RALPH, ALBERT & SYDNEY
The Journey Box Set 
An Interview with Paul Jenkins
October 2006

I am grateful to Paul Jenkins, who wrote the essay for Ralph's Box Set The Journey, for answering a few questions about Ralph's music and a little background about the essay.  
Andy Langran 
October 2006

How did you first discover Ralph's music?
 I heard Liam Clancy’s interpretation of “Streets of London” and Nanci Griffith’s take on “From Clare to Here” and was intrigued.  I decided this was one songwriter I needed to investigate further.  At a local bookstore (Borders, a big chain over here) I was able to listen to tracks from the CD From Clare to Here: The Songs of Ralph McTell (the US version of A Silver Celebration).  This would have been in the mid 1990s, I think.  I was hooked from the first track (“Summer Girls”).  I kept advancing through the tracks and was amazed to find no clunkers.  I reached for my credit card and have never looked back.  

What attracted you to his music?
First of all, I love Ralph’s voice, its gentleness, depth, and clarity.  I also immediately realized that his lyrics were thoughtful and worth investigating.   Finally, I liked the production of the songs, their warmth and overall feel.  So it was really the whole package.  Oh, and the guitar playing wasn’t too shabby either! 

What was the first album you heard and what were the early additions to your McTell collection.
As I’ve indicated above, From Clare to Here was the first album I bought.  I think You Well Meaning was next, followed by Not Till Tomorrow.  The whole Dylan Thomas connection intrigued me—I’ve long been a fan of his poetry—so I remember getting Boy With A Note pretty early on.  Then Easy, followed by the double CD set (Spiral Staircase: Classic Songs) that includes the songs from his first three LPs.  My approach to buying CDs was based on certain songs I liked.  I loved “Barges” the minute I heard it, for example, so I wanted to get Not Till Tomorrow in hopes that the rest of the CD would be just as good.  (It didn’t disappoint.)  Since I live in the USA, getting my hands on many of these was really a bit of a struggle.  Some nice UK chaps named Langran and Beresford really helped me out in this respect.  

What is your favourite album and your favourite song - maybe I'll let you chose a few songs like the old radio shows Desert Islands Discs and My Top 12.
 Um, that’s a tough one, of course.  Favorite songs are “Mr. Connaughton” and “Barges”.  After that, in no particular order: “Conundrum of Time”, “Nanna’s Song”, “River Rising”, “Let Me Down Easy”, “Still in Dreams” . . . I could go on and on.  I think “Peppers and Tomatoes” might be his best song.  Oh, and just to surprise you, I’ve always loved “Slow Burning Companion.”  I’ve never smoked, but I just love this one.  Favorite albums are: You Well Meaning, Not Till Tomorrow, Right Side Up, and From Clare to Here, the one that started it all.  I love Red Sky and Sand in Your Shoes too. 
 For non-Ralph material, I’m a huge Beatles fan, am very into Dylan, Bruce Springsteen, the Clancy Brothers and other Irish groups, Woody Guthrie, Show of Hands, Doc Watson, The Weavers, Billy Bragg, John Prine, James Taylor, Lucinda Williams, and dozens of others.  

You teach a course on Protest Music in the States. This covers mostly American music I understand. If you included British music on the course, which of Ralph's songs would you like to include??
Yes, I’ve often thought of expanding our boundaries a bit and using some of Ralph’s songs.  “Bentley and Craig” would be great, as would “Jesus Wept.”  “Water of Dreams” is an absolute classic in this genre.  “The Enemy Within” just fascinates me as well.  The range of Ralph’s writing is astonishingly broad.    

You have written on Ralph's music before. Was it more daunting being asked to write something for the Box Set by Ralph.
First of all, I was immensely flattered that Ralph asked me to do this.  It wasn’t really daunting, but it was a challenge to synthesize elements of the other essays into one coherent (I hope) composition.  I’d written an entire essay on “The Ferryman”, for example, and it was difficult to extract bits from it to include in the final product.  I think “The Ferryman” is the key song to the box set.  There were also lots of songs included in the set that I hadn’t written on before.  Many of these were covers of blues pieces, and, to be honest, I found it a bit hard to write about them.  You’ll notice that I didn’t go into great detail on any of them.  

Did Ralph give you any guidelines or did you have pretty much total freedom?  Did you speak much to David Suff while you were writing the Box Set essay. Did David's ideas on the Box Set prove helpful when writing your essay?  
I was given almost total freedom.  David and I talked about whether the essay should follow the progression of songs, or if they should be group as side one, side two, etc., but I didn’t think that would work very well.  I discussed things in general a few times with David.  Ralph’s input only came after a first draft was ready.  He made some minor corrections, but he’s always been so supportive of me and has pretty much left my ideas alone.  After reading the first draft, David suggested I write a bit more about Ralph’s performance style.  This was a bit tricky since I’ve only seen him once in concert (in Ingleton in 2004).  I think what we all realized as the project went on was that I’m most comfortable writing about the lyrics of Ralph’s songs.  Talking about his music and guitar style is more difficult for me, so I was happy to see someone like John Renbourn handle this!  Finally, I’m glad I was allowed (by David) to write at such length.  In fact I think he would have liked to have seen it be even a little longer. 

Were you pleased with the end result, seeing your saw your work featuring in such a significant Ralph McTell release? 
 “Pleased” doesn’t begin to describe my feelings, Andy!  Last year I published a book (Faculty Librarian Relationships) but being part of a project like The Journey surpasses any excitement or feeling of achievement I’ve ever had.  From the first moment I heard “Summer Girls” in that bookstore I felt an immediate connection with Ralph’s music, with his lyrics.  Although our lives have virtually nothing in common, I have some connection with Ralph I can’t really explain.  Maybe it’s that we both appreciate the artistic struggle.  I’m thinking of how well he expresses the frustration Dylan Thomas felt, or the impact Sylvia Plath has had on so many readers.  Ralph is also very good at describing childhood, a part of life that has a real fascination for me.  “Barges” made me feel as if I were right there alongside Ralph and his brother.  And even though I was lucky enough to have had a wonderful father in my life, “Mr. Connaughton” brings me to tears every time I listen to it.  Maybe it moves me because it makes me realize how lucky I’ve been. 

I assume Ralph was pleased with what you wrote, as he was with your previous writing, specifically on his lyrics?
Yes, he said he enjoyed reading my work and that he appreciates how well I seem to be able to get at what he’s trying to convey in his songs.  Mind you, he did insist I delete the word “genius” at one point.  I think I’d written something like “it is part of McTell’s genius that . . .” and he made me change that bit.  Isn’t that typical of him?  I can’t think of anyone else who’s accomplished so much and yet is still so humble.  

Any more McTell/Jenkins collaborations in the pipeline??            
In the middle of the Journey project, Ralph asked me if I’d write the liner notes for the reissue of Bridge of Sighs.  This is a much, much smaller essay, but I was tickled pink to be asked.  I’m so flattered to be included in anything Ralph does. 

back to the top