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Saturday, 30 April 2016

Head Space Daily Words...


Charles Bradley is one of life’s survivors and a musical character, with a backstory of endlessly overcoming whatever obstacles have been put in his way. This makes him an irrepressible soul artist. To say Mr.Bradley is an emotional soul is an understatement of huge proportion. The man appears to be permanently on the verge of tears, his face a well of emotion, expressing an overflow of heartbreak and pain, love and respect. A truly authentic soul artist must have undergone a degree of suffering, as well as experiencing the highs that come on the other side. When you look into Charles’s face, you can’t help but be drawn in.



On March 30th, I saw him perform at The Forum in Kentish Town with his Extraordinaires - the tightest funk band imaginable - straight out of the Daptone Records stable and on stage The Screaming Eagle of Soul is released. Performing seems to almost be an outer body experience for him and he knows how to work the crowd. From the first moment, dressed in a white suit with blue trim, he connects with his audience and the love pours forth, in both directions. After hitting the ground running, he leaves the stage after three songs, leaving his band to indulge in an instrumental funk frenzy, before re-emerging in a full costume change, bare chested beneath a brown waist coat, to reconnect with the audience and let the love pour forth once again.



To the unordained, this may sound slightly cheesy but for those of us who support Charles and love his music, we know that none of this is a put on. This is genuine and coming from the heart. He may be a touch eccentric but aren’t we all? After the life Charles Bradley has led, he has learnt to express himself in the most positive way he knows how. His journey has followed the path of hard times and suffering before reaching the destination of soul survival and musical redemption in his later years. The documentary Charles Bradley: Soul Of America which I saw on BBC 4 a few years ago, portrays his journey from the projects of New York, to homelessness, a deviation to Caliornia, a return to the projects and the unfortunate shooting of his brother. He has always used his voice to survive, scratching together a living by impersonating James Brown at functions and clubs but he never gave up on his dream of making it on his own terms.



When he was handed the opportunity to record by the people at Daptone Records, several singles followed from 2002 and his first album No Time For Dreaming was released in 2011 at the age of 62. His current album Changes came out on April 1st 2016, the day after The Forum gig, (see today's HSD Tune.) All the hardship and tough times could have made Charles a bitter man but quite the opposite has occurred. Whatever life threw at him, the more determined he was to succeed and the more open he became. 

During his final encore, he walked on with a bunch of thornless red roses and began throwing them into the audience. Again, this sounds highly cheesy but it is Charles Bradley. It is fine. He can do whatever comes out of his emotional soul. Naturally one of the roses flew straight over the heads of the three girls standing in front of me and landed straight in my hands. Of course, I handed the flower to one of the girls, who seemed delighted to have received a rose from the Screaming Eagle, even if it was via a third party. His message is simply love, peace and togetherness and he lets his voice and the music do the talking. How amazing, after striving to succeed, to be on stage at a major London venue, embarking on a UK and European tour. I picked up a copy of Changes before I left (see HSD image) and as I walked out into the fresh night air, a guy, with a group of mates, was proudly clutching one of the thornless red roses. Charles you are an inspiration to us all and a lesson in never giving up. A true story of soul survival...

Head Space Daily Image...

Here is an image I took of Charles Bradley in full flow at The Forum gig on March 30th...


And a copy of his album taken on the train home...

Head Space Daily Tune...

Charles Bradley - Ain't It A Sin


This is a cracking tune from Charles Bradley's fantastic new album Changes...


Thursday, 28 April 2016

Head Space Daily Words...


When I wrote these words I was sitting on the P4 bus, on my way to see the movie High Rise at the Ritzy cinema in Brixton. Gilles Peterson’s show from the previous Saturday was in my ears, dedicated to Prince, following his recent passing. 2016 is already denoted by high profile celebrity deaths. Musically speaking, it doesn’t get much bigger than Bowie and Prince – imagine if they had worked together. Purple space funk form Mars!! Applying this unfortunate phenomena to our own lives, it makes you realise that you have to live for the now, because there may not be a later. We also have to appreciate, remember and immerse ourselves in these artists’ music, which we may have taken for granted, as it is often embedded in our collective psyches, rather than gracing our record collections. Posthumous purchasing aplenty shall be taking place.



The Stevie Wonder concert that I have a ticket for at Hyde Park in July takes on a deeper significance for me. Like Prince, Stevie is a life defining, global superstar and one of my idols. I own more Stevie Wonder records on album and 7” than any other artist. His voice, his music, his positivity, his aura and his vision, transcend everyday existence. Time though, does not stand still and Stevie is getting older. Who knows how many more opportunities there will be to see him play live and the way this year is panning out...lets not go there!!



I have been fortunate enough to see both Stevie and Prince perform in very different circumstances. In 2006 I saw Prince play at the Brits. As we know, the Brits is a plastic, corporate jolly up of an event, which must be packaged for TV. Prince played for just over ten minutes – a medley of tracks, given the time limit – but for that brief moment, the plastic was transcended by silk and I knew that I was in the presence of greatness. I could not believe his guitar playing, the falsetto voice from another planet and after a rendition of Purple Rain, followed by Lets Go Crazy, he was gone, like a tornado of taste. There is a link below to his Brits performance.



My Stevie moment came when I was working at ITV and I sneaked onto the gantry of the main studio with a colleague to see him rehearsing for an appearance on the Parkinson chat show. He played Superstition twice and no one knew we were there. We slipped back out into the corridor and went for lunch. It had been our own private performance.



The next time I see Stevie, I will be sharing the experience with 65,000 other people. I have never been to a music event with such a massive audience and I’m not sure what to expect. Will I be able to see anything? What will the sound be like? Can you have a great atmosphere with such a vast crowd? I am hoping it will be a fantastic event and as Stevie is playing the entire Songs In The Key of Life album, musically you cannot go wrong. I guess I’ve just got to give myself to it and let the music lead me. After all, there won’t be many chances left to see one of our remaining musical geniuses.

Prince Live at The Brits, 2006 

Head Space Daily Image...

The sun shines on Regent Street...



Soho Dry Cleaners looks respelendent from the window of Duck & Rice on Berwick Street...



Head Space Daily Tune...

Taken from Purple Rain...




Prince - I Would Die For You


The opening track from Songs in The Key Of Life...



Stevie Wonder - Love's In Need Of Love Today

Tuesday, 8 March 2016

Head Space Daily Words...


The theme tune to the kids T.V show Why Don’t You instructed its viewers to “Go out and do something less boring instead,” which is exactly what I have been doing since finishing a long run of work. This is the advantage of working freelance – when things are relatively good and financially stable – I can get out and about, although the aim is to get more work asap, as the onset of freelance paranoia is never pleasant and I certainly do not want to be without work for a lengthy period of time. Thus, the moment must be grasped, the opportunity seized and I must get up off my arse and make it happen. It is like coming in for a mental and physical M.O.T.

I started writing this post yesterday, sitting at a table in the Archie Parker café in Forest Hill, South East London, close to where I live (see HSD Image.) A homely, slightly kitsch, bright, yet stylish gaff, housing tables and chairs direct from the 1970s and wallpaper straight from your gran’s front room. Splendid. The Archie Parker is located just down the road from Forest Hill Pools, where I go for my weekly swim, when I'm waiting for work to happen. I was awaiting delivery of a toasted Rubenesque sandwich, which comprised of pastrami, emmenthal, pickles and mustard mayo. I had never heard of a Rubenesque but the only information I can find on line is that it refers to a painter called Peter Paul Rubens who died in 1640 and who used to paint large, shapely, voluptuous ladies. The dictionary definition is "plump and attractive." It is not the most flattering of descriptions for a sandwich - and I don’t know if there is any truth in the artistic connection - but I can certainly see how too many of them would leave you prone to putting on some extra flesh.

Today is my seventh work free day and I am continuing to write this post in the Members Room at Tate Britain, after seeing the Frank Auerbach exhibition and being immersed in the sounds of Susan Philipsz’s wonderful audio installation. So far, in the time I have been off, I have gone swimming twice and had my haircut at a local barber’s in Brockley. The barber’s is an establishment run by an animated young Cypriot guy who sports a glorious beard - which is de rigueur for many young men who live in the Brockley area - and where a good chat, live football and a very decent haircut are the order of the day.

I have journeyed into Soho to meet a mate for lunch and for a visit to the impressive Saul Leiter exhibition at The Photographers Gallery – a vivid illustration of early colour photography – where the colours come alive and the images are stand alone art works in their own right. Leiter’s work was apparently a major influence on the look of the film Carol.

Music wise, I picked up the three vinyl set of Kamasi Washington’s album The Epic - modern jazz music at its finest - and an incredible body of work, which demands you to invest the time, to listen from start to finish. There are not enough hours in the day!! Ezra Furman’s latest album, Perpetual Motion People is also inhabiting my headspace to a great extent at the moment and both Kamasi and Ezra are on the bill for this year’s Green Man Festival, which is already very much on our radar.

Last Friday, I made it to Greenwich Picture House to see A Bigger Splash, which I enjoyed very much. Ralph Fiennes plays a truly loathsome, self-obsessed and egotistical record producer with brilliance and hilarity. It is a stylish film, with a very good score and tension built by sound design. Go see.

With my hair already smartened up, I saw the osteopath yesterday, so the matters of physical well being and outward appearance have been taken care of.

Back to Tate Britain and Frank Auerbach. The exhibition showed off his work from the 1950s to present day and although it varies throughout, his overall style of painting feels extremely original to me. I can’t remember having ever seen so much more in a series of paintings by standing further away to view them, or looking from a different angle. I actually couldn’t see some of the paintings close up but from a few steps back or across the other side of the room, they revealed themselves to me, which was really bizarre and very rewarding. He also has great use of colour.

Susan Philipsz’s sound installation is thoroughly absorbing. I was alone in the main hall when I first arrived at the museum and fixed above my head, like something out of an old tyrannical sci-fi movie, were numerous big grey speakers, out of which came the sound of horns, bugles and trumpets. The brassy blasts of old wartime instruments, rescued from long lost battlefields and now part of museum collections. Single notes, sometimes coming off the back of another note, sometimes just hanging there, all melancholy, yet strangely uplifting but totally alone, drifting away. The instruments themselves are so battered that the notes drawn from them sound cracked, battered and imperfect themselves. The combined sound of all these notes which were taken from a rendition of The Last Post – the tune nowadays played at military funerals - was intriguing and captivating and seeped faintly into other rooms of the museum. The effect was one of eerie optimism.

I finished writing these words with a cup of coffee in the Members Room, upstairs at Tate Britain, before walking back to Westminster tube and heading back home to be there for my youngest son’s arrival home from school. I have now been provisionally booked to work from next Monday, so potentially have three more days to “go out and do something less boring instead.”


Head Space Daily Image...

This is my table at the Archie Parker cafe, where I began to write this blog post whilst waiting for my 'Rubenesque' sandwich. Oh, the anticipation...




And here are the speakers projecting Susan Philpsz's audio installation of wartime wind instruments at Tate Britain... 



Head Space Daily Tune...

The Epic by Kamasi Washington is an astounding piece of work. This tune will put a smile on your face...

Kamasi Washington - Cherokee




Perpetual Motion People by Ezra Furman has been a much played album over the past couple of months. I like his style...

Ezra Furman - Restless Year