Keddie Oak: Play Your Fave Song Willow, Joan Armatrading

Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby chrisAAA » Wed Dec 27, 2017 1:42 pm

Wow, beautiful song. Tragic to learn that he's no longer here, and it's especially bitter when the soul lost had found a way to share their unique perspective through music.


Fascinating to hear your stories about the Kinks and Pete Townsend. This one's a favorite of mine that he did, with the also incredibly talented Ronnie Lane (Faces, Small Faces). The story of why he did it -- out of love and respect for an artist he truly admired and considered a friend -- is also sweet.

Also loved this early demo of Pete's Behind Blue Eyes.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Dec 27, 2017 10:05 pm

Ronnie's my guy, my hero. I first heard him through Townshend's albums. "The Poacher" fucked me forever. He was speaking to me about rubbish I didn't give one fuck about: theology, reincarnation, Meher Baba babble. It was his voice, not his singing but his VOICE as a human stating things in his unique way. Damn, he was talking a language I understood and liked. And I was the only one in the whole world that knew of him. Trust me, finding your own music is one way to stay the fuck away from idiot cliques. Those morons were cheering on Styx and Journey when I was looking for the Fugs.

The BBC doc I made was about Ronnie, called "Passing Show: The Life and Music of Ronnie Lane". I did it with a pal I met thru Mac McLagan, Rupe Williams. Mac and I knew each other because my 20 minute interview with him turned into many hours, and I ended up building and running the-faces.com. Mac turned me onto Rupe, who he met while doing "Never Mind the Bollocks". Mac's idea is we would do a retro of Faces material, an easy-peasy piece with licensing clean thru the Beeb.

After a few phone calls with Rupe, I said, "you know, fuck this. We won't get this opportunity again, and we need to do the right thing. We need to tell Ronnie's story. Anybody can do a retro on the Faces, Fuck the Faces." When we told Mac, he exploded: "You stupid fuckers don't know what you're up against! The licensing alone!" It was easy as piss. Everyone involved jumped at the chance. We couldn't get Wood on tape simply due to shit schedules, and he was back on the booze. Bad timing, great guy.

Well, Mac sat next to me, crying his eyes out, when the film debuted at SXSW.

It was Ronnie Lane I spent the day with prior to meeting Woody at Si Kirke's. It was Ronnie Lane's vocal of "Ooh La La" that had Woody searching the bunkers of his Irish estate.

Lane wrote it, "Ooh La La", thinking of his dad. The Faces bashed it onto tape, and Plonk sang his lyrics as a guide for Rod. Stewart, the prick, showed up weeks later and slammed the song as rubbish. Wood knew better, and sang lead instead. Fuck Rod. As Mac said, when Rod put Ooh La La on an album a few years back, "Thirty years too fucking late to do Ronnie any good, mate."

I've visited three graves in my life. My grandparents. Tina's. Ronnie Lane's. We deposited weed and whiskey, and passed around a bottle of his fave whetter, Courvoisier. "We" was the entire crew of Passing Show: me, Rupe, John, and the beautiful Darinagh- the Irish lady who knew Rainy Boy Sleep.

You fucking nailed it.

Mind, Rod and Pete and Woody and Jimmy Page all paid for Ronnie's health care. My sincerest props to each, as they were proper gentlemen about it. Not one fucking word publicly. Jimmy is a jewel. He'd call Ronnie on each birthday, April Fool!

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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby chrisAAA » Wed Dec 27, 2017 11:26 pm

How is it that my mind is continually blown by this thread?

I've seen that doc and it's great. I'm a sucker for almost any music film, scripted or doc. No matter how bad they are, somehow I'm always captivated. But this one was excellent, a story that needed to be told with great interviews and even cooler original footage. Floored that you're responsible for commemorating Ronnie Lane's story and thankful you shared that bit of your own story.

I missed replying to your mention of Joe Boyd earlier but I'm a fan. A company I was involved with helped promote a conversation with him and Nick Drake's sister, an event hosted by City Arts & Lectures. Didn't get to meet him personally and it's been years since I read his book but Syd Barrett's Pink Floyd, Fairport Convention, Nick Drake, Richard Thompson...? Hard to argue with that career.

Speaking of Fairport, Iain Matthews is another one of my favorites. So many different styles that he easily seems to excel playing. A great songwriter and interpreter of others' work, like Jimmy Webb and Gene Clark. This song is undeniable, in my book.

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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 12:39 am

Here's a few photos. Me and Mac, me and Joe Ely at the after-party for the film debut in Austin's SXSW. 05 or 06, I forget. It premiered on BBC and broke viewership records, which fucking blew my nut out of the bag. We really only knew musos loved Ronnie. This was our lost vessel, not an earner.

The Beeb immediately requested a re-edit: make it longer. They bumped it to BBC1.

When it debuted in America, at Austin's SXSW, it was April 1, Ronnie's birthday. I was proper chuffed on that alone. Then Joe Ely approached me at the theater, and I made him walk away crying. I said something very personal and respectful about a common friend who had recently passed, and he didn't want me to see him crash. At the after party, he came up to me as an old friend. Shit, with Ronnie in common, he knew I was the real deal. Joe Ely is a top class act, and his generosity is impeccable.

April 11 is when the murders happened. April 14 is my birthday. I heard of the murders on the 12th. My best friend was in an accident on the 10th, tken off support and died on my birthday. I called the hospital, they only said, "he passed". Fucking dispassionate evil.

My dad said, "get the fuck back to work". Fuck my dad, fuck the lot.

If you wanna know why this case hits me, I have no fucking clue. Coincidences. My love of Fugs, and that I read Helter Skelter when I was ten? Shit, Ed Sanders wrote the best book about Manson.

This case found me. I found I was good at deducing shit into fact. In this case. I found building a 3-d world of facts out of minutiae the most valuable tool for me to properly see what could happen, what did happen.

Since I'm putting myself out there, I figured everyone deserves an explanation of why I'm the asshole-in-charge. I don't have an answer. But I'm the one who fights for the underdog. Full stop.

macnme.jpg


joenme.jpg


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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 12:45 am

Ian Matthews is a friend. So is Judy Dyble, orig Fairport singer.

I first interviewed Ian as he recorded "A Spot of Interference" at Livingstone. I was next door with the Box of Frogs (Yardbirds) laying down "Back Where I Started".

It's the studio I reffed in an earlier post, about telling Pete Buck of REM about how cool Livingstone was. His argument that day was the studio is indifferent to the magic of music. Well, fuck me, REM's next album was done at Livingstone. Someone changed his path of logic.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 1:11 am

Me with my mate, Jeff, Darinagh at right, Ramblin Jack Elliot, Butch Hancock. The lady on my arm is Sharon, Joe Ely's gorgeous wife.

The Flatlanders reformed that night at Antone's. They played with Double Trouble as the rhythm section. SRV was alive that night. It was a magic night, and the third time I ran into Dylan's hero, Ramblin' Jack.

Joe's a class guy. FFS, I walked into Antone's in the afternnon, and he was with a party at a table and broke away to meet me. "Lost?" "Naw, I just heard there's a secret gig tonight and you're fucking lying". "Guilty and happy".

Butch Hancock debuted a song that stung my ears. I was shooting looks at Jeff, my college pal, and mouthing "Dylan!" It was the most awesome screed against prezzy Bush. Fucking amazing.

Then Jimmie Dale Gilmore played a set, with his son! oy FUCK one eargasm after another.

EDIT: wrong photo: I took this one, I was behind the camera.

I have a very private Facebook page, and it's so nice to have heroes of mine, musical and otherwise, connect to me and contact me socially or privately. Believe me, Keddie usually brings me nothing but grief. But so many of you I've grown to know through this distinguished and awful experience, and you mean so much to me. Group? Naw. Yeah, mebbe, we are better than most.

Individually. Many of you I now know and am fucked by a fist to know your real name against your online tag.

dmac? I got that the first day of work at Overstock.com. "Dave? McWhat?? Dmac."
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 1:42 am

Judy Dyble just replied to a vid I posted of Mott the Hoople's "Darkness, Darkness", the Youngbloods track.

I asked Linda about a track she did in 75 with Richard, the perfect addition they made to the above vid about Thatcher. Linda said, "I don't like my voice. I don't remember much". I played her the song and she blew me down "I know that's me, once you played it I remembered. I don't often like my voice, but I really like that. " She actually said "thank you", but she really meant it.

No, thank YOU!
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 1:50 am

Here's a shot I took of Ronnie's boys, men now. Luke looks like Ron's best mate and bruv.

When I first met them, Luke was mebbe eight and Rube still in arms. Little Ruben, Ronnie called him Ruby. That's when I was maybe 17, first interviewing Ronnie. He invited me back. Only a few musos have liked me enough to do that. Mac was one. Si Kirke another, Woody. Paul Rodgers. Pete Townshend. Kenney Jones. Eric. fuck I've lost count. They all invited me back, sick fuckers.

Taken outside of Ronnie's house in Wales. This is where they were raised, this is where Ronnie's solo albums were made. This is where rock stars came for r&r. This is where Eric Clapton, drunk and collapsed in a fucking wheelbarrow, wrote "Wonderful Tonight"

True fucking story. No wonder Eric wanted to be in the film. He loved Ronnie. Still does.

The song is about Patti, the girl he stole from his best mate, Harry Georgeoson.

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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Thu Dec 28, 2017 2:33 am

This is what I was in 2000, December. In Wales, behind the Camm and Rupe behind the lens. Ronnie's ex. Sue, was inside making a wicked chicken curry.

meamm.jpg


We went out, and went pubcrawling. Mostly them showing us people who met and knew Ronnie. We somehow made it back to the Camm, and I was gobsmacked to have Ronnie's own guitar handed to me. "Play something!" All I could think of was a song by Ronnie I never learned, so I played a song by him I'd transcribed for the Faces site. Annie. My favorite song of all time. And I learned on that vry trip what the lyrics meant, and who they referred to. "Feckin' 'ell!"

It was Sue's house, the Camm, that burnt.




Annie is a word beloved by me. As a joke, if Tina's name had been Annie, I woulda solved this in 2010. I'll say it before anyone else did.

My dog, Tor, ran for a ball. He nearly got hit by a car. A girl by him said, "will he bite?" "No, dear, no. He likes everyone."

My dog changed my entire life. Hell, that girl's name was Annie. Yep.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby robin » Sun Dec 31, 2017 2:43 pm

ChrisAAA - That Mathews Southern Comfort track no longer up on my side of the Atlantic anyway. Joe Boyd was so important to the British music scene, I've been meaning to read his book. He said that when he first came over to England all the folk singers were singing in American accents. They'd OD'd on Bob Dylan and Joan Baez. I think they were embarrassed to sing in their own accents. Still a lot of that going on with the British. You don't get that from Kate Bush though.... This is one of my favourite Richard Thompson tracks:




How do you feel about this guy? Was a bit disappointed when I investigated his other stuff, but this is hands down the best love song (that I've heard anyway) from the past twenty years.

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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby chrisAAA » Mon Jan 01, 2018 2:48 pm

I remain floored that you've forged friendships with some of my musical heroes and inspirations, Dmac. From what you've shared of your own experiences and accomplishments and the intelligence, perseverance, and drive evident in the thousands of hours you've dedicated (and continue to dedicate) to this case, I think I can understand how. You're someone that cares and backs it up with actions. Thanks for sharing these great glimpses and stories-- very inspiring.

Here's a song by an artist I love, Ted Leo. I had the opportunity to work with him for years and have seen him play hundreds of times but it's always electrifying. He's an unapologetic punk kid grown up with endless heart, spirit, and in my opinion, talent. His music effortlessly unifies what might seem like disparate elements. I hear touches of Phil Lynott, Nick Lowe, The Clash, Kevin Rowland, but it's also all his own.



As for Father John Misty... I'm impressed by the music though not that excited by his persona. That song you shared, Robin, is excellent. I just tend to respect an artist that is more earnest, that is undeniably saying and showing who they are with their music. I've seen FJM a few times and to me, his show comes across as artifice, which I don't dig as much.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Tue Jan 02, 2018 3:47 pm

Sorry I can't reply to the music recently posted- the net has been dead for days, no bandwidth. But I've never heard of either John Misty or Leo's bands. I know he was in The Both a couple years back, and I think I have him on a Beatles compilation over a decade ago but that's slim pickins. How old is he? Sounds more like Green Day age than punk. Like England had New Age of Heavy Metal... at least they named it thus. That's not a dig. Lots of shit on the fire abt punk vs DIY. Townshend is the Godfather in the UK? Sure, along with dozens of others. In America, Stooges and MC5 were DOING IT 7 Nights a week when they weren't in heroin's sleep. As for DIY, so many garage bands surprised Jimmy Page when he was touring with the Yardbirds in the US in 68, there was more than enough for a cd of his freebies.

I hate label, but I understand them for useful conversation- not for commercial manipulation, which is the genesis of labels. I paraphrased Ronnie Lane a few times. When he said, "I don't know what happened to Rough Mix", I said, "It was brilliant. Sheer genius." "Oh? Wowee! Then why didn't it do better?" "Well, lots of great albums don't do better. Look at Tom Jones, still selling albums!"

At that point, he broke and laughingly, but sternly, said, "Now, Dave, Tom speaks very highly of you!" His point being Tom had some great tunes and isn't a label. Labels kill. My distillation is take all individually and there's really only two kinds of music: good and bad. With plenty of room for grey-area argument.

Knew Phil Lynott, met Gary Moore and the original lead guitarist (Irish not Yank) from Thin Lizzy at a gig Phil did with a band he'd played with and produced, Auto Da Fé. Speaking of soul singers, Gay Woods fronted the band. The were at BBC Paris Studios, and I was there to interview the opening, the Call. Phil's and Garry's deaths pissed me off more than surprised me. Kinda like expecting to hear the same from Mick Taylor.

I met a friend through the Faces site I run, and ended up befriending him and talking to him from home to Berlin or wherever weekly, running through songs together on guitar (he taught me Lane's "Debris", some odd chords I couldn't figure). I ended up running his website, then managing him. I did the cover art for his last album, "Treasure Island", and was prepping mockups for his latest when he died after a tour gig in New York. He fronted the band most UK punk scholars label as a first, if not the first: Swell Maps. His brother, Epic Soundtracks, was so fucking awesome! his music is so much easier for me to like than Nikki's, but that's mainly because I was his friend long before I ever listened to his music.

He's send TI demos as to inspire me on the cover art? No, he was just a music lover who ENJOYED sharing music that moved him, hoping others enjoy the odd bits others can't understand. We sent CDs and MP3 burns back and forth. The last Great Gasp was we found out we were both heavily into Big Star, and he had no rare tracks. I had demos, outtakes, alt productions, live. He confided, "I gotta hear this. It was my brother's favorite band." He died while I was compiling. Nikki was a great guy who took many risks, both musically and personally. A truly lost brother of mine. When he died, it put the nail in the coffin for me to get the fuck away from music for a while.

Ten Long Years.

Earlier, in 00, I was in the UK to get the "Faces" project off the ground. BBC had not heard of it. Ian McLagan had all but washed his hands of us. I stayed with Rupe off Portobello, worked the scene during the day, shopped Portobello Mkt on the way home, and often cooked dinner for them upon my return. This was just pre-9/11, and Rupe's son gasped when I first unpacked my knives. Thought I was a nutter, not a chef. The frst morning of my stay at Rupe's, we took a walk to familiarize me with his neighborhood. Across the bridge to the cemetery. He said, "They're about to knock down these gasworks, so I wouldn't be surprised if Paul Simonon isn't here painting them!" It was raining, but the joke was true: Clash bassist Paul, cum renowned cityscapist, was indeed painting the scene. Rupe asked, "how can you paint in the rain?" Being a painter, I said, "He's painting in oils. Water runs off." Well, it does far more than that, but Paul was happier talking about the Clash from guys who weren't idiots about his background.

I'm a massive collector of Clash, and Mick Jones is a gent but we've never made contact. I was blown down by Sir John Mellor's sudden death, as we were making arrangements to do an interview. Suburban life will kill ya! Just kidding, as Strummer was at a career peak, top form, when he died in his garage of a heart attack after taking his dogs out or a stroll. Believe it or not, THAT s the death I wish upon myself. He died with a balanced, grooving, and fulfilled HAPPY life.

Kevin's the only guy in your last post I've never met. He was poison for decades, but he killed his past almost as cleanly as Strummer did with the Busking Clash: an intentional IMPLOSION to destroy the myth, the band, the future.

What can I say about Nick Lowe? Fantastic guy, and his music is boundless, his knowledge without end. Bops off a crotch-crunching earbender of little value other than top pop, then he submits a song to his step dad, who doesn't put it to tape for two decades. Johnny Cash. The Beast In Me. Nick wrote it with John as the voice.

http://www.youtube.com/watch?v=T8tGCVavS5s

Small aside. When I first met Nick, it was at Dingwalls where he was doing a residency with Paul Carrack on dual LV. When Mac went to London in 2000, it was Dingwalls, a couple days after my arrival. So many were there, Kenney Jones and Boz Burrell were hanging out by the bar behind the wall. Lotsa famous faces, and Faces fans made up as Rod or even Tetsu. That bit was so fucking weird, until I realized Mac's fame in Japan brought a batch over just for his Dingwalls gigs.

Flash forward to 2016 at the SXSW after-party (ask who the dueling hosts were!) and this doll is going on about her invention, a board game about Brinsley Schwartz. I said, "is it basically like Life, where you take a spin? "Go to America blindfolded with no gear, play in front of a death squad of critics inexplicably flown there too?"

She loved me. She knew I already knew the game.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Tue Jan 02, 2018 4:09 pm

Sorry, I wanted to include vids. I think posting links to them may prove better, as every time a youtube link displays as a video on this page, it eats up massive bandwidth. That's a problem I will soon have to fix.

Tell me, does it take three weeks to load this youtube-infested page?

Look up Johnny Cash doing his step-son's song, "The Beast in Me". Nick wrote it for Johnny, and he ignored it until Rick Rubin brought it to his attention.

PERFECT SONG.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby chrisAAA » Tue Jan 02, 2018 11:02 pm

I did not expect that you'd actually direct connections to some of the artists I cited as points of reference for Ted Leo! To answer your question: yes, he's younger than the original 70's punk scene, but was instead part of the indie / punk scene that sprung up in regional scenes all across the US and other parts of the world in the late 80s / early 90s. Ted might be technically a year or two older than Green Day but it's definitely the same era. This was also the time and scene where I got meaningfully involved in music and so my personal concept of punk is less about the original 70's cultural moment and more about the enduring underground scene that sprung up in its immediate wake. Speaking of Green Day, I was part of the independent label that released their earliest music and I'm responsible for the cover "art" of their second full length, Kerplunk. It's really cool that you also did album art. And indeed Ted was part of The Both with Aimee Mann, but his own albums as Ted Leo & The Pharmacists are worth a listen.

I agree about music falling mostly into the good or bad bucket, rather than being judged based on what sort of stylistic bucket it might fall into. I love such an array of different kinds of music-- from the most delicate/poetic to the raw simplicity of the Stooges. My way of putting it is that I like all music, there's just some I don't care to listen to. Maybe more honest is that I respect the process of making and performing music, even if I don't totally grok it.

And now you share that you were friends with Nikki Sudden? Again, amazed. Swell Maps and both his and Epic Soundtracks' solo work are great examples of the kind of the outside-the-lines talent and the audacity to back it up that I have so much respect (and am inspired by). Some might call them eccentrics, but I think that it's usually the level of success of those unique artists that earn them that kind of adjective. Reminded of others in a similar vein that I love -- Robyn Hitchcock, Martin Newell/Cleaners from Venus, or Felt's Lawrence Hayward. I also love Brian Wilson and to me, he's cut from that same cloth, just as weird, challenging, and important. Different because his group was massive comparatively.

Ironically, Kevin Rowlands is one of the only big names in my last post that I did have the chance to meet. It was at the Reading Festival in 99 or 2000 and I was there officially because a band I worked with was playing. It was also his big solo comeback after his recently released comeback covers album; the one that included an unironic cover of Whitney Houston's "Greatest Love of All." Even though we'd just met, he shared a story of his years strung out on drugs living in a squat, essentially staying high and in bed waiting for increasingly less-frequent and smaller royalty checks to support his habit. I love his music, even through more complicated and less successful stuff and his clear audacity in how he updated his look and sound in dramatic ways. That day at Reading he was not well-received, singing in an audacious dress he'd designed himself. Clearly subverting expectations, which is an attitude I can appreciate.

And Nick Lowe-- a true hero. From the "California by way of Albion" sound of the early Brinsley Schwarz and everything since, I'm a fan. I'm also super interested in the strong Bay Area, CA elements in early pub rock. Austin de Lone's Eggs Over Easy and Clover both playing crucial roles in that story.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 12:34 am

Shit, Pub Rock! Eggs over Easy? Try 'Help Yourself'. Great fucking band. so many classic "pub bands" were on open display via OGWT. Damned important show on BBC.

What blows my head is the UK went apeshit in the 70s by Thatcher, but acted like silent rape victims since. Same goes in America. True punks are Americans taking it up the ass for no fucking reason. I was taslking to Television's Richard Lloyd and politics came up. Oh, man, nice to see someone still on a groove.

Fuck reality.

Everything about music reinforces my reality: equality, freedom. No fucktard in charge of my high school life with minimum wage as a fucking dream job.

My parents had dreams of jobs and retirement. Look what happened. Reagan and shit trickles into Trump. Their legacy? I'm with James McMurtry, recording tracks for his LIVE IN THE OUGHTS album at the closing of the Zephyr in Salt Lake. "This place stood for music. Now it stands silent. That's a fucking crime" Unlike myself, James rarely cusses.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 12:45 am

Show the art mockups! I love the shit I threw at Nikki when his new album was forming. He sent me a couple live photos, so the message was NOW instead of all of the TI stuff.

I'm so fond of how he looked at the TI process. He saw so many ideas but his fixation was palpable, and he got it to me via voice, text, email, whatever.

His "last album" is a fucking joke. Has nothing to do with him or his ideas, much his cover concept. He didn't want to fuck with TI< so he wanted a new approach. I told him to stop paying for Stones when he was one.

Nikki was the Endless Summer of punk.

Here's his brother, doing an fucking incredible BB love/hate song, Get this or git out.

https://www.youtube.com/watch?v=8SK_Fvf ... Oel5Hl64mn
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 2:31 am

One of my absolute fave pubrock bands is Heads, Hands, and Feet.

Here they are on BBC's OGWT. 71

https://www.youtube.com/watch?v=1aIft448lBA

I was a massive Soft Boys fan. Their Rolling Stones is perfect, "Rock-n-Roll Toilet". When I interviewed him first, he was translucent/boring. Then we found my friend had fucked up nad not properly recorded anything. I got anotyher interview, and he was more pissed than boring. I said, "Look, it doesn't have to be a straight interview. I can bring up a typical question and you can riff on it, like Viv doing a Bonzo sketch"

"What, you think I'm Viv Stanshall?!"

Shit, I loved the guy and he thought that compliment was a turd down his throat? Fuck Robyn.

But Nikki and Robyn and Billy Bragg and REM all toured around for awhile as a side project from REM. It also helped start the REMologu that became the album they did with Warren Zevon. MAGIC.

Robyn may have been an asshole, but he was just rude, he felt insulted by the true compliment. He was and is still a gent. He did a second interview that night.

My Crimely "tape op moment" overcome by an angry Robyn.

I later interviewed Squeeze when Soft Boys bassist was in on keys. Andy Metcalfe. They reformed and neither mentioned me in their loving liner notes about how the reunion happened. Aw, those rash young punks!
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 2:47 am

hands of kindness is my first hearing of Thompson or Fairport. Rolling Stone voted it top one year, around 81. and I was in. It led directly to my interviewing Ian (Iain). Jesus, the first Fairport album is perfection. Van crash, drummer dead, new vocalist, and they rebound with Sandy Denny as a fucking Goddess. Alas, she was human.

Not of any particular merit, here's another HEAD HANDS AND FEET song. It's just so damned good.

http://www.youtube.com/watch?v=kEgt_Y6J ... e=youtu.be

Nikki and I would argue about everything, but for fun: Fave song off any given album, particularly Stones. Nikki was the consummate professional Stones fan, touring alongside and playing the night before, then putting photos of himself and friends, front row, at the next Stones gig, He loved them that much.

He told me a lot, we were writing two books together. I mean it when I say 'brother'.

Nikki once asked, "Fave Fairport drummer?" No question, I replied "Dave Mattacks". Incredible drummer, I love his timing and idiosyncrasies.

"FUCK NOOOOO! Fuck! NO! Bruce Rowland!"

Then I realized Bruce was the drummer for a turbulent phase of post-Denny/Thompson Fairport. He wasn't just in the Grease Band with Joe Cocker, not just in Juicy Lucy, and not just the best drummer Ronnie Lane had.

Slim Chance was a perfect name. I'm so glad the band reformed for our movie, and continue to regularly gig and record. Steve Simpson? Nice guy, but I've always been a nutter for Charlie Hart, who was playing in several of my fave bands when I lived in London. Jim McCarty from Yardbirds asked me to take him to a gig of my choice, so I took him to see Juice On the Loose. Look them up. Legendary.

In one day, I went from Rupe's home near Kensal Green to the tube to the platforms at Euston to Guildford to taxi to Kenney Jones estate. Kenney drove me back to Guildford hours later. Train to London, tube to Charlie Hart's pub. He likes me, drives me home and we talk for a couple hours.

That night I'd been invited to go to Shepparton in west London to meet a friend who was working with the Who. It would have been great to meet up. The Who were rehearsing Quad for tour, and John was still alive. I knew Pete, John, Rabbit, and Billy Nicholls. Pete and Billy, of course, appeared in the Ronnie film, but I did not appear to see the Who rehearse. I was too fucking tired, having spent the day at their former drummer's house. All kinds of coincidences happen. See how many you missed just in my one day in London in December 2000? And that's the shit I remember well enough to talk about.

When funding ran out to complete the film, Pete Townshend paid. Little known fact. He was repaid, but I'm still out for every dime I put into Ronnie Lane. The bastard never did shit for me, worthless gimp.

Fuck You Ronnie, and you're the best!
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 3:46 am

Top this: Wailers live on OGWT. It was a basement room in the old BBC House, ad the Wailers shoved all their gear in and kicked all visible ass. Bunny's there, and Tosh lays down one of the best solos of any idiom, in a massive tape reverse-gate.

https://www.youtube.com/watch?v=rf8GjhXvOjU

And for no other reason than I love Mott the Hoople, hear one of their lest-loved masterpieces:

https://www.youtube.com/watch?v=wG-rSADn_Y4

This is the moment I first heard Mott the Hoople:

mott.jpg

It's near the start of Martin Scorcese's first true masterpiece, "Alice Doesn't Live Here Anymore". Ellen Burstyn, fresh off the success of The Exorcist, had Hollywood at her feet. She had full choice to her next project, and she chose "this brash, new, young director who I knew had vision". Kris Kristofferson blew me out as the beau, and the final scene in the film is the product of Kris improvising a 'happy ending' to a script missing such.

I woke up in the middle of the night as a kid, maybe 1978, and watched the entire film. I was floored by the whole thing, REALITY in a movie? Ellen! Wow! Kris is the best songwriter, but can't hold a bucket or a tune. He's incredibly believable as the Guy in this film. Lutter 3 is perfect as the son, and Jodie Foster just kicks ass stealing and sippin' ripple. Lutter's performance is pure fire, as I was around that sage age when I saw it and he made ALL of it believable. His bullshit, his boredom, his frustration, hope, love, all perfectly exploited through Lutter III.
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Re: Keddie Oak: Play Your Fave Song Willow, Joan Armatra

Postby dmac » Wed Jan 03, 2018 4:23 am

As for Joe Boyd's influence on accent, everyong was copying what they liked. Bing Crosby and Sinatra were fucking rock stars for singing with meaning, rather than white bullhorn horseshit like Rudee Valleeeee.

Anyone SANG like they wanted to sound. They emulated others, which is accent and everything. Joe said "No, be Dylan but ignore Dylan. Just be you" which led to big success and changes. Others were doing it. Ray Davies never tried to sound Yank unless he was mocking us. Mick's a fucking joke, no comment. Daltrey couldn't sing, he had a limited range, so he was always evolving away from covers to Pete's music to THE WHO as a brand, to just being comfortable in his own skin.

Steve Gibbons, from Day One, never tried to sound like anyone but Steve.
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