Love, Hope and Misery

I've mentioned here before just how obscenely talented Jake Bugg is.
'Love, Hope and Misery' is his tribute to Bill Withers (think 'Ain't No Sunshine') and Robert Cray ('Right Next Door') all rolled into one. That's what I think anyway. But what do I know?
A soundtrack to a breakup if ever I heard one; probably.

Swansong

This Thursday night sees York Songwriters putting on their/our latest showcase gig at the Fulford Arms; it's a cracking venue with a great little stage, cool lights, a soundman who knows what he's doing and some none too shabby beers thrown in for good measure.


The fun starts at 8:00. I'm second or third on the bill which will be nice (it could be the last time I'll play in York, what with my impending house move and all). We'll even be selling a few sampler CDs: it's called The Cost of a Pint and, that's right, it's yours for a mere three quid. It'll pay for the aforementioned soundman, with anything left over going in the nearest charity bucket.

I must extend a big thank you to David Breslin who, in recent years, has kept York Songwriters and its ragtag members in some semblance of order through thick and, often, thin. Unfortunately he won't be there on Thursday due to illness, but here he is singing one of his own compositions 'Orpheus in the Underlay'.

I'm coming home I've done my time

Swings

And roundabouts

Seven years to be precise. During which time there's been a lot of swings, a lot of roundabouts. Good times (mostly), with a few not so good times thrown in too. I should have shipped out a year ago. I wanted to; before it really started to unravel. But, hey, you can't always get what you want.

The solicitors are saying June 1st. That'll do for me. Time enough to make peace with the place, and pack a few tea chests. The Medd caravan rolls on...

We are not afraid

I'm currently in the capital, and travelling around London today have seen/heard the We Are Not Afraid mantra all over the place.Yesterday's deadly attack must remain just that - *yesterday's* deadly attack. The horror of what happened must not be allowed to turn another British landmark into a Lockerbie, a Hungerford or a Dunblaine.

The graphic mobile phone footage and aerial photography from police helicopters cannot become the default position for the historic Thames crossing and approach to Parliament. If we are to overcome this adversity and show the world that London, and Britain, will not take this lying down, we have to neutralize the shocking images of yesterday: they must not be used as totems to fuel hatred and start further conflict. Instead, put one of these two images in your head when thinking of the stretch of road that links Westminster and Lambeth. And no, I am not in anyway downplaying the carnage of yesterday or belittling the immense grief and upset caused by the events of Thursday 22 March. Far better to turn this whole thing on its head and show the world we are strong; stronger than anyone. Daleks and Kiss included.

I dedicate today's blog to the memory of the dead and injured innocent bystanders who will be remembered by their friends and families forever; not least PC Keith Palmer. A husband. A father. A hero.

I Want Kandinsky

Bubbles: Music for Pleasure (1977)

Kandinsky: Composition VIII (1923)

Kandinsky: Transverse Lines (1923)

Barney Bubbles, the man who put the pictures in picture sleeves, drew his influences from far and wide; and long ago. His sleeve for Generation X's 1977 debut single stretched way back to 1924.

Likewise, when he was commissioned to design the sleeve for the Damned's difficult second album, Music for Pleasure, again from '77, Bubbles retreated back to the jazz age. Here are three terrific pieces by Wassily Kandinsky (1866-1944) that Bubbles must have had on his mind when he took the gig.

I love Kandinsky. I want his stuff hanging on every wall in my new house*. Anyone got the Guggenheim's number?

* Footnote: whilst writing this post earlier this morning, I blagged a (very reasonably priced) Kandinsky copy.

Kandinsky: Black and Violet (1923)