Goodbye dad

Last weekend I was in London staying with our friends Dan and Emily. They’re lovely people– when you spend time with them one enters a parallel unierse where everything is cool, everything is nice. Not that they’re divorced from reality — far from it (Dan’s family has a hardcore lefty history) — but rather that life seems just that little bit sweetter when one is with them. Planet Dan and Em we called it. As an example: we tipped up at Kings Cross station early-ish on Saturday morning and there was Dan over the road from the Midland Mainline terminal, in his big white van, with a little sound system rigged up in the back playing reggae. (His big sound system — half of Manassah’s rig, some of Awassa’s, from the eighties — are in his carpentry workshop.) We clambered in and drifted a cross London to where they live, a quiet little backstreet nestled right behind Mare Street. We met up with John Eden and his partner on the Sunday and froze our nuts off on the a lenghy derrive around the south bank. Dan and Emily live ten minutes from Beck Road, where I met John in — what was it, 1989? — at Gen’s old house. Their house is therefore ten minutes from St Joseph’s Hospice, which is just opposite Beck Road.

And it was at St Joseph’s Hospice that my father died, and we realised whilst walking past Hackney Town Hall on the Saturday that that day was the seventh anniversary of us going there to register my dad’s death.

My dad — Tom, not Thomas — died of lung cancer after a brief terminal illness that lasted a few months. Or maybe it wasn’t brief — he started smoking when he was a child eleven and I can’t ever remember a time when he was really well. In a sense he was dying for a very long time indeed, certainly he wasn’t really living as much as I would have wanted him to. When he died it was, as it often is, something of a relief. I was fortunate that I was able to see him dead. I think my mum really regrets not having seen him dead. The catharsis from seeing him on the slab, face yellowed and hollowed in death, was immediate and overwhelming, an instant breakdown into tears. He was finished with suffering — he had very expensive private health care which in his case hastened the end — but it wasn’t a good death for the rest of us, simply because so much damage had been wrought over the course of his illness. I won’t go into the details but effectively his marriage to my mother dissolved when he was diagnosed and the whole family collapsed. It got worse ater he died, and it’s a mad story, and was horrible to live through; not just for me, but for all the people around me, including John.

I think it was the hospice that finally killed him. He was in there for one day, and that night, he died. We got the call at four in the morning in Brixton that he’d died. We got to the Hospice around five. I was numb, in shock, as you need to be in these situations, but when we got the ward where he had been it was nightmarish: so many people, all old men as I remember it, hours from death, and so many of them not fading from life in blissful narcolepsy, but struggling in a losing fight with pain, crying out and screaming. I remember thinking, “This is bedlam.” For some there was nothing the doctors and nurses could do. I imagine my father lying there and thinking, “Sod this. I’m off.” He didn’t last the night. We children last saw him the previous day — my mother wasn’t talking to him by this point — and he was gleefully out of his mind on drugs, inured from the devestation wrought on his body by cancer. He made a point of saying, “What’s that herb you take…” — I could never work out how much emphasis he laid on the “you” — and we said it was cannabis. And he said “That’s alright that is.” I thought that was a terribly kind thing to say in your last few hours on earth. When I drove home from his flat in Docklands I knew I wouldn’t see him again, not in a state fit to talk.

They say life goes in seven year cycles. I don’t know if that’s really true or not, but it kind of feels like it. The pain softens, turns into a tenderness that can be joyful. I was just amazed to find myself — completely unplanned — right back where I was seven yeas ago.

Well, geographically, anyway. This time we went over to a park on the edge of London Fields so the various children could burn off some energy and I had to take emergency action so that my older boy could perform a private function without access to facilities. Brilliant!

Goodbye dad. I wish you’d got to see the kids, but that’s OK. Love you.

OTW track listing and original file

 

On the wire, 17th September 2005: 21st Birthday Edition mix by John Eden and Paul Meme.

The file is up at http://www.grievousangel.net/GAMixes/On_The_Wire_21st_Anniversary_Mix_John_Eden_Paul_Meme.mp3

You can’t stream it, you can only download it.

More comments and notes on the music when I have time…

Note from 2020:

Awesome mix of dancehall and a bit of break core which still sounds fantastic today!

I’ve given it a quick remaster so it sounds even louder 🙂

1. Delroy Wilson. Keep on Trying. Music Lab
2. Carlton Livingstone. You Make Your Mistake. Black Joy
3. Lone Ranger. Collie Dub. Black Joy
4. Yellowman. Soldier Take Over. Sonic Sounds
5. Welton Irie. Army Life. Pressure Sounds
6. King Kong. Don’t Touch My Boops. Unity Sounds
7. Admiral Bailey and Chaka Demus. One Scotch. Unity Sounds
8. Shabban Rankin. Roots and Cultue. 1989. Digital B
9. Pinchers. Bandolero. 1991. Jammy$ Records
10. Frankie Paul. Tu Shung Peng. Greensleeves
11. Frisco Kid. It’s OK. Jammy$ Records
12. Trevor Sparks. Bye Bye Love. Jammy$ Records
13. Admiral Bailey. No Wey Better Than Yard. 1988. Live & Love
14. Pinchers. Agony. Live & Love
15. Admiral Bailey. Big Belly Man. 1987. Live & Love
16. Shabba Ranks. Trailer Load of Girls. Shang
17. Cobra. Yush. 1991. Penthouse
18. Cutty Ranks. Dominate. Penthouse
19. Killamanmachine. Amen. Clash
20. Bong Ra. 666MPH (FFF vs Dionysos Remix). Supertracks Records
21. LFO Demon. Utterly Wipeout (Rave for Communism). 2003. Sprengstoff
22. Prince Jammy. Jammin for Survival (Grievous Angel’s Jammin’ on Distortion Mix). 1979 / 2005. Attack / Morwell Esq?
23. Initial T. Tricks and Trade. 2005. Tree House Cannabis Music
24. Turbulence. Notorious. 2005. Tree House Cannabis Music

On the wire postscript

Well that seemed to have gone done OK. The mix sounded well fat through my ‘phones.

Surprisingly it turned out that the show our mix was in was the twenty first birthday edition of On the Wire — so happy birthday, it was great to be part of it. Fenny said he and Jim were dancing in the studio to it, which was nice.

Then he played a spoken word piece by (I think) an old US folk singer and a weird blues record. Fantastic!

Weird night though…

On the wire

… seems to be off the wire… no signal online here…

Ooooh NO! It’s on at 22.25! After a load of silence! Sounds fab!

Our first mix on the radio

Our first ever radio mix is going out on BBC Radio Lancashire’s fantastic On The Wire show on Saturday night — tomorrow, the 17th September, on the cusp of the full moon. Me and John Eden have been DJing together for ages and it’s been fantastic but this is just the bomb, we’re really thrilled. On The Wire is an institution and its founder, Steve Barker, is one of the real heroes of reggae and experimental music broadcasting. It’s a unique show and it’s a privilege to be asked to do a mix. We think it’s come out pretty well — a blend of 80s and 90s dancehall, ragga, breakcore and noise that smoothes you out, takes you up, blows you away and settles you back down in a completely different place from where you started.

If you live in Lancashire you can get On the Wire on Saturday at 10pm on BBC Radio Lancashire 103.9, 95.5 and 104.5 FM. On the Internet there’s a listen live button on the Radio Lancashire homepage. I aim to post a high quality mp3 of the mix on here after it’s been broadcast.

Skream’s The Blackdown Mix

Everybody knows BlackDown is number one for grime but he’s excelled himself this time with a fantastic lengthy interview with Skream, who must be one of the four or five most exciting artists working in any genre today. Blackdown helps him tell his story with some style. Best of all though, is an exclusive mix by Skream of his productions and remixes, and this is o good it’s worth dwelling on here.

If Skream ever does an album better than this mix he’ll be lucky. And if this mix were released as a CD today, it would have to be one of the ten best albums of the year. If previous Skream mixes were an exercise in industrial dubstep plainsong, the Blackdown Mix (as I very much hope it will henceforth be known) represents a flowering of timbral colour and groove. Skream has lept forward as an artist without losing any of his impact.

I don’t want to do a track-by-track description but Skream has scattered so many gems throughout it that it’s difficult to avoid. The first three tracks are sensuous electronic dub, and drift by beautifully, especially Bullseye’s increasingly savage bleeps, but the music comes into focus with Skream’s remix of Sunship’s Almighty Father. Its slo-mo electronics perfectly frame the raging, deadpan female ragga chat. It’s magnificent, so good that you can’t help wish Skream would add more vocals to his music beyond the strategic deployment of samples. Hag underlines this, since its mutation of the Groove Chronicles template climaxes with an excellent spoken word section. What’s crucial however is that instrumentals and vocal tracks stays balanced over the course of the mix, which means it both sustains and repays repeated listening. Fairy Tale demonstrates why Skream’s focus on instrumentals is paying off; it rebuilds the 2step framework around an unnerving, cascading flute sample that’s enchanting. Skream has strength in depth too. Groovin’ is the perfect intro for the legendary Midnight Requestline, and is its superior for minimal, bleepy intensity, though Requestline’s interlocking mechanical melodies are just killer.

The Blackdown Mix contains really varied music and I can really see why Skream wanted to get past the bass-n-drum minimalism of his early work to embrace a broader palette, because he’s totally in control of what he’s doing. Normally when an artist says something they want to be more “musical” and “creative” I inwardly groan, because you just know they’re going to dilute the energy that made them interesting in the first place. But Skream’s stuff is both smart and slamming: he’s put his time into learning scales and progressions but they just make his beats bounce higher. I think in many ways he’s fulfilled the promise of Digidub: the music has a similar dynamics and approach to Digidub, but has infinitely more musical innovation and satisfaction. Crucially, he’s got an ear for a tune, and has no trouble whatsoever taking the kind of fairground ride shanty that would normally be the province of Tom Waits and turning it into a spacious loper, as he does on Smiling Face. In contrast, Lightning Dub is just evil grime-speed jungle, and it’s absolutely wicked. It perfectly matches Skream’s mix of Digital Mysticz’ Ancient Memories and its delicious low-down, top dollar, dubstep nastiness. His mix of Loefah’s Indian Dub, for all its double time El-B-aping intensity, can’t quite compete with it. The tempo drops down again with Basstrap, which introduces the delicate piano figures which are scattered throughout the latter stages of the mix. It makes a particular feature of the burbling phased birdsong sample that flows throughout the mix; I like it but it could really do your head in. As do Where Am I, Glamma and Rutten, which progressively drop the listener into a suffocating amphetamine-psychotic ambience. It’s quite demanding music, demanding that you follow micro-melodies and counterpoints over compelling but rigidly regimented groove templates. It’s quite a contrast to the bouncing dancehall and rolling jungle I usually listen to, but there’s enough reggae (and industrial) flavour to make it engaging. And I like that there’s something here to get your teeth into. When I was younger I really liked getting records I didn’t get at all at first, because it meant there was so much more enjoyment to wring out it – assuming you actually did like it in the end. These days I have much less patience, but there’s enough roughage here to make it digestible. And on Deeper Feelings, Skream gives us real sweetness, a solid gold skittering melodic techno classic, which makes good on the old “Croydon as Detroit” claims.

Overall it’s an absolutely corking mix. You really have to listen to this even if you’ve found dubstep a bit of a chore before. Big up Blackdown for bringing it to us.

I can die happy now…

Sheffield’s Devonshire Green witnessed a pretty good free (as in municipally funded) festival today. There were rides and face painting for the kids, there was jerk chicken and beef patties for the hungry (with rice and peas, though the season was not really kickin’, which would have disappointed Fat Bastard) and there were good vibes aplenty, with lots of totally unknown loca acts doing really pretty accomplished performances. Being a geek I noticed how promptly the acts got and off — some stage manager has enviable organisational chops. All the music was that mix of r’n’b, hip-hop, bashment, and grime that seems to be the mainstay of urban these days, with a leaning to reggae. Yes I said grime — it’s just part of the amalgam now instead of being an outsider, which seemed good today. The MC of the show was Richard Blackwood, who much to my surprise was fantastic. At one stage he even got people in he audience on to freestyle, one of whom, Inspector, was corking. No trace of arrogance from our Richard.

Best of all was the appearance of that legend of Brit fast chat, Tippa Irie. I love hi just for having survived, but I love him more for the fact that he still has magisterial authority on the mic and a natural showman’s instinct for working the crowd. He’s still on it, kicking off with an excerpt from Hello Darling, slagging off talent-free pop stars and generally making his poppy version of dancehall do devestating business. He even threatened to burst into Lyric Maker, but time was short. After years of obsessing over Tippa Irie I finally got to see him and he didn’t disappoint. Lovely.

Droid Inna Dancehall

You must surely have heard of .this AMAZING mix by now. Droid’s Basement Bashment Mix is just the sort of wild, driving dancehall we like. The mix is fantastic (though you get a very full exposition of some riddims) and he’s got some really nice FX chops to go with his superb, mostly live, vinyl blending skills. Best of all is that he’s done a complete package, with detailed sleevenotes and a great cover. Go get it. Droind Inna Dancehall is here.

Dubstep mixes — get ‘em while they’re hot

I got pointed to an archive of fabulous dubstep mixes and I thoroughly recommend you check them out. You need to go to http://dubstep.blogspot.com/2005/07/mixes.html which is run by Ivan DubWay. It’s a treasure trove of really effective dubstep radio shows and mixtapes and as ever, who knows how long they’ll be there, so grab them while you can. Normal courtesies apply — these are mp3s, but don’t play them from your browser, right or ctrl-click to save them to disk to save DubWay’s bandwidth.

My favourite so far is Hatcha’s Rinse show from 8.6.05. It’s superbly dark and dubby with a great, subtle, MC. Anyone who likes dub, grime or jungle should give it a try. In fact I keep thinking dubstep is the new Brit techno, an obvous thing to say I know but it’s really got that dark Detroit vibe.

Lovin’ it. Keep it coming.