Another rousing night at The Miner's Arms in Bedworth. Hosted by Malc and Gil, with loads of entertaining and original Floor Singers-some we'd seen before, some new to us.
Whilst last month here there were only three of us, this time it was the full Parrot Ensemble. Somehow we'd found ourselves as the main feature. Quite a coup,as this was one of the few days in August when we were collectively available. So, we finished the night off for a very supportive, appreciative crowd. It was a special treat for our mate Dennis, a BPS fan of many years, who'd dropped in from Tilburg and also for Matt, my nephew who had nipped over from San Jose. This was the only opportunity they had to see us before going home.
We'd promised Malc a " Night of 1000 Accordions", this time. We only brought two with us as it happened. Having performed the same set at several venues this year, we thought we'd change things around a bit and revive some of the older stuff. So instead of opening with "Courting is a Pleasure " we started with that good old Anker Delta standard, "Wee Midnight Hour Blues." No, not Wilson Pickett, but a lament written and recorded in the 1930s by Scrapper Blackwell and Leroy Carr.
I was hoping that one of the several Blues harpists who've guested with us on this number in the past would be around to help with the instrumental break. They weren't, so I shyly produced the Echo Super Vamper and tooted and parped out a two-note solo. No one ran out, so that went well. Replacing the piano on the original recording with our accordion and mandolin arrangement just seems to work. You could be out on your porch y'all, chewin' bacca and sippin' whusky, yessir, as the four grizzled old geezers slowly ease this venerable old tune out.
But you're not, you're in Beduff, and the next song brought everyone swiftly back to Blighty. Three years since we'd performed the eponymous "Beside The Seaside "-so a good job we'd practised it earlier in the day,eh? A collector's item for BPS fans this song. It's not on any album, although it was shortlisted for the last CD. It's a BPS take on the original music hall song written in 1907 by John Glover. We retain only parts of the chorus: the rest is all our own work. A cryptic look at the wonder of English holiday resorts. It is the longest chorus song we feature. The shortest being " Baaaaa!"-the prolonged bleating during " If I Were a Goat." ( Hope Beyonce never hears that version).
Arnold always used to produce a toy monkey during this number and do unspeakable things to it. He did not disappoint last night. Whilst I also usually shoulder a little primate, in a visual gag about Scam photographers ("Picture with the Lady sir? No thanks, I'll have the monkey!"), I make no attempt to do violence to it. Arnold is usually such a gentle soul. He scares us when he goes like this. Fortunately I think the batteries had gone due to sustained misuse. Instead of shrieking in a faintly oriental accent, his monkey just moaned softly. His disappointment was funnier than the song. (Can I point out that no toys were injured during the performance of this number?)
With most of the audience in stitches now and only a few outsiders looking frightened, it was time to move on. The cumulative age of the two songs was 184 years-almost as old as three of us put together. And another old BPS Warhorse "The Wag Of Shop 14" was then wheeled out. Complete with Cowgown and the legendary Ryton Spanner Dance. When we first started doing this song, 30 years ago, it was topical social comment. It has now evolved into a true folk song, in that it evokes images of working practices and things now only a memory in our part of The Midlands. Factories, Assembly Shops, Production Lines. Stuff like that. It may not yet be Ewan McColl territory, but it seems to get a fantastic audience response. You can see people who have worked in the Motor Car Industry chuckling and getting all the nuances and sly digs.
"Midlands Lullaby" followed. Renamed "Tilburg Lullaby" specially for the evening. With its initial nod to Stan Kelly,Cilla Black and The Spinners, once past that awkward moment, we could progress through the song to more contemporary references. "You looked so sweet with club and shield, playing Looters in the field," for example. Or " If you grow up you'll be a man. They'll carry you away in a Big White Van." Cutting Edge.
The AccordionFest concluded with "At The Septic Monkey." Our homage to Folk Clubs everywhere. A shortened version, with no rigged raffle at the conclusion. So that coveted Raffle prize "How to Live With Your Chinchilla" stays in the dressing up box until we visit a Folk Club near you. A sweet little old lady made two unrehearsed appearances during this song, en route to the toilet. I've never been heckled by a Senior Citizen before, but I guess it served me right for following her down the corridor during an instrumental break and coming back to announce on mike, "I think I've pulled." Anyway....see you this afternoon at The Whist Drive, Maudie?
By this time the bellows were straining, there was much panting and gasping and wheezing and exhalations of hot air. But enough of Arnold. We put the accordions down and performed "Beduff Bank" on home turf.Newly added verses about Atherstone and Warwick received an appropriate response. In fact the audience contribution to the choruses of BB was just blinding.
We were about ready to go home by then, but an encore was demanded. Nay, a request even. So " Albert Balls"-was uncorked again, which most people knew, and those who didn't sang along with anyway. Even if, underneath their bench seats, they were digging their fingernails compulsively into the upholstery.
Cracking food, good company, diverse artistes, receptive audience, Sharps Doom Bar. Ad Libs:beer tokens for the artistes-what more could anyone want?
There's always a mixed blessing at any venue in headlining/Topping The Bill or Playing Out The Dead Hour as we call it. The pluses include a delusion of one having status: the fact that those who've been drinking all night need no encouragement to join in with the choruses, and a bonus of later audiences generally seeming to get the jokes and the visual gags in a way that a "warming up" audience sometimes doesn't. And, as happened with last night, it sometimes means the staff can come out and enjoy the fun too.
The (very few) negatives of going on last are that Eddie doesn't get to have his cocoa and electric blanket until WAY past his usual bed time, and sometimes a few Wusses in the audience have already begun sloping off. Presumably their metabolisms are still programmed to catch a last bus that doesn't run any more.
Personally, I don't really begrudge people leaving early if they have to go to work next day. Or, if the cat is ill, their house is on fire or the babysitter is only paid till 11pm. Fair enough. But if you are a performer and you have been done the courtesy of being offered a floorspot, and have enjoyed the audience's attention yourself earlier on in the evening, then I just think it's bad form to do your stint, expect appreciation and applause for it and then just b*gg*r off somewhere else. The furthest I've ever been for a one nighter was Portsmouth, at Shep Woolley's Club there. And we stayed till the end. In fairness, we were then driven home by our manager Nevertheless, we arrived home at sunrise and went straight on to work. But hey, people, that's rock and roll.
If you have to leave early next time we're on last PLEASE BRING A NOTE. A twenty pound one will suffice.
Thursday, 18 August 2011
Thursday, 21 July 2011
Warm Welcome at The Miners Arms
Three out of four of Black Parrot Seaside joined a roomful of jolly folkies at this welcoming North Warwickshire hostelry last night. We were shorn of banjo mandolin and accordion as Mick had decided there wasn't enough golf on t.v. at present and was of on tour for a further fix of ball stick hole stuff. Lack Arrot Easide it was therefore who closed the first half, with Courting is a Pleasure/The Odeon/Albert Balls/Bedduff Bank. Rousing chorus singing, helped by the fact that the audience there knew these songs as well as we did!
You know,it has always saddened me slightly that a minority of Folkies living south of our part of Warwickshire tend to look down on Bedworth. Last night we joined some quality acts. The Miner's Arms in the town is one of several venues there. I worked out, whilst chatting to Malc Gurnham afterwards, that we had performed " On Bedduth Bank," our epic homage to the old mining community in something like nine venues in or around the town.For rivet counters amongst you, that includes The Civic Centre,The Con Club: The Black Bank, The Navigation,The Miners,The Rugby Club,and The Corner House. I don't reckon you'd get as many venues hosting live folk music in towns of comparable size in South Leicestershire or South Warwickshire.
Obviously, I'm biased. Warts and all my dad lived in Beduff for a while, and my daughter still does. Kenilworth,Rugby,Stratford Warwick or Oakham it aint. But last night (for free, with Doom Bar on draught and with superb pub grub added) you had every form of acoustic music imaginable. All delivered with passion, humour, intensity and real ability. On view were Artistes new to the area and old stagers like ourselves.
Malc and Gilly, (supplemented with various backing musicians),opened both halves. The usual mix of tuneful harmony balanced with Malc's relaxing guitar style. Brian Phillips, without Marie,sang a couple, as did Jan of Cider Annie. Already I'd heard "Long Black Veil" and "John O' Dreams"-two of my personal favourites.
Enchante, who had kindly invited us over to their club in Lichfield earlier this year, performed, as their name suggests,charming material. I mean-a roomful of people in Beduff, belting out choruses in French,and with the locals in the bar next door not batting an eyelid. Enchante featured a double base-as did The Somervilles-the main feature, and were on last. Two new artises or "Beduff Virgins" as Malc cheekily kept referring to them as-were Karen(?) and Graham. Both solo singers. Both confident performers,strong voices and with distinctive guitar styles.
What splendid chaps The Somervilles are. We'd last shared a stage with them at Coventry's Maudslay Hotel. They were impressive then, and excellent last night. I had a good old chat to them beforehand. Nice to meet up with others who admit that occasionally they forget the words, drop a note, have to have set lists and music stands-and don't give a damn! With our combined ages of about 7000 years we have much in common! Their set featured lovely harmonies, tastefully arranged songs and thoughtful instrumentation. All delivered with panache and enthusiasm.
They started with a version of a song we also do occasionally-The Poacher. Same words-different tunes. Our version is acapella. Theirs fairly romped along. Like us too, they do a Nic Jones song. I couldn't help feeling that it would be nice to share a venue with them again, as I think our contrasting styles and combined Jedi wisdom would compliment each other.
You know,it has always saddened me slightly that a minority of Folkies living south of our part of Warwickshire tend to look down on Bedworth. Last night we joined some quality acts. The Miner's Arms in the town is one of several venues there. I worked out, whilst chatting to Malc Gurnham afterwards, that we had performed " On Bedduth Bank," our epic homage to the old mining community in something like nine venues in or around the town.For rivet counters amongst you, that includes The Civic Centre,The Con Club: The Black Bank, The Navigation,The Miners,The Rugby Club,and The Corner House. I don't reckon you'd get as many venues hosting live folk music in towns of comparable size in South Leicestershire or South Warwickshire.
Obviously, I'm biased. Warts and all my dad lived in Beduff for a while, and my daughter still does. Kenilworth,Rugby,Stratford Warwick or Oakham it aint. But last night (for free, with Doom Bar on draught and with superb pub grub added) you had every form of acoustic music imaginable. All delivered with passion, humour, intensity and real ability. On view were Artistes new to the area and old stagers like ourselves.
Malc and Gilly, (supplemented with various backing musicians),opened both halves. The usual mix of tuneful harmony balanced with Malc's relaxing guitar style. Brian Phillips, without Marie,sang a couple, as did Jan of Cider Annie. Already I'd heard "Long Black Veil" and "John O' Dreams"-two of my personal favourites.
Enchante, who had kindly invited us over to their club in Lichfield earlier this year, performed, as their name suggests,charming material. I mean-a roomful of people in Beduff, belting out choruses in French,and with the locals in the bar next door not batting an eyelid. Enchante featured a double base-as did The Somervilles-the main feature, and were on last. Two new artises or "Beduff Virgins" as Malc cheekily kept referring to them as-were Karen(?) and Graham. Both solo singers. Both confident performers,strong voices and with distinctive guitar styles.
What splendid chaps The Somervilles are. We'd last shared a stage with them at Coventry's Maudslay Hotel. They were impressive then, and excellent last night. I had a good old chat to them beforehand. Nice to meet up with others who admit that occasionally they forget the words, drop a note, have to have set lists and music stands-and don't give a damn! With our combined ages of about 7000 years we have much in common! Their set featured lovely harmonies, tastefully arranged songs and thoughtful instrumentation. All delivered with panache and enthusiasm.
They started with a version of a song we also do occasionally-The Poacher. Same words-different tunes. Our version is acapella. Theirs fairly romped along. Like us too, they do a Nic Jones song. I couldn't help feeling that it would be nice to share a venue with them again, as I think our contrasting styles and combined Jedi wisdom would compliment each other.
Tuesday, 19 July 2011
The Miners Arms, Bedworth Festival and The Boat
Three of us are hoping to make a cameo appearance at a relatively new venue The Miner's Arms in Bedworth tomorrow. Part of a recently-launched "Free and Easy" Folk session.
One of the difficulties with being a four-piece band (as opposed to a solo singer-songwriter), is matching availabilities to gigs offered. You don't need to be a mathematician to work out that this quadruples the variables for us, making the probability of accepting a date much more hypothethical. Framed in clearer English-we find it tough finding days each month when we can rehearse/play a venue. We have to operate a matrix in fact, with all holidays,family commitments,work schedules, gigs etc, inked in, months in advance. It doesn't leave much free time for Folking about.
For example, at one time this summer we potentially had ten places who had either offered or requested an appearance from us. (This is besides those venues who have asked us to get back in touch with them for a return spot) Both The Crown and The Horseshoes in Nuneaton are cracking Real Ale pubs for example, who put on Live Music. Julian and Mark have both said they'd like to put us on at their pubs. The Boat in Newbold would like us back after our erm, triumphal debut there last month. (See below). The Blue Pig in Wolvey is always ready to welcome us back. Plus we had invites to four private Summer functions, (all declined) and longstanding floor spots offered at Hinckley Act and The Miners Arms in Bedworth which we've yet to take up.
Personally, I really regret us not being able to play together publicly more. It seems so ironic that we got back together in 2006 after a huge gap (30years) and we're now writing and performing together as well as ever. If not better. It's very frustrating that we cannot do more. Also, being so evasive doesn't go down well with some publicans and/or promoters-I quite understand that. Speaking for myself I'd be much happier doing at least one floor spot a week. However, the other three lads cannot manage that and as I don't play an instrument that leaves our options fairly limited.
However: besides the Miners, two new diary dates are confirmed for the Autumn. Like London buses-suddenly two come along at once. We are definitely on the bill for Bedworth Folk Festival in November. We don't know on which days or where. As soon as we do I'll put more info on here. And we're delighted to reveal that we'll be taking a fuller Parrot Show back to The Boat on November 21st.
I think we've proved with our floor spot format wherever we go that we can do traditional and comedy folk combined. However, floor spots mean that you have to minimise the visual, cut down on the gags and keep introductions short and sweet. Hopefully at The Boat and Beduff we'll be able to share once again with an audience, numbers such as "The Wag of Shop 14" with the immortal Ryton Spanner Dance, and that homage to Folk Clubs everywhere " The Septic Monkey" with its spoof raffle. It would be nice also once more to air (if you'll forgive the pun)"Manure." And "The Bold Pirate" alongside a canal would be apt. (Or should that be "aft"?) Doesn't everyone love a watery swipe at over-cautious Health and Safety bureaucracy?
One of the difficulties with being a four-piece band (as opposed to a solo singer-songwriter), is matching availabilities to gigs offered. You don't need to be a mathematician to work out that this quadruples the variables for us, making the probability of accepting a date much more hypothethical. Framed in clearer English-we find it tough finding days each month when we can rehearse/play a venue. We have to operate a matrix in fact, with all holidays,family commitments,work schedules, gigs etc, inked in, months in advance. It doesn't leave much free time for Folking about.
For example, at one time this summer we potentially had ten places who had either offered or requested an appearance from us. (This is besides those venues who have asked us to get back in touch with them for a return spot) Both The Crown and The Horseshoes in Nuneaton are cracking Real Ale pubs for example, who put on Live Music. Julian and Mark have both said they'd like to put us on at their pubs. The Boat in Newbold would like us back after our erm, triumphal debut there last month. (See below). The Blue Pig in Wolvey is always ready to welcome us back. Plus we had invites to four private Summer functions, (all declined) and longstanding floor spots offered at Hinckley Act and The Miners Arms in Bedworth which we've yet to take up.
Personally, I really regret us not being able to play together publicly more. It seems so ironic that we got back together in 2006 after a huge gap (30years) and we're now writing and performing together as well as ever. If not better. It's very frustrating that we cannot do more. Also, being so evasive doesn't go down well with some publicans and/or promoters-I quite understand that. Speaking for myself I'd be much happier doing at least one floor spot a week. However, the other three lads cannot manage that and as I don't play an instrument that leaves our options fairly limited.
However: besides the Miners, two new diary dates are confirmed for the Autumn. Like London buses-suddenly two come along at once. We are definitely on the bill for Bedworth Folk Festival in November. We don't know on which days or where. As soon as we do I'll put more info on here. And we're delighted to reveal that we'll be taking a fuller Parrot Show back to The Boat on November 21st.
I think we've proved with our floor spot format wherever we go that we can do traditional and comedy folk combined. However, floor spots mean that you have to minimise the visual, cut down on the gags and keep introductions short and sweet. Hopefully at The Boat and Beduff we'll be able to share once again with an audience, numbers such as "The Wag of Shop 14" with the immortal Ryton Spanner Dance, and that homage to Folk Clubs everywhere " The Septic Monkey" with its spoof raffle. It would be nice also once more to air (if you'll forgive the pun)"Manure." And "The Bold Pirate" alongside a canal would be apt. (Or should that be "aft"?) Doesn't everyone love a watery swipe at over-cautious Health and Safety bureaucracy?
Tuesday, 21 June 2011
Afloat at The Boat
After being away many years, it was nice to return last night to that excellent Rugby pub "The Boat" sited alongside the canal at Newbold. Would have been even nicer if they hadn't run out of Draught beer. I'd forgotten how rough Carling was!
A cameo appearance from a full four-piece Black Parrot Seaside (hurrah!) at the Folk Club hosted by Chele and Pete Willow. Previously we've played The Merchant's Inn and Newbold Rugby club in The Town. We were well-received on both occasions, and last night made it a hat-trick.
It was a very high quality depth of field on show. A packed room with a responsive audience. Our good friends Brian and Marie Philips were in fine voice, as were all artistes appearing. Headlining were Three Dollar Tag with an appealing mix of American folk and gospel music. Steel guitar, banjos tasty fiddle playing and they even brought their own dancer. Hard to believe at times, out there in the sultry heat of a Warwickshire night approaching the Summer Solstice (!!) that we were still in England! Not out on the porch, with bullfrogs calling across a levee. Three DT's rousing versions of "Sweet Chariot" and "Amazing Grace" almost silenced the Rugby Massive who were noisily drinking Lager in the bar next door.
We got a fantastic introduction from Pete, always a staunch friend to B.P.S. We did a by now familiar sample of songs, opening with "Courting is a Pleasure"-our version of the trad. arr made famous by the great Nic Jones on his album Penguin Eggs. Two of our own followed-"The Odeon" and "Albert Balls." Both good hearty tongue in cheek Parrot mimicry with the audience making a brave attempt to join in with us on the ridiculously long choruses. It's always fun to see a folk club audience twitch as one announces " And now: A Bryan and Michael cover." And always a relief to see their eyes light up as they realise what we are doing to it!
We finished with our arrangement of Dave Goulder's emotional tribute to the steam locomotive, "Requiem For Steam." Just to show once more than we can perform the serious stuff alongside our lighter material. Before we released our last album, I sent Dave an MP3 clip of this version of his song. He was grudgingly complimentary about it,which is apparently about as good as it gets. Still performing in clubs in the Scottish Borders when not dry stone walling, our Dave. God help the sheep.
Some nice comments from people new to The Parrot style as they made their way out afterwards, and a couple of CD's sold! All in all a good night. The icing on the cake for us is that we've been invited back. Come Autumn we'll be doing a fuller set back at The Boat with a few more visuals and a little more audience participation. can't wait!
A cameo appearance from a full four-piece Black Parrot Seaside (hurrah!) at the Folk Club hosted by Chele and Pete Willow. Previously we've played The Merchant's Inn and Newbold Rugby club in The Town. We were well-received on both occasions, and last night made it a hat-trick.
It was a very high quality depth of field on show. A packed room with a responsive audience. Our good friends Brian and Marie Philips were in fine voice, as were all artistes appearing. Headlining were Three Dollar Tag with an appealing mix of American folk and gospel music. Steel guitar, banjos tasty fiddle playing and they even brought their own dancer. Hard to believe at times, out there in the sultry heat of a Warwickshire night approaching the Summer Solstice (!!) that we were still in England! Not out on the porch, with bullfrogs calling across a levee. Three DT's rousing versions of "Sweet Chariot" and "Amazing Grace" almost silenced the Rugby Massive who were noisily drinking Lager in the bar next door.
We got a fantastic introduction from Pete, always a staunch friend to B.P.S. We did a by now familiar sample of songs, opening with "Courting is a Pleasure"-our version of the trad. arr made famous by the great Nic Jones on his album Penguin Eggs. Two of our own followed-"The Odeon" and "Albert Balls." Both good hearty tongue in cheek Parrot mimicry with the audience making a brave attempt to join in with us on the ridiculously long choruses. It's always fun to see a folk club audience twitch as one announces " And now: A Bryan and Michael cover." And always a relief to see their eyes light up as they realise what we are doing to it!
We finished with our arrangement of Dave Goulder's emotional tribute to the steam locomotive, "Requiem For Steam." Just to show once more than we can perform the serious stuff alongside our lighter material. Before we released our last album, I sent Dave an MP3 clip of this version of his song. He was grudgingly complimentary about it,which is apparently about as good as it gets. Still performing in clubs in the Scottish Borders when not dry stone walling, our Dave. God help the sheep.
Some nice comments from people new to The Parrot style as they made their way out afterwards, and a couple of CD's sold! All in all a good night. The icing on the cake for us is that we've been invited back. Come Autumn we'll be doing a fuller set back at The Boat with a few more visuals and a little more audience participation. can't wait!
Sunday, 15 May 2011
Dave Coburn
Dave is a singer-guitarist from the past,now living in Suffolk. He doesn't play any more, but still remembers the 1970-1980 Folk era in Coventry with great fondness. I've been been chatting to his son, Mark recently. Mark is very interested in acquiring a vinyl copy of our mini-album "Roll It Up and Eat It" for his dad. ( He already has a copy of our latest CD and some radio interviews). Anyone who has a spare vinyl copy-Mark's prepared to pay good money for one. Please email me if interested.
Mark and I have also had a good reminisce about Steve Adams, and his album, which both of us have. Parrot once recorded some stuff with Steve at his place near Tamworth long ago. Wonder what happened to that? Mark and I are agreed that Steve's "Please Don't Leave Me " was a great favourite of ours.
Mark's been very busy shipping BPS stuff onto U-tube. You might enjoy this:
http://www.youtube.com/watch?v=nWhx251CSq4
- it's one of several video clips loaded by various Parrot-minded folk. Some good, and some not so good.
( Also doing the rounds on Facebook at present is a clip of a BPS-Borderline Crossing collaboration " Bring It On Home," which is a real collector's item, filmed at Bedworth Rugby club only a few weeks back).
Mark's dad used to be a regular at The Pitt's Head Folk Club in Far Gosford Street, which was one of Pete Willow's many folk initiatives. There's a poster featuring this somewhere on this blog and also on our website. Dave remembers sitting in on some of our songs during Black Parrot Seaside's Christmas pantomimes there, which makes him an honorary Parrot. In particular he remembers that song we used to do about dysfunctional field mice sitting under trees. Very Dadaesque, that one. Another Christmas song featured lyrics about Dave himself and Pete. Utterly defamatory, of course. Happy Days. There's a line about "wallpaper" in "Septic Monkey" that goes right back to that room upstairs at The Pitts!
Mark and I have also had a good reminisce about Steve Adams, and his album, which both of us have. Parrot once recorded some stuff with Steve at his place near Tamworth long ago. Wonder what happened to that? Mark and I are agreed that Steve's "Please Don't Leave Me " was a great favourite of ours.
Mark's been very busy shipping BPS stuff onto U-tube. You might enjoy this:
http://www.youtube.com/watch?v=nWhx251CSq4
- it's one of several video clips loaded by various Parrot-minded folk. Some good, and some not so good.
( Also doing the rounds on Facebook at present is a clip of a BPS-Borderline Crossing collaboration " Bring It On Home," which is a real collector's item, filmed at Bedworth Rugby club only a few weeks back).
Mark's dad used to be a regular at The Pitt's Head Folk Club in Far Gosford Street, which was one of Pete Willow's many folk initiatives. There's a poster featuring this somewhere on this blog and also on our website. Dave remembers sitting in on some of our songs during Black Parrot Seaside's Christmas pantomimes there, which makes him an honorary Parrot. In particular he remembers that song we used to do about dysfunctional field mice sitting under trees. Very Dadaesque, that one. Another Christmas song featured lyrics about Dave himself and Pete. Utterly defamatory, of course. Happy Days. There's a line about "wallpaper" in "Septic Monkey" that goes right back to that room upstairs at The Pitts!
Monday, 9 May 2011
Footie and Folk on a Sunday
I notice that lots of Folkies on Facebook like to add their helpful tips on performance and songwriting to their profiles. Well,I can heartily recommend warming up the tonsils before a gig by standing on the terraces with 3,400 others singing "Storer is a Nutter." As a vocal warm up exercise it's really useful. Watching my beloved Nuneaton Borough slip bravely out of the Conference play-off final at Telford yesterday afternoon was emotionally draining. By the time I'd taken to the boards with Black Parrot Seaside a few hours later, my voice had dropped an octave with all the shouting-but it was an ideal way to round off a challenging day.
Last night saw us featured at the Styvechale Folk Club in Coventry. We brought along some musical "friends" in Jackie Shipley, Brian and Marie and Malc Gurnham. Lots of other floor singers turned up, making the evening kind of...interesting. We also brought along a sizeable part of the audience. I counted 21 who had definitely come to see us, and quite a lot more familiar faces in the crowd. That might be no big deal for Bellowhead, but it made it quite exciting for us and enhanced the chorus singing! There were several Parrot Virgins (in the musical sense) there last night too. As always, it is great to look out at an audience and see the mix of emotions unfolding on their faces as our set gets into its stride. ("Did they really just sing that?" " Why is he putting on a high-visibility jacket?" " Good God No! Not a Beyonce cover?")
As a rock band, "Small Maladjusted and Mean" was often (literally) a show stopper for us. As Vance and I used to grapple over the drum kit at the Golden Cross or Warwick University,audiences were not always sure what was theatre and what was actually happening. " Bold Pirate" with it's abrupt ending is still in that genre.
For the rivet-counters amongst you, the set was:
Courting is a Pleasure*
The Odeon
Requiem for Steam*
Albert Balls
Coventry Lullaby
At The Septic Monkey
The Gravy Train
Black Jack David*
I'm only a Poor Little Rhino
Cockney Power
D.I.Y.
The usual eclectic mix allowing the boys to air their musical dexterity (!!) and yours truly to prance about like a fool. Those asterisked are to identify them as "folk songs" as someone last night incorrectly said that we don't do any. Perhaps that was tongue in cheek. If it wasn't, it's just wrong. Incidentally, "Courting" and "Requiem" are as sad as any finger-in-the ear laments about dockside farewells or the Brig Levantine sinking with all hands off a Cornish reef. (Perhaps people should listen to the words?). But you can have enough of that kind of thing, and three hours of hand-wringing, wailing and mourning can tax all but the purist. Which is why we mix it around a little, and always will do.
Next up is an appearance at "The Boat" (Newbold) in June, and hopefully a set at one of Nuneaton's many fine Real Ale pubs.
Many many thanks to those who sang, laughed and joined in with us last night. And to Rob and Karen for inviting us.
Last night saw us featured at the Styvechale Folk Club in Coventry. We brought along some musical "friends" in Jackie Shipley, Brian and Marie and Malc Gurnham. Lots of other floor singers turned up, making the evening kind of...interesting. We also brought along a sizeable part of the audience. I counted 21 who had definitely come to see us, and quite a lot more familiar faces in the crowd. That might be no big deal for Bellowhead, but it made it quite exciting for us and enhanced the chorus singing! There were several Parrot Virgins (in the musical sense) there last night too. As always, it is great to look out at an audience and see the mix of emotions unfolding on their faces as our set gets into its stride. ("Did they really just sing that?" " Why is he putting on a high-visibility jacket?" " Good God No! Not a Beyonce cover?")
As a rock band, "Small Maladjusted and Mean" was often (literally) a show stopper for us. As Vance and I used to grapple over the drum kit at the Golden Cross or Warwick University,audiences were not always sure what was theatre and what was actually happening. " Bold Pirate" with it's abrupt ending is still in that genre.
For the rivet-counters amongst you, the set was:
Courting is a Pleasure*
The Odeon
Requiem for Steam*
Albert Balls
Coventry Lullaby
At The Septic Monkey
The Gravy Train
Black Jack David*
I'm only a Poor Little Rhino
Cockney Power
D.I.Y.
The usual eclectic mix allowing the boys to air their musical dexterity (!!) and yours truly to prance about like a fool. Those asterisked are to identify them as "folk songs" as someone last night incorrectly said that we don't do any. Perhaps that was tongue in cheek. If it wasn't, it's just wrong. Incidentally, "Courting" and "Requiem" are as sad as any finger-in-the ear laments about dockside farewells or the Brig Levantine sinking with all hands off a Cornish reef. (Perhaps people should listen to the words?). But you can have enough of that kind of thing, and three hours of hand-wringing, wailing and mourning can tax all but the purist. Which is why we mix it around a little, and always will do.
Next up is an appearance at "The Boat" (Newbold) in June, and hopefully a set at one of Nuneaton's many fine Real Ale pubs.
Many many thanks to those who sang, laughed and joined in with us last night. And to Rob and Karen for inviting us.
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