Most of us when we think about power, we look at the outcome: heat, light, government. Let's now look briefly at the flip and the mess left behind. With tiny Greta now bestriding the world, I think it only fair. The main thing the industrial revolution showed us was soot. And this hit home hard here in UK, arguably the first home for the coal fires of industry, and certainly first to take it for granted.
Ewan MacColl
Ewan MacColl is a name of some importance in the world of folk music. I'll bet you know at least one of his songs, even if it is just this one. A complicated and seemingly difficult man, he was born James Henry Miller, in Salford, near Manchester in England. Of scottish stock, his father was a passionate trade unionist who had been drummed out of Scotland for his firebrand workplace politicking, these views etched deep into MacColl's psyche. Looking for work at the time of the great depression, street singing provided as much income as early jobs. A member of the Young Communist League from his teens, agit-prop theatre became his home up to, during and after the war, writing, directing and acting. A brief spell in the army ended in either his deserting or being dismissed, depending on whose story you heard, but it seems his political persuasions had brought him to the attentions of the power that be.
Industrial Landscape: L.S.Lowry, 1955
Whilst the theatre provided his home and most of his activity and income, it is his music that has had greater posterity. Increasingly drawn to folk music in the 1950s, he was instrumental in the success of the still extant record label, Topic, releasing a slew of albums for them over the next few decades. And this was not folk as in trad.arr., old songs sung sweet, these were his own songs, fiercely opinionated and anti-establishment, if in the folk tradition. Think Woody Guthrie. Or, perhaps even, Billy Bragg. As well as offering a pointer to more of his music, here is a link to something I wrote a year or two back, which offers also some greater insight on the man.
'Dirty Old Town' is no call to arms, being one of the love songs he was more than capable of writing. But the words also reflect, if casually, the reality of most northern UK cities, the fumes and stench of pollution providing the backdrop to lives stunted thereby. Yes, the situation is better now, some might say as a result of knowledge and changes of practice. Or is it merely by the fact that the factories have all closed?
The song has had a fair few covers over the years. Here are a few of my favourites. I think it no surprise that both the Pogues and the Specials should find something of resonance in the song, their experiences, disaffected youth in post-punk London and Coventry perhaps not that changed from MacColls dirty old Salford of two decades earlier. Quite how or why LaVette chose the song remains uncertain, but the first few comments under the youtube clip suggest a recognition within any post industrial town anywhere,
I don't normally do more than one contribution per theme but the entire week has passed and nobody has posted the Grammy winner for "Song of the Year" in 1973.
To quote Gomer Pyle, "For shame, for shame, for shame".
While kids today probably think this is a Fugees song the truth is it was originally recorded in 1971 by Lori Lieberman. The song was inspired by the poem, "Killing Me Softly with His Blues", which she wrote after seeing a then-unknown Don McLean perform the song "Empty Chairs" live. Charles Fox and Norman Gimbel turned the poem into a song for her 1971 debut album, Lori Lieberman. Roberta Flack would cover it for use as the title track on her 1973 release, Killing Me Softly. Roberta not only rode the song to #1 on the Billboard 100 for 4 weeks she cashed in on three Grammy's with it: Song of the Year, Record of the Year and Best Pop Vocal Performance by a Female Performer.
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