Nick Leese was the man behind (and in front of) Heyday Mail Order for many years, and he's been part of the music business for far longer than that.
In 'Recollection Box', Nick dips into his musical archives and memories to share some of his favourite stories, bands, albums - old and new....
ONE THING LEADING TO ANOTHER...
..'Sweep It Up' by Gwenifer Raymond opens the Uncut magazine cover mount 'Rollin' & Tumblin', which I picked up a few weeks back, second hand. I bought the disc primarily for the picture on the cover, which I recognised as being all that remains of the humble childhood home of Muddy Waters. The sleeve is now up on the wall here, in recognition of where much of the music I listen to began. The 'Rollin' & Tumblin' disc is a selection of new-school blues, and Brighton-based Gwenifer is the standout. I hear the influence of John Fahey in her folk-blues, but there's also something individual in her playing style that's hard to put into words. Perhaps it's best to just watch her play, so if you have a spare quarter of an hour, please check out her 'Tiny Desk Concert' performance - she seems to fall under a spell when playing. There may be a vast array of paraphernalia on the shelves behind her, but this shouldn't distract you too much from quite an entrancing performance...Enjoy.
Another recent charity shop visit uncovered some more folk/blues. Stefan Grossman 'Those Pleasant Days', is a 'pleasant' trawl through the guitar maestro's Transatlantic label years. If the discovery of the music of Gwenifer Raymond wasn't mersmerising enough, this double set proved itself to be another epiphany! There's enough music here to keep me occupied for a while yet, but I've already decided I need to hear more by Stefan. My attention was immediately drawn to the ten minute electric/acoustic 'Odyssey' and this was in no way due to 'The Odyssey' being the current blockbuster, merely a coincidence! There's real precision in his finger picking, something he learned from listening to the 'original' blues musicians, even 'sitting at their knee' on occasion, as was the case when he took lessons directly from Reverend Gary Davis. Grossman's rendition of 'Roll And Tumble Blues' is hypnotizing, just check out that slide! Often criticised for being purist, it's no surprise Stefan would opt to record the source of Muddy's variant, the more familiar 'Rollin' & Tumblin'. Another coincidence here perhaps? Ah, those gentle harmonics opening his version of Mississippi John Hurt's 'Avalon Blues' sound heavenly too! Fine musicianship, 'Those Pleasant Days' won't be leaving the listening pile here any time soon either.
In the same pile of discs as Stefan's was a copy of Terry Callier's 'The New Folk Sound Of' - an album I've never got around to listening to properly. Dealing with so much music over the years at Heyday could sometimes be overwhelming and there wasn't always time to thoroughly check out everything that passed through - although I tried! The songs on 'The New Folk Sound Of', unfold like a pleasant dream. Callier's voice is rich, clear, but also strong, and he has a guitar style that's uncomplicated. The only other players on the album are two bassists, Terbour Attenborough and John Tweedle, who gently fill in at the low end. The idea for this configuration came from Callier catching a John Coltrane performance in which Trane used two bass players. I can't help but be reminded of Tim Buckley when listening to Terry Callier. Both possessed an expressive voice and a jazzy tinge to their folk-based melodies.
Reading up on the making of the album, I was surprised to discover that it was recorded in just one day, July 1964, but there's nothing that sounds hurried in these performances. How come then, that the album wasn't released until 1968? Apparently, producer Samuel Charters disappeared to Mexico for some reason or other with the tapes. Much of the music of the 1960s is full of strange characters and happenings. All the same, it must have been frustrating for Callier, but I bet he never showed it, being the laid back, humble character that he was!
There were more tracks recorded at the session than would appear on the finished album. My reissue (from 2003) offers three, but some alternate takes of a few tracks have surfaced since. One of the unused tracks, 'The Golden Apples Of The Sun' is another musical adaptation of 'The Song Of The Wandering Aengus' by W.B. Yeats. Although it's an adequate performance by Callier, it doesn't come near that of my particular favourite by The Waterboys, that I wrote about here back in January. Hopefully, that's the last of the coincidences for now! It really is a small - and getting smaller - world...
Another memorable voice is that of Robert Plant's. I found a used copy of his 'Mighty ReArranger' during another one of my local charity shop crawls. I'm not always this lucky, but recently, well, I seem to be on a roll! I was initially drawn to this 2005 album by its Grahame Baker Smith artwork. Very unusual. I like to stare at the distorted figures, imagining what it would look like if they could actually move! Well, I suppose it keeps me out of trouble. I also sensed a Native American vibe in some of the images, which is probably what appealed to Robert too.
I never thought much about following Robert Plant's solo career, although I'm a fan of Led Zeppelin. 'Raising Sand' was what sparked my interest and I've followed his work more closely since that particular album than what he's released previously. His choice and interpretation of traditional blues/folk material, along with personal favourites from a wide range of other artists, new and old, is often inspired. Interesting set of collaborators too. There's nothing on these albums that hint at his previous 'rock god' persona either, which is something I admire and respect. He's matured well, appears content - in fact, he's quite the 'Peaceful Percy' these days!
'Mighty Rearranger', my first venture pre -'Raising Sand', appears to be where he bids farewell to the Robert Plant of old. Musically, I can hear references to Zeppelin in some of the riffs and a few of his vocal mannerisms, but these are now muted. Even the drums, introducing 'Another Tribe', almost follow the pattern of 'Rock 'n' Roll', but obviously lack that Bonham thunder! Perhaps the backing band here, Strange Sensation, were slightly in awe of Plant and felt the need to be a little like Zeppelin at times? He seems happy to oblige, up to a point, but is obviously intent on change, as witnessed by an album that also embraces his interest in world music, rural blues, psych and electronica. It's a happy compromise overall, probably the favourite Plant solo album for many Zeppelin fans, and I'm on board now too.
The album was recorded while he was caring for his dying father, so obviously a time of much soul-searching, which couldn't help but spill into the songwriting. Fate, politics and beliefs are also dealt with lyrically on the album making it quite a 'charged' affair. Throughout 'Tin Pan Valley', he seems to be gently mocking his past, making it clear that he's now ready to move 'up to higher ground', while at the same time 'my peers may flirt with cabaret, some fake the 'rebel yell''. In 'All The King's Horses', he also sings 'I pour myself a brand new start, glad to be falling for the beauty within'. Definitely a transitional album then, and with 'Raising Sand' following, a new era began with renewed spirit.
The album becomes quite seductive. There's the beautiful raga-rock/12-string Byrdsian jangle of 'Dancing In Heaven' that sends me elsewhere everytime, and may I never tire of hearing that particular sound! Nor too, the rootsy blues of 'Somebody Knocking', well, how could I ever? Finally, 'Shine It All Around', perhaps his final tribute (of sorts) to Zeppelin, radiates an optimism I hear more and more when I listen to the album, despite it being recorded during troubled times...
'These are the times of my life
Bright, strong and golden
This is the way that I choose
When the deal goes down'
The film 'Köln 75' appeared at the local indie cinema here recently too, so I popped along to watch it. It tells the true story of rookie teenage promoter Vera Brandes, and her determination to arrange a Keith Jarrett solo piano performance at the prestigious Cologne Opera House in January 1975. There were several obstacles for her to overcome first, not least financial and parental, but also the artistic demands of Jarrett. He, meanwhile, was suffering from chronic back pain, little money for adequate food or accommodation and being driven across Europe to each show, cramped inside the small car of ECM's Manfred Eicher. Oh, and all this was happening during a European winter! Add to this the pressure on Jarrett to create a unique piece of music 'from nothing' in each performance, well...The word 'stressful' comes to mind!
Needless to say, everything all works out for both Brandes and Jarrett, the show goes ahead and possibly the most famous solo jazz recording in history is also made, even though Jarrett initially refused for the performance to be recorded! By the end of the film, I could sense a collective sigh of relief in the auditorium - Phewww!
I enjoyed the film, particularly the 'recreational' scenes where Brandes and her friends goof around to 'Mother Sky' and 'Hallogallo'. Music-themed films at this particular cinema always seem to have the volume up high, but hey, I'm not complaining! It suited these tracks, that's for sure - they sounded amazing on the cinema's system!
It was at this cinema that I saw the 2022 Bowie pic 'Moonage Daydream' when it was released. Strangely, for that particular showing, the staff were issuing ear plugs as we entered. Not many of us bothered with them though. Well, it was too late. We were all of a certain age, probably all gig veterans too, so our hearing was already blown! A nice gesture, all the same. Bless!
No music from Jarrett was authorized to be used in the film, so once back home I made straight for my copy of 'The Köln Concert' to kick back and reflect with. I was also eyeing my Can discs, thinking there'd be no harm in hearing a little from those afterwards too, and then perhaps find time for a little Neu!...
..'Sweep It Up' by Gwenifer Raymond opens the Uncut magazine cover mount 'Rollin' & Tumblin', which I picked up a few weeks back, second hand. I bought the disc primarily for the picture on the cover, which I recognised as being all that remains of the humble childhood home of Muddy Waters. The sleeve is now up on the wall here, in recognition of where much of the music I listen to began. 
Another recent charity shop visit uncovered some more folk/blues. Stefan Grossman 'Those Pleasant Days', is a 'pleasant' trawl through the guitar maestro's Transatlantic label years. If the discovery of the music of Gwenifer Raymond wasn't mersmerising enough, this double set proved itself to be another epiphany! There's enough music here to keep me occupied for a while yet, but I've already decided I need to hear more by Stefan. My attention was immediately drawn to the ten minute electric/acoustic 'Odyssey' and this was in no way due to 'The Odyssey' being the current blockbuster, merely a coincidence! There's real precision in his finger picking, something he learned from listening to the 'original' blues musicians, even 'sitting at their knee' on occasion, as was the case when he took lessons directly from Reverend Gary Davis. Grossman's rendition of 'Roll And Tumble Blues' is hypnotizing, just check out that slide! Often criticised for being purist, it's no surprise Stefan would opt to record the source of Muddy's variant, the more familiar 'Rollin' & Tumblin'. Another coincidence here perhaps? Ah, those gentle harmonics opening his version of Mississippi John Hurt's 'Avalon Blues' sound heavenly too! Fine musicianship, 'Those Pleasant Days' won't be leaving the listening pile here any time soon either.
In the same pile of discs as Stefan's was a copy of Terry Callier's 'The New Folk Sound Of' - an album I've never got around to listening to properly. Dealing with so much music over the years at Heyday could sometimes be overwhelming and there wasn't always time to thoroughly check out everything that passed through - although I tried! The songs on 'The New Folk Sound Of', unfold like a pleasant dream. Callier's voice is rich, clear, but also strong, and he has a guitar style that's uncomplicated. The only other players on the album are two bassists, Terbour Attenborough and John Tweedle, who gently fill in at the low end. The idea for this configuration came from Callier catching a John Coltrane performance in which Trane used two bass players. I can't help but be reminded of Tim Buckley when listening to Terry Callier. Both possessed an expressive voice and a jazzy tinge to their folk-based melodies.
Another memorable voice is that of Robert Plant's. I found a used copy of his 'Mighty ReArranger' during another one of my local charity shop crawls. I'm not always this lucky, but recently, well, I seem to be on a roll! I was initially drawn to this 2005 album by its Grahame Baker Smith artwork. Very unusual. I like to stare at the distorted figures, imagining what it would look like if they could actually move! Well, I suppose it keeps me out of trouble. I also sensed a Native American vibe in some of the images, which is probably what appealed to Robert too.
The film 'Köln 75' appeared at the local indie cinema here recently too, so I popped along to watch it. It tells the true story of rookie teenage promoter Vera Brandes, and her determination to arrange a Keith Jarrett solo piano performance at the prestigious Cologne Opera House in January 1975. There were several obstacles for her to overcome first, not least financial and parental, but also the artistic demands of Jarrett. He, meanwhile, was suffering from chronic back pain, little money for adequate food or accommodation and being driven across Europe to each show, cramped inside the small car of ECM's Manfred Eicher. Oh, and all this was happening during a European winter! Add to this the pressure on Jarrett to create a unique piece of music 'from nothing' in each performance, well...The word 'stressful' comes to mind!
It was at this cinema that I saw the 2022 Bowie pic 'Moonage Daydream' when it was released. Strangely, for that particular showing, the staff were issuing ear plugs as we entered. Not many of us bothered with them though. Well, it was too late. We were all of a certain age, probably all gig veterans too, so our hearing was already blown! A nice gesture, all the same. Bless!
No music from Jarrett was authorized to be used in the film, so once back home I made straight for my copy of 'The Köln Concert' to kick back and reflect with. I was also eyeing my Can discs, thinking there'd be no harm in hearing a little from those afterwards too, and then perhaps find time for a little Neu!...