'American Pie'. Reflections Of A Writer and Rock Critic.
Stephanie Lynne Thorburn
April 24, 2008
Writing My Lifeblood.
The necessity to write can be described in psychodynamic terms as the simple distinction between 'need' and 'want'. Writing for the compulsive author like myself conjures a vocabulary of belonging and longing; the writer belongs within and craves the solace of adequate self-expression, describing objects of desire and fantasy. This maxim is especially true of the rock critic, driven by a need to fulfil the basic instincts of the id, with the most celebrated rock ´n roll journalists seeking to re- define moments in the history of the musical revolution and iconography of the sixties, often type casting our most loved heroes into roles using some irresistible rhetorics- the ´heroes and heroin´, cultural folk legends, hyperbole and demoniacs.
Whilst my writing often richly fulfils the hunger of basic need, the irony still remains that a writer´s ego and pocket are subject to a ´survival of the fittest´ in an age where text is now often expected free at the point of delivery. Nevertheless, I cannot remain too philosophical about an activity like writing that for me is simply a primal passion.
Here in these autobiographical memoirs of my experiences as a music journalist, I have compiled a rock critic´s style blog that I hope will evoke the encounters I have enjoyed with some great characters and protagonists in the music industry, whilst reflecting too on a range of more sobering thoughts. From my perspective as a female writer, I am exploring my own approach to writing and creativity; I have also experienced first hand the economic and practical obstacles that need to be faced and overcome to succeed in this profession. My life journey and the reality I have known is a stark one, like avant-garde music it is neither instantly palatable, nor harmonic in conforming to rules of given reality. For me, writing is just about articulating the hermeneutics of everyday life.
Blenheim Palace, Woodstock- Oxon. Summer of 1991.
I guess my preoccupation with the aficionados of popular music began in my mid teens with a penchant for extra curricular activities surrounding archetypal bands from the Bee Gees to Rolling Stones. I definitely liked Keef Richards, so much so that I missed a mock level English literature paper to hear the final instalment of a BBC interview series and later on that same day, I managed to splice my right finger to the silter scoring the margins of a photograph capturing an image of the human riff entitled, ´Cleverly conscious´. To this day, I still have that mark on my right hand.. It wasn´t too long until I and was inducted into a few direct meetings, sharing the same physical space with artists and men I revered, which lead to some evocative experiences although occasionally colloquial conversation. The true beauty is in that exposure, when you realise that rock deity and the lovies of the press are just down to earth uninhibited souls, human and at times blessed with a desire to just play, embracing some unlikely platforms- a fact my teenage diaries can bear silent witness to.
During the solstice of 1991, standing in the rain at Blenheim Palace I had my first taste of the Rhythm Kings sound. I witnessed the huddled figures of Ron and Jo Wood, en route to the VIP marquee, disgruntled yet elated. Bill Wyman´s fun band ´Willie and the Poor Boys´ had just mastered the art of the earthy venue gig- no entourage, no guitar techs, just soggy amp, balls rock ´n roll, laced with a sense of achievement. This was the scene of a pro-celebrity sports match and site of a salubrious retreat for a reconstruction of our own Woodstock, in Blenheim, Oxon. This enduring project was a result of Eric Clapton and Dr. David English (ex-President of RSO) bringing together personalities from the sport, music and showbiz world in aid of major charities for Bunburys cricket matches.
Not long after my first surreal encounter with the Bunburys I wrote to Bill Wyman directly and received an unmistakably authentic reply to my letter. Bill returned my complement in person using the keyboard of his manual typewriter, signing his reply in bright green. By the next season I had located The Bunburys cricket circuit via a courtesy call from Bill Wyman´s P.A. and spent the duration of my A level courses moonlighting between my student studies and weekend vacations in the company of an implausible host of stars from music, sport and TV. I still have a brimming autograph collection that boasts a medley of kind celeb wishes for my exams from names as diverse as Christopher Cazenove, Roger Daltrey and Barry Gibb, together with a Bill Wyman endorsed copy of Shakespeare's Romeo and Juliet which I have maintained in pristine condition over the years.
Return To Blenheim, 1993-4. The Musical Roots of The Rhythm Kings.
During the summers of 1993 and 1994, Blenheim proved to be the venue for Bill and his poor boys to get together for some back to basics spontaneous jam sessions. These afternoons formed evocative alternative plans to the expected activities at a series of Bunbury matches. Invariably sheeting down with rain, the neo-gothic palace of Blenheim shone as the Oxfordshire locals looked on at the gods of rock ´n roll, breaking the ice with ´Whiter Shade Of Pale´ and ´Wide Eyed and Legless,´as Bill Wyman and his magnificent seven equipped with the tools of their trade, prepared for a potentially electrifying experience located under the eves of the celebrity marquee. "Come on in" invited Bill, "I see you´ve got in anyway, using your refined skills of bribery and deception!"
I managed to establish a ring side seat just in time to witness the magnificent seven arriving in position, the band comprised Bill Wyman (cigs, bass) Andy Fairweather Low, (guitar) Gary Brooker, (keyboards) Henry Spinetti, (drums) Terry Taylor, (guitar) Frank Mead (trumpet) and John Altman (sax). Bill poised and surrounded by his poor boys performed. They played for a couple of hours until they´d done, after which the party just kept rolling and Bill was able to fit in a menthol cigarette before his retreat. Driven by memories of small club dives and finger bleeder gigs delivered for a sixpence, he explored through an immaculate musical repertoire. The romantic and at times antiquated sounds of Rhythm Kings splendour would see the boys as an equally evocative big band in the foyer of the Hilton with the addition of Bill on double bass, or a jump jive band at Butlins in the ´50´s, they must have almost forgotten that Sandie Shaw and friends had just popped into their humble shack for some hospitality. As word spread around, the tent just kept on jamming, packed to capacity; this waterproof oasis was the ultimate drive through picture show!
Over time, the Rhythm Kings and Bunburys have provided me with a rich backcloth, a mellow language and sound track for life.
Ecrits and Reflections On Rock Critique.
As I consider the contribution of writing and popular music to my life, I feel like a proud impresario because I can truly say that I have loved all the artists I have written about. Undoubtedly my work has enabled my sense of identity. Those early years spent at those unique, (sometimes infamous!) Bunbury pro-celebrity charity events were invaluable in presenting me with a wealth of evocative experiences to write about. Slowly but surely I firmed up my interest in the world of popular music and sport, making acquaintance with some truly charismatic personalities and life long friends along the way.. Over time as my work in journalism evolved I have enjoyed the opportunity of interviewing the kings of blues and creativity- artists and authors as diverse as RSO´s Dr. David English, Bo Diddley and Harry Shapiro have given me a healthy respect for the history and origins of music and not simply explained my own sense of alienation.
I am convinced that it is possible to overcome indignity and subordination, to achieve shared meanings and communities of thought through the power and beauty constructed in text; it is a validation of liberty. Although my life has not been how I would have planned it, my physical disposition, coupled with a desire to write has to date, promised the real deal- I´ve hung out with some of the industry´s true epicureans, crafted some personal achievements and cross swords with a devil incarnate or two (and not just during my years at Voodoo magazine!) Without a doubt I owe a debt of gratitude to my family and friends for encouraging my love affair with words and music.
Illustrative Links:
Articles- Stephanie Thorburn.
Home page Stephanie Lynne:
http://www.pureportals.com/stephanielynne
The Celebrity Impresario. Voodoo Interview With Dr David English: -
http://www.brothersgibb.org/reports-david-english2.html
Me and The Devil´s Blues. Article on Robert Johnson and Eric Clapton.
Features contributions from some of my writer friends. Eric Clapton Portal:
http://www.whereseric.com/articles/2004/me-and-the-devils-blues-by-stephanie-thorburn.html
Stephanie Lynne Thorburn 2008.
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