Great excitement a couple of months ago in the Holden household - well half of it anyway - when it was announced that Roy Harper would be headlining the Acoustic stage at Glastonbury on Sunday 29 June, a few weeks after his 84th birthday.
There had been no signs of Roy playing live since his last tour in 2019 (and before that it was 2016 and then 2013). Most Harper fans had begun to suspect he had, this time, retired from live performance for good. His blog and facebook posts had become very rare and totally silent on the issues of recording and performance. Inevitably I began to wonder if time and age had taken too much toll.
Harper originally retired from playing live more than 15 years ago but was persuaded back into performance by the American singer Joanna Newsom who, like Kate Bush and several others, attributes her presence in the business to being inspired by him. We saw Roy support Joanna in 2010 and, while he played well, his voice seemed a bit frail. But the tour prompted a resurrection. More gigs, a new album Man and Myth - which I'd put in the top half of his career bounty of more than 20 albums - then a tour (when he sang strongly and well) and a burst of recognition greater than he received in most of his career which will now go into a seventh decade. That recognition included a Lifetime Achievement award at the BBC Radio 2 folk awards, a slew of interviews in daily newspapers and music mags, several appearances on TV including BBC Breakfast and a guest spot on Test Match Special playing his 1975 classic When An Old Cricketer Leaves The Crease.
Disastrously for Roy's Indian Summer period (and quite possibly prompted by the extensive publicity) this was all soon followed by a historical sexual abuse allegation which put everything on hold. Roy's had a knack of upsetting a lot of people over the years. He was persona non grata for 3 years with the media until the case against him, which always sounded tenuous in the extreme, collapsed.
So it was a relief to see him playing again in 2016 and 2019. And playing without blemish, apart from one song where he caused his backing "orchestra" of a string quartet, double bass and second guitarist to chuckle when he said, after the applause had died down, "you know I always thought that song had four verses, but I found it only needed three".
Of course people can be forgetful at any age and all musicians make mistakes which they either have to cover or recover from. When we saw Harper in 2013 he was backed by another of his young American acolytes, Jonathan Wilson. Harper had gone to Los Angeles where Wilson produced four of the seven tracks on the album and then they toured together, Wilson playing his own set and then backing his mentor on second guitar and various percussion. I have a vivid memory of two things from that gig. The first is that Wilson took to the stage barefoot, which would always seem odd to someone like me who gets cold hands and feet almost year round - but in Manchester in late October? The second was how gently and with great respect Wilson supported Harper's performance, most notably during Twelve Hours of Sunset which has featured in Harper's stage set since 1974. At a conservative estimate Harper must have played this song to an audience several thousand times. With rehearsals that number must be into five figures. But we saw quite clearly from our front row seats a look of panic in Harper's eyes part way through the song as he reached a transition from verse to chorus: it was clear as he looked up towards Wilson that he couldn't remember the next chord sequence. Fortunately the previous chord is held on sustain anyway and Wilson mimed the next four fret positions which introduce the chorus. Harper's head snapped back round to the front and he went straight into the main motif in the song with such a slight delay that it was probably noticed by few present and certainly no-one beyond the first few rows of seats. These are the moments that I think make watching a live performance so special. But I'm hoping Roy doesn't have any of those heart in mouth moments at Glastonbury. I'm expecting he will have his son Nick filling the second guitar role this weekend. Nick, a performer and recording artist in his own right of long standing, has made 15 albums of his own. And nobody other than Roy knows the songs better as Nick grew up hearing them. The photo below shows Nick on stage with his dad at the Cambridge Folk Festival in 1967
But there is another, tantalising prospect. Harper's big buddy since the late 1960s might be a special guest - Jimmy Page. We can but hope.
Having played there several times before Harper is a link to an earlier, simpler, less commercial and, yes, more "hippy" Glastonbury, though Harper would reject the hippy label just as much as he would the folk label. He was on the Main stage in 1970, in 1981 on the newly built Pyramid stage, again on the Pyramid in 1982 and, most recently, the Acoustic Stage in 1990. Indeed he headlined in 1982 and there's a story behind that.
In 1981 Ginger Baker's band headlined on the Friday, with Roy on next to last. There are many accounts on the internet of what happened that night, succinctly summarised by the BBC as follows:
In a moment that certainly trumps Lee Nelson's stage invasion during Kanye West's set, Baker caused an almighty ruckus by setting up his equipment while the previous act, folk-rocker Roy Harper, was still playing. Understandably miffed, Harper confronted him and the two ended up scrapping on-stage. According to an eyewitness account on UK Rock Festivals, the crowd then pelted Baker with bottles during his set, with one hitting him square on the forehead. Some claim that Baker, hardman that he is, simply carried on drumming.
Apparently Michael Eavis felt so bad about what had happened that Harper was immediately invited back as a headliner the following year.
When I told Mrs H about the Glastonbury announcement she reminded me that we "don't do festivals". I said that was irrelevant, which worried her - but then clarified that all the tickets, costing several hundred pounds each, are sold long before the line up is announced. On TV then? Harper fans wait to see whether any of his show will be broadcast: the Beeb doesn't routinely broadcast from the Acoustic stage (there are ten stages at Glastonbury these days). Given Harper's status as one of the few significant performers from the 1960s still around I expect BBC will at least show a snippet (he's due on stage from 9.30 to 10.30pm).
But, on the back of the Glastonbury announcement, a "Final tour part 2" was revealed, comprising 3 gigs in Manchester, London and Birmingham in September. Yes, of course we're going, though in Mrs H's case she says only to keep me company driving back afterwards. But she has always enjoyed Roy's Me and My Woman which I think he has played on most of the occasions I've seen him - around a dozen, since 1971. The song starts with (for me) a classic couplet:
I never know what kind of day it is
On my battlefield of ideals
That's certainly a possible for the Glastonbury set, but if Jimmy Page is with him, they'll play the equally classic song from the very same album as Me and My Woman, Roy's withering take on Christianity and Catholicism in particular, The Same Old Rock. Oh please....
You can take a listen here. The song is a good, but far from the only, exemplification of one critic's categorisation of Harper as "epic, progressive acoustic - a category of one". I expect mainly shorter songs on Sunday, but we don't have long to wait and, hopefully, see and hear.
PS There's a brilliant book published by Penguin on the history of the Abbey Road studios by music author David Hepworth. After 11 chapters on EMI, the Abbey road building and it's uniformed commissionaires, the producers who wore suits but sports jackets at the weekends, the in house development of equipment and recording techniques, the many famous artists of all types from classical to stars like Noel Coward and Gracie Fields to comedy artists like Tony Hancock, Spike Milligan and Peter Sellers and of course pop musicians including the Beatles, I came to the chapter where EMI, speculated by creating the Harvest label. They gave studio time and resources to a gamut of obscure artists from the college scene like Edgar Broughton and the Third Ear Band. Amongst them was Roy Harper and I was delighted to find this unexpected excerpt:
...by common consent the zenith of Harper's entire career as a recording artist, also took place in Studio One. Harper had a passion for cricket, one he shared with Ken Townsend (a long serving EMI producer) and the members of Pink Floyd. This had led him to write a song about the strange vibrations which thoughts of the game set off in the English breast. It was decided, with more thought for history than accountancy, that what would set this song off a treat was a brass band. Thus no less august a body than the entire Grimethorpe Colliery Brass Band was brought down from south Yorkshire and set up in Studio One, where they performed under the baton of David Bedford. The resulting record, When An Old Cricketer Leaves The Crease, is one of the dozen greatest records ever made at Abbey Road.
Wow. Hepworth's rationale for that comment is that, while the sound of that brass band could have been attempted by some local session musicians or, in another era, digitally dubbed in, it just wouldn't have the same emotional effect. The song endures in the imagination because one can "close our eyes and imagine the performance taking place", "we knew it had been delivered by a bunch of burly men in their cardigans, men who sprang from the same soil as the song". He called it "proof of the genius of the studio system".
PPS I feel able to call my hero by his first name having met him and spoken one to one for several minutes. Roy being Roy he made as much eye contact with Mrs H standing silently beside me. She said she immediately understood why his compendium of lyrics, The Passions of Great Fortune, is littered with photos of his many lovers (and those were the ones who were happy to be in print...) But he's settled down a bit since the 1990s and I've also met his lovely wife Tracey, who sends out email and facebook updates and deals with all the mail orders personally, on two occasions.
The title of this piece comes from a song called Glasto on Roy's penultimate (as yet) album The Green Man released in 2000:
It has some classically whimsical Harper lyrics:
Michael is running the party (actually his daughter does now of course)/Helping us all pay the rent/So that Billy the kid/Can spend a few quid/Being out of his tree in a tent
and
And watching the bare naked protest/Is the giggly teengirl from Tring/She can't understand/How a man could have planned/To protest the odd shape of his thing
with the chorus
Maybe there'll be summer/Maybe It won't rain/Maybe it don't matter/Oh let's go to Glasto again
12 artists you never knew headlined Glastonbury, BBC. https://www.bbc.co.uk/music/articles/f4764a16-9f5f-4405-bed0-6d9d0651e4cf