Archive for the ‘Bob Dylan’ Category
Spent the morning in Donnybrook on the Southside of Dublin at RTE. Took a moment to explore the set of their long-running soap, Fair City. Had been planning to head out to Sandycove where Joyce’s Martello Tower is located but it turned drizzly so I went the other direction, into town, and took refuge in the timecapsule that is the National Library of Ireland as described yesterday (Day 87).
I focused on completing an analysis/check of the structure and underlying principles of the finished Ginsberg opening chapter (by marking up the key themes in the margin as comments) and then cross-checking these against the principles I’d planned to convey. The match was good – only one point was missing which I inserted as a short paragraph.
I then worked on a distinctive feature of the book. Instead of the summaries/bullet points you often see in self-development titles and business how-to books at the end or beginning of chapters, I decided to take a more visual approach – a set of captioned photos which retrospectively illustrate the stories (i.e. you ultimately get to see what some of the characters and scenes you’ve been reading about actually looked like) and, as importantly, capture the key principles of the chapter (so, in effect, clear indication of how to apply the behaviour and perspectives communicated in the text to your life and work). I worked on the order and wording of the captions until I had a logical, flowing set of six.
I took a break at one point to check out the tea room and stumbled across a simple exhibition about Ulysses which the NLI had put together for the centenary Bloomsday nine years ago (which I actually flew over for). They had a touch-screen digital facsimile of the Library’s copy of Ulysses, the very first copy off the presses which Joyce presented to his patron, Harriet Weaver, in 1922 (it was published on Joyce’s 40th birthday on 2.2.22) who in turn presented to the National Library in 1958. I did my best to leaf through the opening pages by means of the clunky yet fascinating technology which aims to recreate the tangible sensations/properties of the hard copy (I’ve forgotten the name of it but they have it also at the British Library). I saw a copy of this first edition in an antiquarian booksellers’ catalogue (Southeran’s) recently for £45K. No wonder they don’t want fingers near the real thing.
Afterwards I headed over to Dame Street to hook up with my family/in-laws, before returning to Ballsbridge. Back at the hotel I read some more of The Beat Hotel and, once re-immersed in that world, searched for the photos for my patented picture summary. I found what I wanted, it was important to select carefully to convey the meaning accurately, and inserted them into the chapter creating a totally finished chapter for the first time. Hoorah.
Here are the images without their captions (but with functional captions for this context only):
So I’ve been sitting here all day in the back room with the sun streaming in after the morning rain and then the Christmas tree lights on once the greyness returned, the last official day of little white lights, squeezing out the last drops. And trying to counter the new term feeling that the main back to work day always brings with it.
All day was spent revising/polishing Chapter 1 and fact-checking as I go along (some points I marked up as I was writing which I didn’t want to labour over for the sake of fluency). I’m also labelling up the main points/sections as Comments so that I can double-check that the final structure is right.
I’m only doing a dozen pages a day which is probably too slow but I’m just getting back in the swing I guess. I’ll finish this chapter tomorrow.
Next step will be to insert some more material from interviews with the likes of David Amram, the musician closely associated with the Beats, and Hettie Jones, Beat publisher, the woman behind Yugen, the influential literary magazine, set up with her ex-husband LeRoi Jones (aka Amira Baraka, author of the key 60s play that is Dutchman). I also set up a couple more interviews today, one with a big counter-culture figure of 60s London which I’m really looking forward to. By my calculation he’s 70plus but his voice on the phone was amazingly strong and energetic.
Pretty much the best day so far. Started out from Terri Hooley’s house in the company of Stuart Bailie, radio presenter on BBC Ulster, head of the Oh Yeah music centre and expert on Van Morrison, having grown up in the same hood. The pair of them gave me a beautiful tour of Van’s East Belfast taking in not only his birthplace in Hyndford Street but all those mythically poetic names like Orangefield, Cyprus Avenue and the like. Stuart really knows his shit, he recently made a radio tour of the place and is making a longer programme along the same lines to be broadcast soon. That’s the pylon where Van arranged to meet, the third one over. That’s where he drunk alone under the bridge, chips in Terri. It was such an evocative way to experience the city.
When we got to Oh Yeah in the Cathedral Quarter, all within spitting distance of Terri’s Northern Irish Punk hub at the old Harp Bar, I took my leave of Terri, a warm hug from a genuinely warm and charming personality, at the entrance to the former whiskey warehouse which is now one of the physical legacies of Terri’s activities over the years, Oh Yeah indeed, and Stuart gave me a really insightful interview, shedding light on some of the more mysterious parts of the Good Vibrations story.
From there I trotted round the corner along the alleyway where Wizard Studios used to be, where Teenage Kicks was recorded. At the end is a red door which marks the new home of Atto Partners, a digital and design agency I work with, having introduced them to the emerging world of multiplatform TV on 4thought.tv . They gave me a bag of Christmas tea – happy days!
Within a literal stone’s throw is the John Hewitt which seemed as good a place as any to hook up with my old friend KVLR, Kev Largey to dull mortals. He’s an artist who does a lot of top class work on the streets of Belfast and Dublin. One of his pieces opposite where we were seated happens to be on page 194 of Terri’s book Hooleygan. It’s beside the Art Deco arcade where Terri’s shop was immolated by the forces of darkness. [see Day 75 post for eejits and incendiary devices].
Kev took me on a splendid tour of the best of the top-notch street art around North Street where Good Vibrations currently resides. He gave me a bag of dried seaweed - happy days! It’s a Belfast favourite, which he picked up as we passed a greengrocer’s stall, to give me my first taste - it brings the sea to you like nothing else, even shellfish and fishfish, the minute you start chewing. It brought back memories of the seaweed baths my beautiful young bride and I visited in Enniscrone, Co. Sligo on our honeymoon.
To round off a perfect day we popped in to the record shop below Kev’s studio where I found some of Malcolm Garrett’s finest work for Buzzcocks [more of him in the new year] and a bootleg or promo album entitled On The Road with, yes you’ve guessed it, Allen Ginsberg on the cover sitting with Bob Dylan beside Jack Kerouac’s grave. Waiting for me or what?
I started Day 67 on non-book business in Marylebone to do with my main non-exec directorship – it was a nice change to be immersed in a thoroughly commercial world. I moseyed on though Mayfair in the direction of BAFTA in Piccadilly and briefly immersed myself in the art world courtesy of the Halcyon Gallery which has a big show of Bob Dylan’s iron sculptures and paintings which was fun. Once I got to BAFTA I dived back in to the Music chapter happily. Bumped into a couple of people who were helpful in making connections to interviewees (both for Music chapter). And set up some more interviews. Wandered across St James’s and through the dark park to Channel 4 HQ for Xmas drinks, my first visit to the building in several weeks, only my second since 1st September kick-off day, refreshing.
Day 68 began in the British Library with more tapping away about Tony Wilson. Had a lovely lunch round the corner in St Chad’s Place with Jesse Cleverly of the newly established Wildseed Studios, which he describes as “a content incubator looking to invest in great new ideas”. We talked Book, multiplatform, Royal Court (where he used to work), Nigella, creative process, etc.
Then bee-line home for more writing and to speak to the other protagonist of my Music chapter – Terri Hooley of Good Vibrations. He was totally charming and warm, and I really look forward to heading over to Belfast to hang with him in the next few days. He offered me a tour of Van’s East Belfast which will be a real kick.
And the day ends here in the Adam & Eve on Mill Hill’s Ridgeway – as much my home turf as Cyprus Avenue is Van’s. I’ve got mulled wine, crisps, seat by fire, Sinatra on the pub stereo, and my fresh little Air. Happy days.
Started the day off track at a coffee shop meeting inspired by Russell Brand’s interview by Jeremy Paxman a couple of weeks ago. Chris Ward, who gave me some publishing advice on Day 22, gathered together a small bunch of people who were struck by the Newsnight interview to discuss its implications and possibilities. We met up in Somerset House for a couple of hours and kicked about some ideas. This is an appropriate location in that it’s within yards of both The Coal Hole and the site of The Fountain Tavern (home of The Kit-Kat Club) which were places of political gathering and activism in the 17th and 18th Century. Given his increasing activism, Allen Ginsberg would have approved of this tangent.
Having spotted Ginsberg in the background of DA Pennebaker’s Subterranean Homesick Blues promo (shot in 1965) on an ad on Channel 4 the other night (Day 43), and being just a couple of streets away, I decided to seek out the location. And very atmospheric it was. Totally unchanged since 1965 (though the scaffolding has finally gone). Documentary-maker DA Pennebaker came back around 1985 and they were still working on The Savoy building on its left-hand side. The streets and alleys around The Savoy remind you of the rich palimpsest of history and stories that lays over this fabulous city.
I set up office in Westminster Reference Library, the Art bit, and carried on with my current pass at the Literature/Ginsberg chapter. Research-wise I pushed on with Hettie Jones’ memoirs, How I Became Hettie Jones, taking it into the legendary Gaby’s for lunch (it’s as perverse as ever, how many Cash Only restaurants can there be in Central London?)
In the late afternoon I spoke to the Allen Ginsberg Project / Estate in the East Village, NYC who are kindly helping with some interviewees, thanks to documentary-maker Yony Leyser whom I met in Leipzig last week.
I found out today while researching the Ginsberg chapter that the term “subterraneans” was one Ginsberg coined to describe the intellectual hipsters and hip hedonists who hung out in Greenwich Village bars like the San Remo and Fugazzi’s. Dylan took the term from Kerouac but Kerouac had actually adopted it from Ginsberg.
Picked up where I left off yesterday, ploughing through the tail-end of a key Ginsberg research book. Was watching telly last night and saw an ad (on Channel 4) for The Greatest Hits of Bob Dylan, made up largely of archive film clips, and I noticed, for the first time, Ginsberg in the background of that famous clip for Subterranean Homesick Blues (which was the promo film for DA Pennebaker’s 1967 documentary Don’t Look Back). I’ll go pay homage to the spot behind The Savoy Hotel, London next time I’m in that area.
Took the Enfants Terribles out for lunch down the street to mark their half-term, which was fun.
Then rounded the day off with a trip down to Gospel Oak (I love that place name) to do my first interview of a contemporary exponent of openness and generosity in the realm of creativity, namely Carole Stone. Carole is a former journalist at the BBC and has latterly been working with YouGov. Over the years she has built up and nurtured a huge network of interesting people, old and young, successful and starting out, all bound together by her charm, warmth and genuine love of helping people get stuff done, worthwhile stuff of all kinds. Carole gave me a frank and insightful interview in her cozy front room, with languid cats and equally charming husband Richard in attendance, on how she operates and why, which I’ll weave into the Ginsberg chapter, as he was also renowned as a great networker of the authentic variety.
Here’s a brief extract from my draft Ginsberg chapter on this theme:
Ginsberg was proactive in his connecting to and of people. He was referred to by one friend as “the central casting office of the underground”. He was habitually seen carrying a purple bag and in it was an address book in which he wrote the details of people he encountered who were kindred spirits or of potential help moving the world in the right direction. He took delight in connecting people he thought might spark off each other, regardless of whether they were underground or establishment. The purple bag contained in effect a global network of the like-minded.
Two nice Jewish boys bookend my summer of music, both of the first generation of singer-songwriters, both strongly connected with New York, both out of the Sixties which has been the theme of my live music over the last few weeks. The first was Bob Dylan at the newly revived Feis in Finsbury Park a couple of weeks ago (18.vi.11), the last Neil Diamond at the Millennium Dome last night. In between two unique evenings of singer-songwriters recorded for BBC4 at Porchester Hall for the ‘Songwriters’ Circle’ series.
The last time I wrote about ‘Songwriters’ Circle’ on Simple Pleasures part 4, magic of the internet the fella who makes Boo Hewerdine’s guitars got in touch. At this summer’s Feis I spotted Boo going into the artists’ entrance round the back with his kids and his trusty guitar case, on his way in to play with Eddi Reader. Little wheels spin and spin big wheels turn around and around…
Bob Dylan I have seen from time to time over the last few years and this was his best performance in London for the best part of 15 years (since Hammersmith Odeon). Because he was evidently enjoying himself. ‘Like a Rolling Stone’ was the highlight, him singing in his reinterpretive style (see his memoirs ‘Chronicles’ for something of an explanation), the crowd singing along reverting to the 60s style as recorded (on Blooms Day, 16th June 1965 in NYC, so its anniversary just two days before this performance), everyone enjoying themselves hugely. I was on a (musical) high for a week after the Feis – I think I’ll make this my last time seeing Bob live, go out on a high.
The following evening was another flower of the 60s, Van Morrison, doing the sunset slot with style and statesmanship. The last Feis I went to (somewhere around 1996 by my calculation, called the Fleadh back then) was headlined by the same pairing, though both Van and Bob on the same magical night. It was memorably the night of the day I learned to make frozen fruit dacquiris. It segued into a party back at Watermint Quay over in Clapton (the place not the bluesman), dancing in the basement, pharmacy in the attic space. This time Van didn’t get out of orbit (unlike the transcendency of his Astral Weeks gig at the Albert Hall a couple of years ago) but it was the right music at the right time, perfectly conducted by the Man in the softening glow.
The first of this round of ‘Songwriters’ Circle’ comprised Leon Russell, Nick Lowe and Paul Brady. Leon Russell did his Dr John type thing with great shaggy beard, cowboy hat and shades – classic old school. In his time he’s played with Dylan and The Band as well as The Stones and Clapton (the bluesman). He performed with George Harrison at the Concert for Bangladesh. At this more intimate gathering of musos, Paul Brady was the glue, veteran of countless Irish seisiuns, he knows how to accompany his fellow musicians and get some energetic interaction going. Back in the 60s he was playing traditional Irish with The Johnstons, moving to NYC in 1972 (where Dylan had been drawn to The Clancy Brothers a few years earlier and sucked up some Irish know-how himself). The three of them rounded things off with ‘Mystery Train’ which I know from Woodstock vets the Paul Butterfield Blues Band, although I first became familiar with it in the Paris Metro thanks to my old pals Stu and Jon who made it our theme tune on the legendary Select Latin trip – Train arriving, sixteen coaches long.
I met Paul Brady and Leon Russell fleetingly after the show at Khans, the injun just round the corner from the venue. Hadn’t been in there for yonks. On the subject of we’ll always have Paris, one of the last times I was there I walked in with a new girlfriend (now wife), bumped into a friend from Paris who offered us her flat in St Germain, we ended up going, our first time away together, so I scored a good few impress-the-new-girlfriend points, it’s a place of good happenings for me.
Back to this summer of love, the following night was even more quintessentially 60s with Donovan, Buffy Sainte-Marie and Roger Cook. Donovan was a bit on the charmless side – back from before ‘Don’t Look Back’ he seems to have struggled awkwardly in the shadow of Dylan and he just doesn’t feel comfortable in himself. Buffy the non-vampire did ‘Little Wheel’ (Desert Island Disc choice of Fay Weldon which is how I came across it) and peaked in her Nam protest song ‘Universal Soldier’. Her songs have been covered by Neil Diamond, as well as Janis Joplin and Joe Cocker. And Donovan (a successful version of Universal Soldier). Wheels within wheels.
Roger Cook went from his 1967 composition ‘Something’s Got a Hold of My Heart’ (which I know through Marc Almond’s later duet with Gene Pitney) to his 1971 ‘I’d Like to Teach the World to Sing’, yup the Coke advert one. 1971 was a very special year of the Sixties. Much of what we think of as epitomising the 60s actually happened in the first couple of years of the 70s - in short, the 60s culminated in 1971, year of the wonderous ‘What’s Going On’. That’s my favourite record (with words). And one of my first records was ‘Hot August Night’, also released in 1971 (though that’s not when I got it). I spent hours drawing and colouring to it on the dining room table. It has its 40th anniversary next month and is still Neil Diamond’s best selling record. He played some great choons from it last night including his opener ‘Soolaimon’ (1970) with its herald of African drum beats, ‘I Am I Said’ and ‘Brother Love’s Travelling Salvation Show’. The Brill Building trained songwriter talked a bit about Nam and the assassination of Kennedy, King and ko. He played one of the tunes he wrote for The Monkees, ‘I’m a Believer’. ‘Cherry Cherry’ was a highlight, very 60s sounding. Yet for all his 60s credentials, it was in the early 70s he reached escape velocity and I think of him as a Seventies guy. I contemplated that record cover for hours in the days I only had a couple – I wanted a jean jacket like that, I liked the Jewfro, what was that hand position all about?
A resonant one for me last night was ‘Cracklin’ Rosie’, memorably reinvigorated and given the seal of approval from another great lyricist of a later generation, Shane MacGowan. At one point Neil Diamond also punted his latest record, ‘Dreams’, a selection of covers a la Bowie’s ‘Pin Ups’, including Leon Russell’s “underrated classic” ‘A Song for You’ which he didn’t play live but which idea brings us neatly to the end of last night’s gig, rounding up my summer of music – the Diamond geezer put up a grainy black and white photograph of a 12 year old girl on the screens. She had travelled from Kiev to Rotterdam to New York City, alone it sounded like. She grew up to be his grandmother and he said he dedicated this, like every other performance of his, to her. Not very rock’n'roll but pretty peace and love.
If I wanted to boost the SEO for Simple Pleasures part 4 I’d be writing this evening about Jim Morrison, The Snowman, lonelygirl15, Dylan Thomas, Lara Croft and Albert Camus, but I’ve got other stuff in mind, first and foremost The Phoenix Cinema in East Finchley, London N2. I’m just back from there where we went for a family matinee outing to watch Glorious 39.
Glorious 39 is considerably less glorious than Inglourious Basterds – basically it belongs on TV like many BBC Films ‘movies’ – but the Phoenix itself was its usual blaze of Art Deco glory, gilded but faded but ready to rise again in even greater splendor…
…which is why two nights ago I arranged a preview screening of Nowhere Boy at the Phoenix. It was just the second public screening of Sam Taylor-Wood’s new film about the young John Lennon and it was raising money towards the Phoenix Restoration Fund. The Phoenix is the UK’s oldest purpose-built cinema and to celebrate the centenary of its 1910 opening the charity trust which runs it is striving to complete a major restoration by its 100th birthday next year. (If you feel like donating a couple of quid, you can do that here – we’ve got 90 grand left to raise to release the lottery grant needed to do the job.)
Anne-Marie Duff – of Channel 4′s Shameless, Film4′s Garage and The Virgin Queen fame (especially Shameless! pretty much the best TV drama of the last decade) – kindly pitched up to do a Q&A after the screening and gave a great insight into her intelligent and feeling approach to acting. She plays Julia, John Lennon’s mother, who found herself giving him up as a child but later helping spark his musical genius. The scene of Julia teaching John to play the banjo and then his swift but hard-earned mastery of the instrument is thrilling.
Film4′s Nowhere Boy was rousing. I didn’t like Matt Greenhalgh’s script for Control but this was a story well told and moving. Anne-Marie as Julia and Kristin Scott-Thomas as John’s aunt Mimi (who raised him) were both powerful and affecting, making sense of a tragic love tussle. But the big revelation was the charismatic Aaron Johnson as the young Lennon, old school charisma and strikingness on screen.
Sam Taylor-Wood came in to visit us a couple of years ago at Channel 4 to talk about her work and inspirations, and showed us a short art video depicting the decomposition of a partridge and a peach – very impactful in a short, sharp way. A feature is a very different prospect and she pulled this one off with energy and aplomb. I suspect her interactions with the actors were lacking in experience but the thesps were all good enough to make up for any wooliness in that aspect of the direction.
One of my first insights into Channel 4 was in 1988 when a programme called Lennon /Goldman: the making of a best-seller was being cut in Solus Productions where I was working, my first job. It was about the rather grubby biographer of Elvis and Lenny Bruce and his biog of Lennon which was due to come out shortly after. The director, Binia Tymieniecka, kindly gave me a copy of it, The Lives of John Lennon, which I dug out after the Phoenix show. I could see from a cinema ticket bookmark that the last time I had dug it out was in April 1994 when Stephen Woolley (who I believe used to work at the Phoenix) & Nik Powell’s Backbeat came out. The inscription reads: You’ve heard the gossip. You’ve seen the rough cut. Now read the book. The gossip and the aforementioned insight involved Goldman pulling all his contributions from the documenatry at the 11th hour (not sure what kind of C4 contract allowed for that kind of veto, but Channel 4 was still in its naively golden first decade then).
This week (Tuesday) was the 29th anniversary of John’s death. I remember it clearly – I was in Tijuana in Mexico and saw the headlines in Spanish, struggling to translate them exactly. I associate that time with realising for the first time my eyesight was dodgy, taking off my specs and realising the degree of my myopia (your youropia, his hisopia), getting a bit upset about it as a person who’s always been visually driven, through still and moving pictures. There’s a lot of play in Nowhere Boy about John’s short-sightedness – Mimi’s always reminding him to put on his specs and he’s always taking them off again as soon as he gets out of range. He has to put them on when Paul (superbly played by the fresh-faced Thomas Sangster) is teaching him guitar. The chemistry between John and Paul is palpable. On Tuesday I was listening, trusty ol’ iPod on shuffle, on my walk home past the Phoenix to Yer Blues from the White Album and was greatly struck by the haunting words he wrote in India and recorded just a few miles from the Phoenix at Abbey Road:
Yes I’m lonely wanna die
Yes I’m lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why
In the morning wanna die
In the evening wanna die
If I ain’t dead already
Ooh girl you know the reason why
My mother was of the sky
My father was of the earth
But I am of the universe
And you know what it’s worth
I’m lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why
The eagle picks my eye
The worm he licks my bones
I feel so suicidal
Just like Dylan’s Mr. Jones
Lonely wanna die
If I ain’t dead already
Ooh girl you know the reason why
Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll
Wanna die yeah wanna die
If I ain’t dead already
Ooh girl you know the reason why.
Not the easiest of weeks as I walked around half deaf and drowning in my own snot but here we are, Friday evening, made it. And it had its moments. Highlights included two awards ceremonies. Last night I presented the Multi-talented Award at the friendliest awards in town – the 4Talent Awards – to Oli Lansley who combines acting, writing and directing in the theatre and on TV in a way full of energy and promise (“that dirtiest of dirty words” – just been watching Breakfast at Tiffany’s for the first time, Holly Golightly is my beloved sister-in-law Bronagh, right down to the take-out cwofee). I judged this category with Dan Jones of Maverick TV – we have both been building 4Talent (formerly Ideasfactory) since the early days, over the last 6 years painstakingly developing it across the UK with James Estill and the dedicated crew to the point where it has the warm, creative vibe that was suffusing the room yesterday evening. Oli has a new series going out on ITV2 early next year called FM based on the Comedy Lab he did for Caroline Leddy at C4 in 2006. He also has a series in development at the Beeb with Matt King of Peep Show called Whites. On top of all that, he leads his own theatre company called Les Enfants Terribles who did a show entitled The Terribles Infants at Edinburgh this year and last, due to tour it in 09. So a multi-talented, multi-channel man to keep an eye on.
The 4Talent Awards were hosted with great aplomb by stand-up comedian Jack Whitehall, talented well beyond his 19 years, with fine comic judgment. Other entertainment came from the versatile jaw of Beardyman.
Winners were a rich mix ranging from Hollyoaks’ Emma Rigby for Dramatic Performance to Rose Heiney for Comedy Writing, from Dan & Adrian Hon of Six to Start for Multiplatform to Robert Glassford & Timo Langer for Directing (this last presented by my colleague Peter Carlton of FilmFour with whom I had a lovely rabbit before the presentations, the two of us equally infectious so no danger of adding to overall global germ activity).
To start the week I had the pleasure of attending the announcement of this year’s Turner Prize winner at the Tate. I arrived with Jan Younghusband, fellow Commissioning Editor for Arts & Performance TV, who introduced me to the ITN team that was shooting the event live for Channel 4 News. The looming gothic cowboy with the handle-bar moustache who walked by me with his looming gothic girlfriend was Nick Cave. He first entered my life with the Bad Seeds on The Firstborn is Dead over two decades ago now. On this night he passed by in the flesh like an extra from Pat Garrett & Billy the Kid (which I watched again recently – fabulous film, Kris Kristopherson was perfect as the Jim Morrison-style gunslinger-cum-rock messiah).
A while later another messiah, model for that humungous roadside crucifixion that is the Angel of the North, Antony Gormley introduced me to Grayson Perry who was wearing a fetching art student-designed post-it note dress. Not too often I get the chance to say stuff like ‘Antony Gormley introduced me to Grayson Perry’ or spout my theories about avant-garde art 1900-1970 to two luminaries of that world but we had a great chat and a consensus on how difficult it has been to innovate in the wake of that huge Modernist arc that went to the roots of every aspect of painting and art over those seven decades.
That was, of course, the Biggie but other chats included John Woodward of the UK Film Council (who agreed, through not quite gritted teeth, that FilmFour has had an awesome year with its string of Irish tales of waiting), and TV types like Roy Ackerman of Diverse and Michael Waldman (Operatunity). Art critic Richard Cork (The Listener – why on earth don’t they bring it back?), Alan Yentob of BBC’s Imagine (the Woody Allen of British TV, gets to make whatever he wants, quietly, no questions asked), Hans Ulrich Obrist of the Serpentine, were all swilling around. Enjoyed the walk home past the neon courtyard of the Chelsea College of Art and through the rainy backstreets of Pimlico
A final high point of the week takes us from art to architecture. I was having a meeting with RDF, who make Secret Millionaire, and Zopa, the interesting online finance service (interesting and finance – not words I often invite out to the same sentence). The fella from Zopa was asking about the Channel 4 building as we headed up the particular red of the stairs (the colour is lifted from the Golden Gate Bridge which is a delightful thing to think about every morning) – were Channel 4 the first occupiers? was it purpose built? etc. – I told him what a fine building it was bar a few flaws which I’d love to pass on to the bloke who designed it, like there’s no Gents on the side of the floor I work on, two Ladies instead. The delicious irony was that the RDF rep was Zad Rogers, son of Lord/Richard, the architect of C4 HQ in Horseferry Road – we revealed this after a while of course as – as in that essay on Iago by WH Auden in The Dyer’s Hand (Joker in the Pack) which velvet-jacketed Mr Fitch (RIP) drew our teenage attention to – there’s no satisfaction in a practical joke without the final revelation.
After playing the 100 Greatest Songs of all time parlour game with my friend Doug Miller over Christmas (me in the North of London, him in the South of France) he came back with the 50 Greatest LPs of all time challenge (no compilations, only one record per artist/band). I failed miserably – couldn’t boil it down to less than 75. So here they are – the 75 best LPs ever (of course, I’ll be popping back from time to time to make the odd sneaky change):
Beauty Stab – ABC
The Stars We Are – Marc Almond
The Last Waltz – The Band
The White Album – The Beatles
Post – Bjork
Go Tell It on the Mountain – Blind Boys of Alabama
Plastic Letters – Blondie
Space Oddity – David Bowie
Love Bites – Buzzcocks
The Clash – The Clash
A Rush of Blood to the Head – Coldplay
* A Love Supreme – John Coltrane
Kiss Me Kiss Me Kiss Me – The Cure
* Kind of Blue – Miles Davis
Don’t Stand Me Down – Dexy’s Midnight Runners
Hot August Night – Neil Diamond
The Doors – The Doors
Pink Moon – Nick Drake
Blood on the Tracks – Bob Dylan
Bill Evans – Conversations with Myself
Tiger in the Rain – Michael Franks
* Stay Human – Michael Franti & Spearhead
The Score – The Fugees
* What’s Going On – Marvin Gaye
Flesh – David Gray
Guys & Dolls movie ST
Are you experienced? – Jimi Hendrix
The Miseducation of – Lauryn Hill
Yarona – Abdullah Ibrahim trio
All Mod Cons – The Jam
Jesus Christ Superstar
Unknown Pleasures – Joy Division
On Song – Brian Kennedy
Led Zeppelin IV – Led Zeppelin
Imagine – John Lennon
Cinquieme As – MC Solaar
The Snake – Shane MacGowan & the Popes
Madness – Madness
Correct Use of Soap – Magazine
Exodus – Bob Marley & the Wailers
* Solid Air – John Martyn
New World Order – Curtis Mayfield
Monk’s Dream – Thelonius Monk quartet
A Night in San Francisco – Van Morrison
Blues and the Abstract Truth – Oliver Nelson
Throw Down Yours Arms – Sinead O’Connor
Meddle – Pink Floyd
Dummy – Portishead
Metal Box – Public Image Ltd (in the metal box)
O – Damien Rice
Some Girls – The Rolling Stones
Stranded – Roxy Music
Rumblefish OST (Stewart Copeland)
The Crack – The Ruts
Abraxas – Sanata
Gymnopedies – Eric Satie
Never Mind the Bollocks – The Sex Pistols
* Songs for Swinging Lovers – Frank Sinatra
The Scream – Siouxsie and the Banshees
Six Days in June
Easter – Patti Smith
The Specials – The Specials
The Rising – Bruce Springsteen
We’ll Never Turn Back – Mavis Staples
Tea for the Tillerman – Cat Stevens
Brilliant Trees – David Sylvian
Remain in the Light – Talking Heads
Sweet Baby James – James Taylor
Stan Tracey – Under Milk Wood
Joshua Tree – U2
Signing Off – UB40
Live in Leeds – The Who
Talking Book – Stevie Wonder
Harvest – Neil Young
*Road to Freedom – The Young Disciples
And in case you’ve ever lain awake at night wondering what the top 7 LPs of all time are in order, here you are:
1 Kind of Blue – Miles Davis
2 What’s Going On – Marvin Gaye
3 A Love Supreme – John Coltrane
4 Songs for Swinging Lovers – Frank Sinatra
5 Solid Air – John Martyn
6 Road to Freedom – The Young Disciples
7 Stay Human – Michael Franti & Spearhead
Doug’s top 50 is somewhat more sophisticated as befits an international man of mystery:
1. Mariano/Vant’hof/Catherine – Sleep My Love
2. Garbarek/Gismonti/Haden – Folk Songs
3. What’s Going On – Marvin Gaye
4. Songs in the Key of Life – Stevie Wonder
5. Beyond Skin – Nitin Sawhney
6. Soro – Salif Keita
7. Leftfield – Leftism
8. John Coltrane – A Love Supreme
9. Airto Moreira – Seeds on the Ground
10. Khomsa – Anouar Brahem
11. Santana – Caravanserai
12. Edu Lobo – Cantiga De Longe
13. Remain in Light – Talking Heads
14. Eastern Sounds – Yusef Lateeef
15. Devotional Songs – Nusrat Fateh Ali Khan
16. The Velvet Underground and Nico
17. Gabor Szabo & Bobby Womack – High Contrast
18. The Isley Brothers – 3+3
19. This Is My Country – The Impressions
20. Pharaoh Sanders – Journey To the One
21. Miles Davis – In a Silent Way
22. DJ Shadow Entroducing
23. Keith Jarrett – The Koln Concert
24. Sigur Ros – Takk
25. Let it Bleed – The Rolling Stones
26. Brian Eno/Harold Budd – The Plateau of Mirror
27. Dark Side of the Moon – Pink Floyd
28. Tabula Rasa – Arvo Part
29. Mothership Connection – Parliament
30. Lou Reed – Transformer
31. Led Zeppelin – 2
32. David Sylvian – Secrets of the Beehive
33. Free Will – Gil Scot Heron
34. David Crosby – If I Could Only Remember My Name
35. Spirit – 12 Dreams of Dr Sardonicus
36. Jdilla – Donuts
37. Five Leaves Left – Nick Drake
38. Clube De Esquina – Milton Nascimento
39. Sonny Rollins – Saxophone Colossus
40. Lonnie Liston Smith – Expansions
41. Anthony and the Johnsons – I am a Bird Now
42. TheInflated Tear – Rahsan Roland Kirk
43. Blue Camel – Rabih Abou-Khalil
44. What Colour is Love – Terry Callier
45. Fat Albert Rotunda – Herbie Hancock
46. Diamond Dogs – David Bowie
47. Assagai – Afrorock
48. Biosphere – Sub-Strata
49. Ein Deutche Requiem – Brahms (Simon Rattle)
50. The Nordic Quartet – Rypdal/Surman/Storaas.Krog
Feel free to join in…