Once in a while there comes an album that is so musically perfect and so in tune with its times that you know on one listen that it is destined to be a classic. Such is Freedom Highway, the second collection that Rhiannon Giddens has released under her own name. It’s songs are drenched in her country’s history while speaking directly to its troubled present. There is horror here, but inspiration too.
On this day in 1907 WH Auden was born. His poem ‘September 1, 1939’, written in a bar in New York at the outbreak of war, seems to chime with our own time (even if he later disowned the poem, saying it was ‘infected with an incurable dishonesty’). And on this day in 1933, Nina Simone was born. ‘I wish I knew how
it would feel to be free; I wish I could break all the chains holding me,’ she sang, while in her song ‘Revolution’, after a lifetime of tireless advocacy for the civil rights movement, she saw in the demand for Black Power the challenge to continuing racism, inequality and repression in the United States: ‘The only way that we can stand in fact/Is when you get your foot off our back.’ And now, written this month we have a superb poetic response to the present situation in America from Joanna Clink.
A Klezmer-ish night out? Why not – especially when the venue is one of the most beautiful buildings in our neighbourhood. Klezmer-ish are a group of four musicians whose day job is with the Liverpool Philharmonic Orchestra. They play klezmer, but at the same time (thus the -ish) explore a wide range of music created by immigrants from all sorts of places around the world – from Argentinean tango to gypsy jazz and Irish fiddle music. Last night they were performing in the dazzling Princes Road synagogue.
Continue reading “Migrant tunes: a Klezmer-ish night out at the local synagogue”
I had already read Jon Savage’s book 1966: The Years the Decade Exploded and seen the V&A exhibition, You Say You Want a Revolution? Records and Rebels 1966 – 1970 when, just before Christmas, Steve Turner’s book, Beatles ’66: The Revolutionary Year, fell into my hands. Would I be up for a return trip to the year now regarded as a turning point, not only in music but more widely in culture and politics? Could Turner turn a chronicle of the Beatles’ day-to-day activities that year into a readable and engrossing narrative? The answer was resoundingly affirmative. Continue reading “Beatles ’66: The Revolutionary Year Steve Turner’s book about a pivotal year in the life”
Last caught I finally caught up with a local musical phenomenon. John O’Connell’s Simply Dylan band has been amassing a growing following on Merseyside and then around the country since beginning as a modest project in 2011 to celebrate Dylan’s 70th birthday. After selling out the Cavern Club six times and several successful UK tours, I saw their rousing show at the Citadel in St Helens.
I’ll admit to a degree of scepticism before the show: though I’d never contemplate going to a show by the real Dylan anymore (voice shot, too many Frank Sinatra songs), I thought it unlikely that a show of Dylan covers would move me. But it did: Simply Dylan are Simply brilliant.
Continue reading “Simply Dylan: simply brilliant!”
The other day I went along to our local Picturehouse, drawn by what I anticipated would be a new film portrait of the late and incomparable Leonard Cohen. What I got was a lesson on the increasing unreliability of my memory: as soon as the opening credits began rolling I realised that I had seen Leonard Cohen: I’m Your Man not just once, but probably twice before, perhaps on TV.
No worries, though: the film, which combines segments of an extended interview with Cohen and performances from a tribute concert at the Sydney Opera House in January 2005, is one I was happy to sit through again. It’s always a pleasure to listen to Leonard’s wry assessments of his life and worth (one of his best is here: ‘My reputation as a ladies’ man was a joke. It caused me to laugh bitterly the 10,000 nights I spent alone’), while the cover versions are generally (though not always) interesting, even revelatory. Above all, there is the best cover of ‘Anthem’ (which gives this blog its title) by Cohen’s regular backing vocalists, Perla Batalla and Julie Christensen. Continue reading “Leonard Cohen I’m Your Man: not a perfect offering”
Something I’ve remarked on before is that these posts don’t properly reflect the ubiquitous presence of music in my daily life. Occasionally I do mention a new album that has made an impact, and I do record here all the live music events that I attend. But there’s always so much more. So here is a roundup of some of the music which I have particularly enjoyed in 2016. The post ends with a playlist of the music mentioned. Continue reading “The music in my head in 2016”