History Shapes Us

History shapes us all, but history is not solely the domain of Kings and Queens, lords and ladies, bishops and high clerics. History is for all of us, and on 8th September the nation marked a major turning point in British history, with the death of a monarch who had reigned for an unprecedented 70 years.

Our history during that 70 years has taken many twists and turns. History is too often defined by conflict, and conflicts are caused by disagreements, or the lack of will to compromise between a small number of politicians. Conflicts come and conflicts go while most of us live on, trying to live in peace.

1950s

In 1952 Queen Elizabeth II came to the throne, and that December an estimated 4,000 people died as a result of a thick smog in London, prompting the Clean Air Act of 1956. Also in 1952, Britain had become an atomic power.

Blackpool FC, my home town team, won the F.A. Cup in 1953, the year of the Coronation, that latter event being celebrated where I now live in Berwick with the opening of Coronation Park.

There was continuing conflict in Malaya, Korea, and Kenya. There was the Suez Crisis in 1956. It used also to be known as ‘The Second Arab-Israeli War’, but the reference stopped in later decades when we simply lost count. In the same year British spies Burgess and Mclean emerged from the shadows in Moscow.

The first commercial TV broadcast was in 1955. Two years later Britain tested its first hydrogen bomb. I was born in June 1958 and six months later the UK’s first motorway was opened near Preston.

1960s

In the 1960s, British teenagers were freed from conscription, which in part fuelled the art, fashion, and music explosion of the ‘Swinging Sixties’. The contraceptive pill was legalised for all women in 1967, the Abortion Act came into force, and homosexuality was legalised. The following year the Women’s Liberty Movement staged a strike at Ford’s Dagenham plant to campaign for equal pay with the male colleagues.

The Cuban Missile Crisis of October 1962 was followed in 1963, by the disclosure that the British Secretary for War John Profumo was found to be having an affair with a woman who was also seeing a Russian military attaché. In 1965, the death penalty was abolished. In 1969, the ‘Troubles’ began in Northern Ireland.

England’s football team won the World Cup in 1966, a competition for which as hosts they did not need to qualify.

1970s

In 1970 the age of majority (and the voting age) was reduced from 21 to 18. The Equal Pay Act was passed, yet 50 years later women continue to struggle for equality in the workplace. In 1971, decimalisation came into being and two years later the UK joined the European Economic Community.

I went to the University of East Anglia (UEA) in 1976, and lived in Norfolk until 1981 when I moved to Bristol. I staged managed events at UEA for a few years from 1977. It was an incredibly exciting time to be involved in music. Punk Rock had exploded onto the scene in 1976, as youth rebelled against poverty and the lack of opportunity.

Bizarrely, three years later, that contributed to Thatcher’s rise to power in 1979 and she remained in post until 1990.  Strikes paralysed the country in the 1978-79 ‘winter of discontent’. In 1979, there was a partial meltdown at Three Mile Island nuclear facility in Pennsylvania. There was a significant racist threat across the UK and Rock Against Racism staged events between 1976 and 1982 that helped to curb the threat. I was at the Victoria Park rally in London in 1978 among many other similar rallies.

1980s

The ‘80s opened with riots on the streets in 1981, notably in St. Pauls and Barton Hill in Bristol, Moss Side in Manchester, Toxteth in Liverpool, Handsworth in Birmingham, and Brixton in London. Portrayed in the media as race riots, these were riots about poor housing, hunger, lack of facilities, and the racist attitude of some of our police at that time. In 1981, the women of Greenham Common set up their camp in protest at the siting of US nuclear weapons at the base.

In 1982, I met my wife. Two months later, Argentina invaded the Falkland Islands and ten weeks after that were retrieved by a British task force. A year-long Miners’ Strike began in 1984, and its impact continues to affect mining communities today.

Live Aid was staged in 1985 in response to extreme famine in Ethiopia, and we brought our new born daughter home just as Status Quo played their first chords. In 1986, the Chernobyl nuclear reactor melted down. A year later, having then moved to our house in Sale of 35 years, our son was born at Wythenshawe Hospital.

In 1989, we witnessed the tearing down of the Berlin Wall and the apparent death throes of Communism in Europe, and the Internet was born. At that time there seemed to be an atmosphere of hope.

1990s

The ‘90s started with the Poll Tax Riots, which contributed to Thatcher’s downfall in November 1990. I was driving into a petrol station in Cirencester when the news broke of her resignation. I remember phoning my wife for a small gloat. Was ‘hope’ actually being realised? In 1993, the UK joined the European Union, something Thatcher actually wanted to do.

The first Iraq War began in 1991 with the liberation of Kuwait. The Channel Tunnel opened in 1992, the same year that the Bosnian Wars began, and I started my international travels in earnest. That took me to the US and Canada several times, to India in 1996, and across Europe and Scandinavia, and into Russia on two occasions. How life can change!

My Dad died in January 1997. In 1997, Britain handed Hong Kong back to the Chinese. That same year, Blair began the first of his three terms in office. The following year saw the death of Diana Princess of Wales, which temporarily exposed cracks in the Royal personage. I’m sad when a public figure dies but I don’t grieve. That is for people who knew them well. A momentous year continued with devolution for Scotland and Wales, with Northern Ireland following in 1998 with the Good Friday Agreement.

2000s

Millennium bug fears having been dispelled for computer users, the new century began with the bursting of the dotcom bubble which caused company collapses across the world. Another type of bug, this time Foot & Mouth disease wreaked havoc across the country. Duncan and I were driving through Northumberland and into Scotland at the time roads were being closed off for the mass burnings of livestock in the fields of the Borders.

The Middle East was in turmoil. The Afghan War began in 2001. Then 9/11 happened, as Saudi Arabian terrorists flew two planes into the iconic Twin Towers in New York, with a further plane hitting the Pentagon in Washington and a fourth crashing into a field in Pennsylvania. I was driving back to my place of work from Sheffield at the time. Also in 2001, ‘Western’ attacks commenced on terrorist cells in Afghanistan. In 2003, Britain joined the USA in invading Iraq and Saddam Hussein was captured, eventually to meet his death by hanging at the hands of his compatriots.

I started my business in 2003. In 2004. The European Union admitted ten new countries. In the same year, Manchester hosted the Commonwealth Games, largely considered to be a catalyst for the growth in importance of the city and following up the rebuilding of the city centre following the IRA bomb in 1996, which we felt from our home six miles away.

2010s

Pro-democracy protests in countries across the Middle East began in 2010 and became known as the Arab Spring. While a number of countries stabilised, others notably, Libya, Syria, and Yemen destabilised and remain conflict zones today. People still suffer in those countries, and it is shameful.

London hosted the 2012 Olympic Games, and my brother Tom was the track official who led the first athletes – the shot putters – into the stadium. My Mum died in January 2013.

In 2014 I started to play the cittern. In 2015, I recorded my debut album ‘Moorscape’ and the rest is history.

Between 2016 and 2018, I travelled on business to Kosovo, Macedonia, Ukraine, Moldova, Georgia, and Mongolia. There are still no-go areas in Kosovo following the Balkan Wars of the 1990s. During the time I was in Kyiv in 2017, a Russian dissident was shot dead on the steps of his hotel, just one block away from mine, and an arms dump in the east of the country exploded, resulted in a ten mile exclusion zone being put into place. Moldova and Georgia now wait to see what Putin’s further imperialist intentions may be. Apparently our deluded government thinks we can sell our chicken to Mongolia, where they have probably the purest meat on the planet.

We had the Brexit vote. I was training export consultants in Kosovo five days after the vote to leave the EU. They thought we were mad. So do I.

2020s

The coronavirus pandemic struck the world in 2020, the year our twin granddaughters were born. They were the brightest spark from a very gloomy year.

The country continues to be in a mess. Fuel bills have been  hiked. Sewage is openly pumped into our rivers and the sea. There are more than 2,500 food banks in this, the 6th largest world economy, and they are running out of food. There were just 61 in 2008. The ugly spectres of fascism and racism are back with us, destablising, nasty forces that almost none of us want.

Dysfunctional and deluded career politicians run this once proud nation and scandalously, the new Conservative Prime Minister was elected by 013% of the UK population. Our NHS continues to be sucked into the hands of private industry, and lost tens of thousands of staff due to the insanity of Brexit. What next I wonder?

We moved to Berwick upon Tweed in January. I will retire from the day job in January 2023. Our daughter and her family moved to Hawick last month. Our son and his fiancée are to be married next month and are also in the throes of moving to these parts or somewhere hereabouts. The best of life goes on.

The King has replaced the Queen. The world is a different place from the start of her long reign, and the human race continues to shoot itself in the foot. I genuinely wish King Charles III luck in his new role, but don’t forget that we all have a role to play in making this country and this world a better place.

And I wish you all peace.

John

On The Road Again? Sounds Good!

Last night I had the pleasure once again to spend 90 minutes in the virtual company of the good people at Sounds Good. The best way it can be described is ‘madcap fun with great music’, and to those of a certain age ‘like a 21st Century Tiswas’. It’s like a cross between the sharp wit of a bunch of mates in a bar and a folk club, with guest artists delivering two or three songs every Thursday from 7pm.

I’ve been lucky enough to have played a few songs for Sounds Good on a few occasions now, and for me it has been an especially important outlet during the last couple of pandemic years. That hints at the purpose of the project, which is to lift people, to give everyone an outlet for their creations at whatever level. Everyone is appreciated and loved, supported and made to feel part of this very special community.

Sounds Good is run by the good people of https://www.rtprojects.org.uk/ in Durham, UK. The goal of RT Projects is “to help people who are enduring poor mental health to live a full life”. It’s a safe place to go, non-judgemental and welcoming. For some it has played a vital part in turning around their lives.

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Last night’s special guest was my good friend Matt Steady, who played two songs from his new solo, live, acoustic album “Closer” to be released on 6th May, plus one of my old favourites where the rhythm catches me out every time. Matt is a consummate performer, and delivered of his best, distracted not one bit from the disclosure (by me) that he is also a former World Champion Stick Fighter: https://www.youtube.com/watch?v=xCUUBcItitk

Sounds Good is by invitation only, but don’t let that worry you. Just ask and an invitation will be forthcoming, and wherever you are in the world you will be joining a community that cares, respects, and has fun. One of the things that the restrictions of the last couple of years has taught me is that there is always another way. My live performing was curtailed both because it wasn’t allowed and because I contracted long Covid for 18 months, so online outlets became very important in keeping my hand in.

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Musicians have learned that online has become an essential element in promoting their work and taking it to a new global audience. Although true live is returning, online makes it possible for those who can’t physically make a true live gig, whether through distance or illness, to still be able to enjoy the experience.

And yes, true live is returning to our lives albeit with tentative steps. I have a busy year ahead, with important birthdays and weddings delaying any thought of playing live until later in the year. Matt and I will be part of band playing covers at my son Duncan’s wedding in October, with Duncan taking the lead. After that, I will be looking to play live to an audience and live on radio shows…just saying!

It is with some pleasure that I can reveal that Matt and I will resume our live collaboration for Jane and Brian Clayton on West Norfolk Radio on Sunday 4th December. Each of us will play a solo set, followed by both of us returning to some old favourites to close off the evening.

Berwick to Norfolk via Leicester is quite a trek, so I will be looking for other opportunities in the South East around that date. Please message me if you have an opening for a minimum 45 minute set.

Peace

John

 

 

Living for Live

I grew up on live music. I have been hooked on it from the age of 15. On 5th May 1974 when I was still over a month away from my 16th birthday I went to see Deep Purple at Preston Guild Hall, just as the band released “Burn”, their first album with David Coverdale as lead singer. On 28th November that same year I saw Pink Floyd perform Dark Side of the Moon in its entirety, preceded by “Raving and Drooling” and “You Gotta Be Crazy” (which later appeared on the “Animals” album as “Sheep” and “Dogs” respectively) and Shine On You Crazy Diamond, with their final song of the evening being “Echoes”. I saw them repeat the set at Knebworth Park on 5th July 1975, with the addition of “Have a Cigar” sung by Roy Harper in a big red hat.

A couple of months before, on 18th April 1975 I saw Genesis at the Liverpool Empire performing the whole of The Lamb Lies Down on Broadway. Five days later I saw Yes at Preston Guild Hall. On Friday 2nd May it was 10cc at Lancaster University. The Reading Festival was held that year from August 22nd to 24th and me and Kieran Heaney and two other blokes in a Transit Van (with a family tin of baked beans and a bottle of whisky) saw the whole thing. Although Lou Reed and Richard and Linda Thompson each failed to appear, highlights of an incredible weekend included Dr. Feelgood in the pissing rain, Supertramp, The Ozark Mountain Daredevils, and Thin Lizzy. I saw Fairport Convention (the Sandy Denny version) on 14th October at Lancaster University.

My teenage (yes that’s me) was a wall of live music. I was at a gig of some form almost every week, and when I joined the Entertainments Committee at the University of East Anglia in October 1976, I had absolutely no inkling (other than a burning desire to see The Feelgoods again) of how dramatically music would change by the end of that year: prog rock to punk in 6 months. Name a British punk or reggae band from that period and we probably had them playing in our 920 capacity hall in the three or four years that followed.

Since then I’ve been on the front row for Springsteen, the fourth row for Springsteen, attended several Knebworths, seen Peter Gabriel, Roxy Music, Aerosmith in Cologne, Metallica and Iron Maiden at the Roskilde Festival, Muse at the Leeds Festival, and attended at least one Womad. There is no way of recalling the hundreds, possibly into the thousands, of large and small gigs of all genres that I’ve seen during my 60 years, but it’s played a big part in my own music and has been one of the mainstays of life in general. Most of the gigs have been amazing.

So not only did I go to gigs back then, I went to the very, very best gigs and could still afford to do so out of my earnings from temporary jobs. I think weekend tickets for Knebworth 1975 were £2.50 each. All these years on, I simply would not pay the hundred pounds or more it now takes to see top acts, with their performances more often than not choreographed and not very live at all. The future is in seeing new bands perform live in smaller venues. Larger venues have no soul. Many smaller ones have lost theirs under a blanket of identikit stripped oak and stainless steel. Many have closed, but some gems still remain. I saw Lankum at Manchester’s Band on the Wall last November and The Little Unsaid at The Live Rooms in Saltaire near Bradford last May.

For anyone who thinks the ‘live’ experience can be adequately replicated on YouTube, Vevo, and Vimeo, I promise you it can’t. You miss the atmospheres, the smells, and the anticipation between the time the road crew leave the stage and the band appearing. You miss the things that happen at gigs: Neil Young’s piano being lowered onto the stage from on high with only three of the four lifting hoists attached; Eric Clapton walking on in disguise and playing a couple of acoustic numbers before anyone realised; the tuning problems that Pink Floyd had before their Knebworth gig; the bruised hands after a Rory Gallagher gig due to clapping them too much, and a smile, a handshake and a word from the man himself as he boarded the tour bus; the heat as Rammstein’s pyrotechnics kicked into full gear.

You miss the ‘discoveries’. Jennie Abrahamsson, Wally, and back in the day Martin Simpson! The bands you feel you found first because you went to see a headliner and the support band blew them off stage: Halford (yep, Rob Halford formerly of Judas Priest), Philip Henry and Hannah Martin (now Edgelarks), Fun Lovin’ Criminals. The bands you went to see expecting something good but coming away feeling you’ve just seen the best thing since sliced bread: The Little Unsaid, Le Vent Du Nord, Julian Cope, Steve Tilston, Wardruna, and Andy Fairweather Low and the Low Riders. And you miss the joy, energy and emotion in the audience as favourite songs are played, or those moments of silence when you know you’ve just witnessed a stellar performance.

Live music shouldn’t be a backdrop for a restaurant, or drowned by chinking glasses or clattering cutlery, or worse the disrespectful insisting on continuing loud conversation at an acoustic gig, or constantly pushing past to go to the bar. Live music is a truly special experience and should be given its own space in time, without distraction. Live music, like all music carries so much more value than today’s world is allowing. So go to a gig, take it on its merits, but be prepared also to be amazed.

#LOVELIVEMUSIC

This Is Folk Music

“This hasn’t happened in 16 years” was the refrain as Ali Karim tried to understand why just one small vocal section (albeit stacked to the rafters and then merged) caused my new song ‘Peace’ to cause his Protools to freeze – if freeze is the right geek word…if merge is the right geek word! Anyway it pissed him off big time because he spends half his life making sure all his own hardware and software is secure, and that all the music he has helped to create for various artists over those years is never affected by ghosts in his machine.

This was external to his own system, a problem that he could have done nothing about, and while it was probably a one in a million failure (his words not mine), it was nevertheless a failure of a system he largely trusts and knows like the back of his hand, and probably the front of it for that matter. Part of the frustration was that we were at the end of the third and final version of a song that he thinks may be my best yet, the album version. So it added 90 minutes to an already long, if fulfilling day. I should add that during the current recording we have both come out of the studio after each session declaring we have just produced the best song yet, which may or may not be true, but it shows that we are continually trying to break new ground.

Many people still view ‘folk music’ as the music created by bearded old men with hats and sandals playing the spoons with one finger stuck in an ear, and ladies in dresses adorning proceedings with beautiful voices. But it is the music of folk, of the people, and the closest thing to an accurate representation of social history that you will find throughout the ages. So it carries both historic and contemporary context. The night previous, Ali had been to a reggae gig in town with Hak Baker in support. His music may not be everyone’s idea of folk music but it is. It tells a story from a different perspective but it is very much in the folk song writing tradition.

At the end of our frustrating but ultimately successful day, Ali’s Mum Adela asked if I had seen Karine Polwart on the One Show. I had not. Because I can’t bear the One Show in all its BBC cheesiness, but I did know she was going to appear. Having never heard Karine Polwart before, Adela was both surprised and hugely complimentary about her innovative style, and there is no doubt that she is one of the leading lights of contemporary folk music right now. I’ve been into her music for some time and she just keeps getting better. Yet the folk purists would probably not always see Karine’s work as folk music, beautifully sung and produced as it is. Nor would many see the work that Ali and I put out as pure folk music, with or without The Folded Arms.

At the end of it all there is ‘traditional’ folk music and ‘contemporary’ and both labels enable the music industry to neatly pigeonhole musicians into genres to help focus sales for the big distributors. However, they don’t always get it right because when iTunes first came on the scene Cliff Richard’s ‘Carrie’ was listed under the ‘folk music’ genre. I should declare at this juncture that I was not searching for Cliff’s songs because I can’t abide most of them, I was searching for ‘folk music’, but quickly gave up when I realised the dysfunctionality of Apple’s pigeonholing at that time.

Yesterday, amid all the collective anxt, we produced an acoustic version of ‘Peace’, and album version, and Ali’s own interpretation of the song which is utterly beautiful. The lyrics are exactly the same and the voice is the same in each of the three versions, therefore each remains a folk song in its own way. So don’t judge music, don’t put it in comfortable boxes because these are boundaries that shouldn’t exist. Just enjoy the music.

#Inheritance will be released in October. Look out for gig announcements. You won’t have to look far!

In With the Old, In With the New

I recently bought a new guitar. The reason I decided to buy it is that while I have a number of guitars the black Eko Ranger that I like to use for live gigs, and on which I am basing the new album “Inheritance”, is showing signs of age. I acquired it in a swap deal in 1977 and it’s the guitar I have played the most during those 42 years, and which most visiting guitarists will have played. It’s the instrument I used to use when singing Jenny and Duncan to sleep back in the day, which often involved raucous renditions of songs such as This Land Is Your Land and Belfast Child as well as a number of toilet humour self-penned numbers to give them a final laugh before finally succumbing to the Land of Nod.

The Eko didn’t cost me much. I got it in a swap deal for a 12 string Hoyer that I’d bought a couple of years before, but I could never get to grips with the thing. First, I wasn’t a great guitarist anyway so to take on a 12 string was definitely a step too far and more of a pose than anything. Second, its machine head was so heavy that it was difficult to hold and with a high action that I didn’t know I could cure back then, it was difficult to play. Neither was an expensive guitar, but sometimes an instrument just suits you and sometimes it doesn’t and the Eko has stood the test of time.

Old guitars need to be cared for and recently I have given the Eko a bit of a battering. It has a particularly beautiful tone, and we have found a technique for getting every ounce of tone out of it during recording, for both fingerpicked songs and thrashing chords. At times it sounds like more than one guitar, its sound sometimes mistaken for a bouzouki, but it’s just a mass produced guitar that became my gem. It has allowed me to play around with tunings that many guitars would not be able to handle, and it has never let me down.

I only had a pickup fitted to it a year or so ago, and I was sceptical whether it could sound better as a semi-acoustic that just an acoustic guitar, but of course it raised its game again. It is now showing signs of its age, Its machine heads are beginning to creak a little. So after “Inheritance” it will be taken out of regular service and probably reserved for just one tuning when I decide to play certain songs live: Surveillance from The Breeding Ground Of Vile, and Land Pirates, as yet unrecorded and a song that may just stay as a live song.

I thought long and hard about a guitar I could use as my main gig guitar and in the end decided to buy a Guild from their ‘Westerly’ collection. I’d played one a number of years ago and then forgot about them until Kate (Folded Arms) borrowed one for a gig. My new guitar arrived a week ago and it has lived up to expectations. With my main instrument being the cittern I won’t overuse my guitars live, but the Guild and the Eko will give me the tunings and sounds that I want for my songs, and I feel I have everything I need. That is a nice feeling.

Links:

Eko Guitars: https://www.ekoguitars.it/en/about

Guild Guitars: https://guildguitars.com/guitars/acoustic-guitars/

Hoyer Guitars: https://www.hoyerguitars.com/about/#h

If Music is the Food of Love….

….then cake is the food of music.

It was after 1am on Sunday morning when I finally ate the tuna pasta salad I was supposed to have eaten after we’d set up my P.A. at St. Mary’s Church in Penwortham before the gigs kicked off on the Saturday night. It’s okay though. It was still in a cool box, so food poisoning does not appear in the list of ailments from my weekend at Penwortham Live.

Our weekend of music started the previous afternoon when Matt arrived from Leicester for our 50 minute drive to one of Penwortham’s fish and chip shops, where we ravenously devoured our cod and chips. There was still an hour before we went to our separate venues, so we camped in Bon Bon’s Coffee shop where we had enjoyed cake last year, and enjoyed more cake. Our eyes were definitely bigger than our bellies, but soon the cake was no more and we waddled back to the car park for our instruments.

Actually Matt added a slight limp to his waddle because he had arrived with a bad back, for which I had donated a half tube of BioFreeze. The waistcoat I was wearing was full to bursting, and as I took to my shop window stage at Aphrodite’s Health food Store there was real concern about the possibility of popping buttons causing injury or death to the wonderfully attentive audience. This was my ‘quiet’ set, a more folky feel for a small venue and it seemed to go down well. Then off to park up at St. Theresa’s Community Hall before a solo gig between two rock bands.

Marginally less bloated, I was able to watch most of the set for the band on stage before me as I supped on a pint of horribly sweet orange squash, then it was my turn. It was a big village hall with seats around the side and a big empty dancefloor in front of the stage. So I would be projecting my sound about 30 yards into the distance where a bunch of people were hogging the area much closer to the bar. As I was setting up with the sound engineer we found there was no sound coming from my preamp. We tried everything, changing leads, trying leads direct into my cittern, checking batteries, but it was having none of it so I had to ditch the effects.

The fabulous thing about a cittern in a large hall is that its resonance becomes more resonant. It is one of the loudest (if not the loudest) acoustic string instruments, so plugging into any kind of amp tends to fill a hall. By the number of people approaching me afterwards to ask “what is that instrument?” I don’t think there were too many people in the audience who expected a one man acoustic set to carry such beef! This was the first time I had played “How Do You Grieve?” live and it was well received for such a miserable song!

Emma and Kate were playing at Bon Bon’s, having already wowed the Golf Club. So Matt and I reconvened there, watching from outside the open doors and not daring to venture in for more cake. However, there was no resisting the M&S chocolate orange marshmallows that the girls sent us away with for our drive home. Tea, whisky, sleep, then the customary quality sausages from Taylors of Sale, before a dining room rehearsal of the band set for the evening. Matt is supporting Sam Jefferson in his lunchtime concert at the Bridgwater Hall in Manchester on 7th June, so Sam arrived just after lunch and I had the privilege of listening to the two of them rehearse “Sing Beneath The Sun” as I bollocksed about with social media.

Back to Penwortham, complete with cool box full of salad where we set up the P.A. Matt set off for his solo gig at the Tap and Vine while I managed the sound at St. Mary’s Church, where there were tables full of tea… and more cake. More cake than you can shake a stick at. Luckily because I was too busy for salad so I was also too busy for cake. With Matt and the girls also having gigs at 10pm, we rejigged the 9pm band gig set to enable them to get to their venues, which left me playing a few solo songs to close the set.

It was during “Where The World Is” that I suddenly felt a crack in my right foot. For about 15 years I have had a calcified fusion of my big toe bone with the one next to it. So when the crack sent a pain up my leg I thought said big toe bone may have broken. I got through the set and forgot about this inconvenience while I watched the final band, and then single handedly dismantled the P.A. and loaded it into the car … “can’t be broken then” I thought.

By the time I had unloaded everything back into the house the damn toe was swollen and painful and kept me awake for much of the night, but I was up bright and early to drive over to Hebden Bridge to meet Kieran for a fabulous lunchtime gig at the Trades Club by The Unthanks, with Tim Dalling in riotous support! I was a complete waste of space for the rest of Sunday afternoon, but today helped to reconstruct a wall at my son’s house and have a foot that feels freer than it has for a very long time. Music cures everything except cake gluttony.

The Dullest Deluge Of Bland

A very long time ago in my youth, I worked a baloon machine for part of the summer on Blackpool Pleasure Beach. It was shaped like a circus clown, and had a red dot in the middle of its garish yellow conical hat. It also had a wand attached to the side with a magnet at its tip and a valve in the clown’s mouth. So when a customer came along to buy a balloon for their little one, I would place the neck of the balloon over the valve and tap the magnetic wand on the red dot to release a 3 second burst of helium to inflate the balloon, tie off the neck, and present it to the delighted child. At least, that was the theory. 

The theory all fell apart in Glasgow fortnight, famed for its nightly fighting in the Foxhall pub near to the Pleasure Beach. The number of children in the park reduced and the number of adults pouring out of the Foxhall at lunchtime proportionately increased for a few hours of playground fun before resuming their belligerent pub activities after 6pm. Originally there were two of us manning the machine, but after just a few days Chris was taken to hospital to have his appendix removed, and I was left in sole charge. 

Much of the time it was quiet, with just the occasional deliriously happy child being attached to a balloon. In those days the pubs closed their doors between 3 and 6pm, so around 3:30pm I was generally inundated with drunken Glaswegians each buying a 3 second burst of helium for direct into their mouths, creating yet another hilarious high pitched voice sound until it eventually wore off. Then just occasionally one of them would attach a condom to the valve. That got boring too, even when a hole was found. Dull. 

Most of the time it wasn’t very warm and I didn’t have any customers, unless you count that summer’s ladybird plague. They bite you know. So I  would have to listen to a diet of unspeakably dull pop records being blurted forth from a radio on an adjacent stall with its volume stuck on ‘only high’. It was 1975 and popular music had really lost its way after a few years where Glam Rock had breathed a bit of life into proceedings. My kind of music was never played on the main radio stations, so I had to tolerate this appalling racket daily. In the end, with just a few weeks left of the holiday before my final year at school, the clown machine owner asked if I would dress as a clown, so that rapidly became my last day! Anyone who knows me well knows I only do fancy dress parties as a gatecrasher. 

Mainstream music is currently repeating that awful history. There are some terrific new bands and singer songwriters who never receive mainstream radio play. The airwaves are once more dominated by cheesy feel good songs or a diet of bland that can only be compared to those desperate days of 1975. Back then it took bands like Dr. Feelgood to break us out of the malaise, and my sense is that it’s about to happen again. Not before time. 

The music awards generally signal when things have reached crisis point. I caught a few seconds of the BBC News the other night when a few of the awards were announced. “Oh shit. That’s not at all good” was my audible reflex reaction. There was nothing remotely new, nothing to inspire. And yesterday I was back in the studio chatting away to Ali Karim, and he has independently sensed something similar. A revolution is afoot. It won’t be punk, because I doubt anyone could fabricate a repeat of that spontaneous outpouring of rebellion, but something will happen, and very likely this year. 

When times are as challenging as they are right now, just as in the mid-70s, most people don’t want challenging further, preferring instead to lighten their lives with safe, unchallenging sounds. However there comes a point where even ‘safe’ stops doing it for people and the genie is well and truly let out of the bottle.  There is, thankfully, an increasing trend towards songs of protest or songs that carry political themes. It doesn’t mean that the writers are always campaigners, just that a trend is underway. From that trend the next Dylan, Marley or Joe Strummer may yet emerge. It’s a growing undercurrent that will certainly gather pace this year, but whether it hits the mainstream just yet remains to be seen. 

I’m currently on the look out for a secondhand clown machine, some cheap balloons, and a supply of helium. There was magic in that wand. 

The Last Day Of The Holiday

This is an account of two days playing solo gigs for homeless people at temporary centres set up by Crisis UK. Temporary. As I sit here writing this in the comfort of my own home, the many hundreds that Crisis volunteers will have helped in London alone are resuming their lives on the streets of the capital city of the 6th largest economy in the world, and the global centre of finance. How shameful is that? So you don’t have to read this, but if you want to read at first hand how Crisis help people in need, and the variety of people they help, please read on. It’s long, but I don’t really give a shit.

For my small contribution, I played seven 45 minute gigs for Crisis this weekend. Crisis kindly invited all performers to promote their presence at the various centres on social media, but I didn’t really feel comfortable doing that. This isn’t about me or the other performers. It’s about a crisis of homelessness that has been allowed to grow under successive governments and accelerated by this and the last. It is wholly unacceptable. 

Battersea to Belfast

After my long drive down from Manchester, I was led into the Food Hall via the shift office and set up my gear by the PA in a separate room. It was lunch time and most people were sat at tables eating and chatting away. The first thing that struck me was that it seemed to be hard to distinguish the volunteers from those who they were supporting. Crisis tries to find ways of giving people options that lead them away from their lives on the streets, and these festive events are one way they achieve that.

After a couple of songs I struck up The Drovers’ Trail and it seemed to grab the attention. One guy started shouting through from the dining room “it’s like Jethro Tull…” and then more bizarrely “…and Marianne Faithful!”. Various shouts of “do you do any Led Zeppelin?” and “do you do Metallica?” later, they finally realised they were just going to have to tolerate me, and the diners came into the gig area to sit and listen and sleep.

There was a contingent of young Polish guys and two or three older men from Glasgow and Northern Ireland, a mix that graced my final performance on the same venue just 28 hours later. There had been so many shouts for different covers I thought I’d better play one, and so picked out Belfast Child (Simple Minds) which went down really well. After the gig one of the Glaswegians came over proudly showing me all his Irish badges because he was actually Belfast born and bred, and thanked me for playing the song. Music is a communicator.

A number of people were curious about my cittern. Nobody had seen or heard one before, so I was able to explain what little I know about the instrument, and it added an extra dimension to some of the later performances. But I didn’t do Metallica. The nearest I got was hammering out a few lines of Wild Thing towards the end of the set.

The Bright Lights of Bermondsey

A bigger, brighter, modern City Academy greeted me after I’d struggled for a street parking space, eventually landing in a “Permit Holder’s Only” space just a few minutes’ walk away. Here there was a properly set up stage with an appreciative audience of about 50 people, with others drifting in and out of the atrium where I played. It was very hot in there, but the gig seemed to go well and the sound guy was excellent. Again the cittern drew curiosity, and I returned to my un-ticketed car (unless they got me via CCTV!).

Hackney Hell?

I arrived in the hall to find a karaoke session delivering its final couple of songs, with this smiley big guy belting out Frank Sinatra numbers in front of a packed early evening crowd. I was starting to feel jaded after my long day, but soon plugged in and started to play. Everything seemed to be going okay until about the fourth number when this diminutive woman walked straight in front of me and told me loudly “Stop it, it’s fucking rubbish!” I told her she wouldn’t have to wait too long before I was off elsewhere, but she continued to stamp and shout for the rest of the gig while volunteers tried to create a diversion, but not before she had somehow appeared behind me in the stage area to thump me between the shoulder blades mid-song!

The only other incursion was when a guy with dreads walked up between songs. I thought he was a volunteer but it transpired not. He asked me to put some more volume into my voice because he wanted to hear my lyrics. I think it might have been the PA because my voice was already straining. He seemed to be listening intently for the remainder of the gig though, which generally went down okay. It was the only venue in the two days which had a slightly unsettling edge but it was then explained to me that it was the penultimate day for the Crisis centre, so people were starting to get a bit down for the last day of their holiday. Well, wouldn’t you?

Live in Leytonstone

The final gig of my marathon day was at a temporary women’s residential centre in Leyton. They had texted me earlier to check I was still intending to perform. For some reason, they had struggled initially to find performers but I never discovered the reason why. I arrived and was able to park on the street, legally this time. This was a secure building with electric gates and an intercom, and I was escorted to and from the stage area.

A combination of that ‘end of day’ feeling plus the ‘holiday’ drawing to a close meant that this final gig was a little subdued, and it felt like it was more to benefit the volunteers than the rest of the women but that was still a privilege. I left there feeling it had been a decent gig with feet tapping to a number of songs, Belfast Child again being picked out as a song they liked, and the cittern drawing attention.

Peace and Quiet in Palmers Green

I eventually arrived at my mate Steve’s place in Palmers Green at about 10:30pm. I was utterly exhausted, losing vision in my right eye and developed severe cramp in my fingers. Back to first world problems for a 60 year old man I guess. Steve hadn’t had a great day so we sat and talked into the early hours. The overriding impact of the day was that much of the time I found it hard to tell the difference between homeless people and volunteers. Some comply with the archetypal image but many have just hit hard times, and for a variety of reasons. When you look around society you see there are those who have everything in life yet lack the dignity that many of these people showed, and I went into a deep 6 hour sleep with that thought.

Croydon Clearance

I was allowed to park in the college principal’s space for this one. No big deal because he/she would be enjoying their Christmas elsewhere while Crisis took over their building. There is an astonishing level or organisation that goes into just one of these centres, and my two days took me to six different locations. So first of all, I am full of admiration for the great work Crisis are doing, and secondly, I join them in hoping that one day their centres will become redundant.

After a two hour drive through Saturday traffic and one diversion due to an accident, I set up again. The holidaymakers had just had their lunch and a number felt sleepy, while others played table tennis or joined in art classes at the back of the room. I started up to shouts of “Can you do a song by The Specials?” and eventually that group of four young-ish guys left the hall, followed by others. While my music may have driven people out, it was explained to me that there is a lot of drifting around because people are trying to get the most out of their short period of respite.

I have always felt that if just one person appreciates or shows interest in my music I feel it’s been worth it, and as I was packing my gear for another gig at a different venue in Bermondsey, a Latvian guy called Janis came over to ask about the cittern, and we had a long conversation about music that led us through the Jethro Tull thing, and into how he grew up with underground music back home at the same time I enjoyed limitless progressive rock and later punk. We talked about illegal radio plays recorded onto x-ray films and a whole range of ingenious methods that he and his friends used to access the music of that time. Then I realised that actually Janis wanted to continue the conversation way beyond my departure for Bermondsey, and it took several goodbye handshakes before I was finally able to make my escape.

Crisis say that a smile, a friendly face, or expressing an interest in the lives of people like Janis outside their homelessness can make a difference. Just like the guy I met in Manchester who inspired my song Wine & Whisky, Janis had bright eyes and an intellect that should not have led him to where he was. He was about the same age as me, 60, and we were able to connect because of our common interest in the music of our youth. There is always a way you can find to connect. You just have to take the time.

Back to Bermondsey

I chose to do the Crisis gigs in the first place because I keeping finding myself feeling intensely angry at the level of rough sleeping, couch surfing, and temporary accommodation that so many of our politicians seem to be prepared to live with. I regularly walk around the city centre of Manchester, and it is impossible not to notice the increasing numbers of doorway sleepers, yet people ignore their fellow human beings. The Tory Party are driving the current agenda, but Her Majesty’s Opposition is not entirely free from guilt because the level of homelessness in this country was also unacceptable before 2010. Initiatives driven by organisations like Crisis, Shelter, and others are given some government funding, but government numbers fail to impress unless there is a clear demonstration that they are also seriously tackling the underlying reasons why people find themselves living on the streets. Making my small contribution for these two days gave me a focus, and helped me to learn more.

One of the things that I find most unacceptable is that many of us DO walk on by, avoiding eye contact with people whose desperation we cannot begin to understand. We don’t care enough. We need to try more. Not enough people are showing the kind of anger on this one subject that might force politicians to significantly improve the level of support they provide, and to make genuine moves to eradicate homelessness. I am not naive. I do understand that eradicating homelessness completely is unlikely to happen, but I cannot accept a situation where in just eight years, the number of people of all ages forced to sleep rough on our country’s streets has increased from 1,768 to 4,751.

This second Bermondsey venue felt really good. It was a full hall (with obligatory table tennis) and an appreciative audience of up to 100. I arrived to find the previous act just finishing off. This guy was singing to a backing track, had the best smile I’ve seen in years, and a voice to die for. Don’t you just love following people like that?!! We had a chat during changeover and it transpired that for several years until 2015 he was living on the streets himself. Now he lives in a warehouse and runs several businesses. I could have talked to him for hours, but he had to move on to his next gig. He absolutely oozed positive attitude. There are many others like him who have not been able to take their opportunities, and that is why Crisis is there to show the way.

This was the nicest of the seven gigs, and being the sixth I was starting to flag again but they say a good audience can carry you through, and it did. I loved every minute, and again had the cittern conversation with a couple of guys at the end, one of whom told me he sold specialist cigarette lighters in places like Chelsea and Putney by way of earning his living. A Portuguese guy joined in the cittern conversation which led so far into the history of string instruments (Guitarras de Portugal) that I was in danger of being late for my final slot back at Battersea.

They Call it Battersea for a Reason!

Being occasionally utterly thick, I hadn’t noticed until I was on approach that my final Battersea gig was at the same location as the first. So this was “Battersea – The Return”, or maybe “Batters he”? Read on. I arrived in the gig area to find a bunch of Polish and Glaswegians having a boisterous rave to music one of the volunteers had on her phone. There was jumping (low false ceiling), somersaulting, and shoving and occasional breakdancing to the ensuing cacophony, and one of the ravers knocked over the mic stand I’d just set up in his (possibly substance fuelled) exuberance.

I decided to switch my set around and play more lively numbers in the early half, even though these guys were supposed to be going for their evening meal. I have never seen anyone dance to The Drovers’ Trail before! It carried on into The Cart when two of the Polish guys invited (or pulled) a couple of young women volunteers on to the dance floor, whereupon all hell broke loose. I played and watched while the (70 year old?) Glaswegian from Belfast who I’d encountered on my previous visit, tried to wrest one of the girls away from the boisterous Polish chappie. After a few handbags at ten paces threats from both sides, the Polish guy shoved the old man across the room and he landed on the floor bashing his head against a chair. He got up and continued the argument. Then others joined and it was hard to work out who was trying to calm the situation and who had become another protagonist. I finished the song and just played my cittern as the whole scene unfolded in front of me, tempers were calmed, and protagonists separated. Oddly, it was possibly the finest piece of instrumental cittern playing I’ve ever achieved. It was calming for me, so hopefully it was contributing to an improving atmosphere.

I slipped a few quieter songs in until bums were back on seats again, declined a Slovakian guy’s request to play tunes on my cittern, and had yet another conversation with someone else about citterns before finishing off with a few more songs, culminating in The Wood, and receiving warm applause from those who had come to listen. I left there bring not entirely sure who had been entertaining who. It transpired that the old Glaswegian from Belfast had not taken his medication and everything seemed calm by the time I left, with everyone shaking hands.

It was the last night of their holiday.

“Come Along & Join Us…”

Time flies. It doesn’t seem a whole year since the excitement was building around the first Viva Musica! event at The Fuse, and the panics were beginning to set in about whether or not everything would be ready, and whether the event would work. By this time last year Miguel and I had put in around 7 months of effort in terms of the planning, and countless others had added their contributions and pledges of support, from technical to catering, from music rehearsal to decorating the place. That was an ‘invitation only’ event. This year we have two events, one at Levenshulme Old Library on 13thMay and a second at Todmorden Unitarian Church on 20thMay. This year’s events are for all.

Events Ethic

Viva Musica! events are all inclusive, irrespective of age or ability. Inclusiveness is really important to us. You make a record and then it’s done. You do a gig, and then it’s done. There has to be something more to offer than just a record, or just a performance, no matter how good the end result. Records and gigs create memories but they do not sustain dreams. Some who attend Viva Musica! are not aware they have a skill, some get the opportunity to play an instrument they may never have played before, some simply have a love of playing music. So bring along your instruments and your voices. That is what Viva Musica! is all about.

So what do the events entail?

There are two parts to a Viva Musica! event:

  • An afternoon music workshop that is free to all.
  • An evening gig by a number of collaborative performers

 

The afternoon session is all about empowering people to play music. It comprises a brief introduction followed immediately by a talk about a specific instrument, a song writing journey, or music experience. An open jam session (or several different sessions) follows where a musician will lead the jam and everyone else just joins in. You don’t have to worry about ability because it’s the taking part that counts. The event is finished off by a second short talk and brief performance.

The evening session comprises several gigs by independent recording artistes, with all the proceeds going to the community facility that hosts Viva Musica! The artistes themselves can sell their CDs and merchandise, but also benefit from video recordings of their performances to use as and how they wish.

Viva Musica! builds confidence, and last year’s event is proof of that:

Matt Steady from Leicester who plays violin, bass and Uilleann Pipes on my recordings went on to support Under A Banner from Wolverhampton at a Midlands gig. UAB did a rare acoustic gig at The Fuse and have done a number since. Matt also recorded with both me and The Lewinskies who are over from Nova Scotia to join us again this year. Emma Perry and Kate Ferris were brave enough to do their first acoustic gig for last year’s event and recently recorded their first song, a cover of Green Light by Lorde. Emma and Kate also support my music, and recorded for The Lewinskies. The Lewinskies meanwhile have added their magic to my recordings and will be adding more during this year’s mini-tour. I have recorded for my son Duncan Reed, and he has added vocals to my latest album. Kieran Heaney adds original and innovative guitar sounds to my recordings and has also recently recorded an instrumental piece. Who knows what can happen from here!

This year we introduce Sam Jefferson to our collaboration. Sam is a super talented folk-blues guitarist who helped us out last October when Duncan had to step out of a series of gigs. He has already recorded on Matt’s Echoes of Albion album, and will no doubt contribute to other recording projects within the group. The collaboration needs new blood if it is going to continue to grow, and we are delighted to have him on board.

   

   

    

   

That was last year. This is this! This year we introduce Sam Jefferson to our collaboration. Sam is a super talented folk-blues guitarist who helped us out last October when Duncan had to step out of a series of gigs. He has already recorded on Matt’s Echoes of Albion album, and will no doubt contribute to other recording projects within the group. The collaboration needs new blood if it is going to continue to grow, and we are really pleased to have him on board.

Where to find us:

The ticket links for the Viva Musica! evening gigs on workshop days are as follows:

Levenshulme Old Library, Sunday 13th May 7-10pm: http://fatso.ma/rY7A

Todmorden Unitairan Church, Sunday 20th May 7-10pm: http://bit.ly/2HI1pp8

Otherwise, please keep looking in at the Waldeaux ‘Gigs’ page and you will find a list of where to find me, some of us, all of us, or some of them playing live. Please go along and give them your support. “Come along & join us…”

They Hid Chris Rock!

We can accuse the BBC of many things: some accuse them of being pinkos, others that they are the mouthpiece of the establishment. With the exception of some notable documentaries, there is little doubt that in the last ten years or so they have increasingly been watching their ‘ps and qs’. I can have some sympathy with that as long as they continue to deliver at least some quality programming.

Early this morning I read the following article about how the comedian Chris Rock has banned mobile phones form his forthcoming tour. By midday it was submerged in the Entertainment & Arts section that few people probably ever delve into, and I only did because I was trying to locate the article for this piece. So here is the link: http://www.bbc.co.uk/news/entertainment-arts-42851434

I went to see Julian Cope at Manchester’s Band on the Wall a few years ago and a man in the audience spent the first few numbers holding up an iPad by way of recording the whole gig, smack in the centre, right in front of Mr. Cope himself. He stopped after a volley of justified expletives from the performer himself, and there seems little doubt that had the guy truly been a Julian Cope fan he would not have been so bold. Or stupid.

Kieran and I went to see David Gilmour’s Pompeii performance at a cinema in Blackpool recently. It wasn’t until after I had watched it again on DVD that I became aware that at any one time about half the audience seemed to be holding up their devices to photograph or film part of the gig. In doing so, they missed half of the ‘live’ performance they had spent so much money getting to, in favour of being able to present a poor quality, ‘Look at me I was there!’ video on some social media platform or other.

What these people seem to fail to realise is that the device they are holding up for their own sense of smugness obscures the view of those behind them, and changes the level of lighting in the audience. It flies in the face of the atmosphere that is being created for a one-off gig like Pompeii. It also flies in my face because, as you will probably have sussed by now, it really pisses me off!!

I saw Pink Floyd several times in their heyday of Meddle, Dark Side of the Moon, Wish You Were Here, and Animals. There is almost no footage of any quality of any of those gigs, but I remember some of the details extremely clearly and can smell the atmosphere of those fabulous events. I’m glad I didn’t have a device to be distracted by, because that way my focus was entirely on the band I was there to see. Maybe that’s why the gigs of my youth are so firmly lodged in my memory?

So I am absolutely with Chris Rock, Julian Cope, and any other artist or venue who are trying to restore the ‘Live’ to ‘Live Music’, because it isn’t live if you don’t see all of it, and it disrespects the performers that you have paid (or not) to see. #LoveLiveMusic