New Songs for Mr Blake

Musician and songwriter Mick Stannard is 69 years old and has, in his words, “been doing music most of that time, in bands and solo”. Ever since an operation meant singing was no longer possible, he’s been recording instrumental albums, but when he recently came across his forgotten copy of Songs of Innocence and of Experience Mick wanted to set some of these poems to music — and asked Kate, his daughter, if she’d like to sing them. Their album, Visions of William Blake, was released earlier this year, and Mick and Kate Stannard now share their experience of working with Mr Blake.


Mick:

I think William Blake has been in my DNA for quite a long time. It feels as if Jerusalem has always been there. And of course it’s the same with The Tyger. Mind you, I’m only a beginner and don’t really know much about his ideas. My first musical influences were Vaughan Williams and traditional English folk; people like Shirley Collins and Sandy Denny. Finding out that artists like The Doors and Nick Drake were quoting him in their songs is probably what drew me to him. To be honest I never knew he was that big in ‘popular culture’.

I go mainly by instinct and to be honest I’ve taken a few liberties with the text of his poems (adding some words of my own and taking some of his out) so I’m not sure if a purist would necessarily approve!

Encounters with Blake

As far as Blake himself is concerned, I’m no expert or indeed scholar. Some years ago I went to an exhibition of his watercolours and it was like a kind of worship. The place was dark and each work shone out from its case like a little jewel. The detail in his paintings fascinated me. It was fantastic. That’s where I picked up Songs of Innocence and of Experience. This in turn (about thirty years later!) led me to the idea of setting these poems to music.

I guess it was pure chance. Kate and I had just finished an album, Welcome to Our World, and I was thinking about what to do next. I was looking in our bookcase for something (I can’t remember what it was) and just happened to come across the Songs of Innocence and of Experience. Bingo! The more I delved into it, certain poems leapt out at me from the pages and I could hear the music straight away. With Visions of William Blake, it all seemed to make perfect sense. 

Visions of William Blake, by Mick and Kate Stannard

To take one example, I was amazed at how prescient the words to Holy Thursday are, speaking of poor folk living “in a rich and fruitful land”. I almost re-named our track Holy Food Bank Thursday. It seems that nothing much had changed since Blake’s day! Also I found the words to Earth’s Answer particularly powerful and The Lamb appealed to my sense of pastoral England. That’s where I tried to write music in the style of my hero, Vaughan Williams. Lots of strings, a harp and an oboe. Always an oboe for bucolic stuff!

A creative process

I don’t normally talk much about the creative process but I’ll have a bash. I’m basically a songwriter (of sorts) and love the challenge of writing lyrics and fitting them to music. Obviously with the ‘lyrics’ already taken care of by Mr Blake the process was a bit easier but no less of a challenge. I wasn’t aware which of his poems are well known and which others less so, and I think I chose the ones to have a go at by some kind of instinct — and of course those which appealed to me emotionally. They also had to scan pretty well and have a rhythm I could work with.

I’ve been listening to music for a long time and my influences are very diverse, stretching from traditional English folk to 60’s psychedelia, punk, new wave, classical, thrash metal and avant garde. So I guess my selection was in part dictated by my broad musical taste, which allowed me to devise a particular setting for each poem. Earth’s Answer for instance is very much influenced by Pink Floyd, whilst The Echoing Green is (hopefully) pure Vaughan Williams and strange to say, some of the music in The Door of Death now reminds me (in retrospect) of the last scenes in 2001: A Space Odyssey … Where the hell did THAT come from?

Messing around with the texts may seem a bit sacrilegious but it was the only way I could make the finished songs work to my satisfaction. It was simply a case of composing the music and making the words fit even if I had to add or subtract some. I hope William wouldn’t have minded! The Garden of Love wasn’t long enough so I added quite a lot of extra lines, and in The Lamb I took Blake’s lead when he says in Auguries of Innocence “the lamb misused breeds public strife and yet forgives the butcher’s knife”, and wrote an additional verse with that in mind.

In Holy Thursday I saw a direct parallel between the times Blake talks about and today’s austerity Britain so I wrote a final verse about homelessness. I couldn’t possibly have done a different melody for Jerusalem as it already has the best ever tune so I just put in a bit of Brexit chaos at the end to reflect what’s currently happening in our green and pleasant land!

So, many reasons for changing the texts, I guess, and I think it occurred to me as I was going through the poems, kind of spontaneously. The process of making words and music fit is indeed pretty mysterious. That’s why when you hit on something special, it’s really exciting. I’ve no idea where it comes from. A higher place?

Kate:

Dad has always been interested in poetry, so I’ve been aware of William Blake among others for some time. Dad even used to write silly poems for me when I was young to make me laugh, and has always been creative. However I wasn’t very familiar with William Blake’s poetry before we started the album, and I didn’t know about his artwork either! But it’s been a really interesting project to work on together, and fun exploring both the light-hearted and the more sinister.

The poems and songs are all so different. I feel like I take on a different persona for each song on Visions of William Blake, and in a way sing as a different person. I think of them in a very separate way.

Usually we sit down and Dad gives me the poem to read through. I try to visualise and interpret the words quietly on my own, and then Dad plays me the music he’s recorded so far in headphones. Whilst the music is playing, I carry on visualising scenes or images and think about the words and then we go from there. We talk about what kind of tone of voice will work. For example, on Earth’s Answer the inspiration for my reading of the words was Gandalf from Lord of the Rings!

For me, with A Poison Tree it’s the storytelling of the poem. The scene I picture by the end of the poem is both chilling and beautiful, and it’s interesting (to me anyway) how peaceful it is, despite the hatred.

Visions of William Blake for the 21st century

I’ve been surprised at how many people my age and younger know of Blake, and have relatives who have studied his work or have a real interest.

I found it very interesting on first looking at Finding Blake to discover that the website and its users want to ‘re-imagine William Blake for the 21st century’. This very much articulated to me what I felt like we had also been doing with the album, whilst unaware at first of the Finding Blake site. By putting Blake’s words to music in 2019, and particularly for myself as someone who didn’t know very much about him before, I felt like I was in a sense ‘finding’ Blake.

To me, some of his poems are still very relevant now in 2019. For instance, like Dad has mentioned, the ideas behind Holy Thursday are still an issue now and it very much feels like nothing has changed in all these years. That poem could have been written in the 21st century.

Mick:

Blake seems to have had a larger influence on people’s general way of thinking than I had ever imagined. I think this new Extinction Rebellion movement which is currently growing is something that Blake would have enthusiastically espoused. Also, areas of mysticism and spirituality, something I had never considered.


Notes

Mick Stannard and his daughter Kate have been recording music together for about a year. Mick has been playing for longer than he cares to remember and has many influences ranging from The Velvet Underground to Vaughan Williams. He has recorded ten solo albums and three with Kate, Visions of William Blake being one. Kate has a degree in photography and is currently working for a cancer charity in London. She also designed the cover art for all the albums.

Kate and Mick Stannard

Visions of William Blake by Mick and Kate Stannard features twelve of William Blake’s poems: The Garden of Love; A Poison Tree; Auguries of Innocence; The Tiger; The Echoing Green; The Sick Rose; The Lamb; Earth’s Answer; Holy Thursday; The Door of Death; The Angel; Jerusalem. It’s available on Spotify, where you can also find their previous albums, and also available at Amazon as a download. You can buy the CD of Visions of William Blake direct from Mick: email him at mstannm[at]ntlworld[dot]com for details.

You can also discover another version of A Poison Tree in A Pocketful of Riches: Adapting Blake to Song, Joseph Andrew Thompson’s post about Astralingua’s own adaptation of Blake’s poems. And Strange Mystery Flower from Roger Arias describes his own Blakean musical adaptation.

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