Wednesday, January 24

ONE THERE’S POOR, AND THERE’S REALLY POOR
A bar/cafe at Stansted Airport, themed around illustrious musicians (sadly, I kid you not). In reality this means a wall of Black and White 12 x 15 framed prints, and this, a wall of names, graphically arranged.

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So we have the ungainly clashes of Muse/Fish and Chips, and Uriah Heep/Fresh, and Depeche Mode seem to have merged with the Rolling Stones… And don’t forget the legendary Ozzy Osb, and Ethro Tull. “I’ll have the Rod Stewart Inergarder, please…”

TWO FOR ART’S SAKE… 
I’m really appreciative of Sky Arts, although they have a worrying tendency to hire people to make programmes about themselves, saying how great they are. They rock this approach with Melvyn Bragg’s hymn of praise to The South Bank Show now that it’s left ITV for Sky. Almost two hours of weirdly unsatisfying clips from thirty years of programme-making, linked by Melv standing coldly on various bits of the windswept South Bank and bigging up himself, before cutting to people like David Puttnam who also big him up. Strange.
I’ve just started another Sky Arts series, Rolling Stone: Stories from the Edge, a history of the magazine. I may be sensitized to this puffery as I’ve just Read 50 Years of Rolling Stone, a (somewhat) entertaining hagiography that I’m reviewing. The documentary comes laced with the same sense of baby-boomer self-congratulation as the book – I assume all this RS looking back activity was an attempt to drive up the price before Jann Wenner sold the company. Anyhow, the first episode reminds you of the brilliance of its writing in the Sixties, especially Hunter S Thompson on Nixon, interesting to read at this point in history:
“This may be the year when we finally come face to face with ourselves – that we are really just a nation of 220 million used car salesmen with all the money we need to buy guns and no qualms about killing anybody else that tries to make us uncomfortable. Jesus, where will it end – how low do you have to stoop in this country to be President? It is Nixon himself who represents that dark, venal, incurably violent side of the American character. He speaks for the werewolf in us, the bully, the predatory shyster who turns into something unspeakable on the nights where the moon comes too close”

THREE YOU WON’T BELIEVE YOUR EARS…
…as Buddy Holly calls his record company to ask for his songs back. A man never far from a tape recorder, he turned it on for the call. Found via Messy Nessy’s 13 Things I Found on the Internet Today.

FOUR I POST THIS WITH NO COMMENT…
Nando’s has opened a music studio at one of their main London restaurants, giving budding musicians the chance to lay down their own tracks while chowing down on chicken, reported the NME. The studio has been opened at Nando’s in Frith Street, Soho, and will give successful applicants the chance to record their own music with the help of an in-house studio engineer and pioneering equipment including a Neumann U87 microphone. “We’re really excited to open our first music space, both for our growing network of artists and also for our fans looking for a unique experience in the restaurant. Some of the best ideas have started over Peri-Peri (or so we’re told), so we’re looking forward to hearing what happens when we bring together chicken and tunes!”, a Nando’s spokesperson said.

FIVE PRANCING IN THE STREET!
What happens if you take the music away from Mick Jagger and David Bowie’s take on “Dancing in the Street” and cruelly imagine how the vocals may have sounded as they danced? This… 

 

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Friday, January 5th

A quick round up today. Too much time spent watching tv (how poor was McMafia? From its terrible title to its watery atmosphere, its lousy script to its underdeveloped characters… Everything that The Night Manager was, this isn’t. End of rant) and catching up with work to concentrate on 5 Things. I hope normal service will resume from next week. Happy New Year!

ONE MY FAVOURITE BOOK OF THE YEAR
Latest in the repurposed Ladybird People at Work series:

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“This is a rock star. His name is Bob Dylan.
Bob is rehearsing with his band. It takes a long time.
First the band have to learn all of Bob’s famous songs.
Then Bob has to think of worse tunes he can sing over all of them.”

TWO R.I.P. RICK HALL, GIANT OF ALABAMA MUSIC
Although we recorded in Muscle Shoals, we were working at Muscle Shoals Sound Studios, set up by Jimmy Johnson, David Hood, Roger Hawkins and Barry Beckett, who broke away from Hall’s FAME (Florence Alabama Music Enterprises) studio. I took the photo below in Florence, just across the river. And, below, I’m standing by the famous sign at the city limits. Among some fine obits, rocksbackpages reminded me of Mick Brown’s wonderful piece on Rick Hall and Muscle Shoals for the Daily Telegraph in 2013. You can find it here.

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From Mick’s piece: For a brief and exhilarating period Muscle Shoals rivalled New York, Los Angeles and London as one of the most important recording centres in popular music. You need only visit Muscle Shoals to realise quite how remarkable this was. The town is one of four – the others are Florence, Sheffield and Tuscumbia – that cluster along the Tennessee river in the north-western corner of Alabama, and are collectively known as the Shoals. The combined population is 69,000. It is a place of wood-framed houses, their porches entwined with bougainvillea; of handsome antebellum mansions – and of restaurants serving fried catfish and turnip greens. Thick forests flank the river, which rolls sluggishly in the summer heat. For an anonymous backwater, the Shoals has an improbably rich musical history. Florence was the birthplace of WC Handy, the father of the blues, and of Sam Phillips, who in 1953, convinced, as he put it, that “if I could find a white man who had the Negro sound and Negro feel, I could make a billion dollars”, had the presence of mind to record an 18-year-old Elvis Presley singing the blues song “That’s Alright, Mama” – effectively creating rock’n’roll.

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THREE THE “AMERICAN PIE” CLASSIC ALBUMS PROGRAMME…
reminded me of Don McLean’s song, “Orphans of Wealth”, at this moment as apposite as it’ll ever be…
“And they’re African, Mexican, Caucasian, Indian / Hungry and hopeless Americans / The orphans of wealth and of adequate health / Disowned by this nation they live in.
And with weather-worn hands, on bread lines they stand / Yet but one more degradation… / And they’re treated like tramps while we sell them food stamps /
This thriving and prosperous nation…”

FOUR I TRIED TO WRITE ABOUT DYLAN’S GOSPEL YEARS…
but the issue that I’ve had since 1980 keeps rearing its head – I listen to the first bars of any song thinking, “This sounds great” and ninety seconds later I’ve zoned out. I don’t understand – the band is great, the arrangements are good, it’s performed with drive and commitment… But it’s the same problem I have with the whole of Tom Petty’s oeuvre. I can never stick around ’til the end.

FIVE FROM MAJOR TO MINOR
A fascinating piece about the current state of pop music at Popbitch. They’ve looked at one element in particular…
“Being popular gets you a good place on a Spotify playlist; getting a good place on a Spotify playlist gets you more plays. The more plays you get on Spotify, the better your chart position. The better your chart position, the better your placement on Spotify playlists. The more you get heard, the more popular you become. The more popular you become, the more you get heard. This is not a particularly groundbreaking observation. People have been talking about this quirk of the new chart calculations for years now. What is interesting about this run of long-standing number ones though is that something else significant seems to have changed since the days of “Everything I Do” and “Love Is All Around”. Specifically: the key that the songs are in.”

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