeve notes for the Manfred Mann Ages Of Mann compilation CD:
“Bob Dylan’s Mighty Quinn was our third number One. Al Grossman, Dylan’s manager, played us the song.“Why does Dylan get such a useless vocalist to sing his demos?” Manfred asked. “That’s Bob singing”, said Al.”
Oh, and I never knew that Jack Bruce was in Manfred Mann. He plays bass on the great Pretty Flamingo. Or, indeed, that Klaus Voormann replaced Bruce when he left.
Aimee Mann, Ghost World, RFH, Jan 28th
My favourite moment at Aimee’s concert (thanks, Barney!) was her performance of the best post-school/pre-life song ever written. Prompted by a twitter request, this rarely-played (and unknown by the rest of the band) gem stood out. Named for, and inspired by, Daniel Clowes’ great graphic novel, every glorious line rang clear, sat on the cushion of Aimee’s patented J45 strum—“Finals blew, I barely knew/My graduation speech/And with college out of reach/If I can’t find a job it’s down to dad/And Myrtle Beach”—joined by bassist Paul (Mountain Man) Bryan’s harmonies and the trippy off-the-cuff keys of Jebin (Freak Flag) Bruni, all carnival swirl and hum. And by coincidence, watching Community the following night (your next must-rent boxset) and having Jeff and Pierce’s hysterical Spanish Project performance acted out to Aimee’s Wise Up.
Dateline: New Orleans. Brett Mielke Reporting…
“Well, the record shop I first went to and bought Ken’s records back in 2003 survived Katrina and the slow death of record stores! Had a visit and bought a wealth of KC music. Also had a long chat with the clerk who was about my age and knew an unbelievable amount about the music. Fear not, relatives of all generations, the Ken Colyer legacy is still alive and well in the Crescent City…”