Free Man
Don't Need The Blues
Charles
Gayle (tenor sax)
when club owners wouldn't call back
to pretend they knew his name
and all he had to play
Gayle opened venues of his own
on street corners and down subways,
slamming his tenor up against
taxis and trains to find anyone
he could pull close
like a pro wrestler whispering
let's work this angle together;
it'll be a better show than
if we only butt heads
how about you, lady with a fancy bag,
you want to go three rounds
with me? What about you sir,
care to take off your tie and
scuff those shiny shoes? Hey kid,
why not skip school? I can
teach you something your class
will never know: your lesson
for today is that when someone
needs something this bad they'll work
in the rain, fight through the snow,
and I may not be much to look at now
with my beat-up shoes and bent
old sax, but believe me when
I tell you I'm a luckier guy than you;
I'm here waiting on the day
when my ship comes in
but they'd be crazy to let me take off;
everyone knows
I do my best work down here
Stop
Press
the good news is
there is no good news;
there never has been
any good news,
and there never will will be
any good news
until every page
of every 'paper
is blank;
and there is no one
left alive to read
the
good news
Last Stand
Never thought I’d exit
the blue carpet
smeared with cigarette
burns and stars
and only feel relieved
that the matinee ride
was over.
But in every new
blockbuster
I spy the shade of those
that lit up
my youth: when Wolverine
slashes Mystique
I see Ripley squaring up
to the alien queen,
or Arnie’s thumbs-up in Terminator
2
when his mettle is
humble and cooled.
The sensible voice
beside me says
take it as a sign to
re-wind the video,
accept that DVD is dead
and downloads are here
to stay;
I know you watch Ingmar
Bergman
when I’m out of the
house.
Oh yes, I know you’re
right:
this is how I learn to
live
without the old
illusions, or learn
to re-invent some new.
But giving up
summer films means
giving up
on summer, the chance
I’ll exit
the matinee and find
daylight
has added a new colour
to the mix;
and for a moment really
believe
I might drive around the
world
to prove it’s no flatter
than a screen.
Because being young is
the only ticket
everyone gets for free;
the rest
you have to work for,
and mortgage against.
So here we are outside
the Plaza
peering over the heads of strangers’ kids.
It’s either The
Seventh Seal
or X-Men 7. Tell
me again what it is
you really need to see.
On My Knees, Lord
In the bad days
of the good book
he’s a serpent,
a jackal, a bull with no horns
but he’s always a she to me;
on her knees
begging me to beg
down in the cold
where we fashion
with the tools of our souls
a new kind of Hell
then scream the hour of prayer
with my broken brothers
all over the world
but never drown your whisper.
The bell of your breath peels my fingers
back to the old Exodus
so I can read you naked
I can read you shamed
hear your laughter in the garden
lick your milk from the leaves
and I wonder
when I pray
and I pray
when I wonder;
devil Eve, is it
for you
I wear the wire,
is it for you
I wield the whip?
All
Aboard
We had it easy for an hour
or two; sat on the tracks
and picked a few daisies,
secure in the knowledge
that
all points were diverted,
no train was due. But today
we’re on the timetable,
engines gunning hard,
and woe betide any
passenger
who might stumble on the
tracks.
These trains are expressly
on time and will not stop
for anyone, even those who
imagine
they hold the dead man’s
handle.
Hide on the platform or
scream
on
the rail; either way heads will roll.
Ian Mullins