Tagged: mark moriss
Pages in Plectrums night (Carl Barat, Drew McConnell, Mark Morris, Kieran Leonard): 1969 Returning?
As a Valleys expatriate, part of my filial duty is to call home every so often and update my mother on how her golden child is getting on in the big city. Usually this is a simple matter of concise summation, adjusted for altered terms of reference based on the fact that my mother last went adventuring in 1972, but when describing what I did the previous evening to her I ran into difficulties:
‘Well… I went to an art gallery in the bit of London where all the bookshops are and stood in an exhibit of books which haven’t been written and only exist within the fields of reference of other books – it’s called an invisible library, right – and we heard a bloke play guitar and read bits out of Dylan’s experimental abstract novel and he had to stand in the window and play to the street because there wasn’t room for everyone inside, and then he’d tell us various writers were great because they didn’t give a fuck, and then he read some more which proved that the same writers actually did give quite a significant fuck about several things, and then some other blokes played guitar but we had to wait because they were in the pub so we told each other what we were reading and then Carl Barat, I’ve told you about him, turned up and he played guitar and everyone cheered and then we went to the pub. No, no, there wasn’t anything to drink in the art gallery.’
‘…Oh,’ said my mother, ‘you went to a happening.’
I suppose I did. There’s no clearer way of describing what went down in Theatreland’s shoebox-sized Tenderpixel Gallery. For an hour before doors the queue snaked along a drizzly and damp Cecil Court – a fantastically bijou Victorian remnant full of bookshops and antique emporia – drawing curious glances from shoppers and shopkeepers. I’d stake my reputation on the bet that everyone’s here for Carl Barat. Pity the dude who strode the length of the queue determinedly handing out postcards for a private view, before asking what the purpose of the queue was. ‘Do you mean to say I’ve given these out to musos, not art-lovers?’ he lamented, watching several get used for roaching material or impromptu shelter from the rain.
Had he been talking to me and not the impossibly glamorous girls behind me, I could have pointed out the irony of his agony, what with Kieran Leonard’s Pages in Plectrums night being basically an attempt to blend music, art and literature. The gallery’s tiny space featured a windowledge as makeshift stage, scattered with dog-eared copies of Improving Tracts. As many of us squashed inside as could fit, with about half as many again left outside to peer through the window like Dickensian urchins. Kieran takes to the stage, looking fretful. An organiser hauls half the PA system to the doorway and turns it to the street. A voice from the back: ‘It’s like the Beatles!’
I’m never sure what to make of Dylan-bothering beanpole Leonard, the latest in a long line of Friends of Carlos. In the current cultural climate I’m loath to criticise someone so obviously well-intentioned and good-natured and who knows one cover of Fear & Loathing in Las Vegas from the other. So, to be charitable, here is a list of things Kieran Leonard is better at than singing:
1. being a compere, albeit in the manner of a trendy English teacher getting the guitar out on the last day of term
2. keeping people entertained while the rest of the bill is reportedly in the pub
3. being the only other person in the world to rate Tarantula
4. earnest rants studded with nervy swearing
5. making sudden eye contact from under his eyelashes to EMPHASISE the IMPORTANT parts of his SONGS
And here is a list of things Kieran Leonard is worse at than singing:
1. white-water rafting (I’m guessing here, and stand to be corrected).
He talks about Harold Pinter, then he does a song about Harold Pinter. Cans of Red Stripe are passed among the organisers. My lips twitch.
A voice from the back: ‘Is he here yet?’
Kieran looks troubled: ‘D’you want to give him a call? I think he’s in the pub.’
And another thing about daytime dry gigs: there are children in the crowd. Real actual children. There are children who look like cartoons of children: gap-toothed Gavroches in Converse, talking of that time they saw the Specials support the Horrors and repeatedly droning the wrong words to ‘Gangsters’. I glance around me. No, there’s still no bar.
Thankfully, we are at this point graced with the presence of Drew McConnell, Peter Doherty’s erstwhile Babyshambles lieutenant and more recently anchor of the Phoenix Drive and Helsinki. He’s solo tonight, bearing an alarming resemblance to Zammo from Grange Hill and a disarmingly sweet stage presence. His couple of songs, one new and one a Fionn Regan cover, slip down well and are a welcome reminder that in terms of Meaning It trumping vocal talent, Dylan is still the exception not the rule.
A voice from the back: ‘Carl’s here! …oh, no, okay. He’s just getting some soup.’
Third up is Mark Morris. At first I wasn’t sure why that name should strike such dread into my heart, but as he clambered on ‘stage’ it all, like a hideous acid reflux, came rushing back: the Bluetones. The mid-Nineties. The horror, the horror. I suppose if Tim Burgess couldn’t make it, someone has to play the desiccated indie casualty still smearing around the lukewarm shite of their Britpop glory days. They haven’t changed a bit. According to Kieran, much of the Bluetones back catalogue drew inspiration from the relationship between Byron and Shelley. Odd, as the only line I could previously recall of their oeuvre ran When I am sad and weary, when all my hope is gone / I walk around my house and think of you with nothing on, and even that was an Adrian Mitchell rip-off. See also ‘dull’, ‘plodding’, ‘quavery’, ‘utterly wet and a weed’, and ‘the reason I became a Sex Pistols fan at the age of twelve.’
Before fucking off, Morris nods to the upcoming attraction: ‘Can never pronounce his second name, but you know Carl – the hat, the hair…’
A voice from the back: ‘He’s not wearing a hat tonight!’ A visible ripple of anticipation. ‘Ooooh.’
Kieran’s back and he gets us to précis Oedipus Rex – ‘Greek tragedy, yeah, that’s some fucked-up shit’ – before doing the best song of his I’ve so far heard, setting the tragedy’s narrative in the contemporary London club scene. More flashbacks to lower-Sixth English class.
As the ‘stage’ is prepared for El Barat’s grand entrance, I think about The Sixties redux. There are inherent problems with the sort of unexamined ancestor-worship that gets Dylan to number one with his most mediocre album in decades, to say nothing of its choking-off of many aspects of progressive politics. Sure, this country’s headlong dash back into the maw of the 1980s in political and economic terms calls for a cultural renewal based around civil rights, feminist, anti-racist and youth activism, but, with the exception of Love Music Hate Racism firebrand McConnell, this evening was more Sixties-chic. The fusion of music, art and literature worked, but it doesn’t make up for the music in question being well-meaning-white-boys-by-numbers, nor for the readings being the usual roll-call of dead white modernist males – Eliot, Hemingway, Pinter. The currently pressing issues of racism and wider politics were engaged with only through the prism of readings from Thompson and Dylan and by Leonard’s (like the man himself, well-meaning and tolerable if you grit your teeth) cover of ‘The Lonesome Death of Hattie Carroll’. I suppose it’s not a bad start, but blinkers and boundaries need to dissolve if Pages in Plectrums is to be anything other than a contribution to the Scene That Celebrates Itself.
A voice from the back: ‘Wahey!’
And then Carl’s here, and my attendant privileges (white, Western, in London, employed) mean that I can stop chin-stroking for a while and start putting my hands together. Polishing off a full glass of Guinness, he kicks off with a cover of Leonard Cohen’s ‘Famous Blue Raincoat’. For the first verse, there is not a dry seat in the house. And then you’re struck anew by the fact that, Christ, the man can mumble. The misjudged nature of this cover becomes apparent when he fucks up the line that has the title in, rolls his eyes heavenwards and peels the written chords off the back of his guitar, shaking his head and muttering about only having done that as a favour. He tosses his hair back and, to the biggest – actually, the only – roar of approval all evening, he throws himself headlong into ‘What a Waster’. The song provides an accidentally apt showcase for the Libertines’ golden touch with cultural references, having that line that juxtaposes the Beano and the unabridged Ulysses (or, as Carl has it tonight, with perfect impromptu scansion, the Celestine Prophecies). Just as I’m marvelling at how a musician of Carl’s status can be unfamiliar with the Cohen canon, he reminds me that he’s also got the technological understanding of an elderly maiden aunt: glancing around at the forest of handheld cameras and videophones before him and looking baffled as ever at his own charisma, he exclaims ‘Stop Youtubing me!’.
On the set’s very brief evidence, it’s difficult to tell if he’s still got it, but this is at least nothing like the dark days of his ‘DJ’ and ‘club night’ wheelings-out. He’s in good voice, holding his guitar like a long-lost lover, and remains the only man in the world capable of giving a convincing rendition of the ‘Time For Heroes’ solo. It’s also telling that Carl’s giving up on Cohen and launching into his own intricately expletive-strewn missive gets the best reception, perhaps elevating the need to do it for yourself over the contrived sincerity of paying homage to the old masters. Though his inability to fake it for the space of a song does make me fear for his acting career.