I was in love with Dusty Springfield. In the drear tea-time of my adolescent soul, I worshiped her truly, madly, deeply. Tiny girl, big hair, panda eyes, hands moving like a beckoning siren. I just had to hear “da da da da da da” and then “I don’t know what it is that makes me love you so…” and I was hers for the next two and a half minutes. Until…
It was one of those beautiful late-spring evenings that you would get in the England of memory. The evening sun poured through the gothic stained glass windows of the school library – it was one of those schools. A group of lower sixth lads, budding intellectuals all, as lower sixth tended to be, gathered for a ‘desert island disks” show-and tell of their favourite records. Mine was ‘Wishin’ and Hopin‘ by you know who. Then it was on to the next. Clunk, hiss, guitar intro, and: “My love she speaks like silence, without ideas or violence, she doesn’t have to say she’s faithful, but she’s true like ice, like fire…” Bob had arrived, and I was gone, far gone. So was Dusty.
I bought a guitar. A clunky, eastern European thing. I tried ‘Blowin’ in the Wind’, but what came out was unrecognisable. My dad said he’d break it over my head. One day, that tipping point was reached. It sounded indeed like ‘Blowin’ in the Wind’, or something similar. I was away, and the rest, as they say, was hearsay.
On a high of hope and hype, so it all began. With a heritage of Irish rebel songs and folksongs, and the ‘sixties folkie canon (but never, ever ‘Streets of London’). Sea shanties, a capella Watersons, Sydney Carter’s faith-anchored chants, ‘The Lord of the Dance’ being the most beloved (a song now and forever burdened with the curse of Michael Flatley). Across the pond, young Bob Dylan, Joan Baez, and Peter, Paul & Mary decanted fine old wine into new bottles, and during the Easter CND march in London in 1966, billeted in an old cinema in Southall, a first public ‘performance’ with Ewan MacColl’s “Freeborn Man of the Traveling People”. The journey had begun, and, as the father of America poetry had crooned, “Afoot and light-hearted, I take to the open road, healthy, free, the world before me, the long brown path before me, leading wherever I choose”.
And it led beside strange waters. “Marc Bolan warbled “My people were fair, and had sky in their hair, but now they’re content to wear crowns stars on their brows“. But didn’t they all in the days when Tolkien was king, and elves and ents walked amongst us. We thoroughly understood and empathized. And we marveled at the Scottish bard who could pen ‘The Minotaur’s Song‘ and ‘Job’s Tears‘, and then run off with Old Father Hubbard. Then Roy Harper, the high priest of Anglo angst, sang ‘McGoohan’s Blues’, a twenty minute digression from the concept if not the plot of an iconic if indecipherable television series. “The Prisoner is taking his shoes off to walk in the rain”.
‘The Songs of Leonard Cohen’ played in every wannabe poet’s bedsit. “Come over to the window, my little darlin’. I’d like to try and read your palm“. What a pick-up line, so fitting for the generous times that were the ‘sixties. Others might sigh over the agonies of ‘The Stranger Song’, and ‘The Stories of the Street’. But I preferred the drollery of “Sometimes I see her undressing for me; she’s the sweet, fragrant lady love meant her to be“. And the wondrous punch-line of ‘Chelsea Hotel #2‘, that gorgeous tribute to the peerless Janis: not what happened on the unmade bed, but “we are ugly, but we have the music”. Bob segued from folk to rock, carrying with him many if not all of acolytes on the joker man’s journey from “Oxford Town” to “Desolation Row”. To this day, people ponder the meaning of “Jewels and binoculars hang from the head of the mule”‘ and marvel at “The ghosts of electricity howl in the bones of her face“.
Read on in the full Introduction to In That Howling Infinite – Poems of Paul Hemphill, Volume Five
© Paul Hemphill 2013. All rights reserved.