Blind Boys of Alabama in the Real World...

From the Real World Gold collection, Peter Gabriel's label, recorded when the Blind Boys of Alabama were on the label. The song was originally written and recorded by Ben Harper but this version demonstrates a real connection to the song. Read more on the collaboration on Canada's CBC Music article here.

Another theme we touch on in our book The Secret Chord...

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Rolling Sideways with Hope and Social...

Photographed by Paul Webster

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:

Dec 04 - The Yorkshire House - Lancaster - buy tickets

Dec 05 - Hare & Hounds - Birmingham - buy tickets

Dec 07 - Fibbers - York - buy tickets

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Former CBS record label mates convention....

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

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Do justice, love mercy and walk humbly...

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.

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Synod stalemate...

...shamelessly nicked from Bishop Alan's blog...

Whilst the synod vote on women bishop's failed to reach the overall 2/3 majority of all three 'houses' and despite the profound sadness so many feel, on reflection perhaps we should consider the outcome may be for the best? Whatever the result yesterday evening there would have been no winners as such, even staunch objectors to the introduction of women bishops concede that there will come a time when women are appointed so. But at what cost would it be if the vote went through yesterday?

Personally I am totally in favour of bishops, regardless ;-) I was also taken by surprise at the depth of sadness I felt when the result was read out. But what I cannot endorse is the idea that we cannot be one in communion when served by a woman. And if the vote had gone through, as has been so more eloquently been expressed by most commentators, it would have enshrined in law that there should be provision BY A MAN for those that objected on theological grounds.

Now I know there are some that are sincere in that belief, however, listening to the live stream from Synod yesterday it was revealing how many that hold that view see it as a 'right', a personal preference for which a theological objection has been tailored. It was also made abundantly clear that advocates of the no vote felt this 'provision' had not been fully documented. I am unsure whether the church (in this case, read C of E) and Bishops in the House of Lords will have legitimate or legal standing to comment authoritatively on other matters whilst condoning the discrimination that is still rife and would have been formalised.

So yesterday has produced a mixed message. On one hand there was an overwhelming majority to accept women bishops, on the other hand the church has not moved any further forward. On one hand the Bishops and Clergy do seem to be more of one mind and yet on the other it would appear the House of Laity do not proportionately represent the rest of us. Furthermore whilst the clergy will feel the laity are a waste of space (see Twitter last night!!!) without us there is no church?

And the best moment during the debate? When the Bishop of Leicester attempted to bring some Christlike perspective with this comment during his speech: "Will this chamber be as full for the Living Wage debate tomorrow. Will the queue for the public gallery be as long?"

There is always hope...

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Rational certainty versus Blessed assurance...

The enigmatic Dr Cornel West discussing writing his memoir with Craig Ferguson on the Late Late Show... and quoting the words of one of my favourite old hymns!

P h/t @iancron