Interview of Twenty Questions with Rory McLeod for Artrat http://www.artrat.co.uk
LAST REQUESTS
1/Is the cup half empty or half full?
Whether the glass is half empty
Or half full, for some, depends on
Whether you are drinking or pouring!Winter solstice, midwinter, the 21st December is the shortest day of the year
But that night is also the longest night of the year.
So my glass is half full. It isn't half empty2/Of what?
Of Red Wine or a dark beer from a magic self-refilling bottle!
Of anything it's an attitude about how you accept or don't accept what comes your way, how you are happy or how you are never happy, how you always feel unlucky or how you feel lucky
Its about optimism, whether you are stressed or you are easy going and stress free. You might live longer if you believe your glass is half full
3/Who was/is your greatest influences?
My family, kids and best friend and partners.
All soul singers. From Louis Armstrong, Duke Ellington, Bob Marley, to Hank Williams and Sam Cooke and my self educated Glaswegian dad.4/Which movie always makes you cry?
I don't often see movies more than once.
Cinema Paradiso did make my eyes brim, there's that scene when the mothers knitting unravels like a yarn as she drops it and the ball of wool rolls and follows her as she runs down stairs in excitement to see her son who has returned after so many years.At the end End of 'Pleasantville' A fragile voice sings John Lennons Across the Universe it made me sob as I watched it recently and suddenly felt the loss after I had just found out a friend had taken her own life before Christmas, I was vulnerable emotionally at that time and found myself sobbing. It was the song that overwhelmed me perhaps it was also a mixture of also.remembering the way our 'working class hero' John Lennon was killed, how we lost him.
Years ago I saw a Mai Zetterling Documentary about the human side of the Olympics, not about who won, medals or anthems and measuring of broken records. In one scnene we see two huge giant weight lifters, one has flu and sneezes into this tiny hanky, hes so big, he makes it look like a tiny sweet wrapper, this one with the flu, cant lift the weights in the competition, he collapses under them and so loses. The winner, the other huge man, puts his big arm around the sad loser to console him as they walk off. He has his arm around the loser comforting him. I cried, moved by a mixture of compassion humanity and happiness. Seeing these huge men being so vulnerable and human.I've realised Films that involve 'orphaned' 'adopted' kids and their parents reuniting happily can make me cry.
5/What is your earliest memory?
Age 1 - 2 years, being woken up and shown to party guests, it was a smoky room, lots of faces and a cartoon (?Disney) was being projected somewhere, it was nightmarish as I was so young and I thought it was a dream for years. But apparently my mum told me that they'd had a party and my dad had woken me up to show me to his mates.
Another memory age 5-6 years Living in Camberwell, 100 wells way, next door to a pub, Climbing over a wall to the dump next door and Catching wasps in empty milk bottles by putting the mouths of the bottles on top of the wasp and flower, then picking the flowers they landed in, turning the bottles the right way up and putting them in a row on top of the wall, and using the flower as a bottle top-lid trapping the wasp buzzing helplessly and confused inside the bottle.
"As flies to wanton boys...etc"
6/What is your favourite painting?
That changes all the time and Ive forgotten many Ive seen by unknown artists.
I always liked paintings of people doing things. and enjoyed paintings that moved me, i.e. to laughter, so I liked cartoons also.
I used to like Breughel paintings, (I dont know the titles) because they were so populated by people doing all kinds of things, like a school playground, dancing, cooking, playing bagpipes, football etc. I also liked Van Goghs darkly painted Potato eaters sitting around the table, which I know other people find very dour and sombre, but it was the subject I liked, people eating.
I love Daumiers' cartoons and his painting of Don Quixote has a fluidity I love, the experience of him capturing that moment with his brush, full of movement.
I Always loved Goyas' dark caprices, prints, cartoons and his painted sketches for portraits were truthful, he didn't flatter anyone, and you felt as if you knew and had met that person, you see those faces on the streets these days too . I liked Diego Rivera and Orozco as they were full of narratives, Mexican Indian history and politics, they remind me of my time living and working in Mexico.
I used to like Kathe Kollwitz because she drew peoples hands, there was a sense of touching and they were drawings-litho prints. The lack of colour made you focus more on the subject. Her compositions were strong. Frida Kahlo I like because her paintings are so personal (about her ongoing injuries) and surreal, yet surreal in an unpretentious way, though I'm sure she wouldn't considered herself a surrealist she was just being herself and telling her own story. I like that. Magrittes' painting of the old man and bird cage is like a poem without words. He also had a sense of humour. Vermeer too I love the light in the paintings, the naturalism of the colours, and Vermeers sense of detail, the pouring of creamy milk from a jug, the cloth texture, brilliance. I also like Rembrandts self portraits such an insight. I also enjoy laughing and giggling at Gary Larson cartoons too, though I know he didn't use paint to create them. It's his thought processes that make me laugh, the subversion of ideas.
7/And favourite book?
Don't seem to get time to read enough at all. I drive a lot and the kids keep me busy. Books I remember enjoying or being moved by.
Grapes of Wrath, Ned Kelly, The Bone People, Hanta Yo, Bound For Glory Woody, The shipping News- I enjoyed the language and read it while I was in Newfoundland where it's set, Dostoyevskis Crime and Punishment. The Crucible, actually reads well even though it is meant to be staged as a play, it's wonderfully constructed.
8/Where was your strangest gig?
I don't know anymore what is normal. I've played in Prisons, (Holloway Prison) Weddings, in a Mexican Cantina once with a Mexican clarinet player amigo called Remi (Remi so-fa-la) where suddenly a fight broke out and everyone chased others out of the Cantina till there was no one left there to play for.!
In Mexico I played between strippers and myself and the strippers shared the same changing room with the Mexican comedian MC.
I led a funeral procession on my Harmonica through Kensal Rise Cemetery and then sang a few songs over Jills grave. That was a hard but poignant moment. I sang London Kisses which mentioned the grave yard and the surrounding are that Jill had lived and worked in West Kilburn.
I was asked to propose marriage for a woman to her boyfriend from the stage at a festival once, he accepted, luckily, I sang them my old song 'Dance of Measureless Love and then balanced it with a song I made about Marriage and divorce called 'The Immaculate Deception'. They got Handfasted in Cornwall.
Ive had a couple propose marriage at another gig I played at Glastonbury and I ended up, by chance, being in the area of Norwich when they got married and so sang at their wedding too.
Singing with others in Austin Texas in a bar the night John Lennon died was weird, they stopped the gig, and I nearly got into a fight with some drunk red neck in another bar that same night about how violent the USA was and how Lennon had chosen to liv in the USA and how we'll all be blamikng the USA for his death etc. The guy must have been feeling guilty about Johns death or some thing like that.
I played a gig once, A PA went dead, a power cut,
So I just came off stage and played and sang to the crowd acoustically for the rest of the set and it became more intimate and magical in the end. It wasn't strange for me, but stranger for the PA crew.
I played and performed with a small Mexican circus.
When I was working with the Azteca family Circus in Mexico, called "Circo Ideal" we played and worked in tobacco plantations, cattle country, amongst rodeos, anyway this incident happened one evening in a small pueblito, mountain village near the pacific coast.
Apart from the Lions, and myself, I was the exotic act from London England!
"Desde Londres Inglaterra" "Rory, El fakir" and "Rory, El Payaso Musicale"
We had a King Kong Act, which we advertised on loudspeaker, King Kong would pull the villagers in, and it was Gonzalos, dressed up in a Gorilla Suit with a Fierce looking mask-baring teeth. Gonzalos was a gentle mild mannered, slightly built man, unlike his other two Brothers Victor and Henrique who were gymnasts, and strong men. Henrique would pull King Kong (Gonzalos) in on a chain, he would have to heave him in, the curtains would shake, Someone would shake the curtains, the drums rolled, people would be warned to be careful. "Caballeros, Cuidadado!" Henrique his handler would suddenly, tug him, King Kong in. But then he would break free and escape from Henriques control and roam around the ring rampaging angrily. And 'Auntie' Marcella would plant herself in the audience and pretend to be a tourist taking photographs with a fake camera. Pancho the ringmaster would warn her not to take photos or go too close. "Please be careful madam, cuidado!"
It was my job at that moment to stand at the door in front of the back curtains, to re-assure people who would jump, in fear of King Kong, out of their seats and proceed to run away, out of the tent, which people often did, the magic of the circus in some of these remote campesinos was still very strong. So I had to tell them everything would be OK and that they were safe.
One night, though, there were some Barrachos (Drunks) two Broncos in the Audience. Gonzalos, as usual, stamped 'dangerously' and 'boisterously' around the ring in the Gorilla suit, suddenly without warning, from nowhere, one of the cowboy broncos, jumped over the seats, and ran out into the ring shouting out "I'll save you all" and grabbed King Kong (Gonzalos) in a head lock around his neck, wrestled him to the ground and then pulled Gonzalos's gorilla mask off. Folks laughed, including me for a moment, but Gonzalos was very upset, angry being attacked in this way, the illusion of his monster was broken. The Mexican Cowboy Bronco was thrown out of the show. That night we, all the men, stayed awake patrolling the site, guarding the tent and site incase of any repercussions. The drunk might comeback with friends and want to cause more trouble. We carried guns with the circus for hunting, and also because the circus ticket office cash box had been held up and robbed in the
past. But that night, the night when King Kong was exposed those drunks didn't return.
I got arrested at Leicester Square years ago for "willful obstruction" They called it. I was "Busking"
I was visiting London for a week, living in Germany at the time.
I had a crowd while I was singing, and playing harmonica, the meat wagon drove up arrested me before I could even bottle the crowd who booed the cops, as I was put in the police van, folks tried to give me money, through the closed windows etc.
Also in the van was a portrait painter who had been arrested for the same offence. The cops reckoned we attracted pickpockets!
First I pleaded not Guilty, in court, then the judge said I had to come back and appear again two weeks later, well I was living in Hamburg it would cost me the ferry tickets on the Prinz Hamlet to come back again.
So I had told the police/court clerk officer I wanted to go back into the court and change my plea to Guilty, annoying the judge for wasting his time.
I was fined £10.
Another time busking with mates to a crowd who were enjoying what we were doing, "We aim to please, you aim too, please." I'd cry as I nodded to the open guitar case. We were stopped by the cops. The policemen tried to confiscate our earnings and takings. Before the cops could do this, we got everyone in the crowd who had given money to come and take their contributions back. So there we stood, with the crowd on our side and the cops there who couldn't take away our wages! As the people had taken back their contributions, they had been refunded!
9/What makes you angry?
Racism, bullying and cruelty. Since I was at school. I always got this gut feeling and some adrenalin rush to my head when I witnessed Racism or bullying which, looking back, I suppose was a righteous anger. I still get it. That Bullying that other school kids or older blokes did always involved me in fights at school with the perpertraters.I'd butt in to defend someone. I was called "Wog lover". My skin, being olive or darker in complexion was commented on too. I was called a "Gypo".
I see that bullying on an International scale now, with George Bush and his 'Christian Fundamentalist- Oil corporation-backers and Friends, Enron and the CIA terrorist Bullies who go into countries like Chile, Iraq, Afghanistan and walk all over the people there, Culturally and economically. Taking their minerals and oil, bringing their version of Democracy and Freedom which is fascism installing men like General Pinochet, the Taliban, Noriega and Saddam, giving them all money and weapons, Coca Cola, Macdonalds, pollution-(Union Carbide Company)
The Rights and freedoms of Speech appear to be eroding away in the USA for poor, working class Americans, the phobia and paranoia of the US Ruling Class is creating a mentality of Demonizing and medieval witch burning which is scary and fires me up. The Xenophobia ('fear of Guests' in Greek) is getting worse.
I'd like to call my kind of anger an 'angry Love'.
10/What's your favourite Robert Burns poem/line?
haven't got a favourite but I like these:To a Mouse
Wee, Sleekit, cowrin', tim'rous beastie
O what a panic's in thy breastie!To a Mouse
The best laid schemes o' mice an' men
Gang ft a-gley,
An' lea'e us nought but grief an' pain
for Promis'd joy.
and this:
I wasn fou, but just had plenty.
The Jolly beggars
let them cant 'bout decorum
who have Characters to lose.
11/What would you call your autobiography?
'Things I should have remembered to forget'
Going not leaving.
Rakes Progress Censored.
I'd rather live my life more spending time outside with my kids than hide away in a room and try to write about it.
12/Who makes you laugh?
Tommy Cooper, Eric Morcambe,
Billy Connolly, The Office,
Ali G sometimes i.e., asking Buzz Aldrin about his landing on the sun, asking him Couldn't you go at night? Sometimes he isnt funny at all. Maybe it depends on who his victim is?
Bill Bailey, Father Ted, Vicar of Dibley,
Monty Pythons, Life Of Brian, Bob Newhart, Shelley Berman, Ton Allen, Arnold Brown....
13/Who would you have paint your portrait?
Frida Kahlo,
14/Where's your favourite place?
I like the neck collar bone of my sweetheart. and her ears, but most of all her lips.Wherever the mountains meet the warm sea.
15/Is music dead?
No, not while there are people living, while folks cry or laugh or have a story to tell or to whistle and dance to. I suppose the best music and songs are timeless, the kind of musicthat takes me on a journey, moves me, and stirrs my soul. Soul music for me isn't a label but is any kind of music that is played with feeling, Stimmung, Duende, Dread, passion, fierceness, tenderness, truth. In my view there is only two kinds of music: that which I like and call 'good', and that which i don't like and will call 'not good', and sometimes I could even find redeeming qualities in the bad if life wasn't too short!
I heard someone say that songwriters don't die they just decompose!
16/How many instruments can you play exactly?
I can't play any instrument exactly but I can whittle away inaccurately on, banjo, mandolin, Guitar, trombone, whistles, Chinese flutes, Bawu, Harmonicas, bass harmonica, spoons, drum, percussion, I've used accordion bass for recording purposes only, not live gigs. Bagpipe chanter, and I include my tap shoes in there when I play. I'm a trombone owner, I call mine a fretless bass Kazoo, in order not too take myself too seriously on it. But I was looking for a tuba, wanting loud fat bass sound, (My Bass Harmionica is too quiet) i found a trombone for £50 in a Leeds pawn shop, and so I enjoy playing it at accoustic sessions, where there is never any bass, all high toned fiddles and flutes mostly. I don't have to plug it in, I play it very rhythmically, sometimes inventing riffs to push or swing the tune, and long drones like a didgereedon't.
17/What's better than sex?
Do you mean just penetration?
I thought everything in life was inseparable from Sex.
I find too many things sexy...life itself is sexy. It wont stop touching me!doesn't that depend on who you aren't having sex with.
Laughing and seeing your loved ones laughing and friends, my kids laugh is up there.
Flying with your own wings, like a bird maybe.or-swimming off a boat with friends in a warm place somewhere.
18/What's your favourite drink?
Depends on the climate and weather.
Pineapple lime with coconut juice and rum
Deep fruity smoky red wine.
Hot Chocolate.
My sweethearts lips.
19/What would you like for your last meal?
Why would it be my last meal?
Some good friends to sit around the round table and eat with me.
A table that laid itself. For starters I'd enjoy Sushi. Miso Soup, Raw Oysters with lemon and sauces,
Then Bacon and fried egg, tomatoes, with avocado mayonnaise, a touch of marmite all in a toasted sandwich.
Wine
Thai Noodles. Pad Thai, prawns Green Curry. Ginger. Coriander.
And a full Mariachi Band singing and playing.
Chocolates for Dessert. Figs.
20/OK Rory, The firing squad's getting itchy fingered. Any Last requests?
A long, long kiss.
A long walk, (I may be sometime")
To let me teach my kids how to sing and play music together.
To teach my eventual grandkids how, to teach their kids to sing and play guitar and mouthy (Harmonica) together.That would delay the shooting a little!
To teach my Kids karate and how to unarm a firing squad and then how to hypnotize the firing squad into feeling a huge electric shock any time they touch a weapon.
a bullet proof vest,
To see my family.
To see the first fruit crop of the seeds I just planted.
To eat a meal with ingredients that would be very hard to find and take very long to prepare.
To hear a song sung, one of the long ballads, one of the very long ballads. Maybe I'd have to make the long ballad up. To sing it until the firing squad fell asleep then run like a gazelle from the mouth of the lion.
Perhaps the chance to drink with and get to know the firing squad, let them share my last meal, with my mates, meet my family, ask them if they would water my seedlings after I've escaped. And we could all live happily ever after and make a cheesy Hollywood film about that.
Im getting carried away here, but thats what I want!
the person who borrowed or stole my coat and hasn't brought it back yet (Joke) anyone who likes to tell stories, jokes, share tunes, sing, dance, kick a ball around, paint, invent, farmers, gardeners, engineers,metalworklers, woodworkers, magicians, painters, writers, tree planters, film makers, theatre companies,, fathers, mothers, grandfathers grandmothers, sons, daughters, orphans, campers, travellers, hobos, mechanics, poachers, cooks............... Tom Paine, Frida Kahlo, Marco Polo, Studs Terkel, The folks who devotedly dragged those huge stones to Stone-henge, I'd like to ask them what they thought they were doing it for and how they did it...who tripped up on the way? Who needed a chiropractor afterwards, who cooked the food? Hadn't they heard of IKEA!
O DROM
RORY McLEOD.
INTERVIEWED by Doghi Calderas
British TRAVELLING ????????????Songmaker, Storytelling harmonica-playing, tap-dancing one-man-rhythmic-dance-band
BLETHERS
How did you become a professional singer?
I never thought I could be a professional singer The first time I was paid for enjoying myself, for doing something I loved, I thought, that's the secret to life, I'm getting paid for doing something I enjoy, so I am a success, I have a job! Actually the first time all I really got paid was my tube-train fare.Where did you start to sing?
What kind of venues types. bars or folk clubs.?
I started playing for dancing,
Some Folk clubs said I was too political or not traditional, their reaction to me told as much, or more about their politics as it did mine.
I always joke that I'll teach my Grandma my songs. then learn them back off her, I can call them Traditional songs then!
Every folk club is different. Some organizers are more open than others.
I still feel a great debt is owed to Folk club organizers, who arrange, invite, advertise and take risks for no reward but the pleasure of being involved in such a movement
A couple of folk clubs I played wouldn't allow the audience to dance, one promoter got very physically abusive and stroppy with someone who was dancing, which upset me, some of the people were asking me why I was playing in such an unfriendly place like this. I found that I was playing to both a folk club, listening crowd and a younger more Punky or "alternative" crowd, I'd attracted from playing at Glastonbury Festival and or, miners benefits, or who I'd reached when supporting Michelle Shocked.Some clubs were very small, but they let everyone in, so that it was big crowd, and it started getting uncomfortable for people, especially those who felt their folk club had suddenly been overrun and changed ambience for a night. They were great steamy gigs, sweaty and the magic was created because they were so very intimate and acoustic, no mikes.
(Some clubs I remember enjoying were The Bacca Pipes, Empress Of Russia, Jolly Collier)
I was happy, also believing this was the only way to change Folk clubs atmosphere was from inside, by playing in them, not by turning your back on them!
But it started to get ridiculous, people sitting on floors, folks at the back trying to see and hear. Me losing my voice, some people wanting to dance.
I started wanting to play bars again instead, with Microphones and PA, not so precious, and play, again, for people to dance to as well as to listen. I wanted to take people on a journey with my stories, inside themselves, but also physically, singing my Dance stories, celebrate life, move around and not feel like I was playing in some church museum, classical, precious library concert situation all the time.
I actually wanted both. I like variety, not to play only one kind of venue.
I do not just want to play for people to dance. I want to nourish them too, heal something, and open up. I'm not talking in a religious sense, but I'm talking about what people, we all, want to experience directly, to feel it, touch it. Its not just about picking up CDs in a shop and playing it at home, but people holding instruments themselves, joining in, being part of it all, participating, not being a tourist, standing outside, spectating.I still play folk clubs, but not everywhere. Because I wanted there to be room for people to dance as well. Even in a folk Club, I don't think of it as playing to a "Folk Club audience" "Stamp collectors" or "Train-spotters" it is "An Audience" whoever is there, is there and I don't like stereo-typing. To me it's dangerous, I take everyone at face value, however they are dressed, straight, short hair, long dread locked, trendy or not, old young, uniformed.I couldn't get gigs in the "bigoted" or 'conservative' folk clubs at the time, even though the audience enjoyed my songs, the organizers didn't. I did better busking and playing at some of the country fayres, i.e.
Anyway I took off again traveling. For a couple of years and then came back again.Give me music outside around a fire anytime.
What kind of people come and hear you sing?
I have more than one kind of audience,
some people come to hear harp playing, Other people come to hear songs, others politics, others dance and travel. Young and old. Some for everything, the variety. I've had people bringing their Grandmas and mums to hear me and I've had Grandmas and dads bringing their sons or Grandchildren.
I have played despite the audience, with them, against, but with respect, I have always willfully, played for myself, I won't adapt what I do for "The Big audience". I play as if it were my last gig, maybe that is self indulgent to some people I'd play 3-4 hour gigs, because I played for the dancers, Movement is also good for the arthritis!
But then some people come and hear me by accident too, turning up and not knowing what they're in for. They come up to me at the end, clearly affected and touched and moved and have been challenged and disturbed and excited by something that is new for them. Some, in the past, have also walked out, but that is their right.People are always coming back to listen to a song again and hear something else, they are quite dense songs. People come and hear something they never heard the first time. Songs can change, depending on how I perform them and in what context I'm singing them. It's not always about what songs you make and sing but about how you relate to an audience, the context, the places you sing in. The directness, an intimate relationship. It is magical if you can make a big audience feel like theyre in a living room.
How do you think
people perceive your work?
I wanted folks to hear a song and experience a personal sense of discovery.
I just do my work.
I know for some people my singing voice sounds ludicrous, I ruined it by shouting, not singing, on the street etc, and the rawness. I used to use my falsetto a lot more. Funny though, how my voice changes when I'm singing lullabies and holding my 5 month old baby boy Solly, I am singing lower and quieter, there's more resonance, I'm relaxed and I'm trying to sing him to sleep. I am singing with a different attitude, more tuneful and soulful in a small, darker room. I am not a choir boy, or a "pretty" singer. But I don't care, I don't want to be. I enjoy singing.
I'm not trying to sell culture.
I know I talk too much between songs, there are stories behind each song, they are part of the song, I suppose I'm giving background you wouldn't get just listening to a CD, the stories are almost inseparable from my songs now, I'm just not singing them, maybe I should sing my intros! I wish my talking at a gig could be a conversation with the audience, Of course when I'm playing for dancing, I'll be keeping the flow, not interrupting the flow with talk. Back to the talking though...That's why certain kinds of "Heckling" are welcome, questions. observations, opinions, as long as they aren't while your singing. It's all audience participation.
Do you feel like you are part of a tradition?
Yes, I do feel that I am part of a tradition like Woody Guthrie, Hank Williams, and George Formby, Bob Marley, Sam Cooke. Robbie Burns. Louis Armstrong Bessie Smith., I related in some way to the experiences they expressed. Some would say that they aren't my own cultural traditions, but that is what I grew up with. I blame the parents! (Joke)
But as an influence, It's integral, not consciously, but it's so intertwined an influence, something like oxygen maybe?
The Music I love to hear is nothing like the music I make and I play. I wouldn't want to listen to my music myself, there's not enough space in it, or enough soul and I make too many words! I think words can get in the way of emotions in a song. So I like short, simple strong songs, unlike a lot of my own songs. i.e. I love " A Change is gonna come" By Sam Cooke or Otis Redding.
Hank Williams touched me, he had a way of expressing emotions, a real magic that has never gone away. Timeless.
What traditions do you come from?
My traditions are from wherever I have been, traveled, who I played with, heard talked with, I was young when I left UK. So I wasn't brought up listening to English/British traditional music, I was ignorant of it, I knew Woody Guthrie, Rock n Roll like Eddie Cochran's, music Hall, Bob Marley etc. all song writers are links in a chain.
My mum and dad ran away to get married, because my Dad wasn't Jewish and he was an Atheist. A Red.
Whatever my Traditions are what Rock and Roll my mum liked to jive to, and What musicals my dad liked to sing in the shower etc.
Tell us what kind of music you like?
I love all music, from English to Galician music from Spain to China.
Singing is my favorite kind of music, from Gospel to Waulking songs to Sardinian polyphony singing and Mongolian.
and I adore the Big Band music of Duke Ellington, all those instruments and musicians that he used, playing live around one mike. He used instruments for their color, texture, their voices, he got all that individual expressiveness from each instruments voice out and playing together in an ensemble, those orchestras, and those arrangements, what a vision! You can hear all that life, no overdubs, life That's how it should be, recording, trying to capture a moment. Not falsify a moment..
I like simple tunes, songs, they have a pure strength. Sincerity of the heart, honest not pretentious music or posing. None of the hype and myth making, but the reality. I don't find drug induced music interesting, I never liked the psychedelic pretentious experiments in public that took place in the sixties, all that unintelligible mysticism. It was a bit like the emperors new clothes for me.
I preferred Muddy Waters and Blind Willie Johnson, The Humble-bums and Otis Redding, an eccentric song writer called Dory Previn etc. Jazz. John Prine, Stevie Wonder, Clash, Chuck Berry. Bert Lloyd, some Ewan Macoll songs.
I love ballads, story songs, love songs, Topical, George Jones, Songs and music that take me on a journey make me cry, laugh, move me, joy, feet jumping all that I need to get from music.
You can hear that some of the music I make is influenced directly from Black blues music, not white blues, but the Afro American soul singers.
I can't play like them, don't want to, but I did learn and use what I learned because I was playing with a jug band on streets etc. those years ago, that's what we played, so I was trying to make songs that we could sing in the band. But I could never be a black Afro American man. I sang in my own accent, which annoyed my mates who wanted me to phrase Americanisms like them, and I wanted to be myself, not pretend. It was the Emotions, the soul, or 'duende' as the Spanish call it, the spirit in the music that I loved, and was moved by.
I did make songs and we sang them, the young band had an attitude which was the rawness we liked. No limp, fay, namby pamby folk songs for us we were boys who wanted to be MEN!
I liked all kinds of stuff back then, Country and Rock 'n' Roll. I made all the connections between the music, where it came from Blues to Jazz, Louis Armstrong playing blues trumpet, those wonderful double time, stops soloing flying around Bertha Chippie Hills voice like a lyrical honey bee.
I was brought up on 78 records my mum had a wind up gramophone player, which we played with like a toy, as 9 year old kids would do. records by Tennessee Ernie Ford, Danny Kaye, Stan Freberg, Musicals like Oklahoma,
The first records we bought were Beatles All you need is love, Hello goodbye, I'm a walrus singles. We had gone to Butlins Holiday Camp for a holiday and The Beatles Hit was played and played as we drove on the bumper cars) That song stuck in our heads. My mum had a Tijuana brass record that I liked to play, and I also heard Rock and Roll into Rhythm and blues and Blues. I didn't know what British Folk music was, But the first song I learned to play on Guitar was a Woody Guthrie Song 'Blowing down the road' . 3 chords, that's all I needed.
I went to a record library in my teens and heard The Radio Ballads Ewan Macoll and Bert Lloyd singing and that was my first listening. It was the Songs I loved, stories about people, Bert Lloyd sung with a laughing voice, to me it was like Louis Armstrong's', 'What a Wonderful World' voice, or Billie Holidays, voice, my favorite singers with Otis Redding later. I was borrowing records that I could never buy in a shop, stuff I found by accident in the library.
I listened to Dylan, Beatles, Tamla Motown, Django Reinhardt, Herb Alpert, Tijuana brass music, Shankar, Captain Beefheart, Radio Luxembourg, I'd listen to that in the bath, The Persuasions they were one of my favorites, singing accapella soul music.
Are you happy if other people sing your songs?
I'm very flattered and I'm happy that my songs can travel without me.
I like to think that people will take my songs and add to them, change it around, (they aren't written in stone,) borrow, that they, like me, are part of the folk...(For the rest of the interview go to www.rorymcleod.com INTERVIEWS O Drom.
The Grapes of wrath, La haine, The Godfather parts 1-3, despite the violence, it's a wonderful film about family and shakespearian in it's tragedy, ridicule, Casablanca, Harvey, Life of Brian, Naked, Cyrano De Bergerac, The last seduction, Bad day at Black rock, West Side Story, Fiddler on the roof, human Traffic, the list is endless........ 4/Which movie always makes you cry? I don't often see movies more than once. Cinema Paradiso did make my eyes brim, there's that scene when the mothers knitting unravels like a yarn as she drops it and the ball of wool rolls and follows her as she runs down stairs in excitement to see her son who has returned after so many years.At the end End of 'Pleasantville' A fragile voice sings John Lennon’s ‘Across the Universe’ it made me sob as I watched it recently and suddenly felt the loss after I had just found out a friend had taken her own life before Christmas, I was vulnerable emotionally at that time and found myself sobbing. It was the song that overwhelmed me perhaps it was also a mixture of also….remembering the way our 'working class hero' John Lennon was killed, how we lost him.Years ago I saw a Mai Zetterling Documentary about the human side of the Olympics, not about who won, medals or anthems and measuring of broken records. In one scnene we see two huge giant weight lifters, one has flu and sneezes into this tiny hanky, he’s so big, he makes it look like a tiny sweet wrapper, this one with the flu, can’t lift the weights in the competition, he collapses under them and so loses. The winner, the other huge man, puts his big arm around the sad loser to console him as they walk off. He has his arm around the loser comforting him. I cried, moved by a mixture of compassion humanity and happiness. Seeing these huge men being so vulnerable and human.I've realised Films that involve 'orphaned' 'adopted' kids and their parents reuniting happily can make me cry.
I haven't seen any TV for the last 3 months,except in a pub, when World cup was on, but thought I'd stick some reviews of CDs and gigs here meanwhile, till I get near a TV.
Comedy. In depth and revealing Documentary and Drama. Six feet under, Shameless. Smack the pony sometimes. Nature programmes, thrillers with a twist,
Other CollaborationsGuest Appearance:
"Woody Lives"
(with various Artists, Dick Gaughan, Rab Noakes, Bert Jansch)
On Black Crow records.
A benefit for Huntingdons disease and a tribute album to Woody Guthrie.
Rory also has performed his songs in concerts with a horn section, doubling up
on bass and keyboards with Bob Morgan (clarinet, alto sax, keyboards) and
Richard Sadler (baritone sax, soprano sax and bass), with Rory also playing
Trombone as part of a 'roaming' horn section at festivals,(The Fire-Walkers)
playing Rory's tunes in the middle of fields, outside bars, tents and 'blowing
along' as a horn section with whoever would invite them to.
"Rory Mcleod must be the musical equivalent of a six or seven ball juggler... "
The Guardian (UK)
Rory McLeod - Brave Faces (Talkative)We've waited far too long for a new album from this maverick iconoclast of a
performer, but this fulsome showcase is no disappointment in any respect.
Setting off listening to it, well it's just like going to see him live - you
don't quite know what to expect, other than that you'll be entertained big-
time: stunned into heady silence by his full-on friendliness and innate
instrumental virtuosity and his eclectic mastery of every musical idiom in the
world (and several others besides, no doubt!), and by turns enchanted,
provoked and delighted by his ultra-creative lyrics. Brave Faces also reflects
Rory's live act in the sense that the guy's virtually unstoppable - you get
the feeling that if a CD wasn't physically limited to 79 minutes there would
be loads more music here. He shows no sign of running out of steam or ideas or
energy even after 78 minutes! And that would be considered great value,
whatever the standard of the music, but you've no worries on that count
either, for these 19 tracks represent Rory at his most persuasive. 12 of these
are brand new own-compositions, stylistically unpredictable as always but
containing such invariably brilliantly characterised storytelling and thus
absolutely typical of Rory's art. But even though Rory's previous record
releases have always provided a more than satisfying memento of his live act
there have been occasional longueurs and moments which haven't always
translated to the harsher recorded medium. Brave Faces, however, succeeds
entirely and keeps one's interest throughout with its dazzling parade of ideas
and sounds.The new songs are tremendously strong, almost too powerful to cope with on
first hearing or even second. They make well-observed statements without ever
preaching - Rory is able to convey depth of feeling and highly-charged views
without oppressing your brain! - just take a listen to the jaunty calypso-
backed A Cut In Pay, or the caustic irony of Cold Blow These Winter Winds
couched in a deceptively gentle whimsy, or .the heavily-accented "alienation
tango" of No More Blood For Oil. Two opposite poles of intimacy are provided
by the potent global concerns of Thirsting For War and the beautifully
intimate and affectionate Doing Time Together (the latter one of a handful of
tracks featuring the gorgeous Aimee Leonard, here on both vocals and bodhrán -
otherwise this is very much a Rory McLeod solo tour-de-force that transcends
any casual novelty value).Several of the songs last longer than 5 minutes, but not so you'd ever notice
for not a word or chord is wasted or superfluous. And another thing I
constantly find unbelievable (that is, when I take a breather to think about
it!) is that however desperate or depressing the subject matter, ideas and/or
lyrics, Rory's music is always fun to listen to, and full of interesting and
unusual textures. He's clever but not clever-clever, if you hear what I mean,
for he's got the skill of communicating immediately and acutely with his
audience, you're gently compelled to listen just like you would to a good mate.Rory's truly unique: a creative minefield, against whom a hell of a lot of
other self-styled singer-songwriters can so easily seem one-dimensional. And
that creativity extends right out into the cover versions (there's five here,
and two purely instrumental tracks too): two of the highlights on this set are
acappella treatments - the traditional Oh Death is given a chillingly wayward
reading, whereas The Glory Of Love (never a favourite song for me) wins me
over completely by being superbly inventive, fresh and Fun. Then there's the
old Elvis number Guitar Man, which has Rory's tap-dancing bottleneck in full
flight, while I don't think Hank Williams' Rambling Man has received a better
cover. On the closing track, The Man Who Couldn't Say Goodbye, Rory may be
obviously playing for laughs but it's also a perfect, larger-than-life re-
creation of the man, his personality, his ultimate irrepressibility (the image
persists of Rory lifting up the coffin lid with a cheeky "Hello"!)….
Brilliant, and definitely Rory's best yet; if this don't convince you the
man's a major talent then nothing will!www.rorymcleod.com
David Kidman
Folk Roots Review
August-September 2005
Rory McLeod
There's a tendency to dismiss Rory McLeod as a glorified novelty act, a
maverick one band who's a great live act willfully dipping into different
styles, but doesn't somehow merit consideration as a serious songwriter. This
is the album to blow that myth out of the water. Here the stylistic form is as
seemingly random as ever, a veritable musical maze of ideas, but the lightning
barrage of words isn't quite as intimidatingly clever as it can be, with the
result that you end up admiring the quality of the songs rather than the
performance. McLeod's instinctive inventiveness is especially acute this time
round too. A Cut In Pay marries a clever lyric about monetarism, which someone
should send to Bob Geldof to play at the next G8 summit, to a full-blooded
Caribbean steel drum sound. It also includes some mighty yodelling on Hank
Williams's Rambling Man, an optimistic cover of Dylan's The Man In Me, a
glorious soulful acapella version of the standard Glory Of Love that's worthy
of Smokey Robinson, an unnerving, unaccompanied old-timey Oh Death (a variant
of which was once sung demonically by Peter Bellamy) and a lovely slide guitar
romp through Jerry Reed's Guitar Man, famously covered by Elvis.It's fun but it has substance and his own songs offer the authentic voice of
the intrepid, singular troubadour McLeod has been for so long. He's always
sided with the underdog, but with Guitar Man pointing the way, the poor old
travelling songsmith is invariably the one being championed here in colourful,
anecdotal songs like the 7-minute Not For Sale, the gorgeous, gently defiant
Cold Blow These Winter Winds and, mostly for laughs, The Man Who Couldn't Say
Goodbye. Emperor's New Clothes - played to a background of his son's sampled
voice - must surely rank as one of the best things he's ever written. I'm not
too sure the deceptively jaunty arrangement works with choir and all, but
Ballad Of The Burston School Strike - relating the extraordinary story of a
strike by Norfolk schoolchildren in 1911 with far-reaching consequences -
could even become his The World Turned Upside Down.It's true that the best live performers can't always transfer the magic into
the studio and some element of that may also apply to Rory's past recording
career. Not anymore it doesn't though. This is the poodle's rude bits.
Colin Irwin
Phil Daniels -Online review
With a mammoth 19 tracks on this new offering, the people who said Rory McLeod
had been away too long certainly have something meaty to get their teeth into.
19 tracks that jump for one musical style to another as frequently as the
lyrical content. McLeod has produced something here that is not only complex
and intriguing, from start to finish it is utterly compelling.It’s fair to say that Rory McLeod is one of the best storytellers on the scene
and has gained the huge underground following because when people listen to
him they are instantly hooked. That happens here as from one song to another
the mood is constantly changing, you really don’t know what direction the
record is going to leap in next, which certainly adds to it’s charm.Hugely powerful songs come thick and fast here, which at times are really
disturbing. However the blatant ‘telling it like it is’ style is very
refreshing even in such edgy numbers. Songs about the opposition of war sit
side by side with songs about domestic violence and the depression of
alcoholism. Now I know that sounds like this album should be filed in the slit
your wrists category but the fact many of these dark subjects are performed to
a musical backdrop including flamenco and calypso, keeps the songs accessible
whilst still getting the message across to the listener.With 12 brand new songs, 5 covers and 2 instrumentals, you definitely get your
money’s worth. The brilliant version of Hank Williams ‘Rambling Man’ stands
out, with a superb vocal performance, however it’s Rory’s self penned songs
that make this record for me and reiterates what an all round fine musician
this man is. It’s also great to see ex Anam singer Aimee Leonard popping up on
the odd track, as she possesses one of the best voices in celtic music, that
can only enhance things.It is a fantastic record, but you do have to give it time. Really listen to
the lyrics, as it is just 19 stories being told perfectly by one of the best
performers on the circuit.
Record Collector November 2005.
Brave faces Review By Ken Hunt.
Back in the Vinyl 1980s there was this bloke with elongated vowels called Rory
McLeod. Being introduced to his musical dynamism was one of the best turns
anyone did me in a decade of painful partings. I never did the upgrade
shuffle; so ‘Brave Faces’ (TALKATIVE ****)
Is the first time I’ve heard him on Compact Disc.
His prelude recitation to ‘Another Glass Of Forgetfulness’ is priceless, going
from humour to studied desperation. ‘Ballad of The Burston School Strike’
reminds me of Guthrie and Ochs. ‘A Very Nice Bloke’ reminds me of Brecht and
that is no bad thing because I need to think of Brecht’s writings more (since
the Brecht Bookshop closed in East Berlin just by Brecht’s burial site.
I have visited Brecht’s connected places instead of reading him.)
‘Brave faces’ made me think and smile. And then it all came swimming back.
The ‘exactly why’ McLeod ranks as one of the most incisive insightful
songwriters and interpreters. Here he does Dylan’s ‘The Man In Me’
One of my fave trad blues from the strangulated vowel delta, the post Georgia
Sea Islands singers ‘Oh Death’. And his measured, harmonica led percussive,
body-stomping version of the klezmer clarinettist maestro Dave Tarras’, to the
disciple of the Trisk Rabbi.)
Listening to Brave faces brought it all flooding back. 19 tracks may be
recklessly overgenerous but I could fill a page or two of this magazine just
narrating or responding to McLeod’s generous musicianship.
His ‘A Cut In Pay’ should be force-fed down every employer that whines and
whinges about paying, say a freelancer.
Do expect this at the end of the years best.
Living Tradition.
Review by Alan Rose.
I bet it’s been twenty years since Rory McLeod’s first recording of multi-
tracked harmonica-fuelled, adrenalin-laced whoops and hollers found it’s way
into the hands of Peter Bellamy. For months after, anyone and everyone was
bombarded by the tape from Peter with the exhortation. “You have got to listen
to this….†Sadly, Peter is not around to hear Rory’s acapella treatment of
Hank William’s ‘Rambling Man’ Dylan’s ‘The man in Me’ or the traditional ‘Oh,
death’ on Brave Faces, so I suppose it’s down to me to shout, “You have GOT to
listen to this…â€Unaccompanied covers are far from the whole story – there’s a load of his own
stuff too. Typically Rory packs every digital second of available space (the
nineteen tracks have an astonishing playing time of 78.12…) with a dazzling
array of lyrics both prose and rhyming, spoken and sung in a helter-skelter,
roller-coaster ride through a welter of emotions, issues and musical tom-
foolery. Both vocals and instruments (guitar, harmonica, trombone, bass and
all sorts of percussion) are stacked into great teetering layers, which
threaten to tumble down and make the whole thing a nonsense-but never do. His
music combines the expertise of a virtuoso with the enthusiasm of a child,
while his writing cuts straight to the heart of his subject, be it poverty,
child abuse, relationships of having a drink or three. For example, in “No
More Blood For Oil†he speaks for many of us when he states “….we’re not
disturbing the peace, we’re disturbing the warâ€.Rory McLeod is a rare, unique and beautiful talent, and Brave Faces is a true
reflection of what he does. You ought to see him live though…
More Record Reviews:
"Rory McLeod has a profound disadvantage-for pigeon-holers and hacks-that he
is so original it's nigh impossible to compare him with anyone else. Writing
songs packed with streams of words, often so dense that the casual listener
could easily let the craft, beauty and power of the content slip by. An awe
inspiring live performer who, you discover when you repay his craft with the
scrutiny it deserves, writes quite brilliant songs."
Ian Anderson. Folk Roots.
Angry Love
A wide variety of styles should certainly have appeal far beyond the tight
confines of the British folk circuit"
'Swagbag' UK.
Rory's tune smithery is impressive throughout
Songs are strong, rhythmic and singable which is striking for someone so
prolific"
'Folk Roots', UK.
Angry Love
" Rory McLeods insidious charm and unflustered bravery are a delight to
uncover. A lyrical eloquence that's cheeky, endearing, strong and striking.
This is an overtly political album in many ways (Personal to international)
while acknowledging the ties that bind the family without cloying
sentimentality."
'Sounds'. UK.
Kicking the sawdust.
"Autobiography with all cupboards open."
'Leeds 'Other Paper' UK.
No-one, not one soul in this whole crazy world, can help but fall in love with
Rory McLeod's latest Double CD 'Kicking The Sawdust.' ...an album infused with
happiness, with not one dud track. Jam packed with 21 wildly original tacks.
Each song is a delight with playful tunes and lyrics worth listening to, time
and time again.
Nic Rigby. Evening News. UK.
Footsteps and Heartbeats.
"These nine songs are among the most interesting you're going to hear all year"
'Folk Roots'. UK.
Uncompromisingly earthy and edgy"
'BJ Cole, Guitar Magazine.'
Restless footsteps and the pulsing heartbeat of the music takes the listener
on journeys through the streets of Britain, the dusty plains of the East and
the ramble tamble of the south Americas. There are some excellent melodies at
play; it's Mcleod who provides the beating heart."
'Broadbeat', Scotland.
" I love this record, it's non-stop aural caressment....
Singing Copper' is a journey to a policemans' heart and soul, a high point
lyrically. This is world music, real, vital and intensely listenable. Probably
one of the best collection of Love songs you'll ever hear."
Rock and Reel. UK.
" ...philosopher Descartes had it right when he said " the simplest man with
passion will be more persuasive than the most eloquent without." Add a
traveller's ability as a teller of tales and a compassionate eye for detail
and you get the idea."
'Entertainer' - Australia
" Lovers of folk music will breathe a huge sigh of approval upon auditioning
Rory's superbly crafted release."
'Cape Country Courier' – Tasmania
Travelling Home.
" 'Back to Donegal' is a Bacchic delight of banjo, fiddle, Uillean pipe and
spoons-filled Irish tunes. A joyous travelogue. (A high energy 'Coney Island')
And there's social criticism that's not detached and dogmatic. Rather, he
breathes a passionate angry fire into songs about the ruin and rot of our
country..(the Rhumba-esque 'Defending our Homes') or racism (a hearty adaption
of Broonzy's Black Brown and White) And then there's a more light -hearted
edge. 'Compatability' a chirpy duet, is a witty analysis of a relationship.
Soulful, passionate and transcendent. A blinder of a record."
Folk Roots- UK.
Lullabies for Big Babies.
"Seldom is it that a small shiny plastic disc so easily evoke so many sensory
pleasures. Lullabies...takes you to places where you can inhale the freshness
of newly cut grass, soak up market aromas, feel the sunshine on your skin,
taste succulent fruit, feel tipsy on booze and life, glow with the warmth of
friendship and ache with loneliness. Rory McLeod creates music that celebrates
life.....the good, the bad and the ugly."
'Sarah Coxson, Folk Roots' - UK. #170/171
Mouth To Mouth (Double CD)
"'A beautiful mix of tender love songs, powerful political messages and
everything in between." (Byron Shire Echo, Byron Bay, 9 Jan 2001)
'"This album is getting acclaim world wide and it's easy to hear why. This man
makes socio-political stance a joyous right instead of a tiresome ballad. A
body of work that's fresh and full of life, laughter and song." (XPress,
Perth, 11 Jan 2001)
"His songs evoke a life lived at the edge with great joy" (Northern Rivers
Echo, Byron Bay, 11 Jan 2001)
"Unorthodox and brilliant" (Green Left, Weekly, Australia, 1 Feb 2001)
"Immerse yourself in the vibrant and emotive words and music of Rory McLeod
and you will certainly feel most pleased to be alive!" (Beat Magazine,
Melbourne, 7 Feb 2001)
"A treasure trove." (Geelong Advertiser, Geelong, 18 Feb 2001)
"A panoramic collection of infectious songs and instrumentals that is fully of
warmth, humour and insights... Affectionate songs about 'ordinary' people."
(Canberra Times, Canberra, 1 Mar 2001)
LIVE REVIEW
Rory McLeod, The Black Swan Folk Club, York
RORY McLEOD is a one-man world music factory.
Travelling the globe for inspiration, he absorbs different languages, cultures
and rhythms to compose songs and tunes about what it means to be human.
He played a selection of them at the Black Swan, Peasholme Green, York, last
night, with tremendous energy, passion and consummate musical skill. He even
changed the key of several compositions to accommodate his sore throat.
Bad cold or not, McLeod’s notes still soared through the pub’s upstairs room,
thrilling a capacity audience.
Wearing tap shoes, he stamped out a hypnotic beat on a wooden board wired for
sound, while playing potent finger-style guitar.
His virtuosity on harmonica was astounding, playing a klezmer tune that
conjured up images of Jewish festivities and a number called Miners Picket
Dance, complete with police sirens. He also played spoons and produced a
trombone, bought for £50 from a Leeds pawn shop, for his encore.
London Kisses takes the listener on a stream-of-consciousness tour of the
metropolis; What Would Jesus Do? is McLeod’s defiant answer to a right-wing
radio phone-in presenter in the Bible Belt of America; and The Dreams We
Breathe Through is a candid view of love and divorce. McLeod creates art out
of ordinary lives, weaving the magical musical tales of a true troubadour. But
injustice makes the fire in his belly burn brightly. No More Blood For Oil is
a powerful indictment of the American-led invasion of Iraq.
Richard Foster
sub-editor, Evening Press, 76-86 Walmgate, York Y01 9YN
LIVE REVIEW TREGARON. WALES.
The devoted following that this amazing man boasts revealed itself in the
unprecedented number of enquiries we received about camping facilities
adjacent to the Talbot ... there's something about what he does that naturally
lends itself to the outdoor life, beloved of festival stalwarts, but while the
Talbot's function room was unable to reproduce accurately the atmosphere of
Glastonbury - smoke, miscellaneous cooking smells, dodgy latrines (I dunno,
sounds like the Talbot to me. - Ed.), it certainly gave us the privileged
chance to see this unique artist at work close up.First off, Rory's instrumental skills are exemplary: his guitar playing
emcompasses choppy rhythm patterns as well as a blues vocabulary, including
some dextrous slide work, that would admirably serve any aspiring traveller on
that particular highway ... his nifty footwork, on a miked-up footboard,
provides a firm foundation that substitutes for a rhythm section, and his
prowess on harmonicas is really outstanding - and it was his wailing,
unamplified harp that kicked off proceedings at floor level, before hitting
the stage for 'Baksheesh Dance' ... from here, Rory launched into an evening's
music (a little under three hours) which showed his image-packed songs to be
marked by wit, humanity, political awareness, and a high moral tone ...
From 'Dreams for Forgiveness' to 'Shirley's her Name' (a touching paean to his
Mum), by way of 'Huge Sky' (dedicated to exiles everywhere), 'When My Mum and
Daddy Made Me', 'Emperor's New Clothes', 'The Miner's Picket Dance' (harmonica
and spoons), the much-requested 'London Kisses', 'Too Old For the Orphanage',
and 'Dancing on the Prison Wall' (the long-awaited trombone work-out), Rory's
charismatic presence and sheer versatility delighted the fans who were
familiar with his oeuvre as much as the uninitiated ... he's a consummate
performer with a well-honed inter-song patter …..Rory did a fine job. He's one
of the few acts around that give proper old-fashioned hippies a good name
ONLINE.
Has anyone ever heard about a harp player called Rory McLeod? One of my
co-workers saw me perform last evening and recommended him to me. Just
looking for more info. My friend said he saw him play one harmonica
through another at a show last summer.... but this guy does not play
harp himself, so who knows what really happened. :-)
I'd like to add to the chorus of approval for Rory. I first saw him
busking in London underground (metro) stations about ten or twelve years
ago (hmm, more like 15 thinking about it!), and have managed to keep up
with his career fairly well. The most memorable Rory gigs have always
been at Glastonbury Festival, a 4 day, camp-out, Woodstock style annual
event with 5,000+ acts on 30+ stages. He started out playing the tiny
acoustic folk stages in the 2am slot, and graduated to the larger marquees
at respectable times of day after a while.
I'll not beat about the bush - I think Rory is one of the most talented
harmonica entertainers there is. My memory of his first Glastonbury
performance, to about 10 people at 2:45am on a stage about as big as a
drum riser, is one of my most treasured memories ("so often remembered
that the memories are worn", John Prine).
His style is totally unique. He's an intensely rythmic player, especially
when he plays by himself. Lots of whoops and hollers in that seamless
Sonny Terry fashion, lots of Madcat style "hup-pah" turbo charged chugs,
harp and vocals so interwoven you'd swear he is doing both at the same
time, usually playing some purcussion device with at least one hand, and
the whole time his HUGE size 3 million Doc Martens stomp out the beat.
And a *mean* tone when he wants it.
On that tiny plywood stage he had the whole structure bouncing and
crashing around. At one point he had both feet going, a set of spoons in
one hand, two tin camping plates in the other hand and his harp between
his teeth, singing "Beethoven's Mother's Blues", one of his funniest off
the wall songs. He's playing a ska version of Beethoven's 9th, gradually
building it up and adding phrases in, as if he's composing it on the fly,
pausing occasionally for the dialog,
Other great Rory songs are "Love Like a Rock" and ‘Farewell Welfare.’
Best album is probably "Footsteps and Heartbeats", on which he plays all
the instruments (and plays them well - including some awesome slide guitar
work).
Rory McCloud for Pope. If you see an album, buy it. If you get a chance
to see him live, do yourself as favour!
-- hugh
MOJO- The Music Magasine.
(September 2000 Issue)
FOLK ALBUM OF THE MONTH!
Rory McLeod
Mouth To Mouth
Ex-Circus clown and fire-eater McLeod showcases his eccentric and singular
talent on a typically eclectic double.McLeod's Blitzkrieg of originality should have made him a national icon long
ago. That he remains a mere cult hero in a specialist field has much to do
with his own incessant lust for adventure, reflected in a blaze of contrasting
musical and lyrical reference points which scarcely keep him in one place long
enough to milk any glory. Part Talking Blues, part world music visionary, he
switches from unexpected sentiment (Unlearning Song) to rampaging political
observation in a voice that makes Billy Bragg sound like a public School boy,
while skipping lightly through a musical history of the world. The First CD is
an especially moving Song Cycle, including telling contributions by ex-Anam
singer Aimee Leonard, an inspired re-working of Ewan Macoll's 'Joy Of Living'
and one epic, mind-boggling socialist anthem 'What would Jesus Do?
Inspirational.
(Colin Irwin)
FOLK ROOTS OCTOBER 2000 (number 208)
MOUTH TO MOUTH
A dazzling double album by one of our greatest mercurial talents. It's almost
too much to take in - 28 tracks, a veritable hurricane of ideas flooding at
you from all directions amid a startling torrent of words, sounds and style
gleaned from here, there and everywhere. All of which ultimately adds up to a
highly individual talent and a richly entertaining album with a massive range
of colours, most of them primary. There's ranting politics, touching
sentiment, humour, anger, love and hate and there's blues, rock, rap, jazz,
folk musical styles from various corners of the world.
One minute he's delivering a frenzied new take on Ewan Macoll's Sweet
Thames Flow Softly swapping buses for boats on London kisses; the next he's
taking on Macoll himself with a moving interpretation of the song Ewan wrote
as his own epitaph, The Joy Of Living.
Equally the kaleidoscope of music surrounding his passionate poetry is equally
dizzying……yearning bottle neck guitar on You Were Everywhere, trombone on
Cold War Of The Heart, full blooded harmonica at the intro to What Brings You
Here Tonight, A beat primitively banged out on tap shoes throughout the album.
Blues licks meeting African rhythms and turning both on their heads.
McLeod has never stood still long enough to be discovered, literally or
metaphorically. A gloriously instinctive performer in a category of one, Rory
follows his heart and his heart rarely lets him down as you discover while
attempting to hang on to his coat tails through the maze of energy and burning
whimsy he leaves in his tracks.
On Stranger-God he raps non-stop for nine minutes an involved,
bizarre tale of a strange Java legend about strangers, in that matey,
knockabout voice of his, while he plucks banjo and didgeridoo rumbles behind
him and it doesn't seem strange at all. On When Mum And Daddy Made Me he also
turns in a slightly cheesy elegy to the miracle of childbirth with a disarming
frankness that encompasses the very act of conception without a trace of self-
consciousness, and then sings the praises of woodwork over wailing harmonica
on Sandpaper Blues.
He's probably at his best, though, with his tail up, fury in his belly,
targeting prejudice and narrowmindedness with his blistering invective. The
hypocrisy of religious zealots from Paisley to the Ayatollah are hammered in
God Loves Me (" He is our God but he can't stand you ") and better still is
What Would Jesus Do, an epic which seems to encompass every protest song ever
written under one blazing roof.
Guests include Aimee Leonard, Conrad Ivitsky, Bob Morgan, B.J. Cole,
Ian Lothian, Mary Macmaster and Phil Budden, but this is incontrovertibly
McLeod's hour. And it's probably his finest.
MOUTH TO MOUTH Reviews by folks who bought the album.
After
the first listen our favourite track is definitely 'When Mum And Daddy Made
Me'. This has probably got something to do with the fact that we had a baby
girl ourselves six weeks ago, and she is certainly a 'sweet bundle of joy'.
I love it...its hard to fill a double album full of great songs, but somehow
Rory does it :) I don't take it out of the CD player, unless to put in the
2nd CD. I really like "The Unlearning Song", that would definately be my
favorite.
They sing well together! Other great songs are "Too old for the Orphanage"
and "Cold War of the Heart". All in all a well put together album, I never
get tired of listening too.
Love the honesty (like Leonard Cohen). I carry the words with me. Thanks
It's in my car CD on a semi-permanent basis as it lifts my spirits on the way
to work in the morning. Unfortunately I can't quite hit the high notes like
Rory and Aimee. We have many favorites; London kisses, A lover should teach a
lover, What would Jesus do, No regrets and We were dancing are so so good.
Love with a social conscience
and good humour.
I went to see Rory recently, in Oxford, not long after having ended my
relationship with the father of my son. I was at the gig with a man I had a
secret crush on...
The first song Rory played was about a couple who meet and fall in love, and
both have children from previous relationships, and after that he played
London Kisses. I was overwhelmed by the appropriateness of his songs to my
situation - and when he played 'When Mummy and Daddy made me' I felt so
optimistic about the future - what a great song.
Well, the story has a happy ending, and I ordered two copies of 'mouth to
mouth' from you, as the man I had a secret crush on turned out to feel the
same about me.
I suppose partly because of the emotional relevance to my life, I think Mouth
to Mouth is one of the best albums I've heard in years, but there is something
a bit special about the songs - a different kind of love to the saccarine
trash on the radio, and some bitter sweet and tragic bits hidden between
happy, easy going ideas. I love it.
'Whistling in the dark' is a particularly poignant submission, which is like
an old friend who you haven't seen for many years, yet it seems as though the
friend hasn't aged at all. The term full circle springs to mind.
I was suprised to see all of my favourites there. Particularly London Kisses,
When Mum and Daddy and Patron saint. As for the rest...... well I'm not really
worthy. A truly beautiful and funny and moving and, and , and......What can I
say. Great stuff.
And as for Amiee. You have yourself a wonderful asset. She is a real treasure
and each time we come to see you, you're both just sounding better and better.
Music and lyrics like I've never heard before. A constant source of pleasure
and understanding. Passionate yet angry. A great singer and musician - there's
no comparison.
It arrived yesterday, and is wonderful. It plays like a long musical poem,
with all those harp riffs and rhythms that is unmistakeable in its
originality.
yes we do like it - especially the
addition of pedal steel/dobro/bodhran.
Mouth to Mouth arrived today --- wow what a terrific sounding record
Stranger God has got to be one of the abum's show pieces.
big open warm sound. Aimee's vocals
and bodhran sound excellent and fit in perfectly with Rorys' songs
What an incredible variety of song stories, emotional expressions of yourself,
other people and the many situations - all richly rooted in your world travels.
So much hypocrisy and drivel has been sung over the decades about the great
man Jesus, its so refreshingly different to hear your views behind your "What
would Jesus Do" song. I think you should allow internet viewers hear this song
free over Xmas, or better on his real birthday date -the 7th of March.
I love
it. It is my morning music! It gets me going for the day. Singing. Dancing.
Whistling, in a half-assed happy way! Thank you so much. And the pictures
never fail to make me smile.
"What would Jesus do" reminds me about why we are here. My 'Heaven on
Earth' and your's sound so much the same. "Whistling in the Dark" just
made me want to hug you. We just keep travelling and who knows who's
steering. I try to keep on course but sometimes the wind blows us to
unexpected places. Even there we sometimes achieve unexpected things and
chart new and suprising ways home.Every place we go can be moved a touch closer to our 'Heaven' just by us
being us, there, talking, sharing and being. Especially amongst the
young people who are still searching. Sometimes just one person and
sometimes alot.
Music and lyrics like I've never heard before. A constant source of pleasure
and understanding. Passionate yet angry. A great singer and musician - there's
no comparison.
I guess my two favorites are a Lover should teach a Lover and Unlearning song -
Aimee's voice mixed with Rorys sounds other worldly it's really very special -
but like I said - very sad.
God Loves Me - well I live in the thick of redneck Australia so that strikes a
cord!
What would Jesus do? - yeah I agree with you. What would Jesus do about what's
happening to the Aborigines here I wonder - the death rate (suicide,
hopelessness, premature every illness) exceeds the birth rate in our part of
the world - so the government will have it's way and achieve 'assimilation' by
annihilation.
the Joy of Living is gorgeous
London Kisses took me back to the Tower blocks we lived in….and that full
time - makes me think of friend Maggie managing to decorate half of our flat
at Hermes in about 10 minutes flat.
I deeply enjoyed the new album, my favourite track is What Jesus
would do and Unlearning song is a true masterpiece.
I was coming back from this weekend's Piper's Gathering at Horth Nero
{please fell free to switch the first letters . . . I couldn't} and had my
first real listen to your new disc.
Holy Shit . . . . It f#%kin rocks and rolls through me ! I love it ! ! !
I haven't even gotten through the whole thing yet for kicking it back to
repeat a track and sing along again and again . . . I wonder if you'll
mind me performing some of your songs ?
I'm learning " Too Old For The Orphanage " and I want to do "God Loves Me"
but that'll take a bit more time !
Thank you so very much for this important album
LIVING TRADITION
A wonderfully vibrant assured quality prevails throughout and there's little
to complain about here. Seeing Rory live is invariably a life affirming
experience and this recording captures that invigorating sense of clout fairy
successfully. You should clear some space in the "M" Section of your CD
shelving for this one.
Clive Pownceby
BRAVE FACES.
The Daily Telegraph
Arts review August 13th 2005.Listening to Rory McLeod is like taking a long journey, not a simple motorway
dash but a bumpy, winding haul in which the scenery changes often and is not
always pretty.
His music is harder to define.
It ranges from the irresistible to the overbearing. McLeod’s version of Hank
William’s Rambling Man, for example, is close to perfection, but while modern
historians might pore over his epic account of the 1911 Burston School Strike,
others will just be exhausted.
For confirmed fans, the 19 tracks will reflect the generous spirit of a hard-
working, one-man band who never short changes his audience. With iPod editing
or old fashioned fast forwarding, the rest will cut it down to essentials and
still find plenty to enjoy.
by Colin Randall
"I permanently damaged my spine carrying heavy loads, but I found a wonderful
doctor, when I couldn't afford the operation, he touched up the X-rays."
--
Don't seem to get time to read enough at all. I drive a lot and the kids keep me busy. Books I remember enjoying or being moved by. Grapes of Wrath, Ned Kelly, The Bone People, Hanta Yo, Bound For Glory Woody, The shipping News- I enjoyed the language and read it while I was in Newfoundland where it's set, Dostoyevskis Crime and Punishment. The Crucible, actually reads well even though it is meant to be staged as a play, it's wonderfully constructed.
3/Who was/is your greatest influences? My family, kids and best friend and partners. All soul singers. From Louis Armstrong, Duke Ellington, Bob Marley, to Hank Williams and Sam Cooke and my Family, Woody guthrie, Ry Cooder, Jacqueline Dupree, Jerry Douglas, Mahummud Ali, Bob Marley, Joe Hill, John Maclean, victor Jara, Che Guevara, Bill withers, John Prine, Duke Ellington, Hamish Henderson, Tom Paine, Fransisco goya, Honore Daumier, William Blake, Frida Kahlo, Paul robeson, My mates, John Lennon, Beatles, Blind willie Johnson, Charlie Patton, Muddy waters, robert Johnson, The Persuasians, Stevie Wonder, Marc Ribot, Billy holiday,Emma Goldman, John Coltrane, Studs Terkel, Marco Polo, Leonard Bernstein, Nat turner, Sojourner truth, Nelson Mandela, My Grandma.