Roy Harper – ‘My Friend’

‘My Friend’

On this acoustic track, Roy demonstrates his finger-picking style, along with the use of harmonics. The song was written for Jackson C. Frank: a ground-breaking New York singer/songwriter who had a tragic past. He suffered horrendous burns in a school fire when a number of his friends were killed, including his girlfriend. Many years later, in 1964, after receiving a financial settlement, Jackson came to England on the Queen Elizabeth, with a Native American girlfriend. He is reputed to have written a superb set of songs on the journey, including ‘Blues Run The Game’. But this is open to debate as many of the songs were possibly written previously.

   Jackson rapidly assimilated into the Les Cousins folk scene, along with fellow American Paul Simon. Jackson’s songwriting style had a profound impact on other musicians. He recorded only one album – simply titled Jackson C. Frank. Paul Simon produced it, with Al Stewart on second guitar. The album was a milestone for other folk singers and is now a classic.

   Jackson and Roy became friends. They would hang out, getting stoned, laughing and pondering the meaning of life into the early morning hours. But Jackson was profligate with money and soon found himself penniless. Suffering stage fright and writer’s block – and with his mental health deteriorating – he eventually returned to New York.

   ‘My Friend’ is a heartfelt farewell and reminiscence of Roy and Jackson’s close relationship. The gold and silver of the lyric are the opening words of Jackson’s ‘Milk And Honey’: a song about leaving.

   Roy sings with a mellow sadness as he recounts the depth of their friendship and the laughter they shared. He embellishes his poetic lyrics, creating a melancholic, affectionate melody over a bed of intricate guitar notes.

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Roy Harper – Just A Feeling – circa 1989

Just A Feeling – circa 1989

Roy wrote this song just prior to the breaking down of the Berlin Wall and the collapse of the USSR. After playing ‘Just A Feeling’ for a while in concerts Roy did try to record it but wasn’t happy with the result.

   I thought it was a brilliant song. It has such a positive vibe about the changes coming in with the end of the cold war.

   When the Berlin Wall actually was pulled down on November 9th 1989 I suggested Roy release the song as a single. It is a serious but catchy number and would have captured the mood of the times perfectly.

   A missing gem.

Roy Harper – China Girl and Goldfish

‘China Girl’

The opening track of Roy’s career is remarkable. People expecting some type of folk song were about to be amazed. This song is much rockier than they would’ve expected – not Roy with a guitar, but Roy with a whole band.

   This was only 1966 but listen to that phasing as Roy makes the music into a psychedelic masterpiece. This was the very dawn of psychedelia, and Roy was riding it.

   The song was written about a beautiful Chinese girl he used to see in Soho. The lyric’s willow patterns, dragons and sunsets, create a magical landscape. It is an example of the way Roy was merging his poems with music.

   The track set the tone for the rest of the album.

‘Goldfish’

In contrast to ‘China Girl’, ‘Goldfish’ has a catchy tune and is a much simpler acoustic number. It starts with a basic melody plucked out on guitar, the vocal then mirroring it – the song changes at the chorus, with the backing growing in symphonic effect.

   Written for Roy’s baby son Nick, ‘Goldfish’ is a fine example of a contemporary folk song. The deft poetic touch makes it much more than a lullaby. The second guitarist on this track is Lon Goddard.

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Roy Harper – Flat Baroque and Berserk.

Flat Baroque and Berserk – 1970

Harvest Label  1970

Recorded at Abbey Road Studio

Roy Harper: vocals, acoustic guitar, electric guitar on Hell’s Angels and all song writing

Pete Jenner: producer

David Bedford: strings

Skaila Kanga: harp on ‘Song Of The Ages’

Tony Visconti: recorder on ‘Tom Tiddler’s Ground’

Keith Emerson: keyboards on ‘Hell’s Angels’

Lee Jackson: bass guitar on ‘Hell’s Angels’

Brian Davison: drums on ‘Hell’s Angels’

Lon Goddard: gatefold cover design

John McKenzie: photography

EMI had become aware of the burgeoning underground scene that was emerging in the late sixties. They had a few fingers in that pie, with Pink Floyd, but wanted an opportunity to delve deeper into this potential market. Their answer, in 1969, was to set up a subsidiary label which was to specialise in music from the underground scene. That was the Harvest label. They signed up Deep Purple, The Battered Ornaments, Syd Barrett, Robert Wyatt, Pink Floyd, Edgar Broughton and others.

   By 1969 Roy was making quite a name for himself. He was recommended to EMI by Pete Jenner who managed the early Pink Floyd. Pete had been impressed with Roy’s Hyde Park performances at the free festivals and after hearing his recorded material he thought that Roy had the ability to do more. So Roy became one of their first signings on the Harvest label.

   The beauty of the deal was that, for the first time, Roy had access to top quality recording facilities (the Abbey Road studios where the Beatles recorded), unlimited studio time, a quality producer in Pete Jenner (they became good friends and cannabis buddies), and brilliant sound engineers in Phil McDonald and Neil Richmond.

   Roy had been prolific on the song writing front and in 1969 he entered the studio with a batch of songs surpassing anything he had created previously.

   With a bunch of friends to egg him on, a producer who was happy to work in collaboration on the whole process, all manner of rock cognoscenti dropping in to listen, comment and contribute, Roy was all set for a ground-breaking album and that is what we were treated to with the magnificent Flat Baroque And Berserk.

   Even the gatefold album cover is brilliant. Designed by old friend Lon Goddard with a photograph from John McKenzie, Roy looks resplendent in psychedelic shirt and flat cap. Eyes shut, cig in mouth, he is reclining on a chaise longue with a background of flock wallpaper and a tiger growling into his face!

Roy Harper book in Burning Shed Sale!

My Roy Harper book has now sold out apart from a few remaining copies held by Amazon and Burning Shed. Consequently they have reduced the price of the book! Time to snap up a bargain!

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Opher Goodwin Books Available on Burning Shed!

Burning Shed is the publisher Sonicbond’s site.

I have contributed to two series:

On Track – Every Album, Every Song: Roy Harper, Bob Dylan, Captain Beefheart, Neil Young, Phil Ochs (released on the 18th October) and Leonard Cohen (In editing right now – due out later this year)

Classic Albums: Bob Dylan – Bringing It All Back Home and The Beatles White Album

Why not have a look:

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Thank you!

Roy Harper – McGoohan’s Blues

McGoohan’s Blues

The main event of the album is this epic song. Eighteen minutes with a mountain of verses and not a single word wasted. The song consists of two parts typical of many of the longer Roy Harper compositions.

   He began by writing two distinct poems that he developed into songs.  ‘McGoohan’s Blues’ is a masterpiece that was achieved by marrying the two together.

   Roy plays and sings solo for the first part of the song which is an amazing twelve minutes long. A short bridging verse takes him into the final section when the full band springs into action. For those who have heard Roy perform this live it does feel that the last part of the studio version is a little too busy as by driving along at a fast rate Roy’s powerful delivery is masked. This is frustrating for those of us who would like a perfect production of such an important piece of work.

   The song was recorded in the studio in one live take. Consequently there are one or two minor glitches but ‘McGoohan’s Blues’ remains an immaculate piece of work the like of which few songs have ever matched.

   The first part of the poem is based on Patrick McGoohan’s TV series ‘The Prisoner’. The iconic sixties series lambasts a range of twentieth century institutions from religion to the law.  Through verse after verse it hits out at TV, pop music, game shows, conformity, rules, regulations, propaganda, manipulation and control as we are herded into mindless automatons by an invisible elite. This list of things to rail against is as pertinent now as it was fifty odd years ago.

   The main theme of the drama is that all of us are prisoners in this crazy global society whilst outside ‘the village’ there is the possibility of a more natural way of life.

   The second part is more philosophically based and deals with the metaphysical proposition that reality is nothing more than a dream.

   One could spend hours analysing the poem and extracting various meanings. As with all Roy’s poetry there are many layers and much to unpick.

   As a song I think it is unparalleled. Apart from maybe one or two of Roy’s later epic songs, nothing comes close – not even Dylan’s vitriolic ‘It’s Alright Ma, I’m Only Bleeding’ which is the nearest comparison that I can make.

   Roy’s standard of poetry and musicianship is incredible. He sings with gusto, remembers all the words (a feat in itself) and delivers the song with aggression and passion.

   The rest of the album pales into insignificance. This song is the album’s reason for being.

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She’s The One – Roy Harper

She’s The One

‘She’s The One’ had become an important highlight of Roy’s live act. When I first listened to this album it was a shock to hear the song with full band treatment instead of how Roy used to sing it as an acoustic solo. The stereo separates out Roy’s guitar from the backing. The drums, bass and piano drive the track forward at pace to give more energy but I feel it has less impact than in live performance. The driving pace tends to give a hurried feel as if charging along at too much of a gallop.

   Roy’s voice, particularly on those high notes, is crystal clear. His falsetto is a strength that gives the track an added dimension.

   Once again this song would have made a brilliant single if it had not been seven minutes long with a number of sex and drug references.

   The song is about the break-up of his relationship with Mocy. During this period of time Roy had many late night discussions with Andy Matheou who was the owner of Les Cousins. Andy thought Roy was mad to be breaking up with Mocy and told him so. Roy wove their conversations into the lyrics.

   Regardless of my personal preference for the live acoustic version, the recording is a tour de force.

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.

The On Track – Every Album, Every Song series!!

How lucky is it that I get contracted to write books on all my favourite singer/songwriters?? These guys are my heroes! I get to write about every album and song they ever recorded!!

Thanks guys for buying the books! And a big thank you for the great reviews!!

Leonard Cohen on the way!!