10:50 p.m. Walk on By: The Story of Popular Music
11:40 p.m. Sounds of the Sixties
I’d discovered the second programme first, a wonderful trip down memory lane every Friday night for me, in all its black and white psychelic glory. Those around my age will understand what I mean.
Some Friday nights, I would tune in earlier and notice a similar programme, also in black and white, but featuring musical eras earlier than what I grew up in. Then, this evening, it all changed.
As usual, I’d tuned into Astro 26 earlier than 11:40 p.m. The programme was in colour this time, and taking centrestage was a familiar long-haired singer with guitar and harmonica … Neil Young! Singing what is probably his biggest hit, “Heart of Gold” . Gotta watch, gotta watch …
As if Neil Young was not enough, other singers featured on the programme included America ( “A Horse with No Name” , “Ventura Highway” ), Bill Withers ( “Ain’t No Sunshine” , “Lean on Me” ), Joni Mitchell ( “California” ), The Flying Burrito Brothers ( “Sin City” ), The Eagles ( “Take It Easy” ), and The Band ( “The Night They Drove Old Dixie Down” ). Wheeeeeeeeee … looks like this story of popular music has entered the 60s, which makes it a must-watch from now on.
Onto the next programme, Sounds of the Sixties. The first singer to appear tonight, Sandie Shaw, gave me an inkling of who else to expect in the rest of the show. And I wasn’t wrong - the artistes included the late Dusty Springfield, Long John Baldry, Tom Jones, Cilla Black, and a very bouncy Cliff Richard (before he was “Sir” ) singing Britain’s entry to the 1968 Eurovision Song Contest, “Congratulations”. But it was the last singer and his song that really floored me and had me in tears even after all these years.
After the show, I came online to search for the song on YouTube, and found a version from a German show, Beat Club. Now that’s another stop along my memory lane. During the May 13 curfews in 1969, RTM had put on an interesting line-up of shows to keep everyone happy in the safety of their homes. One such show was Beat Club, featuring a popular UK radio deejay, Dave Lee Travis, and a German girl, Valerie. This was where we saw a lot of our favourite British pop stars - even the likes of Crazy World of Arthur Brown (I am the god of hellfire and I bring you … ), and Dave Dee, Dozy, Beaky, Mick and Tich (”Legenf of Xanadu”, complete with whip - anyone remember them?). This was where my sister first saw Cliff Richard, and screamed when she did, which prompted a scolding from my uncle (”Do you want the soldiers in here?” ), but I digress.
So here is Peter Sarstedt singing “Where Do You Go To, My Lovely” , and introduced by the German host of Beat Club, Valerie. The last couple of verses was what brought the tears.
Awesome music video. Finally found it on YouTube. I remember crying when I first watched it. Even my sister stopped to watch - must have reminded her something of her youth, and what she missed because our father was so strict. Haha …
This time, it was to Hong Kong, to see Hong Kong mega-star Paula Tsui in concert.
There was more to the trip than just the concert - I was there to personally hand to her the various items Janis had signed for her at the UK LRC in April this year. Reposting below what I’ve already posted at the Janis Ian message board.
It used to be we would hear a song on the radio, and if we like it, go out and buy it, and eventually the album, too.
In the case of Janis’s new album, Folk is the New Black, there’s been a lot written about it on her discussion forums as well as links to reviews shared by forum members. I’ve consciously tried not to read these various reviews before hearing the album myself as I did not want my response to be affected by what others say about the various songs.
So I finally got my copy of the album after the first order went AWOL in the mail. Janis was kind enough to insist on sending me a replacement set (I’d ordered three - one for myself and two for friends) and by FedEx, too.
The CDs arrived yesterday morning. A digital copy went into my computer but I did not pay too much attention while the songs were being transferred. It wasn’t until the drive home after work that I got to give my full attention to the album and to drink in the full measure of her voice, her music and her words.
I listened to the album the way I used to do it - from beginning to end, no skipping, no random tracking. Here is a run-down of my first response to some of the songs (and particular lines in them) that have jumped out and grabbed me during that drive home.
“Danger, Danger”
My face broke into a big smile when this song started playing. It’s a very familiar song, used to be called “Rate my Music” but now renamed “Danger, Danger” , with some of the lyrics left intact but some new lines added in, too.
I broke into a crazy laugh when I heard this line:
It ought to be a felony
to practise such stupidity …
“Life Is Never Wrong”
You don’t walk another man’s path
You don’t sing another man’s song …
The road is never straight
The way is always long
But one thing I can say before I’m gone
Life is never wrong
“Jackie Skates”
This song brought tears to my eyes, even though it was the first time I heard it. The haunting melody combined with the words to bring home the loss of life.
It was Jackie called the parents
It was Jackie won the prize
It was Jackie fed the silence
When they could not meet his eyes
It was Jackie took the body
It was Jackie packed her stuff …
“The Drowning Man”
There once was a girl
Every story starts that way
She lit up my world
like a fireworks display
And the flame drew me near
but it frightened me more
so I met her with water
and I rained ’til I poured
“The Crocodile Song”
It was not all pain and sadness on the album; there was comic relief, too.
“Good God Almighty, those teeth are huge
No way I’ll do the hokey-pokey with you”
So they went to the dentist
who pulled all but two
Ain’t it amazing what love can do …
….
She said “Good God Almighty, those nails are huge
No hanky-panky or it’s jail for you”
So he pulled them all out
just as fast as he could chew
Ain’t it amazing what love can do …
“My Autobiography”
Another familiar song but not because it’s an old tune reworked and renamed, but because she’d been working on it much of last year and playing it in her concerts and other shows and radio interviews, too. It’s a fun song, tongue-in-cheek …
What this world needs is a lot more me
“Joy”
This is probably my favourite from the album, a very simple song with a simple arrangement and a chorus that’s deceptively “simple” (just one line repeated three times), but is in fact what I can only describe as the folk equivalent of a full orchestral “lush” .
“Joy” is also a song you want to send to family and friends because the lyrics are so full of goodwill and intentions. In fact, I’m going to send it to a friend for her birthday tomorrow.
No extract will do it justice, so here are the lyrics in full:
I wish you roses in the spring
Fledglings on the wing
Fireflies that sing your name
I wish you flowers in the grass
Memories that last
Shelter from the passing rain
I wish you joy
I wish you joy
I wish you joy
I hope the wind is at your back
keeping you on track
That you never lack for love
I hope you walk beside your heart
even in the dark
guided by the stars above
I wish you love
I wish you love
I wish you love
So wherever you may roam
out there on your own
home is just a heart away
After “My Autobiography” , my attention kind of wandered so I never really listened to the rest of the album, except for the title song “Folk is the New Black” (and of course “Joy” ). Maybe I was tired, or maybe the album is a little too challenging for me, but mostly I think it is a very intense ( “raw” and “honest” are two words that come to mind) album that requires a few listens (in the old days, we’d call it “spins” but you don’t spin a CD, not the way you spin a record) to settle in, as well as full, undivided attention.
Of course, I listened to it on the way to work this morning but from the top, so that by the time I got to “My Autobiography” , I’d reached the office. This evening, I will break my own rule and resume the album from where I left off this morning. Hopefully, the other songs will register better than they have so far.
From the sleeve notes:
All lead vocals recorded live.
Do not try this at home
Genuine record collectors will probably cringe at the sight of how I’ve arranged my LPs, EPs and SPs, but I find this is the best way to show off the record cover art.
Yup, that’s my record collection, all 200-odd LPs and nearly 400 EPs and SPs. Plus three or four 78s (upper shelf, left side) that belonged to my father and which I have no idea what the content is.
I doubt many of my records are of playable condition; I’m keeping them for the cover art, especially the LPs which, at 12-inch square, are of a size big enough for record cover art to be seen and appreciated. You don’t get that kind of size on CD covers these days.
Can you recognise any of the records in the picture?
Upper shelf, left to right - Chinese 78; Lulu & The Mindbenders To Sir, With Love (EP), Mama Cass The Worst of Mama Cass (EP), Jane Birkin Je t’aime … moi non plus (SP, and a pirate copy since the song was banned in Malaysia at the time)
Lower shelf, left to right - Elvis That’s The Way It Is, Janis Ian Between the Lines (a recent acquisition together with the Japanese CD version), Motown Performers of 1973
The thing about this arrangement is I can change the front record for a different one anytime I feel like it.
Okay, a bit of record history lesson for those of you not old enough to know what I’ve been talking about here.
In the days before CDs and cassettes, there were records. Each record has two sides, Side 1 and Side 2.
Singles (or SPs, single-play) had two songs, one on each side.
EPs (extended-play) had four songs, two on each side.
LPs (long-play) had more songs on each side; depending on the duration of each song, this could average 6 songs to a side.
Singles and EPs were 7 inches in diameter and played at 45 rpm (revolutions per minute), while LPs were 12 inches in diameter and played at 33 and 1/3 rpm.
In addition, there were maxi EPs that had six songs, three to a side. There were also some 7-inch records that were in-between an SP and EP, as they featured an extra long song on side 1 and two shorter songs on side 2 (which is what the Jane Birkin record is - one long song on side 1, and two songs on the other side - edited).
As for LPs, some prolific singers would produce double LPs, and even triple LPs. The first LP I ever bought with my own money (well, ang pow money) was the late George Harrison’s All Things Must Pass in 1970. He was the first Beatle to release a solo record after the group broke up. The record was also one of the first triple LPs to be recorded and released.
