Cornbury festival 2010
Posted on | July 5, 2010 | 1 Comment
Cornbury Park lies deep within the gently beautiful bucolic landscape of west Oxfordshire. On the first weekend in July each year it opens its doors and throws a rather splendid, laid-back, family-friendly music festival: Cornbury. We went for just the Sunday.
The Blockheads
We’d seen The Blockheads live before but I couldn’t wait to see them again! We stood right at the front, my little eight-year-old step-son Cal leaning up against the crash barriers to see this extraordinarily funky and playful band make foot-stomping sing-a-long music. My brother Paul, who came to Cornbury this year with us, and like me was a big Ian Dury and Blockheads fan in their heyday had never seen them before and he was deeply impressed.
‘Oi oi!’ shouted vocalist Derek the Draw, to which everyone reponded ‘Oi oi!’ The crowd lapped up song after song (all penned by the late great Ian Dury), starting with Sex and Drugs and Rock and Roll, working their way through Sweet Gene Vincent, Reasons to be Cheerful, Clever Trevor, Wake Up and Make Love, and finishing with Hit Me with your Rhythm Stick. The band worked their funky, jazzy, reggaey and rocky socks off, bouncing around, sweating profusely, smiling and having a wonderful time. ‘Very good indeed’ is to put it mildly.
My step-son Cal said he loved them but wished he’d known the words. We all agreed that it was a probably a very good thing he couldn’t understand them, what with them often being very rude.
Reef
I was mildly curious about the next band, Reef, whose name I had heard but I couldn’t think of a single song I knew by them. They played pretty good balls-out melodic rock with lots of very catchy riffs, including Place your hands which was a big hit for them and I recognised when I heard it.
But to me, the lead singer’s voice got a bit wearing after a while, and half way through their set I was willing him to shut up so I could hear the musicians better. Most of their songs had the same rhythm and quality, which is great if you like that, but I crave more variety than that in a band, and Reef never sprung anything unsuspected on me. However, I still ‘put my hands on’ when instructed to do so.
Newton Faulkner
Distinctive be-dreadlocked singer-songwriter Newton Faulkner was next to take to the stage.
We weren’t especially interested in Newton, so we sat half way up the field where we could still hear and see. For the standard one-man-and-his-guitar format, he sounded pretty good, but he didn’t blow me away. It takes someone of genius and originality to adopt that format and do that, someone like Neil Young, Roy Harper, Nick Harper, Bob Dylan… I did enjoy Newton’s cover of Queen’s Bohemian Rhapsody though, a real crowd-pleaser to end on and certainly got me, and everyone else, singing along.
The Feeling
The Feeling is a band that rocks my world. Again and again. I just LOVE their harmonies, their energy, their variety, their carefully crafted, ingenious tunes and that huge, huge joyful sound.
We saw them play a couple of years ago from high up in the gods at Hammersmith Apollo but this time I was determined to get close up.
The crowd demographic was very different to The Blockheads. This time we were surrounded by young girls screaming for poptastic, heart-throb frontman Dan Gillespie Sells to take his clothes off despite the fact that Dan himself prefers blokes. (I don’t blame him – so do I.) 
He sings, straps a guitar on and struts around the stage like a proper pop star should, putting on a fabulous show for his adoring fans.
My brother Paul and nephew George stood with us; they had never knowingly heard anything by The Feeling, but they were soon singing along, grinning wildly, jumping up and down and joining in.
They were delighted to discover that they knew so many of The Feeling’s songs including Join with Us, Sewn, Fill my Little World, Never be Lonely. My step-son Cal managed to jostle his way right to the front again – I don’t think he’d ever seen anything like it before, or felt what it was to be in the midst of such a massive, loud and up-for-it crowd.
The Feeling’s songs draw on their love of 1970s and 80s power pop. Despite their impressive array of self-crafted tunes, they played four covers, including Ah-ha’s Take On Me, Buggles’ Video Killed the Radio Star and Glen Campbell’s Wichita Lineman.
Squeeze’s Glenn Tillbrook, clearly a big fan of The Feeling (we could see him in the wings, singing along), came on to do the guitar solo in Wichita Lineman and played Up the Junction with them.
Seth Lakeman
Multi-talented folk singer-songwriter Seth Lakeman drew a huge crowd to one of the smaller stages, and it was impossible for us to get very close.
Nevertheless we could see and hear Seth and his band rocking it up on stage, hammering out narrative-lyricked folk songs on guitars and electric fiddle. With his boy-next-door good looks, expressive vocals and rock ‘n’ roll energy it seems to me he has brought folk music into the 21st century. He sounded wonderful.
Jackson Browne
Top of the bill was legendary American singer-songwriter (and peace activist and environmental campaigner) Jackson Browne and his band.
As the sun set he took to the stage with his band and produced a beautiful slick, professional, smooth and mellow sound which sounded everso slightly dull to my ears. Don’t get me wrong, I like Jackson Browne, but it was almost too slick. My nephew Alex noted that the guitarist looked rather bored. Perhaps he was. Jackson, though, ever the professional, sang sweetly working his way through selected tunes from his enormous back-catalogue.
To avoid the nightmare of getting out of the car park, we left before JB had finished. And as we walked back to the car, his wonderful song Doctor, my eyes drifted through the night air beneath the mature trees of the park. The perfect end to another wonderful Cornbury.
Photos: Moth Clark
We and Jimmy Page spellbound by Roy Harper
Posted on | June 6, 2010 | 1 Comment
It’s three years ago since I first saw Roy Harper, the singer-songwriter folk rock guitarist. Everything I said about him in the blog I wrote after that gig still stands. The man’s a genius. As well as being very, very funny.
I knew I wouldn’t be able to stand up for the whole gig at the Camden’s Jazz Café, due to my current stubborn back problem, so I upgraded our tickets so we had seats in the restaurant. Moth and I found ourselves sitting at the table next to Jimmy Page, Led Zeppelin’s guitarist, who is both an old friend and big fan of Roy.
Above: Jimmy Page watches his friend Roy Harper play
Roy sang and played his way through a set lasting just over an hour and half, but felt like five minutes, highlights of which included Hangman (surely the best anti-capital punishment treatise ever written), Commune (which had me blubbing only a short way through the first verse), Green man, Me and my woman, finally finishing up with the haunting When an old cricketer leaves the crease. I was spellbound, and as expected, moved to tears.
I love everything about this man: the chiming purity of his guitar sound, the magical chord sequences, the intensity of his voice, his uncompromising values (all of which I share) poetically expressed in his lyrics, his intelligence, integrity, honesty and humour.
If you haven’t heard any Roy Harper before, I recommend you try his albums Stormcock, Folkjokeopus or Bullinamingvase. There’s a massive 40-year back catalogue to choose from!
Photos: Moth Clark
Short blog due to difficulties using a computer
Jeff Beck and Eric Clapton: Together and Apart
Posted on | February 16, 2010 | No Comments
Last night Moth, Rupert and I trekked down to east London to the O2 arena (the former milliennium dome) to see Jeff Beck and Eric Clapton on stage ‘Together and Apart’. Despite defying the rules of both alphabetical order and talent, Clapton was top of the bill on the hoardings and on the souvenir T shirts. It was clear even before anyone had played a note that the big draw was Eric ‘Slowhand’ Clapton, rather than the exquisitely talented Jeffrey Arnold. Rupe is a young guitarist, so this was an essential part of his education. Compare and contrast, my son.
Jeff was on first, with his new band. He immediately treated the vast audience to a virtuoso display, ranging from the heavenly delicate sweetness of ‘Corpus Christi carol’ to the funky pumping riffs of ‘Led Boots’, a particular favourite of mine.
Jeff’s new bass player Rhonda Smith was funky, ballsy and sexy, thumping away at bouncing rhythms and driving along the music, partnered by perpetually smiling music legend Narada Michael Walden on drums. They were joined on stage by small orchestra of perhaps 15 musicians whose accompaniment lifted Jeff’s music to still greater feats of originality, imagination, colour and tone.
I’ve seen Jeff play a few times now (Moth’s seen him a lot) so it was quite interesting to see what he would play next, who might join him on stage. The first of Jeff’s guests was Sharon Corr of The Corrs, who I’m told, were quite a successful Irish folk pop band.
The contrasting sound of Sharon’s violin and Jeff’s guitar was delightful and they really set each other off. Next to join Jeff was soul and R&B vocalist Joss Stone.
She’s sung with Jeff before and judging by the big smiles they obviously love to perform together. She looked wonderful in a purple sparkly dress and I was mesmerised by her hair. No straighteners, back combing or hair dye in sight: other young women could learn a thing or two from her about natural beauty! Her singing style is not one I particularly like; too much screechy warbling and always a danger of going into that unlistenable R&B wobbly sing-around-the-note’ nonsense. Just sing the bloody note and then sing the next one, please. But I digress. Joss sang two songs. The second, ‘I put a spell on you’, she carried off exquisitely and I found myself pleasantly surprised and applauding warmly. Moth and Rupe both unreservedly loved it.
Jeff’s varied, colourful and original 45 minute set was finished in a flash. From memory, we think it comprised: ‘Eternity’s Breath’, ‘Stratus’, ‘Corpus Christi Carol’ (including the orchestra), ‘Led Boots’, from his new album the wonderful ‘Hammerhead’ (with orchestra), the one with Sharon Corr on violin (with orchestra) a little bit of ‘People Get Ready’, one with Joss, possibly ‘There’s no Other Me’, ‘I Put a Spell on You’ with Joss, ‘Big Block’ and finally ‘A Day in the Life ‘ with the orchestra, which was amazing! After a short break, it was the turn of Eric and his band.
Eric
Eric Clapton has been viewed by critics and fans alike as one of the most important and influential guitarists of all time – and I’ve often wondered why. I desperately hoped he would come on stage show me his God-like guitar greatness, just as Jeff had just done.
To thundering applause he began with a few acoustic songs, including a slow version of the balls-out rocker ‘Layla’ which he turned into a weak cabaret tune which lacked that great riff entirely. Another couple of slow blues solos, plodding and dull, left me wondering how come this massive audience could be so deluded?
This was pub performer, not a guitar god. Rupe couldn’t believe his ears. “Isn’t this from Toy Story?” he asked me. I thought it sounded no better than a Chas ‘n’ Dave pub sing-a-long, except at least Chas ‘n’ Dave make you smile. I felt embarrassed and a little annoyed at having spent so much on tickets.
But at last he gave me something to enjoy: Bob Marley’s ‘I shot the Sherriff’ and J J Cale’s ‘Cocaine’, which always sound good. This was pub performer, not a guitar god. Rupe couldn’t believe his ears. “Isn’t this from Toy Story?” he asked me. I thought it sounded no better than a Chas ‘n’ Dave pub sing-a-long, except at least Chas ‘n’ Dave make you smile. I felt embarrassed and a little annoyed at having spent so much on tickets.
But at last he gave me something to enjoy: Bob Marley’s ‘I shot the Sherriff’ and J J Cale’s ‘Cocaine’, which always sound good.
The best thing by far about Clapton’s band were his wonderful backing singers: Michelle John and Sharon White.
Jeff and Eric
Then the two of the them – Jeff and Eric – took to the stage together.
They played some classic blues standards which were good, but not great: ‘You Need Love’ and possibly ‘Outside Woman Blues’, followed by the wonderfully cheesy standard ‘Moon River’. Jeff turned the melody into something tender and moving, but then to my horror, Eric wrecked the moment by singing. ‘Little Brown Bird’ and ‘Wee wee Baby’ followed. The Sly and the Family Stone (where was Joss?! ) song ‘I Wanna Take You Higher’ wrapped up their joint set. The encore was Jeff’s embarrassing sing-a-long hit anthem ‘Hi-ho Silver Lining’ which he actually sang. Jeff did it with an air of ‘well, I’ll do it, but you’re not going to like it!’ But we loved it anyway.
Will the real guitar gods please stand up
In the same way that some people might consider a game of golf to be a good walk ruined, I was left with the overwhelming feeling that this was a good Jeff Beck gig ruined; in this case by the massively over-rated Clapton. Perhaps I’m missing something? Clapton’s zillions of fans will think so. I was willing Clapton to show me his worth. But it was clear to me as Jeff and Eric played together that Eric lacks the tenderness, originality, depth and nightingale-like fluency of Jeff. Yes, Eric can play perfectly nice blues guitar, but not nearly so well as the old guys who died in poverty whose genre he adopted.
As there is no such thing as god, Clapton clearly cannot be god. Clapton is a good blues guitarist with a pleasant and clean guitar sound. And yes, I’d want him in my band. But solo performer? No thanks. All he has is a big name thanks to some 1967 graffiti. Let’s get over The Clapton Delusion and stick to what our ears really tell us. For any Clapton fans out there who are deeply offended by this blasphemy, may I be so bold as to suggest you immediately try Jeff Beck’s album ‘There and back’, give John Lee Hooker a whirl, listen again to that old Allman Brother’s album ‘Eat a Peach’ and then treat yourself to some tickets to see Nick Harper on his forthcoming tour.
Here’s what the Daily Express reviewer thought.
Photos: Moth Clark
Introducing Hummingbird
Posted on | February 3, 2010 | No Comments
I’ve been repeatedly listening to the only three albums recorded by early 70s band Hummingbird, who I just can’t get enough of. You have to love a band with a bird name. Formed by guitarist and vocalist Bobby Tench in 1973 (you have to love a man with a fish name), they play funky rock with a large dollop of soul thrown in. Their songs have fabulous melodies, rubbery bouncing rhythms and grooves like crevasses. I even like their ballads, for goodness sake, something I usually loathe.
Of their three albums Diamond Nights is the one I need to hear daily. It features my two favourite songs Got My Led Boots On and Anaconda. I wish I could point you to a clip on You Tube or elsewhere, but I can find nothing to show you. Hummingbird were apparently big in Japan, and must still be, because Diamond Nights was re-issued there in 2007.
Thinking about Hummi
ngbird, there are two things that really gall me. One: that Susan Boyle’s tedious unadventurous caterwauling is so popular while practically no one has ever heard of Bobby Tench’s Hummingbird. Two: that Hummingbird are sadly no more, and I will therefore never see them play live. Waaa! Life’s so unfair!
Average White Band
Posted on | September 11, 2009 | Comments Off
Last night we went to the recently renovated Assembly Rooms in Leamington Spa to see Scottish funksters the Average White Band.
They were funktastic!
If you’re wondering ‘who?’ then check out this on You Tube, their biggest hit; I challenge you not to nod your head in time to the music and in approval. It’s a song you’ll know, trust me!
For me, Onnie McIntyre’s bright, insistent and jangling rhythm guitar give AWB its unique sound. And combined with bouncing, energetic bass riffs, crisp and groovy drums, I find it irresistible.
Some people might find the catchy tunes on the sax more distinctive, but for me it’s that funky, ‘high key’ guitar.
The sound quality in this venue was superb, really clear and bright, and did justice to AWB’s joyful, upbeat songs. We stood at the front and shook our average white arses until our legs ached (that could just be our age, of course).
I felt slightly cheated that they didn’t play two of my favourites, ‘Queen of my Soul’ and ‘Let’s go Round Again’ but hey, they funked me to the core, so who am I to complain?
Photos: Moth Clark
Cornbury festival 2009
Posted on | July 13, 2009 | Comments Off
This year, because it didn’t clash with the British Grand Prix, we thought we’d try the Cornbury Festival .
I was keen to try it because it is only 7 miles away, but when the line up was announced I wasn’t really inspired by it and didn’t want to go for both days in case of bad weather. So we chose the Sunday-only ticket because I noticed Joe Jackson was billed that day, who I was a big fan of in the early 80s. Sadly, I noticed last week that he’d pulled out of Cornbury. But Moth and I went anyway.
We arrived mid-afternoon, in time to hear a bit of Imelda May on the main stage (she went down very well) and watch Jali Fily Cissokho and his Coute Diomboulou band on the second stage.
I have no idea where this band is from, Senegal or Mali I guessed, but their rhythmic laid-back west African vibes sounded great and the audience received them very warmly. And Cissokho looked marvellous with his stringed gourd tied to his waist.
Cornbury is thankfully so small and friendly, it was easy to get right to the front to see the Lightning Seeds on the main stage. Lead by Liverpudlian songwriter Ian Broudie, they released a string of really catchy power pop songs in the 90s, including ‘Pure’, ‘Lucky You’, ‘Sense’, ‘Life of Riley’ and ‘Three Lions’.
Yesterday, despite Broudie’s really riffy, upbeat tunes, to me they came over as ordinary; nearly really good, but not quite. I’m certain others will disagree; the audience around me loved them, but I felt they lacked that final kick-ass sparkle which I was hoping for.
At the end of the set, they left the stage without having played ‘Three Lions’ and immediately the roadies started to break down the kit. The chirpy compere was roundly booed. Broudie was allowed to return to the stage with an acoustic guitar and sang Three Lions. The boos ceased and the crowd joined him for a sing-song.
As is traditional for me and Moth at festivals, we sought out the Indian vegetarian food stall and tucked into a bargain plateful of curry. The food stalls were plentiful and the queues short. Other stalls sold the usual array of hippy clothing, faery wings, inflatable flowers, shawls, bongs, hats, djembes, wellies, wind-chimes, jewellery and bubble machines. A fun fair did brisk business at the top of the field and happily there were masses of toilets. The whole thing was very well organised, with a chilled atmosphere and with enough space to move about in.
You could bring your baby or your granddad here and everyone would have a fab time.
Next on the main stage were The Pretenders. I first saw them in about 1980 in Birmingham. Led unusually for a rock band by a woman, American-born Chrissie Hynde writes and performs the songs and guides the creative direction of what is essentially her band.
Thirty years since forming the band, she still puts on a great show, strapping a guitar on, shaking a tambourine, belting out all the hit songs you’d expect: ‘Stop your sobbing’, ‘Kid’, ‘Message of Love’, ‘Brass in Pocket’, ‘Talk of the Town’ and ‘Back on the Chain Gang’. They performed well (the drummer was fantastic) and the crowd loved them, but I found them rather dull. One or two of the songs were really very poor; ‘I’ll Stand by You’, which was a hit, was a notable pile of what Moth calls ‘kaka-baba-shite’. But we were clearly in the minority: I was horrified to see the couple standing next to us embrace as the song began and sway lovingly in time to the dirge. They weren’t the only ones either. I couldn’t look. We left as they played the last song.
Making our way up the field away from the dying set of The Pretenders, we called in to see what was going on at the second stage. I wanted to see the Peatbog Faeries, whose name appealed to me. You have to admire a band with a name like that. And we did.
Wikipedia describes them as “a Celtic fusion band” with “many styles and influences, including rock, jazz, electronica, and folk. The band’s unique sound is created through a mix of programmed effects and traditional celtic arrangements, played on bagpipes, fiddles, and whistles.” I’d agree with all that. But I’d add something about their hypnotic groove – it was impossible to stand still. My head nodded, my feet shuffled, my hips wiggled and at times I even found myself wanting to handclap. They were great: exciting, original, melodic, rhythmic and as thrilling as the Pretenders were dull.
Top of the bill were the Sugababes, but we didn’t stay to see them. Girl bands are not our thang and we weren’t even slightly curious. So although none of the bands on the main stage really got me going, the festival had a great vibe. Yes, I’ll go again and hope that one of the bands has me struggling to find the right words of commendation.
Photos: Moth Clark and me
Jeff Beck, guitar god
Posted on | June 26, 2009 | Comments Off
Regular readers of this blog know how much I love music made by men with guitars. I’ve mentioned my admiration for Nick and Roy Harper, Nick Drake, Niels van der Steenhoven, The Allman Brothers, John Martyn, Carlos Santana, Neil Young, Steve Earle and more. But I’ve never mentioned Jeff Beck before, because the last time I saw him live was before I had this blog. But now I can talk about him because last night we went to see him play to an adoring audience at Birmingham’s Symphony Hall.
In simple terms, one might describe Jeff Beck’s music as a combination of blues, hard rock and jazz fusion. But that over-simplifies it and attempts to categorise something that is as unpigeonholeable, as universal and as beautiful as the music of Nick Drake, but with the power and passion of J S Bach’s organ music.
I love instrumental music; I find vocals often ruin perfectly great music. The music should be good enough stand alone. Happily Jeff doesn’t wreck his music with anything as trivial as vocals. He doesn’t need to. What he gets out of his guitar has more meaning than any verbal language. The sheer variety of sounds he teases out of his vanilla ice cream-coloured Fender Stratocaster is jaw-dropping and takes you through the entire spectrum of emotions. Without over-using effects or pedals he effortlessly breathes out music through his unique touch alone. The results make the hairs stand up on the back of your neck!
Bass player Tal Wilkenfeld and Jeff play a bass duet
And so sitting just three metres away from him up there on stage last night, listening to the sweet, heart-wrenching melodies and powerful riffs was a rare treat indeed. You know that feeling when you stand in a great cathedral and an organist is hammering out, say Bach’s Toccata and Fugue or some other massive Baroque classic, and the sound seems to actually fill your body? Well, it was like that. It doesn’t merely touch you, it inhabits you.
Beck was there right at the beginning of British blues, working with Clapton, Mayall, Page, and many other famous and influential musicians throughout his truly astonishing career. Clapton doesn’t even come close to being god. Beck makes Clapton seem muddy, laboured, tuneless, amateurish and ham-fisted. Beck is THE guitar god.
Photos: Moth Clark, taken the previous night in Brighton
God bless Lynyrd Skynyrd
Posted on | May 30, 2009 | Comments Off
On Thursday night we went to see Southern rock band Lynyrd Skynyrd (pronounced ‘lÄ•h-’nérd ’skin-’nérd)
perform at Birmingham’s NIA. 
Their heyday was the mid 1970s, during which they produced two of their best-loved songs, Sweet Home Alabama and Freebird.
I confess I find all that long, flowing hair, cowboy boots and twangy, jangly insistent and riffy guitar absolutely irresistible. If you’re thinking ‘hang on what about all those confederate flags and references to God and firearms’, I’m pretty confident this is all tongue-in-cheek; though I suspect they are (or were) Christians.
Many members of Skynyrd were wiped out in a plane crash in 1977, but the band rose again, – some might say like Jesus – with a new line up, which now includes the late lead singer’s brother Johnny Van Zant as lead singer.
The star of the show for me was one of the three guitarists – Rickey Medlocke – whose stage presence outshone the rest of the band by miles.
The crowd of maybe 3,000 people wore hard rock band souvenir T shirts, Harley Davidson emblems, waved confederate flags, and enthused wildly!
OK, we may have heard Freebird and Sweet Home Alabama a million times before, but who can honestly say they don’t smile when they hear those songs again?
Photos: Moth Clark
Noble prize winning utter bollocks
Posted on | May 16, 2009 | Comments Off
Last night Moth and I went to see Geordie improvisational stand-up comedian Ross Noble perform at Oxford’s New Theatre. 
We saw him perform at last year’s Latitude festival and suffered the same happy face-ache then as we did last night. When I say ‘perform’ what I really mean is wander around the stage for two and half hours talking about whatever utter bollocks comes to mind. His performance is unrehearsed, unplanned and largely inspired by comments and heckles from the audience.
Ross was voted one of the top ten greatest stand-ups of all time by Channel 4 viewers: I’m surprised he’s not one of the top three. His skill lies in his surreal imagination and memory; He regularly whizzes off at tangents but he wittily weaves random threads together, returning to subjects he touched on earlier, building on them, putting them together and then enhancing his ideas with mime.
So no two shows are ever the same; last night, for one night only we got stuff about Jade Goody, facts about pigs, politicians fiddling their expenses, his baby daughter, thoughts about Oxford, Inspector Morse, strokes (of various kinds) and a rant about the evils perpetrated by the Pope, which of course I warmly applauded, and much, much more.
If you don’t know Ross Noble’s work, then give yourself a laugh during these troubled times – check him out here.
The Temptations send me to Cloud Nine
Posted on | November 9, 2008 | Comments Off
There are few vocal groups that can truly be called legendary. The Temptations is one such group. Last night at the Oxford New Theatre I had the privilege of witnessing their genius from the front row.
Formed in 1960 they have had frequent changes of personnel over the years, but Otis Williams (pictured above left) is the last remaining original member. Now aged 68 and after 48 years of being a Temptation, he showed no sign of stopping. Indeed, the sheer physical energy demonstrated by each band member was exhausting to watch.
Rooted in rhythm and blues, soul, be bop and gospel, their distinctive sound is formed from Motown fused with rock and funk to produce psychedelic pop. On stage their close harmonies and vocal arrangements are performed with a relaxed ease that comes only from years of working together.
Dressed in blue satin jackets, grey trousers and shiny black shoes, the Temptations danced, swung and whirled in unison, putting on a thrilling one and half hour performance. At no point did they stop moving. Songs poured out freely and sweetly like melted chocolate and ran straight into each other, hit after hit just kept coming: Cloud nine; Run away child, running wild; I can’t get next to you; Ball of confusion; Just my imagination (running away with me); Papa was a rollin’ stone; My girl; Since I lost my baby; and Get ready.
Absolutely wonderful, heart-warming, life-affirming stuff!
Photos: Moth Clark
shopping basket
