Monday, 23 January 2017

John Lennon in Bermuda

Scott Neil and Graham Foster
ISBN 978-1927750-02-5 Softcover. 120 pp.

The summer before his death, John Lennon hired a 43-foot yacht and, with a small crew, sailed to Bermuda for a little R&R. Arriving after a storm-tossed passage, he rented a house on the island and reconnected with his muse. The result was his final album, Double Fantasy, named after a freesia he spotted on a visit to the local botanical gardens.

It’s hard to believe there’s any cranny of Lennon’s life that hasn’t been picked over, but journalist Scott Neil has found one of the less-explored and tracked down those he met in Bermuda. The Lennon recalled by islanders was not the self-obsessed star they expected. He was polite, laid-back, into healthy eating and clean living. A generous, companionable man who returned favours and remembered kindnesses shown him. After five years out of the limelight, he relished going incognito as ‘John Greene’ and rewarded those who respected his privacy.

The book’s style is a little feverish at the outset, as the “former Beatle” battles crashing waves, alone at the helm against a “storm of Shakespearean proportions”. But once the prose settles down, the story is well-told and the reminiscences deftly woven into a highly readable narrative. It’s a tale about negotiating celebrity and finding the quietude to write. Songs like ‘Beautiful Boy’ and ‘Watching The Wheels’ – Neil shows how both were inspired by events in Bermuda – may not be Lennon’s greatest but they fulfil his aim of writing for people of his own age group.

The sensitive artwork is by Bermudian artist Graham Foster, who also designed the memorial sculpture to Lennon in the Bermuda Botanical Gardens. Best of all are the scattered photos of the singer, some with son Sean in tow. He looks relaxed, like a man ‘starting over’ (another song-title), blissfully unaware of what lay ahead.

First published in R2 (Rock'n'Reel)

Monday, 5 December 2016

Alan McClure

Everything Is Fine (Until It's Not) (LOST WASP RECORDS, 2014, CD)

Alan McClure is a man to watch. A 36 year-old from south-west Scotland, he first crossed my radar as lead singer and chief songwriter to quirky combo The Razorbills. Now he arrives with a solo album, confirming his status as a profoundly interesting writer.

Here he’s backed by The Mountain Sound Session. According to the press release, they “comprise some of Hull’s finest musicians”, and I’m inclined to believe it. Most of the songs sit on a bed of sensitive two-guitar arrangements, McClure’s own fingerpicking blending with Dave Gawthorpe’s classical guitar. The arrangements never overwhelm the voice.

As ever, McClure’s lyrics take you to unexpected places. ‘Ugandan Sun’ remoulds a folk motif about forbidden love, complete with recurring refrain line, to skewer the state-sponsored homophobia of a certain African nation. The title track is full of his trademark verbal dexterity: statements are advanced, qualified, withdrawn, forcing you to attend to what the man’s saying. But he does easy tunefulness as well. ‘The Notion’ has a relaxed Laurel Canyon vibe, harking back like much of his music to the 1960s, while ‘Rant’ ironically updates Woody Guthrie’s ‘This Land Is Your Land’ to the context of Glasgow dockyards and the ‘empty Highland’.

First published in R2 (Rock’n’Reel)

Saturday, 19 November 2016

Peter Gabriel

Growing Up Live/Still Growing Up Live & Unwrapped (3 DVDs)

The voice has aged, raspier in its lower register than in his Genesis days. But as the (mostly young) audiences chant “PETER! PETER!” we’re reminded that only a couple of letters separate the showman from the shaman. “My friends would think I was a nut / Turning water into wine,” he sings in ‘Solsbury Hill’, as he rides round the stage on a folding bike.  Peter Gabriel may not be a miracle-worker but he is still a hugely charismatic presence.

These DVDs (predominantly reissued material) record the tours following the release of his album Up. The most spectacular is a 2003 Milan gig, where the band perform on a revolving stage in mid-arena. Aided by designer Robert Lepage, Gabriel’s love of spectacle is undiminished. He hangs upside down from an elevated set in ‘Downside Up’, perambulates the stage in a zorb ball for ‘Growing Up’ as if suspended in amniotic fluid. Close-ups of Gabriel’s penetrating eyes are intercut with shots of orange-clad techies toiling like Nibelungs beneath the stage.

The 2004 gigs find Gabriel introducing the songs in French. The theatricals are toned down, the setlist different. As the previous year, daughter Melanie joins on backing vocals and there is a touching moment as father and daughter hold hands in ‘Come Talk To Me’. But the finest cut here is on the DVD ‘extras’: a joyous duet on ‘In Your Eyes’ with Mauritanian Daby Touré.

The band is tight, with long-serving guitarist David Rhodes a stand-out, and sound quality excellent.

First published in R2 (Rock’n’Reel)

Sunday, 1 May 2016

Hofmannsthal poems

Dredged up from an old computer disk – my clumsy efforts from the 1990s to English three poems by Hugo von Hofmannsthal (1874-1929) written a century earlier. If memory serves, the occasion was the possible publication by Carcanet Press of a volume of Hofmannsthal’s verse. Michael Schmidt, Carcanet’s editorial director, was unimpressed by my locutions, rightly suspecting that Michael Hamburger would have done it so much better. The poems are ‘Manche freilich…’ (1895), ‘Die Beiden’ (1896) and ‘Über Vergänglichkeit’ (1894).


Some there are who must perish below,
Where the weighty oars of the galleys scour,
Others dwell aloft by the helm,
Know the flight of birds and the resort of stars.

Some will always lie with heavy limbs
Among the roots of tangled life,
While for others places are set
With the sibyls, the empresses,
And there they will sit as if at home,
Light heads on lighter shoulders.

But a shadow falls from those lives
Across into the other lives,
And the light are bound to the heavy
As the air and earth are bound:

Weariness of quite-forgotten peoples
I cannot dismiss from my eyelids,
Nor ward off from my terrified soul
The silent fall of distant stars.

Many fates are woven next to mine,
Existence merges all of them in play,
And my part is more than this life’s
Slender flame or narrow lyre.


She held the goblet in one hand
-- Her mouth and chin were like its rim --
So light and certain was her gait
No droplet from the glass escaped.

So light and firm was his command:
He rode upon a sprightly horse,
And with a single careless gesture
Brought it, quivering, to a stop.

And yet, when it was time for him
To take the dainty vessel from her,
Its weight defied their joint attempt:

For both of them were trembling so
That neither found the other’s hand
And ruby wine spilt on the ground.


Upon my cheeks I feel still their breath:
How can it be that these so recent days
Are gone, gone for ever, as if in death?

This is a thing that no one fully knows,
Beyond lament, too dreadful to erase:
That everything glides by us, ebbs and flows.

And that my own self, quite unbound, appeared
Gliding out from a little child and rose
Towards me silent, like a dog, and weird.

A hundred years ago I too was there
And my forebears, asleep in shrouds, are near
To me, akin as I to my own hair,

As one with me as I with my own hair.

Monday, 11 April 2016

Rupert Brooke

Last year, among so many solemn centenaries of the First World War, we remembered the ill-fated Gallipoli landings – part of a campaign, intended to knock the Ottoman Turks out of the war, which cost the lives of so many British and Empire servicemen. The soldier-poet Rupert Brooke never made it to the landings. Bound for the Dardanelles, his troop ship was moored off the Greek island of Skyros when he developed septicaemia from an insect bite and died. He is buried on the island.

Rupert Brooke, “the handsomest young man in England” in the opinion of WB Yeats, has become a poster-boy for the Lost Generation.  His Cambridgeshire connections are well-known. In 1909 he took lodgings in Grantchester in a former farmhouse called The Orchard (doubling as a tea room even then) before moving next door to The Old Vicarage a couple of years later. Early in 1912, frustrated in love and thwarted in his bid for a Fellowship at King’s College, he suffered some form of nervous breakdown. Recuperation abroad was recommended, and in May we find him in the Café des Westens in Berlin, seated at a table by the window, reminiscing about his skinny dips in Byron’s Pool:

Here I am, sweating, sick, and hot,
And there the shadowed waters fresh
Lean up to embrace the naked flesh.

‘The Old Vicarage, Grantchester’, from which these lines come, has become one of his most famous poems, a deft combination of nostalgia, luxuriant language and whimsy that stays just this side of sentimentality. Or so I would argue. George Orwell was less impressed:

Rupert Brooke’s ‘Grantchester’, the star poem of 1913, is nothing but an enormous gush of ‘country’ sentiment, a sort of accumulated vomit from a stomach stuffed with place-names. Considered as a poem ‘Grantchester’ is something worse than worthless but as an illustration of what the thinking middle-class young of that period felt it is a valuable document. [Inside the Whale (1940).]

My impression is that Orwell was a sensitive reader of other writers. As a thinker of the Left, he was naturally suspicious of writers who didn’t share his politics, but he was also a big enough critic to appreciate literary quality wherever it surfaced. If he didn’t find literary quality, he still recognised that a writer could be read historically as a voice of his time – which seems to be his approach to Brooke. The long, nuanced essay he wrote on Kipling shows all these strategies in play. Conversely, a writer could be on the same side of the political fence as Orwell but still be chastised for irresponsibility. A few pages after his comment on Brooke in ‘Inside the Whale’, he takes a pop at Auden. In Auden’s poem ‘Spain’ there’s a reference to “necessary murder”. Orwell doubts that Auden had seen murder at first hand: “Mr Auden’s brand of amoralism is only possible if you are the kind of person who is always somewhere else when the trigger is pulled”. Yet, overall, Orwell declares the poem to be “one of the few decent things that have been written about the Spanish war”.

But I digress. Back to Brooke’s poem and his “accumulated vomit from a stomach stuffed with place-names”. As a Cambridgeshire resident of twenty years standing, I’m perhaps more attentive to these place names than Orwell was (he was living in Hertfordshire in early 1940 when his essay appeared).

Brooke’s strategy is first to contrast England, where an “unofficial rose” blooms under an “unregulated sun”, where feet may trespass on the grass, with the Teutonic passion for order and regulation:

… and there are
Meads towards Haslingfield and Coton
Where das Betreten’s not verboten.

Then he narrows his focus to tell us why, of all Cambridgeshire villages, he prefers “the lovely hamlet Grantchester”. By contrast, he says,

… Barton men make Cockney rhymes,
And Coton’s full of nameless crimes,
And things are done you’d not believe
At Madingley on Christmas Eve.

In the margin of the manuscript Brooke wrote a list of villages to be worked into the poem. Comberton was on the list but didn’t make the final cut, being replaced by Trumpington. Denis Cheason, in his book The Cambridgeshire of Rupert Brooke, suggests that Brooke may not even have visited all the places he mentions. In any case, we locals are not to take offence:

To those of you who are residents of the villages, do not be dismayed by Rupert Brooke’s comments. He was only joking, or perhaps belittling neighbouring villages to highlight the Grantchester which he loved.

No offence is taken, for the choice of names is very obviously driven by the rhyme scheme: “Coton/verboten”, “rhymes/crimes”. But could there be any more behind it? In her slim volume on the history of The Old Vicarage, Mary Archer concedes that the place names “appear to have been chosen more for convenient scansion than for any accurate local allusion”. However, she goes on to suggest possible, if far-fetched, sources for the references to Barton and Madingley.  For Barton she quotes the anonymous ballad ‘The Knocking Ghosts of Barton’, which is almost in the same octosyllabic metre as Brooke’s poem:

Jiminy, criminy, what a lark,
You must not stir out after dark,
For if you do you’ll get a mark –
From this knocking ghost of Barton.

And of Madingley it is said that, in the late nineteenth century, a Rector of High Church leanings promised the villagers a High Mass on Christmas Eve. The squire forbade his tenants to attend but they went, defiantly, and were turned out of their homes on Christmas Day. It’s the sort of story that might have appealed to Brooke, had it come to his ears.

But neither Mary Archer nor Francis Burkitt and Christine Jennings, in their book Rupert Brooke’s Grantchester, have any suggestions for Coton.  Another work, Coton Through the Ages (Kathleen Fowle and others, 2013), lists a number of crimes and misdemeanours over the centuries – at least one case of arson and a fair bit of sheep-rustling – but I don’t see anything likely to tickle the fancy of the “handsomest young man in England”.

So do these place names go down in the annals of literature merely as handy rhymes? As “accumulated vomit”? Or are we missing a trick here?

Friday, 30 October 2015

Franziska zu Reventlow

Her dates are exactly those of Bismarck’s Reich, and her life was one long protest against it. Countess Franziska (‘Fanny’) zu Reventlow was born in Husum in northern Germany in 1871 and died in Locarno in 1918. Born into a conservative and aristocratic family – her sister became a nun and two of her brothers were members of the German Parliament – she waged a fierce struggle against her parents throughout her adolescence. The first intellectual scene of this rebellion was her secret visits to the Lübeck Ibsen Club, where she encountered free thinkers who propounded artistic and sexual liberation. On her twenty-first birthday she finally ran away from home and her strange quest for self-fulfilment began in earnest. She danced at Carnival in a Pierrot costume. She paid house calls, whip in hand, as a dominatrix. She took acting lessons and played soubrette parts; more strikingly, she appeared as a rope dancer at south German country fairs. All the time she dreamed of a circus life, envying Frank Wedekind his attachment to the Herzog Circus.

After moving to Munich, then artistic capital of Germany, she tried to become a painter, but in fact supported herself by writing, first translations from the French, then satirical sketches, and finally novels. A brief marriage to a Hamburg assessor ended in divorce – her outrageous behaviour, he said, was ruining his career and good name – and disinheritance by her family. The birth in 1897 of her illegitimate son Rolf (she kept his father’s identity secret, saying she had given herself the child) caused chronic gynaecological problems but did not slow her erotic or literary schedule. Determined to save him from the German schools system, she educated him at home.

For the next fifteen years she was a central figure in Schwabing, then as now Munich’s bohemian quarter, and acted out the ideas which were common currency in its cafes – defiance of bourgeois convention and promotion of sexual freedom. In particular, she embodied the newly fashionable cult of Mutterrecht, the belief that there had been an older and better civilisation based on women’s rights, women’s religion and women-centred families. Her lovers were many: though constantly broke, she always managed to get rich men to pay her way to such places as Constantinople and Corfu. Her circle of acquaintance was huge: in addition to Wedekind (whose 1912 play Franziska is loosely based on her career), it included Rainer Maria Rilke (‘every morning a poem in my letterbox’, she noted with pleasure) and Max Weber (through whose intercession she contrived to have her son exempted from military service).

In 1906, at the home of Otto Gross the maverick psychoanalyst, she met Frieda Weekley, the later Frieda Lawrence, who thought she ‘had the face of a very young Madonna’. Reventlow is thus one of the conduits by which the philosophy of Schwabing penetrates English literature: DH Lawrence portrays her in Mr Noon. When she left Schwabing for the artists’ colony of Ascona in 1910, it was to enter into a farcical marriage for money with a Russian baron – an erstwhile pirate, so he claimed – whose family would only release his inheritance on the condition that he married an aristocrat. No sooner had the newly-weds divided their spoils than they lost it all in a bank collapse. She died as she had so often lived – penniless.

Reventlow was not a political feminist. Distancing herself from the women’s movement in an essay of 1899 (‘Viragines or Hetaerae’), she defined herself as a ‘hetaera’ (roughly speaking, a ‘free woman’). She wanted women to have control of their bodies, which she had fought for in her own life. Financial independence interested her less. But in her writings, as in her life, she experimented with alternative ways of life both within and outside the patriarchal society of the Wilhelmine era.

None of her work is available in English. Perhaps it should be? Candidates for translation include the clearly autobiographical novel Ellen Olestjerne, the anarchic comic fiction The Money Complex (recently filmed by Spanish director Juan Rodrigáñez) and the set of ‘amouresques’ From Paul to Pedro, as well as the wide-ranging Letters and Diaries

Saturday, 3 October 2015

Steve Logan

Deliverance (MOONDRAGON, 2015, CD)

Steve Logan, a Welsh singer-songwriter long resident in England, may have lost the accent but not the power to project. Deliverance is his follow-up to last year’s Signs and Wonders. The debut release was a pared-down, all-acoustic set, enriched by support from Kimberley Rew (ex-Katrina and the Waves). On this new album he broadens the sonic palate, adding a full rhythm section and switching between acoustic and electric guitar with a dab of harmonica, much like his avowed hero Neil Young.

Logan once fronted a tribute band, Free Again, and you hear Paul Rodgers in his vocal style. As a songwriter, his tastes are more Laurel Canyon – clear from the outset on the attractive opening track, ‘Deliverance’. But Logan’s his own man, a man audibly at ease with himself. Moments of tenderness, often directed at his “wife and muse” (‘Just The Way Your Heart Beats’), bump up against hard-rocking numbers (‘Didn’t Even Listen To Myself’). Active as a poet for the page as well as a songsmith, he turns in a distinctive lyric, whatever the medium.

Welcome as they are, one or two songs outstay their welcome, clocking in at over five minutes. But that’s nothing that can’t be fixed.

Tuesday, 8 September 2015

Nick Drake - footnotes


Jason Creed
ISBN 978-1-84938-658-6
Softcover. 230 pages

When Nick Drake died in 1974 at the age of 26, he left three exquisitely crafted albums and a host of questions. So many questions. How to interpret that death: suicide or an accidental overdose? Just what sort of live performer was he: charismatic or shambolic? What of his love life?

In the late 1990s, Drake-enthusiast Jason Creed published an important fanzine, Pink Moon, which explored these and other questions. Now, gathered between covers here are reprinted contributions, together with new material. In transcribed interviews or personal memoirs we hear from producer Joe Boyd, arranger Robert Kirby, friends Iain Cameron and Robin Frederick, Island press officer David Sandison, not to mention his sister and parents. An excellent piece by the late Scott Appel unpacks his guitar tunings for the specialist reader. There are chapters on live performances, rare recordings, TV documentaries, and reprints of original album reviews. (Pity the NME reviewer in 1969 who compared Drake unfavourably to Peter Sarstedt!) Also included is Jerry Gilbert’s heroic write-up of the only interview the monosyllabic Drake ever gave.

It’s good stuff, handsomely bound and presented. If I have a reservation, it is that there’s potential for an even better book inside here: a comprehensive source-book, a book that would be fully annotated, preferably with an index. As an editor, Creed is rather too hands-off, with the result that errors and conflicts of evidence are allowed to stand. Using the original Pink Moon as a primary source may be a constraint. Speculations dating back to 1997 by a third-year undergraduate about the clinical nature of Drake’s depression might be fine in a fanzine or discussion forum but sit ill alongside the memories of those who actually knew the man.

Reservations aside, this is an indispensable resource for every Drake fan.

First published in R2 (Rock’n’Reel) May/June 2011


Grantchester Meadows

Last year (2014) marked the fortieth anniversary of Nick Drake’s death. It didn’t go unrecognised, of course. Uncut magazine carried a piece by John Robinson and interviews with the ‘usual suspects’. For a while I was in discussion with an editor about writing something myself. Searching for a ‘new angle’, I even did some field work by visiting Carlyle Road in Cambridge. This is a row of Victorian terraces where the undergraduate Drake found lodgings after moving out of college for his second, and as it turned out, final year at the university. According to biographer Trevor Dann, he soon fell out with his stiff-necked landlady and relocated round the corner to 65 Chesterton Road. It’s just a short hop, I realised, from there to The Boathouse pub where modern-day troubadours are to be heard plying their trade every Wednesday evening. People say ‘River Man’ was conceived around here. I searched in vain for the genius loci. Betty, I decided, was more likely to encounter the River Man in Grantchester Meadows, later commemorated in song by Pink Floyd, amid the white cow parsley and the plash of oars wafting up from the Cam. But I hadn’t the faintest idea whether Drake ever strayed this far out of town.

In fact, after thrashing around for a while, I had to admit I had nothing new to say. “Whereof one cannot speak, thereof one must be silent”: Wittgenstein was right about that. Actually – if we’re being philosophically precise in use of language – it’s not true to say I had nothing. I had some small footnotes to offer to the Drake industry. And even footnotes to the footnotes. Since they can’t be inflated to bulk out another unnecessary article, I offer them here instead.

That breakthrough gig
In December 1967 our man was on the bill at the Roundhouse in London. The event was ‘Circus Alpha Centauri’, one of a series of benefits in aid of underprivileged children, compered on the night of Saturday 23rd by Jimi Hendrix (dressed as Father Christmas, according to legend).* No one seems quite sure how Drake landed the gig, which proved so decisive for his career, but I have a theory. At the bottom of the original flyer I notice the production assistants listed as “Victoria and Louisa Ormsby-Gore”. Drake, we know, hung out with the Ormsby-Gores, a Chelsea set of socialites and debutantes he had met in his gap year.** Fairport Convention were also on the bill and, at some point in the evening, Fairport’s Ashley Hutchings spotted Drake. “I thought he was terrific”, the bassist told Uncut, “the guitar-playing, the songs. People would later say he had no stage presence but what partly drew me was that aura.” Hutchings engineered an introduction to producer Joe Boyd. Well, you know the rest.

But does anyone really remember his live performances?
As a teenager, Ian Anderson, now editor of fRoots magazine, came across him at Les Cousins, the Soho folk venue: “It would be very easy to not remember seeing Nick Drake,” he told me. “I saw him do floor spots on Cousins all-nighters and most people fell asleep. Whatever you think of his records, he really was a dreadfully dull live performer with absolutely nothing memorable about him at all, other than not being very good. I'm sure I was only awake because I was either MC-ing or waiting to play!”

He was so deep!
Drake-heads get very excited by the so-called ‘Far Leys monologue’. It’s certainly a document of interest as being the only extended record of his speaking voice, a sort of audio letter to we-know-not-whom taped in the summer of 1967 after his sojourn in Aix-en-Provence. Returning drunk from a party in the small hours, he switched on the family tape recorder and rambled. Forty years later, the languid public-school accent defeats some of his unintended listeners.*** For example, in her book about Pink Moon, Drake's final album, US critic Amanda Petrusisch turns a platitude into a Zen insight. She has him say: “I think there’s something extraordinarily nice about seeing the doorknob before one goes to bed…” What he actually says is: “I think there’s something extraordinarily nice about seeing the dawn up before one goes to bed…” Indeed, anyone unaccustomed to self-deprecating irony and the studied evasiveness of the buttoned-up Englishman is liable to hear profundity where there is none; or none on the surface, anyway, where self-revelation is nowadays expected to lie.

There’s a line in the ‘monologue’ that always stuck in my mind because it invites earnest over-interpretation of this sort. It’s where he says, in mock-serious tones: “One forgets so easily the lies, the truth and the pain”. It felt like a quotation, but I couldn't place it. Then I happened to reread ‘The Old Vicarage, Grantchester’:

Say, is there Beauty yet to find?
And Certainty? and Quiet kind?
Deep meadows yet, for to forget
The lies, and truths, and pain? . . . oh! yet
Stands the Church clock at ten to three?
And is there honey still for tea?

Rupert Brooke’s evocation of Cambridgeshire village life was a staple of school poetry anthologies and would have had particular resonance for someone about to read English Literature at Cambridge. Big abstractions are acceptable to the pragmatic Anglo-Saxon mind if they’re safely enclosed between quotation marks. As Patrick Humphries observes in his biography of Drake, there are similarities between Drake and Brooke, two golden boys born generations apart who died young. Both were looking for a place of refuge from the risks of saying too much: Drake found it in songwriting. In May 1904 the schoolboy Brooke wrote to his cousin:

When I say what I mean, people tell me ‘O Rupert, what delightful nonsense you talk!’ and when I venture on the humorous, I am taken seriously and very promptly and thoroughly squashed for ‘saying such strange things’.

Drake, according to his friend Beverley Martyn, “would occasionally say something witty, but very rarely”. I suspect there is a serio-comic timbre in Drake if we’re attuned to hear it.

*This is the advertised date for Fairport’s appearance at the Roundhouse in Chalk Farm. However, other sources list the band as playing at Middle Earth (in Covent Garden) on that night. Conversely, Drake’s biographers agree that headlining on the night Drake appeared were Country Joe & The Fish. The ‘stop press’ on the flyer announces them for Thursday 21st.

**Strictly speaking, not a ‘gap year’ as is conventional nowadays, but a gap nine months. In those days, Oxbridge candidates generally stayed on for an extra term in the Sixth Form to take the entrance exams for Oxford or Cambridge. If successful, they would “go up” the following October. (Drake, having left school in summer 1966, took the Cambridge exam at a crammer in Birmingham.) For the overlap between ‘Alpha Centauri’ and the ‘Chelsea set’, see this interview with Abdalhaqq Bewley.

 ***It’s striking how his English accent rings through, even when covering American material. On ‘Cocaine Blues’, one of the early home demos, he gives the title word a curious pronunciation. It sounds more like ‘cockaigne’, the land of plenty in medieval myth.