Music

Dr John called James Booker ‘the best black, gay, one-eyed junkie piano genius New Orleans has ever produced’. Booker died in 1983 at 43, ruined by drugs, drink and madness. Though he appeared on plenty of other people’s records and stages — Dr John, Aretha Franklin, B.B. King — Booker recorded only three studio albums in his lifetime. Classified, recorded in October 1982 and now re-released on vinyl, was the last of them. It might not be the best of them, but it shows why Booker was one of the greats. The studio was booked for three days, but Booker had a breakdown the week before and couldn’t get a

There was only so long anyone could put up with the live musical performances of the early days of lockdown: musicians in their living rooms, performing stripped-back versions of their songs in broadcasts that froze or stuttered. The time would come, inevitably, when everyone wanted more. Viewers would want something more closely approximating a full show; musicians would want to be paid. Laura Marling was early through the gates: last month, she promoted her latest album with two concerts at the Union Chapel in London, played to an empty hall but streamed for UK and US audiences. There was a certain excitement about it all: here was a way for

The Glastonbury festival has undergone a series of metamorphoses in the 31 years since I first attended as a 15-year-old fence hopper (as, indeed, have I, thank heavens). One of the most significant changes, to pillage Gil Scott-Heron’s famous prophecy, is that the evolution has been televised. Back in 1989, if your boots weren’t on the ground — often a quagmire, though not that year — you missed out on all the fun. This has not been the case for aeons. Television coverage of Glastonbury began on Channel 4 in 1994, switching to the BBC three years later. In recent times, the Beeb has sent its staff in numbers comparable

Noël Coward was so right that his words have become a cliché: it is indeed extraordinary how potent cheap music can be. Its potency, however, is not innate. Amanda Prynne, from Coward’s Private Lives, would not have been especially struck by ‘Some day I’ll Find You’ had it been playing on a wireless in a shop; its impact came from hearing it as she again encountered her ex-husband. For cheap music to be potent, context is everything. Without a wider meaning, a cheap little pop song is just notes and chords. With meaning, the most throwaway frippery can become an object of fascination. That’s often true of the best known

Only two of the Beatles’ pop contemporaries are depicted on the cover of Sgt. Pepper’s Lonely Hearts Club Band. One is Bob Dylan. The other is Dion DiMucci. In a pleasing third-act twist, Dylan contributes the liner notes to Dion’s new album Blues With Friends — an act of deference that the recipient is still processing. ‘I asked him, I didn’t know if he had the time, but he sent me back those paragraphs and said that I knew how to write a song.’ He whistles. ‘That’s from a Nobel Prize winner. I thought, I’ll take it, I’ll take it!’ So he should. Dion — like Kylie, a single moniker

The music of the Beastie Boys was entirely an expression of their personalities, a chance to delightedly splurge out on to record everything that amused them. And early on, in their teens-get-drunk debut album, Licensed To Ill, that resulted in obnoxiousness. But mostly they were kinetic and colourful, which is why the new Apple TV+ film about them works so well. The format suits the story. Beastie Boys Story simply documents a stage show where winningly they talk the audience through their personal history. It’s much like Netflix’s Springsteen on Broadway. But since the third Beastie, Adam Yauch, died in 2012, the band no longer perform, so where Springsteen punctuated

Grade: C+ Where did they all come from, the quirky yet meaningful rock chicks who don’t have a decent song between them yet put out albums by the bucketload? Back in the day it was just Joni Mitchell, who had four good songs, Laura Nyro who had two and Dory Previn who had one. Now there are thousands of these creatures, flaunting their intemperance without showing much brilliance. And all slavered over by the (still male) music press. Years of oppression, of being disregarded, they would argue. But disregarded for very good reasons, in almost all cases. Yeah, Carole King is ten times the songwriter James Taylor ever was. I

Glenn Gould considered audiences ‘a force of evil’. ‘Not in their individual segments but en masse, I detest audiences.’ He retired from public performance on 10 April 1964, at the age of 31, having given fewer than 200 public recitals. The Canadian classical pianist had longstanding philosophical objections to the ritual of performing live. He found applause automatic and insincere, and often asked spectators not to bother. He even wrote a (partly) tongue-in-cheek manifesto, the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds, in which he called for clapping to be banned. Gould believed that the most useful and honest response to music came following a