Goodreads – Book review – God’s Bolt

Posted on by Opher

Book review: God’s Bolt, by Ron Forsythe

When a novel begins with the total destruction of Earth and everyone on it … where do you go from there?

In God’s Bolt, Ron Forsythe goes to the only survivor: scientist Helen Southcote. Alone on a United Nations sponsored space station, she has to witness the asteroid impact that destroys the world, and live with the knowledge that she’s the only survivor.

She doesn’t handle it well.

Helen’s only companion is an Artificial Intelligence running the station that she doesn’t really like, and her only comfort the knowledge that the search for intelligence elsewhere, her life’s obsession, was successful: There is life out in the rest of the galaxy. Unfortunately, it’s so far away that it’s no hope of rescue, and unlikely to even know of the Earth’s destruction.

God’s Bolt by [Ron Forsythe]

https://www.amazon.com/Gods-Bolt-Ron-…

For the rest of the novel Forsythe flashes back to Helen’s life, the creation of the space station’s A.I., and the discovery of the massive asteroid that sneaks up on Earth, along with efforts to divert it. At the same time we follow Helen’s recovery from despair. She’s seen her friends and family all die, and is now stranded on a space station that can never land. The best she can hope for is to survive, alone, and watch the world burn beneath her.

Not the most upbeat life in the world. Still, God’s Bolt is fascinating in the same way so many disaster stories are, even if the “Who will live?” question seems settled right from the beginning. The writing can be repetitive at times, especially when it comes to Helen’s breakdown and the fight against the asteroid–I couldn’t help thinking it wasn’t necessary to say it was huge so many times, for instance. But it was an interesting, optimistic, look at what the world could be in a century and a half or so. Interesting enough that I was sad to see it go!

Helen is the main viewpoint character in God’s Bolt, and I found her well rounded, especially as we get to follow her through her life and dedication to the search for extraterrestrial intelligence. That’s a subject I assumed was an unnecessary side story, but just about everything is tied up at the end.

I also found the efforts to stop the disaster, complete with infighting in the world’s government and the rise of a doomsday cult, to be fascinating, even knowing their efforts would ultimately fail. All in all a fun read, or at least as fun as planetary Armageddon can be.

By the way, improbably … there’s a sequel.

Lisa Torem review: Bob Dylan – Bob Dylan 1962 to 1970 : Every Album, Every Song – Opher Goodwin

Posted on by Opher

Bob Dylan – Bob Dylan 1962 to 1970 : Every Album, Every Song

  by Lisa Torem

published: 19 / 1 / 2024
Bob Dylan - Bob Dylan 1962 to 1970 : Every Album, Every Song

intro

For her ‘Raging Pages’ column, Lisa Torem gives ‘Bob Dylan 1962 to 1970 : Every Album, Every Song’, Opher Goodwin’s new book on Dylan’s studio work high marks.

Opher Goodwin “taught the first ‘History of Rock Music’ class in the UK” and had the good fortune of catching Sixties acts, including Pink Floyd, Jimi Hendrix, The Doors and Captain Beefheart, during his time in London, “the epicentre for the underground explosion of rock music and culture” according to his recent press release. His subject, Bob Dylan, the Hibbing, Minnesota-born troubadour, who has often been championed as North America’s incomparable poet laureate, greatly influenced John Lennon, particularly on the dreamy ‘Strawberry Fields Forever’ and literary-minded Suzanne Vega. Goodwin was originally dismissive of Dylan’s work – “We weren’t big on ‘folk’ music,’ he shares about his relationship with a then-friend, in the introduction. That statement, alone, piqued my interest, causing me to ask myself, ‘What, then, turned Goodwin into a super fan?’ But as I pored through the book, I easily discovered how the author’s evolution took place. Dylan’s early inspirations include no-holds-barred storyteller Woody Guthrie, soulful singer/guitarist Odetta, and oddly, “Be Bop a Lula” singer Little Richard. As such, one of Dylan’s chief goals was to befriend Guthrie, and on early albums, he would sharply mirror Guthrie’s talking-blues style. Goodwin also notes that Dylan’s rise to popularity in New York’s Greenwich Village came with a price. Being considered the voice of a generation “irritated him no end” and “heaped tension on his shoulders.” This conundrum would bedevil Dylan throughout his career. Radical French poets Rimbaud, Baudelaire and Verlaine would partially quench Dylan’s desire for dark, sensuous detail, before he embraced Beat poet Allen Ginsberg. Goodwin cites examples of how Dylan would, many times over the course of his career, reimagine himself, to the chagrin of his early fans. At the 1965 Newport Folk Festival he was considered a turncoat when he blasted his electric guitar. Similarly, when on his album ‘John Wesley Harding’ he dared to enter the Americana realm, he tried the patience of the tried-and-true. And again, as the counter-culture gathered steam, Dylan was called upon to lead the flock. He decried such thoughts of attachment. ‘Nashville Skyline’ honoured his new image, or lack thereof, for he had given the boot to corduroy caps and faded jeans. His times were ‘a-changin’, and so was he. Dylan’s discography reveals debut album covers by Jesse Fuller, Blind Willie Johnson, Bukka White and Blind Lemon Johnson, et al, arranged instrumentally with hard-picking plectrum and mournful blues-harp. His sophomore album was a sea-change. His labelmates had turned him on to a roster of trailblazers, and he began to scribe protest-songs oozing with unbridled conviction. ‘Blowin’ in the Wind’ and ‘Masters of War,’ “the ultimate anti-war song,” would become period-pieces. ‘A Hard Rain’s a-Gonna Fall’ “never fails to engage.” The author vehemently states: “No matter how many times you hear it there is always something new to discover or wonder at.” With the same razor-sharp focus, Goodwin ushers us through Dylan’s 1962-1970 discography, I highly recommend this well-researched book. That Dylan has achieved folk-rock royalty status is undisputed, but reading about his climb to studio self-actualisation answers a series of burning questions.

Thank you Lisa!!

Captain Beefheart On Track; Every Album, Every Song

Posted on by Opher

  by Nicky Crewe

Longtime Beefheart enthusiast Opher Goodwin has researched and written an essential reference work for fans old and new. Nicky Crewe takes us through the pages

It could be argued that we can now expect the internet to provide the answers to our curious questions on any topic, but sometimes it’s important to know what questions to ask, and whose information to believe. That’s where the ‘Every Album, Every Song’ series from Sonicbond Publishing steps in. The series is a great resource for those who want to know more about the music and musicians they admire and love. Written by fans who dig deep into the archives and their own experiences, these slim volumes pack a huge amount between the covers. In this one, Opher Goodwin shares some of his own life-changing encounters with Captain Beefheart and his music, coming right up to date with the Magic Band tours of 2014 and 2017. He sets Beefheart’s music and legacy into context, socially and culturally – in his case, John Peel’s radio programme and a significant 1967 London gig at Middle Earth meant he never looked back. Goodwin doesn’t avoid the difficult aspects of Beefheart’s behaviour towards members of his band, especially during the ‘Trout Mask Replica’ era. Some of the stories are as discordant and disturbing as the music they produced. Credit is also given to the roles played by John French, Ry Cooder and Frank Zappa in building Beefheart’s success and lasting reputation and relevance. He both researches and reviews this music that continues to inspire and influence, setting it in context, unpicking some of the stories and myths that have built up around the man and his chosen musicians. As the author his task is to listen with attention to every track: what an amazing opportunity. My own love of Beefheart’s music followed a similar trajectory. I first heard ‘Electricity ‘on the jukebox at the Magic Village, Roger Eagle’s cellar club in Manchester in 1968, and was blown away. I was then introduced to ‘Trout Mask Replica’ and ‘Safe As Milk’. Beefheart’s music may have been an acquired taste, but it was one I acquired quickly. I saw the band at the Bickershaw Festival in 1972, as I was working in a wholefood catering tent right next to the stage. No sleep possible! Roll on another year and I was in a band managed by Roger Eagle (later responsible for Eric’s in Liverpool). Not only did he promote Beefheart’s tours in the UK, but the two of them became close friends, sharing a love of blues music and a similar stature and approach to life. Through Roger, I was invited on the tour bus whenever I was free and got to see much of the ‘Clear Spot ‘tour. I took this opportunity for granted at the time. Many of my friends were musicians, in bands with varying degrees of success. I still have my gifted copies of ‘Spotlight Kid’ and ‘Clear Spot’ from those days, and over the years I have come to realise how privileged and fortunate I was to have had such an adventure. I followed Beefheart’s new releases for many years, but for me those two albums stand out. They contained songs that were unexpectedly tender and poetic, as well as harking back to the delta blues that Beefheart was so influenced by, and they are forever associated too with that particular period of my young life. Sometimes when I walk in to a cafe, club or shop, I unexpectedly hear one of Beefheart’s songs. My heart leaps: it’s a little piece of magic for the day. It happened to me last week with ‘Too Much Time’, which led to a conversation with a young barista, about the same age now as I was when I met Captain Beefheart and the Magic Band. It’s fantastic that people are still discovering him, still sharing his music, as his legacy continues to grow. Opher Goodwin’s book covers the official albums, the compilations, rarities and bootlegs and the live albums. There’s information about the offshoot band Mallard, and the reformed Magic Band, and the solo projects of all those who passed through that legendary band. There’s even a section on tributes and covers. Sometimes I wonder if you can know too much: when I was 16 I didn’t need to know the hows and whys to respond to the music, the voice, the presence and the genius, but now I find those back stories fascinating, and I owe Opher Goodwin my thanks.

Bob Dylan 1962 to 1970 : Every Album, Every Song

Posted on by Opher

For her ‘Raging Pages’ column, Lisa Torem gives ‘Bob Dylan 1962 to 1970 : Every Album, Every Song’, Opher Goodwin’s new book on Dylan’s studio work high marks.

Opher Goodwin “taught the first ‘History of Rock Music’ class in the UK” and had the good fortune of catching Sixties acts, including Pink Floyd, Jimi Hendrix, The Doors and Captain Beefheart, during his time in London, “the epicentre for the underground explosion of rock music and culture” according to his recent press release. His subject, Bob Dylan, the Hibbing, Minnesota-born troubadour, who has often been championed as North America’s incomparable poet laureate, greatly influenced John Lennon, particularly on the dreamy ‘Strawberry Fields Forever’ and literary-minded Suzanne Vega. Goodwin was originally dismissive of Dylan’s work – “We weren’t big on ‘folk’ music,’ he shares about his relationship with a then-friend, in the introduction. That statement, alone, piqued my interest, causing me to ask myself, ‘What, then, turned Goodwin into a super fan?’ But as I pored through the book, I easily discovered how the author’s evolution took place. Dylan’s early inspirations include no-holds-barred storyteller Woody Guthrie, soulful singer/guitarist Odetta, and oddly, “Be Bop a Lula” singer Little Richard. As such, one of Dylan’s chief goals was to befriend Guthrie, and on early albums, he would sharply mirror Guthrie’s talking-blues style. Goodwin also notes that Dylan’s rise to popularity in New York’s Greenwich Village came with a price. Being considered the voice of a generation “irritated him no end” and “heaped tension on his shoulders.” This conundrum would bedevil Dylan throughout his career. Radical French poets Rimbaud, Baudelaire and Verlaine would partially quench Dylan’s desire for dark, sensuous detail, before he embraced Beat poet Allen Ginsberg. Goodwin cites examples of how Dylan would, many times over the course of his career, reimagine himself, to the chagrin of his early fans. At the 1965 Newport Folk Festival he was considered a turncoat when he blasted his electric guitar. Similarly, when on his album ‘John Wesley Harding’ he dared to enter the Americana realm, he tried the patience of the tried-and-true. And again, as the counter-culture gathered steam, Dylan was called upon to lead the flock. He decried such thoughts of attachment. ‘Nashville Skyline’ honoured his new image, or lack thereof, for he had given the boot to corduroy caps and faded jeans. His times were ‘a-changin’, and so was he. Dylan’s discography reveals debut album covers by Jesse Fuller, Blind Willie Johnson, Bukka White and Blind Lemon Johnson, et al, arranged instrumentally with hard-picking plectrum and mournful blues-harp. His sophomore album was a sea-change. His labelmates had turned him on to a roster of trailblazers, and he began to scribe protest-songs oozing with unbridled conviction. ‘Blowin’ in the Wind’ and ‘Masters of War,’ “the ultimate anti-war song,” would become period-pieces. ‘A Hard Rain’s a-Gonna Fall’ “never fails to engage.” The author vehemently states: “No matter how many times you hear it there is always something new to discover or wonder at.” With the same razor-sharp focus, Goodwin ushers us through Dylan’s 1962-1970 discography, I highly recommend this well-researched book. That Dylan has achieved folk-rock royalty status is undisputed, but reading about his climb to studio self-actualisation answers a series of burning questions.

Bob Dylan – Bob Dylan 1962 to 1970 : Every Album, Every Song

Thanks for all the reviews and ratings – greatly appreciated!

The Afterword review – Phil Ochs book

Posted on by Opher

It’s always great to read a review on any of my books. This one came from The Afterword:

Phil Ochs On Track: Every Album, Every Song: Amazon.co.uk: Opher Goodwin: 9781789523263: Books

I have to confess I know little about the work of Phil Ochs other than a vague familiarity with the name. At one time considered a rival to Dylan, his protest songs in the sixties touched on topics such as the Vietnam War, civil rights and social injustice, before he ultimately took his own life in 1976. If you want a concise but fact packed history of the man and his music and the causes close to his heart then this is just the book for you.

On Track – Rush 1973 – 1982 / Sparks 1969 – 1979 / Phil Ochs

Review by Mark Hughes for DPRP Mag – Opher Goodwin — Roy Harper: On Track… Every Album, Every Song book

Posted on by Opher

Thanks Mark!

I do enjoy reading the reviews for the book. Gives me a boost! Thank you to all who leave reviews on Amazon and Goodreads. Means a lot!!

Opher Goodwin — Roy Harper: On Track… Every Album, Every Song

Opher Goodwin - Roy Harper: On Track... Every Album, Every Song

info:

 sonicbondpublishing.co.uk

Mark Hughes

Another title in the rapidly growing list of books published by SonicBond, this time featuring original maverick and friend to a guitar rock god or two, Roy Harper.

As a long-standing Harper fan I know that tackling his discography is not a task for the faint-hearted. With albums going in and out of print, reissues, alternative versions and limited editions, there is a lot to get to grips with. Thankfully Goodwin handles everything with aplomb, clarifying where extra tracks on various re-releases originally stemmed from and where they fit into Harper’s recording chronology. It makes it easy to disentangle the frequently messy and confusing slew of releases from a prolific writer.

Of course, it helps that Goodwin has been friends with Harper since 1967, just after the release of Harper’s surprising debut album Sophisticated Beggar; surprising in that it eschewed the folk and blues numbers that Harper had gained a reputation for from his busking and folk club performances and comprised all-original material. Perhaps more startling was that it also featured a full band in places, not what the folk crowd that had primarily been his audience up to that point had been expecting. These were the first signs that Harper would stick to his own plans and not be pushed into doing what others necessarily wanted or expected.

What will be alien to modern bands is the fact that Harper’s first two albums, released on different labels, were both commercial failures. Yet the musical environment of the time meant that it was the music that mattered and the lack of commercial appeal was not considered a black mark against the artist. He found a longer-lasting home on Harvest Records for his third album, Flat Baroque And Berserk, the first of seven essential albums he recorded for the label over the next decade.

Goodwin’s personal memories and analysis of the songs and albums adds a lot to the book and offer insights that keep things interesting, more than some other titles in the series in being a sterile list of songs. Harper was never an artist that was likely to trouble the singles chart but he did consistently release such items. Although a lot of the songs unique to the format, particularly from the earliest years, have been compiled and re-issued, his b-sides remain some of the hardest items to locate for the collector. In that respect this book is a valuable guide to what was released, and in some cases what has not been released, both of which can be quite frustrating for the searching completist!

I would have liked to have seen a bit more on the live Roy Harper as, despite the brilliance of the studio output, it was on stage that Harper excelled. As at least a couple of the official live albums were assembled from a multitude of recorded concerts, there is potentially a lot of recorded material that remains locked in the vaults. However, considering that recording details and locations were omitted from Inbetween Every Line as all the tapes were mixed up and it wasn’t deemed necessary to sort them out, it could be a major task sorting them out if, indeed, they still exist.

Despite his long recording career, there doesn’t appear to be much studio material left languishing in the vaults and it seems increasingly unlikely that Harper will return to the studio to record a new album, despite how well his last album, 2013’s Man And Myth was received. So it is from these putative live archives that any future releases will presumably be drawn.

As such, this volume can be assumed to be as complete a record of the musical legacy of one of Britain’s finest and most idiosyncratic singer-songwriters as you are likely to find. Written in a relaxed and enjoyable style, it is an easy-to-read volume that will introduce, and re-introduce, the reader to the delights of the Harper catalogue. I certainly dug out a few of his lesser-played albums from my collection and listened to them in a new light after reading the book. And if that is not recommendation enough, I don’t know what is.

Now, back to searching for the missing items. Anyone know where I can find Goodbye Ladybird?

Great Martin Burns Review of Bob Dylan book for DPRP Magazine.

Posted on by Opher

Great Martin Burns Review of Bob Dylan book for DPRP Magazine.

Opher Goodwin — Bob Dylan 1962 to 1970

country:  UK

year:  2023

Opher Goodwin - Bob Dylan 1962 to 1970

info:

 sonicbondpublishing.co.uk, Instagram, ophersworld.com

8

Martin Burns

Another in the Sonicbond’s On Track series; this time looking at Bob Dylan’s work from his beginnings as a Woodie Guthrie acolyte, through the media-driven frenzy of the “Voice of a Generation” (an epithet that annoyed him enormously), onto the drug-fuelled, electric “Judas period”. We finish in the rehab of the reclusive family man and his temporary re-invention as a country singer.

Opher Goodwin, author of 2022’s On Track: Captain Beefheart book, has now tackled the thornier topic of Bob Dylan 1962 to 1970. He goes album-by-album through the eleven studio releases in that period, as well as covering additional tracks associated with those albums. He also has a chapter on the welter of bootlegs (official and unofficial) that has followed Dylan through his career.

Goodwin starts with an excellent, short introduction. Fleshing out the origins of the Dylan persona. A persona that is slippery and hard to pin-down fully. He is a character that evolved through a lot of self-mythologising. Goodwin tries hard with the unenviable task of trying ‘to unravel the man from the myth’ but it is near impossible to find a complete solution to this conundrum.

There is little connection between Dylan’s music and progressive rock, as his focus was and is on blues, r&b, folk, 1950s rock’n’roll and the American song book. However, arguably, there is a link between his masterful lyrical wordplay, and in his opening-out frol the three-minute straight-jacket of popular music.

From the release of Like A Rolling Stone, a 6 minute 11 second single, the world of popular music rapidly began to blossom and become more complex. Witness the change in The Beatles, who, influenced by Dylan, moved from their rock’n’roll and pop to (four years or so later) releasing Strawberry Fields Forever and more.

Dylan’s lyrics may have had an influence on prog-rock in that I can’t imagine the flights of wordsmithery of Jon Anderson in Yes, nor the prose poems of Peter Hammill‘s solo and with Van Der Graaf Generator, without the freedom afforded by the general changes in popular music, helped in no small way by Dylan.

Goodwin gives a readable and concise take on Dylan’s music, not hiding his fandom, nor so blinkered that he can’t criticise the poor albums Dylan released in the last years of the 1960s. If you want to dip into Dylan, but don’t know where to start, then Opher Goodwin’s On Track…Bob Dylan 1962 to 1970 is a great roadmap to the commencement and growth of the Dylan enigma.

https://www.youtube-nocookie.com/embed/a6Kv0vF41Bc

Thank You Martin – Much appreciated!

Sha

On Track – Bob Dylan 1962-1970 – The Afterword Review

Posted on 

On Track – Bob Dylan 1962-1970

07/08/2023 by Bargepole 9 Comments

Author:Opher Goodwin

The sixties isn’t my favourite run of Dylan albums – I’m more of a seventies sort of guy – but it does contain some of my favourite Dylan songs – Visions of Johanna, Chimes of Freedom, It’s Alright Ma, It’s All Over Now Baby Blue to pluck out a few – in fact I’d forgotten just how many there are, and a good best of compilation or Spotify playlist covering these years is essential listening while reading this book.. Of course, there have been plenty of books analysing every word of Dylan’s lyrics, but this does a fine job of providing a potted history of the songs written in that period without getting bogged down in too much detail and interpretation. One thing the book has done is made me relisten to those albums again. I really enjoyed this one, well written and put together and ideal for the more casual fan of Dylan.

Thanks guys!!

Bob Dylan 1962 to 1970 On Track (Decades) by Opher Goodwin (amazon.co.uk)

DPRP Review – My Beatles White Album book!

Posted on by Opher

Thanks to Jan for a brilliant review!

The Beatles: White Album – Rock Classics: Amazon.co.uk: Opher Goodwin: 9781789523331: Books

Opher Goodwin - Rock Classics: The Beatles - White Album

info:

 sonicbondpublishing.co.uk, Facebook, sonicbondpublishing.co.uk

8

Jan Buddenberg

If one band needs no further introduction then this must surely be The Beatles. Just mention the names of the Fab Four, their countless timeless compositions, and their groundbreaking Sgt. Pepper’s Lonely Hearts Club Band and Abbey Road albums, and I’m sure many events, other milestone albums and miscellaneous facts involving The Beatles will come flooding back into memory. Surprisingly, for me, this didn’t include their ninth album The Beatles. Their 1968 effort which is best known as The White Album.

Here to make me never forget about this earliest of proto-prog albums comes author Opher Goodwin with his expertly told and in depth reconstructed Rock Classic interpretation on the album.

Living to tell the tale first-hand, Goodwin, aged 19 in 1968, starts of by painting the rural 60s with great cultural insight. And following a sum up of preceding singles (Strawberry Fields Forever, All You Need Is Love, Lady Madonna, Hey Jude) and other ventures like the Magical Mystery Tour and Yellow Submarine movies, quickly arrives at the challenges that The Beatles were facing prior and during the recordings of The White Album.

Well researched and comprehensively told with plenty of interesting historic details, Goodwin elaborates on The Beatles’ growing wealth, their new-found spiritualism, the individual marital changes of McCartney and John Lennon (enter Yoko Ono) and the disastrous sudden passing of their manager Brian Epstein which left the band fairly rudderless in approach to The White Album.

Just how directionless becomes perfectly clear in the 50+ pages that Goodwin objectively devotes to The White Album. Loaded with biographical information it is this lengthy chapter that creates a clear understanding towards the gradually forming split between the various Beatles members, and the resulting eclectic/fragmentary (take your pick) outcome of the album.

Sharing all the ins and outs on the making of the album this includes the thoughts behind the album cover, the various lyrical topics, Eric Clapton’s involvement on George Harrison’s composition While My Guitar Gently Weeps, and the many takes done before songs were finally approved for album inclusion. As well as a complete insightful rundown of songs that next to pop songs like Back In The USSR and Ob-La-Di, Ob-La-Da includes tracks that touch upon such genres as folk, country rock, British blues, proto-metal (Helter Skelter) and the avant-garde (Revolution 9).

Add to this Ringo Starr’s two week Beatles-divorce, Yoko Ono’s studio invasion, the walk out of producers, and the fact that only 16 of the 30 recorded tracks actually included all four Beatles members, and it’s almost a miracle that The White Album was ultimately finalised. Much like the view of critics and listeners who rate the release to be one of the greatest albums of all time.

Successfully teasing readers to further investigate by mentioning demos, outtakes, the excluded album-related gem Not Guilty which they worked on for 102 takes, and related topics such as the Plastic Ono Band  and cult leader/murderer Charles Manson’s obsession with several album songs, I find Goodwin’s substantiated narrative to end somewhat abruptly and not fully rewarding towards my own accumulating curiosity of what happened to The Beatles afterwards. An aspect Goodwin apart from a few words about the album’s legacy doesn’t particularly elaborate upon.

Personal preferences aside: Opher Goodwin’s book does exactly what it is supposed to do. It enthuses willing musical guinea pig readers like myself and those generally interested in music to explore the album. And all together offers a captivating in-depth and well-written analysis of The Beatles’ biggest-selling album to date. Simple conclusion: job well done!

https://www.youtube-nocookie.com/embed/q_ML0xjiBm0

Opher Goodwin – Captain Beefheart On Track; Every Album, Every Song

Posted on by Opher

  by Nicky Crewe

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Opher Goodwin - Captain Beefheart On Track; Every Album, Every Song

intro

Longtime Beefheart enthusiast Opher Goodwin has researched and written an essential reference work for fans old and new. Nicky Crewe takes us through the pages

It could be argued that we can now expect the internet to provide the answers to our curious questions on any topic, but sometimes it’s important to know what questions to ask, and whose information to believe. That’s where the ‘Every Album, Every Song’ series from Sonicbond Publishing steps in. The series is a great resource for those who want to know more about the music and musicians they admire and love. Written by fans who dig deep into the archives and their own experiences, these slim volumes pack a huge amount between the covers. In this one, Opher Goodwin shares some of his own life-changing encounters with Captain Beefheart and his music, coming right up to date with the Magic Band tours of 2014 and 2017. He sets Beefheart’s music and legacy into context, socially and culturally – in his case, John Peel’s radio programme and a significant 1967 London gig at Middle Earth meant he never looked back. Goodwin doesn’t avoid the difficult aspects of Beefheart’s behaviour towards members of his band, especially during the ‘Trout Mask Replica’ era. Some of the stories are as discordant and disturbing as the music they produced. Credit is also given to the roles played by John French, Ry Cooder and Frank Zappa in building Beefheart’s success and lasting reputation and relevance. He both researches and reviews this music that continues to inspire and influence, setting it in context, unpicking some of the stories and myths that have built up around the man and his chosen musicians. As the author his task is to listen with attention to every track: what an amazing opportunity. My own love of Beefheart’s music followed a similar trajectory. I first heard ‘Electricity ‘on the jukebox at the Magic Village, Roger Eagle’s cellar club in Manchester in 1968, and was blown away. I was then introduced to ‘Trout Mask Replica’ and ‘Safe As Milk’. Beefheart’s music may have been an acquired taste, but it was one I acquired quickly. I saw the band at the Bickershaw Festival in 1972, as I was working in a wholefood catering tent right next to the stage. No sleep possible! Roll on another year and I was in a band managed by Roger Eagle (later responsible for Eric’s in Liverpool). Not only did he promote Beefheart’s tours in the UK, but the two of them became close friends, sharing a love of blues music and a similar stature and approach to life. Through Roger, I was invited on the tour bus whenever I was free and got to see much of the ‘Clear Spot ‘tour. I took this opportunity for granted at the time. Many of my friends were musicians, in bands with varying degrees of success. I still have my gifted copies of ‘Spotlight Kid’ and ‘Clear Spot’ from those days, and over the years I have come to realise how privileged and fortunate I was to have had such an adventure. I followed Beefheart’s new releases for many years, but for me those two albums stand out. They contained songs that were unexpectedly tender and poetic, as well as harking back to the delta blues that Beefheart was so influenced by, and they are forever associated too with that particular period of my young life. Sometimes when I walk in to a cafe, club or shop, I unexpectedly hear one of Beefheart’s songs. My heart leaps: it’s a little piece of magic for the day. It happened to me last week with ‘Too Much Time’, which led to a conversation with a young barista, about the same age now as I was when I met Captain Beefheart and the Magic Band. It’s fantastic that people are still discovering him, still sharing his music, as his legacy continues to grow. Opher Goodwin’s book covers the official albums, the compilations, rarities and bootlegs and the live albums. There’s information about the offshoot band Mallard, and the reformed Magic Band, and the solo projects of all those who passed through that legendary band. There’s even a section on tributes and covers. Sometimes I wonder if you can know too much: when I was 16 I didn’t need to know the hows and whys to respond to the music, the voice, the presence and the genius, but now I find those back stories fascinating, and I owe Opher Goodwin my thanks.

Review – Bodies In a Window

Posted on by Opher

4.0 out of 5 stars Only Connect!Reviewed in the United Kingdom on 31 July 2018

A very human moment of painful insight and personal crisis launches this intriguing multi-layered story. Several apparently disparate lives are examined through episodic and frankly-confessional first-person accounts which in their very different ways explore the question of how far we are free and how much we are constrained. How are we connected and what if we could see through the eyes of others? The style is fast-flowing, the language direct and uncluttered. As the old 50s cop show proclaimed: All human life is here! In this case, life and death …

Bodies in a Window: Amazon.co.uk: Goodwin, Opher: 9781986269544: Books