Five Things I Saw & Heard This Week: Wednesday 16th January

Marianne Faithfull interview, The Guardian
The Guardian: There’s a fantastic YouTube clip of you in 1973, wearing a nun’s outfit, singing with David Bowie at the Marquee club. It’s like watching an early Lady Gaga.
Marianne Faithfull: “I’ve known that ever since Lady Gaga came along­—I did it much better and long before you! Working with David Bowie was very interesting, but I couldn’t surrender to it. I should have let him produce a record for me, but I’m very perverse in some ways. He’s brilliant, but the entourage were rather daunting.”

It’s amazing how large the Marquee looks in this clip. It was a tiny place, but the US tv crew filming this special in ’73 have made it seem much more expansive. I remember the band looming over the audience. And the costumes. I remember the costumes. But very little else, so it was great to see the space-rock Sonny & Cher again, and to hear the lovely guitar obbligato from Mick Ronson.

I Should Have Known…
“What is the Obscurometer? Simply put, it’s a tool to measure just how obscure the music you listen to is.” And with that, people who are—or were—in bands, typed their bandnames into the dialogue box and hit return. And, I’m guessing, got a similar result percentage-wise…

Obscureometer

Excellent David Bailey quote
I once saw the world’s grumpiest photographer give a lecture at the Marble Arch Odeon in London. Everyone before him had done lavish slide shows with overviews of their ouevre. Bailey handed a polaroid to a person in the first row and asked them to pass it along. So it was passed along, row by row, as he talked brilliantly about his career, cameras, lenses, models… In the Guardian Weekend Questionnaire he was asked Which living person do you most admire?, and answered: Bob Dylan, because he is like a singing Picasso.

Motörhead: “Down. Down. Stop! Up, Up, A Little Bit, A Bit More—Great, That’s It!”
Lemmy has launched a line of Motörhead branded headphones in the United States. Specifically made for listening to rock music, the all-metal headphones are called Motörheadphönes. “People say we’ve never sold out. No one ever approached us,” said Lemmy, at the US launch earlier this week. I didn’t realise until recently that I saw a very early Motörhead gig (their eleventh), supporting Blue Oyster Cult at the Hammersmith [remember No Sleep ’til Hammersmith?] Odeon. We had gone because BOC had a kind of rock-crit cachet as being “intellegent” hard rock. My lasting memory was of Larry Wallis trying to tune his guitar between songs without turning off his fuzz box (ah, loved those pre-electric tuner days) and getting helped by the audience, as illustrated by the headline…

This Guitar, British Heart Foundation Charity Shop, £25
Made in Valencia by the firm of Vicente Tatay Tomás—not top of the line— with a huge crack along back held down by sellotape (but hey, hasn’t Wille Nelson proved that extra holes in guitars have no effect on the tone…)

Guitar

Five Things I Saw & Heard This Week: Wednesday 19th September

Oh, Lighten Up Man!
Wynton Marsalis, responding to Mojo’s
Questionnaire, in their November issue:
[I’ve cut this to just the opening of each answer]
What, if push comes to shove, is your all-time favourite album?
I don’t have a favourite album.
What was the first record you ever bought?
Bought? I don’t think I’ve ever bought a record.
Which musician, other than yourself, have you ever wanted to be?
I’ve never wanted to be another musician.
What do you sing in the shower?
I never sing in the shower.
What is your favourite Saturday night record?
I don’t think I’ve ever played a record on a Saturday night—I’ve played a gig almost every Saturday night since I was 13.

To be fair, the rest of the answer to Which musician, other than yourself, have you ever wanted to be? is interesting: “You have no idea what they’ve had to deal with. The person I rate for something musical might have had an endless headache, or a back pain. Every person has something you can’t imagine to deal with.”

Classified Ad Mann
So I’ve just filed an interview with Aimee Mann to Rock’s Backpages and it has this reference to a movie that she’s going to make:
“I’m actually doing a little indie movie. Joe Henry is involved in it and his brother, I think, wrote the screenplay. It’s based on a This American Life episode [TAL is a weekly public radio show broadcast on more than 500 stations, usually centering around a theme that tells stories from everyday life] about this journalist who thinks: suppose she got a bunch of musicians from Craig’s List, just kind of randomly posting, Looking for musicians, and forms a band and puts them in a studio for a day—what would that look like? So I’m playing that woman. And Joe Henry’s going to be in it, and John Doe is going to be in it and Loudon Wainwright… and Joe is doing the music for it. So it sounds interesting, right? Too bad I don’t know to act…”

The next day I get a mailer from a website I like that runs a weekly Mystery Song competition, and (click to enlarge):

The actual version of Rocket Man is, uh, quite interesting…

 

 

 

From the Hammersmith Odeon To Lillehammer: Steven Van Zandt

Van Zandt’s extraordinary profile, seen to great effect in The Sopranos and, this week, Lillyhammer, reminded me of the extraordinary first night at Hammersmith Odeon in 1975, picture captured here by courtesy of the battered Chelsea School of Art photographic department black Pentax, on Tri-X.

 

 

 

 

 

 

 


Why They Invented The Internet, And Why It’s Come Time To Shut It Down…

Yes, A Bob Dylan Tempest Commonplace, crowd-sourcing the sources of the lyrics on Tempest. They don’t want to read what Bob said about the plagiarism issue in Rolling Stone…

 

 

 

 

 

 

 

 

 

 

The Harry Smith Conference: A Postscript
Esteemed writer and documentary maker Mick Gold emails about the Conference: “Harry Smith conference had good stuff. Very detailed history of Moonshiners Dance Part One from Anthology, which was funny history of Minneapolis/St Paul. Rani Singh (director of Harry Smith archives) said that when they were reissuing the Anthology in 1997, they asked Alan Lomax for a comment. Lomax’s reply was dismissive, similar to Charters’ – Smith was a nasty piece of work, his Anthology wasn’t that important, he ripped people off. Clearly there are political tensions in how this old music was presented historically, and the message it conveyed. Remember that when Irwin Silber got involved in running Folkways in 1960s, he changed the Anthology cover, substituting a Ben Shahn FSA (Farm Security Administration) shot of a poor farmer for Fludd’s celestial monochord. Perhaps Alchemical versus Popular Front perspective.” Mick had earlier told me that in his opinion, Greil Marcus “created Harry Smith the Magus. Why? Because Harry offered Greil a completely different narrative on the uncovering & collecting of traditional songs & blues from the “voice of the people,” oppressed blacks, Lomax popular front orthodoxy. Harry offered alchemy, esoteric magic, mystification, and he came from the West, all big pluses in the eyes of Greil. Hence Invisible Republic.”

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