Woman In The West

Here’s one by Tony Hazzard from 1971. I love it.



The song also appeared on Vaughan Thomas’s 1972 album in this splendid version



“Self” updated

Here are some new self portraits I took at the weekend 

You can see the whole series over on Flickr 

February 4th

February 4th 1965: The Righteous Brothers were #1 in the U.K. and US with this one

February 4th 1966: Bob Dylan and The Hawks played the first date on their world tour, starting in Louisville. It probably looked at bit like this

February 4th 1967: These chaps had a #1 album!

February 4th 1968: The Beatles recorded a take of Across The Universe with a little help from Lizzie and Gayleen. It was not this version

I’m sure more things happened too.



And in the news this month…















Film of the week 2016

The films we have been watching for film club in 2016:

1. Picnic At Hanging Rock, 1975

2. Valerie And Her Week Of Wonders, 1970

3. Night Watch, 2005

4. Boyhood, 2014

5. I Shot Andy Warhol, 1996

6. Coal Miner’s Daughter, 1980

7. I Confess, 1952

8. Entertaining Mr Sloane, 1970

9. Mr Holmes, 2015

10. Frankie & Johnny, 1991

11. That Thing You Do!, 1996

12. French Connection 2, 1975

13. Midnight In Paris, 2011

14. Anchorman 2, 2013

15. We Shall Overcome, 2006

16. Monsieur Hulot’s Holiday, 1953

17. Rebecca, 1940

18. The Caretaker, 1963

19. An Education, 2009

20. The Taking Of Pelham One Two Three, 1974

21. On Her Majesty’s Secret Service, 1969

22. Three For All, 1975

23. Ferris Bueller’s Day Off, 1986

24. Taking Off, 1971

25. Trash, 2014

26. Love And Mercy, 2015

27. Match Point, 2006

28. A Kind Of Loving, 1962

29. 2001, 1968

30. Touch Of Evil, 1958

31. Ghostbusters, 1984

32. Invasion Of The Body Snatchers, 1978

33. Factory Girl, 2006

34. Psychomania, 1973

35. Paris, Texas, 1984

36. The Diary Of A Teenage Girl, 2015

37. The Railway Children, 1970

38. The Fog, 1980

39. Victoria, 2015

40. Made, 1972

41. The Way We Were, 1973

42. Pan’s Labyrinth, 2006

43. Lambert And Stamp, 2014

44. The Ladykillers, 1955

45. Desperately Seeking Susan, 1985

46. Duffer, 1971

47. Eight Days A Week, 2016

48. Belle De Jour, 1967

49. The Gambler, 1974

50. Bad Santa, 2003

51. Fantastic Beasts And Where To Find Them, 2016

52.The Drop, 2014

Happy viewing in 2017!

Vinyl Art: McCartney

Paul McCartney


Apple, UK, 1970

Artwork by Paul & Linda McCartney, Gordon House and Roger Huggett

Photography by Linda McCartney




Nineteen hundred and seventy was the year Paul McCartney grew up. After 10 years of unprecedented backslapping and screaming, the cold, hard hangover of the new decade dawned as Paul worked on his first solo album.

McCartney was written partly as keeping-head-above-water survival therapy in Kintyre during what he calls “one of the worst times of my life”, and partly as spur of the moment flights of fancy as the songs were recorded, and the artwork reflects both these moods.

Both the music and the look of the album are overwhelmingly influenced by Linda McCartney, whose photographs are displayed throughout. The cover is remarkably stark and unfab, featuring a still life of a bowl of spilt cherries – possibly a nod to Paul’s interest in the nature of chance at the time. One could wonder if a conscious decision was made not to show Paul’s image on the front cover at all, much for the same reason that he recorded parts of the album at Morgan and Abbey Road studios under the pseudonym Billy Martin, keeping the project under wraps until it was ready.

The artwork as a whole was put together by Gordon House of Hipgnosis and designer Roger Huggett – both of whom had previously worked on Beatles albums and continued to work on Paul’s solo endeavours – following a rough mock-up from the McCartneys but really, the album is dominated by Linda’s homespun but remarkable photographs. The back cover is illustrated by the iconic ’69 shot of beardy Paul with baby Mary, an image which has become emblematic of the Paul ‘n’ Linda happy families love story.

More of the same can be found inside the gatefold: Paul on the beach, Paul looking moody or silly, kids, family, animals and landscapes; the stuff that went on to characterise Linda’s photography career in capsule form – candid images of family life seen through Linda’s eyes. Again, the cosiness of the images and the homemade vibe reflect what Paul was attempting to do with the album, creating music from the safe womb of the family and avoiding the mounting difficulties of the outside world.

Controversially – and blowing the Beatle myth right open – also included in press copies of the album was a typed-up sheet of paper detailing the de facto demise of the band, and sending already frayed friendships and business affairs spiralling into an unholy mess. The pink questionnaire and a yellow information sheet were stuffed into envelopes with the album by the McCartneys at their home on Cavendish Avenue. Paul: “We were actually enjoying ourselves like children, Linda and I, actually enjoying life for the first time in a while. And I had put the killer scoop in there, and then I just sent this out to the press.”

McCartney was received by the public and critics alike with mixed emotions, mostly as they all expected it to be another Abbey Road, and as such were destined to be sorely disappointed. Rolling Stone called it “distinctly second-rate”, whereas NME went with “an immensely warm and pleasurable album”. Despite the record reaching #1 and #2 in the US and UK respectively, no single was issued, although a promo clip was made for ‘Maybe I’m Amazed’, which was broadcast on US TV. The lack of a single – and the lack of promotion of the album by Paul generally – was the result of the scheduling problems of fitting both McCartney, Let It Be and Ringo’s Sentimental Journey into the spring of ’70, and the recriminations and running away to the country it spawned.

A slice of whimsy with a depressive if sugar-coated undercurrent, McCartney presaged the ups and downs of his solo career, and the homespun artwork perfectly fitted his mood of detachment and withdrawal from the world.

Gitte Morten © 2016.
This article was published in Shindig! Magazine, December 2016.

The Parallelograms project

Last week I showed my Parallelograms project in Somerset, UK – see more about this here.

 If you want to have a look at the projection, it’s now up

And don’t forget that you can still donate to the Nordoff Robbins Music Therapy trust. Thank you for your donations so far.