The iPack - Songs For My Wake

The iPack is, as you know, a Boy's Own Thing. A group of us - there were six but now there are four - and each month one of us bequeaths a title. We all go then go off a interpret a CD that, to us, reflects that title. And, if we like, we write a little explanation. And then maybe post them on our Blogs. So...


SONGS FOR MY WAKE – SAPPHIRE BULLETS OF PURE LOVE

Songs For My Wake – a trip through a life tragically cut short by that freak accident involving a cheese grater, a Roman Candle and a small black and white cat called Bonnie.



VIRGINIA PLAIN - ROXY MUSIC
I once interviewed Gary Kemp of Spandaus and we were talking about formative influences. We came to the conclusion that if you were our age – and we were basically the same age – you were either formed by seeing Roxy Music do Virginia Plain on Top Of The Pops or seeing David Bowie do Starman on the same show. He chose Bowie, I chose Roxy. Maybe I knew I was never going wherever Bowie was at, but Roxy… that looked interesting. Better song, too
The idea that the death of Top Of The Pops was the death of popular culture as a meeting point is something I’ve banged on about before. Top Of The Pops was, for kids now, a curious phenomenon. The only place where a pop culture could make a splash, the only place the only time. It’s inconceivable now. There are so many outlets – so many places where you can access new stuff it seems strange that there was once one place – and one time a week – where that might happen. Back in the day, someone like Ferry could take a concept and build it and build up to that moment when it would work: that Top Of The Pops performance. He knew – Bowie knew – that if he did it right then, all the kids would be talking about it in the playground the next day. One performance – three minutes on the telly – that’s all you’d need. There’s nothing like that now.
It’s a funny thing, looking back like that. I wonder whether kids will ever have that sense of wonderment again. Looking at the telly and thinking “What the…?”

KING TUBBY MEETS ROCKERS UPTOWN - AUGUSTUS PABLO
So there was a bloke at school called something like Anthony Skolopozinsky. Something like that. Everyone called him Scollop. He was OK, a bit of an oddball, but OK. I can’t remember how or why, but I went to his flat. A dull council block in Hackney. His room though… boxes and boxes of reggae 12”s. I wish I could remember the story of how this 13-year-old Jewish boy from a dull council block in Hackney turned from a bit of an oddball to Jah Scollop but… I spent the day there being educated. And went back. I think that was the first time I heard this tune. Immediately I recognised it for what it was: the finest tune ever recorded. Don’t ask why or nothing. It just is.

FREEDOM IS FRIGHTENING – STOMU YAMASH’TA -
This boy called Geoffrey Myers joined school. He was a bit different. I can’t remember exactly why, but he was odd. Got thrown out of school not long after he arrived. I can’t remember exactly why. He was blonde – and there weren’t many blonde kids at school (it’s not a popular Jew thing) so… maybe that was it. Anyway. I hooked up with Geoffrey Myers and he took me to the Roundhouse. I’d never been before. I remember walking in and it was like a wonderland. There was this long-haired bloke who’d proclaimed himself Jesus and put on sandwich boards telling us all that we were saved. Strange characters. Weird scenes inside the goldmine as someone else once said. We went upstairs and sat down with the hard core hippies, smoked their dope, felt sick. I remember seeing all sort of bands during this period – Curved Air, Alex Harvey, the mind-blowing Hawkwind, but the thing that stands out was Stomu Yamash’ta’s Red Buddha Theatre. A theatrical troupe prancing around in a traditional manner and behind them this mad percussion-based band. It’s art, innit.

SAPPHIRE BULLETS OF PURE LOVE - MAHAVISHNU ORCHESTRA
There was a period in the early to mid Seventies where it all went a bit prog. Look, I’m a middle class white boy: it happens. I saw Yes doing Topographic Oceans, Genesis doing Lamb Lies Down On Broadway and all manner of nonsense. The straw snapped when I was taken to see ELP at Wembley and saw nothing except one of the drummer’s arms. Enough. So I holed up and took refuge in what was called jazz fusion. Weather Report, Herbie Hancock, Chick Corea, Miles. I had a particular soft spot for John McLaughlin and his Mahavishnus. Live, it was head-spinning. Mad and very funny. A famous music writer once wrote “Why judge a guitar solo by the speed with which it is played? You wouldn’t judge a novel by the speed with which it is written”. I couldn’t disagree more. The Mahavishnus. Practically perfect in every way.

MOONSHAKE - CAN
So the mid-Seventies. There was the art pop stuff, but that had gone off when Eno left Roxy (Sorry Martino – but it’s true). There was the Roundhouse hippie thing and the Scollop inspired reggae. And there was what was called KrautRock. Can were mesmeric (see A Song For Europe compilation) throwing rhythmic shapes around like aural graffiti, hitting a groove and rocking it, trance-style. One of these compilations I’ll sneak on something from Soon Over Babaluma. Can even had a hit single.

MASCULINE GENDER - RANKING TREVOR
Much of the Seventies was characterised by sitting in my room and listening to John Peel. As Tom Jones once said, it’s not unusual. You heard all manner of strange stuff there – Ivor Cutler, Sir Henry at Rawlinson End, and bags of reggae. Ranking Trevor was mid to late Seventies and has always stuck in my head. Maybe the name stood out – Trevor never seemed much of a name for a Rasta dude, but it’s a fantastic tune.

WHAT IN THEWORLD – DAVID BOWIE
Listening to John Peel and getting stoned. “Jeremy. You look dopey” as my mother once said.

ONE CHORD WONDERS - THE ADVERTS
Punk was very funny, and after all that really quite serious mid-Seventies stuff (both musical and life) an astonishing breath of fresh air. I kinda knew it was going to come – I’d seen Patti Smith and The Stranglers at The Roundhouse, but not sadly The Ramones – but still. The thing with punk is that I was close, but not that close. The same time Johnny was doing his audition at Sex… There was a second hand clothes shop on The Kings Road called Eat Your Heart Out which sold very fine old zoot suits a few doors away from Sex, just round the bend. I used to hang out in this shop, happily ignored by everyone in there – they were far cooler than a boy like me – blissfully unaware that about 10 yards away there was a social revolution being hatched. Frankly, I was more interested in whether the jacket had six buttons or four. Similarly the punk band I latched onto was The Adverts - I went to see them Saturday nights at The Nashville – possibly the least cool of all the early punk bands. One question: did the Clash have Gaye Advert?

REPITITION - THE FALL
Was there ever a band like The Fall? No. Never was, never will be. This was the song that convinced me of their greatness. The B-side of their first single. Frankly startling. The Fall were the reason (along with Joy Division and the side-fact that it was the only college in the western hemisphere to offer me a place) that I went to Manchester Poly. How many Fall gigs did I see there? What can I tell you? I got a third. I once dragged Sarah and Catherine to a Fall gig at Manchester University. I don’t think either spoke to me for weeks. Obviously they were so grateful they didn’t know quite what to say. It reminds me of the time I finally got to take out Perry Burns. I was maybe 15. I’d been dancing round her maypole for ages and she finally relented. In time honoured teen boy fashion, I decided to take her to the cinema. (Listen, we’ve all seen the popcorn scene in Diner). Anyway I thought I’d show her how sophisticated I was and took her to see Last Tango In Paris… That went down well. (Which is more than you can say for her…)

DO THE DU - A CERTAIN RATIO
Manchester was supposed to be all about Joy Division and in a way it was. I saw them there more than a few times and, seeing Ian Curtis on stage, it wasn’t a total surprise that he topped himself. But really our band was ACR. They were locals and we got to know them a fair bit. Mick better than me. He played football in the same team as them. They had this club, The Beach Club, which was a house in a street. The lounge was the stage, a bedroom upstairs the bar. We saw U2 at the Beach on their first UK tour, helped them load their gear at the end of the night. ACR were properly one of us. Never did understand why they didn’t hit big.

NEVER UNDERSTAND - THE JESUS AND MARY CHAIN
This kinda summed up my feelings about Eighties music. It largely passed me by. It looked good and everything was seemingly in the right place, but there was no… middle. No soul. All that faux jazz, it left me cold. JAMC were the perfect antidote to all that perfect smooth-edged pop where production values were more important than heart. They had better tunes too, though nobody ever cared about that.

ACKNOWLEDGEMENT - JOHN COLTRANE
All through this journey, rhythm took precedent over melody. The grooves of Can. The heartbeat of dub. Looking back, I wish I had been more of a disco head – it sounds more fun than anything else. But I wasn’t. I can’t remember a single Eighties band I cared about. The Smiths I only ever cared for after the event. There was the odd rap tune I locked into, but I didn’t dig the posturing. Reggae moved into syrupy lovers and shouty dancehall. So I took refuge in jazz. Jazz had all the ingredients that the Eighties lacked. I was going to pick Eric Dolphy’s Out To Lunch, undeniably the last great acoustic jazz album, but in the end plumped for this. You can’t argue with it. And at a wake… it’d be perfect.

PURE (ENERGY) – GTO
Then I found myself in Tokyo. That’s a story for another CD but consider this. We walked into the Maharajah Palace, and were immediately dubbed ‘The Two Fat Yuppies’. That went down well. I walked into the lounge, a louche parlour where bodies were sprawled all over the place. I asked a young hunk, a Canadian called Bradley, what the story that night was. “We’ll go to Gold and take some acid”. I’d never had any acid. Then again, I’d never been to Gold before. Or Tokyo come to that. So I went. I walked in, and took some acid that Bradley gave me. The whole place was full of dry ice and this was playing. Hearing it now, it sounds kinda mild, but at the time… it took my heart. And the next three years.

MOVIN ON UP - PRIMAL SCREAM
Now Kevin was a boy. He lived at one end of the corridor upstairs, I lived at the other end. You walked down the hallways and heard endless variations of the same techno tune and you bounced along till you got in your room and put on your own variation of that same tune. Kevin had a knack of getting hold of CDs as opposed to DJ mix tapes. He had his own method of shopping. And one day came back with this. The whole house listened.

TAIYO – PRANA
Return to the Source. It was the soundtrack to the early-mid Nineties. Side one was up, side two was drifty. Side two was Elly’s sleeptime music. Like Pavlov’s Dog, it sent her where she needed to go. My mate Tsyoshi was Prana and the mover behind Return. Years lost. Happily.

ADAGIO FOR STRINGS - SAMUEL BARBER
We got married to this.

DEAD MELODIES – BECK
Six years as a music critic. How lovely. Every day Postman Pat would appear with a bang of jiffys, and every day my throbbing pile of CDs to sell grew and grew. We got a good few family holidays every year out of those CDs. The curious thing was just how many CDs were released, seeing the way it all worked. How long a new band got, how they were marketed, the numbers that made it viable. Every so often there was someone who did it their way – that made it worthwhile. A letter was published in the Express saying how this person had never heard of Jah Wobble and thanks to the music page, they now had. Maybe that would have been more pleasing had I not been Letters page editor as well as Music critic.

GOOD SONG – BLUR
The best band of the Nineties, the band that defined an era, Blur were as sharp as a tack and slippery as a slick. Beck, Blur and the Scream made that music critic job worthwhile.

DOOM'S NIGHT - AZZIDO DA BASS
So then it was Sorted – the mudma years. It was kinda invigorating working for a youth title with a load of up for it Twentysomethings. Tiring but invigorating.