I am ssooo looking forward to Friday. After having experienced a concert by one of the most talented songwriters in the world last week, this Friday means another night spent in the presence of one of the world’s best songwriters yet again! How spoiled am I?
Neil Finn – in my opinion – does not get anywhere NEAR the recognition he deserves for his songwriting. He’s fucking AMAZING! And he sounds exactly the same as he did 30 years ago.
I can’t believe it has taken me THIS LONG to go and see Crowded House. Rescheduled, and rescheduled again thanks to old ‘Rona – the day is almost upon us.
I hope – in the strictest of acoustic terms – they sound as good as SM sounded at the Hydro back in early April. I’m hoping the Hydro doesn’t let me down with this one…or CH’s sound engineer for that matter.
And I REALLY hope they play this on Friday night. 🙏🏻🙏🏻🙏🏻
It’s been my earworm on and off for the past two weeks.
I think I’m going to need to take a few tissues with me on Friday.
We’re having a bit of a train timetable crisis in Scotland at the moment with services running on sparse timetables. Around a week before this gig I looked at the train timetable to see when the last train from Waverley station back to Queen Street would be. The last service last night was at 10.15pm – too early for it to be practical for me to get, let alone even go to the gig at all, in all honesty. A stay overnight was out of the question. Too short notice which meant it would be too pricey and I really shouldn’t have to be spending the night in Edinburgh – not coming from Glasgow! (I’d travel a similar distance from Luton to see shows and gigs in London and NEVER stayed in London.)
I thought a coach too and back was going to incur a similar cost as the coach to Edinburgh airport, but of course the companies have to stick on a 60% markup on fares to take you to/from an airport – happens the world over. I was pleasantly surprised that a coach to Edinburgh was only £3.60 each way so I decided the coach would do it. There were coaches leaving every 30 minutes from around 9.30pm so I knew I wouldn’t get stranded.
I caught the coach at 4.15pm and arrived at Princes Street at around 5.30pm. It was a smooth journey. There was one rather worrying element early on. There was a stop just outside greater Glasgow where the M8 and M73 converge near Bargeddie and the driver seemed not to be able to take the coach out of the lower curb resting position – as if the hydraulics to lift the suspension back up had jammed. My heart began to sink. Although I had allowed for some time in case of jams or suchlike, I didn’t take into account time for a total coach breakdown! After a few minutes the hydraulics on the coach seemed to work again and we were off. Apart from that scare, the journey went without a hitch.
I had time to meander to the venue. I had 90 minutes to get there. I arrived there just after 6pm and just had a wander about the area. I had sod-all money and had hardly anything to eat, just enough to keep me going. I was quite thirsty but didn’t want to spend out on a drink so I bought myself an apple which was crisp and juicy enough to act as both thirst-quencher and stomach-filler. It had been in the chiller and was quite cold so it was very refreshing. I sat in a nearby park, enjoying the sun and watching the goings on around the park whilst eating the apple.
Doors opened to the venue at 7pm and I joined a small queue that was forming a few minutes before the hour. We were promptly let in. I spent a penny in the gender neutral(!) loos (which does feel a bit strange when you’re walking into the space and men are there washing their hands), then took my seat.
I was glad to have arrived as promptly as I had done as Webb’s support act, Ashley Campbell (Glen Campbell’s daughter, no less) started her support set right on 7.30pm. I really enjoyed her set a lot. I will freely admit my prejudice to country music but I was so moved by her performance. She has a very sweet voice and she’s a very natural and modest performer. Her accompaniment was a man named Thor Jensen who has his own album out. He had great harmonies with Ashley and they performed really well together. The lyrics to the songs she performed were just lovely and I cried several times, esp. at the end when she performed a song called Remembering about her dad and about how the Altheimers ravaged his ability to remember things. It was really poignant and beautiful. In the footage below, Ashley and Thor perform Tom Waits’ Long Way Home. I think I can say I had an epiphany and am now a fan of Ashley Campbell after last night.
Jimmy Webb arrived on the stage at 8.30pm to a very warm round of applause. It was a crowd of country music fans, as well as Jimmy Webb fans. A thoroughly appreciative crowd and Webb certainly did not disappoint, leading straight off with a rendition of Galveston.
It was quite a 50/50 split between music performance and conversation piece. Webb is quite the story-teller and has many tales to tell. He talked about his upbringing (some of which I captured on film) in Oklahoma (and like a few other people I know who grew up or lived in Oklahoma) which he compounded the general consensus about Oklahoma is the roads out of there! Lol. He talked about his early success, Grammy award nominations and wins, working with Waylon Jennings, Willie Nelson and, of course, Glen Campbell. He had quite a few political views too, which he didn’t shy away from discussing. He talked about how Wichita Lineman came about, a spontaneous meeting with Louis Armstrong, Kenye West knicking a song of his to put down Taylor Swift (Jimmy was NOT happy about that!). He cracked a lot of jokes. There was quite a lot of humour and in between a fantastic repertoire of songs.
It’s quite the catalogue and he only performed a small selection of them. He’s an accomplished pianist. Is he a great singer? Well, no – by his own admission. He is a songwriter and he’s 75 (looking good for it though, it has to be said). It was a thoroughly entertaining evening.
About two thirds of the way through the show, during a quiet lull in the show, someone called out ‘P.F. Sloan, Jimmy!’ Webb’s retort, ‘Hang on a minute. I’m thinking.’ Then another person calls out. ‘Okay. I heard you the first time. Give me a minute. Let me figure something out here.’ After a few minutes talking about how the song came about, he then went into it as requested. Whoever that person was that called out the request, kudos to you because it became the highlight of the show for me.
I had to check the time now and then. As it drew closer to 10.30 I started to become mindful of how much time I’d need to get back to the Royal Mile and to the coach station for home. I had booked the 11.30pm coach back. Just after 10.40pm I decided to make my move. Webb just started with MacArthur Park and as reluctant as I was to leave before the end of the show, I knew I had to leave now. I spent another penny and off I went.
I had a mile long walk to go, alone, in a quieter area of Edinburgh and I was BRICKING IT! I contemplated grabbing a bus to get me back to Princes Street but I thought by the time I wanted for one to come by, etc, etc, I was best off just to keep pushing on. I get to Waverley station and have to go down that bloody staircase. Down, down, down. Then I cut through Waverley station itself and then get to the escalators taking you out the the other side to see that the ones higher up the staircase aren’t working. Oh, great! It’s 11.23 by the time I get to Princes Street and I still have about a quarter of a mile to go to get to the bus station. When I finally get to the bus station, my coach is right at the end of the bays! I can barely walk anymore. I get to the coaches’ step at 11.27! I’m then grappling with my phone to find my ticket to show to the driver. I take a seat at 11.29 – feeling as if I’ve just run a marathon – but I made it! Thirsty as hell and no drink at all but I made the coach and I was heading home. I had money left for a taxi back home from Buchanan bus station. It was all good.
When a song…and indeed a WHOLE ALBUM starts with the line “for just one moment in time I hear the holy backbeat” – then you know you’re in for something very special.
The band were convinced of its merit as the opening track to the album, but Steve Hillage took a bit of convincing. He felt it was “a bit long, but in retrospect, it’s so emphatically strong in putting across the overall vibe on the whole record. It’s a really good first track.” He was won round to the band’s way of thinking.
The title of the song could sound like a corny dad pun heard out of context but it instantly conveys the mood and tone of the song – movement, travel, open spaces, passages through time, the learning experience through exploration, through travelling.
Jim, back then, would seem quite dismissive of his lyrics in some ways. He said he hated the notion of his words being deemed poetry and dreaded the idea of people taking them out of context and away from the music. “My words go with the music.” They do indeed. But even a title – as the very first thing you hear or see, and unavoidably taken out of context initially, provides some notion of what the song is about.
Obviously songs don’t have to be about anything in particular. And maybe some Simple Minds songs feel like that to some people. Jim’s writing style was certainly ambiguous most of the time in the early days. And esp. during the Sons And Fascination period.
Jim also talks about the desire for “greatness”. He wants to matter in this world. He wants his life to have meaning and purpose. He wants his life to matter. Any person with a modicum of feeling that they want to feel like their existence on earth MEANS SOMETHING can understand and appreciate that.
The second verse to the song can sound pretentious as a result but he is just expressing that feeling in the lyrics – “for just one moment in time I want to walk where it is, sustain a stature in life”.
And then there is talk of the process of writing on the road. The hours of travel between cities, towns and venues and how it gives him the chance for “down time” and time to think and create. The monotony of the drive and the motion giving him time to sit and write. Looking out the window of the mini van or tour bus, time to collect his thoughts and just be quiet and insular for a time. Time to “recharge”, but also time to create.
He talks about every line being “a painting”. That every line to a song has a different story within it.
Below is an excerpt from an article printed in Melody Maker on March 27th, 1982. The band are “moving on”, telling Adam Sweeting “just what is going on”. They’re still touring the SAF/SFC albums but are changing direction. Promised You A Miracle has just been recorded. They’re on tour in France.
“I see a town by the track / can’t see the road for the tears.” Upon reading that excerpt way back when I did the first time, it brought that line to life for me. To read that he, Jim Kerr, of all people, is as overwhelmed by the music he helps to create as any of us. I just found that incredibly emotional. And I always think of that every time he sings that line of the song. Even though he is actually talking about the beautiful music of Seeing Out The Angel in the article, in my mind’s eye I see him on the coach looking out the window, hearing the music and feeling and looking overwhelmed…and beautiful. As beautiful as the words and music themselves.
I can’t see my words for my tears…
Before I continue on with the lyrics and the Kerr fanaticism…let’s talk about the amazing musicality of the song. The opening – Derek Forbes by far has to be one of the best bass players on the planet. He just nails the opening visual of the song’s intent, its mood, with a rhythm of movement. Then understated, soft staccato drums from Brian. The time signature is in 9/8 – and I love this most about Simple Minds. They’re not afraid at all by experimentation and don’t stick to the regular time signature of most songs, the regular 4/4, 4/8 or 8/8 time signatures. No. I can see why they’d get the “art rock” schtick at times – but they are sooo above that. It’s never contrived. Never formulaic. It’s organic…and it shows. You hear it in the life of the music.
Simple, long notes from Mick encapsulate smooth lines of long highway roads and Charlie’s beautiful high wailing riffs seem to denote frames of images | this house | that shop | this bare tree | that run down car | while still instilling the movement of travel…”you gotta move on”.
And because Jim’s words are so fragmented in this song, it gives space for the music to breathe.
Back to that “holy backbeat”…
There are also visions of dreams and how they can be a positive life force. “In dream a dream a / courage of dreams.” And it certainly won’t be the last time Jim will talk about the positivity of dreams. The positivity also enforced by an almost violent note “something crashing into my life / something crashing against the white rocks.”
It has been, from the first time I heard it, my favourite opening track on any Simple Minds album. I Travel is, of course, also fabulous. Other favourites are Up On The Catwalk, Moscow Underground and Blindfolded. But the love I have for Sons And Fascination/Sister Feelings Call starts at the beginning…from the get go…track one.
Among the favourite versions of the song I have are, of course, the album version, but also a live session version performed for the Kid Jensen radio show on Radio One in February, 1982.
Also I wanted to share the contrast of the thirty years of space between performances. In Trance As Mission was never performed live again after 1982 until it FINALLY reemerged into the setlist in 2009. The first of the two comes from Newcastle in November, 1982. The second nearly a full 30 years later, also from Newcastle, the 5×5 Live gig on July 8th, 2012. The day before a certain someone’s 53rd birthday. Fifty-three and FLAMING HOT! 🔥🔥
SOURCES: The Simple Minds “Holy Bible” – Dream Giver (for the Hillage quote esp.) | for the Smash Hits article – Brian McCloskey on Flickr | other article excerpts are from my own collection.
As we approach the end of this rather strange and turbulent year, there is still so much relevance I hear in a song like 20th Century Promised Land – so much so, I thought it could actually be renamed “2020 Promised Land”.
“Great times in commotion. Here comes every day, it only lasts an hour.” Oh, how we’d have wished for every day of 2020 from about April onwards to have only lasted an hour! “Count out evenings and stars, how fast can these things move on?” Not fast enough, Mr Kerr, you adorable wordsmith, you!
So let’s hope the “reason for fear *is* moving on” and the “speed of life *is* moving on” to take us into better times for 2021.
Because 2020 certainly has been “Some time.” The most “troubled time.”
“Unhappy the land that has no heroes. No, unhappy the land that needs heroes.” – AMERICA, ANYONE? America in 2020, more so! (Of course, these lines aren’t actually Jim’s.)
Anyway, I shall stop quoting lines from the song and let you go read them, and listen to that amazing voice be just…incredibly expressive and convey the story. I absolutely ADORE the way Jim sings on Sons And Fascination/Sister Feelings Call. He says in latter years he’s most happy with his voice but … there is a way in which he sings back then – I think it’s all in the enunciations of words and the (largely) fragmented and ambiguous style of his writing. I can feel it when he talks in the past about trying to use his voice as another “instrument”. I know it sounds as pretentious AF, but I honestly don’t think he meant it to sound like that. Because he talked about using some words just based on how they sounded. Like..that he just liked the sound of them and how they would sound and blend in with the music. Yeah…it does sound pretentious AF! Lol
I spoke to Bruce Findlay recently and he made me giggle talking about how he’d read the band reviews and get all downcast about anything negative written. “More so than Jim would”, he said to me. “I remember reading one review and the guy had said Jim’s lyrics were pretentious. I told Jim what had been written and he said ‘Of course my lyrics are fucking pretentious! I’m a pop star, for fuck’s sake!’” 😂😂😂😂
Anyway, just….enjoy the wonderful splendour of 20th Century Promised Land.
I was pretty much a U2 fan from the get go. My brother, Quince, is only a few weeks younger than Bono…so U2’s debut release was as about as contemporary as it could get for him!
I was half the age, only just coming up to my 10th birthday, but the album spoke volumes to me too. Possibly more so because I feel, in retrospect, Boy was a VERY aptly titled album. It denotes all those elements of the first U2 release. Bourgeoning, adolescent, insular, self-absorbed, centred on school and friends and the opposite sex…grappling with the things we all go through in adolescence. Trying to make sense of our place in the world and what we’re here for.
I listened to Boy last night. Has it aged well? I’m not sure. It has an immaturity about it. It mostly looks inward and hardly projects outwards. And I can still hear it with the ears of my early teenage self. I was very aware of U2 in 1980 but it wasn’t until 1983/4 that I really got into them myself. And that is when I got heavily buried into the early albums. Boy is very much my early teenage album. And it takes me back to all those things I was feeling then. All those hang ups and stuff. Thinking that Bono was the best thing I’d ever seen – but he was just one on a list.
It is a good album. I can see why they got early plaudits for it, but I can also see why it was just an early stepping stone and not an absolute breakthrough. I feel it is age-defining and age specific. It is very much rooted in the feeling of 1980 and one’s teenage years.
Alert: I am about to make THE “comparison”. It can’t be helped.
Compare it to say, Simple Minds’ Empires And Dance and well…there is no comparison! Compare I Travel to I Will Follow:
I Travel – European dance. Pulsing energy. Dazzling with lights of cars, planes, trains. Cities cruising by in a head of haze. Exposing you to the dilapidation of the east and the extravagance of the west.
I Will Follow – a boy grappling with becoming a man “a boy tries hard to be a man, his mother takes him by his hand / if he stops to think, he starts to cry – oh, why”. Chalk and cheese! And barely a year in age difference between the lyricists.
What would I have listened to more then – Empires And Dance or Boy? Well, it’s easy to say that Boy won out as I only vaguely knew who Simple Minds were in 1983/4 and I certainly didn’t know of them at all in 1980!
What do I listen to more now? The most rhetorical of questions! We all know! This blog isn’t “Larry-elle’s U2 Space” that ‘may contain a heavy dose of Paul Hewson’ after all now, is it?!
For me, Boy is now definitely “of its time”. A nostalgia trip. There were obviously hints of the maturity of the band there. I hear it in different songs now to what I used to. Songs that I probably didn’t like as much or felt a little more indifferent to back then. I have always loved An Cat Dubh (it took YEARS for me to find out it meant “The Black Cat”. You gotta love pre-Internet days. Lol) and its segue to Into The Heart. Into The Heart these days makes me cry. It’s so tender! It has hidden maturity because it is an adolescent mind already feeling nostalgic for the innocence of childhood. Probably a marker on Bono thinking of his mum. That yearning of her still being present.
The last time I was a bit harsh on Shadows And Tall Trees – I guess because that line of “Mrs Brown’s washing is always the same” is the most dominant line in the song for me – because of the way Bono delivers it. But it is a rarer one on the album as it projects outwards rather than looking as much inwardly to the self. But when it does look inwardly, it’s more about how is one going to face up to life and what to do about it “do you feel in me anything redeeming, any worthwhile feeling / is life like a tightrope, hanging from the ceiling.”
The musicality of it is barebones, and raw. Like skinny kids that are slightly malnourished and thirsty for water, food – knowledge. Experience. “Songs of innocence.” It’s very sparse but very bright. There can be darker elements too. There has always been a dark mood to The Ocean. And there is darkness or at least dullness and greyness to Shadows And Tall Trees.
I enjoyed listening to Boy again last night. I don’t visit U2 often these days, but when I do, I still have an “experience”.
Happy Anniversary, Boy. You make a girl feel old! Lol
“He don’t say much. He’s bored with the fans.“ – it’s how it feels anyway. And if I hear one more “he’s a busy man” excuse, I’ll scream! Because…HE IS ALWAYS BUSY! He is Jim fucking Kerr – apart from me using “fucking” just now – “busy” is his middle name – for want of him actually having one (a middle name, that is).
Even at his most busiest, back in time…back to those halcyon days I REALLY need to move on from that have well and truly died and aren’t coming back any time soon, it seems – he would reply to people. Not just me!
The slow death of the visitor wall just kills me. He actually used to seem to take a vested interest in what people were posting to the visitor wall. Like certain things and even respond to people there. If someone had a question about the music or lyrics and he felt keen enough to, he’d respond to people there.
I mean, heck…without his interest there, the whole “art” thing of mine would have NEVER happened. I almost feel like I want to bang his head against a wall just…so he can see how important this aspect of the fandom is to some fans. It goes beyond the music! You inspire so many of us, Jim! When you respond to people it…here’s a favourite word of yours – it TRANSCENDS mere “music and listener”, mere “songwriter and fan”, mere “singer and swooning ninny”. Lol
And I miss it. Not just for me, but for other fans too!
A case in point: last night on SMOG, a fan asked about Today I Died Again – whether it was about domestic violence – quite how they reached that theory I do not know entirely (I guess just from the interaction that happens between the lead couple within the song lyric?) but I shared what I felt was my interpretation of it, and linked to my post on “Why I love…” about it.
Another fan later replied with a quote from Dream Giver Redux with this excerpt: “This song’s reincarnation theme was inspired from Jim’s reading of the Bhagavad Gita.”
Really? Okay, well the only thing that actually alludes to reincarnation within the song IS the title itself and the singing of it – and maybe the line of “back to a year, back to a youth” – even then, that’s tenuous. Also, I am not sure about whether Jim would have read Bhagavad Gita at that point. I am sure he said he first read the book in 1982 in a recent post (recent being…within the past couple of years). I know it subsequently became a much favoured book of his. As a consequence I tried reading the book. I didn’t get very far with it to be honest. I basically read this whole preamble about the book’s translation which was quite a few pages long (about 40, if memory serves). It just felt too taxing in the end. The only thing that stuck was the gained knowledge of learning it was a source of inspiration for Gandhi, which I find beyond perplexing that one of the world’s great pacifists was inspired by a book about war. Well…at least had a scene of battle as its main focal point.
Today I Died Again is penned in 1980, obviously, so I would think that predates Jim reading Bhagavad Gita? Perhaps I have my info wrong and he did indeed read it back then? I still see little evidence of the influence of the book on the song. But perhaps that’s just my interpretation of it?
Anyway, (sorry, I went off researching, and now I feel as if I have worked on this post for much longer than I intended to)…back to the fan enquiry and pondering of the song.
There would be a time, not that long in the past, in which I would have said “you could ask Jim – he might give you a reply. Who better to ask?” And that’s where I return to the special! Being able to ask the man who wrote those amazing lyrics. Okay, he may not have always replied even when I came into the fandom, even to me, but there was a heck of a lot better chance of a response six years ago than there is now! And it really, REALLY saddens me.
I was about to go off on another angry rant but…I guess I just need to give up. “No one likes a quitter”. Well, great then. No one will ever like me. Stellar. I can live with it. When you feel you’ve done all you can and you’re getting nowhere, you have to “embrace the suck” and just…walk away, I guess? Am I right, Jim?
Perhaps it is better we all ponder it amongst ourselves? There was a time, pre-Internet, where we’d had little choice to do so. The fans wouldn’t be interacting with each other as we do now. There’s no way we could pose a question to you like that unless there was luck and/or special circumstances. We wrote to you (old fashioned “snail mail” style) and you took the time to reply. Or we’d have thought to ask you backstage, had we been lucky to see you after a gig. Back then I’d guess you’d have been very reluctant to share or offer up such tokens of openness anyway. “Interpret them as you see fit.”
Admittedly, that is the beauty of your songwriting – particularly back then. Just how much they could be open to interpretation. Your very own Burroughs technique. “I’ve always liked ambiguities and fragments and things with a bit more of a mystery to them”, you said in an interview for Dutch TV in 1983.
“Out of the mouth of babes“ – and what a babe! Lol. (Yep. I’ll never stop adoring you, you gorgeous man. Fuck, I’m a hopeless case!)
So…what exactly IS Today I Died Again about? You can search for my “Why I love” piece on it and see what you think. I may just read over it again myself and see of my idea about it has changed.
“She can’t remember before the heat” – bloody hot flushes, hey hen?! Lol
So…I get the message behind the phrase itself. I understand it. There’s a time and place, of course. I would like to hope that in the current climate that Sir Kerr is FAR FROM suggesting anyone that has suffered adversely from this current pandemic should just…”embrace the suck”. I’d like to believe he has far more empathy than that.
He linked to Great Leap Forward with the post and I just found myself looking up the lyrics. There are many lyrics I know off by heart, and there are some I am just not that familiar with. Great Leap Forward is one such case. Reading them over…I’m not quite sure what the song’s message actually is. Which, as usual, makes me feel like a dumb fuck.
I miss a time when I could just ask Jim and hope for a reply. But…I see little point now. All that wonderfulness is gone. TELL ME TO “EMBRACE THE SUCK”, JIM. Just you tell me! I’m sorry I lament about it so much, but it was a wonderful period of being a fan for me…that you would respond and interact. And I supposedly wasn’t even around for “the good old days”, when you and Charlie supposedly hung around fan forums and spoke to fans all the time! Must have been fab.
Anyway…the lyrics. The song. I mean, I like the sound of it. I really like Good News From The Next World. Usually a big part of why I love a song is because of its lyrics and meaning, or at least MY interpretation of the lyrics provides a story and meaning. Great Leap Forward leaves me perplexed. I’m not sure what to take from it.
“I jumped up like Apollo, Crash landed on my feet, The sun shot like a laser through my brain. A little death had woken up, And put a curse on me, But I knew that I’d be coming back again. Inspiration, across the nation, There’s a poverty of expectation. All I got to do was move ahead. It’s a blue sky, It’s a while cloud, It’s a flame. It’s a blue sky, White cloud, Burning flame.
I shot back to the mirror, There was nothing left to see, But a phantom with his heartbeat deep inside. I could feel the dust of ages, They were blowing back at me, But I knew that I was born to get it right.
Everybody take the great leap forward, Everybody knows the mysteries at hand, If you’ve been praying all those sweet days for this, Don’t you know there is a whole different plan? Sometimes I hear the madman calling, He talks about some dark eternal place. I’ve been waiting all my lifetime for this moment, And now I’ve got to find some other ways.
One touch ignites this eagle, One kiss for heaven’s view, I need the flame so I can feel alive. You can tell my little brother, No requiem for me, I knew that I was born to make this flight.
Inspiration across the nation, There’s a poverty of expectation, All I got to do was move ahead.”
Is it about death and reincarnation? No, it can’t be that. “All I got to do is move ahead.” That’s not talk of death. “A poverty of expectation”…is that another term for apathy? Complacency? Or lack of drive…ambition?
I wish I felt I could ask him. Even if I felt like a dumb fuck for doing so. He gets my juices flowing and stimulates my brain. I love him for that!
I’m grappling to connect “embrace the suck” to Great Leap Forward, it has to be said.
P.S. It’s a crappy old Prip piece without even a “Priptona” mark – with a copyright image (that’s why there’s no Prip logo on it). Must make an updated version! (Embrace that I suck.)
He has changed the post several times now since he originally posted it last night. He likes to fuss over the posts most times, chopping and changing text as he goes, adding things, removing others.
Perhaps he was right about himself when he said to Ricky Ross at the end of that recent interview “I am not a writer” – you certainly like to edit enough! This tome of yours must be going through endless drafts! Lol. Sorry, Jim. But the amount you edit posts tickles me. You had all day to post your thing about Jimmy Iovine. Have you never heard of a “word processor”? Lol. Or “cut and paste”?
I’m not a writer, either. But I make sure what I am posting on my blog is – by and large – exactly what I want to say the first time. (I am compiling this post now in my “Notes” app on my iPad Mini, as an example.) The only editing that goes on is the spelling mistakes I missed during composition and proof-reading that I then see AFTER posting. I never usually change the make up of the post. Adding content and taking other content away. If I do add content, it is usually posted with an obvious “UPDATE” attached.
But I digress.
The point of this was the added wording I read on the post this morning – its 10th edit.
That term again! This thing about “realness”. Why does it sound like hypocrisy to me sometimes? And why the hell do I continue to care!? How do you measure “real”?
What does he look for? What’s the secret? Why do I try so hard to crack it? Why do I want “in” so much on the Kerr world?
He hates a quitter, but he seems to be equally turned off by the wrong kind of persistence. So…do I care too much? TELL ME WHICH ONE IT IS, JIM?! I know you don’t care…well maybe neither should I. Geez, I wish I could!
I had a really dark thought this morning as I awoke opened my eyes and you were the first thought there. You’re always the first thought, the last thought and always there through the night too. There seems little escape. And the only means of escape from it I could see this morning was…well, very black, and not something I am going to admit to thinking. But it seems the only option available to me at the moment. Well…not an option available to me. I’ll keep it cryptic.
Again, I digress.
I admit. Last night…my comments. I was hoping he’d bite. That he’d say something. Reply to me. Prove me wrong about my thoughts on Jimmy Iovine. Jimmy probably knows best. I mean, what the fuck do *I* know about writing a song. But…how many songs has Jimmy Iovine actually written himself? For all the work I see listed upon his CV, the one thing that appears missing on it is “songwriter”.
So, what is this “realness” Jim talks of that Jimmy supposedly possess? From what I can see he’s just a blagger, all bravado. By all means a great producer…just by the stats of the list of production under his belt. Ah, but does QUANTITY equal QUALITY? Just has the courage of his convictions and therefore that seems to make him right. How do you learn from anything if you go through life thinking you are always right? And how does that command respect? Am I missing something here?
I fell asleep last night…at some point…very, very late. It was a very warm night in Glasgow last night. I tossed and turned, restless. It wasn’t just the weather keeping me awake. It was also that question that keeps appearing. “Why won’t he talk to me?! Why have I lost this thing I felt I had? Why can’t I just stop fucking caring?! Just…respect myself and not give a toss about what this man thinks any more. Stop wanting to be his friend.”