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Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Tuesday 25 June 2024

The Beatles Song Book

Another memory of the shared house.

Evenings wasted instead of working for exams. To the beer-off for a big bottle of Woodpecker or Strongbow cider each (were they 3 pints i.e. 1.5l?), then out with the songbooks and guitars? What a good thing the walls were solid. We never heard a squeak from the neighbours.

Brendon had the Simon and Garfunkel book, but that became too difficult as the cider went down. So, we would switch to songs made up ourselves, mainly about the chap who owned the house, known as “Pete may I trouble you gentlemen for some rent please.”

There was the song to the tune of The Ball of Kirriemuir: “Pete does all the cleaning, and that’s a job he hates, and so to appease him we have to wash the plates.” Or the one to the tune of The Tavern In The Town about what he liked to do with sheep. Delightfully juvenile.

Best of all was The Beatles Complete song book. My guitar playing improved no end through that. I still have it, its tattered and patched-up pages showing the use it had. We played it beginning to end, through all the old favourites from “Across The Universe” to “You’re Going To Lose That Girl” and “You’ve Got To Hide Your Love Away”. We never seemed to get “Across the Universe” right, especially the “Jai guru deva, om” bit. One of Brendan’s friends could do all the harmonies to “Because”, which was pretty impressive. 

Later, I used the Beatles book for [tautology warning] improvisation practice, making double and treble backing tracks with my Akai 4000DS tape deck. Of course, you can do this kind of thing today with digital mixing desks, or even free software such as Audacity on a laptop. It was not so easy then. 

Here, from 1978, is “Yesterday” with an improvides middle eight. After 45 years, I now tend to hear the snatched notes, clumsy phrasing and track synchronisation problems, which might mean I’m a better musician now, but I still find it has something. The held note in bar 5 of the last verse, followed by slowing down at the end, releases tension.   

I have only just noticed that the song has 7 bars per verse rather than the usual 8.

https://youtu.be/8lgucFMNC1o 

Thursday 20 June 2024

Bangers and Mash

We opened a tin of country garden vegetable soup. Sheer laziness, I know, but it was fine. However, we were surprised to see that the contents included rice and pasta. I know they have to keep the price down, even though it was not a cheap brand, but country garden vegetable soup containing rice and pasta, well, you wonder which country’s garden vegetables they have in mind. 

I am not the first to say this, but before around 1970, at least in the north of England, rice was for puddings, and few knew what pasta was. “Foreign muck”, as my mother would have called it, was laughed at. 

From somewhere in my head, came this forgotten song about an Englishman who married an Italian, who, in the days when men never entered the kitchen, gave him only Italian food.   

https://youtu.be/aGFpVN2xwXU

Peter Sellers and Sophia Loren recorded the song as a follow-up to their hit, ‘Goodness Gracious Me’, which arose from their roles in the film, ‘The Millionairess’ (1960).

Sellers was at the height of his popularity. I never understood why. To me, he seemed a self-regarding show-off, and not a particularly likable person. I found much of his humour unfunny, and in retrospect it was often cruel, with every -ist and -phobia going. He was brilliant at inventing comic voices and characters, as you can hear in the song, but it was the kind of humour that laughed at odd accents and eccentricities. I side with the eccentrics. Underneath, I think he was an immensely talented but flawed, deeply unhappy soul. He seemed unable to be himself. He died of a heart attack in 1980, aged 54. There are conflicting views about the exact nature of his relationship with Sophia Loren. I suspect she had better sense. 

Wednesday 29 May 2024

The Deaf Duster

My wife was looking for a clean duster. I surprised her by producing a brand new one, forty years old. A BBC archive clip of programs I wrote for deaf children reminded me of it recently (the one-minute clip is here). Someone gave me the duster at that time.  

We decided the duster was much too nice to use as a duster, so it went back in the drawer. 

I never did manage to learn the sign alphabet. I can spell out my name, but little else. 

Memories churned around in my head, as often happens these days, and in the middle of the night, out of nowhere, there emerged a song.

To the tune of the old British music hall song Let's All Go Down The Strand: 

           Let's all go through the codes (Have a banana)
           Let's all go through the codes (Gertie Gitana)
           A B C D    /    E F G
           H I J K    /    L M N O P
           Q R S      /    T
           U V W X Y    /    Zee
           A B C D    /    E F G
           Let's all go through the codes.


What a great way to learn it: 

He's as daft as a brush. 

Right, who wants a part in The Semaphore Version of Wuthering Heights, or Julius Caesar on an Aldis Lamp? 

Wednesday 1 May 2024

Paul McCartney’s RAM

New Month Old Post: first posted 7th November 2018

We can be very dismissive when young, especially about music. 

When Paul McCartney’s long playing record Ram came out in 1971, a lot of people hated it. They were irritated by the embarrassing sight and sound of Linda McCartney and her wooden, astringent vocals. Why was she on the record anyway: as if it were a primary school class where everyone has to join in banging tambourines and triangles, even the talentless? Why was she accredited fully as co-creator, which no one really believed?

I simply dismissed it. It was not The Beatles. I was fed up with it emanating from Brendan’s room in the shared house. After all, didn’t I have more sophisticated tastes? Didn’t I think of myself as a knowledgeable connoisseur of serious music like progressive rock, particularly Jethro Tull who had just released Aqualung? How could the McCartneys’ frivolous, inconsequential warbling possibly compare?

The only legacy, for me, was that to this day, whenever we drive past a certain cut-price supermarket I sing the following mondegreen:
Lidl Lidl be a gypsy get around
Get your feet up off the ground
Lidl Lidl get around.
I recently looked up the lyrics to discover that the actual words are “Live a little” from the track Uncle Albert/Admiral Halsey who “had to have a bath or he couldn’t get to sea” – another misheard lyric, it’s “berth”.

One thing led to another and I ended up getting the CD as a birthday present (I don’t do streaming). What a revelation! Judging it inferior to Jethro Tull was being Thick as a Brick.

I now think Ram is amongst Paul McCartney’s best and most innovative output: so rich in ideas – melodies, harmonies, arrangements, decorations, quirky bits – almost every part of every track is different. It‘s an amusing, joyful record, a bit late-Beatles, like the brightest parts of Abbey Road and The White Album.

It has been described as a “domestic-bliss album”. Despite personal and contractual pains in disentangling himself from the Beatles, Paul was now living a contented and enviable life, very happy with Linda and children in their rural retreat. You hear it throughout. And Linda’s voice is just about OK too, or at least you get used to it. 

Maybe I liked Ram all along but did not want to admit it.

Sunday 28 April 2024

Sunday Silliness

Silly Songs With Simple Chords
C and G7 

         Cows in the kitchen, moo moo moo,
         Pigs in the pantry, grunt oink ooh,
         Lambs on the landing, baa baa boo,
         Skip to my Lou my darling.

         There’s a horse in the hallway, neigh neigh neigh,
         A donkey in the doorway, bray bray bray, 
         Ducks and chicks in the chairs all day, 
         Skip to my Lou my darling. 

         Get all these animals out of this place,
         They make a lot of noise, they take a lot of space,
         There’s no room left for me or you,
         Can’t skip to the loo, you can’t get through.  

Tuesday 2 April 2024

Downstairs

New Month Old Post: first posted 30th October, 2016.

A song for dads to sing to their children. 
Petula Clark: Downtown

What a super singalong on BBC Four on Friday! 

It Started with a Kiss, or rather for us with a bottle of Chilean Shiraz. It was followed by a fabulous edition of Top Of The Pops 1982, from 15th July. After several weeks of watching the constipated faces of Brian Ferry and Martin Fry (get the look!), it was great to have some good tunes for a change. Following Errol and Hot Chocolate came Dexy’s Come On Eileen, the perennial Cliff Richard, David Essex’s Night Clubbing, and Irene Cara’s Fame (although I have never understood the line in that song about qualifying for a pilots licence).

Later, there was a concert with the then (in 2016) 83-year-old Petula Clark who has brought out a new LP. Goodness, she is even more perennial than Cliff Richard. My great-grandfather used to like her and he died in 1960. Her voice is a bit thin now, but the music and band were superb. She kept us waiting for her ultimate singalong song but it duly arrived near the end. I then blotted my copybook by reprising my own lyrics from when the children were little. They went something like this.

When you’re in bed and Mummy’s snoring beside you
You can always go, downstairs
When you are cold and Mummy’s got all the duvet
There’s a place I know, downstairs
You can lie down on the settee, and have it all to yourself, 
Choose some bedtime reading from the books upon the bookshelf
How can you lose?
It’s warmer and quieter there 
You can forget all the snoring, no need to stay there 
Just go downstairs
Sleeping on the settee, downstairs
Sleeping so peacefully, downstairs
Everything’s waiting for you.

When you’re in bed and Mummy’s been eating garlic
There’s a place to go, downstairs
Onions and curry, chilli, tikka masala
Seems to help I know, downstairs
You can open all the windows and the air is clear and nice
Fill your lungs with freshness thats free of herbs and spice
How can you lose?
The night is much cleaner there
You can forget all your troubles, forget all your cares
And go downstairs
Have a weak cup of tea, downstairs
Crackers or toast for me, downstairs
Everything’s waiting for you.

I was lucky not to have to sleep downstairs.  

Friday 8 December 2023

I Haven’t Time To Be A Millionaire

What do young people do when they begin to take more than just a passing interest in each other? One answer it that they walk in the countryside. Our children did so with there special friends, and I have written about how I was smitten one warm evening in peaceful Leicestershire ridge and furrow. 

My parents were no different. This pair of photographs is from 1945. That is Rawcliffe Church in the distance. 

I was selecting images to illustrate the old family audiotapes I have mentioned several times, with a view to putting them on YouTube to minimise risk of loss. Here, yet again, is my dad singing “I Haven’t Time To Be A Millionaire”, this time as a video with images. It may not be particularly sophisticated, but it seems to work well.

I bet he imagined he was Bing Crosby singing with Gloria Jean in “If I Had My Way”. Let’s say he makes a recognisable attempt. I cannot imagine my mum managing Gloria Jean’s coloratura soprano, though. I looked up the original. What a delight! Astonishingly, Gloria Jean was just 14 at the time, playing the part of an orphaned child. She’s nearly as good as Bing. 

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

Dad sang a lot of Bing Crosby songs to us; there are more on the full audiotape, such as (from the same film): “If I had my way forever there’d be, a garden of roses for you and for me”, and (from “Rhythm on the River”): “Do I want to be with you, as the years come and go? Only forever, if you care to know”. 

“Stop being soppy,” I hear my mum say, which of course encouraged him. 

Isn’t it great to be able to share our parents’ musical obsessions, even years too late. I wish I could watch the films with them now. 

Monday 4 December 2023

Andrew Lloyd Webber

A treat on BBC Television last night: ‘Andrew Lloyd Webber at the BBC’, a collection of performances over the years. It had some commentary, including from Lloyd Webber himself, but nothing shouty or intrusive, no one ‘emoting’ like an open mouthed idiot, just quiet, intelligent and sensible. The BBC at its best. It was first shown in March earlier this year but I missed it then. It is still on iPlayer.

I have long been a Lloyd Webber fan. I first became aware of him in the Joseph days of the nineteen-sixties, but it was Jesus Christ Superstar that won me over, particularly the film - the one with Ted Neely and Yvonne Elliman. I saw it three or four times. My friend Brendan, from the shared house, went to see it about ten times. He knew all the words and harmonies, and could imitate the actors’ bass/baritone/tenor voices:  “We need a more permanent solution to our problem. ...What then to do about Jesus of Nazareth? Miracle wonderman, hero of fools ...” If you know the original you can imagine the hilarious effect.

Then I bought the first recording of Evita and was absolutely entranced by it, especially the scene where Peron meets Eva for the first time:  “...Colonel Peron / Eva Duarte, I’ve heard so much about you. ... but I’m only an actress / a soldier ... But when you act, the things you do affect us all. But when you act, you take us away from the squalor of the real world. ...I’d be good for you, I’d be surprisingly good for you.”

For me, the highlight of the programme was Lesley Garrett and Michael Ball singing The Phantom of the Opera in 2001. I love Lesley Garrett. She is of my era and from Thorne in Yorkshire, my part of the country. She went to Thorne Grammar School. Goole, Thorne and the villages in between and around used to be as one. They even had the same telephone dialling code. Then some government factotum with apparently no understanding of the social geography of the area thought it would be more convenient to split them off into different administrative regions.

When Lesley Garrett speaks, much of her native Thorne accent still bubbles through. When she sings, she is spellbinding.

Lesley Garrett and Michael Ball: The Phantom of the Opera - https://youtu.be/yAYeqyrFWWU
I don’t know why the sub-titles to this video
misleadingly implies that they are married.

Sunday 26 November 2023

Musical Snobbery

Our folk band played a programme of 16th and 17th Century music in the marble-floored hall of one of our nearby great country houses. Actually, it grieves me I wasn’t in it; the side-effects of the pills I have to take make it too difficult at the moment, but there is no point in moaning. Mrs. D. played. 

We mentioned it to a woman from one of those Old-English music groups that are so up themselves in pious authenticity you wonder what pleasure they get out of actually playing the music, if any. She looked interested.

We explained that it was not all 16th and 17th Century music, that there were some modern novelty items like Barnacle Bill.    

Also, that we would not be wearing authentic costumes, only what we had been able to cobble together and make ourselves to create an impression of the time.

And while we do play composers like Playford and Susato, we do not have original instruments, just our usual ones. We even have banjos, piano accordian and an electric bass.

“Oh!” she said in a long drawn-out “Ohhh!”, wrinkling her nose as if something didn’t smell right.

She didn’t buy a ticket.

Thursday 9 November 2023

Dirty Old Town

Every year, around this time, the asphalt surface of the school playground would be buried under a huge pile of coke. It was like lumps of gray cindery coal, but without much weight. Gradually, it disappeared into the school boiler room.

The coke was a by-product of the corporation gasworks, which manufactured coal gas supplied to our houses through a network of pipes. We had gas cookers, and gas taps beside the fireplace to which you could connect a free-standing gas fire through a rubber tube. I ran the Bunsen burner for my home chemistry set in the same way. Outside, there were gas lamps along the street, and a man with a long pole came to turn them on and off each evening and morning. My dad could remember the pre-electric days when houses had gas mantles for internal lighting.

Gas was produced by heating coal in the absence of air, with coke, tar, and chemicals as by-products. Coke burned hotter and cleaner than coal and could be used as fuel in specialized boilers. It was also used in industrial processes, but was no good for the home fireplace.

Dad’s Arthur Mee Encyclopedia (1927) has a series of pictures and diagrams showing how coal gas was made and the amount of plant and machinery needed. Here are the first three. 


The corporation gasworks were near the docks where they were supplied by canal with coal from the Yorkshire coal fields. In other towns, coal trains ran through the streets to the gasworks. The infrastructure was extensive: heavy engineering, railway lines, underground pipes. You could live in Gas Works Street, work at the gasworks, drink and be entertained at the Gas Club, and go on gasworks outings. Some of the structures are still around. 

That, for me, describes 1950s Britain (and earlier): asphalt playgrounds, school boiler rooms, gas lights, gas works, coal trains pulled by steam engines, and coke before it had any other meanings. I have no idea why it came to me in the middle of the night. 

It became obsolete when we changed over to North Sea Gas in the early 1970s. Millions of household appliances had to be converted to burn natural rather than coal gas. The gas storage tanks at the gas works continued in use for many years, until condemned as unnecessary. Many have since been dismantled. We have hardly any gas storage in Britain now; just a few days’ supply, as compared with a few months’ supply in Germany.

I found my love by the gasworks croft
Dreamed a dream by the old canal
Kissed my girl by the factory wall
Dirty old town, dirty old town

I heard a siren from the docks
Saw a train set the night on fire
Smelled the spring on the smoky wind
Dirty old town, dirty old town

Clouds are floating across the sky
Cats are prowling upon their beat
Spring
s a girl in the streets at night
Dirty old town, dirty old town

I’m going to make a good sharp axe
Shining steel tempered in the fire
We'll chop you down like an old dead tree
Dirty old town, dirty old town

https://musescore.com/user/5060416/scores/4832062

Saturday 23 September 2023

Hobgoblin, Nor Foul Fiend

One day each week, my wife goes happily off to her dementia group. For clarity, and to avoid the kind of misconceptions our children adopt deliberately in the mistaken belief they are being witty, I should add that she runs it. They have a different theme each week, around which they talk, play games, and have a cooked meal and lots of laughs.

Members engage to varying degrees. Some are very lively and on first acquaintance you would not think anything was wrong. You might mistake them for volunteers, but all have memory problems. Others, you wonder whether they get any benefit from attending at all. One elderly lady, I will call her Dolly, sits head down all day long in her wheelchair, saying very little.

Most grew up in England during the decades before, during and after the Second World War. Like me, they have no difficulty in joining in the hymns at church services or at those weddings and funerals that retain some semblance of religiosity. It was part of our shared culture. We had the words and tunes drilled into us daily at school assemblies, Sunday School and church. How inspiring they can be, especially when the organ chords, descants and harmonies reverberate round. We can reel them off: For Those In Peril, Jerusalem, The Day Thou Gavest, To Be A Grim Pill as we used to sing in assembly, and so many more. Younger people don’t know them. When my cousin’s daughter’s husband was on University Challenge, he was the only one to know that ‘The Lord Is My Shepherd’ is the 23rd psalm, and only after we had been yelling it at the television for 15 seconds. The young deride these things as small-minded and exclusive, although I don’t perceive many other creeds as much better.

Last week at the group, the theme was harvest. They talked about what they remembered of it. Some worked on the land, and one member is old enough to have been in the women’s Land Army. They talked about the old traditions, harvest festival services at church, and harvest festival hymns. They began to sing “We Plough the Fields and Scatter”. Incredibly, Dolly burst into life. She raised her head high and sang out in her trill warbly voice, leading the singing. The transformation was astonishing. After the “All good things around us” middle eight, she started on the next verse, “You only are the maker”, then the one after that, “We thank you then Creator”. No one else knew them.

When my wife later told me the story at home, she said this was the only harverst hymn they could think of. After a while, I said “Isn’t there one about all is safely gathered in?” It stirred a memory. “Yes,” she said, but neither of us could quite remember it. It was not one we sang very often, and not in the school hymnal. Not enough about God in it. A bit too Baptist. We had to look it up. It is ‘Come Ye Thankful People’.

https://youtu.be/t3n7IUCdqAM?si=FHKbdeg-6EwplKzg

What a descant (verse 4)! Even if it is over the top. And is that who I think it is at the front of the congregation (see verse 3)? Well, that’s all right. We are a broad church on this blog. She is well turned out as ever. 

This week, I was interested to hear whether Dolly also knew ‘Come Ye Thankful People’. She did, and sang it. 

Hobgoblin, nor foul fiend, can daunt the spirit.

Then she sang “We Plough the Fields and Scatter”, again. She could not remember having sung it the previous week.

Tuesday 30 May 2023

For Northsider

Note with it: Ticket (£1.10) and promotional beer mat. Barclay James Harvest. Spring Tour 74. I went with Bob S- to see them at Leeds Town Hall on Tuesday 25th June as he had a spare ticket. We were fairly near the front and I was pretty deaf for a day or two. The ticket has the top corner torn off on admission.

The drummer was very exuberant: arms all over the place.

See Northsider's post: http://northsiderdave.blogspot.com/2023/05/an-old-bjh-song-relevant-for-our-times.html 

Monday 22 May 2023

Windmills Of Our Minds

I always have a tune playing in my head. This week there have been two not thought about in over sixty years. Where do we keep these things and the associations that suddenly bring them back?

I had been enjoying, on Yorkshire Pudding's recommendation a few weeks ago, the three series of 'The Detectorists' on BBC iPlayer. It is indeed good, although it contains more and more soap opera elements as it progresses, which I found annoying. 'Dad's Army' never needed extended plot lines about wives, daughers and girl friends.

I thought the best bit was the last five minutes of Series 3 Episode 1, when one of the main characters detects a falconer's whistle. He cleans if and blows to see if it still works, and to the eerie harmonies of The Unthanks 'Magpie' we are transported back to the scene of an Anglo Saxon burial on exactly the same piece of earth several centuries ago.

"Devil, devil, I defy thee", they sing. And then: "Oh, the magpie brings us tidings, Of news both fair and foul, She's more cunning than the raven, More wise than any owl, For she brings us news of the harvest, Of the barley, wheat, and corn, And she knows when we'll go to our graves, And how we shall be born." I had tingles down my spine.

After hearing 'Magpie' for a day or so, trying to make sense of the harmonies, I was struck by its slight similarity to the theme tune of the nineteen-fifties television series 'Cannonball'. It came back out of nowhere and I had to 'listen' to it for a time. This was then replaced, by association, with the singer Freddy Cannon's awful nineteen-fifties hit, 'Way Down Yonder in New Orleans', one of the first commercial songs I knew all the words to because they were printed in a magazine. I can still 'see' it from more than sixty years ago.

At least I can play The Unthanks to get rid of these two tunes, but sometime, it would be nice just to be able to switch it off.

https://youtu.be/w6EIFD80f90

Wednesday 15 February 2023

Guitar Books

These are the books that taught me to play guitar. They came new with my first guitar in 1965.

Actually, books can't teach you to play a musical instrument. You have to motivate and do it yourself, and if you've got it you'll get there, and if not you won't. It is hard-earned. I remember so many whose desire exceeted their application.

'Tune A Day' was helpful by starting me off with two-chord songs such as 'Some Folks Like To Fret And Scold', played just on three strings, but I had to keep trying over and over again before it sounded anything like it should. Most find that being able to change between chords is the most difficult bit. It can also be hard to know when the guitar is out of tune.

You then struggle to master more chords using more strings, and pehaps after a few months you begin to realise you can do it. But as a guitar teacher in Hull (Tim Keech) told me, "it takes you ten years before you realise how crap you are" (which is true of so many other things too). 

Once I could play a bit, there was another book that did in fact teach be quite a lot, Hal White's 'Leeds Guitar Method' from the nineteen-fifties. It explained things clearly, such as on this page about Augmented Chords, and followed up with contempory songs that used them; in this case Dickie Valentine's 'The Finger Of Suspicion Points At You'. My copy of the book came from a long-forgotten school friend whose  name and address I am disturbed to see written in the front. I wonder what became of him. 

Play regularly for ten years and you become reasonably competent. When I lived in a shared house we often bought a big bottle of cider each and played through the Beatles' Songbook.

Here are a couble of multi-track recordings I made in the severties: a J.S.Bach two-part invention, or if that's not your thing, you might recognise the other piece as an improvisation around the Beatlers' song 'You're Gonna Lose That Girl'. You don't have to tell me now how messy it is, but I was making much of the improvisation up as I went along. I wish I could still do it as well as that now. 


If you can't see the videos they are at:
https://www.youtube.com/watch?v=q1li2a1TfDo
https://www.youtube.com/watch?v=kK71bqVVIFk

Sunday 6 November 2022

The Songwriter

Another item from the old electric guitar case: the November 1977 edition of The Songwriter, the magazine of the International Songwriters Association. Not very inspiring, is it! I have no idea how I acquired it or why I kept it. Perhaps I thought I would be the next Bjorn or Benny.

Can you become a songwriter by reading a magazine? It seems to me like all that stuff about how to be a published writer. If you look up “memoir blogs”, for instance, there are lots of people all too ready to tell you how to do it, but not many who actually do.

Did J. K. Rowling spend her time reading magazines about how to write books, or did she just get on with it?

The chap on the cover of ‘The Songwriter’, by the way, turns out to be one Reg Guest, apparently a successful arranger and session musician, but not much of a songwriter. The president and founder of the Association, Jim Liddane, does not seem to have written many songs either.

I think it’s another item for the recycling bin.  



Thursday 27 October 2022

Strings

New guitar strings fitted today on the Epiphone dreadnought. The last ones had been on since 2018 and were getting a bit dull and smelly (grease from your hands). It’s a long job taking about an hour and a half, and I always dislike doing it, but it’s worth it in the end.

I don’t usually throw the old ones away in case I break one and need a spare – something that has only ever happened once or twice in my life. I looked in my old electric guitar case: there could be every string I’ve had in fifty years. Have put the metal ones for recycling. 

There are other things in the guitar case too, but I’ll save them for later.

Wednesday 10 August 2022

My Very First Mother Goose

In the small collection of items I put aside to blog about at some future time, is an obituary of Iona Opie, children’s folklorist, who died in 2017 aged 94. If this post interests you, you will enjoy her life story.

Her delightful book ‘My Very First Mother Goose’, an illustrated collection of nursery rhymes, gave us hours of fun when the children were little. Bedtime after bedtime, we would turn through the pages, pointing at the pictures, singing the rhymes we knew the tunes to, and reciting those we didn’t. Now in a box of books in the loft, it is definitely not one to be disposed of. 

Amongst my favourites to sing were:

         Polly put the kettle on
         Half a pound of tuppenny rice
         I had a little nut tree
         Pussy-cat, pussy-cat, where have you been
         Elsie Marley’s grown so fine, she won’t get up to feed the swine
         Dickory, dickery, dock
         Sing a song of sixpence
         Hey diddle, diddle, the cat and the fiddle
         Ride a cock ‘oss to Banbury Cross
                 (we are certainly not going to sing ‘cross’ to rhyme with ‘horse’ in Yorkshire)
         Horsie, horsie, don’t you stop
         Boys and girls come out to play
         Jack and Jill
         Pat-a-cake, pat-a-cake
         Down at the station early in the morning
         Wee Willie Winkie

We probably enjoyed it more than the children.

“I don’t like that Wink Willie Wee-Wee,” son J said one day.

Iona Opie, with her husband Peter, began collecting nursery rhymes during the war when, one day out walking in the countryside, the rhyme “Ladybird, ladybird, fly away home / Your house is on fire, your children all gone,” came into her head. She wondered what it meant and where it had come from. Nursery rhymes had never been codified before. From scratch, they unearthed a rich vein of children’s rhymes, traditions and folklore that had been passed down through generations, which they sought to record before it was erased by the commodification of childhood.

As in “Ladybird, ladybird”, many hint at untold horrors. The Opies suggested this was uniquely British, “All part of being frightfully tough and not minding the weather; we’re nourished with this nonsense and it does us a lot of good.” 

With us, the rhymes took on a life of their own, with changed words and new verses. “Down at the station” acquired a second verse in a minor key:

         Grandson and -daughter1 wave goodbye to Grandma,
         She’s on the train, she’s on her way home,
         Ten minutes later a face at the window,
         “Hello, it’s me, I’m baaack2 again.

                 1 their actual names were used here
                 2 exaggerated southern accent

The odd thing about this is that it is not entirely true. Our extra verse refers to an incident that occurred before either of the children was born.

Grandma used to travel up from the South on the main line to Sheffield and then take a local train through Barnsley. She was appalled by the thought that any future grandchildren might grow up with Barnsley accents.

On this particular day, we saw her off home on the local train, but she returned an hour or so later and knocked on the window. What had happened is that, just outside our station where the line becomes single-track, the driver of the train coming in the opposite direction stopped to inform Grandma’s driver about a broken joint in the track which had allowed him to pass but would have derailed Grandma’s train. Grandma’s driver then had to wait for permission to reverse back to our station. 

How many of our traditional rhymes are similarly muddled?


 

Iona and Peter Opie (rhymes with ‘soapy’) published several other books, including ‘The Oxford Dictionary Of Nursery Rhymes’. We also bought ‘Here Comes Mother Goose’ which is in the same Walker Books series as ‘My Very First Mother Goose’, but most of the rhymes are unfamiliar to us.

Wednesday 1 June 2022

Belgian Youth Abroad

(New month old post: first posted 13th January 2015)

Hugo, my foreign language exchange partner, thought himself the Belgian equivalent of Dick Rivers “the French Elvis Presley”. He dressed like Dick Rivers, sang like Dick Rivers and combed his hair like Dick Rivers. And like his role model, he was fascinated by popular American culture.

I think that was the main reason he wanted to visit England – he thought it was like America. English fashion and music were taking over the world. ‘Swinging’ London was also the fictional home of Hugo’s other hero, ‘The Saint’, alias “the famous Simon Templar”, played by the young and debonair Roger Moore, recently syndicated with subtitles on Belgian television. He looked so good I could almost have fancied him myself.

The foreign language exchange scheme, ‘La Jeunesse Belge à l'Étranger’ (Belgian Youth Abroad), made England easily accessible. It paired Belgian and English teenagers to stay with each other and their families.

And so, one sunny July afternoon in the mid nineteen-sixties, Hugo, and around thirty other excited Belgian teenagers, travelled north on a train to Yorkshire. As they rattled over the river and canal bridges, those that had been in previous years knew they had reached their destination.

Meanwhile, waiting expectantly on the station platform, their exchange partners squinted into the glare to catch a first glimpse of the approaching train. The clatter and thump of railway gates locking against their stops, and the clunk of railway signals bouncing into the clear position, announced its imminent arrival. I was oddly distracted by the image of Wendy Godley standing quietly at the end of the platform with the sun shining straight through her thin summer dress.

How on earth would we match Hugo’s expectations? It wasn’t Elvis Presley or Roger Moore that had recently performed in our town, it was Wilfred Pickles and his quiz and interview show ‘Have A Go!’, broadcast on the Light Programme, the most old-fashioned and parochially working-class show on the wireless. Its mainly elderly audience always joined in to sing the opening theme song: 

Have a go, Joe, come on and have a go, You can’t lose owt, it costs you nowt, To make yourself some dough. So hurry up and join us, don’t be shy and don't be slow. Come on Joe, have a go!
Hugo would surely be bored out of his mind.

The train drew up in a hiss of hot steam, a whiff of coal smoke and the turmoil of slamming doors, waving, cheek-kissing and excited foreign accents. I found Hugo and helped carry his luggage to our house.

I need not have worried. A big difference between our own trip abroad and Hugo’s to England was that whereas we had stayed mainly with families dispersed across French-speaking Belgium, the Belgians stayed close together in our small Yorkshire town. At the same time we were hosts to a similar number of German exchange students. So we had thirty Belgian teenagers and thirty German teenagers, many for the first time away from their parents, all in effect on holiday together with their sixty English hosts. There would be no difficulty in finding things for them to do; they would create their own entertainment. Indeed, Hugo had already been hard at work creating distractions of his own.

“Zehre was zees gehrl on zee trhrain,” he said, “Marie-Christine. Vehry byutifurl. She stay ‘ere en England too. She stay weedz an Engleesh gehrl called Wendee. You know whehre she leev?”

That disclosed Hugo’s main preoccupation for the next two and a half weeks. Whereas my activities in Belgium had depended almost entirely on Hugo and his family, Hugo quickly started to organize things for himself. As a handsome, energetic combination of Dick Rivers and the famous Simon Templar, he was irresistible to Belgian, German and English girls alike, and all their friends and sisters too. He worked through them one by one, sometimes in twos and threes, greatly assisted by my dad’s ancient bicycle which he had commandeered to give himself a level of independence that often left me to my own devices. Hugo was entirely different to how he had been at home in Belgium: “un garçon sérieux,” his parents had said.

Most afternoons, groups of Belgian, German and English teenagers congregated in the park, played tennis or football, and wandered around visiting each others’ houses or drinking Coca Cola in coffee bars. Most evenings there were lively parties, some still remembered for entirely the wrong reasons. I got to participate too. Such an intensity of social activity was completely new to me. I had to learn quickly.

One afternoon, Hugo having gone off somewhere with Wendy Godley and Marie-Christine, I found myself on my own at the park with Wendy’s sister, Sandra, who was also ‘vehry byutifurl’. Whereas Wendy had always completely ignore me, Sandra was the opposite. She kept asking me things that seemed to mean more than just the words she used. With reference to the pictures (cinema): did I think it cosy at the Carlton? Would I like a ‘Wonderful Life’? Had I thought about ‘A Hard Day’s Night’? Would I enjoy ‘Sex and the Single Girl’? She was forever touching me, walking near enough to brush hands, and sitting so our knees came into contact.

That day in the park, I was sitting on my bicycle with hands on the brakes, and Sandra stood so closely that, oh so casually and accidentally, her tummy pressed firmly against my fingers. She felt warm through the softness of her strikingly red top. Then, with mischievous blue eyes looking straight into mine in a way that was impossible to refuse, she asked whether she could have a ride, pausing excessively before adding “on your bike, I mean.” I got off, she got on, wobbled a bit because it was too big for her, and then rode off towards the park exit, her ample bottom astride my saddle. I followed on foot, but she had disappeared. To be truthful, I was rather annoyed. If I wanted my bike back, I had to go get it.

I walked the half-mile to the Godleys’ house wondering what to say. The front door opened and Sandra waved me inside. She was alone in the house and had changed out of her red top into what looked like a flimsy nightdress. I wasn’t sure where I should look. Then, in one of those instants when different choices could have taken my life along a very different course, “I made my excuses and left” as newspaper reporters used to say. “Fled” would be a better word.

I often wondered how things might have turned out otherwise. It would have been good for me at that stage of my life to have had a very special friend, especially someone so funny, lovely and ‘byutifurl’. My coldness must have been hurtful. But we weren’t in ‘swinging’ London. The ‘swinging sixties’ did not reach our part of Yorkshire until the nineteen seventies or eighties. We would have become the subjects of the kind of nudges, winks and whispers that circulated round town for weeks.

There was one other thing too. It sounds terrible now, but Sandra went to the Secondary Modern School. Grammar school boys did not go out with modern school girls. We were turned into arrogant snobs.

I didn’t tell Hugo. Goodness knows what he would have made of it.  

Monday 14 February 2022

Sisters

This started out as one of those Google-powered rabbit burrows, beginning with Norma Waterson, the folk singer, who died at the end of January. She was born in ‘ull (American and non-Yorkshire: Hull). Mr YP mentioned her recently, and also, not so long ago, David Bowie’s collaborator Mick Ronson, who was also born in ‘ull. What other singers were born there, we wondered.

It sent me back to my mother’s Light Programme on the wireless in the nineteen-fifties. You would hear Ronnie Hilton singing about a mouse in a windmill with triplets and twins in, going clip-clippety-clop on the stair. He was born in ‘ull. David Whitfield too, the first British singer to have a number one in both Britain and the U.S. with the magnificently emotional Cara Mia.

Dickie Valentine was another of that era. What about him? Well, no, he was from London. What did he sing, then? Finger of Suspicion and Christmas Alphabet. But I thought Christmas Alphabet was by a female American group.

Yes: The McGuire Sisters. I remember them more for Sugartime. It’s on YouTube. Listen to those counter-melodies. Weren’t they good!


What about the Beverley Sisters: that’s near ‘ull. But they weren’t from Beverley; they were from London. Joy, Babs and Teddie. They were good too, and pretty, with distinctive harmonies. Here they are aged 20 and 23 (with 1947 cultural sensibilities): 

The matching qualities, the timbre, of family group voices can make pleasant listening, especially sisters. Take the Dale Sisters: Betty, Hazel and Julie Dunderdale, one of many sister acts that almost made it but not quite. They weren’t quite from ‘ull, but near enough to count. Their dad was a local butcher and Julie married our Geography teacher. They got off the ground in 1959 by winning a talent contest at Butlins holiday camp in Filey. They were also known as the England sisters:


The YouTube links, if you can’t see them are:
McGuire Sisters: https://youtu.be/bRvEHn6fKWE 

Saturday 8 January 2022

I am a Mole

We were sitting quietly, me reading the newspaper and Mrs. D. getting on with some important knitting.

“I am a mole and I live in a hole,” I suddenly exclaimed.

Mrs. D. looked concerned, as if I had acquired some kind of cognitive deficit. She had heard the phrase at the group she runs for people with memory problems, where one lady sometimes comes out the very same line, just as I had.  

I had to explain that the newspaper contained an obituary of someone called Allan Wilmot* who had died in October, aged 96. I had never heard of him, but, along with his brother Harry, he had been a member of a Jamaican-British singing group, The Southlanders, who had enjoyed moderate success in the nineteen-fifties. I’d never heard of The Southlanders, either, but I knew their song: ‘I am a Mole and I Live in a Hole’. It was often played on Uncle Mac’s Children’s Favourites and at other times on the station then known as The Light Programme when I was little. I doubt I’ve heard it in sixty years, but the way the title line is performed is unforgettable. “I am a mole, and I live in a hole. Dum dum dum dum.”

Listening now, it’s great, although I doubt you’ll thank me for it.

I'm not a bat or a rat or a cat,
I'm not a gnu or a kangaroo,
I'm not a goose or a moose on the loose,
I am a mole and I live in a hole.

I'm not a cow or a chow or a sow,
I'm not a snake or a hake or a drake,
I'm not a flea or a wee chimpanzee,
I am a mole and I live in a hole.

Yarg yarg, quarck quarck, fried boiled or roast,
You're the slick chick I dig the most.

I'm not a ram or a clam or a lamb,
I'm not a hog or a frog or a dog,
I'm not a bus or a hip-potomus,
I am a mole and I live in a hole.

There were a lot of these ‘novelty songs’ on the ‘wireless’ before 1960. I would hear them as I moved my toy cars, trains and farm animals around the floor while my mother did the housework. I remember Pickin’ a Chicken, a Little Blue Man with a funny voice, Seven Little Girls huggin’ and a’kissin’ with Fred, an itsy bitsy teenie weenie yellow polka dot bikini, some creeps Standing on the Corner Watching all the Girls Go By, and that one full of terrible puns on the names of American States. Most were either silly, irritating or both, although not as irritating as the awful show-offs who learnt the words and insisted on singing them to you.

But I quite like ‘I Am A Mole’.  Mrs. D.’s memory group liked it too - members and helpers - although, sadly, the lady who seemed to know it hardly reacted at all. 

Evidently, The Southlanders eventually tired of it and wanted to take it out of their act, but audiences always expected them to perform it.


The video link, if you can’t see it, is: https://youtu.be/zs7nTAmMuwY

* Allan Wilmot came to Britain in 1947 after wartime service with both the Royal Navy and the RAF. After leaving ‘The Southlanders’ he became a Post Office Telephone Operator and helped set up the West Indian Ex-Servicemen’s Association. His elder brother, Harold (Harry) Wilmot, arrived in Britain on the Empire Windrush in 1948, and was father of the actor, singer and comedian Gary Wilmot. He died in 1961 when Gary was 6.