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.