Performing with a lengthy list of bands, Kavana has blended the musical traditions of the British Isles with blues, country, Cajun, rock and other influences. His collaborations have brought him together with influential musicians from the worlds of British soul, blues, rhythm & blues, rock, Irish folk and folk-rock, and worldbeat music. A talented songwriter, Kavana has written songs exploring history and politics, as well as drinking, dancing, and playing music. The Village Voice has called him a "hard-hitting, no-nonsense realist".
Contents [hide]
1 Biography
1.1 Early career
1.2 Solo career
1.3 Academics and current career
2 Discography (partial)
2.1 Solo
2.2 with The Bucks
2.3 with LILT
2.4 with Juice on the Loose
3 In film
4 References
5 External links
[edit]Biography
[edit]Early career
After cutting his early musical teeth in a R&B band, the Wizards, Kavana moved to London in the late 1970s. He got a job at Rock On Records, replacing Philip Chevron, who was leaving to work full time with his band, The Radiators From Space.[1] In 1977, Kavana put together Kavana's Krisis Band, playing regularly at Islington's Hope & Anchor, a hot spot of the 1970s London soul scene. This band evolved into Juice on the Loose, who became something of a house band for Ace Records, with Kavana as band leader and producer. During this era, Kavana and members of the band toured and recorded with many legendary American acts, including Big Jay McNeely, Clarence "Frogman" Henry, Willie Egan, Dr. John, Dough Sahm, Augie Meyers and Flaco Jiminez, Wallace Davenport, Gatemouth Brown, Memphis Slim, Champion Jack Dupree, and Slim Gaillard.[2] Kavana appears on Juice on the Loose's self-titled album, released on Line Records in 1981. Other Juice on the Loose recordings would surface on Kavana's first solo album, Rollin' & Coastin' (In Search of America).
Throughout the 1970s and 1980s, Kavana also played with Panama Red, The Thunderbirds, The Balham Alligators, and The Alexis Korner Band. Following a European R & B package tour backing Korner, Kavana played an anniversary show for the Boogie Woogie Band's anniversary at Dingwalls, with an all-star band that included Charlie Watts on drums and Jack Bruce on bass.[3]
[edit]Solo career
Kavana released his first solo album, Rollin' & Coastin' (In Search of America) in 1985, on the Italian record label, Appaloosa. The album was a compilation of solo tracks and Juice on The Loose recordings.
In the mid/late 1980s, Kavana opened several tours for The Pogues, whose management considered him as a replacement for departing bass player/singer Cait O'Riordan.[4] The band chose road crew member Darryl Hunt for the job, but Kavana makes several appearances on The Pogues' album If I Should Fall From Grace With God, and co-wrote two songs with Pogue Terry Woods: “Every Man Is A King (In The U.S. of A.)” and “Young Ned Of the Hill”, the former released originally as a B-side and the later included on The Pogues album Peace and Love.
In 1990, Kavana produced the album For The Children. Featuring 29 guests (including several members of The Pogues), the album was a fundraiser for LILT (London Irish Live Trust), a charity organization working for peace in Northern Ireland.
By the late 1980s, Kavana had formed the eclectic group Alias Ron Kavana. The group was subsequently named "Best Live Act in the World" by Folk Roots Magazine in 1989, 1990, and 1991. The Alias Band's first album, Think Like a Hero, was released in 1989. Alias Ron Kavana's second album, Coming Days, followed in 1991.
Terry Woods joined forces with Ron Kavana and recorded the album Home Fire, released as Kavana's second solo effort in 1991. The two appear together in the 1990 Ken Loach film, Hidden Agenda, performing the Wolftones' song “The Ballad Of Joe McDonnell”.
After quitting The Pogues, Woods joined with Kavana and formed a new band, The Bucks. This lineup recorded the album Dancing to the Ceili Band, released in 1994 on WEA. The album and the band's live shows were well received by fans and critics, but disbanded after a short time. Kavana cites lack of label support as a reason, and claims he “never got a penny” for the album.[5]
Returning to the Alias Band, Kavana recorded Galway to Graceland (ARK 002) in 2005. The album was self-financed and produced independently. Due to financial difficulties it was deleted before getting a full release.
Kavana again entered Pogues territory, this time playing guitar in an early version of Shane MacGowan's band The Popes. Kavana’s guitar work can be heard on “Haunted”, a duet featuring Sinead O’Connor. He also came up with the tune for "Snake With Eyes of Garnet" from MacGowan’s first solo album, The Snake, although he received no credit for this work.[5]
[edit]Academics and current career
In 1995, frustrated by problems with record labels and the music business generally, and finding himself in the hole financially, Kavana took a three year break from the industry, enrolling in a full time Humanities course, graduating with first-class honours in Irish Studies and Film Studies.
Working on and off for several years, Kavana released a two-disc set Irish Songs of Rebellion, Resistance and Reconciliation in 2006. This was followed by the 2007 four disc set Irish Ways: Story of Ireland in Song, Music & Poetry. The albums followed Irish history through songs and poems from 1796 to the present day. The albums are credited to The Alias Acoustic Band.
[edit]Discography (partial)
[edit]Solo
Rollin' & Coastin' (In Search of America) - 1985, Appaloosa
Think Like a Hero - 1989,1995 Chiswick
Coming Days - 1991,1995 Chiswick
Home Fire (with Terry Woods) - 1991, Green Linnet
Galway to Graceland- 1995, Alias Recordings
Alien Alert (with The Resident Aliens) [live] - Proper Records, 1999
Irish Songs of Rebellion, Resistance and Reconciliation - 2006, Primo Records
Irish Ways: Story of Ireland in Song, Music & Poetry - 2007, Proper Records
[edit]with The Bucks
Dancin' To The Ceili Band - 1994, WEA
[edit]with LILT
For the Children - 1990, Alias Records
[edit]with Juice on the Loose
Juice on the Loose - 1981
(see also "Rollin' & Coastin' (In Search of America)")
[edit]In film
Kavana has appeared in and/or composed music for the soundtracks of such films as Sid and Nancy, Ryan's Daughter, and Hidden Agenda (1990).
[edit]References
^ Philip Chevron, 15 January 2010, writing on the Pogues' on line forum: http://www.pogues.com/forum/viewtopic.php?f=20&t=2808&start=15
^ All Music Guide entry; also Ron Kavana, interview printed in liner notes of Kavana's 1999 live album "Alien Alert", published by Proper Records.
^ All Music Guide; also Ron Kavana, interview printed in liner notes of Kavana's 1999 live album "Alien Alert", published by Proper Records.
^ Pogue Mahone Kiss My Arse: The Story of the Pogues, by Carol Clerk, published 2009
^ a b Ron Kavana, interview printed in liner notes of Kavana's 1999 live album "Alien Alert", published by Proper Records.
[edit]External links
"Ron Kavana Page". Proper Records. Retrieved 2010-08-03.
"1998 Interview/Article: The philosophies behind Ron's Songs: Ron Kavana - great songwriter and sometimes philosopher". FolkWorld. Retrieved 2010-02-02.
A Living Wage
Ron Kavana Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Back of the railway tracks
With assorted refugees from DSS, B and B's
At the school gate they sell crack
Here they steal her thunder, crucify her wonder
Can she get out alive and grovel gratefully
On the eternal 9 to 5
From a government sworn to uphold that cause
Not betrayal of precious right, bought with precious lives
In the course of two World Wars
Now Sally is sixteen sits in history class
Reading what Churchill said
About a living wage for all the poorly paid
The basis of our welfare state
But her friend Sue left school last year
For a job in a shoe shop
Now she's back home, signing on the dole
The pay weren't worth a crap
In the ivory tower high on the hill
Far from the street and trash
Sit the privileged few, our future rulers
Learning bought with cash
In the afternoon doom of her classroom
Sally's waiting for the bell
She carves a desperate plea on her desktop
Get me out of this frigging hell
A living wage is all that we demand
From a government sworn to uphold that cause
Not betrayal of precious right, bought with precious lives
In the course of two World Wars
The lyrics to the song A Living Wage by Ron Kavana contain powerful social commentary and paint a bleak picture of working-class life in the UK. The first stanza introduces us to Sally, an eleven-year-old girl who attends St. Clements, a school located behind the railway tracks where refugees from DSS and B&Bs gather to sell crack. The opening lines make it clear that life is tough for Sally and those around her. The desperation of their situation is highlighted by the fact that they are selling drugs to make ends meet. Sally’s wonder and aspirations are being crucified by the harsh reality and bleak future that awaits her. The “eternal 9-5” is looming on the horizon, a symbol of a life without hope.
In the second stanza, Sally is now sixteen and sitting in a history class, reading about Churchill's famous speech referring to a living wage for all the poorly paid. This speech highlights that a living wage was the basis of the UK’s welfare state. However, Sally's friend Sue left school last year for a job in a shoe shop only to return home and sign on the dole, with the pay not being worth a crap. Meanwhile, the privileged few sit high on the hill in their ivory towers, learning bought with cash. Sally carves a desperate plea on her desktop in the afternoon doom of her classroom to get her out of this frigging hell.
The lyrics of “A Living Wage” are a powerful plea for social justice and equality. If our governments are truly sworn to uphold the noble cause of providing a living wage, then they must act accordingly, and not betray this right, bought with precious lives over the course of two World Wars. The song ends as it begins, with the haunting plea for a living wage to be provided to all those who work tirelessly to make ends meet.
Line by Line Meaning
Sally is eleven, goes to St. Clements
Meet Sally, an eleven-year-old girl attending school at St. Clements.
Back of the railway tracks
Her school is located behind the railway tracks, a place not typically associated with prosperity or success.
With assorted refugees from DSS, B and B's
The area is home to a number of refugees and people on government assistance living in Bed and Breakfast accommodations.
At the school gate they sell crack
Drug dealers are selling their wares just outside the school gate, making it difficult for students like Sally to stay focused on their studies.
Here they steal her thunder, crucify her wonder
Despite being intelligent and curious, Sally's environment is stifling and hostile, preventing her from accessing her full potential.
Can she get out alive and grovel gratefully
Sally wonders if she'll ever be able to escape her circumstances and live a life where she's not at the mercy of others, forcing her to be grateful for even the most basic necessities.
On the eternal 9 to 5
Like so many people, Sally's future seems destined to be working long hours just to make ends meet.
A living wage is all that we demand
The song argues that everyone deserves to earn a living wage, and it's not an unreasonable expectation to have for the government.
From a government sworn to uphold that cause
The government should be committed to ensuring that every citizen has the ability to earn a living wage, and that commitment should be reflected in policy and action.
Not betrayal of precious right, bought with precious lives
The right to a living wage was won through the sacrifices of people in previous wars, and to ignore that right is to betray their memory.
In the course of two World Wars
The song references the two World Wars as a reminder that the right to a living wage was a hard-fought battle that shouldn't be taken for granted.
Now Sally is sixteen sits in history class
Years later, Sally is now sixteen and taking history class.
Reading what Churchill said
In class, Sally is reading a quote from Winston Churchill about the importance of a living wage for people who are struggling to get by.
About a living wage for all the poorly paid
Churchill believed that everyone, even those with low-paying jobs, deserved to earn a living wage.
The basis of our welfare state
Churchill saw a living wage as a foundation for a welfare state that would assist people who still needed additional support.
But her friend Sue left school last year
Sally's friend Sue chose to leave school last year to begin working.
For a job in a shoe shop
Sue found a job working at a shoe store.
Now she's back home, signing on the dole
Unfortunately, the job didn't work out and Sue is now unemployed and seeking government assistance.
The pay weren't worth a crap
Sue's low-paying job didn't provide enough money for her to make ends meet.
In the ivory tower high on the hill
Meanwhile, wealthy and privileged people are attending universities located high up on hills, far removed from the struggles of people like Sally and Sue.
Far from the street and trash
These universities are worlds apart from the realities of impoverished neighborhoods and rundown streets.
Sit the privileged few, our future rulers
Many of these university students are likely to become future leaders of their countries, despite having little understanding of the struggles of ordinary people.
Learning bought with cash
These students are receiving an education paid for by their wealthy families, while others are struggling just to receive basic education.
In the afternoon doom of her classroom
As Sally sits in her classroom, she's acutely aware of the grim future that seems to be in store for her.
Sally's waiting for the bell
She's counting down the minutes until the school day is over so she can get back to her life outside of school.
She carves a desperate plea on her desktop
As a form of silent protest, Sally carves a message into her desk begging for help and a way out of her situation.
Get me out of this frigging hell
Her message conveys the desperation she feels as she searches for a way out of her difficult life.
Contributed by Andrew V. Suggest a correction in the comments below.