The Peat Bogs of Nuneaton

          There were several reasons why I chose to go along to The Crew on Monday night and see what The Peatbog Faeries were all about. Firstly, I was curious. Together for 28 years,they have performed at Festivals all over the world. When I heard that they closed Cambridge Folk Festival last year,I understood that to get them to come out to a small town like Nuneaton on a damp Monday night was really quite an achievement. One that deserved attention.

       They undoubtedly have Folk and Celtic roots. Peatbog Records are based in the Isle of Skye,and the Faeries played their first gig there in 1991.Of the original line-up the band I saw last night contained only two founder members. iTunes labels them perhaps unfairly as "electronica" which is really accurate. There are so many more layers to their music than that. They have got through a prodigious amount of musicians and for at least six years boasted a brass section. I was genuinely intrigued. 

      24 hours on,I still don't quite know what to make of them. Much like Tir Na Nog or Joe O'Donnell's Shkayla,(both of whom I've also seen at The Queen's Hall), it  would be both rude and ignorant to try to categorise them. Throughout the evening their music gravitated across boundaries,from Rock,through Celtic Fusion on to Jazz,via Dance,Soul and back again.But beneath and behind the synthesiser(s),the drum and bass and the Fender Telecaster, there were (always)  jigs reels and skirling tunes from the bagpipes,fiddles and whistles. The end result was near indefinable but with pipe and fiddle solos flowing amidst what was at times an almost psychedelic mood  penetrating through the amplified solos,you never felt that far away from Scotland.               

          I was also drawn there by a sense of loyalty. Nuneaton is not my home town nor never will it ever be,though family members live there and my dad and his dad were born there. I love the place,warts and all. For a town of such size it boasts above the normal average of resident musicians and Folk followers. 

        Nuneaton Residents John Neal and Dragonhead's John Harris do their best to encourage Live music sessions at venues in and around the Town and a local radio station presents a twice monthly Folk Show "Anker Folk'. The town does its best to bring decent roots music to the population and surrounding areas,although the lack of joined up thinking by organisers and promoters is regrettable sometimes. The Library and the Abbey Theatre also do their best to pull in folk artistes for the occasional one off concerts. The former used to work co-operatively with other organisations to avoid duplication or repetition and the latter still does.The Library (presumably strengthened by Grant Funding) now considers itself too big to consult and pre-plan any longer. A great shame.

            Finally there are the twin jewels of The Crew (downstairs) and The Queen's Hall (upstairs). Rich Burlingham,who has ploughed so much time effort and capital into keeping this place dynamic, has played his part too in supporting Folk and Roots music locally. The Ragged Bear Festival held in The Crew each October is now an established date on the Folk calendar and with Bedworth Folk Festival having ceased it is now probably the biggest Indoor Folk Festival nationally. 

         Rich offered a home to Nuneaton Folk Club when it was forcibly evicted from a previous base further round the Ring Road. He has continued to support NFC offering it far superior facilities to The Crown,putting on free food,helping with promotion,providing bar staff and sound Crew and bringing in locally brewed quality Real Ale for Folk nights. Prompted by Green Man Rising's front man Steve Bentley,the Queen's Hall continues to stage one-off nights like these,where the genres fuse,the lights are flashing and the sound levels are set high. 

        So I felt I needed to return all that support.The audience,mingling upstairs beforehand  was (by contrast to our recent Folk Night attendances),impressive. It became clear by talking to people that few were local. Along with myself I counted only six people in there that I recognised, among what looked to be around a hundred. The Peatbogs are not everyone's cup of tea locally perhaps,but you've surely got to give things a go sometimes? How else do we continue to extend our musical boundaries?  I sometimes wonder what that elusive cup of tea is for our local Folkies. 

          As with Shkayla, it was an evening of instrumentalism. Tunes all night only. No vocals:the only human voice heard from the stage was the witty links from the band between numbers or in one piece,The Humours of Ardnamurchan,some vocal sampling featuring Katie Stafford. Presumably relayed through the large sound desk squatting (unusually) on the hall floor. Unusual because other artistes often rely on the resident sound engineers to mix,and I have to say that at times last night despite all the extra kit, there was a little stage imbalance coming from the floor. 

         The Peatbogs rely heavily on dance beats. This is not quite as contemporary as it sounds:there is a commonality between the more manic Highland Flings and hard core Ibiza dance tunes. Most of the audience were gyrating gently rather than busting a few moves. There was a very mellow groove on at times, with that curiously evolved Folk Festival dance spreading rapidly across the auditorium like a Mazurka. Both men and women individually rotate first to the right and then to the left,barely mobile below the waist apart from the occasional foot change. Quite hypnotic,and clearly enhanced by the music.

        There were exceptions of course. Right at the front,just below the stage an Angus Young figure was visible throughout,whirling like a slow motion dervish or duckwalking at high speed to and fro. I felt myself wondering if his energy was due to an overdose of Dundee Cake or if the effervescence of the pulsing music was merely carrying him along on a jetstream of pure adrenalin. I bet his joints ached the next day. 

            Did I enjoy it? Yes.Immensely Difficult not to get carried away by the towering presence of pipe player Peter Morrison and those pounding rhythms. They really can play,all of them and like Shkayla,they exchange passages of music so fluently and rapidly that at times the listener feels spoilt for choice. Whether to  admire the musical virtuosity of the fiddle playing,or Tom's guitar licks and solos. I'm one of those revolutionaries  who considers Folk to be a very broad church. I believe there is room for everything. I  refuse to turn my back on any one style or genre. It that makes me a non-purist that's fine by me. Would we have met and loved Sam Kelly,Kate Rusby or Merry Hell without being broad-minded?

         

An Oscar for The Osca?

       What a very cosy friendly and practical set up it is at The Osca Centre in Atherstone where Steve and and Ann Beeson and company  continue to host lovely shows. This time,under the auspices  of John Harris,who had decided he wanted to do something to raise money to help support Dementia.  We had a very pleasant night. 

         On Saturday 19th October it was a pleasure to be back there again. Previously I'd helped out with another Charity night there and after winning the prize draw I had walked off with £221 which I then donated to The George Eliot Hospital Radio,Anker Radio. This time people had paid a fiver a head to come and enjoy a night of music featuring Dragonhead, Pete McParland Finger in The Jar and Drunk Monkey. All local:all good friends,and it showed,both from the stage and across the auditorium. 

        Dragonhead kicked the evening off with a set encompassing Rock and Roll,Cajun and even Pop with a cover of The Maverick's biggest hit warming the audience up for a night of singing. In a night where personnel swapped with a dizzying speed at times,our own Paul Moore (known affectionately as Pedro Fivebands) took over the brushes on the cajon to provide percussive accompaniment. With Anne leaving her duties on the mixing desk to providence and playing along,it was a very cheerful sound.

       That old Lounge Lizard Pete McParland then smooched peerlessly up onto the stage in his best waistcoat and then demonstrated what the event was all about by forgetting the words of "Sweet 16" before he began it. Prompted by the audience he was soon under way however,delivering the vocal with the same panache as "Where do you go to my Lovely." This Peter Sardstedt classic once again got everyone crooning along enthusiastically. 

       At times it was unclear where the line between Pete solo and Finger In The Jar taking over the baton was. Anne Beeson had already joined him for the Furey's song and Pete took the lead vocal on "It Never Rains in California," but eventually out came the shepherds crook to ease him off.

        FITJ did one of the best sets I've ever seen them do. They introduced a whole raft of Beatles and 1960's pop. "Girl" was a highlight as was "Waterloo Sunset." Their version of "Californian Dreaming" featured half a dozen harmonies from the floor besides those coming through the P.A. Some great harmonies from FITJ and lovely flute playing from Anne,too.

         The interval came before we realised just how much we were enjoying ourselves. After a prolonged raffle draw(didn't win this time-missed the tickets!),it was time to wheel Drunk Monkey onto the stage. I have to say we had an absolute blast and felt we'd played one of the best sets ever. A nice mix ofsome  blues,a few ballads and contemporary stuff also got the audience singing. Their contribution on "Knocking on Heavens Door" was magnificent. They must have heard it as far away as the Railway Station.

         All in all £220 was raised,which will be donated to a local Altzheimers Support Group.A worthy cause and a fitting conclusion to a most enjoyable evening.

Show of Strength from Steve and Phil

Battlefield Dance  Floor -Show of Hands ( Proper Records)

Released September 27^th 2019 

This review published Folk Monthly October 2019

          Virtually Folk Royalty, some statistics are essential when dealing with a band of Show of Hands stature.This is their 18^th studio album,and their first in three years. Devotees will recall that their previous album “The Long Way Home” was critically acclaimed. There are thirteen tracks on this one,eight of them newly written.

       Like many of you (I suspect?), I was looking forward to a new release with barely contained anticipation. On a first hearing I found it difficult to ascertain exactly where they were going with this one. I loved the very bones of “The Long Way Home.” For me it had a creative edge to it, with not one but several standout tracks such as Keep Haulin and “ Twas On an April Morning” It was always a pleasure to play and listen to. I received an early pre-release advance copy of “Battlefield Dance Floor,” and I confess that after a few more plays the same kind of evolution occurred. The more I played it the more I heard and the more I understood. That's how clever they are. They don't like to stand still or rest on laurels and they haven't with this one.

      Described in the promotional blurb as “authentic folk rock” by Jeremy Vine (not my favourite broadcaster),I refused to let that odd definition put me off. I long ago ceased to know what that overused label really means. It is for me, far too broad a category to just chuck stuff indiscriminately into. Whatever one's understanding of such a dated phrase I would suggest to Jezza that it is much more than that. Although I'd agree that they are straying away from sticking exclusively to the Traditional Folk category,and there are elements of (West) Country and Western (and Jazz) about this new release.

       It is (as always),impossible to fault the musicianship. Phil Beer and Steve Knightley have a winning formula already and here they additionally beef up the sound by drafting Miranda Sykes back into the line-up and reintroducing Cormac Byrne's percussion skills. Matt Clifford adds keyboards, Gerry Diver plays several instruments and the Bridge Hill Shanty Men also pile in. Nigel Hopkins,Johnny Kalsi and Shahid Khan receive music credits too. Impressive.

     Packaged and promoted as “ possibly their most commercial release to date,” I certainly wouldn't argue with that. My only worry is that by broadening their already considerable range to embrace new genres they run the risk of spreading their gifts just a little too thinly. It doesn't bother me at all but it might alienate a few diehards.

“ Swift and Bold” is in the “Keep Haulin'” mould. It starts with echoes of “Over The Hills and Far Away,” which is an appropriate lead-in as it is a track with a military theme. The title is the motto of the 6 Rifles Infantry regiment,based at Exeter. It is not merely a regimental homage to previous campaigns however- Basra also gets a mention. Stirring lyrics and vocals are enhanced by that Shanty Crew and some martial drumming. “Over The Hills” gently returns at the end after a very uplifting three and half minutes which certainly got me marching around the studio floor. Pick of the album for me-I'll be playing it on Anker Folk a few times.

   The title track “Battlefield Dance Floor,” has a generic military feel to it as well. It fairly romps along as one might expect with two dance genres entwined. Personally I always saw a link between Bhangra and bouncy Morris tunes,so the collaboration with the Dhol Foundation seems a perfectly natural liaison here. I can already see well-heeled, well oiled party-clad audiences lifting up their skirts and kicking their heels to this in a Live performance. And that's just the blokes.

      “No secrets,” “Make The Right Noises” and “Just Enough to Lose” have a definite Country feel to them. “Forfarshire” is a revisit by Steve Knightley to a song he first recorded on Kirsty Merryn's debut album, “She and I.” Like “Lost” it serves to fully explore a voice which is sometimes underestimated. He's a good vocalist.,is Steve.

“Dreckley” is a West Country inspired gert lush cross-culture piece. A witty, light hearted love song in Reggae time with some clever wordplay. It has a chorus which will get audiences bawling along, Grockles and the locals alike,from St Agnes to Starcross.

      “First We Take Manhattan” is a jazzy cover of the spine-chilling Laughing Len original. It is a revisit by the band to the song as it first appeared on a previous SOH album. It showcases Phil Beer's expressive and passionate fiddle playing. “Next Best Western” is another cover-and another clever piece.

     The production and recording are sumptuous:embracing modern technology whilst also bringing out the best in traditional sounds. To describe the overall effect as layered is an understatement. The Triplefold CD sleeve is an objet'dart too, with detailed lyrics,credits and background as a leaflet insert which makes a good read. Top marks to Stylorouge for that. Presentation matters.

    It's a cliché but there's something for everyone here. The band are upbeat and justifiably defiant about what they have created and achieved.“ We are at last creating a sound which we've dreamed of making for 25 years,” Knightley enthuses,whilst the additional promotional material asserts that with “Battlefield Dance Floor,” Show of Hands are “holding an unshakeable position at the front line of Folk.” And maybe they are-time will tell. If I was in that second line and knocking on the door to move up a row,I'd be inspired,encouraged and not too downhearted about it

October at NFC

        I confess that,having flown back from the USA only 24 hours previously,my brain was still scrambled as I took to the stage at the Queen's Hall on Wednesday to welcome another throng of willing Pilgrims back to Nuneaton Folk Club.

      What followed was another evening of immense local and National talent on show at NFC  Every kind of genre of roots and acoustic music with Award winning Real Ale on Tap (Fallen Angel by Church End-Mmmm!) and all facilities immediately to hand. I continue to believe it is important to keep those who can’t make it in the loop about what they missed and well informed on what is happening and to remind folk what is coming up next. Well done to all who supported us on Wednesday and to those who performed. Mega.

         Our Main Guest was Geoff Higginbottom. A welcome return for a guy who always gives his best,works really hard and is full value in musical and entertainment terms. Of which,more later.

          Kicking the evening off as always, were Nunc. No Paul Moore,but we started with the Kasey Chambers song "We're All Going to Die Some Day," which got the audience going. I'd thought it might be rather apt having heard a lot of Country whilst in The States but no-one I met out there had ever heard of her. Mr. Kearney told me she was Australian.Well dang, that kind of explains it.  

        We followed that up with our "Three Little Birds/Wild Rover," segue: a staple favourite of both Nunc and Drunk Monkey sets. It chugged along nicely until the final section where,as usual,we handed the chorus across to the audience. Silence. This was an eerie experience: a response which we've never had when doing that before. Perhaps they all had jet lag,but eventually we cajoled them into singing the chorus solo (Phew!). Nunc finished with a version of "The Chemical Song." I didn't know it,so sat that one out.

                          Consumate professional Des Patalong followed:he of the mighty voice and mighty beard,filling the hall with his three numbers. Including a shanty I thought I'd heard on his solo album,but which Des tells me is from his Sharp as Razors portfolio. He's so prolific, it's hard to keep up with him at times. 

                  We were all excited about the NFC debut of Crybb. We'd heard so much good about them and I'd had so many recommendations,and we were not disappointed.Kate and Gary performed three polished  numbers,self-penned and with a Northamptonshire feel to them. A nice sound, and thoroughly nice people. I think they sold a few CDs too so that was nice. 

                 We hadn't seen The Stanleys for a while so it was good to welcome them back albeit in a slightly altered format. The two girls and dad Mick,complimented by John Kearney were not Comharsa so they were billed as The Stanleys. They opened with a version of "Sonny" as Mick declared they would do no Irish songs. He  lead on "The Leaving of Liverpool," which I'm sure I've heard the Dubliners do. But apparently.it originated in Manhattan  (Blimey,I've just come back from there!). They finished with a  cover of The Corrs' "Runaway," and I'm pretty sure they were from over The Water too. I'm not sure Mick got that entirely right. 

         We had enjoyed visits from Dave Fry to the other venue,but he was making his debut at the new place,and it was his kind of scene. He looked good up there and sounded good too. He finished his spot with the song I think he does best:Jon Harvison's "One Sky " Dave chose that deliberately because he knows I like it so much. The audience did too and they sang the choruses gamely with him. I honestly think Dave's version is better than the original. (Sorry Jon). 

                       Geoff came on for his first set then and he was very entertaining.He had brought along his mate Steve who besides playing Bodhran and Autoharp, turned out to be a very good paper artist too. You might recall him doing that from the Craft Stalls at Bedworth Folk Festival. One of Geoff's party pieces is "Whisky On a Sunday," with his little dancing man and all the innuendo which accompanies his appearance, as it flails around upon his knee. Classic stuff. 

              After the interval,Nunc started with "Perfect," and as Kate from Crybb was evidently having such a good time in the audience, I called her up to join in. A lovely moment. She's having a whale of a time here,look! We ended with a rousing performance of "When Love Comes To Town," which again got the audience very animated. Excellent singing,guys! 

                A very determined Steve then played a couple of tunes on his autoharp before Geoff returned to round off a most enjoyable evening. He really does do Richard Thompson songs justice.. "Bright Lights Tonight" "Vincent Black Lightning" and "Wall of Death"  were picked up and sung along with by the audience . He also treated us to one of his epic poems from the Gobshite anthologies. You could never complain that Geoff doesn't cover a broad spectrum of material. Added to his stand-up patterl delivered with a deceptively dry  humour it was a lot of fun. 

       A special mention to young Harvey, who ran the Sound desk on his own on Wednesday, in the absence of brother Tom. He was unflappable all night,reacted swiftly to adjustments and requests and remained smiling throughout. Harvey is a thoroughly likable, competent and capable young man. And applause to for Aaron,also,who stays cool and calm and cheerful whilst dispensing drinks from behind the bar and setting out furniture. He also works VERY hard. Thanks also to Ray Bucler and Max Wright for the photos here and on the NFC Facebook page.
           Next month's guests are Dark Horses. Two Folk legends for the price of one. Flossie Mallaville AND Keith Donnelly. Best come early? Before that, we have The Peatbog Faeries upstairs at The Crew October 21st and The Ragged Bear Festival is also there on the weekend of October 26th.