My Pop Life #155 : 3rd Symphony (Eroica) – Beethoven

3rd Symphony (Eroica)   –   Beethoven

Live and direct.  Past midnight in England, I have officially entered my 60th year which means that tomorrow in New York I will be 59.  Jenny tells me Not To Think About It Like That.   After unwrapping perhaps the finest birthday present since the war a whole day early I am happy beyond measure.

A portable ION turntable, small cute and gorgeous is ceremonially placed on the corner table, plugged in and fired up.  First LP (we only have two) : Duke Ellington‘s 1929-1935 film soundtracks “Band Shorts” including on side two the marvellous A Bundle Of Blues with “our conception of that haunting melody Stormy Weather” (sung by Ivie Anderson) coupled with the stunning Symphony In Black (A Rhapsody of Negro Life) featuring a young Billie Holiday on her first recording session (see My Pop Life #34).   I sit on the sofa and just listen to the sound of vinyl playing Duke Ellington in my brownstone.  A perfect moment.  Jenny (for it is she!) smiles at me from the other end of our space.  Her gift.  Her love.  Lucky me.  The Luckiest.  Then as boiled eggs and toast are produced with salt, pepper, tea and orange juice,  on goes Second LP The Four Tops “Live” from 1966 – the very first time I have ever heard this record in any format.  A revelation.  Of course Levi Stubbs is one of the greatest singers of my own 59 years, but what a crooner is revealed as he tackles ‘Climb Every Mountain’ (!) and Girl From Ipanema (whilst stealing It’s Not Unusual from Tom Jones) alongside classics Reach Out, Same Old Song and Can’t Help Myself.  It’s like a direct link to the 1960s through our ears – they even cover You Can’t Hurry Love and If I Had A Hammer.  All backed by the Funk Brothers.  Delighted, Jenny reminds me that we have one more record to play –

a James Brown single on the King label I bought in Richmond last year (just because) entitled I Guess I’ll Have To Cry Cry Cry.  It’s also the first time I’ve heard this one, and it is semi orchestral and soulful a bit like Man’s World.

Scanning the New Yorker for an exhibition we can see before Jenny goes to work at 6pm I see that we have missed my man Jean Dubuffet.  Then the workmen start arriving to fix our apartment – light fittings, back door, yadda yadda.  It’s a beautiful day but we decide to stay in and watch Spain beat Turkey 3-0.  Then Jen goes to work and I grab my hoodie and cycle down to Fulton, walk up Vanderbilt past Grand Army Plaza to Prospect Park.   I’d sent a faintly hopeful email out earlier to the Brooklyn crew (Lynn, Harrison & Christopher, Segun and Lucy, Johanna, Sean, Shekhar) but it was more of a shout-out really.  Once in the park I sparked up a wee spliff and inhaled deeply, walking across the grass feeling echoes of medieval pilgrimage to a designated spot, I could have been in Germany in 1196, travelling with purpose across grassland with others to a venue which would reveal itself musically first with Beethoven’s Fidelio tickling my ears.  As I walk through the gentle crowd and find a spot of grass the New York Philharmonic start playing Mozart’s Clarinet Concerto.  This is one of four or five pieces of classical music that I know by heart almost.  Not the subject of this Pop Life, but could easily have been.  A sweeter piece of music would be hard to find. Very melodic, some might say pop in its sensibilities but all the way from 1791.  The soloist is impeccable but not as good as Glenn Miller (he tackled it in 1944) and simply too quiet.  The conductor hushes down the orchestra so that we can hear him.  He plays it really well, really well, but I want him to blow it harder !   Mate – we’re in a park !!

During the interval I find a wee path by the lake and in the gloaming light a quick spliff for two puffs then complement the taste with a Benson & Hedges – a few other dimly-lit shapes are puffing too.  No Smoking in the Park, and there are cops in abundance, but not here.  Back in the grassy meadow kids are playing with neon glowsticks and wine has been consumed.  A level of chatter I’m suddenly hyper-aware of in my newly-stoned state.  I find a spot and stand for a bit as a speech or two is delivered, mainly expressing solidarity with Orlando after this week’s mass shooting.  Gay Pride starts here on Sunday for a week.  It will be massive this year.  Meanwhile in England Jo Cox, young MP for Batley and Spen with a record of helping refugees and celebrating immigrants is murdered by a white supremacist outside her constituency surgery in broad daylight.  The shock is still reverberating through England, currently in the poisonous peak of the EU referendum which we are well out-of over here.  A platform legitimising fascist Farage and giving all the racists in Britain an entitlement to their foul imaginings has polluted the body of the nation, and bitterness and repulsion are all around.   But we are not going backwards now.  Let’s get the poison out, let’s beat it and move on.  And we will fight this fight in every generation for hate will not disappear.  But we will smother it, restrict its oxygen and put it back in the cupboard of shame and keep talking the talk and walking the walk after this utterly pointless ruling-class exercise in divide and rule.

I submitted and bought this box-set about 20 years ago

I lie down propped up by my cycle helmet.  The evil and division of the world disappears and is replaced by lines, shapes, phrases and numbers as Beethoven’s Third Symphony starts,   magnificent, swirling,  the main theme revealed almost immediately then repeated, swollen, then again with flutes, horns, cellos.  I don’t know this music intimately, but I know it.  It is incredible.  The way the themes are intimated, delivered, modulated, a change of key, of tempo, of bar length, of instrument, the underlying countermelody becomes the theme and back and forth and folding and rising and falling.  Delicate lyricism, fluid phrasing, ralles and crescendos, impassioned and evocative.  I am lying on my back on the grass with my eyes closed.  I am stoned.  I am very happy.

Beethoven in 1804, Napoleon Bonaparte

The 3rd Symphony was written as an heroic musical tribute to Napoleon, whom Beethoven admired greatly, and probably idealised.  As he was about to publish the work in 1804, Bonaparte declared himself (like Caesar centuries earlier) Emporer of all of Europe.  Just another tyrant, feet of clay, no hero.   Ludwig Van was so enraged that he scratched Bonaparte’s name off of the score with such fury that he tore the paper and re-titled it Eroica (the heroic symphony).

It was, at the time, the longest symphony ever written at around an hour, and early reviews were poor.  Never trust those early reviews ! Beethoven himself said about it that if it is an hour long, then people will find it short enough.  He has been proved right over the years and it stands as one of his, and music’s great achievements.

I scan my life in 45 seconds as the music soars and sweeps around me.  It’s all good. A quick flash of me aged 16 in Clockwork Orange garb with false eyelashes worshipping Ludwig Van almost as much as Malcolm McDowell.  Travel.  Work.  Pain.  Love.  It’s been a long swim to get to this park, this moment of surrender.  Sometimes you need to just stop struggling. Just before she left for work Jenny hugged and kissed me then looked into my eyes smiling  “we’re doing all right” she said, “we’ll be fine“.   So far so good.

My Pop Life #154 : Within You Without You – The Beatles

Within You Without You   –   The Beatles

try to realise it’s all within yourself no one else can make you change 

and to see you’re really only very small and life flows on within you and without you

*

when you see beyond yourself then you will find peace of mind is waiting there

and the time will come when you see we’re all one + life flows on within you and without you

‘laughter’

Track 1, side 2 of Sgt. Pepper’s Lonely Hearts Club Band.  A song written by George Harrison inspired by his love of Ravi Shankar‘s records and his newly-found spiritual awakening to Indian philosophy and religion.   After the pop glories of Lovely Rita and Getting Better and Lucy In The Sky With Diamonds have become over-familiar, Within You Without You retains its mystical glowing power after many repeated listens and starts to become the warm central heartbeat of the LP.  Often claimed to be the greatest LP of all time, (though more usually placed way down a list of great Beatles albums), Sgt Pepper was a cultural phenomenon that even I was aware of at the age of 9 on June 1st 1967 when it was released.   It was played on Radio Luxembourg all day, and John Peel played it on his eclectic late night show The Perfumed Garden on Radio London without interruption.  Artists as diverse as Stevie Wonder, Marvin Gaye, Brian Wilson and Frank Zappa all fell under its strange English spell, and despite years of claim and counter-claim –  ‘holy grail‘ versus ‘not very good really‘ criticism, it still towers over most of pop’s major records as a Legendary Thing, combining the first concept LP (despite the concept not holding up for more than three songs), the pop-art sleeve by Peter Blake, and the music itself, a rather eccentric combination of psychedelic rock, end-of-the-pier Edwardian recital, classical Indian music, and pure pop.  The first two songs recorded for the LP were Penny Lane (see My Pop Life #36) and Strawberry Fields Forever, but they were released as an extraordinary double-A sided single in April by a zealous EMI.  It’s a testament to the depth of the Beatles’ songwriting that this commercial decision didn’t sink the subsequent LP.

George was always third in the Beatles.  John, Paul…..and George.  And Ringo.  It was simple – he was youngest.  Ringo was last because he was last in, and because he was the drummer.  And our family has a similar shape.   Ralph, Paul…..and Andrew.  And Becky.   George traditionally got one song per album if he was lucky, but by the end of the 1960s his songwriting was so strong that Abbey Road had to include Here Comes The Sun AND Something, the finest song on the LP.

Roger McGuinn & David Crosby in the early days of The Byrds

It was The Byrds‘ guitarist and legendary stoner David Crosby who first showed George a sitar in California in 1965 at an LSD-drenched party in the hills, although Roger McGuinn later insisted that he had shown George the instrument.  I can’t imagine any of them actually remember the details, but George then played one on Norwegian Wood in October of that year.  The following April Harrison went full Indian on Love You To, which is on the LP Revolver.  The accompanying musicians were uncredited but came from the Asian Music Circle,  an organisation founded in Finchley in 1946 by Ayana Angadi and his wife Patrica Fell-Clarke, and where Harrison had been taking sitar lessons.

Ravi Shankar was guest of honour at the Finchley house in June 1966 when he first met George, who thereupon humbly asked him if he could become his pupil.  Ravi accepted.  They became firm friends and the most rewarding fruit of their work is Within You Without You, also recorded with uncredited members of the Asian Music Circle on the Indian instruments tamboura, swarmandel, dilruba and tabla.

Unknown musician, George Harrison & Ravi Shankar in 1967

With a string section arranged by producer George Martin and George Harrison, none of the other Beatles are on the track.  George plays the sitar, much improved from his first attempt.  The effect is mesmerising, musically adventurous and unembarrassingly spiritual.    He was determined to master the instrument, but after a conversation with Eric Clapton and Jimi Hendrix (!) Harrison realised that he had started his lessons fifteen years too late, and that he would never achieve true mastery.   He put the sitar down, and went back to electric guitar, playing some astonishing pieces after the Beatles’ split, including How Do You Sleep? on the Imagine LP, and some beautiful slide guitar on My Sweet Lord and Give Me Love (Give Me Peace On Earth) among others.

George Harrison & Ravi Shankar

When the Brighton Beach Boys decided to tackle Sgt. Pepper, we sat around and threw our names into the hat for lead vocals.  Within You Without You was my first choice.  Clearly the angelic and profoundly moving voice of Glen Richardson would sing most of the McCartney vocals – She’s Leaving Home, Fixing A Hole, When I’m 64 etc.  Tom and Stephen tussled over Paul’s opening screamer.  That left John,  George & Ringo among the remaining five singers.  I got Ringo’s A Little Help From My Friends and the John part of A Day In The Life and this amazing song.  Rehearsing it was odd, because we couldn’t really play it without the strings.  So I sang it at home on my own to the record and tried to hold my nerve.

Very rough Sgt Pepper live event in The Robin Hood pub, 2005.  From the top : Stephen Wrigley, me, Adrian Marshall, Tom Arnold

In May 2005 we had a very rough run-through of Pet Sounds v Sgt Pepper in the Robin Hood pub in Brighton one Sunday afternoon in front of a few customers and friends.  Landlord Neil Hayward had come up with the idea so it was his fault.  We’d already done Pet Sounds at Komedia on May 7th – the first time.  I simply cannot remember how we did WYWY, perhaps we didn’t, or perhaps we had an electric tamboura by then (plug-in, switch on, choose key = instant spangly drone and lots of “mine’s a chicken korma” jokes) and Charlotte played the string part solo.  Or perhaps not.

Soundcheck for Within You Without You in the church.  Steve is playing harmonium (on the vibraphone!)

But history (and Tom Arnold) does record that the first time we played this gig was at the Brighton Festival, May 21st 2006.  We had a tabla player just for this one song which we later considered to be a luxury, and since then Tom Arnold has played a variety of tabla and djembe and other percussion in the song.  Rory Cameron played the sitar part on a Danelectro sparkling blue guitar belonging to Stephen Wrigley.  Later he would learn the part on an actual sitar which of course is visually rather marvellous.  Rory has now left the band.  Glen found a swarmandel sound on his synthesiser – like a zither or metallic harp.   And Steve also scored the string quartet.  For this gig we added a string quartet and an extra flute and sax, and percussion, bringing the total to 16 players, and called the ensemble The Psychedelic Love Orchestra.  Stringers being expensive people who insist (with complete justification) on being paid for rehearsal, I think we may have had just the one rehearsal with them.  (We didn’t have any rehearsals with the stringers this year!)  We then rehearsed during the sound-check, always a nerve-wracking experience.  No pressure.  It kept breaking down in the call-and-answer section between the first violin and the sitar, and the timing was controversial too – was it in 2/5 ??  For my part I had simply listened to the track ENDLESSLY and knew every twitch and sigh, so when I heard my cue, in I droned with the opening line:

 “We were talking . . . about the space between us all…”

St George’s Church, Kemp Town with full Psychedelic Love Orchestra

That night the space between us all was a packed Georgian church – St George’s  in Kemp Town, Brighton.  We were set up on the altar thanks to a groovy priest who no longer runs the place – as a result the altar is now out of bounds, and we can’t fit into the space left.  So those six or seven church gigs were unique and special, in a beautiful wooden structure with wonderful acoustics and an intimate setting.  We lit  incense as the tamboura warmed up, Stephen played the harmonium I think, and it was there, singing live in front of people that I discovered the soul of the piece, how heartfelt and warm it was, how true.  How it was a miracle that somehow we got to the end without breaking down as we had in almost every single run-through.  How I made the pranam prayer Hindu shape with my hands and bowed into the applause, and how we then slid effortlessly (apparently) into the soft shoe shuffle of When I’m 64, such is the clever sequencing of the LP.   How proud I was that we had, collectively, scaled an Everest of a song in English pop culture, inspired by another tradition many miles away.  How I could never count the bars, but always had to rely on instinct, which is much scarier.  We’ve done the show ten times now, and it is always for me the scariest section of the show, and the part I look forward to the most.  A bit like a ghost train.

Practise makes fantactiss

When we moved to New York City in 2014, my great sacrifice was seeing the godchildren growing up – Delilah Rose, who is eight years old, and Skye who is almost two. Uncle Ralph flies back as often as he can to see these precious little people.  The other sacrifice was the band.  It was touch-and-go for a few years whether it would continue at all – not just my absence, but Rory moved to Bury St Edmunds, Charlotte had a baby boy Cosmo, and Tom joined the endless tour of Michael Jackson’s Thriller.   A chance visit in December 2015 found me in Brighton on the same night as a gig at The Brunswick with the rock’n’roll version of the Brighton Beach Boys complete with legend Chris Spedding on the guitar.  I played on that gig (from memory, almost forgetting a key chord in Good Vibrations) and then said that if they booked the Pet Sounds/Pepper gig, I would fly back for it from Brooklyn.

May 28th 2016, Pet Sounds v Sgt Pepper live

Thus it was that almost exactly three years to the day since we last tackled these two pop landmarks The Brighton Beach Boys were reunited at The Haunt, in Pool Valley Brighton on Saturday May 28th 2016.  No Spedding this time, but a lovely guitarist and singer called Jono Harrison.  The band had had two rehearsals, but the woodwinds and strings hadn’t been there.  The same four key players : Nicky and Brian on violins, Sarah on cello and Rob on viola joined us for the soundcheck on Saturday afternoon and we had a quick run-through of Within You Without You.  As usual it was rubbish, well, not rubbish, but covered in errors and hesitations and poor timings, mainly from me.  As usual when we performed it live it was fine.  Some enthusiastic audience members even insisted that it was great.

Pandit Ravi Shankar passed away on 11 December 2012.  George Harrison left us on 29 November 2001.  They remained great friends.

Now and again I tiptoe towards the wisdom embraced by the song – seeing both within myself to change the sadness, and seeing beyond myself to find – sometimes – that peace of mind is waiting there.  I hope I can grow old gracefully.  At the moment the tempest shows no signs of abating.  But life.   Life flows on within you, and without you.

 

My Pop Life #150 : Love Ain’t Just A Word – Rudimental

Love Ain’t Just A Word   –   Rudimental

And just like the air, you can’t see it there
But we know we need it

In the week that George Martin died it’s right to be talking about love.   As the expert hand that guided The Beatles to express their musical fantasies, memories and experiments over a nine-year period, he was in effect the fifth Beatle.  You only need to listen to Yesterday, Eleanor Rigby, Strawberry Fields Forever or Something to hear George’s graceful contributions.  And famously, Paul McCartney, when looking back at his own legacy as a Beatle, said :

“I’m really glad that most of our songs were about love, peace and understanding”

It has been suggested that Lennon’s “Nowhere Man” (1965) was the first Beatles song which wasn’t about love, but some of them were about dancing…and of course George Martin also produced many other great pieces, and was also a giant of the comedy song (see My Pop Life #35).

Since Jenny and I have chosen to live in New York City, any feelings of homesickness are entirely self-imposed.  But I have realised that there is a simple cure for the isolation of living in another continent with new friends.  Go home for a week.   When Charles Randolph-Wright (see My Pop Life #134) announced that Motown The Musical was opening in London on March 8th 2016 I promised that I would be there to support him.  That is for another blog.  But I built a week of love around that date – an Uncle returns, and catches up with all the next generation that he missed because he didn’t spend Christmas in England.  I saw my mum and my sister and her three before Christmas.  So this time it was the turn of the other side of the family.  And on the day I landed at Heathrow on Thursday March 3rd, Rudimental are playing at the O2.

RUDIMENTAL : Piers Aggers, Amir Amor, Leon Rolle, Kesi Dryden

Rudimental are three-quarters Hackney, and one-quarter Camden Town.  Piers Aggett, Kesi Dryden and Leon Rolle all grew up on the same street and went to the same school in Hackney.  Arsenal fans to a man.  Amir Amor came to the UK from Iran as a youngster and after winning a Princes Trust songwriting competition his musical proclivities led him to Tribal Tree, a community-based studio in Chalk Farm Road where he hooked up with Plan B for a beats LP Paint It Blacker : The Bootleg Album.  Next he convinces Nick Worthington to back a studio called Major Toms where Amor produces the likes of Sam Smith, MNEK, Charlie XCX and Angel Haze, and joins forces with Black Butter Records, which includes a band called Rudimental on their roster.  A track called Feel The Love is heard and signed by Asylum Records, produced by Amor and the two forces became Rudimental the band as we know them today.  Four men with a strong London identity who write, produce, run the label, and use guest vocalists and session singers for their records and live tour.  Their first LP Home was released in 2012 and they have gone on to conquer the world.

Rudimental’s 1st album ‘Home’

Feel The Love featured John Newman on lead vocals and gave Asylum their first number one hit single ever.  It was so successful that Newman was signed as a solo artist, as was Ella Eyre, another Rudimental album guest vocalist.  My nephew Thomas Jules, who has been around the grime scene for over a decade and the music scene for 20 years was asked to front the band’s live shows, a job he has been fulfilling for the last two plus years.  As a result I have seen Rudimental live a number of times, at Finsbury Park supporting a reformed Stone Roses, in New York City at Madison Square Garden on New Year’s Eve 2014, and now at the O2.

I got there early at Thomas’ suggestion.  Dear Scarlett, his partner, had a terrific throat and chest lurgy and didn’t accompany me.  I parked outside at 6pm.  The place was already buzzing, but guest list wouldn’t open until 6.30pm I was told.  they eventually opened, on a cold night, at 7pm.  And nothing happened.  Tom was in text contact and after a further 20 minutes of not a single person being sorted he came to get me, accompanied by his brother Jordan, now in dance college in Essex, for many years Jenny and my summer son, now 20 years old.  Tom walked us back to the Rudimental dressing room where Piers and Leon greeted us – I’d met them before.  I’m Uncle Ralph around these parts.   I met old friends and new from the team including trumpet player Mark Crown, drummer Beanie Bhebhe and saxophonist Taurean Antoine-Chagar, and Anne-Marie who until very recently sang back-up with Tom  in the band.  Now she’s on the bill as support and her and Tom have spent 18 months writing songs together for Anne Marie is signed to Black Butter, and an LP is imminent.   The tour manager is notable by his absence and only he can give me a pass, so in effect I am now trapped in the dressing room – I can’t even get into the auditorium to see Anne-Marie’s set.

Jordan, Unx, Tom, Dee, Piers

Tom opens his case – Rudimental are in Nottingham the following night, but driving straight down to Bournemouth after the O2 for a DJ slot in a club down there.  His big case is going to Notts, his small case to the south coast. The rigours of touring.  On the top of the large case is a Tottenham Hotspur shirt.  “I’ll wear this tonight”  Tom announces to the assembly, attracting jeers and threats, bantz and actual instruction from Leon that No, he will not.   It’s the North London derby on Saturday lunchtime, Spurs are 2nd, Arsenal 3rd, behind Leicester City (!)  Then Dee, Jenny’s older sister and Tom’s Mum gets in.  She looks great and we poses for pictures.  Tom is still trying to get me a pass.  Other friends & family are coming and going all the time – I am introduced to Leon’s mum, technicians and DJ Max.  Brother Jamie is outside getting tickets – and now he’s got them.  But not mine.   I’m Uncle Ralph and I’m already in after all…  At this point the tour manager arrives and I’m finally given a triple A pass to come and go as I please, although now I’m just going to go out to find Jamie and the rest, and come back and see the show.  After the show Tom and gang are riding straight to Bournemouth so there’s no after-gig activity.

Jordan, Kimberley, Louisa

Jordan, Dee and I walk out to Chiquitos and find Jamie and Claudette (his long-term partner), Jenny’s sister Mandy and Dipam and our niece Kimberley with her friend Louisa.  The others – Dominique and David and Courtnie are still en route and since Rudimental are due onstage in 15 minutes we abandon the concept of a full gang and go in .

Jamie and I

The O2 is a pretty giant venue.  The last time I was here was to see Stevie Wonder in 2008, we were in the 15th row and I was very very sick with a virus I’d caught in China.  I could scarcely stand up.  It was an amazing night.  Tonight the seats are only around the sides and up – the entire floor area is standing room only.  That means there are at least 16,000 people in here.  The stage is a football pitch away.   We decide to stay at the back rather than elbow through the sweaty mob.  Triple-A passes only get you so far – I could be onstage but I need to be with my family.  So Dee, Jamie, Claudette, Jordan, Kimberley, Louisa, Mandy, Dipam and I stood and watched Thomas, our uncle, son, brother, nephew, our FAM,  sing his heart out for the lads.

Tom, Anne-Marie, Bridgette

He swapped lead vocals with Will Heard and Bridgette Amofah, and they saved Feel The Love for the end, a song Tom has sung live now hundreds of times, a massive crowdpleaser where the call-and-response vocal gets the whole O2 singing along.   The visuals were still excellent even at the back.  The atmosphere was great.  The band are hot, honed from months and years on the road together.   Highlights were largely the first LP songs – Waiting All Night in particular, Spoons, Right Here, but some of the new songs from the new Rudimental LP We The Generation really stand out, in particular the Ed Sheeran collaboration Bloodstream and the songs Rumour MillLove Ain’t Just A Word, when Anne Marie comes onstage to join first Will, then Tom on vocals.

Love Ain’t Just A Word was written by Anne Marie and Tom for her new album, but the band liked it so much they put it on their new LP, and took a share of the publishing too.   I guess it’s ‘Drum & Bass’.   It’s a big step for Tom, and his publishing deal is up for grabs shortly, so it improves his negotiating position, especially if it’s a single.   The song is an admission of vulnerability and an acknowledgement of the power of love to heal, and it features a rap break by grime lord Dizzee Rascal.  The song’s visual component is backed with neon signs on the massive screens behind the band.  The pride that runs through our little gang of fam at the back is palpable.  Everyone is holding up the phone to take a picture of the stage.  And of each other.  Sixteen thousand people bopping to a song that Tom wrote.  Another song about love.  We can’t have too many of those can we ?

Chantelle, David, Unx, Dee, Dom, Courtnie, Dawn, Mandy, Dipam, Louisa, Kim

After the show we decamp back to Chiquitos and sit outside beneath the glowing heaters and umbrellas and the clan gathers.  Dominique and David hadn’t arrived with sister Courtnie until 40 minutes from the end of the show, and they’d sat upstairs.   Mollie’s kids.  Mollie’s friend Dawn was there with her daughter Chantelle and her son Corey in a serious disability chair.  Corey had a car accident about a month after Jenny and I flipped our Jeep outside Arundel but he wasn’t so lucky and had spinal and head injuries which have left him dependent on other people and his chair.  Tom had taken them round the O2 before the show, he was exhausted and was taken home before we’d all fully gathered, so he’s not in the picture.  All of Tom’s people were though – mum Dee, younger brothers Jamie (with Claudette) and Jordan.

some people bombing our picture

There’s a couple of pictures of the gang, swelled with pride at family achievement.  Lucy and Jenny are missing, Mollie and Pete too, but three of their kids are there : Dom, Kim and Courtnie.  Courtnie is next to me – second youngest, now at University studying criminology.  Next to her is Dom with David – they have two beautiful kids Tia and Kian who are bright as buttons and hugely entertaining.  Will they join the BIZ too ??  Stunning sister Kimberley is central in the pic above, but she is front right in the top pic – my god-daughter and an architecture graduate looking for a position.  A few days later I took her to the opening night of Motown The Musical in the West End – for another blog.   Youngest brother Robert (See My Pop Life #122) was working.  So was Jenny’s brother Jon.   Mandy – opposite me at the table – is Jenny’s sister, aka Natasha, Bad, Reggie or Ginelle.  She is my sister, and graduated in Law and now works in Compliance in the City of London.     Not everyone could manage the gig but it was a pretty good turnout.  Just happened to co-incide with my week in England.  Lucky me.  I miss all of these people and hadn’t seen some of them for well over two years.  And you know how kids shoot up.  I remember when they were born – suddenly they’re adults!!  They embody all our dreams.  And I love them all.  It’s unconditional love and it is reciprocated.  The best feeling in the world.

2nd LP ‘We The Generation’

live DJ set in Dubai (ie not live) :