Music

Fifty friends and supporters of Workers’ Liberty gathered in the hills of West Yorkshire for our annual summer camp on 8-11 August.

Although storms were forecast, socialists of all ages enjoyed wild swimming in a nearby waterfall, hiking, trips on the canals and steam railways of the surrounding valleys, football, and our annual pub quiz and talent show.

Right-wing politicians always have great difficulty trying to get support from anyone with artistic integrity. In the Thatcher era, when numerous talented musicians sang up for the Labour cause under the banner of Red Wedge, all the Tories could cobble together were talentless tosh like Vince Hill, Jim Davidson and Mrs Mopp. Similarly, the Trump Presidency from the world of showbiz have been decidedly threadbare.

A vast number of popular singers have by now recorded Ewan McColl’s song “Dirty Old Town.” Luke Kelly, Liam Clancy, Esther Offarim, The Pogues, Rod Stewart (in Las Vegas!), Paddy Reilly, Van Morrison, Roger Whittaker, Julie Felix, and many others.
It is sung by Manchester United supporters at football matches. (Salford is part of Manchester).

It is a good song, I think. It was made in 1949 for performance at London’s Unity Theatre, an ancillary organisation of the British Communist Party (CP).

South African trumpeter Hugh Masekela died aged 79 on 23 January following a recurrence of prostate cancer. He was famous internationally for his playing and singing; for blending South African musical styles with jazz and pop; and as a prominent anti-apartheid activist. Born in Witbank, a mining town near Johannesburg, Masekela started his musical career in a school run by the British anti-apartheid priest Trevor Huddleston.

Found dead people in the forest Tallahatchie River and lakes
The whole wide world is wonderin’
What’s wrong with the United States

What’s wrong indeed! Lyrics from the Staples Singer’s Freedom Highway recorded twenty five years ago still resonate. It’s now the closing track on the second solo album of Rhiannon Giddens.

Last week saw the drop of Stormzy’s debut album Gang Signs and Prayer . Whilst the whole album is beautiful, brave and ambitious, it’s a bit of a grower and maybe not what most grime fans were expecting. It deals with themes of black identity, love and spirituality in a way mostly unheard in grime before.

It was fortunate for both jazz and the phonograph industry that their emergence co-incided: the improvisational music that is jazz was caught in its early days by the phonograph, and jazz repaid the industry a million times over in sales of music that owed its existence to early jazz.

When I grew into adulthood in the 1980s, the Tory government's onslaught saw us staring into a bleak future unless we fought back. So we did, and our fightback had a soundtrack.

The better-known voices of that soundtrack — the Paul Wellers and Billy Braggs — are still playing to this day. But one of the less known, and to me one of the best, died last month at the too-young age of 60.

Daniel Randall reviews Aesop Rock's The Impossible Kid (2016, Rhymesayers Entertainment)

With a spiraling list of performers and an unconfirmed set-list, our evening celebrating all things socialist and feminist was beginning to make Live Aid look like a lot of fuss about nothing.
However, as history has so often taught us, triumph can be found lurking in the jaws of disaster.
So it was that on a bank holiday Monday at The Cumberland Arms in Ouseburn, a veritable feast of music, poetry and drama unfolded before us.