On a day like today, after the working public have been trashed as militant money grasping scum by POLITICIANS ,( erm...pot, kettle,black?) I thought it appropriate to post on here the full lyrics of one of our most popular ditties.
Oh the Gravy Train is coming,but it's not for you and me
It won't stop at your station, unless you're an M.P.
Oh the Gravy Train is coming, hear it rumble down the track
It's loaded with our money which they say they're giving back.
If you're standing on that platform just wave as it goes by
At all those smiling faces subsidised by you and I
You cannot have a ticket and you do not get a ride
All seats reserved for the privileged just sitting there inside
Don't trespass on that railway line it isn't very safe
Unless you're flipping mortgages whilst acting in good faith
They claimed lots of expenses whilst "sticking to the rules"
And if they think we'll swallow that they must think we're bloody fools
The Gravy Train is coming, it's all weighted down with cash:
-Allowances and handouts for Opportunist Trash.
Ministers and politicians of every shade and hue,
Their second homes and Porno films paid for by me and you.
Oh the Gravy Train is coming! Can you hear the whistle blow?
They say there's an enquiry-but we'll never get to know.
They will hope we've all forgotten when next time to vote has come
And if you do not vote at all in come the Nazi scum.
We need a revolution, let's roll those tumbrils out,
They're the perfect resolution for a mud encrusted snout,
For those with a flat in Chelsea and a farm in Warwickshire
Who say they're living hand-to-mouth on a hundred grand a year.
( repeat First verse).
words are copyright of BPS 2010. Can be reproduced-but only with my permission.
Wednesday 30 November 2011
Monday 28 November 2011
Barking at "The Bell"
Last night I was in the company of the Sly Old Dogs and Friends at The Bell, Monks Kirby. It drew a hectic (for me!) but comforting programme of four live performances in seven days to a close. In contrast to some other pub venues I've sung in recently, a welcoming host, free food (offered without demanding gratuity or reward), and a building overflowing with customers on a cold Sunday night out in the Warwickshire Tundra. Good to see some friendly faces fresh from our, erm, experience last Monday there, too.
I do like this particular venue. It reminds me of the Folk Clubs of my youth. A huge room, with good acoustics, and a separate bar. Plus, the singing from the audience here really is rather good. This all seems to lift the performers, and they respond with spirit. The musicianship is accomplished and varied, reflecting a group of friends who are obviously relaxed in each others' company. There is good natured banter between the audience and the performers. The material is mostly(but not exclusively) traditional-but the format is refreshingly fluid. That fluidity is infectious. I went along with a set idea of what I was going to sing-but changed it completely over the course of the evening.
I had been working hard for example, on resurrecting one of my favourite folk melodies recently-the bittersweet “Peggy Gordon”. I renewed acquaintance with this song, after seeing a disturbing version of it during that excellent Ray Winstone film “The Proposition.” I'd thought about giving it an airing last night. But the guy next to me sang it as I was thinking! How often this happens when trying out a new song. It was a slightly different version to the one I've been working on-so I might still give my version a go if they'll have me back. And I managed to sing along with every verse, without the words and from memory. (Wonder if I can do that solo!)
My first song instead was therefore the blatant crowd-pleaser. “Black Velvet Band”. Although this is on our 2008 CD, I'm just not allowed to do it with the band any more. BVB was one of the only songs I sang in public during the couple of decades when the Parrot were “resting”. It was one of the first I remember hearing sung in Folk Clubs. Belfast, a Partitioned Ireland, petty street crime, Alcoholism and Transportation are perhaps things the Guardian-Reading, Knit your Own Tofu Tree-Huggers would probably rather not think about. But Hey! That's Folk Music-sometimes it speaks the unspeakable! I suspect the other Parrots feel it's dated, schmaltzy, corny and just too, well, Irish. It may well be,but the audience didn't seem to mind, roaring the choruses out with gusto. Despite me pitching it down in a vocal area Pete Willow later described as “Lee Marvin/Paint Your Wagon territory”. That's just one of the challenges of not playing an instrument, and in singing unaccompanied when you've spent the last thirty years or so fronting a band. As the nice lady sitting next to me very kindly said, “ it must be very difficult.”
It is. Little voices in your head say, just as you're standing up and clearing the tubes, “ I think it's about here.” Once under way, the nerves kick in, and the same voice mutters “ Are you sure? Is that not a little too high? Too low? Too fast? Too slow?” (With a band intro, you follow whatever tempo and key they begin in!) In the third verse I also inexplicably and incorrectly referred to the “roving black eye “ of the thieving miscreant luring young country boys into trouble on Broadway, as a “roving glass eye.” Well that got a good laugh, didn't it!
Along with some country influenced stuff , came another one of my favourites, “The World Turned Upside Down. ” I have always really liked the Dick Gaughan version of this immensely. Now that's what I call ANGRY! Along with a couple of excellent comedy songs, we then seemed to hit a seafaring patch, trading songs about whaling, trawling, and angling for Perch in the Oxford Canal with a stick float and a size 14 hook. (Actually I made that last one up). It was good to hear " The Little Pot Stove", popularised on the Nic Jones's Penguin Eggs album, given an enthusiastic rendition here.
Inevitably with a seafaring theme, Yarmouth got a few name checks. Three songs at least, as I made a late decision to drop "Vigilante Man" and do “Shoals of Herring” instead. (a request!). Got hoisted by my own deck winch there as it happned, as I'd left the full lyrics at home. Ewan McColl is another folk voice I grew up enjoying. Both Shoals and The Thirty Foot Trailer we used to do, when we ran the Folk Club in Brinklow many years ago, It was always a truncated version of Shoals we did. The full radio documentary version is quite long, but since I've started doing solo spots, I've revisited it. However, confidently striding out to the car during an interval, I realised that it was this full version I'd left on the music stand at home, after using it as my “warm-up” piece this week! Ah well. Our Drifter didn't quite make it to Canny Shiels, but the audience didn't seem to mind a shorter version. The little voice in my head incidentally, this time suggested pitching this one a little too high, so my eyes were watering by the end.
I must mention the magnificent medley of Morris tunes which the ensemble plays during the third part of the evening. Featuring a brass section, and a Tuba sustain note which just goes...on and on. Remarkable. And very foot-tappingly infectious.
We'd already had songs about a Teddy Bears Orgy and a monumental pub crawl of Manchester. ( Took me back to the stag “do “at Nottingham Beer Festival in October!) So I felt it appropriate to do a medley of erm, adapted and personalised Christmas Songs as my finale. Well it was Advent Sunday. This is a little collection BPS have put together over the years, as part of a Christmas Party package. That raised a few laughs too.
The company finished (as they always do) with a version of "Wild Mountain Thyme." This is a very different version to the (Alex Campbell?) one I've learned and performed over the years. There must be half a dozen versions of this song doing the rounds in Folk Clubs, but in most venues, it's always belted out magnificently by all. I really enjoyed the evening. Thanks to all The Dogs and the Audience for indulging me. Hope to see you again soon.
I do like this particular venue. It reminds me of the Folk Clubs of my youth. A huge room, with good acoustics, and a separate bar. Plus, the singing from the audience here really is rather good. This all seems to lift the performers, and they respond with spirit. The musicianship is accomplished and varied, reflecting a group of friends who are obviously relaxed in each others' company. There is good natured banter between the audience and the performers. The material is mostly(but not exclusively) traditional-but the format is refreshingly fluid. That fluidity is infectious. I went along with a set idea of what I was going to sing-but changed it completely over the course of the evening.
I had been working hard for example, on resurrecting one of my favourite folk melodies recently-the bittersweet “Peggy Gordon”. I renewed acquaintance with this song, after seeing a disturbing version of it during that excellent Ray Winstone film “The Proposition.” I'd thought about giving it an airing last night. But the guy next to me sang it as I was thinking! How often this happens when trying out a new song. It was a slightly different version to the one I've been working on-so I might still give my version a go if they'll have me back. And I managed to sing along with every verse, without the words and from memory. (Wonder if I can do that solo!)
My first song instead was therefore the blatant crowd-pleaser. “Black Velvet Band”. Although this is on our 2008 CD, I'm just not allowed to do it with the band any more. BVB was one of the only songs I sang in public during the couple of decades when the Parrot were “resting”. It was one of the first I remember hearing sung in Folk Clubs. Belfast, a Partitioned Ireland, petty street crime, Alcoholism and Transportation are perhaps things the Guardian-Reading, Knit your Own Tofu Tree-Huggers would probably rather not think about. But Hey! That's Folk Music-sometimes it speaks the unspeakable! I suspect the other Parrots feel it's dated, schmaltzy, corny and just too, well, Irish. It may well be,but the audience didn't seem to mind, roaring the choruses out with gusto. Despite me pitching it down in a vocal area Pete Willow later described as “Lee Marvin/Paint Your Wagon territory”. That's just one of the challenges of not playing an instrument, and in singing unaccompanied when you've spent the last thirty years or so fronting a band. As the nice lady sitting next to me very kindly said, “ it must be very difficult.”
It is. Little voices in your head say, just as you're standing up and clearing the tubes, “ I think it's about here.” Once under way, the nerves kick in, and the same voice mutters “ Are you sure? Is that not a little too high? Too low? Too fast? Too slow?” (With a band intro, you follow whatever tempo and key they begin in!) In the third verse I also inexplicably and incorrectly referred to the “roving black eye “ of the thieving miscreant luring young country boys into trouble on Broadway, as a “roving glass eye.” Well that got a good laugh, didn't it!
Along with some country influenced stuff , came another one of my favourites, “The World Turned Upside Down. ” I have always really liked the Dick Gaughan version of this immensely. Now that's what I call ANGRY! Along with a couple of excellent comedy songs, we then seemed to hit a seafaring patch, trading songs about whaling, trawling, and angling for Perch in the Oxford Canal with a stick float and a size 14 hook. (Actually I made that last one up). It was good to hear " The Little Pot Stove", popularised on the Nic Jones's Penguin Eggs album, given an enthusiastic rendition here.
Inevitably with a seafaring theme, Yarmouth got a few name checks. Three songs at least, as I made a late decision to drop "Vigilante Man" and do “Shoals of Herring” instead. (a request!). Got hoisted by my own deck winch there as it happned, as I'd left the full lyrics at home. Ewan McColl is another folk voice I grew up enjoying. Both Shoals and The Thirty Foot Trailer we used to do, when we ran the Folk Club in Brinklow many years ago, It was always a truncated version of Shoals we did. The full radio documentary version is quite long, but since I've started doing solo spots, I've revisited it. However, confidently striding out to the car during an interval, I realised that it was this full version I'd left on the music stand at home, after using it as my “warm-up” piece this week! Ah well. Our Drifter didn't quite make it to Canny Shiels, but the audience didn't seem to mind a shorter version. The little voice in my head incidentally, this time suggested pitching this one a little too high, so my eyes were watering by the end.
I must mention the magnificent medley of Morris tunes which the ensemble plays during the third part of the evening. Featuring a brass section, and a Tuba sustain note which just goes...on and on. Remarkable. And very foot-tappingly infectious.
We'd already had songs about a Teddy Bears Orgy and a monumental pub crawl of Manchester. ( Took me back to the stag “do “at Nottingham Beer Festival in October!) So I felt it appropriate to do a medley of erm, adapted and personalised Christmas Songs as my finale. Well it was Advent Sunday. This is a little collection BPS have put together over the years, as part of a Christmas Party package. That raised a few laughs too.
The company finished (as they always do) with a version of "Wild Mountain Thyme." This is a very different version to the (Alex Campbell?) one I've learned and performed over the years. There must be half a dozen versions of this song doing the rounds in Folk Clubs, but in most venues, it's always belted out magnificently by all. I really enjoyed the evening. Thanks to all The Dogs and the Audience for indulging me. Hope to see you again soon.
Saturday 26 November 2011
Gig Update
London Bus time. Very quiet then three gigs come along at once.
Starting Monday with The Boat at Newbold. With our good friends Borderline Crossing as hosts. And with other good friends Brian and Marie Phillips and Malc and Gill playing there also. Sizeable BPS following swelling the numbers and putting lots of money over the counter. Singalonga Parrots until....
Only managed eight numbers-which were very well recieved. Encore demanded but not able to oblige due to change of management in the morning. All over before drinking up time. Odd. At least it wasn't about us, or our material. Apparently. Even though " Poacher's Lament" went a bit awry. More work on that required-relegated to the Sub's bench for Friday (see below).
Friday 25th saw us paired up again back to back with The Borderlines (Mmm. Bagsy being next to 'Chelle!). We warmed up a decent audience for them with about the same number of songs. Once again, demands for "Vacuum Cleaner" overlooked due to time constraints. Good crowd, excellent beer (three from Church End), fine communal whistling and a morale booster after some recent experiences.
Saturday saw us back at Bedworth Folk Festival. A more traditional set than last night. Good sized audience sparked off a good performance from us. Good to hook up with all kinds of people at BFF this time round-from the past, Enchante,Rob Armstrong,Mr. Donnelly and Mr. and Mrs. Melodeon. New friend-Ali O'Brien. All thoroughly nice people. Loved the Craft Fair. And the Appalachian Dancing.
Starting Monday with The Boat at Newbold. With our good friends Borderline Crossing as hosts. And with other good friends Brian and Marie Phillips and Malc and Gill playing there also. Sizeable BPS following swelling the numbers and putting lots of money over the counter. Singalonga Parrots until....
Only managed eight numbers-which were very well recieved. Encore demanded but not able to oblige due to change of management in the morning. All over before drinking up time. Odd. At least it wasn't about us, or our material. Apparently. Even though " Poacher's Lament" went a bit awry. More work on that required-relegated to the Sub's bench for Friday (see below).
Friday 25th saw us paired up again back to back with The Borderlines (Mmm. Bagsy being next to 'Chelle!). We warmed up a decent audience for them with about the same number of songs. Once again, demands for "Vacuum Cleaner" overlooked due to time constraints. Good crowd, excellent beer (three from Church End), fine communal whistling and a morale booster after some recent experiences.
Saturday saw us back at Bedworth Folk Festival. A more traditional set than last night. Good sized audience sparked off a good performance from us. Good to hook up with all kinds of people at BFF this time round-from the past, Enchante,Rob Armstrong,Mr. Donnelly and Mr. and Mrs. Melodeon. New friend-Ali O'Brien. All thoroughly nice people. Loved the Craft Fair. And the Appalachian Dancing.
Wednesday 23 November 2011
Rowing Against The Tide
Bit of a cliché this, but I have some really good friends who run pubs. Isabel and Bloc at The Blue Pig, and Julian at The Crown in Nuneaton for example. Both establishments support live music, both serve fabulous beer, offer decent honest grub and have helped me personally with various projects. Their boosers are popular, welcoming and busy. What can we learn from this? We can learn that “Manager” means someone who manages. Having a B.Phil (hons) degree in Management and Organisation, I can tell you that a good definition of management is “getting things done through people.” Not “to” people, or “despite of” or even “with.” But through. Using them as a conduit for successful communication. Important distinction, that.
Pub rock has uncovered and showcased some of the greatest music acts in the U.K. We were never one of them, but we've played in pubs, Inns, taverns and beer festivals all over the place. Mostly for free and usually just for fun. Am I imagining it, or are some places getting greedier as the Recession bites? They invite the public in, are happy to take their money over the counter, but then also want them out again as quickly as possible. Providing a few trays of leftovers meantime, warmed up in ancient deep fat, is looked upon as a privilege on a par with a knighthood. There's a little more than that to being a good host than that.
I've been a singer in bands providing live entertainment since 1975. Admittedly with a few gaps in between. Over that time I've seen all kinds of irrational behaviour exhibited in pubs, and not just by the audiences! We've been made really welcome in loads of venues, and have often received fabulous hospitality. We've also occasionally been treated as if we were somehow inferior. That strikes me as silly, because many British pubs are in deep, deep trouble. Publicans with “attitude” don't help. I love pubs and I don't want any to close. But sometimes you're in one,and you just get a premonition. You think, suddenly, with a bit of a chill, “ Here's another one on the critical list. Lots of bluster here, but these people really haven't got a clue.”
You get used to various reactions over such a long period of time. Alongside all the many triumphs and exhilarating moments there are a handful of memories one might rather forget. I've seen fights break out Blues Brothers style on the dance floor in front of us. We've been turned off by sound meters, halted by Bingo sessions and paid to leave by a back exit. We've been barred for swearing (tame stuff by modern day standards). We've been told “never come back” purely for playing a reggae number. We've sent (accidentally) a firework into a hastily evacuated police tent. But mostly these incidents ocurred at bigger venues than a pub.
What some publicans fail to understand is that it's a two way street, pubs and music. Putting on Live music, especially where admission is free,carries few overheads. Especially in establishments where P.R.S. and M.U. are just abbreviations. Publicising events properly can fill an unused room on less busy nights. Musicians, and the audiences they bring in will buy drinks and bar snacks. If free food is offered, it may well encourage potential customers to drink more, and to come back and have a meal. In a busy pub, visitors who are there solely for the music may also note other forthcoming future attractions and may return. If the beer is half way decent, real Ale followers may come back to sample it again. All a lucrative return just for making people feel welcome. Conversely if staff make it plain that punters are only there on sufferance and are viewed purely as a wallet on legs and a transient nuisance, then that too is noticed. Takings will dive eventually and people will simply stay away.
Pub rock has uncovered and showcased some of the greatest music acts in the U.K. We were never one of them, but we've played in pubs, Inns, taverns and beer festivals all over the place. Mostly for free and usually just for fun. Am I imagining it, or are some places getting greedier as the Recession bites? They invite the public in, are happy to take their money over the counter, but then also want them out again as quickly as possible. Providing a few trays of leftovers meantime, warmed up in ancient deep fat, is looked upon as a privilege on a par with a knighthood. There's a little more than that to being a good host than that.
I've been a singer in bands providing live entertainment since 1975. Admittedly with a few gaps in between. Over that time I've seen all kinds of irrational behaviour exhibited in pubs, and not just by the audiences! We've been made really welcome in loads of venues, and have often received fabulous hospitality. We've also occasionally been treated as if we were somehow inferior. That strikes me as silly, because many British pubs are in deep, deep trouble. Publicans with “attitude” don't help. I love pubs and I don't want any to close. But sometimes you're in one,and you just get a premonition. You think, suddenly, with a bit of a chill, “ Here's another one on the critical list. Lots of bluster here, but these people really haven't got a clue.”
You get used to various reactions over such a long period of time. Alongside all the many triumphs and exhilarating moments there are a handful of memories one might rather forget. I've seen fights break out Blues Brothers style on the dance floor in front of us. We've been turned off by sound meters, halted by Bingo sessions and paid to leave by a back exit. We've been barred for swearing (tame stuff by modern day standards). We've been told “never come back” purely for playing a reggae number. We've sent (accidentally) a firework into a hastily evacuated police tent. But mostly these incidents ocurred at bigger venues than a pub.
What some publicans fail to understand is that it's a two way street, pubs and music. Putting on Live music, especially where admission is free,carries few overheads. Especially in establishments where P.R.S. and M.U. are just abbreviations. Publicising events properly can fill an unused room on less busy nights. Musicians, and the audiences they bring in will buy drinks and bar snacks. If free food is offered, it may well encourage potential customers to drink more, and to come back and have a meal. In a busy pub, visitors who are there solely for the music may also note other forthcoming future attractions and may return. If the beer is half way decent, real Ale followers may come back to sample it again. All a lucrative return just for making people feel welcome. Conversely if staff make it plain that punters are only there on sufferance and are viewed purely as a wallet on legs and a transient nuisance, then that too is noticed. Takings will dive eventually and people will simply stay away.
Wednesday 16 November 2011
REMINDER: NEXT MONDAY AT THE BOAT,NEWBOLD
Well we had our last rehearsal today pre-Boat next Monday night. (Have I mentioned that at all?). I can reveal, without giving too much away, the proposed running order next Monday.
1. BONNY BLACK HARE our new version with "The Gravel Walk" added at the end.
2. RAILWAY MAGAZINE. Well-loved BPS singalong tune about saucy books in Newsagents.
3 WEE MIDNIGHT HOUR BLUES Scrapper Blackwell and Leroy Carr Blues number:
4. BOLD PIRATE. BPS original about Health and Safety Bureaucracy gone mad:
5. WAG of SHOP 14. A request. Featuring The Ryton Spanner Dance and a Lathe Shanty
6. POACHER'S LAMENT trad. New extended version. First airing in public.
7. SEPTIC MONKEY The Folk Club from Hell: features a raffle no-one wants to win:
8. THE GRAVY TRAIN Tumbril-laden irony about greedy, grasping, cheating politicians:
9. THE WHISTLER Singalonga Parrot (and whistle with us too?)
ENCORE-unlikely, but if asked, is likely to feature a Vacuum Cleaner somewhere. Mobiles in the air:swaying audience:emotional chorus singing.
1. BONNY BLACK HARE our new version with "The Gravel Walk" added at the end.
2. RAILWAY MAGAZINE. Well-loved BPS singalong tune about saucy books in Newsagents.
3 WEE MIDNIGHT HOUR BLUES Scrapper Blackwell and Leroy Carr Blues number:
4. BOLD PIRATE. BPS original about Health and Safety Bureaucracy gone mad:
5. WAG of SHOP 14. A request. Featuring The Ryton Spanner Dance and a Lathe Shanty
6. POACHER'S LAMENT trad. New extended version. First airing in public.
7. SEPTIC MONKEY The Folk Club from Hell: features a raffle no-one wants to win:
8. THE GRAVY TRAIN Tumbril-laden irony about greedy, grasping, cheating politicians:
9. THE WHISTLER Singalonga Parrot (and whistle with us too?)
ENCORE-unlikely, but if asked, is likely to feature a Vacuum Cleaner somewhere. Mobiles in the air:swaying audience:emotional chorus singing.
Tuesday 8 November 2011
THREE chances to take flight with BPS in November
Oh you lucky people. Not one, not two but THREE opportunities to catch Black Parrot Seaside in ONE WEEK during November 2011. We must be mad! They must be mad! Even the keenest parrotophile will surely be sated by 26th November?
BUT! We offer you three different sets featuring 20-30 different songs. (Though obviously not all at the same time-that would be just too much for all but our small army of stalkers!) With a promise to include something to please everyone. From the well-loved anthems such as "I am a Vacuum Cleaner " and the oft-requested "Wag of Shop 14 " with it's now historic Ryton Spanner Dance. To more recent arrangements such as "The Gravy Train" "Courting is a Pleasure" and "The Poacher's Lament." Our usual mix of Traditional Folk with Jigs and reels, waspish satire with silly choruses and spoof raffles, and localised parodies. Blues,Social Comment and Group Whistling. Who could ask for more? Songs about Risk Assessment, Coventry's Car Industry, and one of only two known songs written about Bedworth.
First off is Monday 21st November which sees us return as the featured act at The Boat Inn, Newbold. A canalside pub with loads of parking,good ale,a friendly crowd and free food. What more could anyone ask? And it's FREE admission! Plus the evening will undoubtedly feature one of our favourite bands, the resident hosts, Borderline Crossing. Let's get there in numbers people and give this excellent venue a night to remember! Share a car, hire a minibus-but get there.
On Friday night, 25th November, we'll be mobbing up at Bedworth Civic Hall. We'll be in the Touch FM Lounge between 22.25-22.55. Once again we'll be in the company of Borderline Crossing, this time warming the audience up for them before they conclude the evening session there. This is the first of two stints for us at the 2011 Bedworth Folk Festival. We reappear the next day, at another session in the Touch FM Lounge between 1pm and 1.45pm. We intend to perform two different sets at this year's Festival-so it could be a collector's item. Even if you catch us at the Boat-there will be many additional and different BPS songs-both covers and originals-featured over the two days.
Festival details at www.bedworth-festival.info or by phoning 07519787469
Finally if anyone is still lusting after the last CD-produced in 2006 and launched at Bedworth Folk Festival, they'll be on sale for a fiver at all three sessions-but we only have about 25 left. So hurry! (Re-print? Or new album?)
BUT! We offer you three different sets featuring 20-30 different songs. (Though obviously not all at the same time-that would be just too much for all but our small army of stalkers!) With a promise to include something to please everyone. From the well-loved anthems such as "I am a Vacuum Cleaner " and the oft-requested "Wag of Shop 14 " with it's now historic Ryton Spanner Dance. To more recent arrangements such as "The Gravy Train" "Courting is a Pleasure" and "The Poacher's Lament." Our usual mix of Traditional Folk with Jigs and reels, waspish satire with silly choruses and spoof raffles, and localised parodies. Blues,Social Comment and Group Whistling. Who could ask for more? Songs about Risk Assessment, Coventry's Car Industry, and one of only two known songs written about Bedworth.
First off is Monday 21st November which sees us return as the featured act at The Boat Inn, Newbold. A canalside pub with loads of parking,good ale,a friendly crowd and free food. What more could anyone ask? And it's FREE admission! Plus the evening will undoubtedly feature one of our favourite bands, the resident hosts, Borderline Crossing. Let's get there in numbers people and give this excellent venue a night to remember! Share a car, hire a minibus-but get there.
On Friday night, 25th November, we'll be mobbing up at Bedworth Civic Hall. We'll be in the Touch FM Lounge between 22.25-22.55. Once again we'll be in the company of Borderline Crossing, this time warming the audience up for them before they conclude the evening session there. This is the first of two stints for us at the 2011 Bedworth Folk Festival. We reappear the next day, at another session in the Touch FM Lounge between 1pm and 1.45pm. We intend to perform two different sets at this year's Festival-so it could be a collector's item. Even if you catch us at the Boat-there will be many additional and different BPS songs-both covers and originals-featured over the two days.
Festival details at www.bedworth-festival.info or by phoning 07519787469
Finally if anyone is still lusting after the last CD-produced in 2006 and launched at Bedworth Folk Festival, they'll be on sale for a fiver at all three sessions-but we only have about 25 left. So hurry! (Re-print? Or new album?)
Thursday 3 November 2011
October, then.
Began with: "Death In Leamington. A poem by John Betjeman and a folk music experience," as I wrote on our BPS Facebook page after the post below. And then came radio silence on here during the rest of the month. Blogs are supposed to a regular thing, aren't they? Sorry about that!
Let's just say The Somerville didn't quite go as we expected, and leave it at that.
There followed, not so much inactivity, as a different direction during the rest of October. The Parrot Boys, being the diverse,interesting bunch they are,had other activities to pursue whilst yours truly attempted to extend his portfolio by doing some solo spots.
After many years cowering behind musicians, it can be quite intimidating performing unaccompanied material without any instrumentation. What it does do though, is provide an opportunity to revisit or rework material. At The Miner's Arms a couple of weeks ago,I was surprised to be asked to do more numbers than I had originally planned for. I opened up with "The Old Triangle". I often use this as a larynx-stretcher before rehearsals, but had never sung it in public before. I followed it with "Bonio Romeo," a BPS song with more canine puns in it than you can wag a tail at. In another existence, when BPS were a three piece, with myself and John Walker and Arnold both on guitar, we used to air this occasionally. Don't think Arnold likes it very much in this format, but the audience did, so there.
I finished the first half with "The Poachers Lament." This is a song we have occasionally done acapella,although we are currently working on a full musical version of it with a couple of jigs at the end courtesy of fiddle player Eddie. During the second half, I thought I'd try "Santy Anna," a shanty we used to open with when we ran the Bulls Head Folk Club in Brinklow. Now I like shanties, with their call and response, but the very mixed audience seemed a little glum about it. Probably would have gone better if I'd given them some ropes to pull? Preferably around my neck. Always one for a challenge, I finished off my contribution by doing a Ry Cooder-inspired cover of a Gospel song-"Jesus on The Mainline." The audience fared a little better with this,and together we got to the end of it without any tears. Amongst those also on that night were The Thruppenny Bits, Malc Dave and Gill, and a lady who did a very um, interesting version of Paper Roses.
At a fairly quiet Bedworth Rugby Club the following week, John Neal was showcasing his new CD. Brian and Marie sang with their usual panache,and I sang "Bonio Romeo" again and "Bring It On Home." In which the audience once again bravely joined in.
And so on to a new venue for me, The Bell at Monks Kirby,whence the Sly Old Dogs and Friends had decamped since quitting the pub over the road a few months ago. A nice big pub with a big room and a sizeable audience. Hosted by Pete Willow and featuring a plethora of talented musicians. Despite only living three miles up the road I got eyeballed by a few locals as soon as I entered the building. Very much like the New Kid at School. Possibly because of the Nuneaton Boro' hat I was wearing.
More instrumentation than Mad Frank Instrumentation was uncorked from boxes,bags,and by sleight of hand.Whole trees of the blooming things appeared. As the cases were unopened beforehand, I thought I might have stumbled into a Bring and Buy Sale by mistake.
A good Craic however, as the saying goes. Three halves, free grub, and a broad mix of performers and material. I did "The Old Triangle" and "Bring It On Home." This was atonement for the truly remarkable version of BIOH loitering on You Tube. My vocal there,guesting in with Borderline Crossing,sounds like Dr. John on Helium. I got a much more comfortable pitch this time.The audience sang along. I think drinking lager shandy instead of San Miguel definitely helps hitting the right register.
Considering that there were apparently three other Folk and/or acoustic events going on locally that night, I was surprised by the number of people there, the quality of musicianship, and the enthusiasm of the singing. Lots of traditional stuff, but I especially enjoyed a percussive version of "Copperhead Road," and Chelle's rousing rendition of "Wayfaring Stranger". Definitely going back-and I'm assured they'll have me.
As for the rest of November, as a four piece, we are having a London Bus Period. Nothing at all and then three gigs come along at once. Of which, more, much more, on this very spot, later.
Let's just say The Somerville didn't quite go as we expected, and leave it at that.
There followed, not so much inactivity, as a different direction during the rest of October. The Parrot Boys, being the diverse,interesting bunch they are,had other activities to pursue whilst yours truly attempted to extend his portfolio by doing some solo spots.
After many years cowering behind musicians, it can be quite intimidating performing unaccompanied material without any instrumentation. What it does do though, is provide an opportunity to revisit or rework material. At The Miner's Arms a couple of weeks ago,I was surprised to be asked to do more numbers than I had originally planned for. I opened up with "The Old Triangle". I often use this as a larynx-stretcher before rehearsals, but had never sung it in public before. I followed it with "Bonio Romeo," a BPS song with more canine puns in it than you can wag a tail at. In another existence, when BPS were a three piece, with myself and John Walker and Arnold both on guitar, we used to air this occasionally. Don't think Arnold likes it very much in this format, but the audience did, so there.
I finished the first half with "The Poachers Lament." This is a song we have occasionally done acapella,although we are currently working on a full musical version of it with a couple of jigs at the end courtesy of fiddle player Eddie. During the second half, I thought I'd try "Santy Anna," a shanty we used to open with when we ran the Bulls Head Folk Club in Brinklow. Now I like shanties, with their call and response, but the very mixed audience seemed a little glum about it. Probably would have gone better if I'd given them some ropes to pull? Preferably around my neck. Always one for a challenge, I finished off my contribution by doing a Ry Cooder-inspired cover of a Gospel song-"Jesus on The Mainline." The audience fared a little better with this,and together we got to the end of it without any tears. Amongst those also on that night were The Thruppenny Bits, Malc Dave and Gill, and a lady who did a very um, interesting version of Paper Roses.
At a fairly quiet Bedworth Rugby Club the following week, John Neal was showcasing his new CD. Brian and Marie sang with their usual panache,and I sang "Bonio Romeo" again and "Bring It On Home." In which the audience once again bravely joined in.
And so on to a new venue for me, The Bell at Monks Kirby,whence the Sly Old Dogs and Friends had decamped since quitting the pub over the road a few months ago. A nice big pub with a big room and a sizeable audience. Hosted by Pete Willow and featuring a plethora of talented musicians. Despite only living three miles up the road I got eyeballed by a few locals as soon as I entered the building. Very much like the New Kid at School. Possibly because of the Nuneaton Boro' hat I was wearing.
More instrumentation than Mad Frank Instrumentation was uncorked from boxes,bags,and by sleight of hand.Whole trees of the blooming things appeared. As the cases were unopened beforehand, I thought I might have stumbled into a Bring and Buy Sale by mistake.
A good Craic however, as the saying goes. Three halves, free grub, and a broad mix of performers and material. I did "The Old Triangle" and "Bring It On Home." This was atonement for the truly remarkable version of BIOH loitering on You Tube. My vocal there,guesting in with Borderline Crossing,sounds like Dr. John on Helium. I got a much more comfortable pitch this time.The audience sang along. I think drinking lager shandy instead of San Miguel definitely helps hitting the right register.
Considering that there were apparently three other Folk and/or acoustic events going on locally that night, I was surprised by the number of people there, the quality of musicianship, and the enthusiasm of the singing. Lots of traditional stuff, but I especially enjoyed a percussive version of "Copperhead Road," and Chelle's rousing rendition of "Wayfaring Stranger". Definitely going back-and I'm assured they'll have me.
As for the rest of November, as a four piece, we are having a London Bus Period. Nothing at all and then three gigs come along at once. Of which, more, much more, on this very spot, later.
Sunday 25 September 2011
Our Next Outing
We've been asked to take part in a fundraising Charity gig for "Somalia Aid" at The Somerville Arms, Campion Terrace Leamington next Saturday night. October 1st. There are six solo artists on the list to play, followed by three groups-The Chromatones, The Quiet Men and ourselves. Starts about 7.45pm apparently.
We'll be on last at about 11.10pm. Should be interesting. We don't get out to this part of Warwickshire very often. Played Warwick Folk Club a few times, but haven't been to Leamington since we played a folk club in a big hotel there many years ago.
We'll be on last at about 11.10pm. Should be interesting. We don't get out to this part of Warwickshire very often. Played Warwick Folk Club a few times, but haven't been to Leamington since we played a folk club in a big hotel there many years ago.
Thursday 18 August 2011
Beside The Seaside
Another rousing night at The Miner's Arms in Bedworth. Hosted by Malc and Gil, with loads of entertaining and original Floor Singers-some we'd seen before, some new to us.
Whilst last month here there were only three of us, this time it was the full Parrot Ensemble. Somehow we'd found ourselves as the main feature. Quite a coup,as this was one of the few days in August when we were collectively available. So, we finished the night off for a very supportive, appreciative crowd. It was a special treat for our mate Dennis, a BPS fan of many years, who'd dropped in from Tilburg and also for Matt, my nephew who had nipped over from San Jose. This was the only opportunity they had to see us before going home.
We'd promised Malc a " Night of 1000 Accordions", this time. We only brought two with us as it happened. Having performed the same set at several venues this year, we thought we'd change things around a bit and revive some of the older stuff. So instead of opening with "Courting is a Pleasure " we started with that good old Anker Delta standard, "Wee Midnight Hour Blues." No, not Wilson Pickett, but a lament written and recorded in the 1930s by Scrapper Blackwell and Leroy Carr.
I was hoping that one of the several Blues harpists who've guested with us on this number in the past would be around to help with the instrumental break. They weren't, so I shyly produced the Echo Super Vamper and tooted and parped out a two-note solo. No one ran out, so that went well. Replacing the piano on the original recording with our accordion and mandolin arrangement just seems to work. You could be out on your porch y'all, chewin' bacca and sippin' whusky, yessir, as the four grizzled old geezers slowly ease this venerable old tune out.
But you're not, you're in Beduff, and the next song brought everyone swiftly back to Blighty. Three years since we'd performed the eponymous "Beside The Seaside "-so a good job we'd practised it earlier in the day,eh? A collector's item for BPS fans this song. It's not on any album, although it was shortlisted for the last CD. It's a BPS take on the original music hall song written in 1907 by John Glover. We retain only parts of the chorus: the rest is all our own work. A cryptic look at the wonder of English holiday resorts. It is the longest chorus song we feature. The shortest being " Baaaaa!"-the prolonged bleating during " If I Were a Goat." ( Hope Beyonce never hears that version).
Arnold always used to produce a toy monkey during this number and do unspeakable things to it. He did not disappoint last night. Whilst I also usually shoulder a little primate, in a visual gag about Scam photographers ("Picture with the Lady sir? No thanks, I'll have the monkey!"), I make no attempt to do violence to it. Arnold is usually such a gentle soul. He scares us when he goes like this. Fortunately I think the batteries had gone due to sustained misuse. Instead of shrieking in a faintly oriental accent, his monkey just moaned softly. His disappointment was funnier than the song. (Can I point out that no toys were injured during the performance of this number?)
With most of the audience in stitches now and only a few outsiders looking frightened, it was time to move on. The cumulative age of the two songs was 184 years-almost as old as three of us put together. And another old BPS Warhorse "The Wag Of Shop 14" was then wheeled out. Complete with Cowgown and the legendary Ryton Spanner Dance. When we first started doing this song, 30 years ago, it was topical social comment. It has now evolved into a true folk song, in that it evokes images of working practices and things now only a memory in our part of The Midlands. Factories, Assembly Shops, Production Lines. Stuff like that. It may not yet be Ewan McColl territory, but it seems to get a fantastic audience response. You can see people who have worked in the Motor Car Industry chuckling and getting all the nuances and sly digs.
"Midlands Lullaby" followed. Renamed "Tilburg Lullaby" specially for the evening. With its initial nod to Stan Kelly,Cilla Black and The Spinners, once past that awkward moment, we could progress through the song to more contemporary references. "You looked so sweet with club and shield, playing Looters in the field," for example. Or " If you grow up you'll be a man. They'll carry you away in a Big White Van." Cutting Edge.
The AccordionFest concluded with "At The Septic Monkey." Our homage to Folk Clubs everywhere. A shortened version, with no rigged raffle at the conclusion. So that coveted Raffle prize "How to Live With Your Chinchilla" stays in the dressing up box until we visit a Folk Club near you. A sweet little old lady made two unrehearsed appearances during this song, en route to the toilet. I've never been heckled by a Senior Citizen before, but I guess it served me right for following her down the corridor during an instrumental break and coming back to announce on mike, "I think I've pulled." Anyway....see you this afternoon at The Whist Drive, Maudie?
By this time the bellows were straining, there was much panting and gasping and wheezing and exhalations of hot air. But enough of Arnold. We put the accordions down and performed "Beduff Bank" on home turf.Newly added verses about Atherstone and Warwick received an appropriate response. In fact the audience contribution to the choruses of BB was just blinding.
We were about ready to go home by then, but an encore was demanded. Nay, a request even. So " Albert Balls"-was uncorked again, which most people knew, and those who didn't sang along with anyway. Even if, underneath their bench seats, they were digging their fingernails compulsively into the upholstery.
Cracking food, good company, diverse artistes, receptive audience, Sharps Doom Bar. Ad Libs:beer tokens for the artistes-what more could anyone want?
There's always a mixed blessing at any venue in headlining/Topping The Bill or Playing Out The Dead Hour as we call it. The pluses include a delusion of one having status: the fact that those who've been drinking all night need no encouragement to join in with the choruses, and a bonus of later audiences generally seeming to get the jokes and the visual gags in a way that a "warming up" audience sometimes doesn't. And, as happened with last night, it sometimes means the staff can come out and enjoy the fun too.
The (very few) negatives of going on last are that Eddie doesn't get to have his cocoa and electric blanket until WAY past his usual bed time, and sometimes a few Wusses in the audience have already begun sloping off. Presumably their metabolisms are still programmed to catch a last bus that doesn't run any more.
Personally, I don't really begrudge people leaving early if they have to go to work next day. Or, if the cat is ill, their house is on fire or the babysitter is only paid till 11pm. Fair enough. But if you are a performer and you have been done the courtesy of being offered a floorspot, and have enjoyed the audience's attention yourself earlier on in the evening, then I just think it's bad form to do your stint, expect appreciation and applause for it and then just b*gg*r off somewhere else. The furthest I've ever been for a one nighter was Portsmouth, at Shep Woolley's Club there. And we stayed till the end. In fairness, we were then driven home by our manager Nevertheless, we arrived home at sunrise and went straight on to work. But hey, people, that's rock and roll.
If you have to leave early next time we're on last PLEASE BRING A NOTE. A twenty pound one will suffice.
Whilst last month here there were only three of us, this time it was the full Parrot Ensemble. Somehow we'd found ourselves as the main feature. Quite a coup,as this was one of the few days in August when we were collectively available. So, we finished the night off for a very supportive, appreciative crowd. It was a special treat for our mate Dennis, a BPS fan of many years, who'd dropped in from Tilburg and also for Matt, my nephew who had nipped over from San Jose. This was the only opportunity they had to see us before going home.
We'd promised Malc a " Night of 1000 Accordions", this time. We only brought two with us as it happened. Having performed the same set at several venues this year, we thought we'd change things around a bit and revive some of the older stuff. So instead of opening with "Courting is a Pleasure " we started with that good old Anker Delta standard, "Wee Midnight Hour Blues." No, not Wilson Pickett, but a lament written and recorded in the 1930s by Scrapper Blackwell and Leroy Carr.
I was hoping that one of the several Blues harpists who've guested with us on this number in the past would be around to help with the instrumental break. They weren't, so I shyly produced the Echo Super Vamper and tooted and parped out a two-note solo. No one ran out, so that went well. Replacing the piano on the original recording with our accordion and mandolin arrangement just seems to work. You could be out on your porch y'all, chewin' bacca and sippin' whusky, yessir, as the four grizzled old geezers slowly ease this venerable old tune out.
But you're not, you're in Beduff, and the next song brought everyone swiftly back to Blighty. Three years since we'd performed the eponymous "Beside The Seaside "-so a good job we'd practised it earlier in the day,eh? A collector's item for BPS fans this song. It's not on any album, although it was shortlisted for the last CD. It's a BPS take on the original music hall song written in 1907 by John Glover. We retain only parts of the chorus: the rest is all our own work. A cryptic look at the wonder of English holiday resorts. It is the longest chorus song we feature. The shortest being " Baaaaa!"-the prolonged bleating during " If I Were a Goat." ( Hope Beyonce never hears that version).
Arnold always used to produce a toy monkey during this number and do unspeakable things to it. He did not disappoint last night. Whilst I also usually shoulder a little primate, in a visual gag about Scam photographers ("Picture with the Lady sir? No thanks, I'll have the monkey!"), I make no attempt to do violence to it. Arnold is usually such a gentle soul. He scares us when he goes like this. Fortunately I think the batteries had gone due to sustained misuse. Instead of shrieking in a faintly oriental accent, his monkey just moaned softly. His disappointment was funnier than the song. (Can I point out that no toys were injured during the performance of this number?)
With most of the audience in stitches now and only a few outsiders looking frightened, it was time to move on. The cumulative age of the two songs was 184 years-almost as old as three of us put together. And another old BPS Warhorse "The Wag Of Shop 14" was then wheeled out. Complete with Cowgown and the legendary Ryton Spanner Dance. When we first started doing this song, 30 years ago, it was topical social comment. It has now evolved into a true folk song, in that it evokes images of working practices and things now only a memory in our part of The Midlands. Factories, Assembly Shops, Production Lines. Stuff like that. It may not yet be Ewan McColl territory, but it seems to get a fantastic audience response. You can see people who have worked in the Motor Car Industry chuckling and getting all the nuances and sly digs.
"Midlands Lullaby" followed. Renamed "Tilburg Lullaby" specially for the evening. With its initial nod to Stan Kelly,Cilla Black and The Spinners, once past that awkward moment, we could progress through the song to more contemporary references. "You looked so sweet with club and shield, playing Looters in the field," for example. Or " If you grow up you'll be a man. They'll carry you away in a Big White Van." Cutting Edge.
The AccordionFest concluded with "At The Septic Monkey." Our homage to Folk Clubs everywhere. A shortened version, with no rigged raffle at the conclusion. So that coveted Raffle prize "How to Live With Your Chinchilla" stays in the dressing up box until we visit a Folk Club near you. A sweet little old lady made two unrehearsed appearances during this song, en route to the toilet. I've never been heckled by a Senior Citizen before, but I guess it served me right for following her down the corridor during an instrumental break and coming back to announce on mike, "I think I've pulled." Anyway....see you this afternoon at The Whist Drive, Maudie?
By this time the bellows were straining, there was much panting and gasping and wheezing and exhalations of hot air. But enough of Arnold. We put the accordions down and performed "Beduff Bank" on home turf.Newly added verses about Atherstone and Warwick received an appropriate response. In fact the audience contribution to the choruses of BB was just blinding.
We were about ready to go home by then, but an encore was demanded. Nay, a request even. So " Albert Balls"-was uncorked again, which most people knew, and those who didn't sang along with anyway. Even if, underneath their bench seats, they were digging their fingernails compulsively into the upholstery.
Cracking food, good company, diverse artistes, receptive audience, Sharps Doom Bar. Ad Libs:beer tokens for the artistes-what more could anyone want?
There's always a mixed blessing at any venue in headlining/Topping The Bill or Playing Out The Dead Hour as we call it. The pluses include a delusion of one having status: the fact that those who've been drinking all night need no encouragement to join in with the choruses, and a bonus of later audiences generally seeming to get the jokes and the visual gags in a way that a "warming up" audience sometimes doesn't. And, as happened with last night, it sometimes means the staff can come out and enjoy the fun too.
The (very few) negatives of going on last are that Eddie doesn't get to have his cocoa and electric blanket until WAY past his usual bed time, and sometimes a few Wusses in the audience have already begun sloping off. Presumably their metabolisms are still programmed to catch a last bus that doesn't run any more.
Personally, I don't really begrudge people leaving early if they have to go to work next day. Or, if the cat is ill, their house is on fire or the babysitter is only paid till 11pm. Fair enough. But if you are a performer and you have been done the courtesy of being offered a floorspot, and have enjoyed the audience's attention yourself earlier on in the evening, then I just think it's bad form to do your stint, expect appreciation and applause for it and then just b*gg*r off somewhere else. The furthest I've ever been for a one nighter was Portsmouth, at Shep Woolley's Club there. And we stayed till the end. In fairness, we were then driven home by our manager Nevertheless, we arrived home at sunrise and went straight on to work. But hey, people, that's rock and roll.
If you have to leave early next time we're on last PLEASE BRING A NOTE. A twenty pound one will suffice.
Thursday 21 July 2011
Warm Welcome at The Miners Arms
Three out of four of Black Parrot Seaside joined a roomful of jolly folkies at this welcoming North Warwickshire hostelry last night. We were shorn of banjo mandolin and accordion as Mick had decided there wasn't enough golf on t.v. at present and was of on tour for a further fix of ball stick hole stuff. Lack Arrot Easide it was therefore who closed the first half, with Courting is a Pleasure/The Odeon/Albert Balls/Bedduff Bank. Rousing chorus singing, helped by the fact that the audience there knew these songs as well as we did!
You know,it has always saddened me slightly that a minority of Folkies living south of our part of Warwickshire tend to look down on Bedworth. Last night we joined some quality acts. The Miner's Arms in the town is one of several venues there. I worked out, whilst chatting to Malc Gurnham afterwards, that we had performed " On Bedduth Bank," our epic homage to the old mining community in something like nine venues in or around the town.For rivet counters amongst you, that includes The Civic Centre,The Con Club: The Black Bank, The Navigation,The Miners,The Rugby Club,and The Corner House. I don't reckon you'd get as many venues hosting live folk music in towns of comparable size in South Leicestershire or South Warwickshire.
Obviously, I'm biased. Warts and all my dad lived in Beduff for a while, and my daughter still does. Kenilworth,Rugby,Stratford Warwick or Oakham it aint. But last night (for free, with Doom Bar on draught and with superb pub grub added) you had every form of acoustic music imaginable. All delivered with passion, humour, intensity and real ability. On view were Artistes new to the area and old stagers like ourselves.
Malc and Gilly, (supplemented with various backing musicians),opened both halves. The usual mix of tuneful harmony balanced with Malc's relaxing guitar style. Brian Phillips, without Marie,sang a couple, as did Jan of Cider Annie. Already I'd heard "Long Black Veil" and "John O' Dreams"-two of my personal favourites.
Enchante, who had kindly invited us over to their club in Lichfield earlier this year, performed, as their name suggests,charming material. I mean-a roomful of people in Beduff, belting out choruses in French,and with the locals in the bar next door not batting an eyelid. Enchante featured a double base-as did The Somervilles-the main feature, and were on last. Two new artises or "Beduff Virgins" as Malc cheekily kept referring to them as-were Karen(?) and Graham. Both solo singers. Both confident performers,strong voices and with distinctive guitar styles.
What splendid chaps The Somervilles are. We'd last shared a stage with them at Coventry's Maudslay Hotel. They were impressive then, and excellent last night. I had a good old chat to them beforehand. Nice to meet up with others who admit that occasionally they forget the words, drop a note, have to have set lists and music stands-and don't give a damn! With our combined ages of about 7000 years we have much in common! Their set featured lovely harmonies, tastefully arranged songs and thoughtful instrumentation. All delivered with panache and enthusiasm.
They started with a version of a song we also do occasionally-The Poacher. Same words-different tunes. Our version is acapella. Theirs fairly romped along. Like us too, they do a Nic Jones song. I couldn't help feeling that it would be nice to share a venue with them again, as I think our contrasting styles and combined Jedi wisdom would compliment each other.
You know,it has always saddened me slightly that a minority of Folkies living south of our part of Warwickshire tend to look down on Bedworth. Last night we joined some quality acts. The Miner's Arms in the town is one of several venues there. I worked out, whilst chatting to Malc Gurnham afterwards, that we had performed " On Bedduth Bank," our epic homage to the old mining community in something like nine venues in or around the town.For rivet counters amongst you, that includes The Civic Centre,The Con Club: The Black Bank, The Navigation,The Miners,The Rugby Club,and The Corner House. I don't reckon you'd get as many venues hosting live folk music in towns of comparable size in South Leicestershire or South Warwickshire.
Obviously, I'm biased. Warts and all my dad lived in Beduff for a while, and my daughter still does. Kenilworth,Rugby,Stratford Warwick or Oakham it aint. But last night (for free, with Doom Bar on draught and with superb pub grub added) you had every form of acoustic music imaginable. All delivered with passion, humour, intensity and real ability. On view were Artistes new to the area and old stagers like ourselves.
Malc and Gilly, (supplemented with various backing musicians),opened both halves. The usual mix of tuneful harmony balanced with Malc's relaxing guitar style. Brian Phillips, without Marie,sang a couple, as did Jan of Cider Annie. Already I'd heard "Long Black Veil" and "John O' Dreams"-two of my personal favourites.
Enchante, who had kindly invited us over to their club in Lichfield earlier this year, performed, as their name suggests,charming material. I mean-a roomful of people in Beduff, belting out choruses in French,and with the locals in the bar next door not batting an eyelid. Enchante featured a double base-as did The Somervilles-the main feature, and were on last. Two new artises or "Beduff Virgins" as Malc cheekily kept referring to them as-were Karen(?) and Graham. Both solo singers. Both confident performers,strong voices and with distinctive guitar styles.
What splendid chaps The Somervilles are. We'd last shared a stage with them at Coventry's Maudslay Hotel. They were impressive then, and excellent last night. I had a good old chat to them beforehand. Nice to meet up with others who admit that occasionally they forget the words, drop a note, have to have set lists and music stands-and don't give a damn! With our combined ages of about 7000 years we have much in common! Their set featured lovely harmonies, tastefully arranged songs and thoughtful instrumentation. All delivered with panache and enthusiasm.
They started with a version of a song we also do occasionally-The Poacher. Same words-different tunes. Our version is acapella. Theirs fairly romped along. Like us too, they do a Nic Jones song. I couldn't help feeling that it would be nice to share a venue with them again, as I think our contrasting styles and combined Jedi wisdom would compliment each other.
Tuesday 19 July 2011
The Miners Arms, Bedworth Festival and The Boat
Three of us are hoping to make a cameo appearance at a relatively new venue The Miner's Arms in Bedworth tomorrow. Part of a recently-launched "Free and Easy" Folk session.
One of the difficulties with being a four-piece band (as opposed to a solo singer-songwriter), is matching availabilities to gigs offered. You don't need to be a mathematician to work out that this quadruples the variables for us, making the probability of accepting a date much more hypothethical. Framed in clearer English-we find it tough finding days each month when we can rehearse/play a venue. We have to operate a matrix in fact, with all holidays,family commitments,work schedules, gigs etc, inked in, months in advance. It doesn't leave much free time for Folking about.
For example, at one time this summer we potentially had ten places who had either offered or requested an appearance from us. (This is besides those venues who have asked us to get back in touch with them for a return spot) Both The Crown and The Horseshoes in Nuneaton are cracking Real Ale pubs for example, who put on Live Music. Julian and Mark have both said they'd like to put us on at their pubs. The Boat in Newbold would like us back after our erm, triumphal debut there last month. (See below). The Blue Pig in Wolvey is always ready to welcome us back. Plus we had invites to four private Summer functions, (all declined) and longstanding floor spots offered at Hinckley Act and The Miners Arms in Bedworth which we've yet to take up.
Personally, I really regret us not being able to play together publicly more. It seems so ironic that we got back together in 2006 after a huge gap (30years) and we're now writing and performing together as well as ever. If not better. It's very frustrating that we cannot do more. Also, being so evasive doesn't go down well with some publicans and/or promoters-I quite understand that. Speaking for myself I'd be much happier doing at least one floor spot a week. However, the other three lads cannot manage that and as I don't play an instrument that leaves our options fairly limited.
However: besides the Miners, two new diary dates are confirmed for the Autumn. Like London buses-suddenly two come along at once. We are definitely on the bill for Bedworth Folk Festival in November. We don't know on which days or where. As soon as we do I'll put more info on here. And we're delighted to reveal that we'll be taking a fuller Parrot Show back to The Boat on November 21st.
I think we've proved with our floor spot format wherever we go that we can do traditional and comedy folk combined. However, floor spots mean that you have to minimise the visual, cut down on the gags and keep introductions short and sweet. Hopefully at The Boat and Beduff we'll be able to share once again with an audience, numbers such as "The Wag of Shop 14" with the immortal Ryton Spanner Dance, and that homage to Folk Clubs everywhere " The Septic Monkey" with its spoof raffle. It would be nice also once more to air (if you'll forgive the pun)"Manure." And "The Bold Pirate" alongside a canal would be apt. (Or should that be "aft"?) Doesn't everyone love a watery swipe at over-cautious Health and Safety bureaucracy?
One of the difficulties with being a four-piece band (as opposed to a solo singer-songwriter), is matching availabilities to gigs offered. You don't need to be a mathematician to work out that this quadruples the variables for us, making the probability of accepting a date much more hypothethical. Framed in clearer English-we find it tough finding days each month when we can rehearse/play a venue. We have to operate a matrix in fact, with all holidays,family commitments,work schedules, gigs etc, inked in, months in advance. It doesn't leave much free time for Folking about.
For example, at one time this summer we potentially had ten places who had either offered or requested an appearance from us. (This is besides those venues who have asked us to get back in touch with them for a return spot) Both The Crown and The Horseshoes in Nuneaton are cracking Real Ale pubs for example, who put on Live Music. Julian and Mark have both said they'd like to put us on at their pubs. The Boat in Newbold would like us back after our erm, triumphal debut there last month. (See below). The Blue Pig in Wolvey is always ready to welcome us back. Plus we had invites to four private Summer functions, (all declined) and longstanding floor spots offered at Hinckley Act and The Miners Arms in Bedworth which we've yet to take up.
Personally, I really regret us not being able to play together publicly more. It seems so ironic that we got back together in 2006 after a huge gap (30years) and we're now writing and performing together as well as ever. If not better. It's very frustrating that we cannot do more. Also, being so evasive doesn't go down well with some publicans and/or promoters-I quite understand that. Speaking for myself I'd be much happier doing at least one floor spot a week. However, the other three lads cannot manage that and as I don't play an instrument that leaves our options fairly limited.
However: besides the Miners, two new diary dates are confirmed for the Autumn. Like London buses-suddenly two come along at once. We are definitely on the bill for Bedworth Folk Festival in November. We don't know on which days or where. As soon as we do I'll put more info on here. And we're delighted to reveal that we'll be taking a fuller Parrot Show back to The Boat on November 21st.
I think we've proved with our floor spot format wherever we go that we can do traditional and comedy folk combined. However, floor spots mean that you have to minimise the visual, cut down on the gags and keep introductions short and sweet. Hopefully at The Boat and Beduff we'll be able to share once again with an audience, numbers such as "The Wag of Shop 14" with the immortal Ryton Spanner Dance, and that homage to Folk Clubs everywhere " The Septic Monkey" with its spoof raffle. It would be nice also once more to air (if you'll forgive the pun)"Manure." And "The Bold Pirate" alongside a canal would be apt. (Or should that be "aft"?) Doesn't everyone love a watery swipe at over-cautious Health and Safety bureaucracy?
Tuesday 21 June 2011
Afloat at The Boat
After being away many years, it was nice to return last night to that excellent Rugby pub "The Boat" sited alongside the canal at Newbold. Would have been even nicer if they hadn't run out of Draught beer. I'd forgotten how rough Carling was!
A cameo appearance from a full four-piece Black Parrot Seaside (hurrah!) at the Folk Club hosted by Chele and Pete Willow. Previously we've played The Merchant's Inn and Newbold Rugby club in The Town. We were well-received on both occasions, and last night made it a hat-trick.
It was a very high quality depth of field on show. A packed room with a responsive audience. Our good friends Brian and Marie Philips were in fine voice, as were all artistes appearing. Headlining were Three Dollar Tag with an appealing mix of American folk and gospel music. Steel guitar, banjos tasty fiddle playing and they even brought their own dancer. Hard to believe at times, out there in the sultry heat of a Warwickshire night approaching the Summer Solstice (!!) that we were still in England! Not out on the porch, with bullfrogs calling across a levee. Three DT's rousing versions of "Sweet Chariot" and "Amazing Grace" almost silenced the Rugby Massive who were noisily drinking Lager in the bar next door.
We got a fantastic introduction from Pete, always a staunch friend to B.P.S. We did a by now familiar sample of songs, opening with "Courting is a Pleasure"-our version of the trad. arr made famous by the great Nic Jones on his album Penguin Eggs. Two of our own followed-"The Odeon" and "Albert Balls." Both good hearty tongue in cheek Parrot mimicry with the audience making a brave attempt to join in with us on the ridiculously long choruses. It's always fun to see a folk club audience twitch as one announces " And now: A Bryan and Michael cover." And always a relief to see their eyes light up as they realise what we are doing to it!
We finished with our arrangement of Dave Goulder's emotional tribute to the steam locomotive, "Requiem For Steam." Just to show once more than we can perform the serious stuff alongside our lighter material. Before we released our last album, I sent Dave an MP3 clip of this version of his song. He was grudgingly complimentary about it,which is apparently about as good as it gets. Still performing in clubs in the Scottish Borders when not dry stone walling, our Dave. God help the sheep.
Some nice comments from people new to The Parrot style as they made their way out afterwards, and a couple of CD's sold! All in all a good night. The icing on the cake for us is that we've been invited back. Come Autumn we'll be doing a fuller set back at The Boat with a few more visuals and a little more audience participation. can't wait!
A cameo appearance from a full four-piece Black Parrot Seaside (hurrah!) at the Folk Club hosted by Chele and Pete Willow. Previously we've played The Merchant's Inn and Newbold Rugby club in The Town. We were well-received on both occasions, and last night made it a hat-trick.
It was a very high quality depth of field on show. A packed room with a responsive audience. Our good friends Brian and Marie Philips were in fine voice, as were all artistes appearing. Headlining were Three Dollar Tag with an appealing mix of American folk and gospel music. Steel guitar, banjos tasty fiddle playing and they even brought their own dancer. Hard to believe at times, out there in the sultry heat of a Warwickshire night approaching the Summer Solstice (!!) that we were still in England! Not out on the porch, with bullfrogs calling across a levee. Three DT's rousing versions of "Sweet Chariot" and "Amazing Grace" almost silenced the Rugby Massive who were noisily drinking Lager in the bar next door.
We got a fantastic introduction from Pete, always a staunch friend to B.P.S. We did a by now familiar sample of songs, opening with "Courting is a Pleasure"-our version of the trad. arr made famous by the great Nic Jones on his album Penguin Eggs. Two of our own followed-"The Odeon" and "Albert Balls." Both good hearty tongue in cheek Parrot mimicry with the audience making a brave attempt to join in with us on the ridiculously long choruses. It's always fun to see a folk club audience twitch as one announces " And now: A Bryan and Michael cover." And always a relief to see their eyes light up as they realise what we are doing to it!
We finished with our arrangement of Dave Goulder's emotional tribute to the steam locomotive, "Requiem For Steam." Just to show once more than we can perform the serious stuff alongside our lighter material. Before we released our last album, I sent Dave an MP3 clip of this version of his song. He was grudgingly complimentary about it,which is apparently about as good as it gets. Still performing in clubs in the Scottish Borders when not dry stone walling, our Dave. God help the sheep.
Some nice comments from people new to The Parrot style as they made their way out afterwards, and a couple of CD's sold! All in all a good night. The icing on the cake for us is that we've been invited back. Come Autumn we'll be doing a fuller set back at The Boat with a few more visuals and a little more audience participation. can't wait!
Sunday 15 May 2011
Dave Coburn
Dave is a singer-guitarist from the past,now living in Suffolk. He doesn't play any more, but still remembers the 1970-1980 Folk era in Coventry with great fondness. I've been been chatting to his son, Mark recently. Mark is very interested in acquiring a vinyl copy of our mini-album "Roll It Up and Eat It" for his dad. ( He already has a copy of our latest CD and some radio interviews). Anyone who has a spare vinyl copy-Mark's prepared to pay good money for one. Please email me if interested.
Mark and I have also had a good reminisce about Steve Adams, and his album, which both of us have. Parrot once recorded some stuff with Steve at his place near Tamworth long ago. Wonder what happened to that? Mark and I are agreed that Steve's "Please Don't Leave Me " was a great favourite of ours.
Mark's been very busy shipping BPS stuff onto U-tube. You might enjoy this:
http://www.youtube.com/watch?v=nWhx251CSq4
- it's one of several video clips loaded by various Parrot-minded folk. Some good, and some not so good.
( Also doing the rounds on Facebook at present is a clip of a BPS-Borderline Crossing collaboration " Bring It On Home," which is a real collector's item, filmed at Bedworth Rugby club only a few weeks back).
Mark's dad used to be a regular at The Pitt's Head Folk Club in Far Gosford Street, which was one of Pete Willow's many folk initiatives. There's a poster featuring this somewhere on this blog and also on our website. Dave remembers sitting in on some of our songs during Black Parrot Seaside's Christmas pantomimes there, which makes him an honorary Parrot. In particular he remembers that song we used to do about dysfunctional field mice sitting under trees. Very Dadaesque, that one. Another Christmas song featured lyrics about Dave himself and Pete. Utterly defamatory, of course. Happy Days. There's a line about "wallpaper" in "Septic Monkey" that goes right back to that room upstairs at The Pitts!
Mark and I have also had a good reminisce about Steve Adams, and his album, which both of us have. Parrot once recorded some stuff with Steve at his place near Tamworth long ago. Wonder what happened to that? Mark and I are agreed that Steve's "Please Don't Leave Me " was a great favourite of ours.
Mark's been very busy shipping BPS stuff onto U-tube. You might enjoy this:
http://www.youtube.com/watch?v=nWhx251CSq4
- it's one of several video clips loaded by various Parrot-minded folk. Some good, and some not so good.
( Also doing the rounds on Facebook at present is a clip of a BPS-Borderline Crossing collaboration " Bring It On Home," which is a real collector's item, filmed at Bedworth Rugby club only a few weeks back).
Mark's dad used to be a regular at The Pitt's Head Folk Club in Far Gosford Street, which was one of Pete Willow's many folk initiatives. There's a poster featuring this somewhere on this blog and also on our website. Dave remembers sitting in on some of our songs during Black Parrot Seaside's Christmas pantomimes there, which makes him an honorary Parrot. In particular he remembers that song we used to do about dysfunctional field mice sitting under trees. Very Dadaesque, that one. Another Christmas song featured lyrics about Dave himself and Pete. Utterly defamatory, of course. Happy Days. There's a line about "wallpaper" in "Septic Monkey" that goes right back to that room upstairs at The Pitts!
Monday 9 May 2011
Footie and Folk on a Sunday
I notice that lots of Folkies on Facebook like to add their helpful tips on performance and songwriting to their profiles. Well,I can heartily recommend warming up the tonsils before a gig by standing on the terraces with 3,400 others singing "Storer is a Nutter." As a vocal warm up exercise it's really useful. Watching my beloved Nuneaton Borough slip bravely out of the Conference play-off final at Telford yesterday afternoon was emotionally draining. By the time I'd taken to the boards with Black Parrot Seaside a few hours later, my voice had dropped an octave with all the shouting-but it was an ideal way to round off a challenging day.
Last night saw us featured at the Styvechale Folk Club in Coventry. We brought along some musical "friends" in Jackie Shipley, Brian and Marie and Malc Gurnham. Lots of other floor singers turned up, making the evening kind of...interesting. We also brought along a sizeable part of the audience. I counted 21 who had definitely come to see us, and quite a lot more familiar faces in the crowd. That might be no big deal for Bellowhead, but it made it quite exciting for us and enhanced the chorus singing! There were several Parrot Virgins (in the musical sense) there last night too. As always, it is great to look out at an audience and see the mix of emotions unfolding on their faces as our set gets into its stride. ("Did they really just sing that?" " Why is he putting on a high-visibility jacket?" " Good God No! Not a Beyonce cover?")
As a rock band, "Small Maladjusted and Mean" was often (literally) a show stopper for us. As Vance and I used to grapple over the drum kit at the Golden Cross or Warwick University,audiences were not always sure what was theatre and what was actually happening. " Bold Pirate" with it's abrupt ending is still in that genre.
For the rivet-counters amongst you, the set was:
Courting is a Pleasure*
The Odeon
Requiem for Steam*
Albert Balls
Coventry Lullaby
At The Septic Monkey
The Gravy Train
Black Jack David*
I'm only a Poor Little Rhino
Cockney Power
D.I.Y.
The usual eclectic mix allowing the boys to air their musical dexterity (!!) and yours truly to prance about like a fool. Those asterisked are to identify them as "folk songs" as someone last night incorrectly said that we don't do any. Perhaps that was tongue in cheek. If it wasn't, it's just wrong. Incidentally, "Courting" and "Requiem" are as sad as any finger-in-the ear laments about dockside farewells or the Brig Levantine sinking with all hands off a Cornish reef. (Perhaps people should listen to the words?). But you can have enough of that kind of thing, and three hours of hand-wringing, wailing and mourning can tax all but the purist. Which is why we mix it around a little, and always will do.
Next up is an appearance at "The Boat" (Newbold) in June, and hopefully a set at one of Nuneaton's many fine Real Ale pubs.
Many many thanks to those who sang, laughed and joined in with us last night. And to Rob and Karen for inviting us.
Last night saw us featured at the Styvechale Folk Club in Coventry. We brought along some musical "friends" in Jackie Shipley, Brian and Marie and Malc Gurnham. Lots of other floor singers turned up, making the evening kind of...interesting. We also brought along a sizeable part of the audience. I counted 21 who had definitely come to see us, and quite a lot more familiar faces in the crowd. That might be no big deal for Bellowhead, but it made it quite exciting for us and enhanced the chorus singing! There were several Parrot Virgins (in the musical sense) there last night too. As always, it is great to look out at an audience and see the mix of emotions unfolding on their faces as our set gets into its stride. ("Did they really just sing that?" " Why is he putting on a high-visibility jacket?" " Good God No! Not a Beyonce cover?")
As a rock band, "Small Maladjusted and Mean" was often (literally) a show stopper for us. As Vance and I used to grapple over the drum kit at the Golden Cross or Warwick University,audiences were not always sure what was theatre and what was actually happening. " Bold Pirate" with it's abrupt ending is still in that genre.
For the rivet-counters amongst you, the set was:
Courting is a Pleasure*
The Odeon
Requiem for Steam*
Albert Balls
Coventry Lullaby
At The Septic Monkey
The Gravy Train
Black Jack David*
I'm only a Poor Little Rhino
Cockney Power
D.I.Y.
The usual eclectic mix allowing the boys to air their musical dexterity (!!) and yours truly to prance about like a fool. Those asterisked are to identify them as "folk songs" as someone last night incorrectly said that we don't do any. Perhaps that was tongue in cheek. If it wasn't, it's just wrong. Incidentally, "Courting" and "Requiem" are as sad as any finger-in-the ear laments about dockside farewells or the Brig Levantine sinking with all hands off a Cornish reef. (Perhaps people should listen to the words?). But you can have enough of that kind of thing, and three hours of hand-wringing, wailing and mourning can tax all but the purist. Which is why we mix it around a little, and always will do.
Next up is an appearance at "The Boat" (Newbold) in June, and hopefully a set at one of Nuneaton's many fine Real Ale pubs.
Many many thanks to those who sang, laughed and joined in with us last night. And to Rob and Karen for inviting us.
Thursday 28 April 2011
Fund Raiser at Beduff
A grand night at Bedworth RFC clubhouse last night, as Blind Boy and myself made a late decision to attend Bedworth Folk Club's Fund Raiser.
It's good to see this venue so busy. BFC at the Con Club was never one of our favourite venues, and attendances were really dwindling last time we played it. (Not our fault, honestly). Last night it was rammed. Standing room only.
It was good to catch up on news and gossip, and touch base with old friends like Malc and Gilly, Brian and Marie and Pete and Chele Willow. Yes, BPS have still got plenty of friends in the Folk/Blues world!
Musically, there was a bit of everything on offer. Country, Blues, Trad folk, self-penned stuff, the inimitable Joe ("Up The Boro'!), Beatles and Buddy Holly covers. Well done to all.
Mick was away "golfing" (we reckon that's his euphemism for attending the Royal Wedding), so it was just Blind Boy and me. An opportunity for BPS to air their Blues repertoire again then, so we did " If I Had Possession" and "The Odeon."
"Possession" is a Robert Johnson original, also covered by some bloke called Clapton. It has several challenges for me as a vocalist. (No pressure then).
We don't do it that often so I had to brush up on the lyrics before I left home. It begins in an unusually high pitch for my range and if I don't hit that first note right it throws me and occasionally also temporarily fazes the Great Bluesman himself. I was born n' raised on this "Dust my Broom " riff,so I know versions by Elmore James (dozens!) Johnny Winter, PGFM, Taj Mahal, Spencer Davis Group, Cream, Bluesbreakers etc. All with various alter egos such as
" Rambling Pony" "Rolling and Tumbling" etc. All imprinted in my sad old head. I have to blank these versions out and concentrate on Arnie's magnificent Dobro intro to get that opening right.
Odeon went as it always did, although due to a surfeit of San Miguel I totally fluffed the lines about Ha'penny Chews and Sherbet Dips. Don't think anyone noticed though.
As a Blues Bonus we also joined in with Borderline Crossing's Finale, "Bring It On Home." I think I'm right in saying that BPS performed this glorious Sam Cooke song at the same venue last time we were there. Honoured to have Pete Willow describe my vocals in it as "like Dr. John." I am not worthy. Pete and The Parrot go back at least 30 years and we can prove it! He has championed our em, "distinctive" style and song catalogue throughout that time. In the Press, by booking us at venues,and by belting out our choruses at gigs. But rarely have we shared a stage together. He reckons the last time was at The Bulls Head Club we once ran in Brinklow. He could well be right. Let's not leave it so long next time, eh?
It's good to see this venue so busy. BFC at the Con Club was never one of our favourite venues, and attendances were really dwindling last time we played it. (Not our fault, honestly). Last night it was rammed. Standing room only.
It was good to catch up on news and gossip, and touch base with old friends like Malc and Gilly, Brian and Marie and Pete and Chele Willow. Yes, BPS have still got plenty of friends in the Folk/Blues world!
Musically, there was a bit of everything on offer. Country, Blues, Trad folk, self-penned stuff, the inimitable Joe ("Up The Boro'!), Beatles and Buddy Holly covers. Well done to all.
Mick was away "golfing" (we reckon that's his euphemism for attending the Royal Wedding), so it was just Blind Boy and me. An opportunity for BPS to air their Blues repertoire again then, so we did " If I Had Possession" and "The Odeon."
"Possession" is a Robert Johnson original, also covered by some bloke called Clapton. It has several challenges for me as a vocalist. (No pressure then).
We don't do it that often so I had to brush up on the lyrics before I left home. It begins in an unusually high pitch for my range and if I don't hit that first note right it throws me and occasionally also temporarily fazes the Great Bluesman himself. I was born n' raised on this "Dust my Broom " riff,so I know versions by Elmore James (dozens!) Johnny Winter, PGFM, Taj Mahal, Spencer Davis Group, Cream, Bluesbreakers etc. All with various alter egos such as
" Rambling Pony" "Rolling and Tumbling" etc. All imprinted in my sad old head. I have to blank these versions out and concentrate on Arnie's magnificent Dobro intro to get that opening right.
Odeon went as it always did, although due to a surfeit of San Miguel I totally fluffed the lines about Ha'penny Chews and Sherbet Dips. Don't think anyone noticed though.
As a Blues Bonus we also joined in with Borderline Crossing's Finale, "Bring It On Home." I think I'm right in saying that BPS performed this glorious Sam Cooke song at the same venue last time we were there. Honoured to have Pete Willow describe my vocals in it as "like Dr. John." I am not worthy. Pete and The Parrot go back at least 30 years and we can prove it! He has championed our em, "distinctive" style and song catalogue throughout that time. In the Press, by booking us at venues,and by belting out our choruses at gigs. But rarely have we shared a stage together. He reckons the last time was at The Bulls Head Club we once ran in Brinklow. He could well be right. Let's not leave it so long next time, eh?
Tuesday 26 April 2011
Parrot and Friends at The Sty Folk Club
Sunday May 8th 2011 sees the band doing a couple of feature spots each side of the interval at this venue in Coventry. It is a club we have visited before, and it marks a welcome return to our home town-our last appearances there being at The Maudslay "Reunion" in March 2011 and at the erstwhile Tin Angel last Autumn.
The full four piece format will perform the usual eclectic mix of traditional folk and blues numbers with some self-penned comedy songs and scathing satire. We guarantee to feature a few of our newer numbers not on the "Aint It Grand" album such as "Albert Balls," "Courting is a Pleasure" (Nic Jones) and "The Gravy Train" We also hope to air old favourites such as "The Bold Pirate" and " D.I.Y."
The friends we hope to bring along will include Malc Gurnham and Gil Gilsenan, and Phutnote.
For Nuneaton Town fanatic and singer Geoff, the evening will involve a cross-country rush back from a Conference play-off semi final somewhere in the U.K. Arriving breathless, and either demoralised or ecstatic depending on the final score. Hopefully not hoarse though, whatever the result.
The full four piece format will perform the usual eclectic mix of traditional folk and blues numbers with some self-penned comedy songs and scathing satire. We guarantee to feature a few of our newer numbers not on the "Aint It Grand" album such as "Albert Balls," "Courting is a Pleasure" (Nic Jones) and "The Gravy Train" We also hope to air old favourites such as "The Bold Pirate" and " D.I.Y."
The friends we hope to bring along will include Malc Gurnham and Gil Gilsenan, and Phutnote.
For Nuneaton Town fanatic and singer Geoff, the evening will involve a cross-country rush back from a Conference play-off semi final somewhere in the U.K. Arriving breathless, and either demoralised or ecstatic depending on the final score. Hopefully not hoarse though, whatever the result.
Thursday 14 April 2011
Belated Match Report on The Maudslay
Another Interesting Sunday Evening March 27th at a Good Old pub in Good Old downtown Coventry. A venue we've played several times before.
Cancer Research Fund-raiser. Artistes appearing:
Pete Grassby:
Sarah Bennett and Friends:
A Finbarr who was billed as Furey but who turned out not to be:
Kev Dempsey:
Threepenny Bit:
Katherine Fear and Jon Harrington
Sean Cannon
Jan and that other blokey
and finishing the evening yours truly...Black Parrot Seaside.
Nice to be, um...headlining again..
We did:
The Gravy Train
Courting is a Pleasure:
Albert Balls
Midlands Lullaby
Cancer Research Fund-raiser. Artistes appearing:
Pete Grassby:
Sarah Bennett and Friends:
A Finbarr who was billed as Furey but who turned out not to be:
Kev Dempsey:
Threepenny Bit:
Katherine Fear and Jon Harrington
Sean Cannon
Jan and that other blokey
and finishing the evening yours truly...Black Parrot Seaside.
Nice to be, um...headlining again..
We did:
The Gravy Train
Courting is a Pleasure:
Albert Balls
Midlands Lullaby
Wednesday 9 March 2011
March 2011 Guest appearances
Hopefully continuing the gradual recuperation and convalescence of the four-piece format of Black Parrot Seaside, we hope to do a spot at Pete Grassby's night at The Three Horseshoes, Bubbenhall next Thursday (17th March)
Following on from that we also hope to be at The Maudslay, Coventry, on Sunday 27th March. A venue we always enjoy playing.
Following on from that we also hope to be at The Maudslay, Coventry, on Sunday 27th March. A venue we always enjoy playing.
Sunday 20 February 2011
Back on The Perch Again
There followed another long and enforced break after the the post made below. It was due to a second bereavement involving my family. No point in going on about it. But the second death did prevent me from being available for the second attempt at getting to the Back Room Folk Club in Lichfield. Which we had to cancel in December 2010.
However, we finally managed to honour that commitment at the third time of asking, last week. Wednesday 16th February 2011 to be precise. Two funerals and several flu outbreaks later, Black Parrot Seaside were at last back on stage.It felt good.
Nice club. Nice people. High standard of musicianship. Good to see a familiar face there who remembered us (fondly!)from Brewood last summer.
Set List: (in order):
Courting is a Pleasure
The Odeon
Albert Balls
Midlands Lullaby
The Whistler
The Gravy Train
D.I.Y.
All four of us on form, and the full range of instruments were featured-mandola, mandolin, guitar, fiddle, banjo, accordion.
Thanks to all who listened and showed their support and appreciation.
However, we finally managed to honour that commitment at the third time of asking, last week. Wednesday 16th February 2011 to be precise. Two funerals and several flu outbreaks later, Black Parrot Seaside were at last back on stage.It felt good.
Nice club. Nice people. High standard of musicianship. Good to see a familiar face there who remembered us (fondly!)from Brewood last summer.
Set List: (in order):
Courting is a Pleasure
The Odeon
Albert Balls
Midlands Lullaby
The Whistler
The Gravy Train
D.I.Y.
All four of us on form, and the full range of instruments were featured-mandola, mandolin, guitar, fiddle, banjo, accordion.
Thanks to all who listened and showed their support and appreciation.
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