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.