The Scourge of the Mobile

I had a really nice Easter weekend thanks for asking.

It might have been marred on Saturday however - nay my whole life could have been changed forever - when I narrowly avoided my first road accident in over 30 years. Only thanks to the fact that I still have decent reactions, I was not going at an excessive speed and my car did not skid, was a catastrophe averted.

And what was the cause? A young woman stepped off the pavement in front of me while staring at the small screen of her mobile phone. Making things potentially even worse was the fact that with her free hand she was manoeuvring a push chair containing her young child. So, as you can no doubt imagine, it would have been the innocent child who would have taken the main force of any collision.

I'm astounded that any parent would put their child in such danger but I am sad to say that this was not an isolated incident. There is scarcely a day that passes without me seeing such things occurring, though thankfully they don't usually require me to stamp on the brake peddle.

During a conversation with friends the other evening someone asked the question whether we would be happy to get into a computer driven car, something that appears to be on the very near horizon. I replied that personally I would feel happier to climb into such a car than one driven by one of the numerous idiots I see driving while clearly texting on their phones. At least the computer would, I assume, not be distracted by such things and would be fully focused on the task in hand.

The above incident made me wonder how children can survive the scourge of the mobile phone. Assuming that they do survive the early years of being pushed around by distracted parents, they then attend schools where all of their friends are permanently glued to their mobile phones and where, according to one article I read recently, every playground row is shared with friends via social media invariably resulting in "savagely cruel verbal attacks." The article concluded "we should weep at the damage being done to young minds and the gutlessness of grown-ups to do much about it." In my view, it is not just the gutlessness of adults; it is the fact that they are themselves setting such a terrible example. Every day without fail I see young children having to amuse themselves while their parents gaze blankly at the screens of their smartphones. Of course from about the age of eight the children will have their own mobile phones and then everything will be alright. Won't it?

From Past Archives #2:- Family - Music in a Doll's House

On this occasion I'm revisiting an album I have been familiar with since soon after it was released in July 1968 when a few of us 6th formers would hang out in the school music room at lunch times and those who could afford to purchase LP records would bring in their current favourites for our enjoyment. That was how I first heard Music in a Doll's House' the debut album by Family.

Since then I have owned the album on LP, CD and in 1999 I purchased the double See For Miles CD package which coupled the album with it's follow-up, 'Family Entertainment'. The main motivation for buying it on that occasion was the inclusion of both sides of the very hard to find first Family single, 'Scene Through The Eye of a Lens' / 'Gypsy Woman'. That record was released in the autumn of 1967 on the Liberty label and despite being hailed since as something of a classic, it failed to dent the charts. Incidentally, if you stumble across an original copy, you will probably have to fork out something like £200 for it.

At around that time, drummer Harry Overnall was replaced by Rob Townsend and in December 1967, the band commenced work at Olympic Studios, London on the tracks for what would become 'Music in a Doll's House'. The intention had been to use New Yorker Jimmy Miller as producer (he had been at the controls for the single) but although he continued to have an input, he was becoming heavily involved with the Rolling Stones who were recording 'Beggars Banquet' also at Olympic Studios. Consequently much of the production was handed to Dave Mason who was flitting in and out of the band Traffic.

Although it is often referred to as a classic of it's time, I feel that that the album has never really gained the recognition it deserves. I've lived with and loved this album for close to 50 years now and I never tire of hearing it. If I ever do get round to actually compiling a list of my top 20 albums of all time, I feel certain that it will be in there. Consequently despite owning CD copies, it was a record that I simply had to own once more on vinyl. And now I do. And if ever a record has convinced me that vinyl is the way to listen to music - then this is it. (Anyone want to buy a CD copy?) There is an awful lot going on in the tracks of this record and instead of straining to hear some of my favourite parts, I find that they now leap out of the speakers and fill the room. It is quite astonishing and the quality belies the age of this recording.

The eagle-eyed among you will however note from these photos that while the record I have is catalogue number K44057, the cover is for the far rarer original mono version (RLP 6312). I have to confess that my heart skipped a beat when I saw the cover, as the mono copy is extremely rare as well as being somewhat different to the stereo version. Oh well, perhaps one of these days I will stumble across one of those.

It is of course now a well known fact that the Beatles had intended calling what would become the double white album, 'A Doll's House' but Family scuppered that plan. Musically the album is very different from what Family would eventually become best known for though, to be fair, Family were a very eclectic band musically and were very difficult to categorise. I mean, can you imagine four more different singles than 'Today', 'The Weaver's Answer', 'No Mule's Fool' or 'Burlesque'? 'Music in a Doll's House' was far more psychedelic than later releases with tracks seamlessly running into each other and in some cases being connected by short, instrumental "variations on a theme" of some of the main tracks. The songwriting was mainly credited to Roger Chapman and John 'Charlie' Whitney though producer Dave Mason chipped in with one song 'Never Like This' which contained surrealistic lyrics somewhat akin to Traffic's 'Hole in My Shoe'. Stylistically it fitted onto the album perfectly.

The track 'Old Songs, New Songs' has on many CD issues of the album, been erroneously titled 'Old Songs For New Songs'. Thankfully, my LP gets it right. It is a great track which features jazz saxophonist Tubby Hayes and his band playing out a rip-roaring finale. The arrangement had been done by an 18 year old Mike Batt who inadvertently wrote the parts in the wrong key. The ever professional Hayes realised the error and simply transposed the parts by ear as he played along to the backing track. Unfortunately soon after the sessions, Hayes had to undergo major heart surgery and in 1973 he died while having further surgery at the age of 38.

'Music in a Doll's House' is a great album and a welcome addition to my vinyl collection.
For your enjoyment, here is the track referred to above, 'Old Songs New Songs'
Old Songs New Songs

From Past Archives #1:- Fleetwood Mac - Kiln House

My fairly recent return to the joys of collecting vinyl records has enabled me to listen to albums that I have either long since lost or that simply passed me by when they were originally released. Falling into that latter category is, the 1970 Fleetwood Mac album, 'Kiln House'.

I was a fan of the Peter Green incarnation of Fleetwood Mac and when he left the band after the wonderful 'Then Play On', I must have made the decision to stop buying and listening to their albums. Of course all that changed with the 1975 release of 'Fleetwood Mac' the precursor to the earth shatteringly successful 'Rumours'. I then revisited some of those so-called  "wilderness years" Fleetwood Mac albums but somehow 'Kiln House' always evaded my attention.

Perhaps it was the reviews at the time which were not terribly complimentary about the album. With 'Then Play On'. Jeremy Spencer had been in competition with the songwriting skills of Peter Green and Danny Kirwan. He lost the battle and consequently played only a minor role on that album. The departure of Green enabled Spencer to take more of a leading role and for 'Kiln House'; the writing credits are divided fairly evenly between him and Kirwan (aided by the other band members). Once he had overcome his Elmore James obsession, Spencer turned his attention to 1950's rock and roll and a popular part of the Fleetwood Mac live act involved him doing a very passable imitation of Elvis Presley. This is carried onto 'Kiln House' from the opening number 'This is a Rock' which recreates the sound of the young Elvis during his Sun Records period. The country ballad, 'Blood on the Floor' could also be Elvis and the Side 2 opener 'Buddy's Song' is little more than a list of Buddy Holly quotes set to the melody of 'Peggy Sue Got Married'. Despite being written by Spencer, it gets credited on the album cover to Ella Holley, the mother of Buddy.

The Jeremy Spencer compositions are all pleasant enough but it is the writing of Danny Kirwan that really give this album a lift. 'Station Man' fades in very gradually and is a gentle rocker featuring nice slide guitar and some fine drumming from Mick Fleetwood. It was a song that Fleetwood Mac would return to and perform live during the early Buckingham/Nicks years.

Side One of the album ends with 'Jewel Eyed Judy' which is credited to Kirwan, Mick Fleetwood and John McVie though Fleetwood later claimed that the words were actually written by his wife Jenny and Christine McVie about a close friend of the band, Judy Wong who later married Jethro Tull bassist Glenn Cornick.. It is one of the most beautiful pieces on the album with a gorgeous melody and a catchy refrain. The track was issued as a single backed by 'Station Man' but incredibly failed to chart. Incidentally, Jenny Fleetwood was the former Jenny Boyd, a sister of Patti Boyd who famously married George Harrison and Eric Clapton and inspired songs by both. Patti clearly wasn't the only muse in the Boyd family as the Donovan song 'Jennifer Juniper' was written for Jenny. 

Kirwan also demonstrates with 'Lady Gray' (sic)  that he can write an instrumental to rival the beautiful Peter Green number one hit, 'Albatross'. Another highlight of the album is the final Danny Kirwan track 'Tell Me All The Things You Do' which allows the band to really rock out and features some great guitar work but also demonstrates what a fantastic rhythm section Fleetwood and McVie were. Try listening to this without your feet tapping and if they don't, check that they aren't nailed to the floor.

Although uncredited on the album, Christine McVie (formerly Christine Perfect) was recruited on piano and she would subsequently become a full member of the band, being of course the wife of John McVie. She also created the striking artwork that adorns the cover of the album. It would appear that someone bought her felt pens and crayons for Christmas that year.

This album was the first release by the band on which they totally abandoned the blues that had dominated their earlier recordings. Neither Spencer nor Kirwan would last that much longer in the line-up but with 'Kiln House' they had clearly pointed the direction in which the band would move en route to the massive commercial success they would ultimately enjoy with 'Rumours'.

I have been listening to the album a lot over the past few weeks and have been thoroughly enjoying the experience.  I now wonder how it took me 45 years.

Every Weekend Should Be Like This

Spring arrived and best of all, the family were reunited.

This is just the male side - three generations of us.

Brilliant!

RIP Keith Emerson

I discovered last night that Keith Emerson had died and have awoken this morning to the even more tragic news that he may have committed suicide. I understand that he was suffering from a condition that made it impossible for him to play his beloved keyboards and consequently chose to end his own life. If true, this is very sad indeed.

I confess that apart from the first album, I was never much of a fan of Emerson, Lake & Palmer but I certainly appreciate what an immense talent, Emerson was. I did quite like his earlier band, The Nice and was fortunate to see them live in the late 1960's performing at The Plaza Ballroom in Tynemouth. To say that he was a showman is a massive understatement.

Emerson is just the latest in an ever growing list of fine musicians who have been taken from us this year. Another signal to us all that we should hang onto life and enjoy every moment while we can.

RIP Sir George Martin

It is with a very heavy heart that I write these words after waking this morning to hear the sad news of the passing of Sir George Martin.

Like many others of my generation, I grew up listening to the music of The Beatles. During those heady days of Beatlemania, it was all about John, Paul, George and Ringo but we gradually came to realise that a great deal of what they achieved on record was down to their producer George Martin.

I firmly believe that without him at the helm, their recordings would have sounded very different and certainly albums like 'Revolver' and 'Sgt Pepper's Lonely Hearts Club Band' would never have come about. For George Martin had the unique ability to understand the sounds that The Beatles wanted to create and he had the musical and technical talent to make it happen. It was a perfect partnership and they were fortunate to find each other. 

RIP Sir George, and thank you for all that wonderful music.

Pop Music Sets a Bad Example About Growing Old.

It would appear that popular music is derogatory about growing old, or so claims a piece of research conducted by Jacinta Kelly, a senior nursing lecturer and her team at Anglia Ruskin University.

I confess that I have not read the full report (published in the 'Journal of Advanced Nursing') but from what I can gather, the research team trawled a database of songs from the 1930's to the present and found 76 songs making reference to old age, of which 55 made "negative" references. A pretty high proportion I will admit. But what exactly were these negative references?

Well, it would appear that the worst offenders were Pete Townshend's famous line from 'My Generation', which proclaims "I hope I die before I get old." Then even The Beatles get criticism for the song 'When I'm Sixty Four' which appears upbeat and harmless but which contains the lines
"When I get older, losing my hair, many years from now
Will you still be sending me a Valentine, birthday greetings, bottle of wine?"

The research opines that to question whether someone will still be lovable in their old age is, to use the words of Jacinta Kelly, "concerning".

Paul McCartney wrote the song 'When I'm Sixty Four' when he was only 16 years old, so I'm sure that any clumsiness in the lyrical content can be forgiven. But is it really so bad? After all the song is just a young man addressing his lover and considering them growing old together. Is that so wrong? McCartney's father Jim was 64 when the song was eventually released in 1967 and I wonder if he found it offensive. I somehow doubt it as he would have seen it for what it was, a cute novelty song in the music hall tradition in which the elder McCartney had been involved and which Paul himself had grown up with.

Had the research picked up on the fact that the singer of the song (the male) mends fuses and digs the garden while the woman knits sweaters and prepares the meals, I could have understood any perceived criticism of sexist stereotyping. 

I was 16 myself when I first heard the song and found it mildly humourous though the joke wore thin after two or three listens. I certainly didn't find it offensive then and now that I'm the very age referred to in the song, I can say with some authority that I still don't.

The report concludes that the message from such songs is that the elderly are "frail and a burden" and because popular music is very pervasive, the portrayals of old age could reinforce negative stereotypes. And this is "concerning" to the research team.

What I find concerning is that the research team appear to consider people of my age to be frail or a burden. Also I am concerned by the fact that time and money have been spent on such futile activities. Do these people have nothing better to do?

I Do Like To Be Beside The Sea

I hear that there is sleet and possible snow back home.

Do I care?

Not a bit!

Of course all that will change when I touch down in the UK tomorrow.

Rex Hotel, Whitley Bay

I read in a local paper recently that the Rex Hotel in Whitley Bay is due to close. This will mean absolutely nothing to those of you that do not reside in the north east of England but I felt compelled to scribble a few words because of what the hotel represented for me during my formative years.

For it was in the downstairs ballroom that I first got to see a number of local bands and a few more well known names from farther afield. Among the latter were The Alan Bown in 1969 who had recently replaced vocalist Jess Roden with Robert Palmer, who of course in later years would go on to greater commercial success. Another band I saw there were Family who played a great gig supported by Raw Spirit on 30 October 1969. Local legends Lindisfarne were regulars there but before teaming up with local folk singer Alan Hull. At that stage, they were a blues band performing under the name of Downtown Faction. 

The venue had two stages, one at each end of the massive dance floor. This meant that both the main band and the support could be set up and there was no need for a lengthy break between acts while the sets were changed. There was some seating beneath the overhanging balcony but the majority of seats and tables were on the balcony itself, overlooking the dance floor and stages. I also remember the barman (Don I think he was called) who served up either Newcastle Brown Ale or a mixture of Jubilee Stout and cider which was known as a Black Velvet. (Actually I have since learned that this is a poor man's Black Velvet as the real thing is made with Guinness and sparkling wine). 

Once I was old enough (17) to blag my way into licensed premises, the Rex was my usual haunt on Saturday and Sunday nights. It was very much a part of my musical education and gave me a love of live music that endures to this day.

In recent years I think the hotel itself has had it's share of adverse publicity. Despite it's prime sea front location, with wonderful sea views, the place is obviously in need of renovation and failure to secure the necessary funding has resulted in the closure. Nevertheless, because of my own associations with the building, I will be very sad to see it go. I hope it doesn't join the ever growing list of local music venues that have been demolished. These include Newcastle's Club-a-Gogo and Mayfair Ballroom, the Tynemouth Plaza and the Whitley Bay YMCA.