Following on from Canned Heat last week, this live version of Let’s Work Together but more especially Brian Ferry’s reworking of the song as Let’s Stick Together may be deliciously ironic – or not – depending on the outcome of yesterday’s vote. I scheduled this post to appear today before knowing the result.
I’ve just seen from the club website that one of Sons’ most loyal servants, left back Andy Jardine, has died.
He played a total of 364 games for the club in the 1950s and 60s – including 309 times with Tommy Govan as his partner at full back.
The pairing more or less picked itself. I can still hear the Boghead announcer intoning, “Robertson, Govan and Jardine,” or “Crawford, Govan and Jardine,” as the first three names on the team sheet.
Andy’s last appearance for the club was historic in another sense. It was in the 5-1 win over Third Lanark which was that club’s last ever game.
My last memory of Andy is of that Christmas Day game at Love Street, Paisley in 1971 when big Roy McCormack scored the best goal I’ve ever seen by a Sons player. Andy wasn’t playing, he was a spectator – can of beer in hand (yes, you could bring beer into the ground in those days) – dispensing ex-player’s wisdom to his successor at left back that day, Billie Wilkinson. “Nice wee nudge, son. Oh, unlucky. He’s seen it.”
Andy Jardine, long-standing left back. So it goes.
A Clive Westlake song that is lyrically reminiscent of last week’s first offering by Goffin and King in the lines, “Tomorrow will you still be here? / Tomorrow will come but I fear / that what is happening to me is only a dream…” but sung by the performer of the second.
Like Goin’ Back this is just a little heavy on the orchestral backing but it has power and pathos both.
Dusty Springfield: I Close My Eyes and Count to Ten
I woke up this morning to the news that Gerry Goffin has died.
In his collaborations with Carole King hewrote the lyrics to some of the most enduring popular songs from the 1960s. The list is stunning. At the end of the article in the link are songs he wrote with others.
His lyrics tended to be carefully worked out and belied the frothy nature of the productions of the era.
Look at the words of Will You Love Me Tomorrow. Their underlying poignancy was highlighted in King’s own version on her album, Tapestry.
Tonight you’re mine completely/You give your love so sweetly.
Tonight the light of love is in your eyes/But will you love me tomorrow?
Is this a lasting treasure/Or just a moment’s pleasure?
Can I believe the magic of your sighs?/Will you still love me tomorrow?
Tonight with words unspoken/You say that I’m the only one
But will my heart be broken/When the night meets the morning sun?
I’d like to know that your love/Is love I can be sure of.
So tell me now and I won’t ask again/Will you still love me tomorrow?
This, though, is the early 60s take by The Shirelles.
The Shirelles: Will you Love Me Tomorrow
And then there’s this:-
A little bit of freedom’s all we lack.
So catch me if you can I’m goin’ back.
Dusty Springfield: Goin’ Back
Gerald “Gerry” Goffin: 11/2/1939 – 19/6/2014. So it goes.
Tuesday Afternoon was followed as a single by Voices in the Sky (with its flute flourishes and distinctive vocal from Justin Hayward) which, like its follow-up, the hard-driving perennial favourite Ride My See-Saw, featured on the next LP, the even more pretentious concept album, In Search of the Lost Chord. That was the first Moody Blues LP I bought – possibly my first ever and there’s barely a dud on it – with the possible exception of the spoken passages and the final track OM. Its standout is the Ray Thomas song Legend of a Mind embedded within the House of Four Doors sequence with its classical pretensions placing the group’s output firmly in Prog territory.
By this time the Moodies were firmly established as my favourite band.
Then we had this song – later to feature on On The Threshold of a Dream – which I remember in its review of the single the NME referred to as “beautifully constructed.” Here the group plays it live.