Close those Big Eyes: Lay Your head on the Down

    I've thought a long time about whether to do this or not. But 24 hours on I guess feelings are a little less tender now. And I'm very conscious, reading lots of tributes elsewhere, that many people would have liked to have paid their respects yesterday, but were unable to. So this is a little word picture just for you.

   I've been to too many funerals at The Crem. As we all grow older together I guess I'll be going to a few more. But never have I been to one as moving, or as well...enjoyable. We all have to go sometime, there's no use trying to avoid that fact. Having lost both my Mum and Dad, I know all too well the emptiness and loss which grief and bereavement can bring. But Rod was a Good Old Boy and I think there was a lot of determination from many of those there yesterday to say goodbye to him properly.   I've been in that chapel too many times. But I've never seen it so full. Every seat taken, people standing all round the walls and in the aisles. The guy conducting the service said he'd been doing these services  for 20 years at Canley, and he'd never seen a turnout like it.

 

  One of Roddy's guitars was on a stand in front of  the dais, with a set list nearby. As we queued to file in, " And I Love You,"-one of Rod's was playing. With so many faces from the Folk world there you'd expect the singing of "Morning Has Broken" to be magnificent, and it was. There was a bible reading from Ecclesiastes-the One The Byrds employed in "Turn Turn Turn". To everything there is a season and a time to every purpose under the heaven.  It was very apt, especially the line " a time to weep,and a time to mourn and a time to dance," with there being so many ex-Morris Men in the House!   

 

  John McIntosh delivered a eulogy with all the right attributes. It was irreverent, funny, touching and simple. I have seldom heard the Lord Prayer delivered so loudly afterwards,  and in such a baritone. We were then invited to listen together to what I think has always been one of Rod's best songs-the classic," Curly." Now, I've learned this song off by heart and since Roddy died, I've tried to sing it in public a few times. But it's hard! I've tried to get close to that powerful vocal delivery, that haunting mix of soft low notes and the bluesy voice he made unique. I don't think I've ever done it justice. But yesterday, those powerful guitar chords filled the Chapel, and to my delight, the congregation took up the lyrics, especially the Choruses.

    Then Rod's sister Jan read a funny little poem she'd written in that whimsical style he so loved to weave into his lyrics. A Canon-Dax Johnson-filled the chapel as the curtains began to close around Rod's beautifully-decorated coffin. This is always lump in the throat time for me, but someone behind me called out " Go Get 'Em Rod!" and that dried some of the tears that were welling in many eyes. The curtains closed, and after a blessing, we queued to exit as Alex Campbell's version of "The Wild Rover," played over the sound system. And most of us sang it as we waited to leave. It was a big crowd and a good gig, with most there singing. And that's how Rod Felton liked his audiences.

    Outside in the garden the rain had stopped. There were more greetings between old friends and a look at the Floral tributes. Perhaps, as the company divided thereafter,  this is a good time to recall some of those present at the service or the wake. I didn't know a lot of them, and vice-versa, I suppose. But I spoke to, or recognised, Norman Wheatley and his partner Viv: Malc and Brenda Gurnham, Dave Parr, Gill Gilsenan and her daughter: Phil Benson, Kevin Dempsey, Sean Cannon, Pete Grassby, Pete Willow, Rob Armstrong and Sheila, Keith Donnelly, Dave Sampson, Alan Stocks, Dave Cooper, Dave Webb, John McIntosh, Des Patalong, The Bennetts, Neil Parker ,Pete Clemons  and Nigel Ward.

 

   Some of those gathered then made their leave and the rest of us made their way into Town, to The Whitefriars Alehouse. Coventry's oldest pub and one of its best. It was fun watching the faces of those who arrived and had not ever seen this fine old building before. It was one of Roddy's favourite pubs and his favourite tipple- a Guinness and a whisky-were lined up poignantly on the bar, at his favourite place, where he liked to sit or stand, and chat. Everyone was treated by the family to a first drink, and later we were offered a dram to share one last time with the Old Feller. There was a lovely buffet laid on, but I was talking too much and by the time I could reach it, the Gannets amongst us had cleaned it out! This proved to be a bit problematic later on, as being diabetic, I really should have been sensible enough to nip round to The Subway and top up! 

   Instead, I  got  talking to Jan, and  shared with her how Curly was my favourite Rod song. I wondered aloud where Curly was now. Jan gave me  a conspiratorial look. Later she would introduce me to the young woman who had inspired the song. That was a very special moment for me. The crowds thinned a little inside and as the sun came out,The Whitefriar garden  filled with laughter and chat and people having a good time. Roddy would have loved it.

   I grew up in the Gosford Street area and I went to school at the bottom of the road. It felt like I was back home yesterday afternoon. It all felt right. It's a pity we had to lose him. But this was the best way possible to celebrate his life and to say goodbye.

                                                               Rod Felton 1942-2014

"Music with her silver sound..

...with speedy help doth lend redress."  ( Romeo & Juliet: 4.5 137-140)

    Well I dunno about that Will, but a splendid evening took place last night on your 450th birthday. At Bedworth Rugby Club, helping to raise funds for the 2014 Bedworth Folk Festival.  Standing room only, a good sum raised by a generous audience and nine excellent floor spots preceded us doing an hour which simply flew by! Good also to see a sprinkling of people who'd supported us at The Shakespeare, turning up again for more just a week later.  It was good too to finally meet up with Pete Clemons. Arnie and I had been friends with his late brother. Nigel, or "Eliak" as we knew him, was a good friend to the Rock Parrot, with and had a fabulous record collection which Pete has inherited.

   The first half was taken up by Malc and Gill Gilsenan with Dave Parr, Joe Roberts, Sue Sanders,(pictured below, left), John Kearney, Claire Latham, Dave Fry, Phil Benson, and Des Patalong.  With the ever cool Terry Wisdom and  Jan finishing the first half. We had self-penned material, skiffle, shanties, acapella, guitar and fiddle duos, comedy and traditional. The sort of  (FREE) eclecticism which makes SOME Folk Clubs so bloody marvellous. Highlights for me were the ever-improving Claire Latham. (pictured below). We had two raffles-one serious, one silly.





       BPS started the second half with an impromptu a cappella tribute to Rod Felton.( seen above, left)  Roddy was  a good friend to local Folk Clubs, and he really GOT our material. He died recently  and his funeral takes place next Tuesday. I sang the first verse and chorus of Roddy's lovely composition "Curly." before we kicked off. I reckon he'd have loved that.

 And then, exactly as Roddy would have wished, it was on with the mayhem. A five piece Black Parrot Big Band were joined occasionally by Sue Sanders on Fiddle. Sue was understandably reluctant to take the stage. With several of us Big in every sense, there simply wasn't room for her. So she fiddled adeptly on "Beduff Bank", "The Septic Monkey" and one or two others, from behind a pillar. Claire Latham became the 28th musician to get an honorary Parrot membership, by adding some sensitive percussion to the already tender and lyrical "If I were a Goat."  Interestingly, this song seemed to leave the Shakespeare punters in Cov. nonplussed last week. We finished it amidst silence. Last night, a near capacity crowd bleated along empathetically. ( I think that's the right word).

 

     Another personal highlight was "The Whistler". Having distributed instruments of a very low calibre amongst the audience, it is always entertaining for a performer out front to see and hear their attempts to toot in the right place, and to take on the instrumental verse when we hand it over to the. It never, ever gets any better than dire, and that's the way we like it. It creases me up.

     Other songs included our own "Gravy Train" The Odeon "  and "Down Our Street." With all choruses echoed enthusiastically. Dave got took short during the intro to "Albert Balls" but he managed to return from the Conveniences just in time to do some windmill guitar during the verses. Just to prove we could be semi-serious, we also did " All Over Now" and " Lakes of Ponchartrain."

    We finished (as we normally do nowadays) with " What a Folking Liberty," the saucy chorus courageously and skilfully negotiated by a ribald audience. For an encore, we sent them home misty-eyed with " Need Your Love So Bad."  Though I say it myself, following up all that tomfoolery with a bluesy love song, one written in the 1950's and later arranged to a waltz time, was a masterstroke. 

At The Fawcett Inn

Philippa Fawcett College

    This small College of Education was technically part of London University. It was in Leigham Court Road, London SW16. Near to Streatham High Road on the A23. I attended it between 1968-1971. For such a small college, it had a series of hard working Social Secretaries who worked hard to bring some remarkable acts in for Rag Balls, Formal Balls, Dances and Concerts. Sometimes we staged events in conjunction with other colleges such as Marjohn's or Chesterton Annexe. The Leigham Court Road building had a newly-designed “In the Round” Main Hall, with a superbly equipped stage. A stage I came to know well and work upon regularly over the three years I attended,as I was studying Drama. The Main building is all still in place though the college and Halls closed years ago.

     Although I missed a few S.U. Events, amongst bands or artists appearing at Philippa's during that period were: Perishers, Elmer Gantry's Velvet Opera, Raw Material, Atomic Rooster, Episode Six,The Groundhogs, John Lee Hooker, Eclection, Champion Jack Dupree, Jon Hiseman's Coliseum, Marmalade, Ginhouse, Christine Perfect, Brian Augur and Status Quo. Gordon Giltrap, Stephan Grossman and Andy Fernbach. We also had Cliff Richard there, but he had been invited to address one of the Fringe Societies, and some of us boycotted his appearance. I

College Bands

It was a very musical college. Every student had to study music at some level. Every student also had to learn how to build their own wooden xylophone, the point of which still eludes me, forty-six years on. There were two College Bands whilst I was there. One was originally called Desolation of Smaug. This caused some concerns about copyright, so they changed it to a simpler and less challenging, “Desolation.” I used to have a brilliant poster featuring them, with some original artwork on it. The other band was called Milestones. Desolation featured Tony Jones (Drums), Fraser Britton (guitars) John Oakshott (keyboards). Can't remember what they did about bass. Ian Walker? There was also some kind of connection between the College and “super group” Brinsley Schwartz. Mart Belmont, who later became part of Graham Parker and The Rumour, (who also had roots in the Schwartz), occasionally guested with Desolation. Perhaps that was it?

“Milestones” evolved I believe, from a third college band “Glorious Revolution.” Milestones featured our own Black Parrot Seaside axeman Arnold Chave on lead guitar, Brothers Nick and Dick Barrington-King on drums and bass guitar respectively. Bob Maynard also played saxophone. All three bands played at College Functions, but also at pubs clubs and social functions elsewhere.

Further Afield

My favourite memory is seeing the magnificent Free at The Borough Polytechnic. The band were at the height of their raw power then. Paul Kossof was mesmeric that night: such a talent-he died so young. I caught local boys The Edgar Broughton Band at Richmond,and also, supporting Pink Floyd in Hyde Park. I used to go to see Jazz at The Bulls Head in Barnes,where I saw Harold McNair. . And I once saw Jo-An Kelly and Paul Simon doing floor spots at The Bridgehouse somewhere near Kennington.

To be? Or Not to Be?

BPS ripping it up..or just tearing things a little bit, at The Shakespeare.
(Photo courtesy of Ian Bourne).

         Well..that really is the question. To be is the answer-a  debut at last for Black Parrot Seaside at The Shakespeare. In Spon Street, Coventry last night. I introduced us as “four fresh-faced lads from Coventry,” which was wrong on oh so many levels. With a combined age approaching 250, “Geriatric version of The Enemy “ might be a more apposite description . However: even for a venerable old crew like us, Coventry City centre is a familiar stomping ground. Most recently we'd played The Tin Angel (also in Spon Street) and The Tuns. Where, on both occasions we were the oldest people in the building. We even got an encore at the Tuns, closing their show (and later as it turned out, the pub) with a storming performance of “Vacuum Cleaner.” Much appreciated by the Goths, Hells Angels and under age drinkers in the Mosh Pit.

     Less recently in the city centre, we'd played (still extant) Dog & Trumpet, The Golden Cross and Coventry University. Most of the central venues we'd played before that have since been either closed, demolished or renamed. Glorious names from Coventry's Musical Heritage: The Climax: The Alhambra: The Colin Campbell:The Climax: The Dive Bar and The Bear Inn. We'd also been barred, during the rock days from The Smithfield Hotel (opposite the Road Transport Museum),by a racist manager who had objected to a reggae song we'd done. So much for Two Tone. Wonder what he'd have made of The Specials? (!).

    But the Shakespeare's Open Mic night hosted by Ian Bourne was a “tick “ for us. As I arrived, a young gentleman optimistically wearing shorts (it was 9 centigrade outside) was grinding out some pretty industrial riffs on stage whilst spilling his angst and torment into the shadows. As I settled to my first Orange Juice of the night, The Darkest Light took the stage. This duo were excellent. They were evidently well-rehearsed and worked very hard. They both delivered strong vocals and enterprising instrumentation. They'd put some real thought into their arrangements. They invited the audience to join in with “Purple Rain,” and a rather nice medley of familiar songs as they finished their set. I did, but most of the rest of the audience largely declined their offer. It didn't seem to be a chorus-singing sort of venue. More somewhere to sit and stare into a lager, or stir a finger in a diet coke whilst wondering what was for tea tomorrow. 

    Pickabale Craic followed them. I enjoyed their set, too. I'm sure I'd seen and heard the singer/acoustic guitarist somewhere before, as I recognised some of the songs. They write and perform some decent tunes. They had a nice sleazy bluesy feel to them with a deceptively relaxed style and delivery. They seemed pretty tight in a musical sense. I hope they won't be offended by me saying that they reminded me of a raw and emergent Dire Straits. It's intended as a compliment.

   Then a four-piece Parrot took flight, with the original three of us joined by Malc Gurnham on acoustic bass. We had agonised over the set list, especially over trying to fit as much as possible into the half hour allotted. We opened with “ All Over Now,” which seemed to go down well. We followed with “ The Odeon,” and “Down Our Street.” which appeared to have a mixed reception. I say “appeared,” as with Ian being a sound wizard and a lights man, and the band behind me on form and on top volume, I couldn't really hear or see much. Foldback speakers or a set of cans might have helped, but I do think I heard a few raucous Parrakeets belting out the Odeon choruses somewhere towards the back of the room.  

   Although a mixed-age clientele, I had the distinct feeling that some of our lighter, more nostalgic songs about parts of Midlands culture long gone, left us-and them out of their comfort zone. “ Albert Balls,” being more contemporary (as it is a song about tag artists) seemed to stir them a little however, and I even caught Ian chuckling in a few parts and singing along with us.

   “ If I were a Goat” is our Bete Noir (See what I did there?) Being a badly-mauled Beyonce cover, I suppose if there are any Miss Knowles fans in Da House, it's always a risk-taker. In most Folk Clubs though,audiences often take up the bleating in the choruses with great enthusiasm. Indeed, occasionally we've had some problems in stopping them, afterwards. But last night, as the final chords unfolded, there was just an eerie silence. Then...one plaintive bleat broke the hush. “ Not many Goat fans in tonight then?” I observed sheepishly, expecting some reaction. The screens to come down perhaps, Blues-Brothers fashion? Or a carefully placed bottle sailing through the air. At least a cocktail stick petulantly tossed in our direction. (We were on a Punk label once you know!). All we had was a couple of polite hecklers and  a few mildly racist sheep jokes about wellies. Really,chaps, you can't do any of that sheep-shagging stuff about the Land of Song any more. Trust me. Oops...

   We set aside the one traditional Folk song which we had planned and did a blues instead. That went down o.k. We finished with “ Folking Liberty,” as we always do nowadays. That galvanised people a little. It had seemed a difficult audience to please, but that wasn't personal. It was a Tuesday night, end of term in Coventry. City centre. And our “shock” endings and stops and starts (which are actually rehearsed and planned for) were perhaps a little too Leftfield for just a few punters?
 

    We handed over to the Sabboteurs, who were closing the whole evening. I am  a closet Sabbath fan (more on that guilty pleasure in the preceding  post),so I was genuinely looking forward to an act playing Sabbath songs arranged in new and interesting ways. Well...it was certainly all of that. And more. Technically, it's a brilliant idea. Anyone who has heard Apocalyptica doing Metallica covers can subscribe to it. Occasionally it was difficult to pick out which song was being done. I recognised “Children of The Grave,” “Black Sabbath” “ The Wizard” and “Paranoid.” And possibly the most stripped-down version of “Whole Lotta Rosie” I've ever heard. Yes, I know it was AC/DC. It was that kind of night .

    Now : if you'll excuse me, I'm off to comb through my Nine Inch Nails back catalogue. And I want to score “Seven Nation Army” for Flageolet ,Bazouki and Northumbrian pipes. I think it could catch on. Warwick Folk Festival 2015 here we come.

Behind The Wall Of Sleep

     Long ago when the earth was new and dinosaurs roamed the earth, I worked as a postman,delivering parcels via an aged on-hire motor coach. I was based at West Norwood Sorting Office in South-East London. It is now a Wetherspoons, which tells you how long ago this all was. After, or between shifts, we'd rest up nearby in a Greasy Spoon Transport Cafe. Tobacco smoke hung in the air so thick you could mould shapes in it. There was also a classic old jukebox which was kept busy playing stuff by Jim Reeves, Cliff, Elvis, Frank and Cilla. But by a divine error of judgement the Payola staff had also loaded Black Sabbath's first hit single onto it. This of course was “Paranoid.”

     As there were a few younger, long-haired posties (like me), it got a few airings. But by a further divine error, the jukie also contained the “B” side. Which was “The Wizard.” It began innocuously with some mournful tootings on a harmonica, and for a few brief seconds, the hubbub, nay uproar in the “caff” continued unabated. Then the thunderous power cords of Messrs Ward, Butler and Iommi kicked in, and shortly afterwards, Ozzie would begin his nasal caterwaulings.

  I've always been a Rock and Metal fan. Black Parrot Seaside began life as a rock band, with the stacks, columns,hair and all. At that time, if I was feeling occasionally homesick for the Industrial Midlands, a little blast (literally) of Sabbath often did the trick. Plus, “ The Wizard” also visibly annoyed a roomful of old bastards instantly. This tickled me immensely, as “Paranoid” never seemed to have the same effect on them.

   Initially, the culture shock in the dining area was palpable. And then the rage was, too. After the first dozen or so complaints, the proprietors cleverly learned to recognise that distinctive intro to “The Wizard,” and they turned it down a little each time. So as to protect the delicate senses of the fag-smoking, tea-swilling, sausage-munching hordes. But they couldn't undo the multi plays I had inserted before leaving, and they could not ask for the disc to be removed from the playlist until the next time the Rep. turned up to service it. (I was an awkward young sod like that!).

    This reaction endeared me even further to Sabbath. I had first heard them performing their eponymous second album on an aged green Dansette record player, bequeathed to me for solace whilst I was in exile. This was the album with a spooky cover and with the opening track beginning with a thunderstorm and a tolling bell. It still sounds pretty good on Volume control 11 pumped out through four speakers and a specialised amp. at home. Better than on the Dansette, in fact. Even though it does shake the windows. (Detached house-neighbours can't hear it). On the strength of hearing that album I bought the first Sabbath Album, secondhand from the brother of a College friend. It contained the wondrous “War Pigs” and “ Iron Man.” I wasn't lonely, depressed or devil-worshipping. I just liked enormous, Gothic power chords. And I thought Tony Iommi was a cracking guitarist. (Still do!) I went on to purchase several other Sabbath albums. One of my favourites remains a 12-inch Limited Edition  E.P. called "Feels Good To me." One of the tracks is a towering live version of “Heaven and Hell. “ It was recorded live in Moscow, in 1989.  The band was falling apart, and Iommi was the only original Sabbath member featured on the recording. Vocalist Tony Martin introduces each member of the band including the late Cosy Powell on drums, as they all bash out a little solo in turn. “ And the man who needs no introduction,” he growls, ” the one man who keeps the Black Sabbath legend alive-Tony Iommi!” Moscow then goes mad as Iommi rips into a gargantuan solo. I often wonder what Putin would have made of all that degeneracy. Shot them, I suppose?

   Better times today of course, for Sabbath, with most of them cleaned-up and even recording together. Their downloads and albums remain popular and their trail-blazing contribution to the genre of music now known as Heavy Metal is fully acknowledged by old and young rock fans alike. T.V. Programmes on worthy Culture Channels have analysed their songs and proved that some are actually well-written. Few if any endorse the dark arts, and a couple are actually credible political statements. (I told you War Pigs meant something).

Home Town Perch next week for The Parrot

    Advance notice of a city centre return for a four-piece Black Parrot Seaside  next week. On  Tuesday-the 15th of April we will be doing a guest slot at The Shakespeare, Spon Street,  Coventry.   It's half term so no excuses about marking, workload, late nights  etc. Let's see some of the Earlsdon Cognescenti  in da house  to hear some old (and new!) songs.

 

     We'll be performing between 9.30 and 10pm so get yourself down there if you're local.   Only one of the songs we intend to perform is on the last CD. Having finalised the set list we can promise you covers of songs by Beyoncé, Bryan and Michael, Nick Jones, Fleetwood Mac  and The Rolling Stones. All with the inimitable arrangement which is a hallmark of our work. Plus a few of our own tunes including (hopefully) the anthemic "What a Folking Liberty!"

 

    If by any chance you should miss this, there is another opportunity the following week to witness a longer set, when we are the guests at Bedworth Folk Club's Rugby Club venue on 23rd April. That's St. George's Day and Shakespeare's birthday. So an easy one to remember. By popular request, this set will feature heavy emphasis on comedy and audience participation.

 

      We might do a couple of serious ones, too, but a mock raffle and audience whistling are definitely scheduled. Though only in the context of the appropriate songs. Expect up to 50 minutes of the usual genteel mayhem and licensed heckling, with a minimum of FIVE Parrots, and probably additional guest musicians also likely to feature in some numbers.

 

 

The Way we Were Part One

A very early photograph , perhaps around 1976, of The electric Seaside, preparing to go on the road. I'm not entirely sure who all these people are, but left to right we have:

 Mick Harris (keyboards) :Jeff Powles (drummer): Franklyn Rainwater: (roadie) :Arnold (guitarist):unknown mate of Arnold's (roadie) :Martin Storr (roadie): Barry Ousby (bassist)  , and Eliak aka Nigel Clemons, with the magnificent Afro. He looks set to take some photos,though he often helped out with sound.  Band members not in the photo were: Geoff and Graham, the two vocalists.

    From this picture line-up I'd guess we were off to either Warwick University or St. Paul's College Rugby. We filled the Close up with vehicles, although it looks as if Jeff is trying to load all his drums into his van. That's Arn's valve amp at the front, I think. And yes, that is a 17th Century flintlock musket  propped up against it! (Don't ask!)  Interesting that the Road Crew are looking at the equipment rather than attempting to lift it into vans.

This is a fuzzier, later photo of us, with a few personnel changes. Taken just before taking the stage at Hitchin Polytechnic. As part of their Rag Ball. We played Support to Rocky Sharp and The Razors. Who would soon after change their names to The Darts. Left to right: Martin Smalldon (Bass):Arnold (guitars) Graham, aka Garsi (vocals): Vance Ectomy (drummer) : Geoff Veasey (vocals): Mick Harris (keyboards). Vance aside, still lots of hair! An interesting evening was to follow.

 

I'll try to put these in the Gallery section on the BPS website. They might look clearer or bigger there!