Five Things I Saw & Heard This Week

Transcripts from the everyday world of music by Martin Colyer

Monday, January 4th. Five Things that I Didn’t Write About in 2015, Part One.

January 4, 2016 by martin colyer 2 Comments

1. THIS VIDEO OF ARETHA

A year that saved the best ’til last: Aretha. A Carole King tribute. “(You Make Me Feel Like a) Natural Woman”. As Roger Hawkins, the Muscle Shoals Rhythm Section’s legendary drummer once said, when interviewed by Max Weinberg for his great book on drummers, The Big Beat [co-authored with Robert Santelli], “Aretha’s emotion made everything work; I played to her voice. On her sessions it was like the drums were playing themselves. I mean you’ve got Aretha Franklin doin’ what she does plus playing piano at the same time. There wasn’t any effort at all because of her – I hear that stuff today and it just destroys me…” The whoa after ’til his kiss helped me claim it will do that to you, too…

2. THIS VIDEO OF FRANK



“It was a Very Good Year”. Wow. The focus, the barest of smiles during the ‘thirty-five’ verse, the growing sense that he’s got a master take, the cushioned hands and swallow at the end. “What’s the time on that – how long? 3.20?” he asks at the song’s conclusion. “4.12? That’s longer than the first scene of Hamlet!”

3. FREE NME

Wow. Poor.

4. A REALLY NICE BOZ SCAGGS COVER
Cover versions are everywhere nowadays, and few are any good, it seems, so it was nice to find this: Boz Scaggs covering Curtis Mayfield. It’s easy to screw up a Curtis cover – there’s an extraordinary mix of fragility and toughness in his songs, which is flattened out too easily. But here, sung with intense restraint and played with tamped-down guitars, is a winner. This is from the album A Fool to Care, which also has an interesting cover of Richard Manuel’s unique “Whispering Pines”, sung as a duet with Lucinda Williams.

5. GREAT ANSWER, MATTHEW! 

Matthew Barzun, US Ambassador, ES Magazine
What do you collect? “Vinyl albums. I have them set up like in a record store – organised into three sections marked US, UK and United Nations”.

AND, FOR 2016, I’M LOOKING FORWARD TO…
Lucinda Williams, The Ghosts of Highway 20. “12 of the 14 songs were inspired by various periods and experiences throughout Williams’ life that all tie into Highway 20 (aka Interstate 20), which runs in part from Georgia to Texas. Whether it is cities she has resided in (Atlanta, GA, Macon, GA), has family ties to (Shreveport, LA, Monroe, LA) or previously written about (Jackson, LA, Vicksburg, MS), Williams’ personal experiences and connections to these areas inform the narratives as songs and stories inspired by people, place and time. Co-produced by Williams, Greg Leisz and Tom Overby and recorded with Williams’ rhythm section of Butch Norton (drums) and David Sutton (bass), it has revered guitarists Bill Frisell and Greg Leisz providing incredible sonic textures and ethereal tones that enhance Williams’ brilliant writing and wise and weathered vocals.” One track, “Dust” (such a Lucinda title), is available to preview on iTunes, with the album release date in late Jan.

Happy New Year to all 5 Things readers. Part two soon…

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Filed Under: Weekly Roundup Tagged With: (You Make Me Feel Like a) Natural Woman, A Fool to Care, Aretha Franklin, Boz Scaggs, Carole King, Frank Sinatra, It was a Very Good Year, Lucinda Williams, The Ghosts of Highway 20

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

Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). 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.

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

Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). 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.

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
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  • December 2023
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  • December 2022
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  • December 2021
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  • December 2020
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  • December 2019
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  • December 2018
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  • December 2016
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  • 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
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  • December 2014
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  • December 2013
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  • May 2013
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  • 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

Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). 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.
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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!

Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). 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.

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