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!)