IT’S A HAPPENING THING
turn in the film, particularly ‘Daddy’s Song’, a Nilsson penned dancehall vaudevillian style that really suited his approach much better than “teen idol ballad crooner”. Soon after, I met Davy at a dinner, during talks about what would
become The Monkees tour of last year. We had a few drinks and he told off-colour stories about Lou Christie and Kim Fowley. He was endlessly entertaining and just so charming. I ended up directing the visual content that would show on a large LED screen behind the band during the show. I pulled together gorgeous sequences that would play during each song. Davy loved them. I was so struck by how brilliantly he was able to arrange and structure
the show – he had a real knack for it and a fabulous sense of timing. Oh, and really hilarious. He was also so gracious, when my family came to one of the shows, Davy was picking up my nieces and sweetly posing with them, telling my father how great my work was. It’s just so surreal that he’s gone. He was someone so full of life, love for
his horses and his family, a caretaker for those he loved. I don’t know if people know what a genuinely cool cat he was too. He had fabulous taste in music, always name checking bands like Love or The Guess Who. He had the utmost respect and admiration for the songwriters he worked with, and he was a consummate professional who always knew how to put on a show – he was, after all, a fan of The Monkees. He knew what audiences wanted out of him, and always delivered for his fans 100% The last time I saw him was after the final show at The Greek in LA. He was packing up a car to drive from Los Angeles all the way back to his house in Pennsylvania. I said something like, “Are you going to be okay driving all that way?” He answered, with a cheeky wink in his inimitable voice, “Oh, yeah, y’know I’ll be alright. I’ll stop off at a few bars along the way.” Davy famously used to say that he’d do “20 minutes every time the
refrigerator door opens and the light comes on.” I know there’s a light where he is now, and he’s dancing his way through it.
TheShapeOfThingsToCome
As usual, a few juicy items landed mere moments after this issue’s reviews were done and dusted. The LHI Years: Singles, Nudes & Backsides (1968-71) (Light In The Attic CD) is a first-time collection of Lee Hazlewood solo and collaborative 45s from his own LHI stable boasting possibly this year’s best cover so far; finally, the cream of The Hollies’ ’60s BBC sessions are released as Radio Fun (EMI 2-CD); Velvet Underground drummer and founder member Moe Tucker enjoys a solo retrospective with I Feel So Far Away: Anthology 1974-1998 (Sundazed 3-CD); Davy Graham: Anthology (Les Cousins 3-CD) gathers around 50 “lost” recordings by the groundbreaking guitarist spanning 1961-2007; The Essential Donovan (Epic/Legacy 2-CD) is a comprehensive zip through Don’s ’60s and early ’70s recordings with a few unexpected treats. Coming soon are the first three Van Dyke Parks albums – Song Cycle (1968), Discover America (’72) and Clang Of The Yankee Reaper (’75) (Bella Union CDs) – to coincide with a rare live performance at The Barbican on June 23rd; Sundazed unleashes a treasury of limited edition 7” 45s for Record Store Day 2012, including titles from The Byrds, Dillard & Clark, Chocolate Watchband, Gene Clark, Blues Magoos, Blues Project, Paul Revere & The Raiders and more; Further Reflections: The Complete Recordings 1967-69 (Grapefruit 2-CD) is the first ever (believe it or not) definitive anthology of Kaleidoscope’s classic Fontana recordings; Julie Covington’s ’71 orch-pop gem The Beautiful Changes (Cherry Tree CD) makes a long-overdue reappearance; Tantalizing Colours: The Reprise Recordings by MC Squared (Now Sounds CD) collects their four singles and unreleased long-player for the first time; Made In France: France Gall’s Baby Pop (RPM CD) collects the best of the Gallic pop Ingenue’s ’63-68 output; expanded editions of Sandy Denny’s last three solo albums – Sandy, Like An Old-Fashioned Waltz and Rendezvous (Universal CDs) – are released to coincide with a touring tribute to Sandy; Two Sides Of A Penny and Currency by Plastic Penny get the facsimile vinyl treatment courtesy of Guerssen; Amen Corner’s ’68 debut, Round Amen Corner (RPM CD), is boosted by their Deram 45s; Cressida’s self-titled debut and its follow-up, Asylum, are gathered on a BGO twofer; The Complete Warner Bros And Valiant Singles Collection by The Association (Now Sounds 2-CD) is both self- explanatory and jolly exciting!
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