Began with: "Death In Leamington. A poem by John Betjeman and a folk music experience," as I wrote on our BPS Facebook page after the post below. And then came radio silence on here during the rest of the month. Blogs are supposed to a regular thing, aren't they? Sorry about that!
Let's just say The Somerville didn't quite go as we expected, and leave it at that.
There followed, not so much inactivity, as a different direction during the rest of October. The Parrot Boys, being the diverse,interesting bunch they are,had other activities to pursue whilst yours truly attempted to extend his portfolio by doing some solo spots.
After many years cowering behind musicians, it can be quite intimidating performing unaccompanied material without any instrumentation. What it does do though, is provide an opportunity to revisit or rework material. At The Miner's Arms a couple of weeks ago,I was surprised to be asked to do more numbers than I had originally planned for. I opened up with "The Old Triangle". I often use this as a larynx-stretcher before rehearsals, but had never sung it in public before. I followed it with "Bonio Romeo," a BPS song with more canine puns in it than you can wag a tail at. In another existence, when BPS were a three piece, with myself and John Walker and Arnold both on guitar, we used to air this occasionally. Don't think Arnold likes it very much in this format, but the audience did, so there.
I finished the first half with "The Poachers Lament." This is a song we have occasionally done acapella,although we are currently working on a full musical version of it with a couple of jigs at the end courtesy of fiddle player Eddie. During the second half, I thought I'd try "Santy Anna," a shanty we used to open with when we ran the Bulls Head Folk Club in Brinklow. Now I like shanties, with their call and response, but the very mixed audience seemed a little glum about it. Probably would have gone better if I'd given them some ropes to pull? Preferably around my neck. Always one for a challenge, I finished off my contribution by doing a Ry Cooder-inspired cover of a Gospel song-"Jesus on The Mainline." The audience fared a little better with this,and together we got to the end of it without any tears. Amongst those also on that night were The Thruppenny Bits, Malc Dave and Gill, and a lady who did a very um, interesting version of Paper Roses.
At a fairly quiet Bedworth Rugby Club the following week, John Neal was showcasing his new CD. Brian and Marie sang with their usual panache,and I sang "Bonio Romeo" again and "Bring It On Home." In which the audience once again bravely joined in.
And so on to a new venue for me, The Bell at Monks Kirby,whence the Sly Old Dogs and Friends had decamped since quitting the pub over the road a few months ago. A nice big pub with a big room and a sizeable audience. Hosted by Pete Willow and featuring a plethora of talented musicians. Despite only living three miles up the road I got eyeballed by a few locals as soon as I entered the building. Very much like the New Kid at School. Possibly because of the Nuneaton Boro' hat I was wearing.
More instrumentation than Mad Frank Instrumentation was uncorked from boxes,bags,and by sleight of hand.Whole trees of the blooming things appeared. As the cases were unopened beforehand, I thought I might have stumbled into a Bring and Buy Sale by mistake.
A good Craic however, as the saying goes. Three halves, free grub, and a broad mix of performers and material. I did "The Old Triangle" and "Bring It On Home." This was atonement for the truly remarkable version of BIOH loitering on You Tube. My vocal there,guesting in with Borderline Crossing,sounds like Dr. John on Helium. I got a much more comfortable pitch this time.The audience sang along. I think drinking lager shandy instead of San Miguel definitely helps hitting the right register.
Considering that there were apparently three other Folk and/or acoustic events going on locally that night, I was surprised by the number of people there, the quality of musicianship, and the enthusiasm of the singing. Lots of traditional stuff, but I especially enjoyed a percussive version of "Copperhead Road," and Chelle's rousing rendition of "Wayfaring Stranger". Definitely going back-and I'm assured they'll have me.
As for the rest of November, as a four piece, we are having a London Bus Period. Nothing at all and then three gigs come along at once. Of which, more, much more, on this very spot, later.
Thursday, 3 November 2011
Sunday, 25 September 2011
Our Next Outing
We've been asked to take part in a fundraising Charity gig for "Somalia Aid" at The Somerville Arms, Campion Terrace Leamington next Saturday night. October 1st. There are six solo artists on the list to play, followed by three groups-The Chromatones, The Quiet Men and ourselves. Starts about 7.45pm apparently.
We'll be on last at about 11.10pm. Should be interesting. We don't get out to this part of Warwickshire very often. Played Warwick Folk Club a few times, but haven't been to Leamington since we played a folk club in a big hotel there many years ago.
We'll be on last at about 11.10pm. Should be interesting. We don't get out to this part of Warwickshire very often. Played Warwick Folk Club a few times, but haven't been to Leamington since we played a folk club in a big hotel there many years ago.
Thursday, 18 August 2011
Beside The Seaside
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.
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, 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!
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