On 1st September I wrote about the 1970's band named Bronco that were fronted by one of the finest British vocalists ever, Jess Roden.
I first became aware of his work when he sang with a Northern Soul band The Alan Bown Set. They released a few singles and one side of an LP record which was recorded live at the famous Marquee Club in London. The album, released in 1966 was entitled 'London Swings' and the other side featured Jimmy James & The Vagabonds. I played the Alan Bown side to death and loved it for its high energy as the band tore through several soul based numbers which then formed part of their stage repertoire. After that I never missed an opportunitiy to catch them live when they played in the north east of England.
As pop music became more psychedelic, the seven piece band featuring trumpet, saxophone, keyboards, guitar, bass and drums, changed their image and renamed themselves as The Alan Bown! With Jess Roden on vocals they released one more album, the imaginatively titled 'Outward Bown' but then having recorded the follow up album in 1969, Roden decided to leave the band. His replacement was none other than Robert Palmer who recorded new vocals for the UK version of the album, though the US version was released with the original Jess Roden vocals.
Roden subsequently went on to form Bronco, then played with two surviving members of The Doors under the name The Butts Band. A band called The Rivits followed and then a trio of albums under Roden's own name. Despite being critically acclaimed as they say, none of the albums were commercially successful and for a time, Roden left the music business altogether. He re-emerged in the mid 1990's as Jess Roden & The Humans, but after one album, he disappeared again.
At the end of my last blog on the subject of Roden, I hinted that there was some very interesting and exciting news for the hard core of Jess Roden fans out there. In 2010 almost 800 pieces of music recorded by Roden were discovered in the archives. These included released works (most of which have been deleted) and many that have never seen the light of day. From these tapes, a five CD anthology has been lovingly compiled and restored and I am now told is due to be released in the very near future. This covers all of his career and the release will be strictly limited to 950 hand numbered copies. The collection will not be available through the usual outlets. For more information and a full track list, check out the Jess Roden website at http://www.jessroden.com/news.html
Neil Young certainly doesn't like to sit still. Having given up alcohol and drugs, he found himself unable to write songs. So what does he do? He decides to write a book instead.
While this book will be immensely readable to those who are already fans of Neil Young, I'm not sure that it will attract many new followers. This is by no means an autobiography of the man, though we do get insights into his life at various times. There is no clear sequence of events as Young jumps randomly from one era or subject to another in much the way he might while having a conversation. And that's the way the book comes across to me. Very conversational. It's almost as though one can hear Young himself speaking the words on the page.
Subjects which get mentioned are his two sons Zeke and Ben who were both born with cerebral palsy, his relationship with his on-off band Crazy Horse, particularly original member Danny Whitten who died from a drug overdose in 1972, his obsession with cars, model trains and his preoccupation with the quality of recorded music these days. It is in some of these areas that I have slight problems with the book.
For example very early in the book, Young forcefully offers his opinion that the quality of CDs and digital music files such as MP3, are significantly inferior to those provided by analogue recordings on vinyl. He even goes so far as to suggest that up to 95% of the total sound is lost when transferring to other formats. Whether you agree with these statements or not (I feel this may be a subject for a future blog), it is a subject that Young returns to several times during the book. Then of course, we discover the reason why. Young has himself developed a portable system which he claims retains the original quality of the recordings. Originally called Puresound, it has now been renamed as PONO (it rhymes with Ono) and it is intended that his device will be marketed in 2013. So effectively Young is using his book to publicise his own product. Nothing wrong with that I hear you cry, but it is irritating when he returns to the same issue several times within the 500 or so pages.
Notwithstanding that, I have to say that I did find the book enjoyable. I liked the conversational style and the way he writes affectionately about characters who have shared his life but who are no longer with us. He is generous in his praise of the talents of others and acknowledges when he himself might have handled things differently. Easily read in short. manageable chapters, I suspect that this book will be devoured by Neil Young addicts. But don't expect to learn anything new.
Last night I took myself off to a local cinema to see a live broadcast from Leicester Square Odeon of the premier of this film to celebrate 50 years of The Rolling Stones. The first hour was extremely tedious as we were treated to a series of people parading up and down the red carpet, posing, pouting, squeezing hands, signing autographs and generally soaking up the adulation from the crowd lined up behind the rope barrier. That crowd may have known who some of those people were, or like me, they may not. Frankly I couldn't have cared less! Thankfully after an hour it ended and so to the main event - the film itself.
I have to say that director Brett Morgen has done a fine job of piecing together the story of this band from early beginnings emulating their black American blues heroes, to the strutting, posing arena filling machine it ultimately became. Bill Wyman told how he witnessed 'waterfalls of urine' cascading towards the stage as screaming teenage girls wet themselves in their excitement. Conversely Mick Jagger explained that on the continent (Europe) the audience in the early days were largely male, who came not just to see the band, but also to riot against authority in the guise of the police. They left behind a trail of destroyed theatres. For a period of two years, the band rarely finished a concert before they were mobbed on stage, the plugs were pulled and the band members made a hasty exit. As Charlie Watts dryly explained, he hated being chased by hoards of screaming girls!
To be honest, the film included nothing that we did not already know. The band's history has already been well documented elsewhere. Where the film succeeded was in the film clips used, most of which I had not seen before, and the way that they were edited together to give a feeling for the frenzy that took place whenever The Stones were in town. There was a certain poignancy as we witnessed the end of Brian Jones's tenure within the band and shortly thereafter, the end of Brian himself. Also the infamous December 1969 Altamont concert was covered well. No punches were pulled as we witnessed the graphic scenes of violence leading to the death of Meredith Hunter at the hands of the San Francisco Hell's Angels. The band were visibly shocked by what they witnessed just yards away from the stage.
The drug fuelled early 70s followed with Mick Taylor becoming a victim of the excesses and deciding to quit before he lost his sanity or his life. Ronnie Wood slotted in nicely both musically and in terms of the lifestyle. He loved the rock and roll party life and was a great onstage foil for Keith.
Then, suddenly the film ended. I had expected to be taken at least up to the departure of Bill Wyman in 1993, but that was not to be. In all honesty I was quite relieved as the film had already covered what for me (and most others I suspect) was the period when the band was in their prime, both on record and on stage.
Overall the film does what it sets out to do and I would say that it is an entertaining couple of hours. Of course those rich enough to afford tickets for their forthcoming London and New Jersey shows, will also be guaranteed an entertaining couple of hours. Having already witnessed the boys strut their stuff twice before, I'll pass on this one.
After a rash of music related blogs I feel it is time for something completely different.
While Zinedine Zidane should perhaps be remembered for some wonderful football skills, it is regrettable, and self inflicted, that he is in fact best remembered for the infamous headbutt against Italian Marco Materazzi in the 2006 World Cup Final. Not something that should be celebrated you would think, but that is exactly what the French have done.
Erected outside of the Pompidou Centre in Paris is a brand new five meter high bronze statue of that disgraceful episode.
Whatever next I wonder. Perhaps a statue of Vinnie Jones putting the squeeze on Paul Gascoigne?
Following my post on 5th October regarding the release of The Beatles 'Love Me Do' on vinyl 50 years after the initial release, it seems that EMI have fallen foul of the confusion surrounding the different versions of that recording.
As everyone must now know, George Martin was initially unhappy with the version recorded by The Beatles on 4 September 1962 with Ringo Starr on drums. The boys returned to the studio a week later on 11 September and session drummer Andy White was drafted in while Ringo was relegated to playing tambourine. Nevertheless the version released as a single was in fact the version featuring Ringo and the version that appeared on the 'Please Please Me' album and every subsequent LP release since, featured Andy White.
The replica single released last week to commemorate the 50th anniversary, should of course have featured Ringo. However, it didn't. The version that came out was the 11 September version featuring White. Consequently that single has been hastily withdrawn and the correct version is to be issued on 22 October.
Red faces all round for EMI I would say though I'm sure that some people who did buy the single last week might find that they have a future collector's item on their hands.
Makes me wish I had bought one after all.
It was with some trepidation that I sat down to watch 'Magical Mystery Tour' screened on BBC2 on Saturday night. My disappointment upon watching it on Boxing Day in 1967 was still too fresh in my mind. Yes, even after forty five years!
I can now report that my worries were unfounded. It actually wasn't too bad.
Why the difference I wondered. Well, to start with, this was the first time that I viewed the film as it was meant to be - in colour. And what a difference that made. The sequences for 'Flying' and 'Blue Jay Way' simply did not work in black and white which was how I originally saw them in 1967.
Then perhaps the difference may have been down to my expectations. In 1967 I expected everything The Beatles did to be brilliant. Look what else they did in that year. 'Sgt. Pepper', 'Penny Lane', 'Strawberry Fields Forever' and 'All You Need is Love'. On Saturday night my expectations based upon my original experience of the film were very low indeed.
Of course the film was also very much of its time. In retrospect we now look back at that period with a degree of fondness. The very idea of a magical mystery tour was so very British and so much a product of the 50's and 60's. Back then fewer people owned cars and so a coach trip was a way for working class families to get out of the city for a day. Crates of beer would be stowed in the coach and everyone would 'enjoy' a good singsong on the journey. This had been part of growing up for the individual members of The Beatles and so the film represented a little bit of a backward glance at their own lives. And why not? They were at that time clearly searching for some other meaning in their lives. Their success when it came, came fast and left them little or no time for reflection. Hence their involvement with the Maharishi and with their increased use of drugs such as cannabis and LSD. They had also had their first collective close hand experience of death when they lost their manager Brian Epstein soon before filming began. Such things tend to make people look back at their own lives and the film does include things which The Beatles had enjoyed in their own younger days. And let's not forget that in 1967 they themselves were only still in their mid 20's.
It is true that there was no plot to the film and by their own admission, the script was made up as they went along. The film has the quality of a home movie and there were clear signs that The Beatles were far more comfortable in front of the camera than behind it. Yet now, viewed as a period piece, I think the film has a lot of quirky charm about it. And of course the music remains wonderful, as fresh today as it was then. I may not watch this film frequently but I suspect I will not leave it forty five years before I watch it again.
Incredibly it was exactly 50 years ago today (5th October 1962) that The Beatles released their first single 'Love Me Do'.
Where have those years gone?
I can still recall the first time I heard the song being played on the radio in our front room, probably in November or December 1962. I would be a few months past my 11th birthday.
I assume that it was the distinctive harmonica sound that made me stop whatever I was doing to pay closer attention, or perhaps it was the deeper voice (Paul's) singing the title words at the end of each chorus. Whatever it was, the song certainly caught my attention and I mistakenly thought the DJ at the end said that the group was called The Beatniks. Within weeks I had learnt the correct name of the group (yes, they were all called groups then, a band being something completely different) and before long we all knew the individual names of each member; John, Paul, George and Ringo.
Being a school boy with a limited amount of pocket money to spend, I could not afford to buy records then but it wasn't long before I received a present of an EP called 'The Beatles Hits' which featured 'Love Me Do' along with three other hit songs 'From Me To You', 'Please Please Me' and 'Thank You Girl'. To the annoyance of my parents, I played it constantly and so began my love affair with the music of The Beatles.
In fact, there began my love affair with music. I had always liked music and can actually remember songs that I liked when I was about three or four years old. But there is a difference between like and love as I'm sure you're aware. The Beatles opened up a whole new world for me and a love affair with music that exists to this day.
Since that first chance encounter, I have of course bought most of The Beatles singles and LPs on vinyl and then again on CD. Having first heard their records in mono, it was essential that I purchased the Mono Box Set when that came out a couple of years ago. I was not disappointed.
Now, of course the remastered albums are due to be released as they were originally - on vinyl. And of course a vinyl single is being released today of 'Love Me Do' coupled with its original B-side 'P.S. I Love You'. I won't be buying it, but I have to confess that for old time's sake, I was very tempted.
To you, the 5th October 2012 might just be another date on the calendar but to me it represents something very special. I know it is only an anniversary, but such things encourage you to look back at the past and the past happens to be a huge place. Today, I will stick on my mono version of 'Love Me Do' and will fondly look back at the years that have elapsed since I first heard the song. Where the hell did that time go?
It was Christmas 1967. They tell me now that we had just gone through the summer of love though as a sixteen year old kid, I don't remember much in the way of love. Anyway Christmas is the season of good will to all men so I played on that to get my parents to allow me to watch the TV screening of 'Magical Mystery Tour' on Boxing Day. To say that my parents were not exactly great fans of The Beatles is something of an understatement, so I deemed it a magnanimous gesture on their part, that the family gathered round the black and white telly in the living room that evening to witness this great event.
Having endured the sneering comments of my dad while we watched the former lovable mop tops end the international satellite television broadcast entitled 'Our World', six months earlier (25th June 1967 to be precise), I was expecting the worst. He had clearly not been impressed by The Beatles mimed rendition of 'All You Need Is Love'. For 'Magical Mystery Tour' I hoped he would be on better behaviour. It was Christmas after all.
You can probably guess the outcome. I suspect that what played out in our household that evening was being replicated in hundreds or even thousands of households throughout the UK. To be fair I think my dad was fairly quiet for the first half hour or so. He was probably too stunned to speak. I know I was.
I kept my eyes glued to the screen not daring to make eye contact with anyone else in the room. Inside I was squirming with embarrassment and quietly praying that it would get better. Surely it had to get better. It didn't! There's a lot to be said for the current trend of having a TV in your bedroom. At least then you can squirm in private. Back in 1967 ours, like most others, was a one TV household.
Granted the music was quite wonderful but that was it and as I had been given the gate-fold covered double EP as a present the previous day, I could play the music whenever I liked. I still can and still do. However I had no desire to sit through the film ever again.
Now, to commemorate an enhanced version of the film being issued on DVD and Blue-ray, the BBC are screening a documentary about the making of the film followed by the film itself. I admit to being curious to see the documentary but a little reluctant to sit through the film again. It was shown once before in 1979 and I chose to ignore it on that occasion. The pain of Boxing Day 1967 was probably still fresh in my mind.
I suspect however, that when it is broadcast on Saturday evening I will give the film a second chance. After all, this will be the first time I will be viewing it in colour. Forty five years on, I am perhaps mature enough to appreciate it for the art masterpiece it probably is. Surely it can't be as bad as the first time. Can it?
