Wednesday, 8 February 2012

Mighbrow: He Could See Nothing But Shadows

There is a Portuguese word 'saudade' which is defined as 'a terrible yearning for a past that never existed.' Maybe nostalgia is really a yearning to reclaim lost lives or missed opportunities, hence our sentimental connection to the things that have shaped us or perhaps slipped away; our parents, our childhood, lost friends, music, books, TV and films of a particular era. 
There is nothing quite as sweet as the grey warbling of a bird near extinction; we push things towards extinction, and, only when we're fearful of their loss, do we cherish them. 
Why do we need to make totems of things rare when we should celebrate the common place?


Corsica had gifted me a perfect day in the sun, now I needed to live beyond that day without 
corrupting or resenting the memory of it. 
But dark thoughts returned; when I should have been living in the moment I became wistful 
about the past, and fearful of the future. I suspect that I was wrestling with the possibilities 
   of what was beyond that moment. 
And then, for my birthday, a friend offered up his house in Foz de Arelho on the Portuguese coast. 
It was a beautiful location overlooking not just the sea but a fresh water lagoon; the perfect 
place for taking long walks and clearing my head, which seemed to be permanently humming.
I took my small yellow note pad everywhere with me, feverishly making notes; and this piece came 
from a trek around the lagoon. I'm not sure why I started writing about myself in the 3rd person; maybe 
after the self regard of 'Hopeland' I was becoming a little tired of myself; maybe I was trying to distance
myself from me, me, me; surely that couldn't be me threatening the well being of an innocent dog...


He Could See Nothing But Shadows

He didn't know what he was doing.
There was a humming in his head.
Stepping out of the air-conditioned warmth he shuffled down wooden steps towards the lagoon.
The day was hazy and undefined, but surely beckoned.
Looking out to sea the only break in the silver canvas was a brown strip of sandbank.
He turned and headed upriver following a path until it left the water’s edge. There he stepped onto the sand, past a barking muzzled dog, past the vagrant fishing boats that hosted sleeping gulls. Bamboo and pine brush littered the shoreline; beneath his feet crackled a thousand broken shells, the corpses of crabs and inky cuttlefish were everywhere.
Out in the lagoon he could hear the idle chatter of fishermen digging for clams. They lent heavily on rakes, rocking like dancing bears as they dredged for bounty, sifting shells into floating baskets tied loosely to their torsos. They laughed easily, pausing occasionally to open a clam or two, tasting their catch, poverty’s fruit. As one worker broke into song a heron spread its wings to dry them and seemed to conduct the tuneless mantra.
The wrecks of small wooden boats lay strewn above the waterline like broken promises. A few could be repaired but would ever be sea safe again.
A toothless hag in a headscarf crouched upon an upturned wreck bellowing at a giant of a man who coiled a rope and smiled down at her affectionately.
This is what we gain when we learn to lose ourselves’ he thought, and wrote those words in a small yellow note pad before moving on.
A feeding fish broke the water nearby and gulls fell on the shadow. Other than the metallic whiff of seaweed the still air was odorless.
He climbed the pine steps of the sailing club where he’d been promised a bowl of coriander clams and a beer, but pressing his nose up against the window he could see nothing but shadows.
He sat on the top step gazing out across the pale gray and thought ‘if I just sit still for long enough something will happen’.
The heron had followed him and eyed him inquisitively from atop a broken flagpole.
The noise in his head suddenly stopped and there was a silence like he’d never heard before.
Behind him, a sharp bang. A smudge of blood and feathers stained the glass where he had previously pressed his nose. On the ground beneath was a brown bird. He looked down at the lifeless body and couldn’t give it a name. His temple twitched and the humming returned. He set off back towards town, in search of company.
This time as he passed the abandoned boats, they made him think not of broken promises but of forgotten dreams, before he realized that they were, of course, the same thing. He wrote this down and then winced at his dreary insight, ‘Bloody genius’.
The sun was at his back now and everything was so much clearer. Beyond his extended shadow he noticed that the only marks ahead were his own footprints outward bound. The prints he left now were those of a heavier man.
The singing fisherman was now aboard a small turquoise boat, the ‘Maria Alice’, diligently sorting his catch; mussels, clams, razor clams, smaller cockles and whelks. He stopped his song and turned, aware of another presence, maybe a customer. He reached into his muddy bucket offering a handful of shells, ‘Mariscos. Fresco. Saboroso. Quatro.’ he smiled and held up 4 fingers.
Please, yes, Obrigado’ he stammered and, reaching into his back pocket pulled out a crumpled 50. The fisherman’s eyes narrowed, he snorted and turned back to his sorting.
Always carry small change’ he thought, ‘you get to meet more interesting people that way’.
He stifled a yawn and felt a tightening in his chest. Stepping off the sand and back onto the path he slowly reached down to pick up a heavy piece of driftwood, holding it like a club. His back ached and the hum in his head was thunderous now.
Fifty, a fifty, nothing but a fifty” he muttered as he moved towards the muzzled dog.
He raised the club above his head and held his breath.

Tuesday, 7 February 2012

The Limbo Diaries. 14. 'Ghostwritten'


11/05/06

After marinating in the music of Grant McLennan and the Go Betweens for a couple of days I sat down and wrote ‘Ghostwritten’. I’m in the studio tomorrow and this might be the last song we record for the album, which seems sadly appropriate.
I rarely write directly about other folk (far too self obsessed) but I’d forgotten quite how seminal the GB’s were. Along with Waits/Springsteen/The Smiths/Blue Nile/Paddy Mac’ etc, they shaped my post punk musical obsessions... became as influential as any in defining and refining my approach to writing. The legacy of any great artist remains intact and influential forever. We’re often guided by the hands of folk departed, and, while I’m not crediting Grant with a co-write here, he was definitely helping to shape the chords as I wrote. It’s not ‘about’ anything specific, a reflection on the joys and possibilities of  song writing, the importance of inspiration and influence and, ultimately, as a recognition of a kindred spirit, a nod in his direction as he leaves the room. 
Lyrically it might be a bit sweet for some. 
Apologies. 
I did try to sharpen it with some vinegar, but it didn’t seem right. 
Where’s Robert Forster when you need him?

Ghostwritten

Now I won’t go to sleep without your sweet lullaby
I might fall in too deep and maybe catch the devil’s eye
Keep your elbows in the breeze and run
Dream about tomorrow when it’s over

I also ran, a dream’s a plan if there is gold in wonder
I sing because I do, because I can
Because the ghost of a better tune
Has got me grinning like a loon

And you sleep with a song and you dream as you depart
But I won’t call you ‘gone’, little man with a quiet heart
Keep your elbows in the breeze my son
Dream about a better bright tomorrow
 
I also ran, a dream’s a plan, 
and there is gold in wonder
I sing because I do, because I can
Because the ghost of a better tune
Has got me grinning like a loon
And keeps me singing to the moon

Then, like the ghost of a better tune
You left the room too soon

Monday, 6 February 2012

Hopeland (Notes from Corsica) 13. Christmas Beach



                                     
                  I always wave at trains.
People in trains nearly always wave back.
There’s a little red and yellow wagon, Le Trinighellu, which chugs up and down the coast between Calvi and Isle Rouse, like some continental cousin of Thomas the Tank Engine. We call it ‘Pierre the Put-Put’. On request it stops with a ‘parp’ at any beach en route to pick up and deliver folk to and from their chosen haven. As the engine slows to a stop, ghostly faces peering out to sea, reign themselves in and focus on the beach life. If you can catch an eye, the traveller always seems to relish the connection. Most are genial, some downright rude. I could compile a lexicon on international sign language. Italians and Germans are the easiest to spot, comedians and straight men. As the train pulls away they resume positions and refix their gaze; some leaning forward hopefully towards an uncertain future, others peering back wistfully from whence they came.
                                            
It was Christmas morning and, after a breakfast of croissants, coffee and chocolate, Di, Gregg, Suzie and I made our way down to a deserted Bodri, now re-christened ‘Christmas Beach’. With the sands to ourselves we set up on the decking of ‘Sinbad’s’ bar, which would be closed until the spring. Although nothing could compete with Sinbad’s legendary cheese and mushroom omelette, a festive spread of chacuterie, cheese and cheap champagne was laid out and we tucked in, occasionally pausing for a game of charades and a magic trick or two. The food brought forth a family of cats; four scruffy wide-eyed kittens with their protective parents, nervous but hungry. We fed them scraps and gave them names. As the pallid sun struggled to fuel a pale, empty sky, we juggled with ashen driftwood and later a boule tournament somehow descended into beach cricket, girls against boys. After taking a brilliantly athletic catch in the slips I was suddenly overcome with a desperate need to dump. Coffee and chocolate! Although we had packed three bottle openers and two lemons, not one piece of toilet paper was at hand. Napkins anyone? In increasing desperation I scoured the scrub for scrap. Where’s ‘The Sun’ when it’s needed? I was eventually blessed with a sun-bleached copy of ‘Corse Matin’ and retired to a convenient dune to crouch like a canine. On cue every dog walker in the Balagne descended for his or her Christmas constitutional. As I steadied for evacuation I found myself the focus of a sniffing Shitzu, closely attended by its scowling owner. Both man and dog looked at me down long noses that tested the air with an odd mixture of empathy and contempt. I eventually managed to disengage from these conspiratorial inquisitors by throwing a stick and moved higher up the dunes, away from the beach. Dropping my trousers I re-assumed that ‘L’ shaped position and pointed myself with great precision down hill towards the sea. Relief, short lived: I nearly re-shat myself as that red and yellow train rolled leisurely by not ten feet from where I strained. All passengers previously gazing out to sea, dutifully reigned themselves in and caught my eye. Registering their sympathy and horror I could think of nothing better to do but salute like a trainee squady. If my earlier Christmas charade had been ‘Sir John Mills Shitting like a Shivering Dog’ I’d have won hands down.
Moving away with an indecent lack of haste, ‘Pierre the Put-Put’ parped.
I parped back and my salute became a wave.
I always wave at trains.

Sunday, 5 February 2012

Cassidy's Care: The Recordings: Any Human Heart

The last Miracle Mile album 'Limbo' was released in 2007.
Since then we've released an album of selected songs 'Coffee and Stars' (2009) and I've done two solo albums as 'Jones': 
'Hopeland' (2009) and 'Keepers' (2010).
We started the recording of a new Miracle Mile album 'Cassidy's Care' last summer, deciding on a different approach to this album; I would write the songs and deliver them to Marcus in three initial sessions; as a recorded vocal and a chord sheet. Our usual starting point would be a vocal and an acoustic guitar guide (which would normally survive the mix). This time, in order to free Marcus up from any predetermined rhythms or quirky chordings, we agreed that there would be no guide guitar from me;  so we recorded the songs against a very basic keyboard 'pad' that would surely be replaced. I was confident enough in the 'weight' of the songs to be able pitch them appropriately and call the vocals 'keepers'. 
We then agreed that I would then leave the room; Marcus would arrange and orchestrate the songs alone and in his own sweet time. 
At that point Mr Cliffe decided to dismantle the studio and rebuild it in his garden... you can see that process on this blog under 'Labels' and 'Norbury Brook Studios'.
Well, the studio is now finished and Marcus has started in on the album again. 
Being a true scientist he's going to work through the songs in alphabetical order, so has started with 'Any Human Heart' which he describes, in progress, as "Dylan meets Daniel Lanois".
I'd buy that.
Here's proof from the boy that he's working away.
The acoustic guitar is comforting but I'm a little concerned about the Les Paul...




I'll post the lyrics as we go so that you might try and match them with the story 'In Cassidy's Care' (see that 'Label' also). 
I guess that you could call the album 'The soundtrack to the unmade film of the unpublished book' but please don't hold me too literally to that; artistic license being what it is, thing might change...



Any Human Heart

The story of the day
The story of the night
The day you went away
I felt my heart take flight

White lines leading me back
Connecting you to me
Red lights the distance between us
Between what was and what will be

Still I’m coming on strong
I’m writing brave and free
I’m coming on strong
Still waiting to be me

Any human heart can tell you
Untold stories left behind
Any drunken fool can make
The patterns of the past entwine

There’ll be a tale to tell
Hell, didn’t we made the same mistakes
So let’s mark this moment well
Before the morning breaks

Then I’ll be coming on strong
Writing Brave and free
I’ve got the right to be wrong
Thus wisdom comes, you’ll see

Any human heart can tell you
Untold stories left behind
Any drunken fool can make
The patterns of the past entwine

Whiskey mornings
New day dawnings
Coffee cup warnings
This much is true

Red lights flicker and fade
Hope will be the death of me
Lets loose those dreams and promises made
Let loose the man I want to be
Who’ll hold you close again
Who’ll taste the breath of you
Who’ll know your secret name
And pray that you will know mine too

Any human heart can tell you
Untold stories left behind
Any drunken fool can make
The patterns of the past entwine

Any human heart can tell you
Untold stories left behind
Any drunken fool can make
The patterns of the past entwine
The fumblings of a foolish mind

Saturday, 4 February 2012

Lovesong: Bruce Springsteen: Blood Brothers: If I Should Fall Behind

I know that Bruce Springsteen splits opinion; many baulk at the bombast; I much prefer his quieter moments myself, but admire the man's integrity and focus.
I just found this video of Blood Brothers and thought I'd share it with you; it's not his greatest song, or performance, but offers a lovely insight of (older) men at work and still loving it... "stayed up all night Earnie Fritz"; and the band sounds great; The Boss seems as excited about the drumming as me... I have to admit that I could have done without the lecture on 'the bleeding obvious' at the end of the video (is it manager Jon Landau?), but then I came across this version of 'If I Should Fall Behind' and it knocked me sideways; mostly because of Clarence's strangely beautiful voice; but at the end, the whole band of brothers "shared understanding of a world" schtick suddenly comes into glorious focus...
"Peace, Love, Soul" indeed.


Friday, 3 February 2012

Toronto Tim Says: Tributaries of the Blue Nile

This, just in from Toronto Tim, came as an email rather than a blog but I'm sure that he won't mind me sharing. I've chosen to feature a curious Blue Nile duet with Rickie Lee Jones 'Flying Cowboys', and, up first, my favourite unrecorded BN song 'Meanwhile'. 
If PB doesn't record the song soon I'm going to call it mine...


"Paul Buchanan's voice can break your heart and heal it in the course of one song."




Welcome to "Tributaries of the Blue Nile." 

Music enriches life and makes it worth living and some music transcends the ordinary and connects like a lover or an old friend. 
That is the special beauty of Paul Buchanan and the Blue Nile. 
Once it connects, it is like a gift that will be treasured for the rest of your life. 
It has been said of Paul Buchanan's voice that it can break your heart and heal it in the course of one song. 
I have tried to put together some their material that was never released, so that you can tide yourself over until, with luck, we're graced with more music from them. 
This is music that will touch you; like hearing a story and connecting more closely with someone you deeply care about. 
So relax and enjoy music that will captivate your soul. 
Falling in love shows you have a heart, loving the Blue Nile shows you have impeccable taste.

Perhaps you've already found this 'channel' on Youtube.
If not, it's a neat place to find about 100 hard to find Blue Nile clips, all in one spot, lovingly compiled by "MrSherco12".  
Most clips are "AUDIO ONLY" but have been selected for superior sound quality. 
Videos will shuffle through in order once you click on one. 
For an easier scroll, click "UPLOADED VIDEOS" on right side.

There are a few interesting audio clips I hadn't seen: 

- Meanwhile (featured below) - (live Manchester) - a much cleaner audio version than the earlier Dublin posting. Crank volume. Sweet!
- Seasons of Light - from Seasons of Light Christmas Album (pricey item on Amazon.com) - not an obvious Xmas tune... pretty.
- Silent Night - obvious Xmas tune from same album. Pure sincerity! Bit late in the season to find this one. 
- Everyone's Gonna Be Saved - duet with Lois Walden (of 'Sisters Of Glory') - an OK gospel song.
- Strangers In The Night (live) - Sinatra cover - superior audio clip compared to the old video.
- PB reads WB Yeats poetry - Huh? 
- Stay Close (instrumental version) - I actually prefer this to the original. PB testifying "Yeah, Yeahs" a bit much for me. OK shoot me!
- All The Way (live) - Sinatra cover
- Manchester Hall 1991 (live) - for BBC - immaculate audio! Sadly emasculated after a few songs.
Complete Albert Hall and Bottom Line gigs
- Wish You Well, Lolita, New York Man - still enjoy these fine b-sides  




Thursday, 2 February 2012

The Limbo Diaries. 14. 'Perry and Simone'

6/05/06

TJ: Chills... 'Simone and Perry' from 'Horsebreaker Star' was playing on the ipod 'select' as I heard the news this morning of Grant McLennan's passing. 
“Come see the paradise” indeed. 
I've got a few skeletons in my musical attic, albums that haven't survived or aged well, but I'll pat myself on the back over The Go Betweens. I got there fairly early with 'Liberty Belle', fell for 'The Wrong Road' and, later, the mysteries of 'Cattle and Cane' and was forever smitten. The songs seem just as 'right' now as the did then; they breathe their very own exotic air, yet maintain a whiff of the mundane; something special to fuel anyone’s day. The sensibilities aren't male, or ‘cock ‘n’roll’, girl friends connected as much as I did. I loved the vulnerability of the poetry, and that, particularly with Grant, the songs seemed inclusive, "an open invitation" to his world, the songs going exactly where I hoped they would, (with a few twists along the way) me grinning like a loon as they did. There'd always be that 'favorite Beatle' discussion, Robert and Grant's bittersweet combination is beyond that, but I do love those solo albums; there are times when a cup of sweet milky tea is 'just right'.  
'Oceans Apart' was a welcome return, hearing 'The Statue' was like bumping into a best mate years down the line. Of course he'll be missed, but there's a big heart to be heard in his words and music. 
God bless him... I'm off to the attic to review my collection.







Wednesday, 1 February 2012

Mighbrow: 1969


'Keepers' was my second album as 'Jones' and a collection provoked by loss.
My last album ‘Hopeland’ had been bathed in optimism’s glow after my retreat to Corsica had gifted me with a clarity of thought that was startling. What followed was no drastic regression, just an unsettling feeling that those peaceful waters were about to be disturbed. It’s inevitable that mundanities and small dramas set the ripples forming and here they were again.
And again, it was through writing that I got to temper that turbulence. Once more I withdrew, simplified and learnt to be alone.
I started writing Keepers on the shores of a lake in northern Portugal, and stumbled towards a moment of grace on the roof of a shepherd’s hut in Corsica.
Always close to water, always with a small yellow notepad in hand.
It was also a collection provoked by the loss of a good friend, Mike Tehan, and a recognition of the importance of touchstones; objects, places and people that inspire us to keep eyeing the horizon, yet offer shelter and safe harbour should things go awry.
We bottle their benevolence and call it ‘home’.
Often unwilling or unwitting bellwethers, their kindred spirit can haunt inanimate objects; a toy plane, a letter, a button, a bible, a key…
These are not pious custodians, just ordinary folk with the same vulnerabilities as the rest of us. 
And yet something sets them apart, moving us to burden them with our wellbeing.
They become the keepers of our faith in other people.
We are comforted in their presence.
We are diminished by their loss.
Their absence is company enough.

When I was a kid the arrival of Uncle Mike (right) was always a time of great excitement; he was a maverick presence in a fairly regimented household, more like a boisterous older brother than the uncle that he wasn’t. Mike was a great friend of my parents; a navigator on the same squadron as my Dad; a confirmed bachelor always on the lookout for a free meal, even my mum’s cooking couldn’t deter him. Mike was full of easy mischief. He had none of the weighty family responsibilities that burdened my parents. He was the instigator of cushion fights and the master of Chinese burns. I adopted his nonchalance. In those quirky early teenage years my mother would often round on me and say “that’s your uncle Mike talking” and I’d think ‘please God, yes.”
Mike’s family house was in Cleveleys, just down the coast from Blackpool and sometimes, as a treat, we’d be invited there at the weekends. It was a parent free zone, just us kids and, on occasion, just me. I loved those times the most. I was allowed to do all of the things I couldn’t do at home: make tea, chop wood, stay up late. There I was introduced to classical music and the joys of cooking, two things that still give me pleasure everyday. We’d blast out Mahler and chop onions. If this was the adult life it wasn’t daunting; it was fun. That's my ten year old self below, giddily gurning at the camera.
I remember Mike taking me to the Tower Circus where I got to shake hands with Charlie Caroli, the world’s most famous clown. We went to the Opera House Theatre in the Winter Gardens to see the singer Josef Locke whose voice was so loud that he needed no microphone, pretty impressive, even for a ten year old. On the same bill was Jimmy Clitheroe, the ‘Clitheroe Kid’. I laughed so hard that I thought I would choke. Under lustrous skies we rode a rusty tram, wolfing fish and chips from newspaper with our fingers and explored the Golden Mile where I shot the heart out of the Ace and won Mike his money back. Later we climbed and counted every step of the Tower to see the illuminations in their full gaudy glory.



1969

I remember us standing atop the tower
Peering out beyond and
Beneath the crescent moon
Out into the silver
Wondering
Where the sea met the sky
My hand was in your pocket and
Your pocket was full of stars

And even now
Though your heart is as cold as the moon
My head is full of stars