Five Things I Saw & Heard This Week

Transcripts from the everyday world of music by Martin Colyer

Saturday, July 25th

July 25, 2020 by martin colyer 5 Comments

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Filed Under: Weekly Roundup Tagged With: “Homegrown”, “I Found a Place in my Heart”, Blake Mills, Bob Dylan, Emma Smith, Every Record Tells a Story, Ian Berry Magnum, Johnnie Taylor, Neil Young, Puppini Sisters, Rough and Rowdy Ways

Monday, July 6th

July 6, 2020 by martin colyer 18 Comments

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Filed Under: Extra! Tagged With: Bob Dylan, Love and Theft, Mutineer, Rough and Rowdy Ways, Warren Zevon

ON THE MUSIC PLAYER
One of my favourite Christmas Songs,
Nellie McKay’s “Christmas Dirge”.

Why the great Nellie McKay is not a bigger star, I’ll never know — smart, funny, literate, a fine pianist, a great singer — but maybe her rebel nature stopped her being the Laufey of the 2000s… This song, sung to a woodsman, has some of the McKay essentials: lyrics that scan beautifully, a poignant melody, a radical vegan treatise wrapped in a Christmas bow. More power to you, Nellie!

FOLLOW FIVE THINGS ON INSTAGRAM

Critic Instagram The third of my micro interactions with Oscar folk l Jessie Buckley | I’ve designed the graphics for Mark Kermode in 3D at the BFI since the beginning, and one Monday in 2018 my sister-in-law, Hedda, the show’s producer, asked me to bring my guitar as backup in case actor Johnny Flynn couldn’t bring his. Guitar in hand I head to the South Bank and to the Green Room. The night’s guests are Charlie (Black Mirror) Brooker and Jessie Buckley and Johnny, who are there to talk about their new film, Beast. Johnny will miss the start of the show, but Mark wants to know everything is set, so he asks if my guitar’s in tune. I get it out to check. As I’m doing so, Mark suggests a run through, and pulling out his harmonica, calls Jessie over, and expects me to play along, with Charlie Brooker and Hedda for an audience. The chords for “Don’t Think Twice, It’s Alright” fly from my head, and Jessie’s lovely voice is left to deal with my all-over-the-shop guitar playing. We stop, and attempt to pull the chords up on the phone, but the BFI building seems to block the signal. We go again with much stopping and starting, but it gets the key worked out, warms Jessie’s voice up, and allows Mark to sort out the right cross-key for his harmonica. I, meanwhile, am left utterly mortified. The show is highly entertaining, and Jessie and Johnny (with his own guitar) essay a sweet, skipping version of “Don’t Think Twice”. Afterwards, I talk to Johnny about his love of Mississippi John Hurt (listen to the Detectorists theme for evidence), Blake Mills’ production of his friend Laura Marling’s Semper Femina (I love how Mills pushed the structures of the music, but he’s not so sure) and his lovely 1934 wooden Resonator guitar. I talk to Jessie about the filming of Wild Rose, where she plays a mouthy, car-crash Glasgow girl desperate to get to America to be discovered, and she tells me about working with the legendary Ray Kennedy at his Room & Board Studio in Nashville, and sweetly waves away my apologies for the less-than-satisfactory rehearsal. She’s an impressive actress, a worthy Oscar-winner, and in my limited interaction, extremely nice… Buddy Guy in Sinners | Looking at the Oscar list a few months back, I realised that I’d had a trio of tiny interactions with nominees. The first was Amy Madigan (see the last post). The second was bluesman Buddy Guy. Watching Sinners, I was surprised to see the venerable blues guitarist appear as the older version of young bluesman Sammie (Miles Caton). In 1968, my parents were sent three plane tickets – Pan Am, London to New York – to visit with the Charters. So for three weeks we soaked up America with Ann and Sam as our guides. My dad Bill was sent on his first visit to New Orleans, to hang out in the places – and with the people – that his brother Ken had written about so vividly in 1952 when he jumped ship to play with his heroes. We, meanwhile, headed to the Newport Folk Festival to stay in a spookily empty school dormitory and watch Arlo Guthrie and Janis Joplin and Buddy Guy and Junior Wells. Sam was Buddy and Junior’s producer at Vanguard Records, and he took me backstage to their trailer where Buddy let me hold his guitar. That was an education right there. Buddy was young and fiery and going places. His trick bag had two stunts — the first, playing his guitar behind his head, all the while keeping the music driving on, not missing a note. The second was an outrageously long guitar lead, so he could walk out the front door of any club he was playing while soloing. At Newport he used it to come down from the stage and walk through the audience… Back in New York City, Sam took me to Vanguard’s 23rd Street Recording Studio and let me play with their three-track mixing desk. Here are some of David Gahr’s great photos from that year, a couple of pieces of memorabilia, and a thrilled twelve-year-old boy. The Return of Amy Madigan | Watching the Oscars, I was pleased that Amy Madigan pipped the more favoured to the Oscar for Best Supporting Actress. I played a very small part in her career in the mid-80s. Here’s an excerpt from my blog, from 2013, when I was watching Jools Holland’s Later: Lovely to see a piece in Guardian yesterday mentioning my oldest friend in the world, Annie Charters, and her introduction to the latest book of Jack Kerouac’s letters and its accompanying exhibition at the Grolier Gallery in NYC (lousy headline, tho…) “It’s May 1934 and a Sunday, and Louis Armstrong and his Harlem Hot Rhythm Band are on the road in England. They have just done a week in Wolverhampton, and are waiting near the London-bound platform of the Great Western Railway for a train to take them, via Birmingham, to the their next engagement. Louis holds Peter, his new wire-haired terrier; Alpha Smith stands nearby, soon to become Louis’s third wife.” Goat Race | Buccoo Bay | Tobago | As soon as I knew we were going to the Carnival afternoon, which featured the goat racing, I had an image in my mind of the picture I wanted to take. After scoping the track out during the first couple of races, I realised that once the race started it was impossible to capture on a phone — the field became stretched and the vantage points too far away. For the primo race, featuring jockeys and goats who had already won races, I moved up to the start line, where the runners were in steel traps. I felt I shouldn’t use Live Photo, that I had to get it with one click, so settled on a motor-drive mimicry of holding the phone in front of me and, looking over it at the action, pressing the shutter as many times as I could once the bell sounded. Shot two out of the three clicks I managed was the one. Here’s a look at the illustrations in the March issue @thecriticmag — on the cover we welcome back Mr Andy Martin, genius behind NME’s fantastic cassette releases in the late 70s/Early 80s, and one of Britain’s finest visual minds. Liverpool’s finest, John Montgomery, pops to Paris for the illustrations to Sarah Ditum’s Woman About Town spread (those textures!) while Ben Kirchner does his thing, brilliantly. Andrea Ventura changes his style a little, working in pencil rather than paint for a portrait of writer Allan Massie, and John Springs gives us marvellous Melvyn Bragg in front of his Alma mater. Regulars Adam Dant (London’s Cool for Cats) and Paul Cox (L.A. Style) fizz with detail, and our erstwhile portraitist, Vanessa Dell, paints columnist Dominic Green. Thanks to all, and to my strong right hand Sofia Azcona for her super valuable help in getting this issue out! David Bowie | Lenny Beige | Part Two.

BUY THE BOOK OF FIVE THINGS
(click on cover to order!)

HERE’S A TAG CLOUD THAT HAS A FEW OF THE SUBJECTS COVERED ON FIVE THINGS

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

On the Music Player: The Latest Project

SUPER HITS [!] OF THE SIXTIES! | ONE | “SEALED WITH A KISS”

I’d heard the song for the first time in years on one of the last episodes of the TV series, Mad Men. Brian Hyland’s 1962 puppy-love pop classic (#3 on both US and UK charts) has a naggingly dark/slightly hysterical melody that stuck in my head for days after watching the programme. On one hand it’s an over-ripe teen anthem, on the other a singular melody that doesn’t sound like a “pop” tune at all. Here‘s my version, part of a five song project covering songs from the 60s.

FOLLOW ON INSTAGRAM

Critic Instagram The third of my micro interactions with Oscar folk l Jessie Buckley | I’ve designed the graphics for Mark Kermode in 3D at the BFI since the beginning, and one Monday in 2018 my sister-in-law, Hedda, the show’s producer, asked me to bring my guitar as backup in case actor Johnny Flynn couldn’t bring his. Guitar in hand I head to the South Bank and to the Green Room. The night’s guests are Charlie (Black Mirror) Brooker and Jessie Buckley and Johnny, who are there to talk about their new film, Beast. Johnny will miss the start of the show, but Mark wants to know everything is set, so he asks if my guitar’s in tune. I get it out to check. As I’m doing so, Mark suggests a run through, and pulling out his harmonica, calls Jessie over, and expects me to play along, with Charlie Brooker and Hedda for an audience. The chords for “Don’t Think Twice, It’s Alright” fly from my head, and Jessie’s lovely voice is left to deal with my all-over-the-shop guitar playing. We stop, and attempt to pull the chords up on the phone, but the BFI building seems to block the signal. We go again with much stopping and starting, but it gets the key worked out, warms Jessie’s voice up, and allows Mark to sort out the right cross-key for his harmonica. I, meanwhile, am left utterly mortified. The show is highly entertaining, and Jessie and Johnny (with his own guitar) essay a sweet, skipping version of “Don’t Think Twice”. Afterwards, I talk to Johnny about his love of Mississippi John Hurt (listen to the Detectorists theme for evidence), Blake Mills’ production of his friend Laura Marling’s Semper Femina (I love how Mills pushed the structures of the music, but he’s not so sure) and his lovely 1934 wooden Resonator guitar. I talk to Jessie about the filming of Wild Rose, where she plays a mouthy, car-crash Glasgow girl desperate to get to America to be discovered, and she tells me about working with the legendary Ray Kennedy at his Room & Board Studio in Nashville, and sweetly waves away my apologies for the less-than-satisfactory rehearsal. She’s an impressive actress, a worthy Oscar-winner, and in my limited interaction, extremely nice… Buddy Guy in Sinners | Looking at the Oscar list a few months back, I realised that I’d had a trio of tiny interactions with nominees. The first was Amy Madigan (see the last post). The second was bluesman Buddy Guy. Watching Sinners, I was surprised to see the venerable blues guitarist appear as the older version of young bluesman Sammie (Miles Caton). In 1968, my parents were sent three plane tickets – Pan Am, London to New York – to visit with the Charters. So for three weeks we soaked up America with Ann and Sam as our guides. My dad Bill was sent on his first visit to New Orleans, to hang out in the places – and with the people – that his brother Ken had written about so vividly in 1952 when he jumped ship to play with his heroes. We, meanwhile, headed to the Newport Folk Festival to stay in a spookily empty school dormitory and watch Arlo Guthrie and Janis Joplin and Buddy Guy and Junior Wells. Sam was Buddy and Junior’s producer at Vanguard Records, and he took me backstage to their trailer where Buddy let me hold his guitar. That was an education right there. Buddy was young and fiery and going places. His trick bag had two stunts — the first, playing his guitar behind his head, all the while keeping the music driving on, not missing a note. The second was an outrageously long guitar lead, so he could walk out the front door of any club he was playing while soloing. At Newport he used it to come down from the stage and walk through the audience… Back in New York City, Sam took me to Vanguard’s 23rd Street Recording Studio and let me play with their three-track mixing desk. Here are some of David Gahr’s great photos from that year, a couple of pieces of memorabilia, and a thrilled twelve-year-old boy. The Return of Amy Madigan | Watching the Oscars, I was pleased that Amy Madigan pipped the more favoured to the Oscar for Best Supporting Actress. I played a very small part in her career in the mid-80s. Here’s an excerpt from my blog, from 2013, when I was watching Jools Holland’s Later: Lovely to see a piece in Guardian yesterday mentioning my oldest friend in the world, Annie Charters, and her introduction to the latest book of Jack Kerouac’s letters and its accompanying exhibition at the Grolier Gallery in NYC (lousy headline, tho…) “It’s May 1934 and a Sunday, and Louis Armstrong and his Harlem Hot Rhythm Band are on the road in England. They have just done a week in Wolverhampton, and are waiting near the London-bound platform of the Great Western Railway for a train to take them, via Birmingham, to the their next engagement. Louis holds Peter, his new wire-haired terrier; Alpha Smith stands nearby, soon to become Louis’s third wife.” Goat Race | Buccoo Bay | Tobago | As soon as I knew we were going to the Carnival afternoon, which featured the goat racing, I had an image in my mind of the picture I wanted to take. After scoping the track out during the first couple of races, I realised that once the race started it was impossible to capture on a phone — the field became stretched and the vantage points too far away. For the primo race, featuring jockeys and goats who had already won races, I moved up to the start line, where the runners were in steel traps. I felt I shouldn’t use Live Photo, that I had to get it with one click, so settled on a motor-drive mimicry of holding the phone in front of me and, looking over it at the action, pressing the shutter as many times as I could once the bell sounded. Shot two out of the three clicks I managed was the one. Here’s a look at the illustrations in the March issue @thecriticmag — on the cover we welcome back Mr Andy Martin, genius behind NME’s fantastic cassette releases in the late 70s/Early 80s, and one of Britain’s finest visual minds. Liverpool’s finest, John Montgomery, pops to Paris for the illustrations to Sarah Ditum’s Woman About Town spread (those textures!) while Ben Kirchner does his thing, brilliantly. Andrea Ventura changes his style a little, working in pencil rather than paint for a portrait of writer Allan Massie, and John Springs gives us marvellous Melvyn Bragg in front of his Alma mater. Regulars Adam Dant (London’s Cool for Cats) and Paul Cox (L.A. Style) fizz with detail, and our erstwhile portraitist, Vanessa Dell, paints columnist Dominic Green. Thanks to all, and to my strong right hand Sofia Azcona for her super valuable help in getting this issue out! David Bowie | Lenny Beige | Part Two.

BUY THE BOOK OF FIVE THINGS

HERE’S A TAG CLOUD…

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

AND HERE’S THE ARCHIVE…

  • December 2025
  • November 2025
  • September 2025
  • December 2024
  • August 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • December 2023
  • August 2023
  • June 2023
  • January 2023
  • December 2022
  • August 2022
  • December 2021
  • August 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • February 2020
  • December 2019
  • November 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012

THE LATEST PROJECT: SUPER HITS [!] OF THE SIXTIES!

“SEALED WITH A KISS”

I’d heard the song for the first time in years on one of the last episodes of the TV series, Mad Men. Brian Hyland’s 1962 puppy-love pop classic (#3 on both US and UK charts) has a naggingly dark/slightly hysterical melody that stuck in my head for days after watching the programme. On one hand it’s an over-ripe teen anthem, on the other a singular melody that doesn’t sound like a “pop” tune at all. It’s the first track from a new project covering songs from the 60s.

Follow Five Things on Instagram

Critic Instagram The third of my micro interactions with Oscar folk l Jessie Buckley | I’ve designed the graphics for Mark Kermode in 3D at the BFI since the beginning, and one Monday in 2018 my sister-in-law, Hedda, the show’s producer, asked me to bring my guitar as backup in case actor Johnny Flynn couldn’t bring his. Guitar in hand I head to the South Bank and to the Green Room. The night’s guests are Charlie (Black Mirror) Brooker and Jessie Buckley and Johnny, who are there to talk about their new film, Beast. Johnny will miss the start of the show, but Mark wants to know everything is set, so he asks if my guitar’s in tune. I get it out to check. As I’m doing so, Mark suggests a run through, and pulling out his harmonica, calls Jessie over, and expects me to play along, with Charlie Brooker and Hedda for an audience. The chords for “Don’t Think Twice, It’s Alright” fly from my head, and Jessie’s lovely voice is left to deal with my all-over-the-shop guitar playing. We stop, and attempt to pull the chords up on the phone, but the BFI building seems to block the signal. We go again with much stopping and starting, but it gets the key worked out, warms Jessie’s voice up, and allows Mark to sort out the right cross-key for his harmonica. I, meanwhile, am left utterly mortified. The show is highly entertaining, and Jessie and Johnny (with his own guitar) essay a sweet, skipping version of “Don’t Think Twice”. Afterwards, I talk to Johnny about his love of Mississippi John Hurt (listen to the Detectorists theme for evidence), Blake Mills’ production of his friend Laura Marling’s Semper Femina (I love how Mills pushed the structures of the music, but he’s not so sure) and his lovely 1934 wooden Resonator guitar. I talk to Jessie about the filming of Wild Rose, where she plays a mouthy, car-crash Glasgow girl desperate to get to America to be discovered, and she tells me about working with the legendary Ray Kennedy at his Room & Board Studio in Nashville, and sweetly waves away my apologies for the less-than-satisfactory rehearsal. She’s an impressive actress, a worthy Oscar-winner, and in my limited interaction, extremely nice… Buddy Guy in Sinners | Looking at the Oscar list a few months back, I realised that I’d had a trio of tiny interactions with nominees. The first was Amy Madigan (see the last post). The second was bluesman Buddy Guy. Watching Sinners, I was surprised to see the venerable blues guitarist appear as the older version of young bluesman Sammie (Miles Caton). In 1968, my parents were sent three plane tickets – Pan Am, London to New York – to visit with the Charters. So for three weeks we soaked up America with Ann and Sam as our guides. My dad Bill was sent on his first visit to New Orleans, to hang out in the places – and with the people – that his brother Ken had written about so vividly in 1952 when he jumped ship to play with his heroes. We, meanwhile, headed to the Newport Folk Festival to stay in a spookily empty school dormitory and watch Arlo Guthrie and Janis Joplin and Buddy Guy and Junior Wells. Sam was Buddy and Junior’s producer at Vanguard Records, and he took me backstage to their trailer where Buddy let me hold his guitar. That was an education right there. Buddy was young and fiery and going places. His trick bag had two stunts — the first, playing his guitar behind his head, all the while keeping the music driving on, not missing a note. The second was an outrageously long guitar lead, so he could walk out the front door of any club he was playing while soloing. At Newport he used it to come down from the stage and walk through the audience… Back in New York City, Sam took me to Vanguard’s 23rd Street Recording Studio and let me play with their three-track mixing desk. Here are some of David Gahr’s great photos from that year, a couple of pieces of memorabilia, and a thrilled twelve-year-old boy. The Return of Amy Madigan | Watching the Oscars, I was pleased that Amy Madigan pipped the more favoured to the Oscar for Best Supporting Actress. I played a very small part in her career in the mid-80s. Here’s an excerpt from my blog, from 2013, when I was watching Jools Holland’s Later: Lovely to see a piece in Guardian yesterday mentioning my oldest friend in the world, Annie Charters, and her introduction to the latest book of Jack Kerouac’s letters and its accompanying exhibition at the Grolier Gallery in NYC (lousy headline, tho…) “It’s May 1934 and a Sunday, and Louis Armstrong and his Harlem Hot Rhythm Band are on the road in England. They have just done a week in Wolverhampton, and are waiting near the London-bound platform of the Great Western Railway for a train to take them, via Birmingham, to the their next engagement. Louis holds Peter, his new wire-haired terrier; Alpha Smith stands nearby, soon to become Louis’s third wife.” Goat Race | Buccoo Bay | Tobago | As soon as I knew we were going to the Carnival afternoon, which featured the goat racing, I had an image in my mind of the picture I wanted to take. After scoping the track out during the first couple of races, I realised that once the race started it was impossible to capture on a phone — the field became stretched and the vantage points too far away. For the primo race, featuring jockeys and goats who had already won races, I moved up to the start line, where the runners were in steel traps. I felt I shouldn’t use Live Photo, that I had to get it with one click, so settled on a motor-drive mimicry of holding the phone in front of me and, looking over it at the action, pressing the shutter as many times as I could once the bell sounded. Shot two out of the three clicks I managed was the one. Here’s a look at the illustrations in the March issue @thecriticmag — on the cover we welcome back Mr Andy Martin, genius behind NME’s fantastic cassette releases in the late 70s/Early 80s, and one of Britain’s finest visual minds. Liverpool’s finest, John Montgomery, pops to Paris for the illustrations to Sarah Ditum’s Woman About Town spread (those textures!) while Ben Kirchner does his thing, brilliantly. Andrea Ventura changes his style a little, working in pencil rather than paint for a portrait of writer Allan Massie, and John Springs gives us marvellous Melvyn Bragg in front of his Alma mater. Regulars Adam Dant (London’s Cool for Cats) and Paul Cox (L.A. Style) fizz with detail, and our erstwhile portraitist, Vanessa Dell, paints columnist Dominic Green. Thanks to all, and to my strong right hand Sofia Azcona for her super valuable help in getting this issue out! David Bowie | Lenny Beige | Part Two.
Follow Five Things I Saw & Heard This Week on WordPress.com

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

ON THE MUSIC PLAYER: ONE OF MY FAVOURITE CHRISTMAS SONG

Nellie McKay’s “Christmas Dirge”. Why the great Nellie McKay is not a bigger star, I’ll never know — smart, funny, literate, a fine pianist, a great singer — but maybe her rebel nature stopped her being the Laufey of the 2000s… This song, sung to a woodsman, has some of the McKay essentials: lyrics that scan beautifully, a poignant melody, a radical vegan treatise wrapped in a Christmas bow. More power to you, Nellie!

Critic Instagram The third of my micro interactions with Oscar folk l Jessie Buckley | I’ve designed the graphics for Mark Kermode in 3D at the BFI since the beginning, and one Monday in 2018 my sister-in-law, Hedda, the show’s producer, asked me to bring my guitar as backup in case actor Johnny Flynn couldn’t bring his. Guitar in hand I head to the South Bank and to the Green Room. The night’s guests are Charlie (Black Mirror) Brooker and Jessie Buckley and Johnny, who are there to talk about their new film, Beast. Johnny will miss the start of the show, but Mark wants to know everything is set, so he asks if my guitar’s in tune. I get it out to check. As I’m doing so, Mark suggests a run through, and pulling out his harmonica, calls Jessie over, and expects me to play along, with Charlie Brooker and Hedda for an audience. The chords for “Don’t Think Twice, It’s Alright” fly from my head, and Jessie’s lovely voice is left to deal with my all-over-the-shop guitar playing. We stop, and attempt to pull the chords up on the phone, but the BFI building seems to block the signal. We go again with much stopping and starting, but it gets the key worked out, warms Jessie’s voice up, and allows Mark to sort out the right cross-key for his harmonica. I, meanwhile, am left utterly mortified. The show is highly entertaining, and Jessie and Johnny (with his own guitar) essay a sweet, skipping version of “Don’t Think Twice”. Afterwards, I talk to Johnny about his love of Mississippi John Hurt (listen to the Detectorists theme for evidence), Blake Mills’ production of his friend Laura Marling’s Semper Femina (I love how Mills pushed the structures of the music, but he’s not so sure) and his lovely 1934 wooden Resonator guitar. I talk to Jessie about the filming of Wild Rose, where she plays a mouthy, car-crash Glasgow girl desperate to get to America to be discovered, and she tells me about working with the legendary Ray Kennedy at his Room & Board Studio in Nashville, and sweetly waves away my apologies for the less-than-satisfactory rehearsal. She’s an impressive actress, a worthy Oscar-winner, and in my limited interaction, extremely nice… Buddy Guy in Sinners | Looking at the Oscar list a few months back, I realised that I’d had a trio of tiny interactions with nominees. The first was Amy Madigan (see the last post). The second was bluesman Buddy Guy. Watching Sinners, I was surprised to see the venerable blues guitarist appear as the older version of young bluesman Sammie (Miles Caton). In 1968, my parents were sent three plane tickets – Pan Am, London to New York – to visit with the Charters. So for three weeks we soaked up America with Ann and Sam as our guides. My dad Bill was sent on his first visit to New Orleans, to hang out in the places – and with the people – that his brother Ken had written about so vividly in 1952 when he jumped ship to play with his heroes. We, meanwhile, headed to the Newport Folk Festival to stay in a spookily empty school dormitory and watch Arlo Guthrie and Janis Joplin and Buddy Guy and Junior Wells. Sam was Buddy and Junior’s producer at Vanguard Records, and he took me backstage to their trailer where Buddy let me hold his guitar. That was an education right there. Buddy was young and fiery and going places. His trick bag had two stunts — the first, playing his guitar behind his head, all the while keeping the music driving on, not missing a note. The second was an outrageously long guitar lead, so he could walk out the front door of any club he was playing while soloing. At Newport he used it to come down from the stage and walk through the audience… Back in New York City, Sam took me to Vanguard’s 23rd Street Recording Studio and let me play with their three-track mixing desk. Here are some of David Gahr’s great photos from that year, a couple of pieces of memorabilia, and a thrilled twelve-year-old boy. The Return of Amy Madigan | Watching the Oscars, I was pleased that Amy Madigan pipped the more favoured to the Oscar for Best Supporting Actress. I played a very small part in her career in the mid-80s. Here’s an excerpt from my blog, from 2013, when I was watching Jools Holland’s Later: Lovely to see a piece in Guardian yesterday mentioning my oldest friend in the world, Annie Charters, and her introduction to the latest book of Jack Kerouac’s letters and its accompanying exhibition at the Grolier Gallery in NYC (lousy headline, tho…) “It’s May 1934 and a Sunday, and Louis Armstrong and his Harlem Hot Rhythm Band are on the road in England. They have just done a week in Wolverhampton, and are waiting near the London-bound platform of the Great Western Railway for a train to take them, via Birmingham, to the their next engagement. Louis holds Peter, his new wire-haired terrier; Alpha Smith stands nearby, soon to become Louis’s third wife.” Goat Race | Buccoo Bay | Tobago | As soon as I knew we were going to the Carnival afternoon, which featured the goat racing, I had an image in my mind of the picture I wanted to take. After scoping the track out during the first couple of races, I realised that once the race started it was impossible to capture on a phone — the field became stretched and the vantage points too far away. For the primo race, featuring jockeys and goats who had already won races, I moved up to the start line, where the runners were in steel traps. I felt I shouldn’t use Live Photo, that I had to get it with one click, so settled on a motor-drive mimicry of holding the phone in front of me and, looking over it at the action, pressing the shutter as many times as I could once the bell sounded. Shot two out of the three clicks I managed was the one. Here’s a look at the illustrations in the March issue @thecriticmag — on the cover we welcome back Mr Andy Martin, genius behind NME’s fantastic cassette releases in the late 70s/Early 80s, and one of Britain’s finest visual minds. Liverpool’s finest, John Montgomery, pops to Paris for the illustrations to Sarah Ditum’s Woman About Town spread (those textures!) while Ben Kirchner does his thing, brilliantly. Andrea Ventura changes his style a little, working in pencil rather than paint for a portrait of writer Allan Massie, and John Springs gives us marvellous Melvyn Bragg in front of his Alma mater. Regulars Adam Dant (London’s Cool for Cats) and Paul Cox (L.A. Style) fizz with detail, and our erstwhile portraitist, Vanessa Dell, paints columnist Dominic Green. Thanks to all, and to my strong right hand Sofia Azcona for her super valuable help in getting this issue out! David Bowie | Lenny Beige | Part Two.

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