Story: Hallowe’en’s Coming

The grotesque pointed teeth and eye sockets were slowly taking shape as Dad carved carefully at the turnip, with the precision of a surgeon,scattering pieces of it all over the Formica topped table, with the odd one or two ending up on the kitchen floor.

The bigger pieces were gathered up in a bowl for Mum’s making some sort of broth, which was a regular thing in the Shand household.

The smell was bad now and would get worse once the soup pan got going.

Gads, he thought, fit a stink!

Gary hated eating turnips and all sorts of vegetables, he preferred sweets and cakes, and was looking forward to eating the Hallowe’en cake from Strathdee’s Bakery, with the witch’s face on it later, after Teatime.

Gary was nine now, and liked Hallowe’en.

When he was five, all of four years ago, he was scared of the witches , ghosts and goblins, who were supposed to roam about the streets on Hallowe’en, but he was a big loon these days, and liked to wear Hallowe’en masks , and walk along to his friends’ houses with the neep lantern, with a wee candle burning inside to light up the eyes, and show off the grotesque teeth and generally try to scare folk.

Once in the friend’s houses, there would be dooking for apples and cake and Coke or lemonade, it was a good night, and some folk would let off fireworks in the nearby gardens, before Guy Fawkes night. Gary and his brother Alan were not allowed fireworks, as their mum and dad did not approve of them, Gary did not care as long as he could have a neep lantern on Hallowe’en Night.

Gary had a good memory, his grandma was always telling him this, and he could remember a song from Primary One, when he went to a different school, before his family moved to the new council estate on the other side of the river.

 This old school was a Victorian building, built in the 1800’s Dad had said, and you had to climb up heaps of stairs to get to their classroom.

Miss Robertson, Gary’s teacher, was good at playing the piano, and she sang songs when they got music in class, they got their Scottish songs like ‘The Wee Cooper of Fife’, with its ‘nickety nackety noo noo noo’ chorus, and ‘Hallowe’en’s Coming’, with its singsong chorus- a list of scary things to fire a young imagination , or not  -‘ Hallowe’ens Coming, Hallowe’en’s coming , skeletons will be after you , witches cats and big black bats , ghosts and goblins too,’ which was a bit scary when you were coming to school in the dark in ‘Daylight Saving Time’ as Dad had called it. 

Dad knew lots about lots of things and had told Gary and Alan that in folklore Hallowe’en is the night of the year when the boundary between worlds of the Living and the Dead becomes tissue thin, and it was the night before All Saint’s Day, given its correct name ‘All Hallows Eve,’ ‘hallow’ meaning holy.

Gary liked ghost stories and things like Scooby Do on TV, so Hallowe’en was his favourite night of the year, the day before his birthday on November the First. Of course, he liked Christmas Day too, but that was a very different thing altogether.

Gary’s daydreaming ended, as Dad said he was finished, and here was the neep lantern, ready to be lit, and carried along to the Donald household, where Gary’s school friend Andy Donald, and his folks were ready for the Hallowe’en visitors, the welcome ones. The ghosts, goblins, witches were duly warded off at the door.

Book Review: Nick Cave : Faith , Hope and Carnage

I have been a fan of Nick Cave’s work for an incredible 40 years since being introduced to his music in 1982 , by a good friend who recorded The Birthday Party’s ‘Junkyard’ for me, back in those pre-digital C90, C60 cassette days when the world was a very different place, sharing music was by passing cassettes, talking about music, going to record stores, reading in music weeklies, rather than today’s downloading or watching online. Different times , another music in a different kitchen , as the famous punk band once sang.

At the time, I was not entirely taken by the Beefheartian cacophony of their music but was aware that there was more going on with the lyrics, and lyrics and poetry were becoming a ‘thing’ for me, as I was in awe of the words of Jim Morrison at the time, and saw Nick Cave as a similar figure so I persevered with the music and soon became awed at Nick Cave’s talent as a lyricist/poet.

When hearing the early Bad Seeds albums ‘From Her to Eternity’ and ‘The First Born is Dead’. I put him in my songwriter’s pantheon, along with Leonard Cohen, Shane McGowan, Tom Waits, Lou Reed and the aforesaid Jim Morrison.

I soon discovered that Nick Cave was also a fan of Bob Dylan , Leonard Cohen , and the Velvet Underground, as I was, so these facts drew me into his music, and leading me to buying the cassettes of ‘Kicking against the Pricks’,which had an eclectic mix of cover versions, from The Seekers and Gene Pitney to the Velvet Underground and the traditional gospel song ‘Jesus Met The Woman at the Well’, and ‘Your Funeral , My Trial’, the title of which I understand came from a blues song by Sonny Boy Williamson, which was a tad bleak but enjoyable all the same, my favourite song being ‘Sad Waters’.

I had been looking forward to this book being issued for some time and picked up a copy of ‘Faith, Hope and Carnage’ when having a lunchtime meander through the centre of the city where I live.

I was mightily impressed with the book and read it in two sittings.

What a book!

What an absolute delight it was to read the lengthy conversations which he and journalist Sean O’Hagan had over a period of time,

O’Hagan has known Cave for more than 30 years and has clearly done his job exceedingly well.

I was always a fan of O’Hagan’s musical journalism in the ’80s, and his music also, with Microdisney, The High Llamas, and Stereolab somewhere in the mix.

I fondly recall reading the NME interview from the ’80s referenced in the book, with Mark E. Smith, Shane McGowan, and Cave , that must have been something to behold, a real meeting of minds, a bona fide songwriters’ summit.

Nick Cave’s biography, the highs and lows of his 40 years plus career, his use of biblical imagery and Southern Gothic tropes in his writing, bereavement, religion, growing older, and coping with life during the Pandemic, are all covered in the extensive conversations with O’Hagan.

I found myself revisiting ‘Push Away the Sky’, ‘Ghosteen’, and ‘Carnage’ itself after reading this, and revelling in the songs and the music , knowing the back story behind their composition.

I also replayed ‘ L.I.T.A.N.I.E.S written by Cave and Belgian composer Nicholas Lens, a collection of litanies, written at the time of the Covid-19 lockdown in 2020.

An interesting addition to Cave’s body of work, this one is a rather profound piece of music, which for me is reminiscent of Philip Glass’s ‘Songs from Liquid Days’ (1986), albeit with more spiritually influenced lyrics, perhaps more in the vein of a religious petition or prayer, and goes to display Cave’s verbal versatility.

My conclusion is that ‘ Faith , Hope and Carnage’ is a seriously inspiring book which grabbed my attention and did not let go, it gets the ‘Audiolab seal of approval, in fact I would go as far as saying it is my factual music related book of the year.

Musical Musing: Solid Air- John Martyn (1983)

‘Its good music for when you’re maudlin drunk,’ a pal of the time told me at a party back in 1983,

‘Solid Air’ by John Martyn was the music he was referring to , and he absolutely loved the song ‘May You Never’, which included the lyric ‘may you never lose your temper, if you get hit in a barroom fight‘, I don’t think my pal got into any fights in pubs, or at least not that I was aware of.

Anyhow, that’s how I discovered ‘Solid Air’, basically a recommendation from a friend, by word of mouth, the pre-digital age equivalent to Googling, or asking your Alexa to ‘play John Martyn’.

‘Solid Air’ is my favourite Martyn album, its a great synthesis or folk, blues, jazz, and a dollop of the avant-garde, which comes to the fore with the guitar’s phased spacy effects on ‘I’d Rather Be The Devil’, which almost touches on the avant-garde jazz rock of Miles Davis’ ‘Bitches Brew’ or ‘Agharta’, and contrasts with the late night acoustic balladry of ‘May You Never’, (famously covered by Eric Clapton) or ‘Over the Hill’ with its strummed mandolin courtesy of Richard Thompson, whose music Martyn’s music led me on to discover the delights of folk-rock with Fairport Convention, and other bands of that ilk.

Trivia buffs may be interested to know that ‘I’d Rather Be the Devil’ , an old blues song by Nehemiah ‘Skip’ James, (his version entitled ‘Devil Got My Woman’), also lends the title to one of Ian Rankin’s John Rebus novels, the fictional Edinburgh cop being a Martyn fan, and indeed a music fan as Ian Rankin himself is.

Martyn’s voice sounds husky and drunk sounding one moment, then veers to jazzy phrasing , sounding to these ears like a male equivalent of say, Cassandra Wilson, Sarah-Jane Morris or Joni Mitchell circa ‘Night Ride Home’, his voice as another musical instrument , I would say.

This really works well on the title track of the album which was written about Martyn’s friend , Nick Drake, a melancholic meadering tribute to a fellow singer-songwriter, as Martyn sings in the lyrics.

I can be your friend , I can follow you anywhere, even through solid air’

The musicians on ‘Solid Air’, are a solid bunch, some of them folk-rock royalty, ex-Pentangle bassist Danny Thompson, who was at home with folk based music as he was with jazz, which can be heard on his work with Pentangle on their 1968 album ‘Sweet Child (Goodbye Pork Pie Hat/Haitian Fight Song), and his later solo albums ‘Whatever’ and ‘Elemental’, from 1987, and 1990 respectively. There’s also Richard Thompson, Dave Pegg, Sue Draheim, and session keyboard player John ‘Rabbit’ Bundrick, and also saxophonist Tony Coe.

Its great how music can evoke memories, and this album does that for me, I bought my first vinyl copy of it in 1983, when the world was a very different place and the pubs shut earlier, there were often parties that a ‘friend of a friend ‘ was going to, and music like that of John Martyn, Led Zeppelin 3, and Roy Harper would be playing on a cheap stereo, in the background in some house parties I attended back in those days. In the 1990s, I gave that album away , along with Joe Cocker’s ‘Sheffield Steel’, when cds became popular, and years later, bought the heavy duty vinyl version which still gets regular plays, almost 40 years after I first discovered it.

Wow, that’s the power of great music for you!

Martyn died aged 60 in 2009, but his 40 year career including working with such legends as Free’s Paul Kossoff, Eric Clapton and reggae star Lee ‘Scratch’ Perry among others and he also appeared in Series 2 of The Transatlantic Sessions with Aly Bain and Phil Cunningham.

His legacy lives on in the music, which are all worth investigation, and his covers album ‘The Church with One Bell’ from 1998, is a cracker, with versions of songs by Portishead, Billie Holliday, and Randy Newman. His influence is also discernible in the music of more recent songwriters such as Ryley Walker and James Yorkston.