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Cool, cranky counsellor for seven decades,

Uncompromisingly honest and true,

Reluctant, slight but mighty mouthpiece

For our turbulent and troubled times.

Dishevelled, denim clad darling of Newport

Damned for declining work on the farm again,

And for demolishing and trampling on

The creaking doors of dull convention,

All before your first quarter century was done.

In two short years you changed the world

With that thin, wild mercury sound,

And poetry never more thrillingly

And controversially

Accompanied by electricity;

And then, mysteriously, you disappeared,

Resurfacing a backwoods family man

With new, but still astounding, songbook.

From basement jams and blood on the tracks,

Through rolling thunder and stadium tours,

I kept the faith;

And when a silver cross in San Diego

Drove you into the arms of Christ;

The onstage sermons may have grated,

But the venom and vengeful tone

Unleashed a sound of searing power.

Admitted Eighties drought and Wiggle Wiggle,

And blistering late nineties comeback

Came and went before a new century

Spawned reappraisals and new discoveries,

Sinatra tributes and mad Christmas album.

Through all your twists and turns

Of style, direction and belief,

And inveterate bloodymindedness,

Your integrity and talent has shone bright;

A body of work by aged twenty five

Enough alone for a lifetime’s legacy,

Yet you are the gift that keeps on giving,

Murder Most Foul but life most fair.

And then your voice, despised by many,

And, I’ll grant, an acquired taste,

From plaintive whine of ardent youth,

Through contented country croon

To veteran’s half spoken growl,

Child of a lifetime of heavy smoking

And punishing concert schedule,

Yet your phrasing remains unrivalled

In its clarity and passion.

No Oscars, Golden Globes,

Grammys or even Nobel Prize,

Will mean as much to you

As does the gratitude

Of the thousands of artists

Who have come after you

And cite you as a mentor.

Like Johnny Cash for you,

You are my north star and guiding light;

So, carry on being busy being born, Bob,

It’s still not dark yet;

We all gotta serve somebody I know,

And, for me, it’s you, my solace

In my hour of deepest need,

May you stay forever young

And your tour never end.

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When Paddy first played the pipes for me

I was transported back to ’68,

To a Skibbereen bar on a Saturday night

Where songs were sung of rebels’ fate.

Sixteen years old with fresh shaven head,

Rarely to be cut for five more years,

Heedless of the history of my hosts,

Oblivious of their eight centuries’ tears.

My first bitter pint of porter downed

And just as rapidly brought up again,

But my Irish roots were now confirmed,

From Tipperary via Hounslow I came.

And then a father staggering to his feet

In answer to the locals’ “your turn” shout,

Sang “My old woman and ‘er seven kids

Were a pickin’ all the big ones out”.

Instant celebrities we had become

Through this doggerel of a cockney lass,

Free drinks proffered and prolonged applause

And talk of the church next morn at Mass.

Vouchsafed the keys to Mrs McCarthy’s pub,

On fishing boats in cold Atlantic waters taken

To catch a multitude of mackerel and skate,

All these did my Irish heritage awaken.

When Paddy first played the pipes for me

I was transported back to ’68

To a Skibbereen bar on a Saturday night

Where songs were sung of rebels’ fate.

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Let me die on a packed dance floor

In the heart of a “Dark Star” jam,

In tie-dye shirt and Nashville boots

Among the folk I call my fam’.

Let me die on a packed dance floor

Beneath the lead guitarist’s feet,

Flailing about like the wild wind

To a loud unremitting beat.

Let me die on a packed dance floor

During a fierce “Terrapin” riff,

Amid the sweat and spilt beer stains

And that unmistakeable whiff.

Let me die on a packed dance floor

In the heart of a “Dark Star” jam,

In tie-dye shirt and Nashville boots

Among the folk I call my fam’.

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It all comes down to those eyes.

It was a raw September afternoon in York as Covid-19 restrictions began to ease. Scouting for a warm coffee shop my attention was drawn to a familiar face in the Shambles Market. And there she was, in the front of a jam packed cardboard box of vinyl records calling to me across the years, her impossibly big brown eyes pinning me momentarily to the spot.

But first, a short history lesson.

As a proud baby boomer born in the early fifties, my music buying activity began with “singles” (45rpm), followed in my late teens with “long playing” vinyl (33rpm) records. With the advances in technology over the next thirty years, I “progressed”, like many of my contemporaries, to cassette tapes, courtesy of the then revolutionary Sony Walkman, and then compact discs (CDs).

The bulk of my vinyl collection (did we refer to it as “vinyl” then?) was voraciously snaffled up by predatory dealers lurking at boot fairs on Sunday mornings. Selling a box full of classic sixties and seventies albums was as much a thrill for me (in retrospect, a short-sighted one) as it was to the wily buyer.

A single box, containing an eclectic range of rock, folk and classical titles, remained, consigned to a succession of lofts as we moved home three times. The only purchases I made for the next twenty years were CDs, and the turntable gathered dust before being discarded altogether.

I had succumbed to the prevailing mantra that CDs offered a cleaner, more precise and, therefore, satisfying, sound. Even the vinyl comeback in the early years of the new millennium failed to convince me to abandon this approach.

The reason was primarily a matter of cost. I was not in a position to pay £30 for a new 180g pressing of an album I had bought fifty years previously for thirty shillings (£1.50!). And then there was the outlay that would be required on a new turntable to consider.

But as vinyl collection became increasingly fashionable again, I found myself pawing through boxes in the growing number of independent record shops and market stalls, joining in the arcane and, to some tastes, boring, conversations among boomers like myself that accompanied the pursuit.

But the likelihood of my leaving with an LP under my arm remained a slim one.

Until our eyes met as dusk descended over the Shambles Market.

I think it’s time I revealed the identity of the person whose eyes so transfixed me and drove me to a fateful decision.

None other than Linda Ronstadt, not only the most beautiful, but also the most versatile (country rock, Hispanic ballads, American standards, opera, the list goes on) singer of her generation. I was unable to resist buying her eponymous album (readers lacking a soul might suggest that I would have been better just cutting up the outer sleeve and framing it).

It still took a lengthy sermon from the guy manning the stall in the market to cement my conversion. Jackson Browne’s For Everyman and Van Morrison’s Hard Nose the Highway , each at an affordable price, sealed the deal. Within a week I had introduced them to a new, attractive yet moderately priced turntable.

And then the fun started……with a twist.

Cost continued to be a major factor in my purchasing strategy. But there was an even more important criterion – I would not, with occasional exceptions, buy an album that post dated the time I had previously stopped collecting vinyl.

To date, I have bought a little over a hundred albums in the four years since my Yorkshire epiphany, some “new” but the majority second hand from independent stores, fairs and market stalls, online retailers and charity shops, ranging in price from £1.99 to £35, most in the lower price range. I have rejected others if they looked as if they were damaged. Very few have disappointed.

I have striven to resist becoming a vinyl bore but there is no question in my mind that it has a warmth and spirit that is largely absent from the more clinical, “perfect” alternatives. Some surface noise only adds to the enhanced atmosphere.

And I have overcome my propensity to whinge whenever I have to get up every twenty minutes to turn the disc over!

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It was midday and the stores on Haight Street were drowsily coming to life under a warming sun. A gaggle of skateboarders, ageing “heads”, dogs and guitars waited at the lights at Stanyan to cross over to Hippie Hill for an afternoon of music, marijuana and merriment.

We had just enjoyed a sumptuous lunch of chicken pesto, Greek chicken wraps and hummus plate at the Blue Front Café, (sadly, one of the many eateries that has subsequently closed), and were entering a brightly coloured establishment which had historically divested us of our holiday dollars more than any other over the previous two decades.

As we planted ourselves in the rear of the store to look for any new tie-dye shirts from Liquid Blue, the silence was broken by a chirpy Californian female voice.

“Hey, you guys, let me explain the layout in here for you. At this end you will find the Grateful Dead t-shirts, organised by size, while over here are my own designs…….”

It was clear that the woman was going to continue with this well-rehearsed speech for some time, and, of course, she was only trying to be helpful. But I have an aversion to being what I perceive as “stalked” in stores by staff when all I want to do is look for myself and ask questions if I have a need.

So, I interrupted her rather abruptly – for which I have since apologised on many occasions – explaining that for nearly twenty years we had been rummaging through her colourful stock, and left laden with t-shirts, dresses, badges, stickers and other paraphernalia.

Rather than being deterred by my rude riposte, she squealed at the news, thanking us for our custom (not service – that is generally reserved for the military) and asking us where we were from, a perfectly reasonable icebreaker if one were really needed. I explained that we were from England, that I had revered the Dead since the late sixties and had visited the store many times before. This triggered a discussion about our mutual love for the music and the city.

I mentioned that we were heading for the Great American Music Hall that evening to see Dark Star Orchestra, the band formed in Chicago that had been replicating entire Dead shows since 1997. Alicia, as she was called, was thrilled to hear and said “we’re going too, do you wanna hang out?” By “we” she had included her partner, Jerry (no, not that one) who was, at the time, the long term owner of the store.

Despite the presumption (at least to British ears) in the question we instantly accepted the offer, and as we left with Casey Jones and Alice in Wonderland tees, arranged to meet in the line outside the venue at 6pm.

Disembarking the 47 Muni, rather uncharitably dubbed by my wife the “stinky bus”, at Van Ness and O’Farrell, we strode excitedly along the two blocks to join a mercifully short line at the venue. Dead concerts past were recalled as the air reeked of pot and a lone, long haired man patrolled the street with a barely legible, but at least grammatically correct, “I need a miracle” message scrawled on a scrap of cardboard with a Sharpie.

Alicia and Jerry joined us ten minutes later and we made our way to the upper floor where we had booked tables, allowing a prime position leaning on the railing that overlooked the stage below. We could not have had a better view as we christened our new tie-dye outfits. The ticket price had included a meal from a limited menu. With Californian and English choices on offer, we all opted for the latter – fish and chips (the American version of several small fish pieces rather than the single, larger British version).

This was the second time we had seen Dark Star Orchestra, the first having been at the House of Blues in Las Vegas on the eve of my sixtieth birthday two years earlier, when they had played a show from the early nineties which my wife had struggled to embrace, leading her to abandon the show midway through the second set halfway through a characteristically lengthy Eyes of the World jam in favour of the penny slot machines on the Mandalay Bay casino floor. 

She had still not, at this stage, been fully converted to the Dead’s music, despite the fact that I had tried for thirty years to convince her of their greatness. She did, however, enjoy many of the earlier, shorter songs like Sugar Magnolia, Uncle John’s Band, Box of Rain and her favourite, Bertha.

I had been hoping that, being in San Francisco, they might play a Fillmore (West) concert on this evening, perhaps even from the run featured on the Live Dead album from 1969. And that, with some minor adaptations, is exactly what we got. I was beside myself, and my wife was happy too.

Mid way through the first set they announced that they were being joined by a special guest – Grateful Dead rhythm guitarist Bob Weir! He jammed with the band on St. Stephen and sang one of his signature cowboy songs, Me and My Uncle. The following year Bob similarly “gate crashed” Steve Earle’s set at Hardly Strictly Bluegrass in 2016. And more than a decade later, during which he had headlined Dead and Company, Wolf Brothers and countless other musical projects, and at the age of seventy eight, he shows little sign of putting himself out to pasture.

Sam Cutler, former manager of both the Dead and the Rolling Stones, spoke to the audience between sets when, naturally, I bought a t-shirt from the merchandise table, an item of clothing I reprised to lead guitarist Jeff Matson’s delight at the band’s concert at Shepherd’s Bush Empire in London in September 2022.

The concert continued past midnight. It had been a special evening, we had bonded with Alicia and Jerry, forging a friendship that continued to flourish and which led to us staying at their home with them in Petaluma on a number of occasions, attending concerts, Giants and 49ers games and meals together as well as them (separately) visiting the UK and all of us, including their two children, Aiden (Alicia’s by a previous marriage) and Ely (their own son) meeting up subsequently in Chicago.

As the Covid-19 pandemic caused a hiatus in our physical connection, we met up on Zoom on a weekly basis as they prepared to go for a morning cycle and we cooked our Sunday dinner! We even danced to favourite Dead songs when the conversation, as it did rarely, lagged.

The story of our relationship has subsequently taken several dramatic and unexpected turns, which I will address on another occasion.

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The line for breakfast in Martha’s on Church was long, stretching to the sidewalk. I ordered two decaf lattes and bagels to go. I was assailed by a grey, pig-tailed man around my age in Moody Blues t-shirt and crumpled check shorts, intrigued by my accent and “Closing of Winterland” t-shirt, he enquired:

“Do you live in the City?”

“I wish. But no, I’m staying in a cottage a few blocks away for a month”.

“Wow, you Brits really seem to love it here. Love your shirt by the way. I was there”.

“Thanks, and my turn to say wow. I have to make do with the CD and DVD”.

We stepped to one side as the line lengthened further.

“We’ve been going to concerts here for two decades. We were at the Great American Music Hall with Dark Star Orchestra last night”.

“Nice. Y’know, I’ve never seen them, but I’ve heard they’re pretty close to the Dead”.

“Yeah, they play whole shows and last night’s was the Fillmore ’69 which was view of music heaven. And Bob Weir joined them for a couple of numbers”.

“Double wow! They must have been awesome. It’s funny but you guys are wedded to the Dead, while I’ve travelled all over the UK pretty regularly to see concerts. I’ve seen the Stones, Pink Floyd and the Moody Blues, of course”.

“That’s weird but cool, because we’ve probably seen more gigs in the States than we would at home. In the past few years we’ve seen Crosby and Nash, Elvis Costello, the Doobie Brothers, Steve Miller Band, Phil Lesh and Bob Weir all in the city, and Eric Burdon in South Lake Tahoe”.

Another baby boomer further back in the line began to regale us of times following the Dead on tour in the eighties, but was cut short by the welcome announcement that my bagels were ready.

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Many of our trips to San Francisco have coincided (intentionally) with the free Hardly Strictly Bluegrass festival in Golden Gate Park over the first, invariably warm, weekend of October.

There have been a number of high spots over recent years with regular performances in particular from Steve Earle (with a guest appearance from Bob Weir of the Grateful Dead), Emmylou Harris (who traditionally closes the festival), Jack Casady and Jorma Kaukonen, guitar gods from Jefferson Airplane, the Neville Brothers, John Prine, Robert Plant, the Blind Boys of Alabama and Moonalice who performed a set of songs penned by the then recently deceased Robert Hunter, principal lyricist for the Grateful Dead.

The atmosphere could not be further from the corporate, money-driven ethos of Glastonbury and similar events and fitting that San Francisco where, along with other Californian venues, the concept of free outdoor rock festivals effectively originated in the late sixties.

But the highlight for me came in 2019 with Judy Collins. But before that I need to take you back twelve months to San Rafael in Marin County. A store owner friend of mine in Folkestone asked if I could deliver a note to Phil Lesh, the former Grateful Dead bass player, at his performance/dining venue at Terrapin Crossroads (sadly now closed, though the music lives on).

Not only was I able to deliver the note, which stated that she had adored him since the Europe ’72 tour, successfully but I also had the opportunity of a few minutes chat with the great man, who signed a postcard of his own for me to pass on to her on my return.

So pleased was my friend that I had succeeded in achieving a task that might not unreasonably have been perceived as unlikely – after all, Phil didn’t rap with random British guys in his bar every day – that she set me an even more challenging task twelve months later.

It appears that she had been as besotted with Judy Collins’s music for more than half a century as she had been with Phil Lesh’s music over the same period of time. So she asked me to deliver a letter from her to Judy on the afternoon that she was performing.

Now walking across a barroom floor to request a quick chat with a music superstar is a piece of cake compared to gaining access to another legendary artist in the middle of one of the world’s largest parks and when there are tens of thousands of other people in close proximity.

The afternoon arrived, and as the appointed time for Judy’s set approached, I gingerly made my way to the front of the stage – there did not appear to be an obvious place to go “backstage” – I was accosted, firmly but politely, by a burly African-American gentleman who may have been thinking I was getting a little too close.

I explained my predicament – which, even to my own mind, seemed a bit odd. He listened carefully and took the letter from me without making any promises. I did not hold out much hope for a positive response, but around five minutes later he returned in a similarly measured way and informed me that “Miss Collins has received the note”.

My joy would have been unconfined had Judy referred to it whilst she was on stage, but she did not. She did, however, sing Both Sides Now to me – well, me and many others – on my birthday.

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The occasion of Bob Dylan’s 70th birthday today has already spawned millions of words in the printed media and on the internet (“the whole world is filled with speculation”) about his place in the popular culture of the last half century. Many purport, as much Dylan literature does, to be serious, learned pieces about what status he has as a poet, what religion, if any, he adheres to, what really happened when he fell off his motorcycle in 1966 or even what his garbage tells us about his alleged drug use (the list goes on).

Well, this modest contribution to the cacophany has no more pretensions than to be an unashamedly heartfelt postcard – though not of any hanging – from a fan.

I know that there are many people who don’t “get” Dylan – they say that he can’t sing and he’s no longer relevant, having written nothing worth listening to for over 40 years and so on.  As far as the voice is concerned, I’ll grant them that it has always been an acquired taste, and even for many of his devotees, his current growl, the consequence of a lifetime of heavy smoking and punishing tour schedules, leaves them puzzled and dissatisfied.  Yet, even today, I believe that, in concert, the passion, intelligence and honesty in his phrasing are unrivalled.  But let’s agree to disagree on that one.  

These criticisms also tend to emanate from people whose acquaintance with Dylan’s work barely extends beyond a handful of “early” songs such as Blowin’ in the Wind, The Times They Are A Changin’, Mr Tambourine Man and Like A Rolling Stone, astonishing works of art though each of those are and enough alone of a legacy for any other artist

How many of them realise, for instance, that Make You Feel My Love, now a modern standard recorded by artists as varied as Bryan Ferry, Billy Joel, Adele and Garth Brooks, and regularly heard in popular TV shows like Holby City and Strictly Come Dancing, was written and first performed by Dylan in 1997? 

His continued relevance in the music world is incontrovertible, manifested in the stream of testimonies by modern day bands as to his influence upon them.  And anyone who has been to a recent Dylan concert will know that they are frequented by as many enthusiastic young fans as pony tailed baby boomers.  His gigs in Beijing and Shanghai last month drew crowds of mainly Chinese youth turning to him, as their American and European counterparts had done fifty years earlier, for inspiration in their quest for a more open and inclusive society.

In the past decade alone he has issued several critically acclaimed (and chart topping) albums (including a Christmas one with ALL the proceeds going to the World Food Programme and Crisis), published the first volume of his Chronicles, hosted one hundred episodes of his peerless Theme Time Radio Hour, showcasing his vast knowledge of his musical roots and hilarious patter, exhibited his paintings and continued to tour the world with his band.  Oh, and he played The Times They Are A Changin’ for President Obama in the White House. No longer relevant huh?

Some people who are kindly disposed towards his art still have difficulty with the man, citing his uncommunicative (sic) manner on stage and perceived instances of “selling out” in recent years   But those minor and arguable lapses apart, it is rather his integrity and refusal to compromise in order to curry popular favour, in the manner in which contemporaries such as Iggy Pop and Steve Tyler have, that make him all the more impressive. Like any genius, he is a flawed human being, but I for one am prepared to accept from him what he is prepared to give me, even when, as was the case with much of his eighties output, he lets his standards slip – and that is so much more than I could ever have had a right to expect.  The debt is all mine.    

Perhaps one day I will attempt the thankless task of listing my favourite 10, 20, 50 or even 100 Dylan songs, but the reason I probably won’t is that I would feel uncomfortable at leaving so many great ones out. What I do know is that any list would include compositions from the whole spread of his career.  

Many artists have enriched my life immeasurably – Shakespeare, Mozart, Jerry Garcia, Samuel Beckett, Puccini, Jane Austen and Fra Angelico to name a few.  But none come close to providing such profound excitement and sense of challenge that I experience when I listen to the music of Bob Dylan.

So thanks Bob for everything (even though you will never read this).  We sure have seen nothin’ like you yet, nor are ever likely to see again.  It is certainly not dark yet, carry on being busy being born and may you stay forever young!

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