Here is an example of a musical element that now resides in my composer's toolbox. This is by no means a finished product, just a better quality version of an idea on real piano that I recorded onto my iPhone to capture the inspiration. On the iPhone I tend to use Voice Memos or, if I can lay my hands on it at the time, the Blue Microphones Blue Mikey 2.0 iPhone/iPod Recorder. Then the next stage was to re-record using the Avid / Digidesign ProTools LE (version 7.4.2), two tracks of Nord Stage in real time. Having create an instrumental mix I then 'heard' this soprano vocal part in my head during playback, so promptly added that and re-mixed as above...
Sometimes these 'sketches' are absorbed into complete pieces, such as those included in the collection entitled Sotto Voce on Bandcamp.
A marvellous Flash Mob performing The Beatles 'Here Comes The Sun' held in a Spanish unemployment office where, typically, unemployment rates are around 25%.
It's that time again when Bloggers feel the need, just as I do, to sum up the year! In many ways it is a cathartic process, attempting to remember high and lows and gaining perspective on the calendar year...
So, 2012, this is the year that was:
Events / Gigs / Performances:
Paralympic Closing Ceremony. Felt so privileged to have been there. I managed to secure tickets early on having failed in the first round of Olympic ticket sales. At the time the 'buzz' around the whole sporting phenomena hadn't kicked off, so was delighted to get the notification I'd been assigned tickets for a couple of the stadium Athletics events AND the Closing Ceremony. Subsequently it was announced that Coldplay were to take a major part, bonus! Mentioned in my blog post here.
Gustavo Dudamel conducting the Simón Bolívar Symphony Orchestra of Venezuela (SBSOV) at the Royal Festival Hall. I have to confess that most Classical Music concerts I've attended I've either been longing to get to the piece in the programme I knew or been longing for them to finish altogether! This was completely the opposite, I was gutted it all seemed to go so fast. The blog post was entitled Gustavo Dudamel, let us be numinous... I'm now absorbed in a biography by Tricia Tunstall: Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music. Jonathan Evens and I also discuss the power of El Sistema and the SBSOV in our book The Secret Chord.
Hope & Social in the Greenbelt Festival Performance Café. As mentioned elsewhere, this band never fails to uplift, inspire and amuse. Having already played their Greenbelt Mainstage slot earlier that day their relaxed and mischievous close to the schedule in the Performance Café was unforgettable, including snatches of songs from Grease (yes, THAT song!), The Proclaimers and the sax riff from Baker Street. My review of Greenbelt 2012 'Mud, Sweat and Tears'.
Emmanuel Jal at the Get the Youth Talking event, Camden. This extraordinary artiste and peace activist needs greater awareness. It was an inspiring event which I wrote up here: Emmanuel Jal - Savvy Peace Soldier...
Hope & Social at ADVENTurous, Union Chapel. A second, well deserved entry for H&S in my top five. Set in a totally different acoustic and audience environment they turned in some faultless moments balanced by typical charm and chaos! My hope is to see them continue and thrive in 2013 and beyond, read more in my post, Rolling Sideways here and check out this video of Let's be Bold filmed on the night.
Music:
Bruce Springsteen - Wrecking Ball. An extraordinary collection of challenging songs with a prophetic voice throughout. Outstanding track Rocky Ground as above.
Hope & Social - All our Dancing Days. Another appearance from this remarkable beat combo... favourite track Let's Be Bold.
Athlete - Live at Union Chapel. Live recording of their repertoire in a stripped down format. Every song sounds great with this treatment, their everygreen 'Wires' edges it with the uplifting 'congregational' singing during the Coda...
Emmanuel Jal – See me Mama. At the event recorded above I purchased an advance copy of this CD, the final edition includes a remix of his We Want Peace song having enlisted an enthusiastic contribution from none other than Daryl 'DMC' McDaniels (of RUN DMC). Great get up and dance grooves, We Want Peace Re-Loaded video here!
Literature (I've read loads again this year, these are some highlights!):
The Thread - Victoria Hislop. Loved The Island, reviewed here, struggled through The Return but found I was completely captivated by The Thread, her latest.
Itch - Simon Mayo. Absolutely brilliant yarn, ticks lots of boxes, reviewed here, very much looking forward to the sequel, due out February 2013, which will be called Itch Rocks...
The Train in the Night - Nick Coleman. His moving memoir revealing the intimate narrative of how he gradually comes to terms with a terrifying and extreme form of tinnitus. Covered in one of my posts about music here.
Mutiny! - Kester Brewin. I confess that Mr Brewin kindly sent me a copy for review of his previous book, Other, a more weighty tome which I've only made about 2/3 of the way through to date and have yet to review. This smaller, self published work I found absolutely fascinating on lots of levels, highly recommended, really gets you thinking. Kester's blog right here...
This Time Next Year - Liz Hinds. Another inspiration for my own literary work this year with my buddy Jonathan Evens. I adored this book (albeit a somewhat girlie story!) told in a journal form with a great writing style. Be prepared for extremes of mirth and pathos! Check out Liz's blog here...
The Jesus Discovery - Dr A T Bradford. This was a book my good buddy Ishmael gave me back in 2011, written by a colleague of his, that I finally read this year. This is effectively a study into the missing years in Jesus' life between around 12 years old until he starts his high profile teaching and miracles at 30 years old. Available direct from here.
Most visited blogposts (taken from Google Analytics):
Hope and Social's Seasonal and mellifluous contribution to the Leeds based charity for the homeless 'Simon On The Streets'. This is part of a Christmas compilation of 14 other festive songs which can be purchased for a 'pay what you like' contribution from justgiving.com/anthologieschristmas2012.
The Clash taught me a valuable lesson that day, which I have in the back of my mind every time I write a
song or step out on to a stage: although you can’t
change the world by singing songs and doing gigs, the
things you say and the actions you take can change
the perceptions of members of the audience...
Yep, would you Adam and Eve it, there's been a competition to find a short 3 minute film about the Nativity. You can check out all the entries on The Nativity Factor website and although, in my not always very 'umble opinion, I think some of the entries are a bit naff, I can understand why they picked the winner. However, prompted by His Opinionated Vicar(age), I tracked back the link to the original slightly longer version of the runner up, The Christmas C(h)ord, and also concur with David Keen's view that this one is a bit good! I definitely prefer this longer version, all credit due to the Going Public Theatre Co., written and performed by Dai Woolridge, flmed and edited by Andy Toovey.
Of course, there is a very strong link to another theme from our book, The Secret Chord, it would be wrong not to mention it ;-) In fact, we researched a section about the link between the word 'cord and 'chord' which was edited out, maybe in the next mini-tome?
And now for something completely different, this stunning film has so much context, clarity and authenticity it would be even more wrong not to include it:
Last night's fascinating and insightful programme looking into Jools Holland's career in music and as a TV presenter. As well as an unbelievable player along with his encyclopaedic knowledge of recording artistes and industry history, he also commands great respect from many musical legends because of his talent. As a personal benchmark I often gauge an artist, band or solo, by whether they would be good (or quirky!) enough to appear on Later with Jools.
Throughout the programme there were many gems about music, notably in his demonstration about the difference between learning by ear and a typical piano lesson and then when he enthused about his band, "the perfect band". Describing soul singer Ruby Turner, an integral part of his big band line-up:
"she is us... it's not about the sound, it's about the feeling, and then you hear this sound and this is, like, coming from a completely different place to the modern world but touching a thing that's alive and vital now, and it's all those things of the church, of the blues, of everything all mashed up into this thing that hits you like a nuclear reactor."
Another succinct explanation of the core theme of our book "The Secret Chord"...
There's nothing quite like a Hope & Social gig! They are total entertainment, a 'proper' band, with a capability to play either acoustically to a handful, as a full band to a noisy throng packing out a pub or rocking it up with extra players on an outdoor festival mainstage. Each show ranges from energy filled mayhem through to poignant moments which land up captivating all beholders.
They represent one of the new paradigms of how to make a business out of a band, semi DIY and keeping control strictly in-house. Whilst the public perception may be one that borders on them being relatively corporate as a result of a highly creative and comprehensive online image, reality is a bit different. Their mission is to produce quality music, to go out and entertain by giving their all on stage and to do it all superbly. They are not phased by a lack of current worldwide success and have a refreshingly realistic attitude about the modest but desirable extra income that the band supplements with other sources of revenue. These sort of subtle distinctions set them apart and I'm confident careful analysis would reveal even more than covered here.
So despite all the full-on hard graft, the serious amount of traveling and all their crazy mishaps you come away from meeting them thinking they are actually quite happy with their lot. However, the first distinction would be to declare that 'Happy' does not convey enough about the Hope & Social (H&S) phenomenon and instead use the word 'Joy' in preference to 'Fun', and even 'Content' instead of 'Happy'. This is not to say they are not ambitious, but theirs is a compelling mix of quirkiness and contentment with a convincing lack of fear of failure.
They are quick to point out that one of the elements that helps define their musical identity is their studio, The Crypt, which is their inspirational workspace. This is mainly a private recording studio, a rented crypt(!) of a church near Leeds, which they have made their own. With recording equipment they describe as compact yet comprehensive they definitely make the most of it as listening to their recordings clearly shows. Whether the whole band or a subset are in residence there, they then becomes H&S at that moment, the music flows and develops without the potential open chequebook approach when working in a commercial studio.
There is also a candour about how the band works together. Clearly there are different skill-sets and abilities and, because other jobs get in the way, varying availability. However, there is a sense that there is not the strain of jealousy and demarcation that often is rife within other bands. They seem to operate in true community and long may it last!
Last night they nipped down to the metropolis during their current UK tour to play the iconic Union Chapel in London as part of the Greenbelt Festival's inaugral ADVENTurous day conference, of which more soon. It's inevitable that the venue adds or detracts from the performance, out in the audience last night they sounded superb, honed from their current busyness. Early on in the set singer Simon identified that the layout of the Union Chapel, with everyone seated in its formal pews, was radically different to their previous nights gig in a packed Working Men's Club in Halifax and maybe they were not quite as relaxed as usual, having to work harder to woo the seated 'congregation'.
They kicked off with a sublime version of 'Ripples Rock My Boat' from the CD 'April' and rattled through a relatively short set with favourites such as 'Pitching Far Too High' and the walk out into the audience H&S classic 'Looking For Answers'. Songs from their new album 'All Our Dancing Days' included 'Let's Be Bold' and the Springsteenesque 'One Way Home', all played with an exuberance and confidence that so characterises their shows.
H&S are an ultra hard working bunch of gifted guys who love what they do. They are proud of their material, committed to entertain as a primary artistic mission, all with the inescapable sense that the listener may take deeper meanings from the layered lyrics. They acknowledge the influence of the E Street band on some of their writing style and would be proud to wear 'What Would Bruce Do?' wristbands, yet turn out accessible music which is distinctly theirs.
These distinctions occur in the lyrics too. They maintain a balance weighed toward sentiment rather than schmaltz, whimsical rather than emotional and, as mentioned earlier, joy in addition to fun. Their songs make you smile one minute, then you're hiding the tears the next, and it is actually almost too easy to pick songs appropriate for weddings and funerals!
If success could be measured as commitment then they would rule the roost. When Hope and Social take to the stage, wherever and whatever the size, they do exactly that!
Catch them on the last few dates of their current tour:
Had an unexpected reunion with former CBS records labelmate John Cooper Clarke, still strutting his stuff as the definitive punk poet... On the right (my left in the photo) is one of my son's craft stalls (Sam's Wood) with his wooden creations displayed in the Essex town of Wivenhoe, where JCC now resides.
We reminisced about the various shared acquaintances and personalities from those days, compared notes on our life stories since being 'signed' and generally put the world to rights. Have to say his detailed memory from those heady days is impressive, he hasn't aged a bit ;-)
Here is one of my favourite examples of his work:
I wrote the songs that nearly made
The bottom line of the hit parade
Almost anthems, shoulda been hits
Songs like... Puttin' on the Ritz
Some enchanted afternoon
Twenty-four hours to Levenshulme
Dancin' in the daylight, singin' in the smog
You ain't nothin' but a hedgehog
So close and yet so far
Do you remember they way we are
I'd like to get you on a speedboat to china
From an idea by George Steiner
Ain't no blag - uncle's got a brand new jag
Ain't no slouch - mama's got a brand new couch
She ain't heavy, she's my sister
Not to leave out twist and whisper
Brand new leapordskin pillbox glove
Baby you and me we got a greasy kind of love
One of the themes Jonathan and I develop in our book The Secret Chord is the way some music takes on deeper significance when particular associations are made with it. This is a perfect example: a tribute single to keep awareness of the tragedy at Hillsborough featuring a host of pop luminaries under the banner The Justice Collective singing the Hollies emotional song 'He Ain't Heavy, He's my Brother'.
Although engineering a Christmas chart topper is an uncomfortable strategy, with the revelations the recent enquiry exposed this does give plenty of validity. The Justice Collective ensemble is headed up by composer Guy Chambers, Text JUSTICE to 80010 to pre-order the single now. Texts cost £1 + standard network rate with proceeds going to the Hillsborough Families' legal costs in their quest for justice.
Those of us ancient enough will recall this is a stripped down, alternative version of one of Frankie Goes to Hollywood's number one hits. FGTH, fronted by charismatic singer Holly Johnson, was one of those incendiary yet short lived bands in the 80s that made fantastic music with the assistance of legendary producer Trevor Horn.
A thank you to the Voice Project community from Pyotr (and yep, that's baby Gera in the background sound). More info on how you can support via the excellent http://voiceproject.org/
"Seeing all this amazing solidarity across the world is one of the few things that gets the girls going through their brutal and grey prison days..."
All that I know now
I'm pitching far too high
I cannot behold
The gilted angel's robe
The guilted pierced soul
I cannot behold
And the heavens roll
And the trumpets blow
And the sun outside burns this uncertain soul
All my learning stops
Whilst trying to join the dots
That pin-prick the night
Sun streams its life through the glass
Scriptures and sermons elapse
Suddenly, I'm with you
I'm old enough now to decide
To leap out and loosen these ties
But something is grounding me
And it's something I like
And the heavens roll
And the trumpets blow
And the sun outside burns this uncertain soul
Whilst the London 2012 Paralympic Closing Ceremony could be viewed as a bit old and new age what a gift Coldplay songs were for the creative team to exploit? Without their material so aptly capturing the amazing 'moment' that the games generated it would have all been a bit at the level of a expansive and dramatic variety show. It wasn't just Coldplay's music that lifted the event to a higher plane, it was their committment to the whole evening that was so laudable.
They didn't just come on and 'do' their set, they both played along with the 'superstar' guests and singer Chris Martin actually left the stage to sit amongst The British Paraorchestra for the gorgeous interpretation of Strawberry Swing. What capped it all for me was when up on the screens I spied local boy Mat Fraser, actor, drummer and Thalidomide challenged, drumming on stage with the band as per the clip above. What an incredible demonstration of their lyric 'God give me style, give me Grace'?
...the rains came down and the floods came up - inside the G-Source marquee...
It will be inevitable that Greenbelt 2012 will certainly be remembered for the mud! For some the effect the torrential rain and resulting quagmire(s) was very acute, particularly traders in the infield area of the racecourse where the mud matched the images of a rain soaked Glastonbury. The media usually describes such conditions as those attaining 'Biblical Proportions' and, at times, the deluge was as dramatic.
Despite these conditions, a surprisingly joyful spirit pervaded throughout the festival and my abiding perception was that it was a good year!
Prior to the festival I contributed to the Greenbelt Five blog, outlining a selection of events I hoped to attend, I landed up scoring a measly 2.5! So let's start with the music programme, it was exceptional this year with astonishing highlights, here's a top five with some extras:
In fifth place I'm going with Nitin Sawhney. It was clearly a coup to persuade such a respected and an artiste with such cult status to appear. And for the audience such a joy to allow the gorgeous sounds to massage the senses with an audio chill after all the cerebral input that happens at Greenbelt.
Next up is Bruce Cockburn with his welcome return to these shores. Whilst being familiar with his catalogue I had never seen him perform live and love the way his solo approach heightened the lyrical beauty of his canon.
In third place is the performer I've seen most, Seth Lakeman, love his material, playing and was delighted to see the incredible percussionist Cormac Byrne in the line up for this Greenbelt appearance. I've blogged before about the Seth Lakeman trio which features both Cormac and Bellowhead's Kirkpatrick.
The Proclaimers made a most welcome return and provided everyone of all ages a delightful, warm and nuggly feeling as we all celebrated their enduring songs at the top of our collective voices, splashing out 500 miles (and 500 more!) together. I'm placing them at two and a half ;-)
So in 2nd place, only by a whisker, is the brilliant Bellowhead. I've been reflecvting on how best to describe their exuberant performance and musical skill so am going with symphonic folk. The arrangements of the songs tips a nod towards an orchestral structure but with joy and instinct rather than being culturally elite. Sometimes what was happening was simply breathtaking in its sophistication and virtuosity.
Retaining their top slot for a second year running is the phenomena that is Hope & Social. Check out their blog to learn more about the chapter of trouble that befell them on their way... then they still deliver a couple of stunning shows. I've already established that whilst some songs will be delivered in a fairly straightforward manner, the rest is totally about the unexpected! Be prepared for an experience... a unique event.
... a poignant reminder for all those singing along at the Performance Café gig...
In their mainstage late afternoon slot they, as in 2011, started with playing to a sparse audience which grew and grew. Their energy levels, despite the lack of sleep, is remarkable. The entertainment value interminable, the audience engagement powerful and charmingly natural. I persuaded a good handful of friends to make the pilgrimage across the swamp up to the Performance Café for a brilliant, vibrant and deliciously intimate event which won over everyone's heart, I truly hope they will be given better mainstage billing as they represent the epitome of what Greenbelt is all about.
Other honourable mentions must go to:
The Hobbit of the Austin Francis Connection with his breathtaking (geddit?!) beatboxing.
Karine Polwart for her charming offer of hope in The Rising singing 'The Sun's Coming Over The Hill'.
The Tim Crahart Blues Band - caught their excellent set when trying to secure a table prior to Hope & Social's one.
Willy Porter, the incredible acoustic guitar thrashing virtuoso!
My buddy Rob Halligan's set in the Performance Café
So onto the Talks which I endeavour to try and not overload and land up devouring far more than planned every year! Again there was much to see (or miss!)...
Having earmarked Dave Tomlinson's wonderfully entitled How to be a Bad Christian... talk as a must see it delivered all it promised. A wonderful affirmation of your feelings about there being more of the image of Christ in everyday folk than the established church would acknowledge all imparted in a gentle and inclusive manner.
My next 'Greenbelt Five' plan was to endeavour to catch the first uk showing of Steve Taylor's film 'Blue Like Jazz' drawn from Donald Miller's book of the same title. Various impromptu encounters and delicious Southern Indian cuisine courtesy of 'Lalitas' meant that I landed up in Centaur instead for another keynote speaker, the much hallowed Tony Campolo.
Whilst what he said one couldn't fault, the style was very much a shouty, loud tirade. I was not alone in being a puzzled beratee. The irony was that he made a great case for condemning coercion through use of power yet, by the end, you could only conclude that his preaching style was, well, coercive! Overall the points he made were good, particularly making clear the distinction between use of 'Power' versus 'Authority'. Much redemption was gleaned when he directed some scorn at modern worship music ;-)
The Saturday was all a bit hectic, starting off with Giles Fraser's wise words on 'The Trouble with Growth' then legging it round to the lovely new venue, Eden, for a talk on 'Forest Church'. This was both seriously inspiring and challenging, speaker Bruce Stanley had us all exploring new senses and experiences that are neglected or latent.
I then managed to squeeze into the seminar entitled: Does God love Radio too...? This included representatives from the BBC and the independent production company for Radio 2's 'Pause for Thought' and Radio 4's 'Thought for the Day'. In addition three of the regular presenters of the Pause for Thought were on hand to discuss the working relationship and to give us a first hand read through of one of their own scripts. Here the impressive Abdul-Rehman Malik stole the show with his endearing tale of failing to secure the leading part in a school musical!
From then on the storms started to brew in earnest and the mud started to emerge! My son, Sam, the camera man in the first video above, was keen to go to the Big Top for Frank Skinner and I decided to tag along... a very good move! He was, as expected, funny and articulate, yet it was the extent to which he has explored deep and profound theology that was uplifting. His journey back to a Catholicism included attending services of other denominations and religions, much reading and an acknowledgment that Catholics have ritualised many things that are not biblical. However, it is interesting that now he simply accepts that and goes along with it, seeing it as relatively unimportant. It struck me that Anglicans haven't reached that point in their development yet, devoting far too much time trying to justify all the bits they do that aren't in the bible with absurdly flaky theology. There was no vulgarity, just a couple of suggestive comments which, with perfect timing, coincided with a substantial increase in the sound of the rain pelting down which he made the most of!
Sunday kicks off with the communion service, this year labelled an elemental Eucharist. When I arrived and examined the service sheet and saw 'Lord of the Dance' as a closing hymn I confess I walked away and considered simply chilling instead. However, I did go back...!
The first half of the service was very ponderous and anachronistic with its rather lengthy, earnest and wordy prayers. However, delightfully, the Mike Scott's wonderful song 'Bring 'Em All In' was sung as a congregational hymn and this triggered a different engagement so that from there on it was all rather good. Another important contribution was down to the instrumentation for the accompaniment; acoustic instruments playing in a ceilidh, celtic style that even breathed new life into Lord of The Dance! Immediately after that hymn the band burst into a jig and reel... brilliant!
So, how can I put this gently to avoid derision from my friends? It is an undeniable fact that I, Peter Banks, was actually partaking in, and enjoying, moments of Liturgical Dance... only at Greenbelt, eh??!! (pssst, liturgical dance = dosey doe)
Next was a bit of a reunion as after I listened to 'The Next Factor', an enlightening talk on Optimism for the English and Brits I met speaker Cole Moreton for the first time since he was in my youth group 30 years ago... another one of those Greenbelt moments!
Then there was one of those unfortunate clashes which meant I missed out on another one of my Greenbelt Five selections. Sadly I had to leave Ian Morgan Cron in favour of Hope & Social on mainstage, consoling myself with the thought that I could, at least, get the MP3 of Mr Cron.
My final talks moment of the day came attending the Literature venue, The Hub, for some novel reading by authoress Kate Charles. This made me think I must attend more @greenbelt_lit moments next year.
My final talk attendance, after my 'note to self' moment re literature, was listening to science fiction author Simon Mordentalk about the changes within the publishing world presenting challenges and opportunities, another unplanned moment that proved seriously informative.
So what was there not to like? Not a lot! Just the weather and resultant mud... although I found there were some talks I simply couldn't make either because of programme clashes or because I didn't want to break away from conversations I was having. I felt this was a great festival, a real sense of celebration as Greenbelt moves inexorably toward it fortieth year. As a veteran of the inaugural Greenbelt in 1974 I do harbour a personal hope to be involved in some way next year. Equally I also heartily endorse the implication within the title 'Life Begins' that it should, as a priority, be about looking forward.
To illustrate this another one of those special unplanned moments was stumbling into the Performance Café and hearing Harry Baker giving his Slam Poetry some serious welly. Check out his performance of Paper People here. Here was new blood, effectively another generation spearheading new creativity with vibrant humour and aplomb.
Long live a festival that's all about joy, justice, the planned, the unexpected, nurturing, giving, receiving, faith, hope and love; distinctly Christian regardless of denomination, belief or creed
Love all the noodling around on the mandolin before Steve launches into the song fully... we now have this as one of the Café Musica repertoire, thanks to a good call by James.
@pmphillips: Danny Boyle: "Our show was the volunteers' show. If you want to judge us as an island, these people are the best of us" http://t.co/2iaKtO2W
Then the next stage was to re-record using the Avid / Digidesign ProTools LE (version 7.4.2), two tracks of Nord Stage in real time. Having create an instrumental mix I then 'heard' this soprano vocal part in my head during playback, so promptly added that and re-mixed as above...
. Jonathan Evens and I also discuss the power of 
, her latest.
...
Billy explains how The Clash changed his life at the 1978 
