The mystery at the heart of music

Michael Hann writes in The Guardian: 'If it feels as though you can’t move for new music, then books about pop aren’t far behind. This Christmas alone has brought weighty tomes by Bono and Bob Dylan, Nick Cave’s conversations with the writer Sean O’Hagan, Bez’s autobiography, and former GQ editor Dylan Jones’s book about 1995.'

For Surrender, Bono 'chose the title because, having grown up in Ireland in the 1970s, the act of surrendering was not a natural concept to him. Bono, whose lyrics have frequently been inspired by his Christian beliefs, said that “surrender” was “a word I only circled until I gathered my thoughts for the book”.

“I am still grappling with this most humbling of commands. In the band, in my marriage, in my faith, in my life as an activist,” he added, describing the book as “the story of one pilgrim’s lack of progress … With a fair amount of fun along the way.”'

Kitty Empire writes, 'The real eye-opener throughout is the depth, breadth and idiosyncrasy of his faith, a non-sectarian Catholicism that’s not strictly church-y.'

Wesley Stace begins his review of The Philosophy of Modern Song by pointing out that: 'In a 1997 Newsweek interview, Bob Dylan told “the flat-out truth: I find the religiosity and philosophy in the music . . . I’ve learned more from the songs than I’ve learned from . . . rabbis, preachers, evangelists, all of that.”

He made the point again in 2020’s “Goodbye Jimmy Reed,” his valediction to the man he calls “the most country of all the blues artists in the fifties,” one of whose songs is under consideration in “The Philosophy of Modern Song”: “Goodbye Jimmy Reed, Jimmy Reed indeed; / Give me that old time religion, it’s just what I need.” Dylan’s religion, his philosophy, his code, is the music.'

In The Philosophy of Modern Song Raymond Foye writes 'Dylan finds profundities where others find ditties ... [in] chapters [which] take the song as a jumping-off point for stand-alone meditations on art, money, war, religion, etc. ...

Dylan’s view of life seems to be a lot of horror and a little bit of joy, which is where the songs come in: they are a source of comfort and hope for the downtrodden. They “take the sting out of life.” ...

Dylan sees the world crowded with angels and demons, with songs as the intercessors. Songs also represent a better life: you get there by wishing, hoping, and dreaming. For three minutes you too can be a king, a lover, or an outlaw.'

In Faith, Hope and Carnage Nick Cave 'explains his personal crossroads of rock and religion: “All my songs are written from a place of spiritual yearning, because that is the place that I permanently inhabit. To me, personally, this place feels charged, creative, and full of potential.”'

Lyn McCredden writes that 'One of the chastening effects of grief, for Cave, is registered in the experiences and expressions of religious faith. The conversation between Cave and O’Hagan leaves us in no doubt about Cave’s deepened religious beliefs. These have always been a part of him, through his post-punk, drug-fed years, but they are taking new turns.

To his strengthened Christian faith, Cave, often to O’Hagan’s bemusement, attaches a suite of moral human values he would now, through living with his grief and doubt and fear, like to nurture in himself: values of empathy, humility and vulnerability, mercy towards others, openness and tolerance, and acknowledgement of his need for atonement.'

Trailblazing saxophonist Albert Ayler, who remains an important influence among jazz and experimental musicians long after his death, is explored in an important new biography, Holy Ghost: The Life and Death of Free Jazz Pioneer Albert Ayler by Richard Koloda. 

'Ayler's turbulent, often polarising, music career and life, which lasted a brief 34 years, has been subject to myth and rumour right from his debut free jazz recording, Witches And Devils in 1964, through his 1964/5 dates for ESP (including the highly acclaimed, landmark album Spiritual Unity, which featured at No.28 in Jazzwise's The 100 Jazz Albums That Shook The World book) to his recordings for the Impulse! label, which signed him following a recommendation by John Coltrane. These included 1967's avant-garde extravaganza Live in Greenwich Village, Love Cry and 1969's Music Is the Healing Force of the Universe, which saw Ayler's music moving closer to spiritual redemption and R&B (the latter a return to the music he started out playing with bluesman Little Walter in the early 1950s), before his mysterious death in 1970.'

Ayler 'had a sound that was as big as a house and a way of improvising at times that blended tones into one big mixture that disregarded individual notes. He was as free as they come in avant-garde jazz, yet his themes were at times a mixture of gospel, folk and even simple nursery rhymes.'

'Ayler's work eerily recalled the ragged polyphonies, street-march beats, gospel songs and spirituals of the earliest African-American music.'

Nick Cave says that he believes 'that there exists a genuine mystery at the heart of songwriting' that 'Through writing, you can enter a space of deep yearning that drags its past along with it and whispers into the future, that has an acute understanding of the way of things.' In different ways, these books and the music they describe inhabits that space.

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Nick Cave - Spinning Song.

Walking Back Home and Short Stories Volume 2

Never one to shy from telling stories, Deacon Blue's Ricky Ross is now telling his own life story in a new book. But there's also more music too. He says: ‘For all these years I’ve told stories. Sometimes these days I also tell them on the radio. I’ve met some amazing people and their stories need told too."

His memoir, ‘Walking Back Home’, has recently been published. He writes: "In the book I write about growing up in Dundee, my first forays into music and my life with Deacon Blue. I also discuss my relationships with faith, politics, and the ever-changing challenges of being a musician."

His latest album Short Stories Vol2. is also out now: "I’ve always been interested in telling stories. Most of the stories have become songs but some stories take a little longer. A couple of years ago I started to write down some longer memories which didn’t fit as snugly into verses or choruses. I hope people might enjoy the stories as much as I have enjoyed writing them down."

Read his interview with Lorraine Wilson here.

I'm looking forward to seeing Ricky Ross at Emmanuel Billericay on the Short Stories Vol2 tour. Read a review of his performance at Emmanuel on the first Short Stories tour, a gig which I also saw.  

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Ricky Ross - Bethlehem's Gate.

O broken God be with us always

'Give us this day our daily
incentives; fill us with goals though there is
no goal; give us this day our energy.

O broken God be with us always
now, and to the end of time.'

Here is the ending of one of the best poems by John F. Deane featured in his Give Dust a Tongue: A Faith & Poetry Memoir.

Deane was born on Achill Island in 1943. He founded Poetry Ireland – the National Poetry Society – and The Poetry Ireland Review in 1978, and is the founder of The Dedalus Press, of which he was editor from 1985 until 2006. In 2008 he was visiting scholar in the Burns Library of Boston College. John F. Deane’s poetry has been translated and published in France, Bulgaria, Macedonia, Romania, Italy, Slovakia, Sweden and other countries. His poems in Italian won the 2002 Premio Internazionale di Poesia Città di Marineo. His fiction has been published by Blackstaff Press in Befast; his most recent novel Where No Storms Come was published by Blackstaff in 2011. He is the recipient of the O’Shaughnessy Award for Irish Poetry and the Marten Toonder Award for Literature. John F. Deane is a member of Aosdána, the body established by the Arts Council to honour artists ‘whose work had made an outstanding contribution to the arts in Ireland.’ His poetry has been shortlisted for the Irish Times Poetry Now Award and the T.S. Eliot Prize. In 1996 Deane was elected Secretary-General of the European Academy of Poetry. In 2007 he was made Chevalier en l’ordre des arts et des lettres by the French government. He is currently the editor of Poetry Ireland Review.

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John F. Deane - Shoemaker.

Vera Brittan: Testament of Experience

It is to be hoped that the release of the film version of Testament of Youth this week will also stimulate interest in Vera Brittan's later memoir, Testament of Experience, where she writes about her Christian faith, pacifism and work with Dick Sheppard and the Peace Pledge Union.

On V.E. day walking up Whitehall she testifies to an immense “certainty” that she articulates as follows:

'I could not yet believe in the Easter morning and the meeting again; I did not expect to see Edward or Roland or Winifred in any future conceivable by human consciousness. But of the existence of a benign Rule, a spiritual imperative behind the anarchy and chaos of man’s wilful folly, I was now wholly assured; the superficial faith which the First War destroyed had been replaced by an adult conviction. Like the girl student in Glorious Morning, I knew that God lived, and that the sorrow and suffering in the world around me had come because men refused to obey His laws. The self-interested, provocative policies which had driven mankind to the edge of the abyss seemed to supply incontrovertible testimony that an opposite policy–the way of God, the road of the Cross–would produce an opposite result.'

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Testament of Youth trailer.

Politics, nature and spirituality in the songs of Cockburn and Dylan

I'm enjoying the opportunity to do some reading on my post-Christmas break. I've read Michel Faber's brilliant The Fire Gospels and am now well into Bruce Cockburn's fascinating memoir Rumours of Glory.

Cockburn's trajectory as an artist is almost the opposite, although they share many preoccupations, to that of Bob Dylan; as Cockburn begins as a nature mystic before catching the intoxicating poetry of the urban and political.

He writes:

'My songs tend to be triggered by whatever is in front of me, filtered through feeling and imagination. I went looking for humanity in all its guises. I wrote about what I found: the love, the meanness, the artists, the farmers, the juntas; the books, the slums, the palaces; the conflicts, the peace, the music. That's why I don't think of the things I write as "protest" songs. They reflect what I see and how I feel about it. The songs are not ideologically driven. They are meant not as calls to action - though if someone heard one of my songs and was inspired to help the poor or save an ecosystem, all the better - but as an attempt to share my personal response to experience with anyone who feels a resonance, or even someone who doesn't, because life is one long conversation.'

'As a songwriter newly attuned to political subject matter,' he writes that he began to question his 'unexamined notion that art must remain "pure," untainted by the political ... I began to understand that if an artist's job is to distil the human experience into something that can be shared, then the political, as much a part of that experience as God or sex or alienation, deserved to be seen as raw material. The arts contribute significantly to social movements and cultural cohesion.'

Interestingly, Cockburn rates In the Falling Dark, The Charity of Night and Breakfast in New Orleans Dinner in Timbuktu as the records with which he is most satisfied. For me, he really hits his stride with Dancing in the Dragon's Jaws (the masterpiece of his nature mysticism) and Humans (which begins his series of insights into the urban and politics). Stealing Fire and World of Wonders showcase his hard-hitting and informed political reflections, while Nothing but a Burning Light and You've never seen Everything wonderfully merge his earlier and later preoccupations.

Cockburn was dealing with spiritual themes at a time in rock and folk when such things were not fashionable or widely recognised within the work of several of the most significant artists of the day. Lou Adler, who 'dreamed up [for Dylan's Gospel by the Brothers and Sisters) the concept of matching the words and music of Bob Dylan with the majestic, booming voices he had heard in the recording studios - the vocals of the singers who came from the Baptist churches of South Los Angeles to belt out back-up for the big names,' was one of those able to see the spirituality in the songs of Bob Dylan:

'Listening to a lot of his songs, I felt there was a gospel feel to them, both spiritually and lyrically ... I think you can find something spiritual about all of Dylan's lyrics. Certainly something that goes beyond just being a pop song.'

Merry Clayton says, of recording the album, 'We took it to the church. That's how we approached it. Just like we were singing in our choir in our church.' The results, as Jessica Hundley has written, 'are wonderfully cathartic.' 'This is Dylan elevated into a sound huge and shimmering and rich - a chorus of voices lifting up his poetry ... into something close to scripture.'

That was 1969, when the Brothers and Sisters recorded a representative retrospective of Dylan's work from The Times They Are A-Changin' to Nashville Skyline by way of Another Side of Bob Dylan, Blonde on Blonde, The Basement Tapes and John Wesley Harding. There are many other Dylan tracks from the same period which could be given similar treatment including 'Blowin' In The Wind,' 'A Hard Rain's A-Gonna Fall,' 'When The Ship Comes In,' 'All I Really Want To Do,' 'Sign On The Cross' and 'I Dreamed I Saw St Augustine,' among many others.

Sid Griffin, writing on 'The Importance of The Basement Tapes,' describes in Biblical terms how the 'beat poetics' of Dylan's political and urban songs 'morphed into whimsy or Biblical-like prophecies'; 'songs derived from old sea shanties, melodic reflections about life's absudities, hard-rockin' and often hilarious fictitious character sketches, musical tributes to past heroes which bordered on pastiche, musical pastiches so authentic they bordered on being tributes, devout spirituals, C&W laments, a new take on blues balladry, and, yes, love in all its guises':

'A year earlier [1966] the singer had been in the middle of an exhausting World Tour ... And then, during a break in the touring, the singer saw a light as bright as Saul witnessed on the road to Damascus when he fell to the ground blinded. Bob Dylan, also temporarily blinded, fell to the ground from a motorcycle and when he healed he had changed his thinking almost as dramatically as Saul did. He too sought a new peace in his life for he'd found a direction home ...

Bob Dylan would now place a new emphasis on family, on his new home and its immediate community, on his personal spirit, and would view Mammon with even greater suspicion that he did before.'

Griffin notes that 'when you look at the song titles on an "Americana" chart in any trade magazine today you are seeing the Basement Tapes' musical grandchildren.'

In 1966 Dylan described the range of music and imagery which he has tapped since: 'Traditional music is based on hexagrams. It comes from legends, bibles, plagues, and it revolves around vegetables and death. ... All these songs about roses growing out of people's brains and lovers who are really geese and swans that turn into angels - they're not going to die. .... I mean, you'd think that the traditional music people could gather from their songs that mystery is a fact, a traditional fact ... In that music is the only true, valid death you can feel today off a record player. ... It has to do with a purity thing. I think its meaninglessness is holy.'

He has stated clearly that: 'Those old songs are my lexicon and my prayer book. You can find all my philosophy in those old songs. Hank Williams singing 'I Saw The Light' or all the Luke The Drifter songs. That would be pretty close to my religion. The rabbis, priests, and ministers all do very well. But my belief system is more rugged and comes more from out of the old spiritual songs than from any of the established religious attempts at overcoming the devil.'

More reflections on the work of Cockburn and Dylan can be found in my co-authored book The Secret Chord.

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Bruce Cockburn - Open.

Pacing the Cage: Bruce Cockburn

Harper Collins are to publish Pacing the Cage: A Memoir by Bruce Cockburn. Their publicity states:

 

"Since 1970, with over 30 albums and numerous awards to his credit, Bruce Cockburn has earned high praise as an exceptional songwriter and pioneering guitarist, whose career has been shaped by politics, protest, romance, and spiritual discovery. His remarkable journey has seen him embrace folk, jazz, blues, rock, and worldbeat styles while travelling to such far-flung places as Guatemala, Mozambique, Afghanistan, and Nepal, and writing memorable songs about his ever-expanding world of wonders. Having been asked to write his memoir many times over the years, now is the moment when he will open up about his Christian convictions, his personal relationships, and the social and political activism that has both invigorated and enraged his fans over the years.

Born in 1945 in Ottawa, Ontario, Bruce Cockburn began his solo career with a self-titled album in 1970. Cockburn’s ever expanding repertoire of musical styles and skillfully crafted lyrics have been covered by such

artists as Jerry Garcia, Chet Atkins, Barenaked Ladies, Jimmy Buffett, and K.D. Lang. His guitar playing, both
acoustic and electric, has placed him in the company of the world’s top instrumentalists.Cockburn remains deeply respected for his activism on issues from native rights and land mines to the environment and Third World debt, working for organizations such as Oxfam, Amnesty International, Doctors Without Borders, Friends of the Earth, and USC Canada."

Rated “rock’s last great obscurity” by Melody Maker Cockburn has quietly made a living as a singer/songwriter since 1970 and his self-titled debut while never going all out for fame and fortune. As literate a guitarist as he is a lyricist he fuses sparklingly complex jazz/rock rhythms with metaphor loaded lyricism, as often spoken as sung – “sometimes things don’t easily reduce to rhyming couplets”. Forty plus years of consistent, intelligent exploration of the personal, political and spiritual, often within the same song, is no mean achievement. When combined with both an honesty about his own relationship and faith frailties and a willingness to campaign with the likes of Oxfam raging against US and IMF oppression in the two-thirds world, you have to give the man respect.

 

Dancing in the Dragon’s Jaws showcased the mysticism which, as Vox said, he seems to understand better than anyone not named Van Morrison. His Christian faith developed from an experience of God’s presence during his marriage ceremony and was given wings through the writings of C.S. Lewis and Charles Williams. Creation Dream opens this album and is worth quoting both as a wonderful depiction of God at his creation-work but also as a picture of what the Christian artist aims to imitate:

 

            Centred on silence, counting on nothing,

            I saw you standing on the sea.

            And everything was dark except for

            Sparks the wind struck from your hair.

            Sparks that turned to wings around you,

            Angel voices mixed with sea bird’s cries.

            Fields of motion surging outwards,

            Questions that contain their own replies.

 

            You were dancing, I saw you dancing,

            Throwing your arms towards the sky.

            Fingers opening like flares,

            Stars were shooting everywhere.

            Lines of power bursting outwards

            Along the channels of your song.

            Mercury waves flash under your feet,

            Shots of silver in the shell-pink dawn.

 

World of Wonders kicks off, by contrast, with the “you don’t really give a flying fuck about the people in misery” of IMF. Here Cockburn marries the energy of the music with the anger of the lyric, something he failed to do on the earlier Stealing Fire where he flirted with Dire Straits territory while unleashing the most un-Knopfler-like sentiments – “If I had a rocket launcher I’d make somebody pay” (Rocket Launcher). He hymned the absence of both God (Lily of the Midnight Sky) and his lover (See how I miss you) while celebrating the dawn of revolution (Santiago Dawn) and tropical partying (Down here tonight).

 

Nothing But A Burning Light was the first of two T-Bone Burnett produced albums, with Dart to the Heart being the other. Michael Been and Sam Phillips also contributed. The burning light of the album’s title is the Bible, an image taken from Blind Willie Johnson’s Soul of a Man which Cockburn covers here. Cockburn’s work is shot through by the illumination of that burning light. In a world where there are “Not many answers to be found” and where “We’re faced with mysteries profound” human love is one of the best of those mysteries (One of the Best Ones) while the very best is the redemption that “rips through the surface of time/In the cry of a tiny babe” (Cry of a Tiny Babe).

 

In 1992 in a song, Closer to the Light, written following the death of Mark Heard, Cockburn wrote the line - "There you go/Swimming deeper into mystery” – which seems to sum up the direction in which Cockburn’s work has been heading over the past forty plus years.
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Bruce Cockburn - Pacing The Cage.