Roaming some You Tube

And looking up lyrics of songs and so on, just a nice way to spend an hour:

Your beauty and kindness
Made tears clear my blindness
While I’m worth my room on this earth
I will be with you

Not a bad bit of a decent love song. In fact, that penultimate line I consider to be very good indeed. Will have to steal it at some point.

We can listen to Gary Glitter again folks

Eric Gill: can we separate the artist from the abuser?
Eric Gill was one of the great British artists of the 20th century – and a sexual abuser of his own daughters. A new exhibition at Ditchling asks: how far should an artist’s life affect our judgment of their work?

The answer seems to be aware of it and yet still admire and enjoy the art.

That’s good then, wanna be in my gang?

Entirely valid test this

So, to make things easier, I’ve invented the Sippican Cottage Musical Acid Test:

If you’re from Liverpool, and your composition is played Santuario-di-Madonna-di-San-Luca-skiffle style by five Bolognese men a half a century after you wrote it, you’re on to something with your approach to songwriting. That’s as far as I’ll go.

Akin to Bernard Levin’s idea of the historical filter.

We don’t know what it will be that survives our own cultural or artistic preoccupations and interests. But that historical filter does in fact work. We listen to more Mozart than Scalieri today and there’s nothing wrong with Scalieri’s stuff either, just Amadeus was rather better at it (or as it has been put, God simply poured his love for his creation through him).

Although we can take the odd bet on this. It’ll not be Madonna……

Well, yes

Not even the discovery that #sheeranalbumparty was a joke dreamt up by a Radio 1 DJ has spoilt my fun.

It’s a fairly obvious one given that Susan Boyle’s album was seriously promoted with the susanalbumparty tag

He’s got a point here

Another key moment for Rodgers was an argument he had with his jazz guitar teacher about the compositional merit of the Archies’ late-60s hit Sugar Sugar, which Rodgers ridiculed and resented having to play in a boogaloo covers band.

“Any song that sells and gets to the top 40 or top 10, any song is a great composition,” Rodgers recalled.

Sure, it’s manufactured schlock. And this is truly dreadful lip syncing.

It’s also artfully constructed and a rather good pop song.

Proper bubblegum music.

Slightly surprised me

Yes, I knew that George Michael was very talented. Perhaps not quite my style of music but he certainly could sing and he wrote very good pop songs (occasionally at least).

What I hadn’t know was that he was also a musician – well, obviously a singer is one of those. But on that 1990 album he’s credited as drums, percussion, guitars, bass, keyboards and horn arrangements as well. Covering that range of instruments is pretty good – especially the horn arrangements, that’s usually a very specialist task.

Would be fascinated to know which parts he played on, say, Freedom 90, if any. It sounds simple enough but it’s not actually a simple arrangement at all.

No, I’m not saying that it’s all great music rather than very good pop but still, there was more there than I had thought.

The funky drummer funks no more

It took only 20 seconds for Clyde Stubblefield to drum his way to immortality. They came near the end of James Brown’s “Funky Drummer,” recorded in a Cincinnati studio in late 1969. Brown counts him in — “1, 2, 3, 4. Hit it!” — and Mr. Stubblefield eases into a cool pattern, part bendy funk and part hard march. It’s calm, slick and precise, and atop it, Brown asks over and over, “Ain’t it funky?”

It was. That brief snippet of percussion excellence became the platonic ideal of a breakbeat, the foundation of hip-hop’s sampling era and a direct through line from the ferocious soul music of the civil rights era to the golden age of history-minded hip-hop of the 1980s and 1990s.

Though Mr. Stubblefield wasn’t enamored of the song — “I didn’t like the song. I still don’t really get off on it,” he told Paste magazine in 2014 — its mark became indelible. Public Enemy’s “Fight the Power,” LL Cool J’s “Mama Said Knock You Out,” Boogie Down Productions’s “South Bronx,” Sinead O’Connor’s “I Am Stretched on Your Grave,” George Michael’s “Freedom! ’90” and Kenny G’s “G-Bop”: Mr. Stubblefield’s “Funky Drummer” break appeared as a sample in all of those songs, and over a thousand more, beginning in the 1980s, right up through present day.

It’s not a sample here but it is copied as the basic beat of the piece:

I’m rather slow to many technical things

This Spotify is rather good, isn’t it?

Might well, next time I upgrade the computer and sound system, pay for the higher quality though some rather larger speakers.

So, I’m what, 5 years late to this party? That’s actually early for me in matters technical.

And they’ve got JJ Cale albums I’ve never even heard of!

And so farewell Mr. Parfitt

No one’s ever going to say that this was sophisticated music. But there’s probably been more boogieing on down over the years to this band than there has to almost any other.


The desire to boogie on down being on of the things we find in all and every human cultures. Well, OK, Southern Baptists oppose sex because they think dancing might break out.

Not perhaps one of the great artistes of our times but nowt wrong with being an exemplar journeyman, eh?


So then, Rory Gallagher

Youtube roaming has led to an hour or so of him.

And he could certainly play and he had if not grand vocal skills then the Lee Brilleaux point about being emphatic.

He wasn’t all that good at picking songs though, was he?

Just a super little song

Nope, not great art, but following the classic structure.

Love lost, love lost, love found, ancient Greek story structure to a bouncy beat. Why not?

My only problem is I cannot work out which of the three musicians is the Devil.

What fun, what fun

Iggy, born James Osterberg Jr, was a native of Muskegon, Michigan, who rejected the twee high-school band he was in to hang out with blues musicians and things continued from there. (His high school career itself is of course entirely irrelevant.) He describes his musical epiphany like this: “I smoked a big joint by the river and realised that I was not black.” But he did realise that he was a magnetically animal stage presence who revelled in sexy shirtlessness. He had moves like Jagger … better than Jagger.

When Search and Destroy crashes out of the screen, it sounds more terrifying than ever, and Iggy has some great commentary on it. James Williamson’s guitar, he says, fills the space like a drug dog, searching everywhere. Amusingly, he attributes his gift for pithy lyrics to a TV kids’ show presenter called Soupy Sales who asked viewers to write in – but to limit their messages to 25 words. Cheekily, Iggy contrasts this with prolix Bob Dylan, a cartoon of whom is shown droning: “Blah, blah, blah …” (Iggy Pop is one of the few people who can get away with this kind of blasphemy.) Unwholesome rock’n’roll excitement.

The fun being that the drummer and bass guitarist on Lust for Life etc were in fact the sons of Soupy Sales.

Really? You’re going to make software illegal?

Online ‘bots’ which buy vast numbers of concert tickets as soon as they go on sale should be made illegal, MPs have been told.

So-called botnets – software that automatically buys in bulk before humans get chance – push up the price of tickets for genuine fans who are forced to buy from touts with a mark-up.

Annabella Coldrick, of the Music Managers Forum, told MPs on the Culture, Media and Sport select committee that the use of bots amounted to “industrial-scale market abuse.”


Actually, a good enough joke

How You Can’t Always Get What You Want became Donald Trump’s bizarre theme song
The Rolling Stones asked Trump to stop using their song but he ignored them – and he’s not the first Republican to defy artists’ objections

These follow a certain format, these pieces in The Guardian. Nice final line today:

I would so pay to watch something like that right now. Well, you can’t always get what you want.

Do say: “But if you try sometimes, you just might find … oh God, this is a nightmare.”

Don’t say: “I groped her today at the reception.”

Rerecording that with ISteve type lyrics could well become something of a hit really. Why not, Weird Al has had a number 1 recently hasn’t he?

Human beings are funny critters

That’s currently in the Billboard 100. No, that’s it, all 45 seconds of it.

And he was realistic about the prospect of embarking on a world tour. “Let’s face it, it’s my one and only song and it lasts less than a minute … do you seriously think anyone would come?”