Amazing Songs & Other Delights # 89 – Of Mist & Metaphysics edition by Raquel Pinheiro now @ mixcloud

Led Zeppelin

My radio show Amazing Songs & Other Delights # 89 – Of Mist & Metaphysics is now available on mixcloud.

Amazing Songs & Other Delights new editions are broadcasted on Yé Yé Radio: yeyeradio.com (or on the app) first and third Monday of the Month 3-4pm (London time), respective repeats second and fourth Monday of the month.

Amazing Songs & Other Delights # 89 – Of Mist & Metaphysics edition title comes from a series of coincidences, synchronicities. As well as of waking up to thick, misty days. The kind you would think yourself in the Scottish Highlands, or, according to the legend, the foggy day Arthur and D. Sebastião will return. You can read more about the programme here.

Tracklist:
01: Richard Wagner – Parsifal, Act II: Prelude – Die Zeit ist da (excerpt)
02: Led Zeppelin – Stairway To Heaven
03: Paus – Ficamos Por Aqui
04: Roxy Music – Avalon
05: Loreena McKennitt – The Lady of Shalott (Live)
06: Queens Of The Stone Age – In the Fade
07: José Cid – A Lenda D’el Rei D. Sebastião
08: Opeth – In The Mist She Was Standing (excerpt)
09: Paraorchestra – The Killing Moon (with Brett Anderson and Charles Nodier)
10: Nick Cave & The Bad Seeds – Red Right Hand
11: Mcalmont & Butler – Although
12: Dave Gahan & Soulsavers – Kingdoms of Rain (live Mark Lanegan 60th celebration)
13: Crown Lands – Lady Of The Lake
14: Einstürzende Neubauten – Stella Maris
15: Die Among Strangers – Lancelot & Elaine
16: Rowland S. Howard – Autoluminescent

All previous shows on mixcloud: Yé Yé Radio mixcloudMondo Bizarre Magazine mixcloud

Amazing Songs & Other Delights # 89 – Of Mist & Metaphysics edition by Raquel Pinheiro Monday 1, repeat Monday 8 @ Yé Yé Radio

Led Zeppelin

My radio show Amazing Songs & Other Delights # 89 – Of Mist & Metaphysics is broadcasted Monday 1 December, 3-4pm (London time), repeating Monday December 8, same hour on Yé Yé Radio: yeyeradio.com (or on the app).

The title comes from a series of coincidences, synchronicities. As well as of waking up to thick, misty days. The kind you would think yourself in the Scottish Highlands, or, according to the legend, the foggy day Arthur and D. Sebastião will return.

There are several obvious Arthurian references on the choices, others are more metaphorical, threshold or, somehow fitting the theme.

The programme opens with a short excerpt of Richard Wagner’s Parsifal, Act II: Prelude – Die Zeit ist da, that leads to Led Zeppelin’s Stairway To Heaven.

Loreena McKennitt sings Alfred, Lord Tennyson’s The Lady of Shalott. The Lady Of Challot is inspired in Elaine of Elaine of Astolat, a maiden who dies of unrequited love for Lancelot. The poem can be read below the tracklist.

Another of the women of the Arthurian world, The Lady Of The Lake, also known as Viviane or Nimuë, who bestows Excalibur to Arthur, also makes an appearance.

Ficamos Por Aqui is from Enterro (Burial) Paus final album.

Echo & The Bunnymen’s is performed by the Paraorchestra (with Brett Anderson and Charles Nodier).

Mark Lanegan is present twice. In
Dave Gahan & Soulsavers’ Kingdoms of Rain, and Queens of The Stone Age’s In the Fade.

Einstürzende Neubauten are preset with Stella Maris, that means Star of the Sea. Our Lady, Star of the Sea, the name Mary, Mother of Christ/The Virgin Mary was/is called by people of the sea. Stella Maris was also the Roman name for the Egyptian goddess Isis.

Mcalmont & Butler’s Although, from the Sound Of… – a wonderful album that has just turned 30, but is timeless – gained a very special meaning for me nine years ago.

The final song is Autoluminescent by Rowland S. Howard. In the Northern Hemisphere we’re on the pathway to Winter Solstice, the beginning of the return of the light.

Tracklist:
01: Richard Wagner – Parsifal, Act II Prelude – Die Zeit ist da (excerpt)
02: Led Zeppelin – Stairway To Heaven
03: Paus – Ficamos Por Aqui
04: Roxy Music – Avalon
05: Loreena McKennitt – The Lady of Shalott (Live)
06: Queens Of The Stone Age – In the Fade
07: José Cid – A Lenda D’el Rei D. Sebastião
08: Opeth – In The Mist She Was Standing (excerpt)
09: Paraorchestra – The Killing Moon (with Brett Anderson and Charles Nodier)
10: Nick Cave & The Bad Seeds – Red Right Hand
11: Mcalmont & Butler – Although
12: Dave Gahan & Soulsavers – Kingdoms of Rain (live Mark Lanegan 60th celebration)
13: Crown Lands – Lady Of The Lake
14: Einstürzende Neubauten – Stella Maris
15: Die Among Strangers – Lancelot & Elaine
16: Rowland S Howard – Autoluminescent

John Williams Waterhouse – The Lady of Shallot (1888)

The Lady of Shalott (1842) by Alfred, Lord Tennyson

Part I

On either side the river lie

Long fields of barley and of rye,

That clothe the wold and meet the sky;

And thro’ the field the road runs by

       To many-tower’d Camelot;

And up and down the people go,

Gazing where the lilies blow

Round an island there below,

       The island of Shalott.

Willows whiten, aspens quiver,

Little breezes dusk and shiver

Thro’ the wave that runs for ever

By the island in the river

       Flowing down to Camelot.

Four gray walls, and four gray towers,

Overlook a space of flowers,

And the silent isle imbowers

       The Lady of Shalott.

By the margin, willow veil’d,

Slide the heavy barges trail’d

By slow horses; and unhail’d

The shallop flitteth silken-sail’d

       Skimming down to Camelot:

But who hath seen her wave her hand?

Or at the casement seen her stand?

Or is she known in all the land,

       The Lady of Shalott?

Only reapers, reaping early

In among the bearded barley,

Hear a song that echoes cheerly

From the river winding clearly,

       Down to tower’d Camelot:

And by the moon the reaper weary,

Piling sheaves in uplands airy,

Listening, whispers ” ‘Tis the fairy

       Lady of Shalott.”

Part II

There she weaves by night and day

A magic web with colours gay.

She has heard a whisper say,

A curse is on her if she stay

       To look down to Camelot.

She knows not what the curse may be,

And so she weaveth steadily,

And little other care hath she,

       The Lady of Shalott.

And moving thro’ a mirror clear

That hangs before her all the year,

Shadows of the world appear.

There she sees the highway near

       Winding down to Camelot:

There the river eddy whirls,

And there the surly village-churls,

And the red cloaks of market girls,

       Pass onward from Shalott.

Sometimes a troop of damsels glad,

An abbot on an ambling pad,

Sometimes a curly shepherd-lad,

Or long-hair’d page in crimson clad,

       Goes by to tower’d Camelot;

And sometimes thro’ the mirror blue

The knights come riding two and two:

She hath no loyal knight and true,

       The Lady of Shalott.

But in her web she still delights

To weave the mirror’s magic sights,

For often thro’ the silent nights

A funeral, with plumes and lights

       And music, went to Camelot:

Or when the moon was overhead,

Came two young lovers lately wed:

“I am half sick of shadows,” said

       The Lady of Shalott.

Part III

A bow-shot from her bower-eaves,

He rode between the barley-sheaves,

The sun came dazzling thro’ the leaves,

And flamed upon the brazen greaves

       Of bold Sir Lancelot.

A red-cross knight for ever kneel’d

To a lady in his shield,

That sparkled on the yellow field,

       Beside remote Shalott.

The gemmy bridle glitter’d free,

Like to some branch of stars we see

Hung in the golden Galaxy.

The bridle bells rang merrily

       As he rode down to Camelot:

And from his blazon’d baldric slung

A mighty silver bugle hung,

And as he rode his armour rung,

       Beside remote Shalott.

All in the blue unclouded weather

Thick-jewell’d shone the saddle-leather,

The helmet and the helmet-feather

Burn’d like one burning flame together,

       As he rode down to Camelot.

As often thro’ the purple night,

Below the starry clusters bright,

Some bearded meteor, trailing light,

       Moves over still Shalott.

His broad clear brow in sunlight glow’d;

On burnish’d hooves his war-horse trode;

From underneath his helmet flow’d

His coal-black curls as on he rode,

       As he rode down to Camelot.

From the bank and from the river

He flash’d into the crystal mirror,

“Tirra lirra,” by the river

       Sang Sir Lancelot.

She left the web, she left the loom,

She made three paces thro’ the room,

She saw the water-lily bloom,

She saw the helmet and the plume,

       She look’d down to Camelot.

Out flew the web and floated wide;

The mirror crack’d from side to side;

“The curse is come upon me,” cried

       The Lady of Shalott.

Part IV

In the stormy east-wind straining,

The pale yellow woods were waning,

The broad stream in his banks complaining,

Heavily the low sky raining

       Over tower’d Camelot;

Down she came and found a boat

Beneath a willow left afloat,

And round about the prow she wrote

       The Lady of Shalott.

And down the river’s dim expanse

Like some bold seër in a trance,

Seeing all his own mischance—

With a glassy countenance

       Did she look to Camelot.

And at the closing of the day

She loosed the chain, and down she lay;

The broad stream bore her far away,

       The Lady of Shalott.

Lying, robed in snowy white

That loosely flew to left and right—

The leaves upon her falling light—

Thro’ the noises of the night

       She floated down to Camelot:

And as the boat-head wound along

The willowy hills and fields among,

They heard her singing her last song,

       The Lady of Shalott.

Heard a carol, mournful, holy,

Chanted loudly, chanted lowly,

Till her blood was frozen slowly,

And her eyes were darken’d wholly,

       Turn’d to tower’d Camelot.

For ere she reach’d upon the tide

The first house by the water-side,

Singing in her song she died,

       The Lady of Shalott.

Under tower and balcony,

By garden-wall and gallery,

A gleaming shape she floated by,

Dead-pale between the houses high,

       Silent into Camelot.

Out upon the wharfs they came,

Knight and burgher, lord and dame,

And round the prow they read her name,

       The Lady of Shalott.

Who is this? and what is here?

And in the lighted palace near

Died the sound of royal cheer;

And they cross’d themselves for fear,

       All the knights at Camelot:

But Lancelot mused a little space;

He said, “She has a lovely face;

God in his mercy lend her grace,

       The Lady of Shalott.”

All previous shows on mixcloud: Yé Yé Radio mixcloudMondo Bizarre Magazine mixcloud

Five Questions: Ed Clayton-Jones

© Matthew Ellery

interview: Raquel Pinheiro; photos: Matthew Ellery; Ayahuasca stills: Cornelius Delaney

In these five questions Australian guitarist, musician and songwriter Ed Clayton-Jones and I speak about his new solo album Interloper and The Wreckery that released their first album in thirty years, in 2024. We also spoke about the differences of creating as a band and solo, changes in songwriter over the years, the physically of playing guitar, and differences in approach the guitar and the bass.

Ed Clayton-Jones has a career spanning several decades. Other than The Wreckery he have been part of Nick Cave & The Bad Seeds, The Fabulous Marquises, Plays with Marionetter, Noah Taylor and the Sloppy Boys. Ed’s first album, Jackdaw, was released in 2021.

Ed is playing a show on Valentine’s Day, February 14th, at Darling Nikki’s, St Peters, Sydney. The evening comprises songs from the last 30 years of his career. Ed is accompanied by old friends James McNabb too (bass) and Barton Price (drums), and special guests Justine Wahlin and Last Motel. add on: Valentine’s Day concert was cancelled due to venue roof issues

01 – How does your creative process differ if composing for a solo album or for a The Wreckery one?

The answer is that it’s a lot easier composing for solo projects than for the Wreckery. There were two other writers to work with which is cool, I enjoy collaborating with Hugo Race and Nick Barker but one often has to compromise.

I rarely get to sit down and work on songs with other writers. It’s not like I don’t want to, It just doesn’t happen. I have enormous respect for Hugo Race and Nick Barker as songwriters so one has to respect their decisions relative to their own work. When you have to work something up from the beginning with a collaborator it requires resisting the urge to take control and steer the composition -conscious listening and discussion. The co-write I did with Barker, Alpha Ray was done on the fly in the studio, Nick wrote the chorus. In the past I would write music and leave Hugo to write the lyrics and I gave him a few ideas towards that idea. I was a little disappointed that he didn’t rise to that invitation.

© Matthew Ellery

The Wreckery of the 21st Century is not the same band, not having Robin Casinader was a blow. Robin had a profound influence on the performance of the band, he was often the musical director and arranger, he’s a very talented and disciplined musician and the contribution he made to Fake is Forever although done after the session supplied the X factor for the songs. I should say that Frank Trobbiani was incredible in his role, Frank played with Hugo, Robin and I in Plays with Marionettes and would have been the Wreckery’s first drummer had he not been embracing his career in commercial art. I love Frank!

The harsh truth for me is that bands are just as much about the players as the songs. There’s a tendency for people to get on nostalgia trips and there’ll be one surviving member of the original

02 – After a 35 years hiatus was it difficult to restart writing songs with The Wreckery? How has songwriting with The Wreckery changed between then and now?

35 years is a lifetime in any business. Things changed dramatically in this long hiatus. In the early 80’s we were doing things in a more organic way. Songs arrived in the rehearsal studio and arrangements were bashed out over time.

The Wreckery of 2023 was a different kind of band using more advanced technology. I live in a different city and didn’t do any rehearsals until the day before the sessions started. Hugo had done demo recordings of the six songs he co-wrote with his partner Allanah Hill. So we all knew what we were shooting for relative to those tunes.

© Matthew Ellery

The original brief I discussed with Hugo Race was that the record would lean back toward bands like the Gun Club so I was a bit surprised at what we got. It’s not a bad thing at all just a different direction. In the old days it was pretty difficult to get my songs into the set as Hugo and Robin tended to dominate the songwriting.

03 – Your new solo album was delayed because of The Wreckery’s album and tour. Meanwhile you changed some of the songs on Interloper. Why?

I had been writing and recording for Interloper throughout 2022 when the Wreckery thing came along. I felt to gain any traction for Interloper I needed to let The Wreckery take precedence because it was a budgeted project that would hopefully get more attention.

I was also doing the We Mainline Dreamers album with Garry Gray from the Sacred Cowboys. I wrote quite a lot of new material and I felt my newer songs were more interesting than those I had already set aside. As it turned out Interloper is quite a long record, 14 songs but there’s another albums worth of material that I have archived from the original project.

04 – Your friend Cornelius Delaney – Ó DubhTV – did the video for Ayahuasca, one of the songs on Interloper, and a short film based on the album. Cornelius aesthetics is very steampunk, very Mad Max. Do you identify with that sort of hopeless, media within media, apocalyptical vision? Does it reflect your songs?

Cornelius is a very close friend. We have a lot of similar views and come from the same scene so we do share aesthetic sensibility as well. I was blown out of the water by what he did for the Ayahuasca clip.

I had no input into the visual. Cornelius has been working on digital animations for years and he has incorporated his artwork into the overall aesthetic of his short films.

Ayahuasca still © Cornelius Delaney

I do tend to lean into the darker side, one can’t say we don’t live in an Orwellian society, we’re under constant surveillance, we are witnessing the rise of fascism world wide, a genocide playing out on live broadcasts, I don’t think we’re too far from Mad Max! Lexi my wife is a makeup artist and she worked on Mad Max Furiosa, so, very close !

05 – Of late, I’ve been very interested on the physicality of the electric guitar. Having the electric bass as my main instrument I was under the impression the guitar was far less physically demanding. No so. You play both instruments. What can you tells about the physical demands and the physicality and the playability of each of them? Did getting older influenced how you approach each instrument?

This is a great question. It’s easy to think that playing music isn’t a physical thing, more an intellectual pursuit but it’s very physically demanding. Particularly over time.

© Matthew Ellery

Guitars can be very heavy, Bass even more so. If you’re under lights on a stage for 90 minutes with a heavy guitar it’s pretty taxing once you’re over 50! I am infinitely better on the guitar than I was in my 20’s. I love playing and I love getting better at it, even now I feel I am getting better.

My approach to the bass is very different from when I was sharing bass duty with Barry Adamson in the Bad Seeds. I try to be a bit more melodic and more fluid than in the old days of pumping along with the kick drum. I always try to honour the song first and foremost. It’s always about reading the feeling and conveying the emotion.

Now, at 63 years old, I have arthritis in my hands and my spine, standing up playing has become a fairly painful experience so I am definitely changing my approach. I will be quite happy to have a bar stool to sit on when I play live. I’m amazed by how many of my peers are able to push through and perform but playing live can give you a bit of a dopamine boost!

 

Amazing Songs & Other Delights #18 – The Wintry Songs edition by António Cunha & Raquel Pinheiro – repeat

Annie Soudain – Pale-Sunrise

The repeat of my Amazing Songs & Other Delights # 18 – The Wintry Songs edition by António Cunha & Raquel Pinheiro airs Monday 13, 3-4pm (gmt) on Yé Yé Radio: yeyeradio.com (or on the app).

You can read more about the programme here.

Tracklist:
01 – Bobby Womack – California Dreamin'(John Phillips & Michelle Phillips’ song) (Tó)
02 – Belle & Sebastian – The Fox in the Snow (Raquel)
03 – Clinic – I Can’t Stand The Rain (Tó)
04 – Billy Mackenzie – Winter Academy (Tó)
05 – Pink Floyd – Goodbye Blue Sky (2011 Remastered Version) (Tó)
06 – John Parish – How Animals Move (Raquel)
07 – Taylor Swift – Forever Winter (Taylor’s Version) (Tó)
08 – Zeca Afonso – Canção de Embalar (Raquel)
09 – The Decemberists – January Hymn (Raquel)
10 – Nick Cave & the Bad Seeds – Fifteen Feet of Pure White Snow (Raquel)
11 – Finneas – A Little Closer (Finneas’ Version) (Tó)
12 – Manic Street Preachers – Die in the Summertime (Remastered) (Raquel)
13 – Lianne La Havas – Starry Starry Night (Loving Vincent OST) (Tó)
14 – The Doors – Wintertime Love (Tó)
15 – Zoot Woman – Grey Day (Tó)
16 – The Beatles – Here Comes The Sun (2019 mix) (Raquel)

All shows on mixcloud: Yé Yé mixcloud | Mondo Bizarre Magazine mixcloud