Saturday, 31 March 2012
More Harold McNair and Electric Eden
It's strange that yesterday I should write about Harold McNair following my chance hearing of him accompanying Donovan. I don't think I have read anything at all about McNair since his obituary appeared in the music press in 1971. Yet coincidentally I am currently reading a book entitled 'Electric Eden' by Rob Young and lo and behold Harold McNair makes a surprise appearance.
I'm not half way through the book yet but I am enjoying it very much indeed. It covers the development of folk music in Britain during the 20th century. From Ralph Vaughan Williams and Gustav Holst, through the collecting work of Cecil Sharp and the early folk clubs run by A.L. Lloyd and Ewen MacColl. Then into the folk 'boom' of the early 60's focusing on people like Martin Carthy, Bert Jansch, Anne Briggs, Davy Graham and others. There are extensive sections covering Pentangle, Steeleye Span (perhaps not as extensive as they deserve but this I suspect is more to do with the personal taste of the author), Fairport Convention, Nick Drake and John Martyn.
That's as far as I have got at the moment but as I rattle through it you can be assured I will have more to say on this subject in a future blog.
Friday, 30 March 2012
Harold McNair (flautist extraordinaire)
With my music player on shuffle as I am inclined to do when I can't decide what to listen to, I was suddenly stopped in my tracks by the strains of Donovan's 'Writer in the Sun'. It wasn't so much the song itself, though a fine song it is, but the accompanying flute that particularly attracted my interest. The musician in question was a certain Mr Harold McNair.
I first became acquainted with his work through hearing the track 'Dusty' by John Martyn featured on the Island sampler 'You Can All Join In' released in 1969. Or it might have been through Donovan when I bought the 'Donovan in Concert' album at about the same same. It was only later that I realised that McNair had been involved in most of Donovan's other work also.
Of mixed race, McNair was born in Jamaica in 1931 and first arrived in Britain in 1960 after a spell touring Europe with Quincy Jones. In London his reputation grew and he was soon a regular on flute and sax at Ronnie Scott's Club in Soho. In the early 60's he contributed sax to the James Bond movie 'Dr. No'. Possibly because of his Jamaican background, McNair was signed to Chris Blackwell's Island Records label and in 1965 he released his first album under his own name 'Affectionate Fink' utilising Ornette Coleman's rhythm section.
McNair first played with Donovan during the recording of the latter's 'Sunny Goodge Street' and he was then hired for subsequent sessions during which the Donovan album 'Sunshine Superman' was recorded in Abbey Road Studios with The Beatles recording 'Revolver' in the studio next door.
McNair went on to record with many other artists during the 60's including John Martyn, Alexis Korner, CCS and Davy Graham. His own album 'The Fence' featured Steve Winwood on piano and organ and the interplay between the two on the title track is superb. The album is now available on CD with bonus tracks and in my opinion is well worth getting - I'm listening to it as I write. One of the bonus tracks is the Lennon/McCartney song 'Here ,There and Everywhere', perhaps first heard by McNair when they shared neighbouring studios in Abbey Road. I used to possess his album 'Flute & Nut' on vinyl but sadly that went the way of all my other vinyl.
I only saw Harold McNair live once, probably around 1970 when he was one of a dozen or more musicians on stage at Newcastle City Hall as part of Ginger Baker's Airforce. Sadly I never got another chance to see him and the world was robbed of a fine musician when he succumbed to lung cancer on 7th March 1971. He was aged just 39.
At the time I write this I believe that the only record in his own name available on CD is the aforementioned 'The Fence'. Until that travesty is corrected, dig out his work with Donovan and others. I personally recommend 'Donovan in Concert' and 'The Tumbler' by John Martyn which features the great track 'Dusty'.
I first became acquainted with his work through hearing the track 'Dusty' by John Martyn featured on the Island sampler 'You Can All Join In' released in 1969. Or it might have been through Donovan when I bought the 'Donovan in Concert' album at about the same same. It was only later that I realised that McNair had been involved in most of Donovan's other work also.
Of mixed race, McNair was born in Jamaica in 1931 and first arrived in Britain in 1960 after a spell touring Europe with Quincy Jones. In London his reputation grew and he was soon a regular on flute and sax at Ronnie Scott's Club in Soho. In the early 60's he contributed sax to the James Bond movie 'Dr. No'. Possibly because of his Jamaican background, McNair was signed to Chris Blackwell's Island Records label and in 1965 he released his first album under his own name 'Affectionate Fink' utilising Ornette Coleman's rhythm section.
McNair first played with Donovan during the recording of the latter's 'Sunny Goodge Street' and he was then hired for subsequent sessions during which the Donovan album 'Sunshine Superman' was recorded in Abbey Road Studios with The Beatles recording 'Revolver' in the studio next door.
McNair went on to record with many other artists during the 60's including John Martyn, Alexis Korner, CCS and Davy Graham. His own album 'The Fence' featured Steve Winwood on piano and organ and the interplay between the two on the title track is superb. The album is now available on CD with bonus tracks and in my opinion is well worth getting - I'm listening to it as I write. One of the bonus tracks is the Lennon/McCartney song 'Here ,There and Everywhere', perhaps first heard by McNair when they shared neighbouring studios in Abbey Road. I used to possess his album 'Flute & Nut' on vinyl but sadly that went the way of all my other vinyl.
I only saw Harold McNair live once, probably around 1970 when he was one of a dozen or more musicians on stage at Newcastle City Hall as part of Ginger Baker's Airforce. Sadly I never got another chance to see him and the world was robbed of a fine musician when he succumbed to lung cancer on 7th March 1971. He was aged just 39.
At the time I write this I believe that the only record in his own name available on CD is the aforementioned 'The Fence'. Until that travesty is corrected, dig out his work with Donovan and others. I personally recommend 'Donovan in Concert' and 'The Tumbler' by John Martyn which features the great track 'Dusty'.
Wednesday, 28 March 2012
Box Sets #1 - Three Score & Ten
With record companies experiencing rapidly diminishing sales figures, the latest ploy to get us to stump up cash is via the format of CD box sets. Often this can mean us purchasing yet again something which we have already paid for several times over. First we bought the vinyl album, then the music cassette (though why we did that I'll never know), then the CD version and then the CD version with bonus tracks! Now they are wanting us to do it again either because the albums have been lumped together in one box or the package includes a booklet with never before seen photographs.
And, if you are like me, you invariably fall for it.
However, once in a while, something really special does come along and deserves our attention and our hard earned cash. One such package came along in 2009 to celebrate 70 years of Topic Records. The package is entitled 'Three Score & Ten' and comes in the form of a large hardbacked book with seven CD's enclosed within the front and back covers. It is truly wonderful and something I have been returning to read and listen to regularly since I purchased it three years ago.
Topic Records actually began in 1939 as a spin off from the communist Workers' Music Association, itself an offshoot of of the British Marxist Party. The original purpose was to sell left wing music by mail order.
After a period of releasing choral and orchestral music, the label then began its association with folk music via such luminaries as A. L. Lloyd and Ewan MacColl. Separating from the Workers' Music Association in the early 1960's the label went on to release an LP (for that is how they were known back in those days - standing for Long Playing record), of industrial songs. The record was entitled 'The Iron Muse' and it featured a selection of factory and mining songs from the north of England. Subtitled 'A Panorama of Industrial Folk Music' the album was released in 1963 and I first recall seeing and hearing a copy in the school music room in or around 1967. It was totally at odds with everything else I was listening to at that time - remember that 1967 was the so called 'summer of love' and everything was in glorious technocolour.
Not so this album. I think it was the grey depiction of the grimy north on the front cover that first grabbed my attention. Living in the working class north east of England, the songs on the album certainly resonated with me.
From there, Topic went on to have an association not only with most of the main players on the British folk scene but also Americans such as Pete Seeger and Rambling Jack Elliott and subsequently with a number of up and coming artists on the so called World Music scene. The list of well known names is simply too great to recount here. Topic Records is now the oldest independent record label in Great Britain.
If you get the chance, check the package out and if your funds allow, buy it. If you've read this far, I suspect you will not be disappointed.
And, if you are like me, you invariably fall for it.
However, once in a while, something really special does come along and deserves our attention and our hard earned cash. One such package came along in 2009 to celebrate 70 years of Topic Records. The package is entitled 'Three Score & Ten' and comes in the form of a large hardbacked book with seven CD's enclosed within the front and back covers. It is truly wonderful and something I have been returning to read and listen to regularly since I purchased it three years ago.
Topic Records actually began in 1939 as a spin off from the communist Workers' Music Association, itself an offshoot of of the British Marxist Party. The original purpose was to sell left wing music by mail order.
After a period of releasing choral and orchestral music, the label then began its association with folk music via such luminaries as A. L. Lloyd and Ewan MacColl. Separating from the Workers' Music Association in the early 1960's the label went on to release an LP (for that is how they were known back in those days - standing for Long Playing record), of industrial songs. The record was entitled 'The Iron Muse' and it featured a selection of factory and mining songs from the north of England. Subtitled 'A Panorama of Industrial Folk Music' the album was released in 1963 and I first recall seeing and hearing a copy in the school music room in or around 1967. It was totally at odds with everything else I was listening to at that time - remember that 1967 was the so called 'summer of love' and everything was in glorious technocolour.
Not so this album. I think it was the grey depiction of the grimy north on the front cover that first grabbed my attention. Living in the working class north east of England, the songs on the album certainly resonated with me.
From there, Topic went on to have an association not only with most of the main players on the British folk scene but also Americans such as Pete Seeger and Rambling Jack Elliott and subsequently with a number of up and coming artists on the so called World Music scene. The list of well known names is simply too great to recount here. Topic Records is now the oldest independent record label in Great Britain.
If you get the chance, check the package out and if your funds allow, buy it. If you've read this far, I suspect you will not be disappointed.
Sunday, 25 March 2012
Chinese Warnings
I was fortunate enough to spend a few weeks travelling in China in 2011 and saw some wonderful sights as well as enjoying some great experiences.
One of the more humorous sights was of two signs on the approach path to Tiger Leaping Gorge on the Yangtze River. The path runs alongside and beneath steep sided cliffs and the signs were there to warn visitors of potential rockfalls.
I must have been safe as I was never passed by the dike and nor did I see Cliff running about.
One of the more humorous sights was of two signs on the approach path to Tiger Leaping Gorge on the Yangtze River. The path runs alongside and beneath steep sided cliffs and the signs were there to warn visitors of potential rockfalls.
I must have been safe as I was never passed by the dike and nor did I see Cliff running about.
Why The White Room?
You may be wondering why I chose to name this blog Musings From The White Room.
Faced with having to come up with some sort of title, I gazed out of the window with some music playing on random shuffle in the background. As Midlake's 'Roscoe' faded out, the distinctive opening chords of the next song began. It was 'White Room' by Cream.
Now 'White Room' has always been one of my favourite songs, in fact when a bunch of mates recently decided we should all do a CD containing our own Desert Island Discs, my selection included that very song. Released on the album 'Wheels of Fire' in July 1968, it was also released as a single in September that year. I love not only the melody and the performance overall, but particularly the poetic, psychedelic lyrics of Pete Brown who co-wrote the song with Jack Bruce.
I loved lines like 'silver horses ran down moonbeams in her dark eyes'. They don't write them like that any more.
Incidentally the song was originally written to be included on the 1967 album 'Disraeli Gears' but it was deemed to be too similar in style to 'Tales of Brave Ulysses' which ironically wasn't written by Bruce/Brown but by Eric Clapton and Martin Sharp.
Speaking of Jack Bruce, I will be going to see him play at the Tyne Theatre in Newcastle in a few days time. I'm sure there will be more on that to follow.
Faced with having to come up with some sort of title, I gazed out of the window with some music playing on random shuffle in the background. As Midlake's 'Roscoe' faded out, the distinctive opening chords of the next song began. It was 'White Room' by Cream.
Now 'White Room' has always been one of my favourite songs, in fact when a bunch of mates recently decided we should all do a CD containing our own Desert Island Discs, my selection included that very song. Released on the album 'Wheels of Fire' in July 1968, it was also released as a single in September that year. I love not only the melody and the performance overall, but particularly the poetic, psychedelic lyrics of Pete Brown who co-wrote the song with Jack Bruce.
I loved lines like 'silver horses ran down moonbeams in her dark eyes'. They don't write them like that any more.
Incidentally the song was originally written to be included on the 1967 album 'Disraeli Gears' but it was deemed to be too similar in style to 'Tales of Brave Ulysses' which ironically wasn't written by Bruce/Brown but by Eric Clapton and Martin Sharp.
Speaking of Jack Bruce, I will be going to see him play at the Tyne Theatre in Newcastle in a few days time. I'm sure there will be more on that to follow.
Saturday, 24 March 2012
First Published Works (Hartley Mining Disaster & Elche)
Writing is always something I have wanted to do but found little time for. Things like earning a living, raising a family and generally having fun tended to take precedent. Now, the family have grown, I have retired from my paid employment and I can only take 'fun' in small doses, so I no longer have any excuses.
I have to say that I'm not one of these people who must sit down at 8.00 in the morning and write for 4 hours. I only write when the muse strikes. Ideas usually come to me when I'm doing other things, often when I'm out walking on my own. As I have a great interest in history (local and otherwise), I was aware that 2012 was the 160th anniversary of the dreadful accident that occurred at the coal pit in the small village of New Hartley in south east Northumberland back in 1862. A total of 204 men and boys (some as young as 10) lost their lives. Almost every household in the village lost someone that day. Some lost as many as five as husbands and sons were taken.
To commemorate the anniversary, I decided to research and write an article. Once I was satisfied with it I then took the plunge and sent it off to North East Life magazine for them to consider publication.
It came as a complete surprise when I received a very quick reply from Paul Mackenzie, the editor saying he was interested in my piece and subsequently my article and one of my photographs were published over two pages of the January 2012 issue.
It was quite a thrill to see my work in print but my pleasure was tempered somewhat by the fact that my words had been severely edited. I almost felt that it was not my work any longer but at least I had a byline and when submitting further work, I could truthfully claim that I had had my work published. In the competitive world of writing and publishing, this appears to be quite important.
I have today received a copy of the Spring 2012 issue of Living Spain magazine and this contains my second published work. Spread across no fewer than four glossy pages are my article and twelve of my original photos on the Spanish city of Elche. Obviously this has pleased me but what has made it most satisfying is the fact that the words are my own as they were originally written. I now truly feel that I have had my work recognised and published. The cheque winging its way towards me is of secondary importance to the confidence it has given me to carry on.
Incidentally in case you were wondering, the above photographs are of the memorial to the miners who died in Hartley. The memorial is in the churchyard of St Alban's in the village of Earsdon, near to Whitley Bay. Most of those who perished were buried there.
You can find information about the church and village at the following website:-
http://www.northumbria.info/Pages/earsdon.html
The following are a few photos of Elche.
I have to say that I'm not one of these people who must sit down at 8.00 in the morning and write for 4 hours. I only write when the muse strikes. Ideas usually come to me when I'm doing other things, often when I'm out walking on my own. As I have a great interest in history (local and otherwise), I was aware that 2012 was the 160th anniversary of the dreadful accident that occurred at the coal pit in the small village of New Hartley in south east Northumberland back in 1862. A total of 204 men and boys (some as young as 10) lost their lives. Almost every household in the village lost someone that day. Some lost as many as five as husbands and sons were taken.
To commemorate the anniversary, I decided to research and write an article. Once I was satisfied with it I then took the plunge and sent it off to North East Life magazine for them to consider publication.
It came as a complete surprise when I received a very quick reply from Paul Mackenzie, the editor saying he was interested in my piece and subsequently my article and one of my photographs were published over two pages of the January 2012 issue.
It was quite a thrill to see my work in print but my pleasure was tempered somewhat by the fact that my words had been severely edited. I almost felt that it was not my work any longer but at least I had a byline and when submitting further work, I could truthfully claim that I had had my work published. In the competitive world of writing and publishing, this appears to be quite important.
Incidentally in case you were wondering, the above photographs are of the memorial to the miners who died in Hartley. The memorial is in the churchyard of St Alban's in the village of Earsdon, near to Whitley Bay. Most of those who perished were buried there.
You can find information about the church and village at the following website:-
http://www.northumbria.info/Pages/earsdon.html
The following are a few photos of Elche.
Friday, 23 March 2012
Abbey Road Studios
If you are remotely interested in music you are probably well aware that Abbey Road Studios are currently celebrating their 80th anniversary. As part of the celebrations, the famous Studio 2 was opened up to members of the public on select dates only. Not wanting to miss an opportunity like that, I stumped up my 75 quid and I was there like the proverbial rat up a drainpipe. Well actually I was a lot slower than the rat but that was due to works being carried out on the main east coast line causing a detour through Ely and Cambridge. Anyway, like the train, I digress.
So, what did my £75 get me? Well for me it was all about getting into Studio 2 which I am sure you will know was where almost all of The Beatles fine (nay, brilliant) recordings were created. But in addition to access to the studio, the assembled gathering (there were about 200 of us like minded individuals) were treated to a 90 minute lecture by Brian Kehew and Kevin Ryan.
In case you have never heard of that pair, they were the researchers and authors of a hefty (and expensive) book entitled 'Recording The Beatles' in which they went into detail about the techniques and equipment used in the recording of those memorable songs.
Despite the train diversion, we arrived early and after a detour to admire the house in Cavendish Avenue that Paul McCartney purchased in the mid sixties for £40,000, we were soon queueing outside the famous studios. Being a weekend there were of course the usual mass of visitors from all over the world, annoying the London cab and bus drivers by attempting to recreate the front cover photo of the Abbey Road album. Naturally this involves stopping in the middle of the zebra crossing to ensure that everyone is in step while the obligatory photo is taken. We even saw one poor bloke who had no one to take his photo so on his mobile phone, he instructed the person on the other end of the line to take a screen shot from the web cam that overlooks the crossing. Enterprising or what?
Anyway, the doors eventually opened and we filed in through that famous doorway. Tickets were checked, wristbands attached and we were then shepherded along a corridor and down a photograph lined staircase to the entrance to Studio 2. I have to confess that stepping into that hallowed space brought a flutter to my heart, and looking at the faces of those around me, I know I wasn't alone. In some respects the place looked so familiar. Like many Beatles fans I own the fine Mark Lewisohn book 'The Complete Beatles Recording Sessions' and I have pored over the photographs therein. So I was familiar with that staircase leading to the control room that ran up the wall to my right. Also straight ahead was the familiar fire exit with the clock above.
In the corners of the studio, various pieces of recording equipment and instruments had been laid out for our inspection. We were free to roam around and take as many photos as we wished. All of us were like kids set free in a sweet shop.
The lecture didn't just focus on The Beatles, but covered the whole of the history of the studios from it being taken over by His Masters Voice in 1931 right through to the current date. Utilising film, sound clips, and a nice collection of photographs from through the years, Kehew and Ryan made a fine job of their presentation. They covered the early classical recordings by the likes of Edward Elgar, through the comedy records of Peter Sellers etc. and onto the initial recordings of Cliff Richard. Into the sixties we were told stories of recording sessions by The Hollies, Pink Floyd and of course The Beatles among many others.
One of the highlights occurred when four members of the audience were invited to play a certain chord on four separate keyboards and to simultaneously depress the sustain peddle. At the end of the countdown, their fingers came down on the appropriate keys and we were all treated to that distinctive chord that occurs at the very end of 'A Day in the Life'. To hear that in the very room it was originally created and on the very same instruments. Well, words cannot describe the feeling.
Despite the cost, I felt privileged to have had the opportunity to attend. Judging by the applause at the end of the lecture and the smiling faces as we all filed out, I don't think anyone felt disappointed by the experience.
As The Beatles might have said, 'It was fab, man.'
So, what did my £75 get me? Well for me it was all about getting into Studio 2 which I am sure you will know was where almost all of The Beatles fine (nay, brilliant) recordings were created. But in addition to access to the studio, the assembled gathering (there were about 200 of us like minded individuals) were treated to a 90 minute lecture by Brian Kehew and Kevin Ryan.
In case you have never heard of that pair, they were the researchers and authors of a hefty (and expensive) book entitled 'Recording The Beatles' in which they went into detail about the techniques and equipment used in the recording of those memorable songs.
Despite the train diversion, we arrived early and after a detour to admire the house in Cavendish Avenue that Paul McCartney purchased in the mid sixties for £40,000, we were soon queueing outside the famous studios. Being a weekend there were of course the usual mass of visitors from all over the world, annoying the London cab and bus drivers by attempting to recreate the front cover photo of the Abbey Road album. Naturally this involves stopping in the middle of the zebra crossing to ensure that everyone is in step while the obligatory photo is taken. We even saw one poor bloke who had no one to take his photo so on his mobile phone, he instructed the person on the other end of the line to take a screen shot from the web cam that overlooks the crossing. Enterprising or what?
Anyway, the doors eventually opened and we filed in through that famous doorway. Tickets were checked, wristbands attached and we were then shepherded along a corridor and down a photograph lined staircase to the entrance to Studio 2. I have to confess that stepping into that hallowed space brought a flutter to my heart, and looking at the faces of those around me, I know I wasn't alone. In some respects the place looked so familiar. Like many Beatles fans I own the fine Mark Lewisohn book 'The Complete Beatles Recording Sessions' and I have pored over the photographs therein. So I was familiar with that staircase leading to the control room that ran up the wall to my right. Also straight ahead was the familiar fire exit with the clock above.
In the corners of the studio, various pieces of recording equipment and instruments had been laid out for our inspection. We were free to roam around and take as many photos as we wished. All of us were like kids set free in a sweet shop.
The lecture didn't just focus on The Beatles, but covered the whole of the history of the studios from it being taken over by His Masters Voice in 1931 right through to the current date. Utilising film, sound clips, and a nice collection of photographs from through the years, Kehew and Ryan made a fine job of their presentation. They covered the early classical recordings by the likes of Edward Elgar, through the comedy records of Peter Sellers etc. and onto the initial recordings of Cliff Richard. Into the sixties we were told stories of recording sessions by The Hollies, Pink Floyd and of course The Beatles among many others.
Despite the cost, I felt privileged to have had the opportunity to attend. Judging by the applause at the end of the lecture and the smiling faces as we all filed out, I don't think anyone felt disappointed by the experience.
As The Beatles might have said, 'It was fab, man.'
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