The Grit Tray has Landed.

      Following a few gigs recently,  in various formats, with diverse guest musicians and under various aliases, the two of us who were previously in "Black Parrot Seaside" (Geoff Veasey and Arnold Chave) have  now finally agreed on a new name. We can confirm that our new name will be  " The Grit Tray."  It is hopefully one we can hang onto for a while.

    We had previously selected "Buzzard's Luck " as our new ID, until one of our (many!) ex-musicians gleefully directed us to that band's website!  Turned out they existed already:  a bunch of Good Ol' Boys based somewhere in the USA. We don't want any copyright issues with them, and originality has always been our forte, so our last  appearance as Buzzard's Luck was last weekend, at Bedworth Folk Festival. ( As we were billed on their posters as someone else, that also caused a fair amount of further confusion). 

We then discussed the viability of becoming "Corncrake's Misfortune" or, " The Great Widgeon Catastrophe," but decided that with our luck, someone else might suddenly and simultaneously also decide what  great, quirky  names they were. Not so much chance of that we felt, with us becoming " The Grit Tray."

    Since 1975, Black Parrot Seaside (B.P.S.), in all its various guises, and with two albums, (one on vinyl), behind us, has been our musical home. O.K. we went into hibernation periodically, but as a Rock band and later in several folk formats, we'd kept the same name going since then. It was Dave Sampson who initially persuaded us to reform the Folk band itself once again in 2006, for what was intended at that time only to be  a one-off Air Ambulance Fund Raiser. We had so much fun we kept it going  for another six years. During that time we played many venues  but finally split up again in June of this year.  Two of us were determined to keep playing, doing much the same kind of material, and we wanted to retain the ornithological theme. If you visit the erstwhile BPS website (which is still running-but we have no access or input into it) you will see lots of puns and references to all things avian, because of what has always been viewed as a fun name and a fun image.

   "The Grit Tray " seems particularly appropriate to us, because of the rudimentary (but essential) function such a piece of apparatus has to perform in the bottom of say, a Cockatoo or Macaw cage. Do I need to spell it out any further?  Oh all right then. Whilst our time together has mostly been very enjoyable, sometimes in the life of any musician, a little s*** must happen.  Yeah, we've been up there, on the Perch of Destiny, squawking merrily, or gnawing at the Cuttlefish Bone of Opportunity. Occasionally though, it has felt like we've been scratting about instead amongst the sanded papers, looking up angrily as something runny, mostly white and no longer wanted, has fallen down upon our heads. 

    Here's a Senior Management joke. A head teacher was walking across Trafalgar Square. A passing pigeon suddenly voided a very large lump of doodoo from height upon his bald pate. The Head stopped, shook his fist upwards and shouted " Yes! Go ahead! Everyone else does!"

    So that's the imagery. Something useful and functional. Something still very much parrot-related. Something which is (literally)  prepared to take the er, rough, with the smooth. And it abbreviates nicely to TGT. Which will help keep down the costs of business cards.

  Since the split, our current set list is still changing and evolving. At one gig recently, (for the first time since we all began playing together in 1978), there was not one song we performed which was our own.  And every song was one we had not ever attempted as a four-piece. However, our intention remains largely to continue to perform  a mix of Traditional Folk, acoustic material we like, some Blues and our own (mostly) Comic material.  By popular demand, as it were. We can guarantee that plenty of Old Black Parrot Seaside tunes will still be included! And who knows? Maybe ...one day...the Macaw will arise once more?

Once again...thanks for reading. And keep tuning in.

Bedworth Folk Festival 2012

Three days of Love, Peace and Church End Brewery's  Fallen Angel. As the (soon to be re-named) "Buzzard's Luck", we opened the Friday night session with a set in the FM Lounge at Bedworth Civic Hall.  As always, really enjoyed playing this venue. Really good, attentive Sound Crew , who genuinely really know their stuff.(Thanks, folks!).  And a decent- sized audience, considering how early it was.

For the record (or not!) we squeezed into half an hour:

Over The Hills and Far Away
Naughty
Need Your Love So Bad
Albert Balls
Courting is a Pleasure
If I Had Possession Over Judgement Day
The Odeon

Of which, only "The Odeon" was on the CD which we launched at the same venue and the same event in November 2008! We had intended to do "The Gravy Train" but just ran out of time.

Yesterday, hosted a three hour stint as MC.  Again in the Civic Hall, but this time a relaxed "hour with" format featuring two acts at a time. Introduced Colin Pitts, Tony Portlock, Maria Barham and Carole Palmer,Mike Forsythe, Bill Bates and Duncan Mcfarlane with Ann Brivonese.  Diverse, eclectic, entertaining and thoroughly enjoyable.

A View from The Grit Tray. Bedworth Folk Festival 2012

Tomorrow- Friday 23rd November- sees the launch of this three day event, and potentially, an epoch making role for what remains of Black Parrot Seaside. Whilst they've  been at many of these events in the past, the posters for this year's event do not show the band  as appearing at all. However,  the remaining two of  them who are still prepared to go out and tread the boards will be taking to the stage at 8pm in Bedworth Civic Hall. In the FM Lounge, specifically. It would be nice to see any Festival-goers  who know them, turning up to offer moral support and a sprinkling of applause during their half-hour set.

    The posters and the programmes for this event show only that Geoff Veasey is appearing this year,  as a solo artiste. It would not be the first time this has happened, but tomorrow  fellow ex-Parrot and partner in crime Arnold Chave will be alongside Geoff throughout. Playing, singing and generally mucking about, as these two have done for years. The current problem is settling on a new name. They have  been going out as "Buzzard's Luck"-but have recently discovered that there is another band of the same name in the USA. And a few Club comperes seem to be struggling with it anyway. Actually Geoff and Arnie  spent a year or so as a duo in the 1980's-under the cryptic and tongue-in-cheek  alias of "Flower and Pot." 

A current front-runner for a new name is "The Grit Tray." This retains an ornithological link with the past, and as someone pointed out, a grit tray in the bottom of a parrot's cage, is something that often gets shat upon. A feeling the band have  come to empathise with over the years.

   Actually the chaps  have been a duo for a while now, and have appeared in that format recently at Bedworth and Warwick Folk Clubs and at The Tump Folk Club. Tomorrow, they'll be mixing their material up  as usual, with some blues, some traditional folk, a Charlie Drake cover  and a few original songs. Interestingly,  of the 15 songs originally recorded on the CD  launched at this festival in 2008, only one will still feature in the Set tomorrow-"The Odeon." That's as much a sign as any other that they are moving on.

On Saturday afternoon, Geoff will also be MC for a Festival show featuring other artistes. A new venture for him. Some of the acts he'll introduce are old friends-others are relatively new to him. Should be an interesting experience for all concerned.

What's in a Laugh? A brief Essay on Folk Humour

   I've always sung  in bands that have  attempted to inject some visual and lyrical  humour into their set lists.  It is by no means original-but it can be a very real risk strategy. It can endear you to an audience forever, or it can get you barred. (Not recently, but it happened to us once, on the Working Mens Clubs Circuit, after singing a song which had a very mild swearword in it!). 

The role which humour plays in Folk Music remains (for some) a very contentious subject. Some self-appointed prudes would (incorrectly)  argue that it has no place at all. Thereby neatly sidestepping over 1,000 years of English Literature. Mr. Chaucer and Mr.Shakespeare for example, were not averse to employing double entendre, phallic symbolism, and even a bit of industrial language now and then.

       Whether humourous lyrics consist of gentle wit, satire, parody, bawdy Rugby Club songs or downright filth, humour and irony  is out there, and it is a central core of folk, blues and many other types of popular music.  Bo Carter is one of several extraordinary american bluesmen whose songs can still make your eyes water. We used to do a version of his "All Round Man" when we were an electric six piece. It really rocked, but we had to tone down the lyrics considerably from the original. Even then, it was still pretty crude. 

   And nearer to Folk roots there are traditional songs like  "The Bonny Black Hare " which until recently, we included  in our Folk set. This song, greatly popularised by a classic Fairport version, with  Swarb on vocals, does not have a single rude word in it. But the images conjured up by what is a far from innocuous  set of verses can be...well...graphic!! Consider the final vocal riposte:in reply to a young maiden requesting a little more "action" from a passing suitor:
  " Me powder is wasted and me bullets are gone/ Me ramrod is limp and I cannot fire on/But I'll be back in the morning and if you are still here/we'll both go together to hunt the bonny black hare." 
    It's not explicit. But nor is it exactly, well...subtle. Some might even find such clever wordplay amusing. (Shame on them! To The Tower!)

 It depends how innocently (or otherwise)  each listener interprets such lyrics.  There is a whole genre of traditional songs like this, and the creativity of a mostly anonymous set of authors long expired, who managed to pen them and perform them is a testament to human ingenuity.
   There is a Classic British Comedy tradition of writers employing innuendo to lead audiences along a particular garden path. Sometimes (but not always) using song and verse to point it up. Max Miller wasn't called The Cheeky Chappie for nothing. Kenneth Horne, Peter Sellers and later  Monty Python and the Two Ronnies continued this type of tradition. Even Victoria Wood with her epic  "not lightly, not meekly,beat me on the bottom with a Woman's Weekly" was capable of singing quasi-erotic imagery at times!

     In Buzzard's Luck at the moment,we are experiencing a very mixed reaction to a new song-"What a Folking Liberty."  It is a song where we pun about the immense depth of imagery influencing British songwriters:

    " I started doing folk clubs in the Summer of '62

     I played a song and sang along
     the best that I could do

     I covered Leonard Cohen and I copied Christy Moore

     I plagiarised the Chieftains and even Sandy Shaw."

   The title itself is clearly a play on words,employing a phrase made popular by Catherine Tate's foul-mouthed t.v. gran. The chorus continues this, tongue-twisting any audiences brave enough to try it. Sung correctly, it is inherently proper. Mispronounced, it can engender errors of  Pheasant-Plucking dimensions. 

On the one hand, we've had audiences almost crying with laughter at it and at least two requests from other musicians for copies of the lyrics. Encouraged by that, we've shared it liberally with people we thought might enjoy the bawdy, slightly smutty innuendo. Very occasionally,though, we can tell by an isolated rictus of horror, or a  Royston Vasey-style glower, that a few individuals have perhaps been offended. In one instance, someone actually commented aloud on  the content of the song when we had finished it.

That is my definition of rude:not some Bamforth postcard style lyricism. That sort of behaviour is something we would never ever do to another performer, regardless of how we felt about them, their music, their singing, or their song choice! Tsk!

     So, this song obviously rouses mixed feelings. People want to cover it-and that is flattering. Some other people would like us not to do it at all. " Audience inappropriate"  was one very audible tutted aside recently . Well, where exactly would these Folk purists file such artistes as Richard Digance, Max Boyce, Jasper Carrot, Billy Connolly, Cosmotheka (and indeed the entire Music Hall Tradition) ? Would they have had George Formby exiled to St Helena? Because  he wrote a few saucy lyrics, too.

    And then there is also the occasional ill-feeling generated by a type of humour directed at an audience or a venue themselves. We do another song which gently lampoons Folk Clubs. We call it "At The Septic Monkey" This is because we want to make it 100% clear  that it is a composite caricature of a fictional club! The song has a very affectionate swipe at raffles, floor singers, freezing cold venues etc.

I cannot think of a club anywhere we have performed this song, who have not instantly "got" the joke. Indeed, many of them have reacted very positively towards it, and joined in with the fun of a mock "rigged" raffle. Complete with hideous prizes.  Most notably Warwick Folk Club,  having heard and enjoyed  the song, once  hauled down their own marvellously decorated  Club Banner during an interval, and replaced it with a rapidly scrawled "Septic Monkey"  stuck  over the word "Warwick. " They then displayed  the adapted banner  during the second half. 10/10 for taking it all in good fun!!

    You see, most folkies don't mind laughing at themselves. Most of us who've been performing for many years, don't mind humour being injected into what does not always have to be dirgeful, mournful subject content. That has its place, too, but those who have got themselves lodged a little too firmly up their own dark passages , perhaps sometimes need to lighten up a little?

 

Buzzards over The Black Bank

Another eclectic night at Bedworth Folk Club, at the Black Bank last night. More floor space granted for the newly hatching Buzzards' Luck. Managed to perform "The Bold Pirate"  "The Odeon" and "Albert Balls" before being dragged from the stage. "Albert Balls" also featuring Malc Gurnham and David Parr guesting on guitars. Blimey! It's getting likeThe Quo now.  Quite frightening and utterly flattering just how popular those songs have become. The chorus singing of Albert Balls is particularly impressive. Even when I've completely forgotten the words. I could go off and have a cup of tea. Leave them to it.

Due to a technical slip up with a pint of Wells Bombardier which could pickle onions at forty paces, I was on the lager last night. The old Accordionist-Beater. Probably accounted for a few slurred words in Pirate? Got away with it. And the shock ending. Which wasn't a great shock as several there had already seen it.

Main featured artists were Moses and The Ref, whom we've seen once before at a festival somewhere. (PROBABLY BEDUFF AS ITS THE ONLY ONE WE GET INVITED TO! ) They provided two sets of charming and challenging songs with nicely-wrought harmonies. Including a Dougie McClean one which I've got on my Ipod sung by Cara Dillon. Garden Valley. It reminded me of our good friends Brian and Marie Phillips, who we continue to miss, and wish well.

   Other stalwart performances included one from Maria Barham who nicked my song (well Little Willie John's) "Need Your Love So Bad". And then only did it really well! Huh!. Found out later she's been singing it much, much longer than me/us. And she's recorded it. So there. Glad she won the gold clutch bag now. Serve her right. Damned if I'm going to drop it from my personal set list yet. Actually I suggested that the next time we were alone together we could duet on it. Came out all wrong and I thought she was going to slap me.

Thruppenny Bits there, with that adorable dog. I want one. When will she be incorporated into their act? I'm sure she could bark or wuff alonga something. We looked after her whilst they went on. Des must have been on the lager too, as they started singing in Latin.

Later, we were treated to an interesting collaboration between  honorary Parrot Jon Harrington and Bob Wilkinson. Good harp, guitar and lyrics. I've heard that song about Hatton and Bedduth before, by the way Bob. I've never got a chance to tell you that Elizabeth  Crofts was my GGx4 . Or that one of my GGG Grandmothers died in Hatton in 1868. Small world, eh? Perhaps it's time for a Beduff Compilation Album? Featuring On Bedduth Bank,  of course. Offers, anyone?

Trying Buzzard's Luck at The Tump

Lots  has happened music-wise since the previous (but one)  blog entry. Some solo spots at various venues by yours truly. Some collaborations-one with Malc Gurnham at The Black Bank. And the eventual re-invigoration of an old Black Parrot Seaside by-product. A project which already existed hypothetically, but never formally took wing- "Buzzard's Luck". More about the name later. Is it just a lovely ethnic, aesthetic image, hewn from the Folkie Lexicon? Er...no!

I think it's true to say that Eddie Jones and Mick Harris have truly left the Parrot, probably forever. That has shorn us immediately  of some really excellent  instrumentation. Including  accordion, piano, fiddle, mandola, banjo and mandolin to name just a few. And the four part harmonies are down the toilet, too. There is no visible queue of new musicians offering to  replace Mick and/or Eddie. So it's either dump the 100 or so songs we already know,stop writing or get down to reviewing and implementing alternatives.

Anyway. The Buzzard eventually tired of just mauling roadkill (little clue there?) and took off for The Tump Folk Club at the  Humber Hotel in Coventry last night. By invitation, I might add. To join in one of their always interesting and very diverse Singer's Nights. With an audience outnumbered by something like 22-1, there was no shortage of acts there.   Buzzard's Luck  is actually just ex-BPS guitarist Arnold and myself.  (There, now I've told any of you who hadn't already guessed!).  Unsurprisingly, we did two "safe" Parrot songs-well chorused by the audience-and a couple of other BPS standards from the old set list. Robert Johnson's "If I had Possession" and the folk song "Courting is a Pleasure"

Karen was not too well and sent her apologies. Dear lovable old Rob Oakey was M.C. I sat next to him for the evening. I was seeking enlightenment and wisdom from this stalwart of many a folk club. Certainly, I definitely got some of that. I also seemed occasionally to get a broadcast from Radio Luxembourg, a few "pardons?" and a plethora of cryptic answers and knowing smiles to reward my constant thirst for knowledge. He's a mine of information is Rob, but a very deep one.

So... I can't tell you all of the names of those performing, even though I could see Rob had scribbled them on a piece of paper. I knew some of them already of course. The ubiquitous Dave Fry. (look it up, Dave-you can't touch me for it!). Rob himself, twinkling away on that lovely guitar. A much better player and singer than he gives himself credit for. Whispering Campbell Mckee. Colin Squire, whom we'd last shared a billing with on Jubilee Night on Wolvey Playing Fields. Big Jim Smith and his two lady singers.

Then there was Terry and Janet, a lovely and really talented couple whom we'd last appeared with at one of The Maudslay Hotel Nostalgia nights.  Using Terry's accomplished playing, (on another splendid jazz-style guitar) , Janet's beautiful plum rich voice and (Armstrong?) rhythmn guitar, they knocked off four very  interesting arrangements between them. I hope they won't mind me saying they've been on the local circuit a long long time. And they're still damn good.

There was a Simon there who I've seen at a couple of venues. Good guitar player,interesting songs. And another Colin, who did some Scottish songs. One was "Alli Bally Bee"-all about Coutar's Candy. Hadn't heard it since I was a kid. I don't remember Coutar's but I once had a thing for Ross's of Edinburgh Puff Candy which was a poor man's Crunchie. No wonder I've got awful teeth....

There was a mysterious Mexican singer-guitarist, who I think was Jesus. (Not in any sycophantic way, that was his name). He played delightful finger-style and also accompanied a lady with a very powerful voice. "Killing me Softly " was her highlight, whilst Jesus did good covers of James Taylor and Ralph McTell songs. There was one remarkable gentleman who sings unaccompanied songs like "It ain't necessarily so" in a way I can only describe as unique. There were three or four other performers who I'd seen before, but as Rob wouldn't tell me their names, I can't recall who they were. They performed Blues,Country, instrumentals. I thoght they were all good-and very very different. Apologies to those I can't name. I can't remember my own most of the time. If you'd like to temind me who you were, and which songs you did, I can edit this and make it more informative!

Sunday Night Rings a Bell

I was back at the Bell Inn, Monk's Kirby Sunday 26th August, to join The Sly Old Dogs for a night of good audience singing and good music.

I went Solo and did "Thirty Foot Trailer" (Ewan McColl)  and "Chicken On a Raft"  (Cyril Tawney via Young Tradition). Both used to be very popular circuit songs  in 1960's Folk Clubs. They were responded to warmly here. For my third number I gambled on a new one I've floated in a few venues-" What a Folking Liberty." This has a chorus which an audience has to sing very carefully if they wish to avoid committing an offence. On one occasion at Bedworth Folk Club I got it wrong myself, to much hilarity. Let me give you an example:

" Oh Folk me what a Folking Life!
  It's no folking good for me!
   But if I wasna out a Folking
   Then where the Folk would I be?
   So Folk you once and Folk you twice
   and Folk you once again
   We know Folk all and we'll sing Folk all
   and we'll sing it once again."

Try singing that quickly to any tune you like! Let me tell you,when you start getting vowel sounds in the wrong place on that one it's a downward slippery slope. It makes "Pheasant Plucker" seem tame! Got through it though, despite there being a sudden and unannounced firework display on just outside the window. Never had that effect on people before.

Though some regulars were missing due to holidays, there were a couple of additions to add to the entertainment. Maggie Coleman, and Dave Cook, for example. A thoroughly enjoyable night.

Another Try at The Sty

Trying to up my (previously woeful!) performance rate locally,to avoid rustiness and to keep the voice oiled, yesterday I drove across Warwickshire and into Cov. to The Sty Folk Club for a warble at their Singer's Night.

I managed to air "Vigilante Man"(Happy 100th,Woody!),"Peggy Gordon" and two BPS originals,"Bonio Romeo" and "If I were a Goat." The latter is one of the few Beyonce covers on the Folk Circuit today. Both BPS songs are packed with puns-to the point of inducing audience groaning.

As well as performing, Katherine Fear was showcasing her guitar group, and the sound of a whole collection of acoustic guitars playing melodically together and filling a big room,was a very nostalgic moment for me personally. Having introduced such occasions well over 30 times, I know exactly the work that goes into tutoring such groups, and the work (and angst) that goes into perfoming such well-arranged pieces. Well done Katherine.

There were some French people present so I introduced the Goat by explaining " Nous avons des visiteurs Francais ici ce soir. Bienvenue! Maintenant mes amis, c'est le temps pour un chanson au sujet des chevres!" This prompted some polite but heartfelt sounds of protest. My pidgin-French had panicked them into insisting that they stood up and gave us a song about horned quadrupeds. (Perhaps I'll keep that in the act?) Having sorted out that misunderstanding,it was good to give Billy and Nanny an outing again, and to hear an audience bleating (as opposed to singing) a chorus.

I was also roped in at short notice to sing along with Jon Harrington on Jimmy Reed's "Bright Lights Big City" . Jon has jammed along with us on blues numbers in several venues previously, making him an honorary Parrot. So I was honoured,flattered and a just a little bit frightened by his invitation. I like Mr. Reed's langorous,drawling style of blues, and his squeaky, piping harp playing. I have a couple of his albums, and I especially like "Shame Shame Shame," which I've got rehearsed almost to performance standard. I like " Honest I do " also and "It's a Sin.". But I've never worked on "Bright Lights" before,so it was very unfamiliar territory and quite a challenge. However with other musicians joining in about the room, I think I got away with the vocals. Other than singing straight through Mick's initial attempt at a guitar solo, which I very kindly led him into next time round!

A very carefully walking Chris Tobin was present, but he did not actually perform. Chris has hurt his back. I was empathising with him about that previously over the weekend-but them mine seized too. Painful. Most of the other singers I had seen and heard previously. I hadn't met Cliff Hands before though. I liked his delivery, his songs and his guitar playing, and would like to hear more.

New Horizons

For the moment, and possibly permanently, Black Parrot Seaside have ceased to squawk. Not for the first time, it has to be said. That doesn't mean an end to some of our music still being aired publicly. A couple  of us wish to continue to working the Folk Circuit.

Already that has ocurred at several Midlands venues. Three of Beduff's folk clubs for example. And Next Wednesday, The Bold Parrot will honour a previous obligation, and play Rowington Folk Club (along with Chris Tobin), in place of the advertised band. Mr. Mac Orr has already been added to the Guest List of Bedworth Folk Festival in November 2012. Folk Club organisers can look forward to an increasingly high profile, some new material ( a mix of trad/blues/original) and generally a lot of red and blue feathers floating around, in the immediate future. PLEASE get in touch if you run a club or are responsible for a festival, and would be prepared to give us  little more flying time.

Several musicians have already begun to explore joint projects  using new and existing material. (If anyone else is similarly interested, please do get in touch). Many more individuals have sent me uplifting messages of support and practical offers of help. We are very grateful to everyone involved, for that and look forward to working with existing Folkies, and a whole new set of people. This is a whole new dimension  with new horizons. For me personally it's been kind of intimidating not fronting a band any more and going it alone, without instrumentation. But it's also liberating. No more arguments about set lists, venues, transport, P.A.s,material, introductions, appropriate pitching, chords and keys,spoken links between songs, solos,harmonies,lyrics or style. No more face-pulling when new cover versions are suggested. 
The Blog title has changed to something more appropriate to reflect all this, although the address stays the same. The "official" web site has been dead in the grit tray for a while now to be honest. I have no powers to close it, due to "technical issues." It will not provide any useful information other than historic background however. Still pondering what to do with the BPS Facebook Page.

Hope to broaden the contents of the Blog now to a wider discussion of music matters generally,and to occasionally just have a bloody good rant about something.

Thanks for reading. Don't be a stranger.

MARGOTH’S OATH

They will never defeat me:
Never.
I will never stay down.
Each time They knock me over, then will I get back up,
And return to Them, with my open hand outstretched.
Even as They knock me down, I will wipe the dirt from my eyes,
And I will get back up.
When They push me away: I will protest.

There will never be enough of Them to hold me down.
Whatever Their questions I will have an answer.
And whatever their answers, I will have one more question.
I will wait outside Their doors:
I will listen at Their tables.
And my eyes will burn into Their souls.
Aye, and far beyond.

Whatever They destroy, I can rebuild.
Whatever They attack, I can defend.
Even when They have a thousand alternatives,
I shall suggest one more.
When They have aired a thousand reasons
I will seek one more.

And When They believe that finally
They have me buried,
I will arise.
Then there will be no more excuses
And justice will prevail.


Once only shall They be put to the sword.
Once, and once only will They fall.
And They
Will not
Get back up.

" This Is The End....

...Beautiful friend, The End"-  a certain Mr. James Morrison 

Odd, isn't it, how things can change if you go abroad for a week? When I left the U.K. for Crete on the 21st June 2012, I was in a band. One I'd been in, on and off, since 1975. Now,on return home, I'm not. Once again, Black Parrot Seaside have disbanded. By default. In my absence. Nice. Et Tu Brute,eh?

We had such fun (remember that?) on reforming (by request) for a one-off fund raiser at Brinklow in 2006, that we stayed back together for six years , recording an album in 2008. We had plans for all kinds of other initiatives. We almost opened a club ourselves in 2010, in what would have been a really good venue at Coventry and North Warwicks Sports Club. But increasingly, certain members of the band became more and more selective about  where they would and could not play. Whilst also  expanding their own performance repertoire by playing other  venues, with other ensembles.

BPS thus earned themselves a bit of a reputation for being awkward. At one time we were  in the envious position of having six (yes SIX!) gigs lined up. All of which  for one reason or another we had declined to accept. So, I suppose, yet another split was realistically, inevitable. You cannot make a reluctance to rehearse, selectivity over material,and a rider or  qualification on almost every venue requesting our appearances, the basis for a successful band.

In some circles, this announcement will be greeted with enormous pleasure. We were a Marmite band. You either got us or you didn't. Comedy Folk is not an easy genre. We did it well. Some other comedy performers didn't. This fuelled jealousy. Some of our competitors (as they see it)  mightl sleep a little easier tonight, knowing that we are no longer out there on the circuit, and believing that finally, we have flapped off. We shall see.

Hummin' at The Humber

I really enjoyed our first visit to the newly relocated "Tump Folk Club " last night, and a very nostalgic one it was,for me personally. The club is now based more centrally than it was when in Brinklow Road. It is now at The Humber pub, in Humber Road Coventry. A familiar part of the world for me, as I grew up "over the railway" in Northfield Road, and I went to All Saints Primary School just a few minutes walk away. My dad and my Uncle Bill and many neighbours once worked in the massive car plant which used to be just down the road from The Humber. Indeed "Wag of Shop 14," one of our most requested songs, is largely based about reminiscences about that series of factories.

I also had my last pint as a single man in The Humber. In 1971, I was based at Gosford Green, working for Coventry Parks Department. My mates decided they would send me on my way to the wedding in London by finishing early and getting me sloshed at lunchtime. They then dropped me off home in the back of a three wheel Lister Truck which created traffic chaos as it chugged all the way down Binley Road. With me and a 56lb bag of grass seed in the back.

A further point of interest is that the band have played several venues in this area before. The Pitts Head in Gosford Street, the Gosford Park Hotel at the top of Northfield Road,and The Biggin Hall Hotel, on Binley Road. For example.

We joined an interesting collection of singers and musicians and took a diverse trip round the world with them. We listened to songs made famous by James Taylor, Woody Guthrie,Dobie Gray, Crowded House and Billie Holiday. Nearer to home, with a mix of traditional and self-penned material, we were entertained by visiting Dalgetty, Dublin and Scapa Flow and we went busking in London's West End.

As BPS remain in a "fluid" state in personnel terms, once again it was just Arnold and I who took to the floor. This fragmented Parrot seems to be the current genre. It has its benefits in that we get to play more Blues and we don't have to tote so many instruments around. On the down side,we lose a depth of tone with reduced instrumentation, and some of our regular repertoire cannot successfully be reproduced without drastic re-arrangement. However, for the third time in a fortnight, other musicians occasionally joined in. Notably Rob Oakey adding some mean blues harp on "If I Had Possession." And we were delighted to find that here as elsewhere, audiences enjoy singing the chorus to some of our own songs.

Besides "Possession" We also did "The Odeon" "Courting is a Pleasure" " Albert Balls" "Vigilante Man" and "Over The Hills and Far Away." Only one of those six songs was on our last CD. Proving that we are no one trick pony, and that we do keep updating material!

We were made to feel very welcome, as we always are at clubs hosted by Rob and Karen. Arnold won a bottle of red wine in the raffle and had folk queuing to admire the dobro. The Humber has had a decent makeover, has a big car park and the staff seem very friendly. We'll be back!

God Save(d) The Parrot

Despite not being the most devout of monarchists,we had an absolute blast last night, doing an open air gig in a marquee on Wolvey Playing Fields. Half of the current Black Parrot Seaside to be technically accurate,as two of our number were elsewhere, otherwise engaged.

It was our first outdoor gig since Newbold RFC a couple of summers ago. And being June in England,it was cold! Whilst the sun was still flooding across the fields,not too bad. But as it went down, and a big orange moon came up,it got progressively chillier.It turned out to be a momentous evening for yours truly, being the first time I'd sung with a full band behind me, since about 1976! Oh how the poignant memories flowed!!

Fortified by a few Becks and San Miguels,we did a half hour slot, following on from Colin Squire, whom we've met up with at The Bell (Monks Kirby) on Sunday nights sometimes.Colin performed an accomplished set, bravely trying to persuade a semi-frozen crowd to sing along with a succession of chorus songs. This included "Yarmouth Town," one of my favourites from his repertoire. I appeared to be the only person belting it out with him!

It seemed to take ages for us to set up. We'd not been able to access the performance area beforehand, and Off The Cuff, (who were later going to join us), also needed to re-check their tunings. Arn and I started with "Over The Hills and Far Away",which we've been reworking recently. Without being able to use the fiddle intro, and shorn of Eddie's bridges between chorus and verse, Arn now chops in a tasteful electric intro, using the Telecaster. Bramcote Barracks was bathed in a golden glow as the sun set behind us. It added a certain irony and relavence to this old song about soldiers doing their best for King and Country, a long way from home. It got a good reception. (Applause gets the circulation going!)

We followed up with "Some Day The Sun Won't Shine." This song was popularised on an early Jethro Tull album. The cold by now was playing havoc with strings, as Arn found to his horror during this number. Keeping the Old Boy on his toes, he then had to switch to 12 string for "Courting is a Pleasure." We hit a really good tempo on this, with a few people actually dancing! The bar had been open all day, and I guess folk were just trying to keep warm. Arn then got the dobro going,to finish our solo bit with "Vigilante Man." I would add that he lap-played it for this number, but it might sound a bit rude.

Off The Cuff then joined us for three more songs. Derek, Pete,Adrian and Jon all now inducted into the honorary Parrot Hall of Fame. With Arn hanging on to the Dobro, (but standing up this time!),we pumped out a spirited rendition of Robert Johnson's "If I Had Possession" -based loosely around Clapton's version. Anker Delta White Boy Blues. This is really how it's meant to be done! All amped up, Drums and base, bottleneck guitars, and a blues harp warbling away between verses. Brilliant. The audience liked it-(dancing again!) and I was ecstatic!

Sam Cook's "Bring It On Home To Me" then followed, a version more closely allied to the Animal's cover. Again featuring all six of us. And we finished our solo bit with "Need Your Love So Bad."

I just adore this song. It's a personal favourite of mine, but I have never previously had the privilege of performing it publicly. Peter Green famously transcribed it from the Blind Wille John original. It's a song with a very special meaning for me. It was our first dance as a married couple at our wedding reception in London, oh so many years ago. Thereafter it became "Our" song. We danced alone to it again at various family parties. To be able to sing it, whilst fronting up an ace band,and looking into the eyes of the Love of My Life right in front of me as I did so, was a truly magical and memorable experience. Dunno if the audience enjoyed it quite as much as I did, but they seemed happy enough!

Off The Cuff then got everyone dancing. They played one excellent set, stopped for the beacon to be lit, and then returned for another. I cannot praise these guys highly enough. Immense gratitude to them for working patiently with us at rehearsals,and backing us "live." I have played support to The Darts and East Of Eden. I've met John Lee Hooker. I've recorded in the studio where Dire Straits put down "Sultans of Swing." Our songs have been played on Radio One. But this goes right in there along with the great Parrot music moments. Singing The Blues in a six piece is really where it all took off with BPS in the 1970's.I'd almost forgotten how cool it can be. Unless I get a call from a band looking for a vocalist over the next few months-this may never happen again!

Parrot Out and about in Bedd'orth

Well it's been a while, and sincere apologies to both Blog readers for that. Quite a few domestic issues, the return of the Mighty Nuneaton Borough to the Conference Premier, and some health problems have skewed rehearsals and gig diaries. However, we are now delighted to confirm that the Blog is back, and that our set at next week's Festival Fund Raiser at Bedworth Rugby Club Wednesday 23rd May, is definitely ON. We implore all BPS followers to get there in numbers and sing their hearts out for the lads. And to put some pennies in the bucket to help raise money for next November's Festival. The set will include some traditional folk songs. For example, The Bonny Black Hare, Courting is a Pleasure, Over The Hills and Far Away and Requiem for Steam. "Requiem" is a Dave Goulder song about the decline of steam engines in the 1960's. Of our Youtube clips, this one is by far the most popular, with over 3,000 hits. It features on a few people's personal playlists,too. (No accounting for taste, is there?) We're really chuffed about that. We aim to have a good time that night, as it is the last gig at this venue before the Summer Break. So you'll be pleased to hear that some of our own self-penned comedy material will also feature. Pencilled in are: our 1978 hit single "The Whistler": a topical song about greedy politicians-"The Gravy Train" and a vicious blow at the Health and Safety Culture gone mad-"The Bold Pirate." The Folk Club from Hell "The Septic Monkey" complete with spoof raffle also features, as does our homage to Bedduff itself-"On Bedworth Bank." Not to be confused with any other song about the jewel of the North Warwickshire Riviera. There follows a fairly low key finish with singalong tunes "The Odeon " and " Albert Balls." climaxing what threatens to be a classic evening. If we have time, we may well air the late John Peel's favourite waxing " I am a Vacuum Cleaner with the Brain of a Bird." Admission is free. Alhough we cannot guarrantee that exit is without charge.

THE MACAW SINGS THE BLUES

With our reputation for being a bit daffy on stage at times, quite a few people seem intrigued (even impressed occasionally) that we still include a traditional Blues in our set. This is " Wee Midnight Hour Blues," a song recorded by Leroy Carr and Scrapper Blackwell in the early 1930's. We also featured it on our 2008 CD "Roll It Up and Eat It."

WMHB however goes almost right back to our formation as a six piece rock band in the 1970's. We used to do it as part of a much "heavier" electric set, featuring Martin Smalldon on electric base ,Vance on drums, Mick on keyboards, Arnie on lead guitar and me handling vocals. I have a dog-rough Mono rehearsal recording to prove it, which only friends and family may access!!

I've always loved the song. I first heard it on my well worn vinyl copy of Paul Oliver's "Story of The Blues" anthology. Carr and Blackwell had teamed up and shifted North to Chicago at the time of writing and recording it. Some of the lyrics reflected an increasing sophistication, characterised in the opening lines:
"In The Wee Midnight Hour, Long 'fore the break of day/when the Blues creep up on you, carry your mind away."

The whole song is about worry, regret and lamentation. The mournful melody, the mellow instrumentation and the melancholy vocals compliment the overall mood: "My heart's in trouble...my mind is sinkin' deep".

Obviously, we could not replicate our 1970's version as a four-piece folk band. Instead, we re-arranged it to include the interesting combination of acoustic Guitar,mandolin and accordion. Oh, and (if I'm not too shy!) a tiny little bit of Blues harp from yours truly. This kind of takes the mood of it back down South, and away from Chicago. I'd like to think Leroy and Scrapper might have approved of that.

The first song we ever rehearsed and ever played in public was also a blues. John Lee Hooker's "Dimples" Rob Lockington on drums, Tez Tehergee and Arnold on guitar and me on vocals. Later we added Barry Ousby on base and felt confident enough to also try out Sam Cooke's "Bring It On Home" in public.

In 1971 I had the privilege of meeting John Lee backstage at a London venue. Backed by The Groundhogs, he was headlining at my College. He was a quiet, shy and very pleasant man. His only "rider" was a strong cup of coffee! Later, John Lee would have a lot to say about what he once called "The Hurt." He wasn't one of those Black Bluesmen who looked down on White Boys trying to play his type of music. He maintained that delivering the Blues was less about technique or ethnicity and more about understanding (and experiencing) loneliness, pain, grief,sorrow,loss and tragedy. I got some of that.

Later on in the 1970's Martin and Vance replaced Barry and Rob on base and drums respectively. In this same format, we then also featured a 12 bar blues "Going down to Gasthorpe" and an extraordinary Bo Carter blues called "All Around Man." Bo wasn't a great believer in innuendo, and some of his stuff was absolutely filthy! I have a mono recording of us doing "All Around Man", and it really used to shift along. In fact we've talked (briefly) about resurrecting it, but I cannot honestly see any way we could play it publicly again without getting lynched!! Rory Gallagher later did a song of the same name with a similar chord progression, but drastically cleaned up from the Bo Carter original.

Anyway, that's five Blues-based songs from the BPS back catalogue. And there's more from the current one. When the four of us aren't all available to go out and perform together, Arnie and I have added "Sun Won't Shine For You"- Jethro Tull version, Robert Johnson's "If I had Possession" and "Vigilante Man " to a set we now do as a duo. The last two feature me singing and Arnie playing that magnificent Dobro of his. We're also currently sharpening up a version of Jimmy Reed's "Shame, Shame, Shame."

And finally..it's no secret that I occasionally do solo spots at local clubs. Unaccompanied I've aired "Vigilante Man" " Bring It On Home" and
" Jesus On The Mainline" in public, and not yet been booed off!! The Blues was my first love, and I'd like to do more. I've got a whole fist of other songs I'd like to cover. Anyone out there interested?

Maudslay date confirmed-25th March

Well we've been away for a bit-literally. Belgium, Spain and France to be specific. I could be a real poser here, and pretend that we've been on a European Tour together-but we haven't.

There is however, photographic evidence from last week of Arnie jamming on a borrowed telecaster, with a French Blues band. And I did manage to do a bit of networking in a most excellent music cellar Bar in central Bruges, where the owner's playlist was almost as good as mine. He's got a few BPS cards now,so he might even be reading this! Anyway, Listening to an Albert Collins solo pumped through a potent sound system certainly helped the Garre, De Ranke XX and Zot slip down at 2am in the morning!

All being well, the full four-piece B.P.S. combo will be allowed out to participate in a Cancer Research Fund Raiser at The Maudslay Hotel in Coventry on Sunday 25th March.

It's an evening gig in the Concert Room upstairs. These are usually very good sessions-even the ones where we turn up! We've done quite a few sessions there over the last few years. The acoustics in the room are excellent. There is usually a good mix of guests. Previously we've been joined by people like Sara Bennett, Kev Dempsey, Threepenny Bit, Katherine Fear and Jon Harrington, Rod Felton and Rob Armstrong, Sean Cannon and Maggie Coleman. To name but a few. Pete Grassby organises and so usually has a warble, too.

Being the crazy, globetrotting guys we are,April's looking a bit thin due to more overseas commitments, but our appearance at Bedworth Folk Club on May 23rd date is also now fully confirmed.

Gig updates

Regrettably, we've had to pull out of our next commitment, which was due to be at "The Cock", Rowington, next Wednesday-February 15th. A pity, as this would have been a new venue for us,and we were all looking forward to adding it to our collection. Better to make a decision well in advance, with the weather being as it is.

Hopefully,Pete Grassby will re-arrange an alternative date for us there. If he's still talking to us, we anticipate appearing in one of his Sunday Night extravaganzas, at The Maudslay Hotel, Coventry, on Sunday 25th March.

We will also be at Bedworth Folk Club on Wednesday 23rd May. This is a Festival fundraiser. A couple of other venues and/or organisers have been in touch, and we hope to finalise a few more dates locally over the next few months.


Looking further ahead it seems likely we'll be busy in November, with an appearance in Witherley, and later in the month, shifts at Bedworth Folk Festival 2012 already pencilled in.

Meanwhile, Arnold and I kept busy during January. I did a solo spot at The Black Bank on the 12th-giving me a rare opportunity to air that BPS classic "Bonio Romeo." And as "Simpering Wolf and Slim Hopkins," Arnie and I did a couple of spots as a duo. A chance for Slim to air the Dobro and me to exercise the tonsils. We were at Bedworth Rugby Club on the 25th and The Bell in Monks Kirby on the 29th. The latter appearance featured awesome audience singing of "Albert Balls." What a pity we didn't put that song on the last CD. It's become a real favourite! If we do another-we must make sure AB is on it-and a "Live" version! ( Offers, anyone?)

Parrot are Back On The Perch

Well, Happy Christmas, a Happy New Year and a Happy Everything Generally to BPS followers near and far, young and old, past and present. It's been a while since the last Blog, primarily because of Festive Stuff. Band members tend to use December as a bit of a Lardfest generally, reducing the performing opportunities to a minimum whilst maximising the social occasions.

Shortly after the most recent post above, for example, I went off to The Harz Mountains in Eastern Germany, for a birthday treat. I'm a bit of a railway fan, so hammering up through the snow-covered pine forests to a white-out at the summit of The Brocken was damn near an orgasmic experience for me. Beer,Sausages,Steam Trains-come on-it doesn't get much better than that.

At the same time, Arnold was in Kracow, I think. And Eddie's just come back from Madeira. So no time for much practical music making in between. I squoze in a couple of local solo spots before Santa came, but nevertheless, we also managed to fit in two seasonal BPS staff "do's." One before Christmas at Wood Farm Brewery Tap, and a New Year session last week in the wonderful Byatt's Kingdom of Whitefriars Alehouse, Coventry.

Today I'm delighted to say that we finally got back down to the serious business of music making. A full rehearsal of the four piece format. And a jolly good work out it was too. Interestingly, we selected all cover versions to work on today. They were: "The Poacher's Lament": "Man of Constant Sorrow": " The Bonny Black Hare": "Courting is a Pleasure": "Requiem for Steam" and "Over The Hills and Far Away". The last few are regulars: the first two are very close to being new additions to the current set. We've done the Poacher publicly before-but we're working on a longer version now, with four-part harmonies and "The Foxhunter" and "The Galway Hornpipe" as two instrumental pieces added at the end of the vocals. MOCS is the song made famous from O Brother Where Art Thou. A Good excuse for some good Ol' Country Music whilst slugging from a jug of Chicken Whisky. or something.

It looks like the first airing for the two new songs could be The Cock at Rowington in February-unless of course, someone out there has an earlier opportunity they'd like to float past us?