A Rose by any Other Name

     Atherstone Folk Club now meets out at The Rose at Baxterly, north of the town. This is a friendly hospitable  and popular pub, renowned for its cooking,and with a useful,separate concert room. 

      Last night was a treat for Nunc anyway, as we all love Si Barron and his fabulous collection of songs. But it was further enhanced by the quality of the other floor spots and the opportunity for us to air a few new songs ourselves. Plus one of the best pints of St.Austell Tribute I've sampled beyond the Cornish border! John Kearney reckoned his pots of tea were quite good,also. 

       Alas, Phil Benson was unable to join us having been re-lurgied again. This meant that there was no P.A. but it mattered not, because Phil had shrewdly invited a selection of artistes all of whom could project without one. Eschewing the stage we all came and stood front of house,and it sounded fine whenever I was listening from where I was sat near to the back of the room. Anne and Steve started us off with a few numbers including "The Circle Game"  and then handed the baton over to a safe pair of hands in K.C. Jones. They got the audience singing with "Sonny" and two of Karen's own compositions,one of which was "Ivory Battle."  (This is not a song about an awkward patient in the Dentists Chair). 

         Nunc then stepped up,and commenced by  offering the audience another of their effortless segues(!) This time one involving two CSNY songs back to back:"Find The Cost of Freedom paired with "Ohio." Flossy then handled the lead on Randy Newman's divine essay on uselessness,"Guilty." Only those who had seen us perform this at The Anker Tavern a fortnight ago had heard us do this before.

       We finished by revealing another newish offering-"Bold Riley."  Got to be honest and say our version is heavily influenced by Gigspanner's so it may have been a little up tempo for purists. We only started working on this song on Sunday night,so we were quite pleased with the outcome,and the way the audience took up the chorus. 

          Thrupp'nny Bits followed,somehow squeezing four songs into their 15 minute spot. Three from the trio and a cover of "New York Mining Disaster , featuring Des and Gareth. Their slot got the audience warmed up for Si's first set. 

          Si has now released three CD's which he is very modest about,but they really do contain some excellent material. There was some excitement during the interval, primarily because I managed to secure the only copy of Si's third album from him,and to confirm that he was booked into NFC on July 4th. (Nice easy date to remember). But this was eclipsed by me gesticulating a little too wildly with my flailing hand and spilling a full glass belonging to Brian Phillips,across the table which he and Si had been sharing. In fairness,most of it went over me,so I spent a fairly damp second half. 

        Nonetheless we were entertained again by Anne and Steve kicking off the second half. What a versatile couple they are. Before Si returned, Brian Phillips did three songs and a recitation. And there was mercifully, no mention at all of the glass of coke I had poured over the floor during the interval. 

       Si Barron was just magnificent. He played two excellent acoustic sets,always using the same guitar,sometimes with capo on sometimes not. It's obviously a machine he is very fond of, and he spanked it,plucked it or coaxed beautiful harmonics from it all with deceptive ease. He took us (as he always does) around the world, on long sea voyages,into dark and lonely places, with the odd comic imagery chucked in. His singing style has been compared to Nic Jones, and Si himself alludes to this on some sleeve notes. It's a fair comparison, and one he should be honoured to carry, for Nic at his best was a wonderful singer and guitarist. 

                Some of Si's guitar playing is derivative of Nic-which again is no mean feat,or a criticism, as few are good enough to emulate that Nic Jones style successfully. But some of Si's work is his own invention. The combination is just a delight to listen to-and to sing along with. Combined with his raffish looks and easy,humourous banter,it makes for a very uplifting  experience. 

               Many of the songs are traditional ones which he researches,rearranges slightly  and then puts his own  stamp upon. But he also covered songs by writers as diverse as Bob Dylan and Bill Caddick. I'd had a hectic day completing a music project in Coventry-the outcome of which I'll hopefully be sharing with you all one day soon. It was a bit of a rush to collect Flossy and JK and get out there just in time for the opening. And it was a long journey home. But worthwhile-a thoroughly enjoyable evening in good company. Get well soon Phil: they did you proud.

My thanks to Max and John B. for the photos..

So what was your Monday like then?

       Well,I got up,had some breakfast, made a cup of tea and went onto the P.C. to check my emails and see  if my Folk Monthly copy had gone to the magazine safely. The one that advertised the next three months of Nuneaton Folk Club's Guests at The Crown. The one I pay for.  It had been delivered safely, so that done I went onto FaceBook and discovered that several people were lamenting the permanent closure of The Crown, Nuneaton. As of,like NOW. 

     To say this came as a bit of a surprise to me personally is an understatement. Finding out on a Social Media page that NFC suddenly-instantly-had to find a new home felt I imagine, a bit like  being dumped or sacked by Text does. It felt all the more strange because those responsible had said nothing to me about it on the three occasions last week when I spoke to them. 

      Looking back I can see now that, being a nice unsuspecting sort of chap I had missed the tell-tale signs. Being asked to move all the P.A. gear out and take it home, instead of being allowed to store it there. The suddenly missing furniture.  The stage lights left lying across the stage. The glasses full of three week old beer on the window sills. Having to sweep the room and move furniture back into place before opening up each First Wednesday. The sack truck in the middle of the dance floor last Wednesday evening.  Being clandestinely unfriended by certain individuals on Facebook. (Only noticed that today!) Little things-but cumulative.

       Quite why all this was kept  secret from me, I have no idea. To check that the closure wasn't just a rumour or false news, I thought the best thing to do was to drive into Town this afternoon, to see what was happening "on the Ground."  Sure enough, arriving about 2.30 pm the pub was closed. The lights were off. The gates were being locked as I arrived, and Mine Host was preparing to drive away-presumably for the last time.

           For old times sake I will respect his request for privacy about the conversation which then took place between us. The Crown has gone. I had some good times in there and I had some bloody awful ones. Of the manner of its closure I will say no more. 

       At times, a decent booser, CAMRA acknowledged and next to the station,it was one of my regular watering holes long before any Folk Club.  I'd been going there for Sunday Night quizzes,Beer Festivals a pint before Nuneaton Borough's Home games and for occasional "live" gigs,way before I got together with the management to launch a Folk Club there. (The town did not have one at the time, although it used to in the past). 

       We launched in October 2014 and put on a total of 43 shows upstairs there,culminating in an absolute stormer last week from Phil Hare who was supported by some excellent Floor Spots. Always on the first Wednesday of every month since that date.Rain,snow,heat waves, we never missed.  Besides all the Guests,many many talented musicians had come along and played Floor Spots. Many people will have fond memories of these nights. 

        After our final little chat on the ex-pub apron this afternoon I recalled a recent conversation I'd had one night with our Sound Man Dave Smart.I went straight away around Roanne Ringway, to see Richard, who runs The Crew and The Queen's Hall,. Within an hour of waving a not so tearful farewell to one venue, NFC was established in another. A  new one. Bigger. Better. Warmer. Cleaner. The Crown  has gone. But The Queen lives on. Long may she reign. 

Over and most definitely OUT

       

Phil Hare

      The temperature was already below zero as we parked up prior to preparing the room for last night's show. Upstairs at The Crown a few space heaters,some brilliant music from our support acts and a blistering, stellar performance over two sets from our good friend Phil Hare warmed us all up.

    An awful lot of hard work goes into setting up and then breaking down the stage at The Crown. This applies the day before a gig,during the day itself and the evening too. And often (as today) it involves returning back in to tidy up. Our regular Sound Man Dave Smart had another commitment on Wednesday, so The Godfather of Bedduff Folk, Malc Gurnham, fresh back from a sojourn in Lanzarote, had kindly agreed to step in and drive our aged desk. A task he performed admirably. 

      Dave and I went in on Tuesday night to set up the stage and shunt some furniture around. We could not get access to the room before 10pm as a Drama Company were using it for rehearsals up until then,so this meant a late finish. When we did finally get in there on Tuesday, it came as a bit of a surprise to see that all those familiar high tables and chairs had disappeared. (It was funny on the Wednesday, watching the audience members double take as they filtered in). 

          Mags and I were back there by 6.30pm on the Wednesday, to switch on the power, tidy up a bit more,pin some posters up and set some fliers out. We were the last out around 11.20pm last night and I was back there Thursday lunchtime,carting all the sound gear back downstairs, loading it into the car and bringing it home. I only mention all this to remind people that a lot of hard work is put in by a lot of people just to make those three hours go  by so enjoyably. 

        Star turns from The Wright Brothers,Nunc,Bob Brooker, Malc Gurnham Chris Tobin and Brian Phillips added to the entertainment,warmed up the audience and and set the scene for Phil Hare to take things forward. 

          John Kearney's  misfortune in having a holiday postponed was very much to Nunc's advantage  We were prepared to go on as a duo (Paul Moore was unavailable as a stand-in) but JK beefs up the sound and just anchors us so well. We got things under way with a few songs and then The Wright Brothers-Chris and Max-took over. Due to a communication breakdown they very modestly unplugged and left the stage after two songs, when I had pencilled them in for three. No matter:"Have You Got a Loight Boy" (he of the Singing Postman) got everyone singing,before you could say "Wilbur and Orville at Kittyhawk."

       Bob Brooker followed, and gave us a trio of songs including a moving rendition of "The Blue Cockade," ( one of several versions of this tale of treachery and recruiting sergeants out on The Moss), and the ever-popular "Steady Boys walk On."  Indeed,so great is our reservoir of goodwill, it is only fair to mention here that had Malc been indisposed, Bob Brooker had also offered to step in and man the desk. ( or,with his fondness for maritime themes, should that be man the decks?) Bob has taken to wearing a particular style of flat cap lately. Rumour has it that he has a sharpened plectrum sewn into the peak of it with which he is likely to lash out at anyone making disparaging remarks about banjos. (You judge). 

      In case anyone is wondering what is written on that piece of paper it is NOT the lyrics. It says, "Open case. Get out guitar. Hold it right way round. Sell some CD's." His gestures later in the evening suggested he was not amused by not winning a raffle prize once again. (Twice now,apparently). 

        Dan Gascoigne was indisposed at late notice and could not appear,so it took,oh, two or three seconds to persuade Malc to leave the desk, pick up his guitar,advertise a few up and coming ventures from the stage,promote the CD  commemorating his 90th 70th birthday and fill in for Dan. He gave us "Caledonia" and "Blues Run The Game," and Brian Phillips did sterling work subbing at the controls whilst he did so. 

         Chris Tobin caused a buzz when he took to the stage and that wasn't just because his pacemaker was playing up. Everyone knows when Chris is at NFC there is going to be some enthusiastic singing. If only to drown out his vocals. (Only joking). We were not disappointed. He gave us the classic "Halfway To Paradise," and "Singing The Blues," and the audience bayed along with him enthusiastically.  I sensed a few eyebrows raised around the room until I pointed out that although the F.C. stood for Folk Club this was entirely appropriate, as these songs were now nearly sixty years old. 

            Could it get any better? Well just a bit as Brian Phillips took the penultimate spot before Phil's first set. Brian delivered the John Martyn "Fairytale Lullaby," a classic from the early London Conversation album. So early that I still possess the vinyl version in mono. He also did a second Jackson C. Frank song,"Here Come The Blues," and one of his tastefully esoteric poems, dealing with the philosophical aspects of flatulence. 

      Phil I hope,won't mind me saying,does not wear his heart on his sleeve. He is a caring, funny, passionate man and a gifted musician. As a guitarist, he comes from a special tier. I introduced him by saying "If you have guitars prepared to burn them now." I was only being part flippant. He does stuff that at times borders on the magical. With one guitar only, and coaxing it in and out of different tunings as he goes. He weaves in harmonics as a standard part of his technique. He is the Guitarists' guitarist. Or one of them. 

     Besides his songs, he writes some eloquent and erudite pieces on certain Social Media platforms. He disparagingly calls them "rants" but they are far from that. Those of us who enjoy reading them know that they are full of clear thinking, a longing for commonsense and decency, and an anger about injustice and unfairness that at times borders on visionary. This plethora of emotions  is reflected in some of his songwriting. By turns his own work is funny,witty,ironic and often carrying clever pieces of wordplay engineered to make the discerning listener think.  Like "Potato Man," is a clever parody with many spud u like puns. On form, Phil is a master of the ad lib. Indeed,he thrives on it, and feeds off audience reaction to spontaneously tinker with, alter, edit,customise  and amend his songs.    

     He did a very nice segue of his own song "Lady London" into a fine version of Gerry Rafferty's "Baker Street." On those of us who have lived and loved in London, this was not lost. I am a confessed covers freak. I see no harm whatsoever on taking up with a song you love and putting your own stamp on it. I wish a few more performers could lift their eyes up from contemplation of their own navel and follow suit.

       Some of the content could be a little too austere if Phil did not expertly break it up with golden moments of great humour. I requested "Every Man's a Hard Man Now," but I suspect he would have done it as his finale, anyway. It is such a great show closer. For a confessed Liverpudlian, now exiled in Cambridge, his delivery of Mockney is impeccable. He had the whole room,mostly full of Nuneaton's finest, roaring  "Nahhhh!" instead of "now" ferociously  back at him Danny Dyer/Peggy Mitchell style . Al Murray should co-opt Phil in as a warm up man on the strength of this number alone. It would compliment his chest thumping "Fa-a-a-a-mily," routine perfectly.  
      Phil Hare also has a fine voice. Deep and resonant, note perfect and with fine pitch. All this adds a power and a presence to his performance. He works hard on his material and he works hard on his performance. Not a moment of his act is wasted,and he drips sweat by the end of it. A first class technician, a master of his craft and an all round good egg. Wish he was my guitar teacher. I might pick the bloody thing up more often.

       These glowing compliments should not detract from the excellence of the other acts. "Floor Spot " does not seem to adequately cover the high quality of the queue of talented people NFC are fortunate to have in legions, always queuing to perform.  Another lovely night and I believe most people went back out into that bitter night with a song or two in their hearts.