Parrot Bulletin

We got a namecheck on BBC Radio WM yesterday. A feature about Bands who reformed after a long break away. Frankly I don't think we've ever reformed, but we did get back together in 2006, after an absence from the local music scene of 30 years or so...

Anyways. Busy engaged on subterfuge, undercover work and secret missions at present, planning a new Folk Venue opening in 2010. We're running a full sound check in the new venue tomorrow, and having a "business meeting" the day after that.

The new club will be run jointly by BPS and another Midlands Folk Celebrity. But...if you want to see us before the year is out, then owing to the fact that most Festival Organisers are scared of us, here's the only places where we'll be at, up until the end of the year. After that-you'll be able to catch us somewhere local, once a month, for definite. More on that to follow.


Sty Folk Club , Green Lane WMC Coventry Sunday November 1st

Tin Angel, Coventry Wednesday December 9th

Bedworth Folk Club, Bedworth RFC December 16th

CATCH US LIVE (and for free) on FRIDAY 25th SEPTEMBER

(Pictured above: Black Parrot Seaside at "Concert For Judith" The Maudslay, June 2009


Audiences in search of a laugh and some decent entertainment will be delighted to hear that Black Parrot Seaside resume their antics next Friday night after a Summer break. They take the stage for the first time since July, appearing at The Blue Pig pub in Wolvey. They plan two sets, starting after 9pm, and admission is free.

The band are promising that the Wolvey gig will “definitely” see a first airing of what they hope will be another Seaside classic, a new number entitled “ If I were a Goat.” The song laments the relatively lonely and unexciting life that some tethered goats can lead. Singer Geoff Veasey has a twinkle in his eye when he explains that, “It’s ever so slightly tongue in cheek. It has the easiest chorus refrain a folk audience will ever experience…and it may well be the first Beyonce cover version performed before a Folk Audience.“ Coming from a band who pay homage to the unfair treatment of vacuum cleaners, and who have recorded a sea shanty sung by a Pirate who is a victim of Risk Assessment, it could be interesting!

As always, the band will also be including plenty of traditional songs, including an new, extended version of “The Bonny Black Hare,” and covers of material by John Tams, Bob Dylan and The Incredible String Band. BPS had a torrid start to 2009, and had to cancel a lot of gigs at the start of the year. Previously regulars at The Pig, this is their first appearance there in 2009, and replaces a performance cancelled previously owing to bereavement.

Hopefully that is behind them now and Geoff hopes that a change in work commitments for three of the members should also see them more widely available for weekend and evening dates from now on. “ We really want to put ourselves about a bit more during the Autumn,” he says, inviting Club Organisers and Festival promoters to contact him or the band via their website. Following the Wolvey date they already have appearances lined up at The Tump and Sty Folk Clubs in Coventry, and will be hosting one of their infamous Christmas parties at Bedworth Folk Club (Rugby Club Venue) on 16th December.

On the theme of getting more exposure, BPS are also looking into the possibility of starting up a new Folk Club working in partnership with another popular Midlands performer. “Very hush hush,” winks Geoff. “ We’ve got a couple of venues lined up and so far we’ve shortlisted one in Nuneaton and one in Coventry. “ BPS ran their own successful Folk club in Brinklow during the late 1970’s. Many artistes still on the local folk scene played there. In fact, it would not be a first for either party. Their mystery partner, still as yet to be revealed, has also run and hosted many Folk Clubs. “ Just watch this space. “ says Geoff.

Albion Magazine-Album Review

This is the second decent Magazine Review we've had of "Ain't It Grand." It's written by James Turner, who I've never met-but I'd certainly buy him a drink if I did. It appears in the Autumn 2009 edition-alongside reviews of Amazing Blondell and Southside Johnny. That'll do me.

Black Parrot SeasideAin't it Grand?
Spindrift Records Spin118

Originally formed in the mid-seventies at the tail-end of the electric folk revival, Black Parrot Seaside always kept things light' parody, satire, humour and a great tune were their trade marks. They eventually folded in 1982, but in 2006 they re-formed for a charity gig and enjoyed it so much that three years later, they are still together. On their latest release, the quartet of Geoff Veasey (vocals, tambourine, and swanee whistle), Mick Harris (mandolin, banjo, and accordion), Eddie Jones (fiddle, accordion, and pub piano) and Arnold Chave (acoustic and electric guitar) turn their humorous gaze on all sorts of subjects. They cover DIY on the opening track (with which I identify so much….I'll tell the story of the foot through the kitchen ceiling another time), nostalgically look back to the old days of the cinema (Odeon) and the steam locomotive (Requiem for Steam), and take the mickey out of the current trend for Mockney accents on the brilliant Cockney Power, with a brief medley of London songs. This amusing and affectionate look at the world today is an album well worth listening to.

Concert For Judith- Photos

Our thanks to Norman Wheatley and Viv for these candid snaps of what was a great night. Pictured in descending order are: Maggie Coleman: Phutnote: LazyManzFlute: Rod Felton: Tanza: Black Parrot Seaside and, finally, The Company assembled on stage to finish the night with an emotional rendition of "Go Lassie Go." If you look very carefully you can just see Norman Wheatley's head right hand side in bottom photo. Norman compered the show,lent moral support and advice,and with Viv co-ordinated The Raffle. Thanks to to "Tanza" for providing setting up and driving an excellent P.A.

Concert For Judith 28th June 2009

Thanks to all who made it a memorable experience Upstairs at The Maudslay last night. With the heat wave on and even with the windows open, it still felt more as if we were playing Lousiana rather than urban Coventry.

The room is a good one for acoustic and semi-acoustic music, and we had stimulating sets from everyone. Norman Wheatley started us off, expertly compering and singing a selection of pleasantly summery songs. LazyManzFlute followed, and they were really excellent. Maggie Coleman provided the first solo spot of the evening, with some thoughtful and typically tuneful renderings.

Tanza finished the first half, and they were a revelation. B.P.S. were due to appear with them at the cancelled Blue Pig gig in February. We must re-arrange this, for we’d be good on a bill together. They did a wide selection of very broad material which complimented the more traditional material very well. Good musicianship and splendid vocals. Excellent!

During the Interval we had the draw for the most lavish raffle I’ve ever seen at a Folk venue. Very different to the tongue in cheek Mock Raffle we conduct at the end of “At The Septic Monkey”! (When we get most of the prizes returned by an embarrassed and slightly flushed audience!Many thanks to all those who donated such lovely prizes.

Norman kicked off the second half, and he was followed by Phutnote. We knew all about them, having seen them many times at Bedworth Folk Club. They did not disappoint. They also brought along Declan, a prize winning Irish dancer who had appeared in Riverdance. Declan’s routines were an appropriate background to Phutnote’s set, and they all received a rapturous ovation! Phutnote finished (at my request!) with Eric Bogle’s “Willie McBride.” What a haunting song that is!

Then it was time for a Rod Felton slot. A True Legend, Roddie was enigmatically Roddie. He refused to use the stage or the P.A. and sat instead, cabaret style, on a chair at the front of the hall. Which was fine for those at the front. He opened with “Thighs” (at least I think that’s what he said!) and included typical examples of Feltonesque humour and one-liners during his set. He finished with my favourite Roddie song “Curly”-another of my requests. To my surprise he performed this unaccompanied-forsaking his beloved guitar. Some inspired singing by all those present who knew the song-it’s about his baby daughter-who’s a very grown up lady now!

And then it was time for Black Parrot Seaside to close the evening. One of Judith’s last wishes before she died in February was that B.P.S. should continue to play together after her death. So it was apt that I think we played a rousing and varied set. We opened with Dylan’s “Maggie’s Farm.” And followed it with “The Bonny Black Hare,” accompanied by a much longer instrumental finish. Time then for a (semi) Parrot song after that. “Albert Balls” has very quickly proved an audience pleaser wherever we have done it-and the choruses were simply roared out! “ Wee Midnight Hour” was a simple low-tempo blues, and then it was time to lift the hilarity again with “ The Bold Pirate,” and its shock ending. (The HSE ring us and get it stopped during the 4th verse). (Honestly..) We finished with “ D.I.Y “

Finally, we got the whole company up to lead them in a frankly spine tingling version of “Go Lassie Go.” Which seemed somehow a kind of emotional closure. Singing so moving, it brought people up into the room from outside, to ask what it was. (One of whom was a music producer, interested in recording it-but that’s another story!).

We all had an ace time despite the miserly input of landlord Ambrose. Having previously promised us a bar, he promptly closed it, after less than an hour of the concert. His rationale for this? Not enough people were drinking, apparently. Despite the fact that almost 70 people turned out to raise funds for Myton Hospice, and to pay tribute to Judith. You might think that kind of turnout on a Sunday night might please a landlord who we had once thought was sympathetic-but apparently not. The audience and performers had to traipse downstairs thereafter, where (oddly, given the fatuous excuse for closing the bar upstairs, considerably less than 70 people were sprinkled around in corners of the Maudslay’s less than imposing lounge.

Finally the thanks. To Norman Wheatley and his partner Viv, for the immense work they put into the event and into organising the raffle To Norman for compering as expertly as always, and for superb advice and moral support. To Tanza for installing, providing “driving” and dismantling the P.A. To Jill Gilsenan who brought along a donation from Bedworth Folk Club and helped out selling raffle tickets. As always with Jilly, she also provided encouragement for the performers by her beautiful accompaniment of backing singing.

Thanks to the audience, of course, for turning up. Some had come from as far away as Bristol! The audience was a really eclectic and responsive mixed bag-of young and old. Many familiar faces from the clubs we’ve played since reforming-thanks for that, folks!

Thanks to Pete Willow who gave the event a great write-up in Friday’s Coventry Telegraph. Thanks to all those (including Pete), who had hoped to help out but had other commitments on that particular evening. Kristy Gallagher, Malc Gurnham, Pete Grassby Chris Tobin and Keith Donnelly to name but five. There’s always next time!
Finally, thanks to the performers, who gave up their time or for free. Ladies and Gents you were all superb. I salute you. We must do all that again some time. But possibly, not at The Maudslay.

We think we’ve raised over £200 for Myton Hospice-I’ll make public the final total.

On The Road to Warwick

We had a splendid night at Warwick Folk Club last night. Because of the tragedy that had hit the band earlier in the year, this was only our second appearance of 2009 as a four-piece-and our first as a four piece since Rugby in April. Many of you reading this will know that we have appeared in all kinds of other permutations since January, but the four of us together is really our favoured format. And the best experience of the Parrot magic that an audience can hope for.

We started our feature spot there with "The Septic Monkey," our homage to the Folk Club from Hell, as they had so obviously enjoyed it when we'd done it there last time. (So much so that during the interval that night someone had scrawled out "Septic Monkey" and put it over the "Warwick" bit of their Club Banner!

I don't think we've ever started a set or a floor spot before with The Monkey-but it is turning out to be a very good interactive song for getting Folk Audiences involved and warmed up. The Mock Raffle at the end of Monkey is getting a bit scary, though. I try to make the "prizes" so vile that the audience will give them back. Increasingly we're finding that some folk are keeping them. I lost "Scratch and Sniff Halloween " at Beduff last week like that (shame on you!) and last night someone with issues hung on to an album of Barbara Cartland reading extracts from her greatest works. Val returned "Get to know Your Chinchilla" though. And the "Hitler's Birthday" DVD was left under a chair, unsealed. Incidentally-the real raffle followed ours. I won it-but I'd thrown my ticket in with all the stage stubs-so it was redrawn and compere for the night Maggie Coleman won my box of chocs instead. It just serves me right for taking the p*ss out of so many clubs.

We followed a fairly riotous version of the Monkey with "Albert Balls" and "The Odeon" and finished with " The Bold Pirate." Albert Balls isn't on the CD but it is proving to be very popular.The chorus singing was really good. I think we scared Warwick Audiences a bit at first, when we first started playing there, but they seem to really get us now.

Maggie Coleman compered, and sang. She gave Concert For Judith a big plug and so did we. There were only a couple of other floorsingers besides Maggie. Ian? was an excellent guitarist, and a lady called Sue? Sang two delightful songs. One of them was Fairport's " Who Knows Where The Time Goes?" My own personal Sandy Denny performance. That was a very brave choice but I have to say that she pulled it off and got the whole room singing.
Main Guests were Fairfield, from Bromsgrove Folk Club. Strong singing,good instrumentalism and punchy banter. A mixture of wistful songs and funny, good-feel ones.

During the Interval we were introduced to some Hotel Guests from Jersey who had drifted in as we started. They had been falling about during our spot and wanted to buy a CD-"Pirate" had absolutely knocked them out! The shock ending usually catches some audience members out but we'd done this one there before too and many were ready for it. Not the usual ending to a BPS set-we usually finish with an extended version of DIY-but it worked tonight. Onto the Maudslay on June 28th and then Newbold Rugby Club in July.

We still owe loads of venues cancelled or re-arranged bookings, and we're working on the backlog, but as we get into Autumn, availabilities should become easier. If you're a solo artist it's easier to say "yes" when an Organiser offers you a booking.
But with four of you, three working full time, that means there is a four to one chance that we can make a first offer. But we'll get there. And do more floor spots, too.

A CONCERT FOR JUDITH-JUNE 28TH

MAUDSLAY HOTEL, COVENTRY, SUNDAY 28TH JUNE 2009. FREE ADMISSION. STARTS 8PM

RAFFLE AND COLLECTION IN AID OF MYTON HOSPICE

ALREADY APPEARING:

NORMAN WHEATLEY....LAZYMANZFLUTE...MAGGIE COLEMAN....TANZA.....PHUTNOTE...ROD FELTON...BLACK PARROT SEASIDE.....

A brief REMINDER here about what we (Black Parrot Seaside) are doing, and why.

Many of you know we've been around as a Folk Band since the late 1970's. ( O.k. we had a Gap Decade or two, but in 2006 we accepted an invitation to reform for a one-off Charity Fund Raiser in Brinklow). But it wasn't a one off. We got back into the swing of things,and many local venues began to book us. We did floor spots elsewhere when and where we could. Our four-way work commitments meant that we were a little more elusive than some artistes, and when there are four of you, logistics in accepting a booking are four times more difficult. But Things were going well. Festivals, Radio, a CD-it was a lovely second chance for four Old Fogeys which we never thought we'd have.

We are a close unit. We have known each other as friends for over 35 years. The guitarist and I have known each other since 1961. So we were devastated to hear at the start of this year, that his wife Judith was terminally ill. The diagnosis was sudden: the decline brutal: the ending in February of this year was swift, but very traumatic for all of us.

It looked as if we would fold again, but amongst Judith's last instructions were,
" Don't let the boys down." So he's gritted his teeth and wiped away his tears and forced himself to get back into music. Some of you may have seen us since we finally got back into public performance. We've appeared as a two-piece, a three piece, as solo artistes and as the original four piece line Vinyl up. It was really hard at times, to be honest. But several Folk clubs-and Bedworth in particular-have been VERY supportive to us.

We agreed when we got back together a third time, to organise a Concert For Judith this summer, as a Fundraiser. This would have the effect of supporting Myton Hospice where she died, and celebrating her life.

Judith's ashes are being scattered somewhere on the Roseland Peninsula at this very moment-another late pledge they made to each other. It's an odd thought. We played and entertained at their wedding only a couple of years ago-and now this.

Please help us if you can, to put something back into a very worthy cause, and to remember a really nice lady. Come along in droves, drink lots of beer, listen to some ace music and buy loads of raffle tickets.

Thanks for reading.

Keep On Squawkin'

A busy week this week. Mondays rehearsing (Yes we do, whatever people might think of our live appearances!) And Tuesday out to The Green Man at Long Itchington. It was not my first time at this pub. I rather overdid the circuit on the Long Itchington Beer Festival in 2008 there and had a little bit of Tickers Tummy afterwards. But this was our first time at the Folk Club there, and I enjoyed it. It was as you youngsters would say, absolutely rammed:packed to the gunwhales, with steam trickling down the windows. Just how Folk Clubs used to be.

A good programme, featuring Alan Sprung first and our old mates Malc Gurnham and Gilly, second. Alan turned out to be an old mate too, as it happened. We discovered we went to the same school as him. In the same Year Group in fact. A very high standard of floor singers, so we were lucky to get a spot, even having made a fifty mile round journey to get there. Being without our multi-instrumentalist Mick, we did " The Odeon" and " Requiem For Steam." Both were a bit serious for us, and in stark contrast to the superbly hyped up intro which Martin had given us. (Thanks for that Martin-we'll try to be a lot sillier next time). Both went well. There were quite a few people there who'd seen us before, so the choruses to The Odeon were particularly rousing.

Excellent performances from compere Martin (Warwick Folk Club) and Pam (host/organiser,) were followed by Guitar dexterity from Styvechale Folk Club's Rob, and Dave Fry having a bit of a knees up. Sorry Dave-I'm sure the surgery will hold up. A band new to me, "Green Man Rising " virtually filled the place on their own and did three numbers featuring so many instruments I lost count. Alan did his bit, with some thought provoking material and Maggie Coleman added her contribution.

On Wednesday I did a solo spot at Bedworth Folk Club. Geoff Higginbottom was the featured act and he was excellent. Something for everyone there. Traditional, comedy, everything from Sea Shanties to Richard Thompson. I did three Parrot Songs that don't feature that often in setlists, but which do have a place in our history.

I started with a traditional song "The Lincolnshire Poacher." We used to do four part harmonies on this, but I sang it alone and unaccompanied. "Bonio Romeo" followed-one of our own we haven't done since John Walker on electric guitar days. It was a dogged performance, even though I was terrier-fied. I finished with one of the Blues songs we do," Struggling Again." Being an Anker Delta worksong featuring Morris Marinas and monthly pay, although this has a traditional 12 bar form, the lyrics are as you might expect from a band of our genre. I greatly missed Blind Boy's Fender thrumming along behind me, and perhaps I should have brought the harmonica. Anyway it all got polite applause, and nobody walked out.

We were also able to confirm that all four of us-The Full Black Parrot Seaside package in all its glory-will be hosting BFC's Christmas Party at Bedworth Rugby Club on 16th December. You have been warned. Another Rugby club nearer home is Newbold, where we are featured on July 19th. We're at Bedduth again in a couple of weeks time, and at The Maudslay in Coventry on June 28th. Of which more on here later.

BACK ON THE PERCH

Belatedly, here is an account of our first full gig in almost five months-a rousing Tuesday night session at The Merchants Inn, Rugby. Most Parrot Bloggers will be aware of exactly why tragic circumstances had sidelined us since November, but if any reading this are not-just scroll down. It’s all here.

What a fine pub this is! That was my opinion before we played it-and it remains my opinion afterwards. Being part of their Annual Beer Festival, we were looking forward to sampling some of the wares on sale, but alas, as it turned out, three of us were driving. Ah well: another time. It’s a pub we know well!

The place seemed as busy as ever. We set up in the fag machine corner and caused a spot of consternation by shutting the external doors there and playing in the area normally reserved for those who wish to nip outside for a quick drag. We had taken the precaution this time of having someone other than us drive our P.A.-and this helped the sound levels enormously.

The crowd were noisy, enthusiastic and erm, predominantly “relaxed.” Not unlike The Tuns gig we played in Coventry last year-except there were a lot more punters here. The Merchants was also a very mixed age group whereas the Tuns crowd were predominantly youngsters. This might have intimidated some Senior Folkies, but not us. We’ve played The Cross The Dive Bar, and various University Bars. We can deal with good natured raucousness. In fact, we can give it back. Our first half set was as follows:

1. BEING NOT WELL
2. SALT OF THE EARTH
3. REQUIEM
4. BEDDUTH BANK
5. BLACK JACK DAVID
6. WAG of SHOP 14
7. HOOLIGAN’S HORNPIPE
8. BONNY BLACK HARE
9. DIRTY GERTIE
10. BLACK VELVET BAND
11. THE WHISTLER

“Salt” was a particularly good version, well received and with good chorus singing from the audience. With The Strawbs having reformed, our riposte to “Part of The Union” continues to raise wry grins, and helps redress the balance a little. After all, crushing the Unions and selling off The Family Silver didn’t really get any of us very far did it?
If the crowd did not know what they were in for, they did by “The Wag,” which we managed to do in full theatrical mode. That is, with the Ryton Spanner Dance performed out on the floor, in a sort of mosh pit between us and the Real Ale casks, and with me sitting on a chair reading the Daily Mirror whilst the boys bashed out some jigs n’ reels. “It’s like the Edinburgh Festival,” one luvvie twittered enthusiastically, afterwards. ( I wish-but very flattering!).
Spurred on by the dozens of real ales available, Black Velvet Band seemed to get the whole pub singing, and the crowd whistling in The Whistler to finish the first half wasn’t bad either. Julian from The Crown in Nuneaton had turned up to run the rule over us, and he seemed well impressed by the first half. (He’s offered us a gig there, anyway).

The second half was:

REAL ALE
MAGGIES FARM
WARWICKSHIRE LULLABY
RAILWAY MAGAZINE
AT THE SEPTIC MONKEY
THE ODEON
THE BOLD PIRATE
MANURE
ALBERT BALLS
I’M ONLY A POOR LITTLE RHINO
MIDNIGHT HOUR BLUES
COCKNEY POWER
D.I.Y.

(ENCORE)- VACUUM CLEANER

Maggie’s Farm was the first public performance featuring all four of the band and was well received. As was the rest of the material. More enthusiastic vein-busting singing for “Railway Magazine” , and “ Cockney Power “ which made a lot of people chuckle.

We did not have to play for an encore-we had earned one. By this time the audience had really latched on to the full mixture of irreverent, slightly naughty punk Folk that is vintage parrot, and they had no qualms about holding their mobiles aloft and howling along with the chorus John Peel liked so much:

“ I am a Vacuum Cleaner with the Brain of a Bird/
I’ve heard of reincarnation but this is absurd. “

(What will they think when they play that back next morning?)

Many thanks to Scott and all at The Merchants for inviting us, to Lee for his help in Sound mixing, and to the Real Ale drinkers of Rugby for giving us such support. Hope to be back soon?

Jeff Powles R.I.P.

More sad news. Jeff Powles, our second drummer,died last week. He was only 56.

After we parted company,quite early on in the Electric Parrot days, Jeff went on to become a music agent. I didn't see him for years, but then I bumped into him, in about 2005, at a Doors Tribute night at the (alas!) now defunct Nags Head in Nuneaton.

Jeff was a really nice bloke. I think he struggled at times to get his head round some of the crazier stuff we did, but some of my fondest memories of those years include him bashing away at the Kit at some classic Rock Gigs. He had quite a temper, and could fly into a rage over something quickly. At such times his mane of hair would fly around as he flounced off-hence we nicknamed him "Queenie." In fairness though, he also came out of those rages very quickly. He also had a much nicer Galunian name-Jallin N'gara-which he seemed much fonder of.

The only photo I can find featuring Jeff shows us rehearsing at The Woodlands School, round about 1976, when we all had hair-some of us lots of it! L. to R. it's Barry Ousby on base, Jeff Powles on drums, Arnold on guitar, other Geoff singing (with a fag on?) and Mick Harris on the electric piano. Classic stuff. happy days. Rock on JGP.

BPS (Back) on The Road

It’s been good this week to get back on the Road again in any format, after the long lay off and circumstances which no-one would have wished for. At one stage the whole future of the band hung in the balance, but we seem resolved now to carry on, as long as people will have us.

On Monday, I was at Warwick Folk Club, where Norman Wheatley was the featured act. Norman had asked me to join him and Martin in a song called “We’re Still Angry Now.” Other than a Private Party in January, where three of us had run (shakily!) through some Parrot material, this was the first time I’d performed publicly since Bedworth Folk Festival in November 2008.
Norman played two typically entertaining and varied sets. He certainly mixed things up, with his own material, Tom Lehrer, Beatles, James Taylor and Dylan covers included. And the excellent Jake song "La Di Dah" which Norman does so well. Plenty to sing along to. He sprinkled other guests in with the repertoire too, adding musical accompaniment, vocals or both.
I usually manage to park o.k. at Warwick, quite near the club, but this time I couldn’t. I ended up scratching the car, in a Public Car Park, and skittering through unfamiliar streets to try to get there in time. I won a bottle of Leffe in the raffle, so all was not doom and gloom. And my part in Norman's song added to a rousing performance by the three of us which the audiencel seemed to enjoy.
As always, the other floor spots offered some interesting contrasts, though most concentrated on the one man and his guitar format. This still lead to a pleasing variety of material. In particular, it was good to hear my favourite Billy Bragg song “ Between The Wars” done justice. It seems so apt again, nowadays.
The People at Warwick were genuinely nice. Several asked how Arnold was bearing up since the bereavement, and Dave Fry the compere for the evening asked me on the Club's behalf to pass on everyone’s thoughts to him.

Then on Wednesday night two of us went along to support the Macmillan Nurses Fund raiser at Bedworth Rugby Club. This is basically an extension of Bedworth Folk Club, with Jill and Malc Gurnham hosting. This was to be Arnold’s first public performance since the Folk Festival last November. We’d asked if we could do a couple of numbers, but ended up closing the evening. (Of which more later).

These sessions tend to be a real shop window: a friendly, jolly, relaxed almost “workshop” atmosphere, and a real cross-section of performers. My goodness, I can’t remember all the songs, but we had spirited renditions from many different kinds of performers, of much loved works by artistes as diverse as Donovan, Lonnie Donnegan, Alison Krauss, Eric Bogle and John Martyn. Malc and Jilly were as pleasant to listen to as always, and I also enjoyed the very thoughtful mix of songs put together by the trio “Footnote”.
We were honoured to be invited to close, though without the instrumentalism of Mick and Eddie, both of us struggled to remember what the missing sections sounded like! Arnold fondly unveiled his brand new guitar, and we started off with “The Odeon” -which most people knew and sang along with. We followed that with a second airing of a new song, “Albert Balls.” (Last performed at the Festival) I think by the end of this, the few people who hadn’t seen us before had worked out that our material isn’t always entirely serious.
We then performed “Midlands Lullaby”, which also got a few smiling. Though it would have been punchier with that lovely East European medley we do at the end. We finished off with “ The Bold Pirate.” I had come cutlass-less, but a member of the bar staff fetched me one from another room! ( What do you expect in a Rugby Club?) The surprise ending caught a few out, and I bodged the words up twice, but basically we winged it.
The event had raised a fair old sum for Macmillan Nurses, and at the end of proceedings, Malc very kindly handed it over to Arnold. This will kick-start our “Concert For Judith “ campaign, where we hope to put our heart and souls into raising money to help others to make life comfortable for those who suffered like Judith.

Back on The Perch

Those of you who know the band (or of them) may well be aware of the tragedy that hit us amidships in February 2009. We cancelled all bookings, stopped rehearsals and really, for a while, it looked as if (for a second time), the band might fold. But I am delighted to say that we got together musically for the first time in 2009 last Monday. Mick and Arnold have bought new instruments, and it's all systems go again.
The wounds will take a long time to heal, but music will help.

We played some 17 songs, including some new material which is eventually destined to join the set list. "Maggie's Farm," for example, we'd been working on for a while. This will be our first Dylan cover since "Knocking on Heaven's Door," which we used to do in the 1970s and 1980's. We also returned successfully to " Man of Constant Sorrow."

There are a couple more Blues songs we'd like to do also-but we haven't neglected our Comedy roots either. "Poor Little Rhino " and "Albert Balls" are Northern parodies which we did at Bedworth Folk Festival in November. We consider them set regulars now. And we haven't given up completely on being the first Folk Band to do a Beyonce cover. Our haunting tribute to her, " If I were a Goat" is shaping up nicely.

Our first gig since Beduff will be at The Merchants Inn, Rugby on Tuesday April 21st. This evening is part of their Beer Festival-so it will be a damn good night all round. We'll be doing two sets, the first at around 9.15, the second starting around 10.30. Thanks to those in the Folk community who have given us such solid support during this bleak period. Judith wanted us to carry on after her untimely death, and that's exactly what we'll do. This one's for her.

Judith Chave R.I.P.

In what has been a terrifyingly quick chain of events, Judith, the wife of our guitarist Arnold, died peacefully in Myton Hospice only a few weeks ago. Her funeral was yesterday, and many Black Parrot Seaside followers were amongst a large congregation who attended.

For a while it had looked over the last few months as if the band would fold completely. But it was one of Judith's last wishes that "The Boys" as she affectionately called us, would continue. So we will.

We will be getting back together soon to rehearse, and as soon as we are back up to speed we will begin to fulfil bookings again. We have cancelled all performances but the one scheduled for the Merchants Inn on April 21st 2009-that will be effectively when we "get back on the horse"-and others will follow.

We intend to dedicate quite a bit of future time to fund raising for Myton Hospice and Macmillan Nurses. As part of the healing process we would like to commemorate Judith's brief life through a "Concert For Judith" to be held somewhere locally during the late Spring or Summer. Already, local artistes and Club organisers such as Kristy Gallagher,Norman Wheatley, Pete Willow, Gill Gilsenan and Malc Gurnham have pledged support. Anyone else interested in helping out should contact one of us through the usual channels. Judith loved her music, and this event will celebrate that.

An Update

Well it's been ten days since I last blogged, and things are if anything worse. I realise I am still talking in ambiguities here, but that is largely to protect the Band member who is facing the awful prospect of nursing his partner through the worst and most final of all illnesses.

The remaining three of us are meeting next week to bond, to share manly hugs, and to mull over what, if anything the future holds for what was up until so very recently a rejuvenated and rising B.P.S. We still have some bookings ahead which we have not yet cancelled. It is difficult to see at the moment though, how best can fulfil them.

The only faint beam of optimism has come from a fabulous review of our CD by David Kidman, which I received this week. It will hopefully be published soon on the Net Rhythmns Website and in Folk Roundabout Magazine. David had no idea of the trauma we were undergoing when he wrote it, but it certainly came as a tonic. Once it's published, I'll stick it on here, with links.

We have met David only once. This was at Bedworth Folk Festival last November, where he was compering one of the slots we were appearing in. He was so supportive, that night, we gave him a CD. I must share with you something he wrote to me a few days ago, after he had just learned about our current troubles.



" I can well understand the impact this has had on you all. Your group closeness was apparent on the one occasion we met, even to an “outsider” like me.For what it’s worth – my advice is don’t let this stunning blow force BPS to disband or pack in. The immediate cancellations, the taking stock, of course these are perfectly natural – and absolutely right – responses. But what I’ve found is that where there’s a common close bond that’s strong, that’ll be what keeps you going (in some form or other and whenever) – and quite apart from your friendship and closeness (which is way more than a bonus in a band situation) the music is one such bond too. Supporting each other in adversity, and playing together when you feel you can, will pull you all through this difficult time, I am sure of that. "


-Cheers for that David. Words of genuine worth from a top bloke.

Thanks for all those good wishes and messages of support. We will keep promoters Organisers and Band followers posted. If we do have to cancel, we will give as much prior notice as possible.

A TROUBLE SHARED

Many of us on the local folk scene were upset to hear about Linda Dickson’s serious illness. As it happens, I know Linda well, both as a family friend and an ex-colleague. My band, Black Parrot Seaside, have had more than enough personal tragedy over the last 12 months, and we were given a new cross to bear only last week. Our hearts go out to those in Ninepenny Marl and Pennyroyal therefore. Sometimes the cruel hand of random unfathomable forces defies any attempt to rationalise it. You call it what you like-I can’t see a pattern or a logic in any of this sustained cruelty and unhappiness, where good people go under, and others who don’t deserve it seem to be given chance after chance.

Of those of you who have been fortunate enough to be together in a band for any long period of time, some of you will also have been blessed with that special kind of cameraderie and communal joy which only such a relationship brings. You’ll understand what I’m about to say. Bands’ performances and music are often associated with conflicting egoes: with internal bickering: with division and dissent. It isn’t like that with us. It never has been. We’ve had personnel changes over the years, but the current line up as featured on our new CD and performing across the Midlands since 2006, is the same as it was 30 years ago, when we cut our first album on vinyl.
Such unity means that the good times are great. But it also means that the sad times are that much sadder. This is because when one of us hurts, the rest of us also suffer. When one of us grieves or mourns a loss, the rest of us share it. One of us had awful news last week, in a seven day period where the bad news just kept on coming. It meant that only three of us performed at a Family function on Saturday when all four of us should have been there. If it had been a gig, without doubt we would have cancelled it. But because our families and partners were there, and many of our friends, we carried on, after explaining to an audience why we were depleted, and why the set would only be very brief.

It’s a difficult thing to do, that is, to put a shadow over an otherwise very happy celebration, which you have personally contributed to and organised, and then have to give a performance when your heart is aching. But most of the people there knew the people involved: absent as they were and wrapped up in their own personal tragedy miles away. Guests had come from as far away as Yorkshire, The Isle of Wight and Devon. But as we finished, the wave of communal sympathy and warmth was not just for us. It would have travelled up the road to The University Hospital at Walsgrave with a strength that could have been picked up on the radar at Coventry Airport.

Black Parrot Seaside may not always be the most accomplished outfit locally, nor always the most sober. But we do have that kind of almost instinctive affinity which creates a bond. It is almost like having a second family. This doesn’t always work with bands, but with us it always has. We are a unit on and off stage. We share holidays, family functions such as weddings births and funerals, we see each other at Christmas and other celebrations. Even if we don’t perform or rehearse for weeks-months-years-when we get back together it’s always good, creatively, socially, musically.

So the Parrot is wounded. A wing is broken. ( You know when you’re driving and you think you’ve clipped a bird? You look in the mirror to check if it’s ok. Sometimes you just see a silhouette fluttering about in the road. Sometimes you see it staggering away. Sometimes it flies unsteadily clear and you hope it’s safe. That's how it is with us). We’re down at the moment, and we are suffering. I suspect we’ll be back again. But there’s some healing to be done in between. Bear with us.

The Personal Touch

One of the nicest things about distributing this first batch of the CD we’ve just released has been meeting Black Parrot Seaside fans in person. ( We always tend to use The word “fans” in a tongue in cheek context. They could much more accurately be termed “followers,” or “supporters” or in a few rather more distressing cases, just “stalkers.”) Tongue in cheek is just how we are. It’s what unites four diverse souls from different musical backgrounds, but with a common philosophy and a very slightly skewed outlook on life. And that’s the way a lot of the people who like our music or Live performances are.

That’s also the way a lot (but not all) of the Parrot material is written, arranged and performed. Essentially we mean no harm, but we want to make people listen, and perhaps reflect. We also want our audiences and listeners to have a good time. Sometimes our targets are the pompous or the opinionated, but sometimes our target is just to get feet tapping. Or to make people smile. Folk and Accoustic music has always been able to deliver this. The worst kind of Folk Music just preaches, for dour verse after dour verse. The best makes you react physically to the rhythmn or melody or both, or makes you incline your head to catch a meaningful lyric, and may well leave you still thinking about it long after the song has finished. I’m not saying we do any of this-but we try to.

Anyway, whilst handing on the CD itself, or one of the 6-track Samplers, I have in many cases got into a dialogue with Parrot sympathisers, either in person, or by letter or email or on the telephone. It’s been uplifting to connect with people we met on the circuit first time round, and who remember us with affection and at times, slight bemusement. This includes Promoters, Organisers, Artistes, fellow musicians, journalists, broadcasters and the general public. No need to name names here. You know who you are. Obviously however, we made an impression first time round, and at the time, we weren’t sure whether that was happening or not.

The most exhilarating encounters come when someone comes up afterwards and tells you just how much they liked a particular song and why. ( In the past we knew when people didn’t like a song because they threw things at us, or booed.) Surely you only get this kind of intimate encounter in the world of acoustic music? In small venues, where audience and performers mingle before and afterwards?

WhiIst waiting for a pint to be topped up, I once told a member of the Original Chicken Shack just how much I dug the band. I wasn’t being intrusive or sychophantic-I just thought he might like to know. He didn’t tell me to p**s off, but instead we had quite a coherent conversation about our favourite Blues numbers. ( And look what happened to them afterwards.)

Conversely however, it is possible to set up a false, cosmetic coterie of devotees who will do this sort of thing loudly and to order. I’ll give you an example. Within recent memory, I sat in a Folk Club, listening to a decent band I had some time for. Their material was good. Not exceptional-but well played and very listenable. I gave them what I felt was generous applause after each of their numbers. They were accomplished: pleasant: only occasionally bland.

Yet after each number and sometimes during them, a small strategically seated faction uttered loud and almost orgasmic exclamations such as, “ YES! Oh YES!” or: “ Oh I LOVE this song.” Quite apart from being a distraction, this level of fawning adoration was so obviously contrived it was embarrassing. Almost certainly related, these people were trying to formulate our reactions as an audience for us, and to pre-empt our reactions. I didn’t like it.

Not that it’s ever been a problem for us, but if you really think “The Bold Pirate” is crushingly satirical, or “ The Odeon” made you cry because it reminded you of going to The Pictures as a kid, do me a favour. Save it for the Interval. Or come up with a pint of Tribute as we’re packing away the mikestands and tell us quietly, if you liked a song or the performance. It’s far more intellectually stimulating than shouting stuff out virtually to order. And it's genuine.

Busy Weekend-Without even playing!

Here are some shots of six carefree young things taken at Hawkesbury Junction in the 1970's. I have also been playing with a Christmas Present-a machine which converts cassette tapes to CD format. Now, the only copies previously we have of the Black Parrot Seaside pictured above, playing as an Electric Six piece, (which played support to bands like East of Eden and the Darts) existed only in tape format. Up until now.

We never did get into a studio as a Blues/Prog band, which is a shame, as many of the fond memories people have of us go back that far. Epic performances at The University of Warwick for example, where Audience participation of a new and faintly disturbing kind led to armchairs being tipped over the balconies of the Elephant's Nest Bar. Or us being barred from Pubs in Birmingham and Coventry. ( Notably The Smithfield Hotel and The Ryton Bridge Hotel. Long since demolished. Serves 'em right!)

Some of the material in those days was, um, "experimental",to say the least! Generally, audiences loved it, but a few Club Organisers sometimes got a little uptight about it. On this CD, which was recorded at a rehearsal, are versions of remarkable Set songs such as " Small, Maladjusted and Mean," " Welcome to Sleep Town," " Brutus," "Audience," "Ordinary," " Chieftain Tank Boogie" and loads of others. "Small Maladjusted and Mean " featured a mock fight halfway through the number between me and drummer Vance Ectomy. On one occasion(one of the many gigs we played at The Golden Cross), we had forgotten to warn the Guvnor there. As the Drumkit went over, he leapt the bar counter armed with a baseball bat, and let his Dobermann out. All good theatrical stuff, and Gig resumed to thunderous applause, after a brief peacemaking session! Folk Club Organisers of 2009 PLEASE NOTE-we are now a sedate quartet of kindly, grey-haired old sweeties. Nothing of this sort happens at BPS gigs nowadays. Oh dear me, no.

On Friday I sent copies of our CD to that other Rochdale legend Mike Harding. Does he really have a sense of humour? We shall see! I have also been busy bagging up copies of our 6-track Sampler. Professionally produced by Spindrift Creativity, they are available free to Bona Fide Folk Club Festival or Club Organisers, along with suitable "Blurb"

On Sunday we featured again on BBC Local radio-this time a "Wedge's Warwickshire" which focussed on Wolvey.

WARWICK FOLK CLUB

Black Parrot Seaside are seen here in a cameo appearance at Warwick Folk Club on Monday 5th January 2009. Geoff is just dealing "live" with a mobile call from
" Health and Safety, Folk Club Branch." Those familiar with the CD version of "The Bold Pirate" will know why he is wearing a fluorescent High Visibility jacket.

Along with lots of other cameos, BPS starred in a “Comedy and Silly Hats Night.” Excellently hosted and compered by Norman Wheatley, this turned out to be an admirable way of dusting off the cobwebs and cheering each other up. A good turnout for such a cold night.

All the acts were good., and although doing very diverse material, stuck to the comedy ethic, with self-penned and cover material. There were monologues, stand-up comedy, a silly hats competition, and a general feel good factor.

BPS were the only band on, indeed all the others were solo performances. Keith Wedgebury from BBC Coventry and Warwickshire radio was there, and I saw him chuckling at the naughty bits in Pirate.
We finished with “ At The Septic Monkey,” a homage to The Folk Club from hell. The organisers were so impressed with that song, that they hastily scribbled out a “Septic Monkey” banner and pinned it over their own for the rest of the night. (Please god it’s not a permanent change-we’ll have to withdraw the CD!)

This is a club we've played a couple of times now, though sadly, only in supporting roles, so far. (Come on Warwick-Gizza Gig!)