A last squawk from The Perch

Final perspective on  2014

Well 2014 was a mixed year to say the least. In Spring, a few health problems put me out of action (and onto crutches in one incidence) for several weeks. I attended two funerals of good friends who had influenced me musically. One was Rod Felton, whose delivery, song writing and guitar playing I admired. And we said farewell also to a second ex-Parrot.  Graham Caldicott, who sang with us, and co-wrote "Vacuum Cleaner", and old Parrot favourites like "Ordinary."  

 

     Creatively and musically, I felt that as a band we had made real progress, with some of the best live performances ever done collectively. Particularly effective as a five piece and bolstered by the talents of Malc Gurnham and Dave Parr, we made our debut at Banbury Folk Festival, there was talk of a new C.D. and Nuneaton Folk Club exceeded all expectations as it launched in October. Then at the end of the year, the whole House of Cards inexplicably collapsed. The band folded, and we lost the two gigs I was most looking forward to: Bedworth Folk Festival and The Church End/ Atherstone Folk Club  Christmas Party. This was not the first second or third time that the band had imploded. But because of the pain caused, it has to be the last.

2015

So there is now no Black Parrot Seaside, and there won't be again. Some of the songs will live on however, both the covers and originals. I will not stop performing, and I intend to go out Solo as Mac Awe on Tour in the New Year.   I hope to continue working as part of “Nunc” and   I already have some solo spots lined up for 2015. Probably concentrating more on Comedy and Novelty songs, but if people want me to continue doing Blues and Folk-then I will. It looks highly likely that I will be returning to theatre again, as I have written something that a couple of local institutions are very interested in. Watch this space for news of at least one public production project in the coming 12 months.

  Since the dust has settled,  a few kind souls have  indicated an interest in working with me on collaborations. If you were one of them-be it song-writing or performance or both-then I will be contacting you shortly, (with no strings attached), to see if you are still interested in working on something-anything-together. Or if you prefer, don't be shy, get in touch. P.M. me via email or Facebook and say what you'd like to try, creatively. And if you or your band is ever short of a singer-don't be afraid to ask. I'd leap at that kind of opportunity!

Smells Like Christmas

What’s that smear on Grandad’s shirt?

What’s that stain on Grandma’s skirt?

What’s that steaming in the dirt?
RUDOLF! Smells like Christmas!

Lots of cheerful festive booze,

fighting in the shopping queues

Just disasters on the news
Yes it smells like Christmas
Pine trees oozing pungent sap,
Polar bears and penguin crap
Fido drinking from the tap
Yes it smells like Christmas
Cinammon and Tangerines, 
Brussel sprouts and Christmas greens
Vampires on the Multiscreens
Yes It smells like Christmas
Where’s it come from? That’s the question
Flatulence and Indigestion
Christmas Trees and Christmas Bells
Lots of awful Christmas smells
Hey! It smells like Christmas

Same old rubbish on t.v. 
Ants inside the Christmas tree
Santa? Is that.... Reindeer wee?
Yes!- it smells like Christmas!
Pounding pavements, stinking feet,
socks that whiff of rotting meat
Wheelie bins are full for weeks
Hey! They smell like Christmas

Bird Flu ,Plague and flies abound 

 Slush lies melting on the ground

Unwanted dogs and cats are drowned
Just because it's Christmas
Santa Claus has foetid breath
The news is full of war and death
My neighbour's Brewing Crystal Meth
And it stinks of Christmas.
The motorways and railways jam
My mailbox fills with dirty spam
Everyone hates Uncle Sam
It's definitely Christmas
Flu transmitted by the birds,
Carols full of empty words
Pavements cluttered up with turds
-Really smells like Christmas. 
Easter Eggs and Winter Sales,
Got a waistband like a whale
Body Odour- armpits stale:
Yes - they smell like Christmas.
Insurgents play with guns and swords 
Norovirus shuts the wards
Malls are full of sweating hordes
It must be Boxing Day.



  

Crowning Glories

  After the euphoria of last month's  Nuneaton Folk Club  night, an absolutely torrid and turbulent three weeks. followed  I had personal upsets, health niggles and family worries. Compounded with the fact that Black Parrot Seaside folded once more, this time terminally.

 

    What followed could have gone either way.  I had some very low moments in between then and last night, but then I had the best birthday present I could wish for.  That is, friends old and new, absent, there in spirit and present, all pulling together for the common good to get a third successive NFC show on the road.  Three Days of Freedom Peace and Love (and Flu'!) up the A444 at Bedduth Folk Festival) had taken a heavy toll on booked performers, some of whom were just too poorly to be there. But even so,  absent friends worked hard behind the scenes on Tuesday and yesterday, loaning us some sound gear to help make sure that all went smoothly.  Last night was a triumph for teamwork and co-operative working: where individual egos, creative differences  and personal interests were all set aside for the common good.

    I'm not being a luvvie here, when I say that each act yesterday was of outstanding quality. Providing a night which oozed quality.  Nunc- a new acapella collaboration, making their debut, kicked off with a Christmassy rendition of "Gaudete " and  "FairyTale in New York". That got the sizeable audience singing and Saucy Suzy Sanders continued the Festive Theme with some fiddled Carols,Yuletide songs and tunes. John Neal, another talented Nuneaton musician, made his NFC debut with three songs including a Ralph McTell one (no not Streets) and his own compositions. Hilary Wilson made it three out of four newcomers, with a mesmerising performance.

   Bob Brooker, free of The Sly Old Dogs, then brought the house down with "Stockton Quays" and "Willie McBride. He sold some CD's too-and one Raffle winner chose his "Songs From The Sea" in preference to a cheeky bottle of Zinfandel! We will NEVER hear the last of that!  Daisybell- Folk Spice-and their delightful harmonies then entertained the audience before Kristy Gallacher, a fourth newcomer to the NFC stage,  closed the first half by giving us a preview of next months Featured Guest. She sang  three songs including a very clever arrangement of Woody Guthrie's "Do Re Mi".

  The raffle draw was completed thanks to Flossie and Sue Sanders selling, Julian's generous donations, and to Brian for the Christmas Cake. ( I explained to him you don't have to bring one to gain admission, but he insisted!). Thanks also to Pete Matanza and his missus for diligent ripping, tearing and folding during the interval. (They also dealt with some raffle tickets).  Carole and Maria seemed delighted with their prizes. One Direction and Ollie Murs Annuals.

Nunc then returned to tell us " All The GoodTimes are Past and Gone."  But clearly they weren't. Some brilliant chorus singing from the audience followed before. John Kearney got the audience laughing and singing again with "The Jolly Boys," and a unique Reggae-Irish composition eulogising a dodgy booser out Brum way. Then it was time for Maria Barham and Carole Palmer to finish the evening. As always, great value for money, fantastic songs, lovely arrangements, stunning harmonies. The encores fused with the finale as Julian himself demanded more.

Tom Veasey kept it in the family by doing an excellent job on sound. He too had been very busy at Bedworth Folk Festival, but after a heavy working day he drove the whole set-up masterfully expertly and with minimum fuss. Many MANY thanks, Tom.

The Fox and The Tump

       No, not a new booser, but two of several  stops on the Mac Awe on Tour Tour this week, with a third at Bedworth Folk Festival on Friday night.

    On Monday last I dropped into The Fox at Attleborough, a pleasant suburb of Nuneaton,  to sample the musical talent on show there, and jam a few blues. I had plucked up courage to give my C harp a blow during a Bo Carter Blues. Until John Neal produced a table top full of them and proceeded to work his way expertly through the lot.  ( What is the collective name for a plethora of Blues harmonicas? A moan? A howl? -Discuss).

 

    The assembled company ran expertly through the usual eclectic mix (there's that word again) of covers and originals, with extraordinary dexterity and a broad range of instruments. We had Blues, Country, Traditional Folk and contemporary. We had Ralph McTell and Simon and Garfunkel, Elvis, Bobby Womack and Dylan. And, besides that row of harmonicas, we had acoustic and electric bass guitars, mandolin, banjo, an autoharp, percussion and a plethora of finely decorated, beautifully played acoustic guitars. Sometimes individually picked and strummed. Sometimes played in tandem, sometimes even the whole mini-orchestra joining in. There wasn't an audience as such-this session goes on with vibrant pub life unfolding all around it-but we did have periodic applause, and some people leaving thanked us as they left, for the entertainment.

    I opened my account with another Bo Carter Blues-"All Round Man," which the six piece Rock Parrot used to do, when times were a little less politically correct. Still have a scratchy recording of it somewhere. I cleaned it up a little and left some of the dirtier verses out, or bowdlerised them. The "band " played merrily away behind me (actually-in front of me) and it sounded timelessly good. Later I did "Need Your Love So Bad," "Sorry Feeling Blues " (One of Bo Carters rare clean ones--without the Harp-) and " All Over Now."

     Thursday night I went into Coventry, to The Humber Hotel, where a good crowd of musicians had gathered for a jolly good singaround. Again, many  genres of unplugged music were  represented. We had the instrumental "Ashokan Farewell" and "Need Your Love So Bad " from Cheryl. Nigel Ward fiddled away and gave us " The Derby Ram " and an arrangement of Cold Haily Windy Night, with  a whole lot of other tunes chucked in. Whispering Campbell McKee was in typically plaintive mood, with some very sad songs. Cousin Simon and his mate sounded good together and did a mix of self-penned and covered songs about Good Old Boys, Bad Old Boys and Crystal Meths Distilleries from Kentucky. or Tennessee. Or was it both? Or Selly Oak?

 

     On which subject, fellow Sagittarian Rob Oakey ( he looked worried when I said that) continued an argument we'd had about him saying he did no Blues by playing a couple. He also did "Kathy's Song,"-with that glorious verse which haunts all songwriters about wasting time straining to make words rhyme. It seemed a night for apposite subject matter. Mick Smith did a few instrumentals including a very interesting arrangement of "Anji". And a song about being rude in Hawai. But "Nobody Knows You When You're Down and Out " is a song I've played and listened to a lot lately and is close to my heart at the moment. Mick accompanied his two lady friends on " Room Up in The Sky" " Summertime" and some other 20th Century classics.

 

    A lady I know only as Christine sang a few songs including "Last Thing On My Mind"-another classic. I did one of mine-"Down Our Street" (which everyone now knows as
" The Di Di Song,"  Billy Bragg's " Between The Wars",  "Black Velvet Band" and "Vigilante Man" Trying to cover as wide a range as possible,  reflecting the eclectic nature of the evening.

   Friday night ,I spent at Bedworth Folk Festival.  I confess, I found it emotionally very hard. because  I have always loved my time at BFF and was so looking forward to doing two sets there over this weekend. One in the Rugby Club and one in The Civic Hall. Up to a fortnight ago, the set list was written and rehearsals had gone really well. Things then imploded, and the rest is now history. We had to cancel.  I am so grateful to Malc Gurnham though, for giving me back at least some dignity by encouraging me to do a little spot between Daisybell and The Old Un's on Friday. " Bring It On Home," "Need Your Love So Bad ," and "All Over Now." With a scratch band comprised of good friends, playing behind me. Thanks guys. That meant a lot to me.

    Thereafter, though I tried to hang on to the party spirit, my ailing  Mojo was well and truly shot, I enjoyed both halves of The Old Uns' thoughtfully rehearsed set, though felt for them, as, struck down by The Lurgy, they were deprived of one and a half vocalists. ( You only had to ask...) I did something I rarely do-I went home early then and did not stay for the remainder of the evening. Oh well. I'm sure with Bill and Keith in charge, it was brilliant.

All The Good Times

      Having spent yesterday morning successfully chasing and photographing steam trains,  I drove direct from Rugby station  to Bedworth. To The Civic Hall. Where, for the second Saturday in a row, I was able to rejoin a company of good friends to perform in the part of the Foyer known colloquially as the Goldfish Bowl.  The objective being  to publicise the impending Bedworth Folk Festival. By singing, handing out fliers and generally having a bit of a good time.

    A slightly different cast list this week. No Dave Parr, John Meechan or Phil Benson.  Malc And Gill,  Dave Webb, Des Patalong, John Kearney, Dave and  and Julia Taylor,  John Morris. and myself were joined by additional recruits from the Coventry Songwriter's Circle-John Neal, Jan Richardson    Jon Harrington and  Katherine Fear.

     Once again the startled diners and passers-by were regaled by traditional or  self-penned numbers and in John Morris's case, some Music Hall songs of an operatic quality. Sung  in a timbre that shook the windows of Greggs, down in the Town Square. What an extraordinarily good  voice that man has!

 

    I'd last seen John and Dave Taylor at Banbury Folk Festival. It was good to hear again, Dave's version of " My Old Man's a Dustman, " delivered in a very passable Bob Dylan style. This combination was highly amusing. It was good also to see and hear John Neal, another local musician who hosts The Fox sessions on Monday nights.  I've persuaded him to do a couple at NFC on December 3rd. John Kearney mixed up the sublime and ridiculous, as he often does, with a song about Remembrance paired with the divine "Jolly Boys." For which, apparently, I am the inspiration.Katherine and  Jan sang like Nightingales. Katherine accompanied at times by Jon on blues harp. A mix of the songs that have made them what they are today. Some new-ish. A cover or two. Some I'd heard before.

      As you can see, there was a certain amount of Photo-bombing going on. Dave, Malc and Gill stuck to mostly traditional material, but as always took us round the world and back in doing so.  You can see Jan celebrating this in the background. Des shantied away uproariously, and with window-pane-wobbling volume. His racous shout of "WE'RE!" in the chorus of "South Australia" made an old lady sipping soup opposite lose a spoonful.

     I did "On Raglan Road," "Peggy Gordon," and two of my own: "If I were a Goat," and "On Bedworth Bank."

   

      That session turned out to be the best part of the day. Things for me got progressively worse thereafter. I drove on to nearby Nuneaton, to watch "The Boro's" death slide out of the Vanarama Conference continue apace. Boro' lost another three points and I also discovered there that I had lost my favourite Bronx Hat (Not a lucky one: Nuneaton Boro/Town don't do Luck). After half time I lost a further tooth, stupidly partaking of some chewing gum. It's not as if I have enough left to looshh. ( I mean "lose").  Just keep sticking those pins in the Ju Ju dolly, chaps. It's really working wonders.

   

The Show must go on

Indeed it must.  Maybe not the usual show, during a period when BPS are having one of its self-inflicted “rest periods.” But, on the premise of use it or lose it, I got back onto the horse again Saturday and last night, and went out singing. Solo.

     Saturday I spent busking with other mates to help promote the upcoming Bedworth Folk Festival. It's good to hear that tickets are selling so well for this event, but no excuse for not getting together and slinging a few tunes out at the startled diners of Beduff. This time, not from the Arctic wastes of the Market Hall, but from the cosier interior of the Foyer of The Civic Hall itself. Opposite the restaurant. Using a compact, (fully working) and effective P.A. thoughtfully provided by the Centre. Nice one.

    There, I joined Malc Gurnham, Gill Gilsenan, Des Patalong, Dave Webb, Phil Benson Dave Parr and a still slightly jet-lagged John Meechan, to demonstrate what the good citizens of Bedrock could be missing on the 28^th 29^th and 30^th November. In clutches of twos and threes, we did our stuff, with some erm, interesting collaborations. I sang “Need Your Love So Bad,” “ Thirty Foot Trailer,” “The Old Triangle,” “Over The Hills” and “ Shoals Of Herring.” The whole company finished with a glorious rendition of the Tom Lewis song “Union Miners Stand Together.” Which was both poignant and apt in a town where there were once so many collieries. ( And where now there are none).

    Last night I joined Terry Oakley and Friends out at Beanfield Avenue in Coventry. Tony Okehampton is the Sty Folk Club host who loves to wind me up by pretending he can never remember my name. Possibly because he so often appears to be changing his own. Anyway, Ray Oaktree it was who led a small but perfectly formed company through a range of mostly contemporary covers and self-penned songs. Accompanied at various times by harmonica, keyboards, various guitars, percussion and and an Industrial capacity hot air blower. So diverse was the room temperature, that artistes performed in coats and scarves whilst the heating was not on and got town to shirtsleeves rolled up  when it was.No one sang “ Leaving on a jet plane,” but with the back of the stage sounding like a 747 nosing off a Heathrow apron, it would have been apt. 

        Ramon Oakshott himself had fixed some miniature runway lights to the sound aperture of his guitar since I last saw him play. Whether this was a tuning system, or just a device he had fitted to keep him awake never became fully clear. But it was very pretty. Mahendra and Jan treated us to some tasteful arrangements, including their own material, and a nice version of the Carpenters' “Superstar,” Not to be outdone, John Hancox gave us some Rod McKuen and Gordon Lightfoot and we even had a Faces' cover from Simon Groves. (Nice axe, Si!). Rod Oakenshield took us all over the shop-Dylan's “Blowing in The Wind” (very clever, Reggie!), Country Blues, heating technology, the lot. Caroline Horne spanked out a lively mix of creditable self-penned tunes and covers, leaving Hilary Wilson to combine her lovely voice and subtle guitar pickin' with some of her own wistful, fey numbers, packed with imagery.

     Me? Well I was planning to air a brand new Canal song. One never performed publicly before. But I lost my nerve and started instead with “Between The Wars” and “ It's All Over Now.” I felt we needed cheering up a little after that, and because Bobby Oakfield had switched the Blower back on again during my stint, I added two of my own, “Down Our Street,” and “ If I were a Goat.” It was the perfect opportunity for me then to get “ Tom Waits For The Waterways” out of the wrapper, but I bottled it again and finished with “ The Old Triangle.” instead. Mainly because I could remember the words, having done it only yesterday, across the County Line.

    P.S.. He's Rob Oakey. I knew that all the time. I took a photo of him last night to remind me.  Surrounded by his admirers. ( Blimey, he's going to get me, now!)

Lest we Forget

    Yesterday, for the second time in five years, irreconcilable differences suddenly surfaced to break up Black Parrot Seaside. It caused me great personal pain the last time it happened, in 2009, and the pain of it this time was even more immense. Both times were like bereavement. I personally  can cope better with the sense of loss this time, although I have concerns about the disappointment which a few others may feel. Particularly friends and families. Of the most grievous  hurt was the immediate loss of both our bookings at 2014 Bedworth Folk Festival.

 

   It is also very disappointing that we were on the brink of beginning work on a second CD. To include all the songs people have applauded or requested. Rod Felton's " Curly." Our own "Down Our Street"  and "Albert Balls." All lost, now.

 

   None of this was at my instigation. When someone walks out of a rehearsal and/or a meeting and refuses point blank to discuss the band or projects associated with it, I really don't see how that band can continue. And I cannot envisage where any of us were expected to go thereafter, except in separate directions. Again.   

    It has been made plain to me recently that as a Front man, compere, organiser, singer and songwriter I am just not good enough. The honest course of action then, is to man up and accept this consensus. Clearly, I have been deceiving myself. I feel so stupid. A vain, silly old man, with a conceited view of his own capabilities and an imagined talent. Realising how others see me as a performer, and with the added limitation of not playing any instrument, my only option now is a return to solo work. Some venues-The Larder at Atherstone, The Bell at Monks Kirby, The Abbey Theatre, The Fox at Attleborough, and  Rowington Folk Club-only know me as a solo artist, anyway. But this is a limited option. With my own self-esteem now at rock bottom, this it may be "it " for me, and for public musical performance.

    HOWEVER: I am not quite so ready to let go of Nuneaton Folk Club. Even though I am haunted by an odd sensation that some  hoped to watch it crash and burn. Well: here is some bad news for them. It hasn't. I have spent today talking to Julian, who runs The Crown where the club is based. He is 100% adamant that he wants ME  to continue running the club.  I am DELIGHTED to oblige.  And just to spike what feels occasionally like Schadenfreude, I  will keep it going  until someone else better suited offers to step in and do it better.  (Come and have a go if you think you're hard enough).

    A few other volunteers have  put in quite a bit of time helping me establish this club  and very grateful I will always be for their input. But : I  put in quite a shift, myself.  I negotiated the venue, created (and then kept updated) a Club Website and a Facebook Page and produced posters and fliers. I wrote and delivered Press releases, did media interviews and promoted NFC events at other venues. I booked a full monthly programme a year ahead, donated raffle prizes, liaised with the venue on advertising and even commissioned a Club Banner.  It would be a shame to dump all that, just to satiate  the egos of a few small minded people. 

  Undoubtedly, there would have been a few sad people who would have been delighted to see the new club fold.  Especially given its instant success. But that won't be happening.  Julian and I have been so encouraged by the attendances at Nuneaton over the first two months, that we are reluctant to let that goodwill go lightly. I feel I owe it to those who have turned out so far, to try to keep it going until someone else  takes it over. So it continues. With all the advertised guests still coming, over the next 12 months.
    Finally, there will also be a tiny minority who will be delighted that once again, and probably terminally, Black Parrot Seaside are off the local and national circuit. They will rush to fill our shoes and fulfil our cancelled bookings. Good luck to all concerned, with that.

NFC Unplugged.

   Staggered yesterday to find that,  on a cold November 5th  night, with (apparently) counter-attractions like burning effigies outside, more than ninety people turned out for our second Nuneaton Folk Club night at The Crown. And heartened to see that despite the (various) P.A.'s available malfunctioning, all of the audience stayed, to add their raucous, enthusiastic support. And chuffed by such tremendous positive feedback afterwards.

 

   Most performers we had chosen for that night are used to working with or without amplification. But when you've been told it is available, and  then it suddenly isn't , well that can come as a nasty surprise. Especially if (as some of us had) , you'd already done a gig elsewhere that afternoon. So the vocal chords were stretched to capacity, in a full room. The entire cast rose to the challenge magnificently.

 

   Black Parrot Seaside opened with a defiant "All Over Now" (seemed apt at the time), and "The Odeon." The audience bellowed out the choruses, and Sue Sanders fiddled away merrily along with us from the sanctuary of a few rows back.

       The constantly improving Finger In The Jar followed-not an easy task, being the first non-resident Band to perform without a safety net. They coped brilliantly. "John Ball " was a canny choice.

 

    Daisybell (what a great name-who thought of that?) followed, with a storming debut. Never saw Sally-Anne as a Folk Rock Chick, but my how she stomped her boots on that stage and pounded that accordion/squeezebox/concertina/ bellows thingy like she was pummelling Simon's chest after he'd burnt the dinner. They threw the kitchen sink at the last instrumental.  Brilliant girls! Well done!

 

    Follow that? Easy. KC Jones did. Karen's mighty vocals would fill a room that size with or without a mike. It soared to the back, as a Guest butterfly, inspired, emerged from behind the new "Nuneaton Folk Club" banner and took wing. A beautiful moment. John Kearney then became the first solo artiste, and again, had no problem filling the room with "Jolly Boys Holiday," and a very wistful Remembrance song.

 

     Sly Old Dogs then followed, having finished with the lampposts outside. I've spent a lot of time with this lot, and I knew they would be the right act to open our Guest Season. A  rumbustious  30 minutes' Craic followed, with the audience showing no signs of tiring.  

     But we gave them a brief break anyway, to refuel and unload waste material, before BPS kicked off the second half with " Albert Balls."  We sacrificed a second number to keep to time, and because we felt the audience deserved a treat. We drew the raffle, and then Malc Gurnham and Gill Gilsenan took to the stage. This gave Gill a welcome opportunity to rest from heckling, although she managed to fit plenty in on stage, giving Malc earache during each number.

       These future NFC guests were followed by another. The excellent  Maria Barham, on next month, partnering Carole Palmer. Last night Maria also had a surprise guest, Flossy McDougal, who joined Maria  duetting on " Perfect." A surprise, because I had neglected to warn Flossy that I'd set this up with Maria beforehand.  

     With the street cordoned off outside and flashing lights and sirens due to an unfortunate RTA causing havoc below, Sly Old  Dogs returned to give us more of the same. All the old favourites were there. Richard's breathless  sustained note on the Tuba? Bob's multi-instrumentalism and shameless CD commercials. Tool's majestic plucking ( I think that's the right word). Paul Kenny's splendid Asphalt Dance. Pete cooking up a sweat on the chord-changing Gypsy Laddie-O. Nigel's endless fiddling. (And some good tunes on the string instrument too). Collectively they worked the audience into a lather, and even worked in an encore without me introducing one.

 

     Thanks to Dave Parr, Phil Benson, Arnie, Dave Parr, Martyn Gilder, Gil Gilsenan, Tom "Triffid" Veasey, Nelly and Julian and many, many  more for all the help, advice and support. Couldn't have done it without you.

A Message from Your Sponsor.

     Thanks for all that personal praise and encouragement, after another triumph last night. The "buzz" was still evident on Social networks beyond 1am this morning. (When I gave up and got some sleep) Long may it continue.

    It is very flattering. And whilst it is fully deserved (!!!) I can only reiterate that the IMMENSE success of the club's first two nights is a proper team effort. The combined hard work of Band members and other Venue organisers like Phil Benson and Malc Gurnham has also helped to bring us this far so soon. Arnie and Phil have put in long hours of work trying to get various sound systems tailored to fit our needs. That we eventually had no P.A. system last night was unfortunate, but no reflection of the hours any of us put in beforehand. Other people with a similar broad base of sound technology were also on hand-we just eventually ran out of time. Did it mar the evening or spoil things? No.

    Similarly, two other Black Parrot Seaside stalwarts, Dave Parr and Arnie (again) worked themselves to a standstill last night. Humping gear, flogging raffle tickets, and of course, playing to entertain the audience.  Like me, ( and Phil) they'd both had another  earlier musical commitment in the afternoon, making it a very long day. It is this combined voluntary effort that has got us so far, so soon. Some of us went straight from one gig to another yesterday, working without a food break or even a wee stop, for up to ten hours. So much for being "retired" !

 

     And let's applaud the pub staff, who as Maria Barham has acknowledged elsewhere, are willing, friendly, supportive and generous. Julian has provided all facilities for free, donated some cracking raffle prizes, and is delighted that he's finally added a Folk Club to his portfolio of entertainments. Did you notice the folk music playing downstairs in the bar as you all arrived? And that he drops some of the prices on a Folk Night? Attention to detail! All the pub staff work so hard to keep the range of drinks dispensed and the tables cleared. 

 

      Yes, I accept that  it takes some front and some bottle to compere a night like that, but people from far and near are also putting in an extraordinary effort in to welcome a new music venue to the Town Centre.  Without ALL these people...well...you can imagine the rest. I like Nuneaton. It's not everyone's cup of tea, but as my Dad and Grandad were born there, I suppose I'm biased. My son and I follow the (very mixed!!) fortunes of its football team. It is an earthy, grounded, working town where people speak as they find. So much of the talent you've seen so far is based there (And there's lots more!)  What you see is what you get. To have succeeded here, in such spectacular numbers is a real triumph for all concerned.

 

    More about the Entertainment on view last night to follow. But I felt that this needed to be said first, and separately. Take a bow, Nuneaton Folk Club. .

 

Halloween Can Go To Hell

     How will I "celebrate" Halloween tonight? I'll go first to Wetherspoons and then after a pint I'll go and see Al Murray in a Live Show at The Civic Hall. He might mention it, because he's a Heavy Metal fan who does a  radio show on Planet Rock, Sunday mornings. Otherwise, it will, I'm delighted to say, pass me by. I'll have a Good Laugh with The Pub Landlord,  whilst those out there dressed like twats are  trying to frighten each other.

 

     Listen, I've got no problem with having a Special Day as Winter approaches , when we remember All The Departed, and think a few quiet thoughts about our own mortality. That would be All Saints Day, or All Soul's Eve. Which existed long before McCaulay Culkin and E.T. dragged  Halloween  across the Atlantic. I hate it and everything it now stands for. In my Top Ten of Pet Hates, it is right out there at Number One. Above Ofsted, ( now there's incarnate Evil!), Mrs Brown's Boys, on-street Charity Muggers, people who say "Train Station" and Badger Culling.

 

      Is it because I is religious, though? Well I'm not, in the traditional sense. Sure, I went to All Saints C. E. Primary School and I have an O Level in R.E. But despite living next door to a lovely old Church, I spend my Sunday mornings gardening, and a Good Book for me is something written by Bernard Cornwell or Terry Pratchett. My favourite all time Radio programme ever remains " Old Harry's Game" which featured 36 hilarious episodes set in Hell and starring Andy Hamilton as The Devil.

 

      Is it because I am a big Scaredy Cat, then? No. Despite living next door to a Churchyard, tombstones, graves, etc don't bother me at all. I suspect I probably know a few witches and warlocks of the wholesome kind, and in my music collection are the complete works of Black Sabbath, plus a few tasteful tunes form Morbid Angel, Slayer and Metallica. The most Evil place I have ever visited was Buchenwald, and I'm afraid the wickedness which positively dripped off the walls there was about Man's inhumanity to Man rather than Possession by anything Supernatural.

      " But it's for the children!" protest the Trolls, trudging round Asda with trollies full of Chinese-made plastic crap. What, those sobbing little moppets dressed up in dripping blood bandages and induced to eat fake eyeballs and gore jelly by adoring parent? No it isn't. It's for Big Business. When I was kid, we didn't bother with it. Nor did my kids. But the Supermarket Barons and Tooth Decay Manufacturers decided decades ago that we would import it and here it is, now Bigger than Easter. Soon to outsell Christmas in the Barbarian, godless, soulless Mammon we now inhabit. A useful and lucrative Retail raft between Summer and Christmas. Legislation has (rightly) made it more difficult to blow oneself apart celebrating a spot of Catholic-bashing which occurred hundreds of  years ago. So here's another  way we can legalise Public Disorder and reintroduce ghoulish, morbid obsession with all things cruel, vile and horrible. And  make a few Trillion too. Yayy!

 

    The media embrace it lovingly, endowing it with an almost holy reverence. " We all love Halloween don't we!"  they gush endlessly on television channels  one after another. On their themed breakfast shows, their themed cooking shows, their themed lunchtime shows. Erm. no. Some of us don't, actually.  I loathe it. I'll be glad when it's dead and buried. ( see what I did there?) "Trick or Treat! " they mewl moronically. Treat? How about roasting Keith Lemon, or door to door callers on a spit? He's at number eight, by the way. Just above Nuisance  Phone Calls.

From The Vaults to The Bell

......Sounds like Charles Dickens's unpublished novel, but I shared two delightful musical experiences this weekend. On Saturday morning, thanks to a re-juggling of schedules, I was able to take up Des Patalong's invitation to join him and some like-minded choristers for a spot of Sessions recording in The Coal Vaults. Sounds dirtier than it actually was, for the Coal Vaults are now a well-scrubbed (but very historic) Music venue set amongst the Warehouses in Coventry's picturesque Canal Basin Quarter. Yes, picturesque. As was my language, whilst I searched for a place to park. Like a miniature Camden Lock, this hidden gem is an area just screaming out for more added (and sensitive) tourist/artisan development. There are all kinds of Shops, and a Cafe, and a very noticeable absence of narrowboats.

     Led by Des and his remarkable voice, a collection of assorted musicians gathered round an omni directional mike and added choruses to his album in the making. What a highly enjoyable and therapeutic way to pass a couple of hours. Even if we hadn't been gathered there to help make an album, it would still be classed as fun. It was a little gloomy in there, so I could not make out everybody present, but also warbling away in the darkness were my niece, (the lovely Fiona Lindsay-Coulson), Phil Benson, Nigel Ward, Malc Gurnham, Gill Gilsenan, Gareth and Barbara Wyatt, Dan Gascoigne, Brenda Hart  and several other familiar faces. And voices.

    There were Shanties, Christmas Carols and May Pole Songs but I think the highlight for me was the lovely and rather melancholy “Lowlands,” which featured some lovely harmonies. All too soon I was taken out of that exalted company and subjected to Community singing of a different kind, as I watched Nuneaton Town stutter their way to a boring 0-0 draw just up the A444.

      Last night, I was rather spoiled for choice. Call me old-fashioned, but I always believe in taking up invitations rather than gatecrashing an event, so of the three options locally, I opted to join a depleted Sly Old Dogs,in their usual end of month haunt, The Bell at Monks Kirby. Size is isn't everything, however, as one member of the audience was to heckle later, and despite a reduced quantity, we certainly managed to produce quality.

      The fully-rounded Sly Old Dogs are the first Featured Guests at Nuneaton Folk Club on the 5^th November.Last night's format saw Pete Willow and Bob Brooker supplemented by Martin Bushnell and Colin Squire. With additional Friends also taking a turn, being Lesley Tregear, Carol Gillespie, yours truly and Graeme.

    The Dogs made a right good noise, treating us to “ I'll tell me Ma!” “Willie McBride” “Gypsy Laddie-O,” and many other favourites. I was still inspired by the traditional set we had run through yesterday, so I sang “Shoals of Herring,” “The Old Triangle” and “ Thirty Foot Trailer.” Graeme set himself a real challenge by tackling ” The Diggers Song” first time round, and “Let It Be” the second. Colin did “Yarmouth Town”-impossible not to be cheered up by that-and Bob was in particularly fine fettle. Carol's version of “ Galway Shawl” was very enjoyable, and a song from Lesley Tregear was another unexpected treat. All-in all a super night with a large audience, singing as they so often do, very supportively.

It's Got to Be....Perfect.

Not one, but five! Folk Club organisers were amongst the audience crammed into the Bedworth Rugby Club venue for a night of collaborations and collectors' items on Wednesday night. Maria Barham was the featured act, generously offering her many talents free of charge in order to help raise funds for Bedworth Folk Festival. Preceded by so many floor spots, you have to wonder really, with an 8.30pm start ,quite how they shoe-horned them all in.

    Amongst the Collectors' Items were a rare appearance from Alan Stocks and the versatile Dave Webb collaring not only a solo spot, but managing to join in also with Malc Gurnham and Gill and then later, with Malc and Maria, also.  It was to be a  night of mixed emotions, with many of  us still  coming to terms with the untimely death of  Bedworth regular Marie Phillips.  We marked that beforehand with a minute of sustained applause, and Malc did a lovely solo rendition of  "Caledonia "-one of Marie's favourite songs. A Kate Wolf song from Malc joined by Gill followed: " Across The Great Divide" followed. We were all feeling rather reflective, so it needed Phil Benson, Webby, Rob Oakey and the incomparable Joe Roberts to lift our spirits. Joe was granted two numbers (another collectors' item) , and he obliged with " Jimmy Brown The News Boy " and a brief but moving poem in tribute to Marie. 

 

     Joe was so nervous, that he almost ran out of breath: we were all willing him to finish before he collapsed!  Rob gave us an irreverent version of the  Postman Pat theme, Sue Sanders played a couple of sensible tunes on the fiddle, and John Kearney entertained as he always does, including his wonderful Jolly Boys song which he insists was inspired by my angry Facebook holiday posts. BPS were having a good night actually, what with "Jolly Boys" dedicated to moi, and a debut number from David Parr ( a.k.a Mr. Moonlight), which he blamed on us. He'd sung " I could not take my Hands off her" to us at rehearsals last week, and we felt it was naughty but in the right area. So he played it, inspiring much laughter and some heckling from Gilly.  -I know. Doesn't sound like her, does it? Des Patalong did a rare solo spot, and was also in a wistful mood, doing those very sad unaccompanied ballads he performs so well.

 

     Then it was us. Malc easily won the award for most collaborations of the evening however, as besides accompanying Dave and Maria and singing with Gill, he played bass during our slot. Which began with Rod Felton's lovely song "Curly."  Roddie  had also left us this year and with some of the audience clearly moved, it was time to step on to " If I were a Goat." Which got everyone smiling again. Another variation on format for us, too, as, with Mick unavailable, the BPS line-up was Malc, Dave Parr, Arnie and yours truly.  We finished the first half with another popular one from our set list, "All Over Now." 

 

     The second half was given over to the tireless Maria Barham, who was once again on top form. Despite busting a string and nearly cheese-wiring Joe with it, "Silver Dagger"  and her own composition "The Song That Got Away"  were beautifully and movingly done. "Californian Dreaming," was a show stopper with some lovingly crafted audience harmonies wafting round the room. Also included were: "Need Your Love So Bad" (Hah!) " The Blacksmith " "Perfect"  and  " I drove all Night. "  She's so damn versatile that woman and with a vocal range the envy of many. An excellent evening, thought I say it myself. Where can we see them all next?

Bedlam in Ridge Lane

    As I approached Church End Brewery Tap last night, dodging the puddles weaving through the angry stair rods of rain, I was running the gauntlet of debris flailing from the trees cloaking the road, as they  whirled like dervishes, tormented by an  Autumn storm.   It seemed entirely apposite then, that the featured guests tonight would be the less than staid Green Man Rising ,joined by ourselves and a few other Lords (and Ladies) of Misrule.

    Bedlam did indeed later ensue, indoors as well as outdoors, but in a very organised and proficiently choreographed form.  Mad Tom of Bedlam, specifically. One of my favourite songs, well-performed and innovatively sung. And especially relevant as, a week earlier, I had been on the site of this very Sanatorium, in its present guise of the Imperial War Museum. Of which, more later.

    Reduced by Man 'Flu and prior commitments, the ranks of BPS had been whittled down to two of the Originals by the time we assembled at Ridge Lane. The ever-improving Finger In The Jar opened proceedings, with some nicely worked-out harmonies. Followed by John and Elaine Meechan. We were third up, Arnie and I, "Ack Arrot Easide" with a hastily re-scribbled set list in my top pocket. We went for safety, opening with "All Over Now," and  the audience joined it with what is by now customary gusto. Most  knew all of the songs we followed with, all of which had choruses, so the floor singing was pretty good. Only one or two didn't, so it was interesting from my perspective, to see how they then coped with "If I were a Goat."  One or two Newbies looked rather startled as the Community Bleating began, but eventually most present got in touch with their Caprine side.

  We managed five songs, four of them original, before Phil sensibly dragged us off.  The only notable moments were when Arnie accidentally let his plectrum sail across the floor and when my new dentures snuck loose during a chorus of The Odeon. Oh...and when I looked up and caught sight of what looked like Phil playing Cats Cradle with the wires trailing from his Mixing Desk.

 

      Rich McMahon followed, and I immediately took to his likeable delivery of finely-crafted new songs using an old metier. Like ourselves, he wasn't averse to seeing humour in the more traditional aspects of Folk Culture. I'd not seen or heard him before, but hopefully we can drag him out to Nuneaton Folk Club some time.

 

    And so, after the Interval, it was time for Most Of The Green Man Rising. I'd seen them before, but even so I particularly enjoyed this set. Loud and raucous as always, but with some real thought put into some of the arrangements and a high level of musicianship on show, involving a plethora of instruments. Nuneaton's own Lizard King, Steve Bentley, prowled and stamped about the stage area with the usual mixture of benevolence and malice, whilst clouting that bloody big drum of his in a way that was difficult not to resist. It was All Of the Green Man Rising eventually, as a fifth member finally joined them, having got lost out there in Mirkwood. Easily done, on a filthy night like this if you don't know the roads. Considering the journey she must have had, I thought her composure as she joined them was excellent. I'd sat in the car crying for ten minutes after I'd parked up earlier. ( Well..five, then).

     If it were possible to add more instrumental talent-she did, and her vocals were also very enjoyable. I loved their version of Tom Of Bedlam. An eerie, disturbing song when done by Steeleye-but that edgy uncomfortable edge-of-the-seat mood was also well captured well by GMR. One final thought-with not one but two female fiddle players-should it really be Green Men and Women Rising? I'll leave that one with you.

Ride a Cock Horse ..to Banbury Folk Festival Part 2 Come in out of The Reine. Deer.

    Saturday afternoon saw us rendezvousing in Banbury's  picturesque Castle Street Multi Storey Car Park and then crossing the road to enter the absolutely rammed (it often is) Reine Deer Inn. Alas, not all those shoehorned into this fine old pub had come to hear the music. Many had come to sample the delicious  food and selection of Hook Norton beers, too. (I confess-it's a pub I've visited before). As it happened, due to the attentive mixing from our sound engineer,they had little choice but to listen to us, unless they were hiding in the toilets.

      The "stage area" was occupied by the excellent Gregg Cave and Nick Ellison as we arrived. I enjoyed their set immensely. And told them so. So we traded CD's.  However, as we edged elbow to elbow round the Front room, it became apparent that whilst two performers would fit behind the mikes quite snugly, four gentlemen, one or two of whom were, um, "substantially built" was going to prove more challenging.

     Watching us set up must have been like watching an episode of The Cube, as we passed Instrument cases over our heads and back into the audience. Very cosy. Our set was basically the same as the previous night, with the addition of two slide guitar  numbers-"If I Had Possession" and " Vigilante Man", and " Albert Balls." I had to position my vocal mike behind a speaker, and I sang the entire set leaning languidly up against the exterior wall. Still, it all went jolly well, and we got a good reception. And there were definitely some people who we'd seen at our Banbury gigs before-who had kindly turned up to see us. A noisy bunch who empowered the singing- " Folking Liberty" was particularly raucous, and the harmonies employed in well, just bleating, during "If I were a Goat" never cease to amaze me.

     We had originally invited Malc Gurnham to join us on bass for this slot-but a good job he declined, as with his delicate frame added to our numbers, he would have had to have played out in the street. Where, afterwards, we met the Thrupp'nny Bits (and Spangle) and some nice people from Crediton Folk Club, who I think we later saw busking. Our set impressed the people running Jerusalem Folk Club so much that they offered us a gig there and then, joining them on the 23rd of this month. I had originally thought this was based in Nottingham, but no, it is actually out in the Middle East. Clashed with my flu' jab I'm afraid, and Arnie has to get his bunions done on that day. I suppose if they paid our flights....

     So-an enjoyable and eclectic weekend, spent in the company of some very talented, knowledgeable musicians and enthusiastic audiences. Oh-and Dave Cameron was there too apparently. I thought it was the sewers backing up. (Good job our paths didn't cross, eh?)  On to Bedworth Festival now, next month. Thereafter...hmmm...any more Midlands-based Folk Festivals out there in 2015?  

Ride a Cock Horse to Banbury Folk Festival Part 1. Carry On Camping.

This weekend, courtesy of the lovely Derek and Mary,  saw our four man format complete two missions, as our first ever contribution to  Banbury Folk Festival. On Friday night, a 30 mile round journey outward saw us arrive (on time!) at Drayton Leisure Camp site, on the outskirts of the town. Here, most of (all of?) the Happy Campers were assembled. Not literally, because some had pitched tents and lowered the steadies on their Avondales and then taken the shuttle bus into town. But a small but perfectly formed crowd had assembled in the clubhouse to hear an assortment of singers-and us-entertain them.

    Using Malc Gurnham's previous route, we managed successfully to chop a few minutes off the journey on Friday night, by sneaking off the A423 and doing a bit of Rally Cross via Hanwell. This meant we arrived on time  at the soon-to-be rationalised Drayton Leisure site. Sobering to think that somewhere in those fields, Malc Gurnham's Winnebago was probably tethered. ( Malc was unable to guest on bass with us that night, (as he did last time we visited Drayton),  because he had sensibly bagged  the plum job of compering the Main Concert in The Town Hall.  Featuring Isla St Clair, Linda Watkins and John Tams with Barry Coope, it looked a good line-up. I expect he'll boast all about it when we hook up with him next week. 

    As we were on time,  I even managed to try the Hook Norton,  obtain  a programme, and buy a Festival t-shirt before getting to the music room. The latter two sold to me by a delightful couple, stolidly manning the door, who told us they were from Minehead Folk Club. Lucky chaps.

    In the jealously guarded Inner Sanctum  we found that  Derek Burgess and Kitty Vernon were hosting an evening which was advertised as being us, Hector Gilchrist and Dave Taylor. In fact, it featured a whole lot of other people too, and a very excitable butterfly, which emerged during our set. Our performance time had been also re-adjusted, and this was complicated a little further by an invitation to join in the singing in the round early on, as a sort of appetiser for what we would be doing later. So we ran " It's All Over Now" by them ,and as we always find with Banbury audiences, they joined in with the choruses most enthusiastically.

    Dave Taylor I'd bumped into previously, at Atherstone's Larder Café, when I was doing a sneaky solo spot there. I quite like his stuff-he did a funny song about ill fitting trousers, and a rather good Bob Dylan parody. Hector gave us some very soothing and rather wistful ballads, beautifully sung and accompanied by a very interesting guitar. In between there were lots of other songs by other people. One lady who arrived quite late sang an excellent song called " Pity the Poor Landlord " which we all thought was rather jolly. Our guitarist Dave was also very taken by a version of "The Hiring Fair"-but I don't know who that was.

    Eventually it was us. We romped through "The Odeon", "Courting", "Down Our Street" ,and "Need Your Love So Bad." Then it was time for "If I were a Goat," which, when it started in our set was a bit of a risk, but now seems to be catching on everywhere we go. Probably because the chorus is so easy to learn. There was some proper good bleating coming from around that room, and most of it was aimed at us, but our slot had passed all too soon, and Derek was suddenly signalling one more. At least, I think that's what he was signalling. Anyway we concluded with "Folking Liberty." The audience managed to negotiate that without anyone causing a public order offence.

     We thought maybe as it was advertised in the programme as 8.00-11.00 and we'd finished on eleven at the dot, there might be an encore and then "Good Night Campers" but far from it. As we packed our gear away it became evident that the bar was still open, another sequence of singaround was in hand, and further, a large number of returning folkies were gathered outside looking revved up for a party. That provided us with a dilemma. Should we stay? Or go? We chose the sensible option and drove home. After all, most of these people only had to stagger across the grass and into their tent whereas I got home at 1.30am which is quite early for me nowadays.

" GOOD EVENING Nuneaton! ".....

NunFest:   Folk returns to Nuneaton

Of course, it had never really been away-just fragmented a little and lacking a central base for a while. Perhaps a fitting way to start this account is to acknowledge the input of the people who couldn't be there last night-Dragonhead, for example, Nuneaton based, and flying the flag with their Beacon Folk Club, when no-one else did. ( Come see us soon, guys).

   But although we had guests from as far afield as Coventry and Coleshill, last night was an unashamed celebration because the biggest town in Warwickshire without one had re-found its Folk Club. A lot of work went into this launch, beforehand and during the evening. The massive turnout last night justified all that. Collectively-we knew there was a void and that we could fill it. We were proven hugely, massively, gratifyingly correct last night. 

    This huge audience was edifying given that on the same night, Quill were round the corner at The Abbey Theatre, and a much-respected fellow Club, Hinckley Act, was in session up the A5. As soon as we launched into " All Over Now " and the audience bellowed back the chorus lines it was obvious it was going to be a good night.

    Dave Webb then bravely followed us: a veteran of the local Folk Scene who'd been away for a while. Finger in The Jar followed, and they were remarkable, given that one of them,  Phil Benson, had been slogging away on the P.A. system since well before 7pm. Each time I was on that stage I could see the faraway shape of Phil, picked out in the lights like some demented Rick Wakeman, his hair standing on end with sweat and static, flailing away at the sliders and  buttons. It was just 10 minutes before the start that Phil finally coaxed this monster into life. (The dramas audiences and performers don't see!).

    Sue Sanders followed FITJ and played us two haunting, traditional tunes. Mr Moonlight David Parr then performed two completely apposite songs including the " Molecatcher's Song."  Katherine Fear gave us a lovely solo song and was then joined by Simon and Sally Anne Veasey who made a right proper Folk Noise together. They should go out in this format more often. It rocks.

     Doyen of next month's guests Sly Old Dogs (and many other Folk Bands) the irascible Bob Brooker then showed us just how well instruments can be played. He defiantly wore his stunning shorts on the first night of October, meaning that some photos of him playing whilst seating will have to be airbrushed. Still-he sold some CD;s and donated one to the raffle. Simon and Sally Anne returned for their slot, adding another genre-atmospheric country to the proceedings. Wonderful. And it was left to Karen, one half of K.C. Jones to conclude the half with a couple of powerful songs, one of which she'd written. Those of us who had not seen her before realised where the accolades we'd heard had come from.

 

    The audience were buzzing during the interval. I don't think anyone had expected it to be quite that good. As we furiously tore up an ice bucket full of raffle tickets, Thrup'nny Bits opened the second half with their remarkable three-part harmonies. The raffle prizes took rather longer than anticipated, and we had to hold some over, so many were donated. John Kearney then (literally) took the stage-almost into the bar below as he demonstrated first Pogo and then Irish Dancing. I've never had a song written about me before but " Jolly Boys" was bloody hilarious. You left out The Mankini and the Male Nudity though John-it needs another verse.

    Light and Shade was the theme of the night. The divine Terry and Jan followed John's irrepressible County Nuneaton good humour. They have been on the Folk Scene even longer than us. They did two sophisticated, almost jazz-oriented songs. Terry's solo brought a spontaneous round of applause from an audience who seemed hardly able to believe their good fortune in finding this treasure trove of talent in Treacle Town-and for FREE!  Rock Chick Maria Barham (our guest along with her mate Carole Palmer in December) followed.Another powerful voice with incredible range. She played a rock and roll medley which the audience adored. Swing those pants, Madge! Could it get any better? Oh yeah. Malc Gurnham and Gill Gilsenan closed the Guest slots. Quality as always. Two people who have given BPS such support over the years.

    And so we came to the end of a marvellous night. We closed with " Folking Liberty" and " Go Lassie Go." The former perforated by some Pete Townsend windmilling from an increasingly tired and emotional Dave Parr. I bet he has a headache this morning.

The latter making the windows shake-much as we had hoped. A tremendous start. Three figures raised in the raffle, which will go towards keeping admission free. The room full throughout. We ran out of glasses (occasionally-replenished due to the hard work of pot collectors), we ran out of chairs, with them standing four deep at the back.   Deep, deep joy, and thanks to all who contributed and participated.

Credits; BBC CWR, Coventry Telegraph and Nuneaton News for their superb advance publicity. Abbey Theatre, Hinckley Act, Bedworth Folk Club and Atherstone Folk Club for their goodwill messages and determination to work co-operatively with us . Julian Harkins, guvnor at The Crown and his hard working staff. For having the vision to offer us their venue and then backing our night with extraordinary enthusiasm.  The lovely ladies who helped us with the raffle tickets. And the performers, who demonstrated that this part of the Midlands is packed with music talent.

Folk's Got Talent? The "F" Factor.

Folk and Acoustic Club Protocols: Further Tips for Floor Spots/Potential bookings.

    Never, since I first started singing in public, have I been so popular. Has this anything to do with ( I wonder)  the fact that my name is now amongst those linked with the launch of a new Folk Club?  Odd really, because this isn't the first one we've run. The other one did not seem to attract the same manic attention,however. And when we weren't running one-we had to work very hard on establishing ourselves on the Folk scene. By performance, not advertising.

Most of the attention has been most welcome. Much of it has been well intentioned. Some of it has been aggressive marketing strategy which will not advance the causes of those promoting it relentlessly one iota. Some of it has emanated from sources claiming to be well versed in Folk etiquette, when clearly, by their pushy, boastful, almost hostile pressure selling, they haven't a clue how the whole organic thing works. And in a few instances, some approaches  have constituted harassment. I have taken action to suppress those, as we live in a free and equal society where pestering insulting and stalking people is a criminal offence.

   The World of Folk is generally a lovely one. Best encapsulated by the Fairytale Goblins and Witches of the Incredible String Band, the Fey wispy singing of Kate Rusby: the abrasive social comment of Dick Gaughan: and a host of others.

    At our level (which, readers, don't delude yourselves, is Grass Roots level) , I never cease to be surprised by the rich veins of undiscovered talent constantly to be seen and heard in local venues. Recording has changed so much since we were offered a recording and Publishing contract in the 1970's. Now anyone can manufacture their own CD.

    I always find modesty an attractive trait in a performer. Those who bang on and on and on and bloody ON about who they've met, where they've been, how their 23rd album is doing...etc...I dunno...there's something very off-putting for me personally about that. Even if it's all true-I'd rather experience it for myself in public than have my personal space invaded by endless diatribes about how great you are. I'll decide that, along with other band members.

"Living Legacy"- a new CD by Brian and Marie Phillips

Emphasising the depth of local talent that you can see or hear in any Folk or acoustic venue, this 14 track CD encapsulates fully the entire breadth of this talented duo's repertoire. Containing many favourites from their "live" performances, it captures both the excellence (and range) of Brian's musicianship and the depth of Marie's distinctive vocals.   Their arrangements of several songs have previously made me go off hunting for versions of them. So it's good to find many of them conveniently listed on one album. Their treatment of some of my personal favourites like Lindsey Buckingham's " Never Going Back Again,"  Dougie McClean's other classic, " Garden Valley" and Iris Dement's prophetic " Our Town" are part of a very satisfying listen.

 

     The album was recorded mixed and edited by Norman Wheatley, who also did the honours on our last CD. Kevin Dempsey  adds guitar on two tracks and Maria Barham provides backing vocals on a couple, too. Brian fairly spanks out a solo version of Davey Graham's instrumental "Anji " and takes lead vocal on John Martin's "Fairytale Lullaby." There are also covers of songs by Dan Fogelberg, Stevie Nicks, Kate Rusby and Jez Lowe, included, amongst others. 

 

Highly recommended. You can find how to obtain it  it here.  http://www.brianandmarie.co.uk/

 

 

 

" Warwick is Our County Seat" *

* a line from "On Bedduth Bank"

 

    En route to Warwick last night we worked out that this was the fifth format which Black Parrot Seaside had brought along to entertain the erudite and enthusiastic audiences of Warwick Folk Club.  Solo appearances, duos, trios, four pieces-but this was the first time myself, Dave, Arnie and Mick had played it. What a fine town our County Seat  is. How well we always seem to go down with audiences there.  ( Hmmm.........what can any of us learn from this?)....

    We'd been expecting a whole host of floor singers before our first spot, but instead we just had a brief couple of songs from M.C. Michael before being ushered forward. There were some familiar faces amongst those present, so the invitation to get singing with us was taken up heartily and immediately, as we opened with "All Over Now."

     Ditto "The Odeon " and " Down Our Street," both of which appeared to stimulate those Nostalgia glands which would be titillated further by the Main Guests, Andy Casserley and Chris Lowe. We calmed things down with a version of "Need Your Love So Bad," and then wheeled out " If I were a Goat. " I have to say that the audience also tackled that (none-too-difficult) chorus with slightly eerie gusto. Indeed, there was some improvised bleating which strayed in true caprine style from the straight and narrow.

 

 " How Silly! and yet...lovely" enthused Michael, thanking us before introducing Andy Casserley.  ( What a commendable resume of the BPS oeuvre that is!)

 

       Andy had a fine singing voice and a whole host of squeezy things with bellows which he played extraordinarily well. Later he would play other instruments just as expertly. His first half comprised some nicely-judged traditional tunes, most of which included dire fates and lessons for us all. Michael began the second half and then BPS returned to soften up the throng before Andy's second slot. This time he would be accompanied by his mate Chris Lowe.

     We did "Courting is a Pleasure," and then thought the audience sufficiently relaxed to air our paon to Folk Singers everywhere,"What a Folking Liberty!" All was going swimmingly well until I had a complete "A" moment in the final and climactic verse. I got my Banjos, plectrums and Occarinas hopelessly mixed up, and lost the story I was telling. All that finely tuned innuendo was also lost, whilst the other three looked on in resigned shock. As I wallowed in the pit of amnesia. Nonetheless, it seemed to go down all right, even though I had to have several runs at finishing it even adequately.

     Andy and Chris then completed the evening. Chris had a very finely honed sense of comedic visual presence, and a good voice for Music Hall. Which is perhaps as well, for that's what they did. Back came the concertinas and melodeons and Andy also played the banjo on several numbers. They opened with "Pickled pork" and continued the theme with songs about Dicky Birds, Tram Journeys and general Variety Sauciness. They finished with "Proper Coffee Pot," as the audience tried gamely to match their flawless enunciation of each chorus.

     We'd played the same bill as the fabulous Cosmotheka many years ago. They were well loved, and rightfully so. They certainly influenced several of our songs, and our stage performance. We still occasionally do "Beside The Seaside" and "Houses in Between." Like ourselves, Andy and Chris didn't plagiarise, they adapted and arranged songs, so that any Dave and Al songs they did had their own stamp on. The outcome was a very atmospheric and pleasant experience.

     All in all, a thoroughly enjoyable evening. " Come back soon!" a very nice lady called out to us as we packed the instruments away afterwards. I think she meant it, too. We'll do our best.