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Better Ed than Dead

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(Steven J Wilson)

Ed Sheeran - He looks like Van Morrison, kinda, huh? Check the tats.  

Ed Sheeran is the highest paid entertainer on the planet. I think. I don’t know. They say he’s worth 65 million. Anyway, I read that somewhere. God knows he travels light and doesn’t have to share that dough with an orchestra or anything.

I saw Ed once. At least that I’m aware of. He opened for the Rolling Stones in 2015 (or was it 16?) at Arrowhead Stadium in Kansas City. Just me and several thousand of my closest friends. He came out with a guitar in front of that throng and mesmerized the crowd. Okay, not really. Some kids seemed to like him. Old people, eighty percent of the attendees, treated him as a curiosity or mild irritant, not uncommon for a warmup act served up before the Stones’ Lions and Christians, bread and circuses exhibition. Later, he sang “Beast of Burden” with Mick. He was better than Dave Matthews.

I see his ruddy little mug and tousled ginger top here and there in the social media. He seems like a nice fella. What little of his music I’ve heard I found inoffensive, innocuous, fairly musical. But nothing to get hung about.

But context, you know, can be everything. Last night I was driving home from having seen If Beale Street Could Talk, which put plenty on my mind, about white privilege, the souls of black folks, and all kinds of stuff. I located the FM station with the best reception for the KU (Jayhawks) basketball and distracted myself with the talents of young African-Americans (mostly) performing for proprietary white (mostly) people. Go, team.

I’d tell you that I’m semi-retired and I just work at my encore career as a library flunky at Lawrence High School because I want to stay active and give back to my community. That would be 1/3 true. The other 2/3 is I need the money because life in the music business left me where it leaves most people in the music business – nowhere. I get social security; which Mitch McConnell wants to take away from me to pay for David Koch’s appropriation of National Public Radio. But I digress.


Alright, cut to the chase, I’m driving to work at 6:54 in the morning and the radio is tuned to the same station as the night before, only now the station has returned to its usual programming of ‘hits.’ And on comes “Castle on the Hill” by Ed Sheeran. I caught a fragment of lyric that was pedestrian, but evocative in its way. Attached to it was a sort of melody. Surrounding it was this predictable wash of “I, too, treasure my original copy of The Unforgettable Fire sounds.” And you know, it wasn’t bad. It told a story (you know, like country music … doink, doink, doink) and as I listened I was transported. Specifically, to being the age most of his target audience is. To not having a million prejudices and the weight of the western pop music canon on my temples. To hearing this not charmless little graft of “Brown-eyed Girl” and “Summer of ‘69” (without, perhaps, ever having heard either) and thinking … I like this.

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The people have spoken.

Wire is having a 40th anniversary. Yes, I feel old.

(Steven J Wilson)
"Editor's" Note: One Mr. Colin Newman of Brighton observes that it is he who plays most of the keyboards on recordings by Wire. I'm not sure where, or if, I indicated otherwise, but Mr. Newman's contributions (in the studio and to SPEW'S accuracy) are noted. He is certainly an authority on the subject.  Wire is celebrating the 40th anniversary of their debut Pink Flag with the release of their fifteenth studio album Silver/Lead.   Wire’s first three records, Pink Flag, Chairs Missing, and 154 formed a blueprint for much of what came next in the wake of punk; showing how the drive and anger could be channeled beyond the roar and rage. Wire did, however, share with the Pistols a sense of the absurd. Uncomfortable with the conventions of rock, Wire set about reworking and subverting rock ’n’ roll. From Flag’s short, sharp blitz of songs to the more Kraut-Floyd atmospheres of Chairs Missing, to 154’s dark consolidation of Wire’s elements (immaculately...
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(Steven J Wilson)
At the ripe old age of thirty-two, Chi-town's Miss Alex White has been banging out the rock tunes since she was a teenager. I first encountered her in 2005 with the release of her Miss Alex White and the Red Orchestra album. I reviewed it, for the Kansas City Star, I think. I liked it. It was noisy – brash and bruising, but with a marination in soul music that was refreshing for a bratty kid. Her guitar playing was confident, within its limited range. You know, like Johnny Ramone or somebody. She was cool. And as a singer she already hinted at something special. She was raw, and powerful, but with a touch of sweet, sweet soul. In 2008 (or thereabouts) she formed a duo with her younger brother Francis Scott Key White. Using the name of a Fleer bubble gum flavor, White Mystery, the sibling ensemble was launched. Since 2010 they’ve released an album in April of every year. Each one has some good tunes, each one has some klunkers. The sibs tour relentlessly ...
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The resurrection of Peter Perrett

(Steven J Wilson)
Back in the day, one of the little thrills of working at Kief’s (it was a record store, eh) was opening the boxes from an import distributor like Jem and rifling through the fresh forty-fives from the U.K. Having seen a listing for a single by a new group called the Only Ones that sounded appealing, I included it on an order in 1977.   Released on the band’s own Vengeance label, it was a curious packaging, a black sleeve with a grainy black and white photo on one side, depicting a band of mismatched misfits, including guitarist John Perry in a form-fitting, less than flattering fishnet onesie. Front and center in the photo, as he was on stage and in the studio, was a young songwriter named Peter Perrett - tousled hair, dour expression, black sleeveless shirt.   This is curious, thought I.   Quickly “Lovers of Today” went to the turntable for audition.   It was one of those moments. Everything about it was perfect. Great intro, a sinister a-part, decorate...
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