The Oxford History of Medieval Europe

The Middle Ages are commonly seen as a misunderstood, forbidding and bewildering period in human history, often the subject of heated debate between differing schools of thought. One book which offers a modicum of clarity amid the confusion and fog is The Oxford History of Medieval Europe, edited by George Holmes.

To make it more digestible, the book is divided into chapters corresponding to three segments of time, and these periods are then further sub-divided on the basis of what occurred in Southern and Northern Europe within those years. Each chapter is written by a different historian.

The early part of this history tends to focus on the differences between the eastern and western sectors of the Mediterranean, and the two "empires" which dominated it. Of course, the incursions of the barbarians are very much to the fore, but it is pointed out that these arrivals were not always violent in nature, and that tactics of "inducement", or playing one party off against another, sometimes paid off. A fraught and precarious juggling act it must have been, though. I was impressed by the passages which explored the barbarians, and their power structures, customs and so forth.

This period, like most of the Middle Ages, can be fiendishly confusing, because of the numerous overlapping jurisdictions and the proliferation of pacts and deals, but the authors do a reasonable job of cutting through the morass of detail. One is left with an acute impression of the volatility of fortune, as the factions fought for power, influence and survival. 

There are some intriguing sections dealing with the waxing and waning of cities, towns and urban and commercial life generally. Often references are made to archaeological finds to support theories and conclusions.

Of course, the Byzantine Empire is a central part of the story, and this is an aspect which fascinates me. Byzantium is something of an enigma to many, I suspect, but it also has a mystique and an allure. An area which is definitely on my agenda for additional study. Here, we get a vivid idea of how the empire constantly adapted, and managed to weather most of the changes, challenges and upheavals which came its way.

From the early medieval stages in particular, one can arrive at the conclusion that things were much more exciting in the Mediterranean than they were further north. This may be true, but I wonder how much the true picture has been distorted by the disparity in the quantity (and quality) of available documented records? There is recurring emphasis on the uneven nature of events and changes, with much cautioning against subscribing to the over-simplistic assessments which are so often served up.

It is noted once or twice that whilst all the glittering and "glamorous" political manoeuvrings and advances in commerce and culture were happening, the vast majority of the population of Europe was enduring a fairly miserable and oppressed existence. The "headline" events and pastimes were the preserve of small, privileged elites. The one-upmanship and jostling between and amongst those elites was often at the expense of the downtrodden and the disenfranchised. The latter could only look on in bemusement, unable to predict with any certainty whether they would be ruled by comparatively enlightened masters, or by despots.

In lamenting the apparent degeneration or decay of some elements of culture and civilization, do we need to bear in mind that communications were almost non-existent, that word of progress and enlightenment did not spread, and that science and knowledge were still mistrusted in some quarters? The world was not yet assuming any kind of philosophical or ethical homogeneity.

Naturally, the Vikings get a mention in this history. I would have liked more about them and their exploits, even taking into account the format of this book. What coverage there is seeks to present a balanced view of their motives and their record, and gives a genuinely Europe-wide perspective on the effects of their arrival and settlements.

There is some admirable analysis of societal structures and hierarchies. This got me thinking. Back then, real freedom and social mobility were restricted to but a few, and those in the "lower" strata possessed few of the tools to attempt a remedy.  These days, with better education and modern communications, do the masses accept their lot too readily, or are they correct in recognizing that it will always be thus? Much mention of huge swathes of land (and attendant privileges) being handed out to certain "special interests".  Some would opine that after that the genie was out of the bottle, and that the root of many an ill was planted.

For the most part, I found the Italian peninsula, and the areas directly adjacent to it, to constitute the most fascinating arena here. Many factions collided there, and struggled for pre-eminence,or cobbled together compromises. The developments in that part of the world also offered a glimpse into the future - merchants, "republics", original thinking, more secular culture.

There is a relatively short, but highly readable, examination of the whole city-state phenomenon, its vitality, its deficiencies and its implications. However imperfect and tenuous they were, this was another foretaste of how much of wider Europe was destined to develop. Rightly or wrongly, I perceived that the authors were seeking to imply that the city-states were not as "progressive" as some commentators might have made out. Towards the end, there is a look at cultural and intellectual trends in the later Middle Ages.

This book has prompted me to consider reading more extensively on topics as diverse as Charlemagne, Byzantium and the Italian city-states. Overall, it is an entertaining, well-pitched and illuminating overview of a vast and intricate picture.

Led Zeppelin - the debut album - review

My music habits tend to go in "cycles", and I will get away from listening to certain bands or artists for a period of time before organically, naturally almost, returning to their work. In recent days it has been the turn of Led Zeppelin to receive my renewed attention.  Their debut album, released in 1969, still shines like a beacon due to its primal energy and its powerful immediacy. It is probably my favourite Led Zeppelin record, along with the 1975 double-album Physical Graffiti.

This release has probably endured better than most of the group's other efforts, and I think this is because of its exuberantly "live" feel.  There is a freshness, almost a naivete, about it, possibly a consequence of this being their first disc. The music exudes a rawness born of the newness of the combination, as if they hadn't yet had the time or the opportunity to over-complicate matters or burden themselves with various pressures. The sound itself possesses a clarity and a vitality which they never again quite replicated.

Of the individual musicians, all shine, but Robert Plant excels, and producer Jimmy Page admirably captures the vocalist's qualities. Some of the songs do suit his singing style - "How Many More Times" and "Dazed And Confused" spring to mind. Indeed his voice rarely sounded so dynamic and strong again with Zeppelin.  John Bonham's prodigious ability is also a prominent feature, and the fact that these two newcomers to "the big time" perform with such assurance and confidence is a major factor in making Led Zeppelin such a convincing work. The studio and musical know-how of Jimmy Page and John Paul Jones is also crucial, of course.

The predominant styles which dominate the album are blues, folk and folk-rock. The blues-rock element is a continuation of the direction in which The Yardbirds had been heading.  The folk/acoustic side would be a feature of the Zeppelin sound until the mid-1970s, a fact often overlooked by the band's detractors. Page and Plant's interest in folk music, and the American West Coast sound, combined with the general musical eclecticism of the band as a whole, would ensure the diversity of the track listings.

There is a pleasing and effective mixture of epic longer songs and shorter snappier numbers ("Good Times Bad Times", "Communication Breakdown", "Your Time Is Gonna Come"). The latter's vibrant organ-based introduction is one of the highlights of the entire set. The group's musical heritage is illustrated by as much by the inclusion of "Black Mountain Side" as it is by the presence of the two blues covers, "You Shook Me" and "I Can't Quit You Baby".

Led Zeppelin's musical output would grow more "sophisticated" and "polished", but rarely would it match the spontaneity and elan which is to be found in abundance on this, their first album.

Rubber Soul - The Beatles - album review

For a long time, it was blithely stated that "Sgt. Pepper's Lonely Hearts Club Band" was the greatest Beatles album. However, reason eventually prevailed, and that particular accolade was transferred to "Revolver". It was then predicted that the consensus of critical opinion would move backwards in time again, to identify 1965's "Rubber Soul" as their finest record. That process, correctly in my opinion, has never quite materialised, but "Rubber Soul" remains an important album for several reasons.

John Lennon I think once said that this was where the contemporary influences (by which I presume he meant Bob Dylan, folk-rock and 60s soul) started profoundly affecting the Beatles' work. These influences were arguably manifesting themselves earlier, but on "Rubber Soul" they have been subsumed maturely and naturally into the framework of the group's overall sound and dynamic.

This is certainly a more "mature" record than "Help!".  The latter indisputably contains some great songs (the title track, "Ticket To Ride", "Yesterday", "You've Got To Hide Your Love Away"), but much of the rest is shallow by the Beatles' standards. Of course, certain non-musical "lifestyle" factors had been at work since 1964, and it could be that on "Rubber Soul" the band had finally worked out how to best channel and harness these to generate creative energy and focus.

It almost goes without saying that the lyrical content was growing more experimental and varied. By late 1965 even the "love songs" display an enhanced worldliness and sophistication. It would take further spiritual awakenings and the introduction of other stimuli, before the full flowering of the "Revolver" period would emerge. That said, The Beatles were already exhibiting that uncanny tendency to be in tune with the way in which the socio-cultural wind was blowing, without being seen to "force the issue". Songs such as "The Word" are evidence of this.

There was also a sense that this album marked the next phase of the group's evolution, Beatlemania as such having reached its zenith on the preceding American tour. On "Rubber Soul", The Beatles exude the confidence of people who have begun to master the studio, whereas on the previous records they sound as though they are still chasing something. Psychologically, they are already entering the post-touring mentality and ethos, beginning to expand their horizons and explore new territory.

I'm not sure whether this album has historically been perceived as a "Lennon" album.  The songs which have lingered longest in the popular consciousness ("Norwegian Wood", "Nowhere Man", "In My Life"), were his creations. On the other hand, Paul McCartney's presence looms large, not just in his songwriting contributions, but also in his vocal and instrumental versatility and ebullience, which always enriched and enlivened the other members' songs. To me, it genuinely feels like a collective effort, as indeed would "Revolver".

There is still some filler here, but it is superior filler, and by and large it does not tarnish the overall impression of a strong album. If anything this is despite rather than because of the running order; the record does rather tail off, with weaker material predominating towards the close.

This is probably my fourth favourite Beatles LP. "Abbey Road" is glorious pop/rock with added poignancy, "The White Album" is a sprawling and engagingly chaotic document of its times, and "Revolver" is an effervescent case of the Swinging Sixties merging into the counter-culture and psychedelia.  "Rubber Soul" cannot claim that kind of cogency, but it is nevertheless a satisfying listening experience.

Books About Music

In recent times I have got out of the habit of reading books about music, concentrating instead on history and fiction. However, the arrival of the New Year may persuade me to dust off some of the music-related titles on my shelves. Here are a few of my favourites.

One of the best reference works I have encountered is the fairly monumental AllMusic Guide To Rock, which summarizes the works of a huge diversity of rock, pop and soul artists, giving album ratings as well as brief reviews. Each act is also accorded a brief biography, and there is also an effort to summarize each genre and sub-genre. The sort of book in which to become happily immersed, both to rekindle old tastes and to develop new ones.

As far as scholarly works are concerned, Ian MacDonald's "Revolution In The Head" has a deservedly high reputation. Basically an analysis, song-by-song, of the music of The Beatles, cross-referenced with the social upheavals of the Sixties, it is a riveting read, and it fully merits the acclaim which it has been afforded.

Another Beatles-related book of some import is "The Complete Beatles Chronicle", written by Mark Lewisohn.  Meticulously researched, it basically lists, in chronological order and in remarkable detail, what the Fab Four were doing on each day during their career, whether it was a concert, a recording session, a radio show , a television appearance or something else. Lavishly illustrated, this is another engrossing read, and a reminder of just how frenetic the Beatles' schedule was, especially in the period 1962-1964.

Also well worth seeking out is "Waiting For The Sun", a chronicle of the Los Angeles music scene by Barney Hoskyns. It does not just concentrate on the "obvious" artists, but explores the development of various musical sub-cultures, the careers of influential people, and also the changing character of the music industry itself.

As far as biographies are concerned, Johnny Rogan's books out Neil Young and The Byrds are hugely comprehensive and enjoyable.  Recommended too are Philip Norman's book about The Rolling Stones, and Barney Hoskyns' work dealing with the story of The Band.

Dave Marsh's "The Heart Of Rock & Soul - The 1001 Greatest Singles Ever Made" is a strident and thought-provoking work, not for the faint-hearted, but impossible to put down once begun. It probably helped to jolt me out of some of my musical complacency and inertia, even if I didn't agree with all of the author's opinions.

Now if you'll excuse me, I'm off to do some reading....

Pop Music

Just recently I got a bee in my bonnet.  This was prompted by something which I picked up when studying the story of the early days of Abba.

 

There is disposable, inane pop music, and then there is polished, exhilarating and life-affirming pop music. The Swedish foursome were consummate purveyors of music in the latter category. However, many of those who espoused the cause of "serious" music, both within Sweden and without, displayed a kind of sneering mockery and disdain. It seems that their primary objections were the commercial nature of the group's releases, which were considered the antithesis of what music should represent, and the absence of overt "political" content or social commentary. By all accounts, many of these observers cling to their outlook three or four decades on.

 

The last time I checked, nobody forces anybody, least of all the pundits, to listen to anything. In addition, it is not a pre-requisite of "worthy" music that it should advocate global revolution. Pop music for decades has helped to elevate, if intermittently, the lives of countless "ordinary" people above drudgery and the mundane, by creating escapism, and those special transcendent moments. Don't try to tell me that such things are devoid of meaning or value.  People who issue a blanket condemnation of "pop" music on spurious philosophical grounds probably need to get a life.  You never know, they might just smile or laugh occasionally as a result.

 

I love "serious" music (classical, prog-rock, singer-songwriters etc) as much as anyone, and my own political views have moved leftwards in recent times. However, I also know the thrill of listening to a beautifully crafted and thrilling pop record. It is possible to have a foot in both camps, without being some kind of reactionary traitor. Those who see everything in "political" terms reveal their insecurity. They bemoan "straight society", but who is really "uptight" and "repressed"?

 

Some people would do well to be honest with themselves, swallow their pride and forget their self-image for a few moments. Light relief might just do them some good....

 

 

Siddhartha - Hermann Hesse

About three years ago, not long after being treated for depression, I read Hermann Hesse's novel "Siddhartha", and it had a profound effect upon me. The events and philosophies detailed in the book gave me hope and encouragement, and reminded me that the world, and this life, were still beautiful and precious. Just recently I re-read "Siddhartha", as part of a tentative effort to once again "reboot" my life.

 

In brief, the novel follows the eponymous character on a journey of self-discovery and spiritual exploration. He craves enlightenment, but comes to recognise that this cannot be attained via the teachings of others. It has to come from within, and we must find our own path, our own truths, and that the voices come from within - the "bird in the breast".

 

It is not difficult to appreciate why "Siddhartha" so captured the imagination of counter-cultural circles on both sides of the Atlantic in the decades which followed World War Two. Its message of liberation from doctrine, tradition and hierarchy, of arriving "there" by ourselves, was warmly embraced by a ready audience.

 

The renunciation of material possessions was of course also a favoured theme of the Sixties, but Siddhartha's quest does not perhaps follow the totally ascetic and self-denying course which some might expect (and/or hope). It seems he took the view that one needs to be immersed in "real life" to see the emptiness of some parts of it. All part of the process of conquering the "self"?

 

It was noticeable how some aspects of the story assumed greater prominence for me just recently, and which did not loom as large when I first read "Siddhartha".  One is the implication that more knowledge or learning can be imparted in one kiss or physical embrace than by slavishly studying some exalted text or tome. Events in my own personal life since 2011 have made me more receptive and empathetic to such things.

 

Also, Hesse mentions that a "game" can only last so long before it becomes stale and repetitive. We must have a goal, a path, a greater aim. As in all things, we need a balance, between keeping grounded and striving for a higher fulfilment.. This is something that many people, myself included, often overlook to our detriment.

 

Siddhartha's dreams are occasionally enlisted to convey symbolism, often to signpost the next stage in his odyssey. As in many of his stories, Hesse's language is organic, vivid but economical, evoking the vitality and the essence of life. These ingredients all help to make his work so enchanting and inspiring.

 

As with the many Hesse works which draw inspiration from Eastern philosophies, the themes of renewal, rebirth, cycles, the transient nature of things, and the essential harmony or "one-ness" of life and nature feature prominently here, as does a simple but profound love of all things.

 

Towards the end, as Siddhartha renews acquaintance with the ferryman, the river is used as a metaphor for life, being, "the moment", one's path, destiny, however we choose to interpret them. The arrival of Siddhartha's son is symbolic; the father's search coming to an end, and the offspring beginning his.

 

Some other important nuggets which I drew concerned the nature of time, the removal of fear and the limitations of words in expressing and explaining truth and wisdom. In time, Siddhartha came to terms with ordinary people, their preoccupations and their loves. This for me was one of the most important sub-plots, and consistent with the "unexpected" character of the journey.

 

Interestingly, the "lesson" which resonated with me was - don't try too hard, or you may miss something which is right in front of you.  Instead, listen and be receptive....

 

"Siddhartha" did not have quite the same emotional impact on me this time around.  This is not surprising, since it was not new to me, and I am a different person now from the one who was engrossed by it three or four years ago. However, I still found it invigorating and instructive.  Recommended reading for anyone.

 

 

 

 

 

 

Music From Big Pink - The Band - album review

There are relatively few rock albums which can be said to have heralded a shift in the prevailing direction of rock music, but The Band's Music From Big Pink, released in 1968, is one of those. Its honesty and earthiness went against the trends of the time, and persuaded listeners and fellow musicians alike that there was another way.  It also came to epitomize the notion of "Americana", in rock music terms anyway.

In truth, the true "Band" sound did not fully emerge until 1969's eponymous second album, but Music From Big Pink had something approaching a seismic impact. The likes of Eric Clapton and George Harrison were enraptured, not just by the musical content, but also by the ethos and the modus operandi which underpinned it. There was no suggestion of The Band confronting the existing music scene ; they just played what came from their hearts and souls.

In asserting that the group's signature style was not fully shaped on the debut effort, we are acknowledging that they had only just struck out on their own, having spent much of the previous decade backing other people, most famously Bob Dylan of course. The Dylan/Basement Tapes influence is still keenly felt, with three of the songs originating from that era. In addition, Robbie Robertson did not yet dominate the songwriting stakes as he did on the "brown album" the following year. This renders the album less cohesive than its successor.

It is one of the numbers co-written by Bob Dylan, "Tears Of Rage", which opens the record, and for me it is one of the highlights. The boys make the track their own, and Richard Manuel's superb vocal brings out the full poignancy of the lyrics. As so often with The Band, the keyboards are much to the fore, but all the band members contribute in creating a most engrossing rendition. This is also an early taste of the distinctive vocal harmonies which would help to make The Band's music so captivating. Three distinct voices (Richard Manuel, Levon Helm, Rick Danko), blending and weaving together in a kind of ragged glory.  Few groups could boast a performance as confident and affecting as this to open their debut album.

This vocal interplay plays a prominent role in "To Kingdom Come", especially in the choruses. This track exudes the R&B-influenced ruggedness which would come to characterize much of the Band's best output in the years which followed.

Although The Band were often cited as an antidote to psychedelic music and its excesses and pretensions, they came perilously close here to making a psychedelic song, in the form of "In A Station". The mildly ethereal keyboard and guitar sounds, together with some of the lyrics, certainly point in that direction. However, these factors are counter-balanced by the homeliness and finesse typical of the group.

I always feel that "Caledonia Mission" is a Band song par excellence, with its blend of country/folk flavours with R&B funkiness, and its enigmatic but compelling lyrics. Perhaps Rick Danko's most impressive lead vocal performance with The Band.

"The Weight" is possibly the group's most famous song, and it has an enduring appeal, part of which is in interpreting the biblical and other imagery.  I think that many people imagine that the song is espousing the sense of community which is often associated with the group's music, but it seems that it was intended to be somewhat more complicated than that. What I really like is the simplicity of the arrangement, with the platform of acoustic guitar, drums and bass embellished by Garth Hudson's engaging piano flourishes. The interest is heightened by the switching of lead vocals between the three primary singers.

"We Can Talk" is a delight, from the sumptuous organ-driven introduction, to the amusing lyrics, to the satisfying drum sound (a feature of the whole album, incidentally).  Those inimitable vocal harmonies are more rugged and likeable here than ever, and the soulful "middle-eight" section still surprises and pleases after repeated listens.

"Long Black Veil" and "This Wheel's On Fire" are probably the two weakest cuts on the record. The former, although lyrically interesting, comes out as ponderous and uninspired. "This Wheel's On Fire" has never really grabbed me as a song, and the Band's interpretation is not a patch on their own versions of "Tears Of Rage" and "I Shall Be Released".

There is a case for saying that "Big Pink" is more outright soulful and permeated with rhythm and blues than the follow-up, and "Chest Fever" is a prime example of this, although there is a strong dose of Johann Sebastian Bach (the organ sounds) as well as Sam and Dave!  The snare drum is once again a feature, and this recording contains some of Robbie Robertson's most effective and dextrous guitar work.

The next track, "Lonesome Suzie" can almost pass the listener by unless close attention is paid. Richard Manuel excels here, on his own composition, and his fragile and expressive vocal is complemented by delicate keyboard and guitar parts. The organ is a reminder of the pivotal role played by Garth Hudson, and his versatility, in the potency and vitality of The Band's music.

Although Music From Big Pink did not attain massive commercial success, it still endures as one of rock music's most important records. It has a pull subtly different from the sophomore release which followed. It sounds as fresh and as "musical" now as it must have done way back in the late 1960s.