69 f


Judy’s biog is assuredly “full of bumblings- about and forgoodnesssakeses and strange - almosts” (there’s the library-lady’s inborn delight in words!). These are charmingly reassessed with the glory of retrospect and lashings of down-to-earth hindsight as, twinkl ing with humour and not a trace of rancour, Judy takes us through a whirlwind of experiences representative of the life of any teenager – except that hers just happens to be stacked “starcrazy” with encounters with folks who are now regarded as luminaries of the music scene. As Judy so memorably puts it, she was living through unfolding history without knowing that it was unfolding.


Each chapter is prefaced by entries from


Seasick Steve: Ramblin’ Man


Matthew Wright Music Press Books (ISBN 978 178418 988 4) paperback £7.99


There’s an interesting story at the heart of this book – albeit one that’s buried beneath a mountain of speculation and padding.


Wright examines the personal ‘creation myth’ his subject’s been peddling ever since that breakthrough 2006 appearance on Jools Holland’s Hootenanny and demonstrates just how sharply it diverges from the facts. He makes a convincing case that Seasick Steve spent at most two years as a hobo (as opposed to the eleven years he’s claimed), and did so in California rather than (again, as he’s claimed) Mississippi.


Adding ten years to his age to make room for this supposed decade of riding the rails, he’s ruthlessly edited his real past to support the myth ever since.


The curious thing is that Steve’s real life turns out to be a good deal more interesting than the caricature he’s replaced it with. The book uncovers his time in Haight Ashbury at the height of the hippy era, including a stint with the cult psychedelic band Shanti. Later, he works with Modest Mouse and other bands at his own studios in both Washington State and Notodden in Norway. His home- made CD found its way to Holland’s producer with the help of a friendly London DJ.


Wright’s main sources for the book are a deep dive into the rock press archives – both here and in Norway – plus an interview with Steve’s son Sevrin. But, with no input from the book’s subject himself, he’s often forced into guesswork and questionable leaps of logic. The phrase “he must have” pops up a good deal.


Although the cover blurb promises walk- on parts in Steve’s story for the likes of Jimi Hendrix and Kurt Cobain, these connections prove tenuous at best. In Hendrix’s case, for example, the extent of their link is that Steve happened to be in the crowd at Monterey during Jimi’s set there. Other big-name con- nections – such as one journalist’s suggestion that Steve helped Joni Mitchell with her 1974 Court & Spark LP – crumble to dust the moment Wright examines them.


Paul Slade


An Accidental Musician: The Autobiography Of Judy Dyble


Judy Dyble with Dave Thompson Soundcheck Books (ISBN 978-0-9932120-3-1) 228pp, paperback


Judy’s own Afore-Foreword to this book is spot-on, for right from the outset and with typical incisiveness she addresses its likely- perceived shortcomings and potential pitfalls (those of any biog, come to that). She then goes on to drift through her life as a child of happenstance, invariably landing in the right place at the right time. Just like her life,


Judy’s recent diary: scatty, slightly dippy and somewhat typical of folks of “our certain age”, but entirely chummy and possessing the ring of truth. These both contrast with and complement the chronological memo- ries, which, while packed with fun incidental detail, also at times unexpectedly (yet excus- ably) lack some specifics – well, in the end, I guess, anorak-accuracy is less important than the resonances conjured by such recollections.


The heady first part of the book – child- hood, then the whirlwind of Fairport through to Trader Horne – is imbued with her natural spirit of adventure. We then feel her pain as her confidence in her singing ability is shat- tered. The tone changes – though not Judy’s resilience – as she chronicles with honesty her years spent away from the music business, her attempts to build a different lifestyle in the country with husband Simon Stable, the trau- matic effect of his tragic death in 1994. Thereafter we experience her immensely brave decision to return to music, albeit piecemeal at first, encouraged by trusted friends, and the joy and renewed confidence that this has brought her, with a greater vocal strength and increased songwriting creativity.


Of late, Judy has continued eagerly and open-mindedly to absorb influences from across the musical spectrum, embracing prog, electronica, jazz, folk, psych and indie – in effect, practising her own philosophy of “say- ing yes to everything”, an ethic that had always paid dividends and is bringing her increased recognition today. And emerging tri- umphant in this warmly self-effacing self-por- trait, still dazed and “starcrazy” and against all the odds still loving every minute of it.


www.soundcheckbooks.co.uk David Kidman Judy Dyble in the early Fairport Convention


Human Cargo: Stories And Songs Of Emigration, Slavery And Transportation


Matthew Crampton Muddler Books (ISBN 978-0-9561361-2-1)


This is not a long book; the first reading of the 150-odd pages was managed in one sitting. The many short chapters make unpleasant but compelling reading. Amongst other horrors they deal with are piracy, the African slave trade, the Highland Clearances, the immigrant coffin ships, transportation, press gangs, dock- side crimps, gold rushes; all the historic times and places where for a variety of reasons humanity has been crammed into crowded and unsafe vessels. Among these bygone hap- penings, Crampton has skilfully interwoven stories and references to the commonly held revulsion of the situation of current refugees fleeing from poverty and oppression that are still regularly making the news.


Many of the excellent contemporary prints and woodcuts which are included have been seen previously in Ashton’s Real Sailor Songs published in 1973 by The Broadsheet King so it comes as no surprise to read ful- some praise of the great John Foreman and thanks for his support gaining first place in the Acknowledgements.


Then there are the songs. The words of around 20 of them come from traditional and broadside sources and along with poems and songs by Burns, Fox Smith and Kipling, they amplify and augment the writer’s comments and the quotes from historic sources. This is not an academic book so the references are not carefully footnoted though many of the references are given at the end.


The book developed out of a song and story show of the same title that is still being performed around folk clubs and other venues in England.


Like many other self-published books, the one thing this book lacks is evidence of a firm editor; someone who could have been both strongly critical and supportive at the same time. Matthew mentions “expert assis- tance in reviewing the text” but there are still places where alternative wording and help with suggesting other sources and songs might have strengthened the book


www.humancargo.co.uk Vic Smith


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