VISUAL OF THE WEEK
Wedding reception, Somerset. At the Maverick Festival a few years ago there were lots of well-known names in the, uh, Americana field, but they were all left for dust by Stompin’ Dave, our pick of the weekend. A great Rev. Gary Davis-style ragtime picker, a fine frailin’ banjoist, an excellent flat-foot dancer – Dave does all these things with brio and style. To hear him play as everyone arrived back from the church was a treat.
MY FAVOURITE PIECE OF WRITING ABOUT PERCY SLEDGE THIS WEEK
Mick Brown, in The Daily Telegraph: “But if “When A Man Loves A Woman” was very much a product of its time it was also, magically, a piece of work that transcended the moment and the place in which it was made: a song that seemed to have been circling the heavens, just waiting to be called down to earth. The greatest pop music has a magical capacity to speak to the heart, articulating the inchoate feelings that one can barely articulate oneself: This is how love feels, how love hurts. “When a man loves a woman, can’t keep his mind on nothing else…” You KNOW that’s right. From a small dusty town in northern Alabama, the song reached out to me, a love-struck teenager in South London, a textbook of all the longing I felt for the girl on the dancehall floor, whom I could never tell exactly how I felt, and never would.”
JOE BOYD ON SAM CHARTERS
From his email newsletter, kindly sent on to me by Mick Gold: “When I realized that music was still out there to be discovered and that producing records would be my life, it was, remarkably, that same Sam Charters who gave me the tip that opened the door to my professional career. In the winter of 1965, the night before leaving for Chicago (on business for my then-employer George Wein, producer of the Newport Jazz and Folk festivals), I found myself sharing a table at the Kettle of Fish bar with Sam. We and the other Greenwich Village blues hounds had gathered to hear the first New York performance of the just re-discovered Son House. When in Chicago, Sam urged me not to confine myself to South Side bars in my quest for great blues, but to head to the North Side and check out a mixed-race band under the leadership of Paul Butterfield. I mentioned the tip to my friend Paul Rothchild, newly appointed head of A&R at Elektra Records. He joined me in Chicago, signed Butterfield, added (at my suggestion) Mike Bloomfield on lead guitar. Six months later I had my reward: a job opening Elektra’s London office – on my way at last!”
JIMI: ALL IS BY MY SIDE (SLIGHT RECOMMENTATION)
Why is it that biopics often run out of steam halfway through? For the first 45 minutes this is great – as flighty and diffident-seeming as its title character, nicely shot and beautifully played. Andrew Buckley is great as Chas Chandler, as is André Benjamin as Jimi, and the music score is very clever. Denied any Hendrix tracks, director John Ridley has Waddy Wachtel replicate the sound and feel of both the Curtis Knight band and the Experience, with help from Leland Sklar and Bob Glaub on bass, and Kenny Aronoff on drums. The real star of the show, though, is Imogen Poots as Linda Keith, and it’s when her character becomes less involved that the story starts to sag, losing the vivacity and energy that she brings.
AND ON THE PLAYLIST THIS WEEK…
The Festival of the American South was held at the Royal Festival Hall, about 10 years ago, maybe more. One night was a songwriter’s circle hosted by Charlie Gillett, with Guy Clarke, Allen Toussaint, Vic Chestnutt, and – on this track Dan Penn, with Joe South adding inimitable Tennessee guitar. Probably unrehearsed, with some stumbling rhythm guitar, but a wonderful, wonderful vocal on a track written by Penn with Spooner Oldham and made famous by Percy Sledge.