Welcome to the last round of featuring songs that didn't leave out the harmonica. Let's start with an old song by Ewan MacCall which has been covered by many artists over the years. One of the finest versions is by The Pogues.
At the start of his career, there was hardly a single photo of Neil Young in which he wasn’t seen playing a harmonica.
It’s hard to believe that ‘Tangled Up In Blue’ is already 50 years old and still sounds as fresh as it did back then.
I’ve never really been into Canned Heat’s blues rock/boogie, but this song had to be included in this series.
The same goes for the pop-rockers Supertramp.
Next week will probably feature a series focusing on hand clapping.
From time to time it is necessary for me to leave my musical road and have to go back to the roots where handmade songs were made. If I have this mood and go back to The Singing Loins, a low-fi folk band from Kent, formed by Chris Broderick in 1990. I love their simple yet melodious songs, which often tell of the everyday lives of ordinary people, and the fervor with which they are performed. Sometimes I think they wrote the best songs The Pogues never recorded. In better times, there may be nothing better than sitting in a pub with a glass of beer and listening to The Singing Loins.
One of the most obscure compilations of recent decades appeared in 1990. There have always been albums on which musicians have been honoured. This album, however, is something special. It was released by the Red Hot Organisation, a charity to support HIV/AIDS relief worldwide after a spike in deaths among artists and intellectuals in NYC. I can't say why Cole Porter's music was used as the main theme, but the fact that so many artists from so many different musical genres recorded their versions is remarkable. Every song could have been written by David Byrne, Iggy Pop, Jungle Brothers, The Pogues or Sinnéad O'Connor. And that is probably the greatest praise for Cole Porter's songs, which have lost none of their fascination even after more than 30 years.
During the last weekend I saw a documentary about the life of Shane MacGowan with The Pogues. Shane Patrick Lysaght MacGowan, singer-songwriter and frontman of the legendary Irish-British band The Pogues. Born on 25 December 1957 to Irish parents in England, he grew up in Tipperary, Ireland. In his youth, he moves back to England with his family at a time when the Northern Ireland conflict has torn a deep rift in British society. In London, Shane is admitted to the venerable Westminster School at 14 thanks to his literary talent. But the Irish boy with the crooked teeth and the strong accent remains an outsider there. After attending a Sex Pistols concert in 1976, Shane knows what he wants: to become a musician!
"I was always at the right place at the right time": From the niche of punk, Shane managed to give his compatriots a widely audible voice in the heated atmosphere of the Northern Ireland conflict, with a force and lack of inhibition they never had before.
Now documentary filmmaker and punk companion Julien Temple has created a memorial to Shane: a firework of intimate footage of British punk culture from Temple's own archives and previously unreleased material. In his film, Temple evokes the rise and fall of a snotty genius who catapulted himself out of his own band with his excesses and ended up in a wheelchair, only to finally celebrate his 60th birthday as a lavish party on stage with new teeth, old humour and greats like Nick Cave and Johnny Depp.
I saw him several times from his first tour with Pogues until he couldn't stand and sing because he was drunk as hell and Joe Strummer had to replace him on stage but I always liked him and his music. There could be many songs that should be featured but I decided for a song he recorded with a Sinnead O'Conner and maybe the best duet ever. Two beautiful Irish voice together in a great song.
It was 40 years ago when a new wave hero released a record that was far away I and probably everyone expected. Elvis Costello was always an artist that had antennas for different kind of popular music for example when he produced folk-punks like The Pogues. But with his fifth album he surprised me a lot because he turned into country music. I bought this record because I thought you can't go wrong without a new album by him. But listening to this album I was irritated a lot because I didn't expected that this sound wasn't close to me at these times. For a long time Almost Blue was a part of my collection but was played at my place very seldom. During the last decades this album became a close friend of mine because the older I got the more I could see the beauty in this songs. And this album became one of those I will never miss - not only because of Elvis' authentic versions of country classics.
A few days ago I heard the news that Julian Temple made a movie about the varied life of Shane MacGowan. I didn't saw the move but as far as I know Punk chronicler Julien Temple frames the tragic story of the broken hero of the 80s with original footage from the 77's point period as well as animated stories and old films. This gives an equally coherent and broken picture between compassion and agitation, poetry and the story of a radical life in thsense of the Irish soul. In times where you could find 'Nor Irish, No Blacks, No Dogs'-labels in pubs his parents moved from Ireland to a London suburb where he grew up as Irish scum. This changed when he got part of the punk clique of Siouxie Sioux, Adam Ant and Don Letts that stamped vintage punk when he formed as an entourage of The Clash his own punk-band Nipple Erectors. It seems that MacGowan always had the idea to combine classical Irish music with the energy and ruthlessness of punk. The result was a "kick in the butt" of the Furays and Dubliners and modern Irish music, full of directness, full of drunken fun, full of longing and sadness, but not for Ireland, but for the Irish diaspora in London, England and the world. Therefore it is good to listen to them songs from time to time.
Following yesterday's post I remembered another band that impressed me much in the early 80's. Nyah Fearties were a Scottish music band from East Ayrshire who created a unique brand of anarchic folk music in the early 80's. Wikipedia tells:
Combining the rich traditional music and storytelling culture of its native Ayrshire, with a jarring punk ethos, madcap humour and improvised acoustic instrumentation (though usually amplified), the band made a significant contribution to the British folk-punkscene of the 1980s and 1990s.
It often tested live audiences with a feedback-laced aural assault, more akin to experimental rock groups like Velvet Underground or The Jesus and Mary Chain, than an acoustic folk act. In addition, Nyah Fearties were known for utilising all manner of improvised and imaginative musical paraphernalia.
They were not another folk-punk band like The Pogues or The Men They Couldn't Hang. Their music was more raw and grounded than the other ones I named. A perfect mixture of classic folk ingredients added with heavy influences of northern industrial sound. I once saw them live in a very small venue close to my place and it was one of those concerts you went to expecting nothing and you get recompensed with an unforgettable gig.
As far as I know Nyah Fearties means not afraid of anything - if I am wrong please correct me.
Almost two weeks ago I went to one of those concerts in my town that is worth to go to. Skinny Lister is not the band I usually listen to but I was in the mood for an evening with folk-rock played in a punk way. Following the road The Pogues primed they did a great show. It was pure fun to listen to this kind of music live once again
A couple of days ago German TV offered very late at night the 1986 biopic about Sid Vicious and Nancy Spungen. It was years ago when I saw this movie for the first time. Once I saw it because it was in the context to the early 80's and the music that kept me going my way. Now I saw it again and I have to say that it was some kind of documentary about a great love partly based on booze and drugs. After all I can consider that both took a long and hard road to ruin themselfs. Some might say that they were the product of commerce by Malcolm McLaren but for me they were one of the most forgotten couples in rock history. May they rest in peace.
My oldest brother is a huge fan of folk based punk-rock. Compiling a CD for his travel into holidays I remembered a band from the early 80's we both went for a concert. The Men They Couldn't Hang were new to us like The Pogues but in a different way. When The Pogues played their Irish style the Men They Couldn't Hang played traditional folk music in a very fast way. They also picked up political grievances from the last centuries and played it to us. It is amazing how good these songs work after many decades.
Back in 1985 some British musicians brought Irish music into punk and New Wave. One of the first one's were The Pogues that gave us Germans the sound of new Irish based music. Before we knew this traditional music by The Dubliners played in traditional style. But Shane MacGowan gave us all a new view how folk-punk could work. Me and my oldest brother had at all times a hidden grade to Irish music and so we went to their gig in a club in Stuttgart that is now closed for a few decades. We were both amazed about the physical presence and the fun the band had playing the gig. It was on the tour they promoted their first record and we saw them a few times after. Later they wrote better songs but the first time we saw them was incredible. Never saw them playing with such a verve and enthusiasm. This live document is from this tour and was recorded in Munich in a smaller club by Bavarian TV which had a very good choice in music in these days.
In 1990 another compilation was released by Red, Hot ... series. This one featured songs by Cole Porter. And one of my favorites is a song by Kristy MacColl and The Pogues (when Shane McGowan was able to sing). It's a short lament about not to be able to join the diner because she was killed by the mob. It is just another song that lives with the voice of Kristy - the rest of the song by the Pogues doesn't mean much to me (even if I love them). Sadly miss her voice on new records.
Like Adam I cleaned up my hard drive and found a file that I've forgotten over years. I still remember this record but I couldn't find in my collection any more. Maybe I borrowed it to my brother years ago and didn't got it back again. Anyway, this post is about a band most of my friends could agree with years ago. Nyah Fearties were one more band from Scotland that were great long time ago but had like many others no commercial success. They were not another folk-punk band like The Pogues or The Men They Couldn't Hang. Their music was more raw and grounded than the ones I named. It was a perfect mixture of classic folk ingredients added with heavy influences of northern industrial sound. I once saw them once live in a small club close to my place. It was one of these concerts you went to and expected nothing and you get recompensed with an unforgettable gig. Davy and Stephen Wiseman have played as if it was to her the last time. Seldom saw two guys on the stage playing with this enthusiasm. If you are a little bit of low-fi folk-punk give them a listen.
Kristy MacColl died in December, 2000 during a dive with her sons a power boat came cross and killed her. She was the daughter of the famous folk singer Ewan MacColl and during her lifetime she was very underrated because she had her biggest hits with cover versions of someone others songs or with collaborations with other bands. For me she had a very special voice at all and a very good distinction in songs that fit to her and her voice. Most of the listeners don't know that she tried in different styles like Cuban and Caribbean sounds. I noticed her from the start with They don't know over her collaborations with Billy Bragg and The Pogues till her last recordings. Her voice gave me always a feeling like being at home in my personal own rooms. Sadly she died too young.
What difference it makes to be in a relationship. In former times you could do whatever you want to do at every time. Now you have to take care of the sensitives of the one you're with. Not that I want to complain - but you have to sort your life in another way. You have to tell at this day I want to go playing football and at the other day I want to hit the pub to act like a DJ. From these days I knew that agreements will be the part of the game. Me and Susanne had a lot of good days together this year. We spent our holidays in a longer vacation to Yugoslavia. We was there a few years after the dictator Josip Broz Tito died and the whole Yugoslavian federation was peaceful and save. We have perceived that the whole state is stuck in the communist ideologies and no one was able to make a little business of his own. If one has gone in the back country, one has got to know the true people. They served us roasted mutton and some rice and we talked about our life whilst we had some shots of local liquor. What happened to Yugoslavia a few years later makes me sad right now.
The main thing I remember this year was Live Aid, organised by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Since 'Do they know it's Christmas', the first charity single I followed Bob Geldof's intentions to create a live project on two continents but forget it till the day it take place. I remember very well this day, because I was asked by my girlfriends sister to built up some shelfs in her room. While I was working, I asked her to switch on the TV so I can watch and listen Live Aid alongside. The more and more the concert in London continued the more we were fascinated by the different appearances of the artist. Most of them played their well known songs but what is still in my head, is the appearance of Elvis Costello. He showed up the stage alone with his guitar and introduced an old northern English folk song: His version of 'All you need is love' was the final aggregation of the whole event. One more example why E.C. is one of the greatest artists on earth.
Here's a small choice of songs that was released in 1985 - some of them I still like, some that was popular this year:
The Jesus and Mary Jane: Great debut - Noise, just like honey
Sting: His first record after Police's split. His political statement to Reagan's star wars plans.
Tom Petty: Back after a long time with a psychedelic sound
The Cure: Also back again - now not as somber as before
The Eurythmics: Annie Lennox and Dave Stewart appears with a fantastic record
Prefab Sprout: Listened so often to this song
The Waterboys: Since then I know Brigadoon
Paul Hardcastle: This year's song against the war
Kate Bush: She gave us a wonderful song and a superb video
And what most of my mates hated (and hate still):
Which records from 1985 are worth it that one remembers them:
The Mekons - Fear and Whiskey: The return of the giants with a perfect combination of punk style and country. Still a monument of a record.
Michael Franks - Skin Dive: One of his best records. Clear voice meets fusion jazz.
Roy Harper - Whatever Happened To Jugula: Roy Harper made one of his best records.
Chris Isaak - Silvertone: His first record is still a perfect combination of Americana, Rockabilly and Rock'n'Roll
Sisters of Mercy - First and Last and Always: Post punk meets doom rock
Eurythmics - Be Yourself Tonight: A superb mixture of great songs with the awesome voice of Annie
Scritti Politti - Cupid & Psyche 85: Sophisticated pop - only possible to make at this time
Sting - The Dream of the Blue Turtle: Everybody's favorite of the year
Prefab Sprout - Steve McQueen: One of the best records ever
The Waterboys - This is the Sea: Another album full of timeless songs
The Fall - This Nation's Saving Grace: Mostly I grab this record out of my box when I want listen to MES
Tom Waits - Rain Dogs: Now he's able to make songs with hooks
The Jesus and Mary Jane - Psychocandy: Noisy guitars with honey
Once there was a time, when it was impossible to get a movie on DVD. That's what we saw in this year:
Out of Africa: Maybe one of the best love movies that has been made
Year of the Dragon: Mickey Rourke as a cop in Chinatown
Silverado: The return of a classic western movie
Runaway Train: Fantastic escape from an Alaskan prison with Jon Voigt
Pale Rider: Another good western movie with Clint Eastwood
My Beautiful Laundrette: Stephen Frears and Daniel Day Lewis in a melodrama about racism and friendship
Letter to Brezhnew: A touch love story between east and west.
Kiss of the Spider Woman: William Hurt as it's best. A political imprisoned and a gay man in Brazilian prison recapitulate their life and dreams
The Falcon and the Snowman: Great story and fantastic soundtrack
The Color Purple: Most of us saw this movie from Spielberg with Whoopie Goldberg
What has moved the world and me this year: From now on you have to pay if you want to use Swiss highways; Mikhail Gorbachev is the new General Secretary of the Communist Party of the Soviet Union; The Greenpeace vessel Rainbow Warrior is bombed and sunk in Auckland harbour by French DGSE agents; Scientists of the British Antarctic Survey announce discovery of the ozone hole; Schengen-Agreement igned between certain member states of the European Economic Community, creating the Schengen Area, a bloc of (at this time) five states with no internal border controls; Live Aid pop concerts in London and Philadelphia raise over £50 million for famine relief in Ethiopia; The cruise ship Achille Lauro is hijacked in the Mediterranean Sea by 4 heavily armed Palestinian terrorists. One passenger, American Leon Klinghoffer, is killed; a lot of air plane disasters all over the year - and also hijacking, too much to name them all.
There are a bunch of records released in 1985 that would be in a lot of 'Best-of-ever'-charts like the Prefab Sprout's 'Steve McQueen' what's one of my favorite records ever. Or Roy Harper, The Eurhythmics, The Mekons or Tom Waits. But the record from 1985 that grown deeply to my heart is from the Pogues. There second record is filled with a big basked full of great songs and followed me nearly 30 years in what kind of mood or relationship I was in. I think this record is the completest one they have ever made (ok 'If I should fall from grace with god' comes very close to it). The album's title is taken from a quotation often missatributed to Winston Churchill: 'Don't talk to me about naval tradition. It's nothing but rum, sodomy, and the lash'. The artwork is based on the Raft of the Medusa, a painting by Théodore Géricault, with the band members' faces replacing those of the men on the raft. On this record Philip Chevron joined the band on guitar and they turned away from covering song to their own material. Although they made some ultimate versions of some well known songs like 'A pair of Brown Eyes', 'And the Band Played Waltzing Mathilda'. All in all this one of the few records I can listen from start to end without it becomes dull.
Another day off because I have to go to a funeral in the early afternoon. A close girlfriend died last weekend at the age of 50 on pancreatic cancer. The only good is that her suffering has come to an end. Not enough of this, yesterday I have found out that The Pogues guitar player Phil Chevron has died on cancer too. I played this song on my Dad's funeral because I think it's the best way to say good-bye.
My brothers musical distinction is a lot different to mine. But both of us agree on Irish style punk music like The Pogues or Dropkick Murphys. I remember several concerts we both went and had many fun. We've seen The Pogues back in 1982 when they promoted their first album 'Red Roses For Me'. Seldom seen such an intensive concert before. We both wondered also how much Shane MacGowan and Cait O'Riordan could drink along their appearance. How it ended we've seen a couple of years later when he fall down the stage and couldn't get up again so that Joe Strummer had to take over the vocals. This is one of the rare songs from the Pogues when O'Riordan took over the vocals.
Tonight me and my mate Ed will go for a live gig in our town. The club is located in the center of our town. The location lies 20 meters below the old city walls and it is very small. If there are 80 people inside it is full - more of 100 it is crowded. But it has his own little charm and the artist who played there recommend it as a fantastic location because you were so close to the audience. All musicians are surprised when they travel down the long corridor to the stage. Once the singer of The Dickies said playing there was like playing in a grave.
The club Bastion was founded in the late 60s as a result of the German student revolution. The ideas were to built a forum for political, cultural and literary activities. It is maybe one of the few clubs in this way that still exists in this way.
I don't know much about the band that appears tonight. It is announced as Irish music in tradition of The Pogues and Tail and Feathers, played in a rough and ready style. So we want to see what we will get.
