In the words of Willie Nelson: “The life I love is making music with my friends”.
Thankfully, this is how I have spent the last three days. Since the England football team flatly refuses to offer up the slightest shred of inspiration, we have had to do it ourselves and although I am bound to add a certain bias, the band sounds great.
Fabio Capello could learn a lot from the balance of our team. It has strength in depth, a perfect mix of youth and experience and an unconquerable spirit.
This is how we line up:
Joey Love – The goalkeeper of the band, a safe pair of hands, the rock upon which we build our squad.
Gary ‘The G-man’ Page - The towering, hard-tackling centre-half who can deal with whatever you throw at him; tubular bells, washboard, mellotron, a box full of broken dominoes suspended on elastic bands. A bit like John Terry but not a total bastard.
Jokeman Tennessee Slim – The marauding full back, takes care of his defensive duties but isn’t afraid to show some flair and audacious footwork as he sweeps into the attacking third of the bass guitar fretboard.
Piss Whiskey – A naturally attacking player, there were some raised eyebrows when he was asked to play out of position as the holding midfield keyboard player but has been a revelation in pre-season with his perfectly timed interceptions.
Hannah ‘The Flame’ Peel – The creative midfield playmaker, blessed with the effortless grace, poise and elegance of Zinedine Zidane. Never a bad pass, she reads the game fluently in any position on the musical field of play.
Velvet Hands Arnold – Our Steven Gerrard figure has excelled after being given a ‘free role’ in the team. Previous band formations had constrained his attacking potential by playing him out on the musical left wing. A proven match-winner.
Like Brazil in 1970, Holland in ’74 or Creedence in ’69, to play with a team of this quality, in the form of their lives, is a blessing for any aspiring singer/goalscorer and I pledge to give everything I can to bring about a historic victory.
Match Schedule:
Leeds Brudenell Social – July 4th
Newcastle Cluny – July 5th
London KOKO – July 8th
Latitude Festival – july 17th
Monday, June 21, 2010
Monday, February 22, 2010
I have moved
Dear all,
I have moved my musing to a new, spruced up website:
http://www.davidfordmusic.com/blog
See you over there...
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I have moved my musing to a new, spruced up website:
http://www.davidfordmusic.com/blog
See you over there...
Sunday, January 31, 2010
I shall be released
It’s not like it was in the old days.
And by “the old days”, of course I mean about 18 months ago.
A lot of people have asked me as to the release date of my new record and bless them for showing an interest. My answer has always been vague: “soon”, “when the time is right” and “2010” are my most common responses.
You see the whole concept of a release date - or a release for that matter, is something akin to an echo from a bygone age. What does it even mean? Have I been keeping my new album captive in an abstract prison of song until the moment is deemed perfect to issue it forth into the world like a startled dove from a magician’s trouser?
The idea of the specific release is to set a promotional timetable: it always used to be at least eight weeks to allow your press, radio and possibly TV people to get the album into all the right hands and to grease the right wheels so that for that all-important week of release, the record has an effective media presence.
Then BANG! We have lift off. Media saturation translates into impressive sales figures which, in turn yield a high chart placing, enhancing the reputation of the artist which maintains the profile of the record. Platinum discs and shiny awards are imminent. In short: we have a hit.
At least that’s the best case scenario.
The more common occurrence is an eight week spell of desperate scrambling by PR and pluggers to get anybody “important” to give a shit about the record, maybe a radio re-mix of the lead single by a big name producer and all at a cost to be stacked against the impending success of the record.
Then BANG! We have meltdown. A clutch of moderate, yet unenthusiastic reviews and the absence of a significant national radio playlisting result in poor chart showing for the first week and complete disappearance the week after. The record is dead, the label cuts its losses, drops the act who never makes another record ever again.
I have been making records for a decade now. So many bites of the cherry. I don’t really understand how I have been allowed to continue for so long given my phenomenal lack of commercial success. What I have come to believe is that the honesty of music might just stand a chance against the tried and tested bullshit of the machine. Not a great chance. But a chance nonetheless.
So my new record: Let The Hard Times Roll (which, incidentally, I believe to be my finest work to date) will be available the very moment it has been manufactured. No strategy, hidden agenda or politics. I will take to the road, sing my songs and spread a little joy/sadness. Global domination is not the objective but may prove to be a pleasantly surprising side-effect.
Who knows? Who cares?
Something will happen and it will be fine.
Let the hard times roll.
And by “the old days”, of course I mean about 18 months ago.
A lot of people have asked me as to the release date of my new record and bless them for showing an interest. My answer has always been vague: “soon”, “when the time is right” and “2010” are my most common responses.
You see the whole concept of a release date - or a release for that matter, is something akin to an echo from a bygone age. What does it even mean? Have I been keeping my new album captive in an abstract prison of song until the moment is deemed perfect to issue it forth into the world like a startled dove from a magician’s trouser?
The idea of the specific release is to set a promotional timetable: it always used to be at least eight weeks to allow your press, radio and possibly TV people to get the album into all the right hands and to grease the right wheels so that for that all-important week of release, the record has an effective media presence.
Then BANG! We have lift off. Media saturation translates into impressive sales figures which, in turn yield a high chart placing, enhancing the reputation of the artist which maintains the profile of the record. Platinum discs and shiny awards are imminent. In short: we have a hit.
At least that’s the best case scenario.
The more common occurrence is an eight week spell of desperate scrambling by PR and pluggers to get anybody “important” to give a shit about the record, maybe a radio re-mix of the lead single by a big name producer and all at a cost to be stacked against the impending success of the record.
Then BANG! We have meltdown. A clutch of moderate, yet unenthusiastic reviews and the absence of a significant national radio playlisting result in poor chart showing for the first week and complete disappearance the week after. The record is dead, the label cuts its losses, drops the act who never makes another record ever again.
I have been making records for a decade now. So many bites of the cherry. I don’t really understand how I have been allowed to continue for so long given my phenomenal lack of commercial success. What I have come to believe is that the honesty of music might just stand a chance against the tried and tested bullshit of the machine. Not a great chance. But a chance nonetheless.
So my new record: Let The Hard Times Roll (which, incidentally, I believe to be my finest work to date) will be available the very moment it has been manufactured. No strategy, hidden agenda or politics. I will take to the road, sing my songs and spread a little joy/sadness. Global domination is not the objective but may prove to be a pleasantly surprising side-effect.
Who knows? Who cares?
Something will happen and it will be fine.
Let the hard times roll.
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