Excerpt from ‘Neil Young 1963 to 1970: Every Album, Every Song (On Track…)’

Excerpt from ‘Neil Young 1963 to 1970: Every Album, Every Song (On Track…)’

I’ve been a huge fan of Neil’s right back to the early days – The Buffalo Springfield and his solo career. I’d bought all the records and read everything. He was one of my big heroes. So when I was offered the contract to write the book I jumped at it. In the months it took me to write the book I completely immersed myself in Neil. I read the books, interviews and played every single track, researching and analysing. I loved every minute and, though I thought I knew everything, the research uncovered all manner of depths and insights. It felt at times like I was uncovered a lost city in the depths of a jungle. Fascinating. Anyway, this is the end product:

Except:

Neil had heard that Stills was in LA looking to form a band. The logical thing to do, obviously, was to pawn the Mynah Birds equipment, bought for them by their manager John Craig Eaton, buy a 1952 Pontiac hearse, Mort 2, and head for California where it was all happening. So that’s what he and Bruce Palmer did.

   Stills had been doing session work in LA and had been promised a deal if he could put a band together. He’d already recruited one member – Richie Furay. The winds of fate blew a pleasant breeze, tinged with LA smog, onto Neil’s face as he sailed into Los Angeles looking for Stills. One can only imagine what was going through the minds of those young 21-year-olds: cool, hip, running on dreams and optimism. I can visualise the two of them floating down the fabled Sunset Boulevard in LA in their hearse – digging all the possibilities that lay ahead – cruising along the most famous boulevard in the world, grooving on the vibe, soaking up the scene. They were two young, hip and horny lads in the heart of where it was happening, with pockets full of possibilities, looking for fun and adventure, looking to seize every opportunity coming their way in a hearse. Pretty cool. This is where the hearse plays an important part in the story.

   They searched the clubs for a week and were running out of luck and money, but there was no sign of Stills. Broke and bereft of ideas, they finally decided that the only thing left to do was to cut their losses and head back to Toronto. Neil and Bruce were downhearted, heading out of LA, dreams shattered, with one last drive down Sunset. Who should come cruising by in the opposite direction? – none other than Stephen Stills and Richie Furay. They recognised the black hearse with the Ontario plates and both realised that it could be none other than Neil. Stills threw his car into an illegal U-turn and caught up with that hearse. Neil heard this voice bellowing out, ‘Neil. Is that you?’ They pulled off the road into a supermarket car park. I can picture that joyous reunion. A meeting of minds. They’d finally reconnected.

   Stills was super excited about putting the band together. They played Neil their arrangement of ‘Nowadays Clancy Can’t Even Sing’ and it clicked. They dragged in Dewey Martin, already a veteran from various garage rock bands, having played with Roy Orbison and country bands like the Dillards and Patsy Cline. The line-up was complete and they set about producing music. The chemistry worked.

Neil Young 1963 to 1970: Every Album, Every Song (On Track…): Amazon.co.uk: Opher Goodwin: 9781789522983: Books

Sgt Sunshine from the album Folkjokeopus by Roy Harper

Roy Harper: Every Album, Every Song (On Track), Paperback

Sgt Sunshine

The band starts the album off by launching into an upbeat rendering of Sgt Sunshine. This sets a storming pace, with Roy’s voice soaring above in a near falsetto singing ‘Sunrise’. Right from the opening notes the song has a rockier feel than any of the tracks on Come Out Fighting Ghengis Smith. It is quite a band, particularly with the great Nicky Hopkins on keyboards. The recording has a brighter, sparkier production than that on CBS. It seems to me as if Shel was going for a more commercial upbeat sound.

   Roy had always wanted to sing duets with a woman and Jane Scrivener’s clear voice makes an ideal foil for Roy. This is the first time on record but he has subsequently successfully duetted with several women during the course of his career. Roy was always smitten by the female singers of the Incredible String Band. I think I can detect a number of their influences on this album.

   ‘Sgt Sunshine’ would have made a great single if there had not been so many open drug references.

   The lyrics describe the time when a police officer defiantly lit up a marijuana joint outside the City Hall in protest over the draconian drug laws. Roy, an ardent advocate of cannabis, immediately called him Sgt Sunshine and wrote this song about him.

   There is an oblique reference to the TV series ‘The Prisoner’ with mention of the village. ‘The Prisoner’ had a lasting impact on Roy and its influence would recur in ‘McGoohan’s Blues’.

   The basic premise of the song is that society has the wrong priorities. A life spent striving for money and fearing death is certainly no way to live.

   ‘Sgt Sunshine’ also appeared on the sampler Gutbucket.

Extract 2 – The first album – Sophisticated Beggar – Roy Harper: Every Album, Every Song (On Track) 

Here you go. As requested: another little snippet from the book. I wrote it as a homage to the brilliant music of someone who I rate not only as a friend but the greatest songwriter and most outspoken singer this country has produced. I really enjoyed writing it and would like to thank everyone for the brilliant reviews. This is the first part of the introduction for that brilliant first album; an album like no other.

Sophisticated Beggar (1966)

Strike label 1966

Peter Richards: producer

Roy Harper: guitars, vocals and writing of all songs.

Paul Brett: guitar

Bert Jansch: guitar

John Rebourn: guitar

Richie Blackmore: electric guitar

Lon Goddard: guitar and the drawing for the cover.

Unknown: drums and organ

The title says it all. Roy saw himself as being outside of mainstream society. He was using his intelligence and creativity to scrounge a living.

   He was, and still is, the sophisticated beggar.

   Pierre Tubbs produced this album for Strike records. Roy claimed that it was a true garage album because it was recorded in a makeshift studio, converted from a potting shed in Leatherhead. As far as studios go it was a primitive set up and the album was recorded on a basic reVox tape machine.

   The story is that a bunch of shady underworld characters were laundering money and they set up Strike Records in order to hide their activities.

   Out of Strike Records came this remarkable album which is quite unlike anything his contemporaries had produced.

   Nobody seems to remember who exactly played on what. There were no professional notes made. The tape was left to roll and the numbers were mainly one single takes with a minimum of overdubs. Options were limited. The equipment wasn’t up to much. Only one or two of the tracks were worked on and added to – notably the track that was selected as the single and the other chosen as its B-side.

   It is surprising and unusual for the time that Roy did not want to include any of the folk blues songs that he had been busking with, not even among the outtakes. All the songs are Roy Harper originals.

Roy Harper: Every Album, Every Song (On Track): Amazon.co.uk: Opher Goodwin: 9781789521306: Books

Extract from Roy Harper: Every Album, Every Song (On Track)

Introduction

Roy Harper is a unique individual and innovative songwriter who took his first uncharacteristically tentative steps into the London folk scene during the mid-sixties.

   Roy was born on the 12th of June 1941 into the middle of World War 2 and sadly his mother died a few days later from mastitis – a common breast infection that is nowadays easily treatable. The loss of his mother has naturally had a lifelong impact on Roy’s personality.

   Roy’s father married again. His stepmother was a strict and religious woman and Roy’s life of rebellion began.

   Roy’s first memory is of being held in someone’s arms looking towards a red glow on the horizon and being told ‘Manchester’s really copping it tonight’.

   Roy was a wayward child and his younger years were marked by him constantly being in trouble at home and school. As a young boy he was found pedalling on his trike towards Liverpool, many miles from home. Roy’s dislike of the religion his stepmother imposed led to him performing pagan ceremonies and burying effigies in his back garden.

   The genteel town of Lytham St Annes where Roy lived, was once described by him as a cemetery with a bus stop. The tedium of life in the drowsy town portrayed a conservative ethos he fought against.

   As Roy moved into his teenage years, minor incidents progressed into more serious crimes. He and a small group of friends alternated between running free in the countryside and taking part in sprees of shoplifting and vandalism. These ranged from stealing chocolates in Woolworth to breaking into Lytham’s cricket pavilion. They drank the booze they found inside the pavilion and then burnt the building to the ground.

   On one occasion Roy and a friend rampaged through the town pulling up freshly planted saplings from along the roadside and then hoisting a weighing machine through the window of the public toilets. Exhausted by their exploits they looked for somewhere to get their heads down and broke into a garage. They fell asleep in a car and were discovered in the morning by the owner who unfortunately happened to be a policeman.

   Continued rebelliousness, including a string of minor offences, culminated with Roy being arrested. He was found guilty of daubing swastikas and a hammer and sickle on the Town Hall – ostensibly a protest aimed at the councillors (who he considered to be a bunch of Nazis) and against the Russian invasion of Hungary. It was sufficient to produce a double spread article with photos in the Daily Mirror.

   This was just the beginning.

   At the age of fifteen, in order to escape from his stepmother and the mayhem he had created, Roy signed up to the Royal Air Force for five years with dreams of becoming a pilot. Life in the RAF was not how he imagined. Roy tried his hand at boxing, which provided some respite, but the unremitting discipline and tedium of life as a serviceman became unbearable. After two years he knew he had to get out. Without the cash to buy his discharge Roy decided to feign madness – not too difficult a task in his case. He was very successful at convincing the military doctors. The RAF discharged him – but only as far as RAF Princess Mary’s mental institution where he was assessed and treated. After being sectioned he was forcibly medicated with strong drugs (lithium and largactyl) and even subjected to ECT (electric shock therapy). Eventually Roy was transferred to Lancaster Moore mental institution where, in order to keep his ‘insanity’, Roy decided he had to escape. Being of slight build he was able to squeeze through a fanlight window and flee. I have a mental image of Roy, wearing one of those gowns that ties at the back, racing across the grass and scaling the wall – although I’m sure it probably wasn’t quite like that.

Introduction

Roy Harper is a unique individual and innovative songwriter who took his first uncharacteristically tentative steps into the London folk scene during the mid-sixties.

   Roy was born on the 12th of June 1941 into the middle of World War 2 and sadly his mother died a few days later from mastitis – a common breast infection that is nowadays easily treatable. The loss of his mother has naturally had a lifelong impact on Roy’s personality.

   Roy’s father married again. His stepmother was a strict and religious woman and Roy’s life of rebellion began.

   Roy’s first memory is of being held in someone’s arms looking towards a red glow on the horizon and being told ‘Manchester’s really copping it tonight’.

   Roy was a wayward child and his younger years were marked by him constantly being in trouble at home and school. As a young boy he was found pedalling on his trike towards Liverpool, many miles from home. Roy’s dislike of the religion his stepmother imposed led to him performing pagan ceremonies and burying effigies in his back garden.

   The genteel town of Lytham St Annes where Roy lived, was once described by him as a cemetery with a bus stop. The tedium of life in the drowsy town portrayed a conservative ethos he fought against.

   As Roy moved into his teenage years, minor incidents progressed into more serious crimes. He and a small group of friends alternated between running free in the countryside and taking part in sprees of shoplifting and vandalism. These ranged from stealing chocolates in Woolworth to breaking into Lytham’s cricket pavilion. They drank the booze they found inside the pavilion and then burnt the building to the ground.

   On one occasion Roy and a friend rampaged through the town pulling up freshly planted saplings from along the roadside and then hoisting a weighing machine through the window of the public toilets. Exhausted by their exploits they looked for somewhere to get their heads down and broke into a garage. They fell asleep in a car and were discovered in the morning by the owner who unfortunately happened to be a policeman.

   Continued rebelliousness, including a string of minor offences, culminated with Roy being arrested. He was found guilty of daubing swastikas and a hammer and sickle on the Town Hall – ostensibly a protest aimed at the councillors (who he considered to be a bunch of Nazis) and against the Russian invasion of Hungary. It was sufficient to produce a double spread article with photos in the Daily Mirror.

   This was just the beginning.

   At the age of fifteen, in order to escape from his stepmother and the mayhem he had created, Roy signed up to the Royal Air Force for five years with dreams of becoming a pilot. Life in the RAF was not how he imagined. Roy tried his hand at boxing, which provided some respite, but the unremitting discipline and tedium of life as a serviceman became unbearable. After two years he knew he had to get out. Without the cash to buy his discharge Roy decided to feign madness – not too difficult a task in his case. He was very successful at convincing the military doctors. The RAF discharged him – but only as far as RAF Princess Mary’s mental institution where he was assessed and treated. After being sectioned he was forcibly medicated with strong drugs (lithium and largactyl) and even subjected to ECT (electric shock therapy). Eventually Roy was transferred to Lancaster Moore mental institution where, in order to keep his ‘insanity’, Roy decided he had to escape. Being of slight build he was able to squeeze through a fanlight window and flee. I have a mental image of Roy, wearing one of those gowns that ties at the back, racing across the grass and scaling the wall – although I’m sure it probably wasn’t quite like that.

Thanks so much for all the brilliant Reviews!! Keep ’em coming!!

Roy Harper: Every Album, Every Song (On Track): Amazon.co.uk: Opher Goodwin: 9781789521306: Books

LAUNCH DAY!!!! TODAY!!! Official Launch of my Roy Harper book – Every Album, Every Song (On Track).

Today is the official release date for the book. It goes live on Amazon and Burning Shed and becomes available in selected bookshops.

Amazon has a special offer!

Roy Harper: Every Album, Every Song (On Track) : Opher Goodwin: Amazon.co.uk: Books

For those who like a more ethical purchase there is Burning Shed:

Search – Roy Harper (burningshed.com)

If you would like a signed copy directly from me then email: opher@hotmail.co.uk

I have just five copies left!

Thank you all for your support. I really appreciate all the encouraging comments you have sent to me. Please continue with the Likes and leave a review on the Harper site and Amazon!

THANK YOU EVERYBODY FOR YOUR SUPPORT!!

Tomorrow! TORD!!! The Official Release Date for my Roy Harper book!

Posted on  by Opher

Tomorrow is the official release date for the book. It goes live on Amazon and Burning Shed and becomes available in selected bookshops.

AMAZON HAS A SPECIAL OFFER!

Roy Harper: Every Album, Every Song (On Track) : Opher Goodwin: Amazon.co.uk: Books

For those who like a more ethical purchase there is Burning Shed:

Search – Roy Harper (burningshed.com)

If you would like a signed copy directly from me then email: opher@hotmail.co.uk

I have just ten copies left!

Thank you all for your support. I really appreciate all the encouraging comments you have sent to me. Please continue with the Likes and leave a review on the Harper site and Amazon!

THANK YOU EVERYBODY FOR YOUR SUPPORT!!

The Writing of the Harper Book – Roy Harper: Every Album, Every Song (On Track)

The Writing of the Harper Book – Roy Harper: Every Album, Every Song (On Track)

Five years ago I had this idea of writing a book about myself and Roy and our fifty-year friendship. It was quite fun. I wrote it as a stream of conscious in one long splurge. As I completed each section I sent them off to a friend who I had shared a good deal of my life with. He loved it and kept urging me to do more. Day after day I’d produce another episode.

When I finally reached the end I had accumulated quite a lengthy piece of writing, the subject of which was Roy’s and my life in parallel.

I was feeling a little euphoric.

I foolishly shared the raw document with Roy instead of working on it. He did not like the writing at all but said that he thought there was a good book in there.

I went back to tidy it up and address the writing in the hopes of making it more readable.

Because I had written it as a stream of consciousness it was full of energy but very dense and verbose. The sentences were long. It gushed rather than flowed. I spent a lot of time rewriting it to make it more accessible and tidy the language up. Then I shared it with a few friends. Half loved it; half thought it was terrible.

I had another rethink. I could either go with the original that neither Roy nor Liz rated at all, or I could radically change the writing style. I worked with Liz and radically altered the style. What emerged was a new book altogether.

Having just finished the first draft of this reworking someone pointed out that Sonicbond publishers were looking for writers. On the spur of the moment I sent off a letter with an extract. Stephen, the editor, liked the writing but told me he was looking for a writer to produce a book on Roy for his On Track series. He offered me a contract.

That sounded interesting. I was familiar with all the songs Roy had produced and not only was a friend but also a great fan. I thought that a celebration of Roy’s brilliant work would be fun.

That is how I came to write Roy Harper On Track.

Little did I realise when I made that decision precisely how much work would be involved and how much time I would have to devote to it. It is one thing listening to the music and loving it, and quite another writing about it. Fortunately I knew enough and had sufficient personal experience through my association with Roy’s career to enable me to complete the project. I had a great time listening to all the music and revisiting past memories, digging out the information and reminiscing. Age gives perspective. Reliving the past can be invigorating and provides insight. Hindsight is educative.

What stood out to me was what a consistently spectacular body of work Roy has produced over the years and how many missed opportunities there were. What could, and should have been.

That fifty plus years of extraordinary creativity is the fruit of an equally extraordinary life.

The book was a celebration of Roy and his anticareer.

Now that the book is published I am turning my attention back to the original book!

We’ll see!