6 Bells Web log Feb18 2020.

Another wet, windy February evening with treacherous driving conditions on route. Who would be prepared to come out on a night like this? On arrival, tumbleweed blew across the deserted car park and a funereal atmosphere pervaded the bar. Appreciating why some people would prefer to be in the coffin rather than give the eulogy at a funeral, I anticipated that hosting an open mic whilst simultaneously dying a death on stage would definitely constitute a double whammy; yet overseeing one’s demise in a near empty room might be the best I could hope for tonight, unlike the subject of my first chosen video, who ably copes with one of the potential pitfalls of performing live - but I’m getting ahead of myself.

Once I’d felt my way round the walls and turned on the lights, I was very grateful to see that Simon had set up the equipment. Due to circumstances beyond his control he was unable to attend that evening; oh, how we’ll miss your sagacity and wisdom, your dead pan drollery, your reassuring presence - your clearing away the kit at the end of the evening.

I settled down for a long wait as the hour approached. Could this be a first? Inevitably not, for in dribs and drabs, bodies emerged from the gloom to present themselves for inclusion on the list. By eight-thirty, we had the makings of a credible evening of eclectic entertainment. Twelve performers in total, prepared to play solo or à deux.

I kicked off proceedings with the Hank William’s classic ‘You Win Again’ followed by ‘City of Stars’ from the film La La Land. John B. then joined me for ‘Fall at your Feet’ by Crowded House and as a finale we played ‘Riverside’, originally by the 1970’s acoustic guitar trio, America.

I duly resorted to my default position of wildly casting around for reasons why my performance was flawed - it had to be the frostbite, the foldback, the feedback, the acid flashback…sorry Lance, the sound man will always be the easiest target. Unperturbed, John B. soloed with his self-penned ‘Homeward’, and very accomplished it was too. No sound problems there.

A new face on the scene was Anthony, playing an acoustic with the appearance of a beautifully figured walnut burl top - either that or someone had had a go at it with a blow torch. Notwithstanding, Anthony gave us two self-penned numbers, ‘My Plastic Mind’ and ‘Day by Day’ - both agreeably professional and very well received. Was it just me or was there a hint of Eau de Gallagher detectable in the room? Anthony warned us mid song of an impending difficult chord - to my untutored eye a B♭7, or possibly a C911, a Cm11 or was it just plain old fashioned C11? I wish you‘d let on, Anthony.

Abandoning his desk duties, Lance of Seaford (Retired) was up next to perform two original numbers entitled respectively ‘Pick up Yer Dog S**t’ and ‘Mustn’t Grumble’ - the former self explanatory, the latter an unapologetic, unashamedly audacious pro-Tory anthem. Who’d have ever thought that of Lance, our very own South Coast Billy Bragg? A little bit of devilment on my part there but as always, clever, topical, insightful and melodic songs.

Ella arranged herself at the piano, laser powered LEDs flooding her sheet music, and gave us Joni Mitchell’s ‘Woodstock’, one of the most beautiful songs from the Summer of Love era (and Joni wasn’t even there, opting instead to watch the coverage on television!). Multi-instrumentalist Ella is a dab hand at the ivories - and so immersed was I by her technique, that I failed to note her second song. I can remember that it was also well received.

Up next was the turn of Penny accompanied by Keith on his ES-175 archtop, a splendid instrument allowing his prowess over a whole gamut of jazz chords to be ably demonstrated. Penny made light work of the blues classic ‘Careless Love’ à la Bessie Smith, and followed up with the traditional 12-bar blues ‘C.C. Rider’.

Keith continued solo with the Rodgers and Hart Jazz standard ‘My Funny Valentine’ and then a formidable a cappella version of an original piece entitled ‘Telescope’. I trust I got that factually right, Keith.

The ever patient and accommodating Clive followed next with Gerry Rafferty’s ‘The Royal Mile’, a performance that pulsed with energy and evocation. Gerry Rafferty obviously had a thing for popular odonyms and his most famous song featured a saxophone solo by Raphael Ravenscroft, who sadly died aged sixty. Ravenscroft claimed that ‘Baker Street’ irritated him because his solo was flat. Never mind, it reputedly earned him £80,000 a year in royalties. Clive’s second number was his own original ‘Is it Summer so Soon?’ - if only, if only.

Now the turn of Lisa and Jason. Lisa told us that she had come across one of Jason’s discarded poems, which was rescued and turned into the lovely song ‘Cat’s Cradle’. This was followed by Stephen Stills’s ‘Helplessly Hoping’. True to the spirit of Crosby, Stills and Nash, Jason forgot his lines thus rewarding us with another round. Such close harmony and beautiful intertwined guitars…I’ll say no more.

John came armed with an acoustic plus a seven stringed electric to perform a number from one of the greatest albums ever recorded… there, it’s in print! If you ever saw Pink Floyd or one of the tribute bands (which can sound better than the original) ‘Breathe’ is the track that personifies Dark Side of the Moon in it’s entirety. This was followed by ‘Another Brick in the Wall (Part Two)’, a Roger Waters inspired epic of a number. Even in the environs of a folk club, it prompted the audience to light up their iPhones and sing along to the chorus.

Helga Dittmar enticed Keith to accompany her on Joni Mitchell’s ‘Carey’, a song inspired by the man she spent time with in a hippie cave commune on Crete (Joni, not Helga). There followed a sad blues ‘Too Sad to Sing the Blues’ which involved bashing the guitar top for percussive effect - as Helga explained, ‘it does make it go out of tune!’ There’s room here for a very funny domestic joke… but I’ll stifle the urge. There appear to be several incarnations of this desperate blues out there, but unfortunately whatever I noted at the time was washed off the page by my tears.

The evening was drawing to a close and with what remained, I elected to ask Anthony to return for one number and then draw names from a hat. Anthony chose The Who’s ‘Behind Blue Eyes’, a behemoth of a number, but ably carried off all the same.

Penny and the indomitable Keith were then drawn and returned for another troubled blues number possibly called ‘Troublin’ Blues’, but I can’t say for sure since at this point I was having trouble keeping a lid on my own emotions.

Lisa and Jason were drawn next and elected to perform ‘What a Wonderful World’ - and what a wonderful end to a night that had initially shown so little promise.

Thank you to all the performers, the regulars, Lance on sound duties and Clive for stage management.

It just remains to mention my chosen videos. John Martyn’s live performance of ‘Solid Air’ begins three and a half minutes in, after replacing a broken string with the aid of his teeth (he did enjoy a drink!). Although a virtuoso rendition, it’s also a masterclass in how not to present yourself on stage - but I doubt he ever suffered stage fright.

Pentangle’s ‘Light Flight’ was used as the theme from “Take Three Girls”, BBC1’s first colour drama series in 1969.

Finally, Cara Dillon’s ‘Hill of Thieves’, written by Cara and her husband Sam Lakeman who is also performing on guitar.

Salute, Mark

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Tuesday February 4th
  
It was a star- studded evening at Chiddingly.  -  But instead of studying the stars, we decided to play some music and sing some songs.

I  began with one of my own songs, 'Runaround', which gives advice about avoiding the type of woman that might  be trouble.   "That girl's just a Runaround - She's gonna bring you down -  She's gonna fool around with all the boys in town."      This song has a guitar solo in the middle, but I chose to play the solo  at the start, as an extended intro to the song. Have I ever mentioned that all my songs are available on line?   Yes I have.   ( Search Clive Woodman).

My second effort was a song that I was going to do two weeks ago, but I had a problem.  - I wasn't here two weeks ago, so I couldn't do it!    
   This was 'The Weaver and the Factory Maid'. a song done by Steeleye Span, as well as by many others.   In my video choices I have put the Steelye Span version, with Maddy Prior singing it as it should be done.  

 Some of you will have heard my story of Maddy Prior giving me first aid.   Some years ago,Kate and I went up to a three day music workshop run by Maddy at Stone Barn.   On one of the days, I fell down some steps in her house, and cut my knee quite badly.    Maddy leapt into action, and kindly bandaged me up.   I wonder how many other people could make such a claim?

 There was a new face tonight, in the shape of Derek Walmsley.  - Although he said later that he had been here years ago.   Brave man to come back a second time!
He gave us a cheerful cover of the Bobby Darin song -'Things.'     He managed to immediately engage us in audience participation, and we echoed the lyrics in the appropriate places, and 'Things'.   -  It's not often we get audience reaction so early in the proceedings.
Derek followed this with the song done by Gene Pitney 'Twenty four  hours  from Tulsa'.
My research tells me that the quickest time from Gatwick to Tulsa is 15hrs 40mins. (with 2 stops).   If you add to this the time from Chiddingly to Gatwick, and check-in time etc. - you could still get to Tulsa with plenty of time to spare.

 Mark  Lynch took to the floor now, with delicious 'Milk and Honey', a song from 1965 by Jackson C. Frank.        Then Mark told us of the influential style of Lonnie Johnson, who at one time played in Louis Armstrong's band.     Mark did a cool version of the Johnson song  'Tomorrow Night'.

But this is still tonight, and next up, we heard Jim A'Court, with two of his own compositions.       Jim told us some sad news about his bass player Gyn.   She is very seriously ill, and he dedicated his first song to her.  - 'Turning my heart'.     He followed on with his 'Get out of here'.    Thanks Jim, but we'll stay a bit longer.

Another new face tonight.   Christine Halpin.  Others have seen her before, but this was her first time here, and she gave us a couple of her own songs, 'Don't call me Baby ' and 'Not until the deal is done'    A very nice pure voice, and  guitar, and some clever lyrics. 

The 'Grand Master' was next on the list.  Simon Watt always gives us a cool and assured performance.    'Beauty Way' by Eliza Gilkyson was his first offering, followed nicely by Gillian Welch's 'Bar room girls'.    Simon assured us that he knows very little about bar room girls.
 
Lance Maleski has kindly been on the sound desk tonight, but I think he was relieved to have a break from it when his turn to sing came up.  He gave us two of his songs, the poignant 'This is war' came first, then 'No going back on love'.      I think he might now want to compose a song called  ' No going back on desk' !

Lisa Jackson and Jason Loughran make a very nice duo, with their calm vocals and gentle harmonies and pure guitar notes.  We heard their take on Bob Dylan's 'Tonight I'll be staying here with you', and then changing instruments for Mick and Keith's 'Ruby Tuesday', Jason took Lisa's guitar, and Lisa, instead of picking strings, was bonging a Bongo.
 
Manus McDaid was back with us tonight, and with one of his fine guitars he accompanied Helen Hall  as she sang the Bill Withers song 'Ain't no sunshine', followed by Curtis Mayfield's 'People get ready'.   Manus then stayed on to do his version of 'Singing the blues'.

Patiently waiting in the wings was Keith Willson,this time without guitar or piano, to read from his own book of poems.   He performed two of them with great gusto, 'Double bass seeks love', and 'The Jazz drummer'.
 
Keith stayed on the floor to be joined by Helga Dittmar playing flute to accompany his reading of 'Day job shoes'.      This was followed  by  an over - long preamble to introduce
herself singing 'Take heart', a song in German ( 'Ermutigung'), with Keith on guitar now to accompany her.    Although having waited rather long for it, we actually did enjoy it.

Luckily, there was still some time left before the end, so I invited Christine Halpin back again, and she gave us another of her own songs,' Partners in crime', and then I wanted Manus to do another, which was his version of 'Murrays bar'.  Helen also did an extra song, unaccompanied ,  -'The ballad of Lucy Jordan.'

To end the evening, Derek took the floor again, and managing to get audience participation once more, he sang the Ben E King song 'Under the boardwalk', with us joining in with the lyrics of the title.
 
So, a star -studded night, and a moonlit journey home.

Thanks to everyone who came tonight, and the usual admiration to all 'The Crew'

Clive Woodman

There was frost my windscreen when I set out but it was a cosy evening for those performers who came along to the traditional folk or whatever evening. We were all there on time for a prompt start which didn’t happen. Ooops. The number of performers was not overwhelming and there was a relaxed atmosphere. The extremes of temperature had upset several guitars. This was an evening of more than usual tuning time. With a list of ten performers/duos, we also had time for a second go around.

I began the evening playing a medley of traditional Irish tunes on a whistle having mentioned that, whilst a lot of traditional songs are about tragedy, death and loss of maidenhead, or just good stories, there is a vast amount of instrumental music for marching, celebrating, partying and dancing. I started with Dennis Enright’s slide, followed by Apples in Winter (a jig) then The Templehouse (a reel). I am no expert with a whistle and was doubtless not up to speed, but it was an interesting start. I played bouzouki to the song 10,000 Miles/Fare Thee Well/The Turtle Dove. The song has acquired slight variations and different names over time. 

Simon took on second position and gave us his version of ‘The Sussex Drinking Song’ which he had found in a book and created his own accompaniment. Ale was mentioned frequently, specifically ‘drinking strong ale with gentlemen’ as were the Downs and various places in Sussex. There was a line that said something about turning his face against the snow in November, so this is certainly an old song. November has become late summer now hasn’t it? Nicely done, thank you Simon.

His second song was a sea shanty kind of thing about walking the plank with a jolly refrain ‘Yo ho ho, yo ho ho, here’s to a dead man’s throttle and a dead man’s teeth in a bottle’. The later third song was ‘See what you lost’ when you leave this world, in his familiar country style.

I don’t remember seeing a piano accordion at the Six Bells before, but tonight Frank was playing one and started with ‘Wee Marie from Uist’ which Greg joined him on playing flute. The flute hovered and floated over the instrumental version on accordion of Edith Piaf’s ‘L’hymne à l’amour’ which followed. Their later songs were a version of ‘Greensleeves’ which at 500 years, Frank reminded us, was definitely an old song. Their last tune was a jig by Finnish composer Lars Hokpers.

As another first in my experience of the Folk and Blues club, there was a Coldplay song. John sang and he and Mark played guitar to ‘Fix You’. These were the first guitars to react to the variations in temperature. (I like enjoy listening to Coldplay) John continued with a solo version of ‘Let me Down Easy’ followed by Mark playing ‘Angie’. This instrumental was made popular by Bert Jansch in 1965, but was composed by Davy Graham and released as ‘Anji’ in 1962. There is a version of it by Simon and Garfunkel released in 1966 as ‘Anji’. On Youtube Paul Simon plays it with his brother Ed. It became a very popular piece. Last time Mark attempted to play this, there were various assorted gremlins in the sound system but this time it went very well.

Terry Lees sang us a song called ‘Canadie Isle’ about a girl being taken on board a ship dressed as a man and risked being thrown into the sea by the crew. In spite of the fury of the sailors at finding her on board, she eventually came to marry the sea captain and be dressed in silks and satins, like ‘the finest of ladies on Canadie Isle’. His very traditional folk music continued with a reel called ‘Princess Royal’ which is apparently a favourite with Morris Dancers. This was an intricate instrumental that might suggest needing more than the usual quota of fingers to play it. He played another instrumental later on: Miss McLeod’s Reel.

Chris Martin came to the stage next and mentioned Chris Martin (the other one) and how the fame of the other one lead him to change his name to CJ Martin and admitted that he liked the other one’s work. His guitar, apparently very unusually, had also reacted to the variation in temperature. His traditional intro was ‘Journey’ a CJ Martin song which lamented how ‘we find ourselves running out of time’. Time featured in his next song: ‘Tree’. He rescued a tree from outside Jayne Ingles’ door, so the story goes, took it home, planted it and watched it grow and reflected on the experience through this song. Later on he sang ‘Another Journey’, a song about the koi carp next door.

Jason and Lisa followed, having also to tune guitars. His first song ‘Simple Smiling Face’ presented under the name of Seamus O’Luterane was apparently in 13/27 time. Lisa added some percussion using a shaker and some lovely harmonies. Their second song which Jason learnt from his father was more in the blues tradition. This was ‘Glory of Love’, the one that goes ‘that’s the story of, that’s the glory of….’ by Big Bill Broonzy. ‘Black is the Colour’ (of my true love’s hair) is very well known Irish traditional song which was beautifully delivered as their third song of the evening.

Heather enjoys doing her research for folk evenings and tonight she started with a traditional song recorded by The Incredible String Band: ‘Black Jack Davey’, known by many other titles including ‘The Raggle Taggle Gypsy’ and hails from the Scottish borders, with it first being published possibly in 1720, in the Roxburghe Ballads. Like many old traditional songs it has many variations. Very nice. Her second song ‘The Water is Wide’, also known as ‘O Waly, Waly’ which she remembered being sung by James Taylor, but whose provenance is drawn from as far back as the 1600s and may reflect a true story of love that fades and goes cold. I love the sense of history around these very old songs too. Thank you Heather. Adding some humour to the evening, she later sang ‘Paddy McGinty’s Goat’ … ‘the angel with the whiskers on is Paddy McGinty’s Goat’.

Whilst we are in the realms of traditional folk, The Incredible String Band is worth a closer look. They became a strong influence of counter-culture in the 1960s, integrating a wide variety of traditional music forms and instruments. They were important in the development of ‘world music’. They were a hippy reaction to pop music and pop culture and the accepted norms of the time. One of the band’s founders, Robin Williamson, was a very accomplished multi-instrumentalist musician, songwriter and storyteller from Scotland. In1965 he recorded fiddle-banjo arrangements of traditional Scottish and Irish songs with Clive Palmer, a folk musician and banjoist and another founding member of The Incredible String Band (although he left very early on). In 1968 he recorded the live album ‘Wheel of Fortune’ with John Renbourn, well known for his guitar collaborations with Bert Jansch and his role in the band Pentangle. The Incredible String Band was established in 1966. The other founding member was Mike Heron, also a singer, songwriter and multi-instrumentalist. He played sitar, amongst other things, which was very unusual.  There were other members of the band including Licorice McKechnie and Rose Simpson. The band folded in 1974 but was reformed in 1999 and continued to perform with various line-ups until 2006. I remember listening over and over to the double album Wee Tam and the Big Huge released in 1968, as was their other very successful album The Hangman’s Beautiful Daughter.

Helga brought us sharply back from the realms of history and heartbreak of the past to a more current drama which happened within the past two weeks. She had travelled with her six year old granddaughter to meet family in Germany and all went very well until they arrived at the airport for the return journey when Sophia collapsed. Helga was at her bedside in hospital for two days. Fortunately Sophia has recovered and the emergency has passed. Helga usually plays flute or guitar, but at this point she sang ‘Lili Marleen’ a cappella, in German. Sophia had asked Helga for her ‘lullaby’ and she sang this for us this evening. This song was one of the greatest hits of the World War II period and having become the most popular song for the German troops, it crossed the boundaries of war to become popular on all sides. It was originally recorded in 1939 by Lale Anderson.
Supported by Keith on electric guitar, in one of their improvisations, Helga delivered a very jazzy/bluesy version of St James’s Infirmary. It was first made famous by Louis Armstrong in 1928. Keith played some very cool guitar and we were temporarily transported into a smokey jazz dive atmosphere.

In absolute contrast to the previous emotional intensity, Keith went on to sing that well known ditty from the nether regions out there somewhere: ‘There’s a Hole in my Skoda’. ‘Use Isopon dear Henry….. too wet dear Lisa … use hardener …. Try Halfords … ‘ the song went on in the usual ‘hole-in-my-bucket’ style and raised some laughs along the way. It is very funny given the reputation that Skoda had when its cars first came to the UK. When I was doing my degree in Brighton, a fellow student regularly got ribbed and teased about his Skoda, which did look like a tin box on wheels. Of course the Czech Skoda became a variation of VW in 1991 and the reputation changed. The song’s relevance is possibly pre-1991.

Keith followed this outbreak of humour with a pastiche of tunes/songs that rolled themselves together when Keith was looking out on the Chiswick flyover at some point in 1970 at 3 in the morning. His final song with Helga joining him on flute, was ‘The Slow One’ about meeting up again by chance after years of separation: ‘Dance the slow one and make the slow one last’.

And so we arrived at the end of an evening rich in content and interpretation with differing styles and different instruments.

With thanks to Simon for setting up, to Chris and Mark on the sound system and everyone who turned up, especially to those who played and sang something from the immense and wonderful catalogue of folk music. I concluded with a simple version accompanied by bouzouki, of ‘The Parting Glass’… ‘Good luck and joy be with you all……….’

See you next time, Ella

On a very mild but rainy Tuesday we gathered in the pub ready to start a new year of music at the Six Bells Folk & Blues Club. I started with “Soft Spot” with a little help from Helga on flute and Martin on base. I followed this with a Tom Paxton song “When I go to see my son”. Having got the evening started I then introduced Mark.

Usually any problems with the sound system are remedied during the first couple of songs but sadly, for Mark this was not the case. His first song was Donovan’s “Guinevere” and the next was “Running for home” by Bert Jansch. Playing this was made almost impossible because the main speakers were powered down and all the sound came from the monitor. Fortunately Mark got another song later in the evening “One Bourbon, One Scotch, One Beer” a Rudy Toombs song from the 50’s which, with the gremlins ironed out, came across perfectly. Sorry Mark, but thanks for running the desk for the rest of the evening.

Next we had Chris who excited the audience by announcing that his next blockbuster album “Born Grumpy” is soon to be released. Counting the days Chris. His songs tonight were “On paper wings”, “Dangerous moonlight” and “Little red car”. I can hear the jingle of his PRS payments from here – ooooh aaaah.

Then it was Helga’s turn to shine and she sang us the only song she has ever written called “Monday morning lovecrash blues” (great title) followed by a slightly funky version of “Matty Goves” thanks to some guitar work from Keith with Ella on the bodhran.

More original music followed from Bob and Christy a bluezy song called “Love song” and then “Silent night” (no, not the carol), finally, in the second half of the evening they gave us the James Taylor song “You’ve got a friend” this was just the right song and the audience joined in.

Time for Ella - our only pianist of the evening. The songs she chose were Sandy Denny’s “Who knows where the time goes” and, because her grandson James was one today, “Rockabye sweet baby James”, the James Taylor song.

Clive next with what else but his annual rendition of the Abba song “Happy New Year” and then a song from Local Hero written by Mark Knoffler. Lastly, to finish the evening he sang the Emerson Lake & Palmers song “Lucky man”.

Keith is a great songwriter and musician, he gave us “Have you ever” and the slightly raunchy “Brighton rock” before being joined by Penny for “C C Rider” and “Walking blues”.
Heather ignored the heckling from Chris and sang us Melanie’s “Look what they’ve done to my song Ma” with plenty of joining in by the audience. Then Carole King’s “Will you still love me tomorrow”.

Finally Lance, another singer songwriter who had been patiently waiting his turn gave us “You’d better eat your vegetables or you won’t grow” (well it is Veganuary) and “Gardeners world”.  

Thanks again to Lance for the sound and Martin for the base line.

My videos - I have chosen a little Country with Rodney Crowell, Roseanne Cash and John Paul White. Some cool jazz from Postmodern Jukebox (nice) and lastly the little guy Lafka Gravis from Taxi’s (you remember, with Danny DeVito)  doing an imitation of Elvis Presley.

What a hectic and fun time! Opening the evening, and being completely overwhelmed by having thirteen acts at the start (there were more to come!), I arrived at the microphone having forgotten both to decide what to play and to bring my guitar on stage. I didn’t fancy parting the throng to get to my guitar at the back, so deep from my musical unconscious I sang Leadbelly’s Grey Goose accompanied by beautifully in-time handclaps and chorus singing from the audience.
 
Gathering Storm is a new three-piece band featuring Lance Maleski on vocals with Mark and John on guitar and electric bass. They played Hendrick’s Red House and Clapton’s Wonderful Tonight. Lance was then left at the microphone as the others skilfully cleared the stage of equipment and sang two of his own: Christmas Song and Wiggly Worm.
 
Mark, now a frequent visitor to the bells and now a Committee member teamed up with John to do REM’s Losing My Religion. They separated to do a song each.
 
David Hants did two of his own: Momentos and an instrumental.
 
Bob and Christy-Lee came next with their quiet sophistication and moody Give Me Your Loving and No Indication. Having first shown up a few clubs ago they’re becoming regulars.
 
Ella was on form with her piano playing supporting her two songs: Danny’s All-Star Joint, a stompy 12-bar by Ricky Lee Jones, and Neil Young’s Like a Hurricane.
 
Chris Martin, as always, played guitar for two of his own songs No Indication and Guy but, as he had a sore throat, Heather very ably did the vocals. There followed a spectacle. Chris and Heather put on a (shhh!) backing track , on the spurious pretence that we might like a good time as it was a party, and moved to Chocolate. Heather returned to sanity with White Christmas.
 
Blues jam alert! Penny Payne, backed by Terry Lees and Yours Truly on guitars, came up with her soulful blues. Muddy Water’s  Hoochie Coochie Man and Sweet Home Chicago - that very same rocker that features in the Blues Brothers film and first recorded by Robert Johnson in 1936.
 
John Villiers had been very welcome at my last hosting back in August. The Bunjie’s veteran repeated his epic journey from Islington and played two self-composed instrumentals Over the Hills and Leaving Home Tuesday. He has a new CD too.
 
Helga, a stalwart collaborator with many of the Six Bells friends and relations, has reintroduced her own vocal and guitar performances. This time she did Joni Mitchell’s River. She invited me up for a blues, so we did The Slow One. They said flute would never work on the blues. They got it wrong.   
 
A trio of Jim Neale on Fiddle, Sue Whittaker on guitar and James Asher on percussion entertained us ably. Jim and Sue are some of the brains behind the Crown and Anchor folk club in Eastbourne. James is a first-class drummer and runs a magic recording studio.
 
Terry Lees’ spider fingers filled the room with the rich sound of his open tunings. He played a medley of instrumental Christmas carols.
 
 
There’s not usually a break at the Bells, but tonight we took five minutes to get sorted with the cheesy concoctions, puff pastry delights, chips and dips on offer.  A big thank you to our landlord Paul and the bar staff who make us feel at home at the Bells.
 
Simon Watt’s deserves honourable mention for fighting off the alien snuffle organisms attacking him and staying to the end. His  song about the various interpretations of a penguin on a Christmas card by great artists is funny at any time, but was aptly seasonal tonight.
 
Now the mea culpa. I lost part of the scribbled notes I made on the evening. I know Clive did something seasonal but I don’t have a note of it. Sincere apologies to anyone else I might have left out. It’s you are all very memorable, but my brain’s too small to remember all of the (eventually) sixteen acts and what they did. And I should get this out before I’m lapped!
 
Thanks to our sound men throughout the year Chris, Lance, Simon. The mix is always great and feedback unknown. Champion!
 
Such a night! The days when we sang dirges in the dark are long over. A Happy New Year to us one and all!
 
For my videos this time I’ve chosen two exciting ensembles and a Jazz Guitarist.
 
Steve Riley and the Mamou Playboys are a Cajun band from Louisiana, performing La Danse de Mardi Gras, and La Boutine Souriante are a French-Canadian band, doing Le Reel des Soucoupes Volontes.
 
Bill Frissel, the sometime avant-garde sometimes straight-head jazzman plays his version of St Louis Blues.

 





















26th November 2019

I stepped in at the last minute to host the evening. The weather was foul and it meant the numbers of acts were down on previous sessions.  As a consequence, some performers were able to perform additional songs if they wished.
 
I started with ‘Sadie the Flatulent Horse’ and ‘I’ll Do Anything’ and came back to perform ‘Dementia’ and ‘Gardeners World’
 
Mark was up next and performed these  3 songs  ‘City of Stars’ from La La Land, ‘Anji’ and ‘One Scotch, One Bourbon, one Beer’
 
Clive Woodman performed the song made famous by Elvis Costello ‘A Good Year for the Roses’ and ‘Saltwater’ (written in 1991, I was wrong).  Clive came back a second time and performed the amusing ‘Water Melons’ and ‘Over the Lancashire Hills’ a song made famous by Fairport Convention
 
Keith Willson performed his own songs ‘Brighton Rock’ and ‘Baby Steps’ a song about taking chances, not necessarily a song about babies. I requested ‘Requiem’ and Keith performed it. He finished with a song ‘The Worst Thing’
 
Neil Grove…I am not sure we were prepared for the shock. The best Dobro I have ever heard said Bob Taylor and I can only agree and I hope he comes again!!  I am pretty sure his first instrumental was untitled but I was mesmerised and I might have missed the title…he definitely performed ‘Mississippi Blues’ and ‘Stormy Monday’
 
Bob Taylor and Cristy-Lee played 3 songs ‘Goodbye To The Blues’ ‘Billy Holliday’ and ‘Love Song’….beautiful!!!
 
Bob Melrose was our last performer  and he performed his own songs ‘Asylum Day’ ‘Like A Summer’ ‘Seesaw’ and a song ‘Jelly Roll Blues’
 
It was a fab night with some fantastic talent!!

Lance

Jason’s Return (12th November 2019)
 
And so he shall always return
Holding sway at the dimming of the day
And so he shall sing of strange sailings
Remembering times with distant spirits so fey

And so we get armed with a lance
To keep faith with the eternal blues
And so to the thrill that never shall leave us
Nor shall our old gin house muse

And so the Wicker Man still burns within us
Filling our dreams as our heads lay on pillow
And so we obsess with the darkness
It curls around like the embrace of the willow

And so we let the dark ghosts linger
Forever returning through our song
And so brass snaking like smoke curling
Feeling the jazz life all night long

And so the star dust tries to settle
Getting caught in the prevailing wind
And so the song goes on forever
Let’s love and support our fellow kind

And so we watch the world go by
Beholding such beauty from afar
And so to those truly deserving
For they returned as light from distant star
 
And so we drink in the tea and oranges
From the hand of your intense new love
And I dream of your mind and body
The bird on the wire is our one dove

And so we were embraced once again
From root to branch of the laburnum tree
And so we welcomed the golden chains
Capturing such beauty that we all could see

And so we live in this world of pain
But our spirits never let go the celebration
And so we breathe the air and make love again
Not for new life, but merely pure elation

And so we struggle to avoid the street
Where poor souls live under gathering cloud
And so our dreams may wash away in the rain
Another homeless life ends under dirty shroud

And so we still sing of sin and the fallen
Flickering lights across the backs of the beast
And so to the fields and long may they feed us
For on love and food . . . and music . . . . we forever shall feast
 
Jason, November 2019
 
Thank you to Lance and his Band Unknown, Mark Lynch, Chris Martin, Heather & Simon, Bob & Christy Lee, Helga & Lisa, John, Simon, and Jim, for all your performances.
I hope this “blog” poem is something a bit different and that you enjoy reading it.   J

Lance’s Super Open Mic night did indeed take place on Tuesday 29th October 2019 and was a lovely evening from beginning to end.
 
I kicked off the event with two of my songs…..’In A Gardener’s World’ and ‘Sadie The Flatulent Horse’.
 
Mark kindly stepped in to take the second spot.  He performed the instrumental ‘Classical Gas’ and covered the Mary Black Song ‘No Frontiers’
 
Colin, a good friend, who came along to support me, was up next.   Not everyone will know that we occasionally perform together as a duo called Tom. He performed ‘Neanderthal Man’ and ‘Sign of the Times” with me on background vocals.
 
Chris Martin performed two original songs ‘Life’s a Race’ and was joined by Helga on his song ‘Sanity’
 
Lisa was up next with two original songs “Footsteps and ‘Mid Winter Mist’
 
Simon performed ‘Halloween Song’ with Greg's help on Saxophone and  covered ‘You Don’t Know Me’
 
Jane was up next and performed ‘Wade In The Water’ and Paul Simon’s ‘Kathy’s Song’
 
Helga performed two songs on guitar ‘Stormy Weather’ and ‘Blue Bossa’
 
Keith was up next and assisted by Helga sang two of his songs ‘Baby Steps’ and ‘Tale of two Acorns’.
 
Clive covered a Julian Lennon song ‘Salt Water’ and ‘Save The Last Dance for Me’
 
Heather, who had kindly agreed to swap with Lisa to allow Lisa to leave before the end sang Joni Mitchell’s ‘Little Green’ and a tradition Belfast/Irish song called ‘Black Velvet Band’
 
Penny, who had not been to the 6 Bells for a while performed two songs with Keith providing backing on guitar. The two songs were ‘Bring It On Home To Me’ and Summertime.
 
The final performer of the evening was John who did Rolling Stones songs ‘Ruby Tuesday’ and ‘Wild Horses’.
 
Martin Lee played bass on all the songs and sat quietly in the corner.
 
This was my first open mic and I have learned a few things.  Onwards and upwards.
 
See you all next time
 
Lance of Seaford (retired)

15th October 2019

We have recently introduced the idea of arriving at 7.45 for an 8pm start.    The idea is beginning to  work, and quite a number of folk appeared before the clock struck eight.  The trouble is, that it still takes time for everyone to settle in and get drinks from the bar, and for whoever is hosting the evening, to meet the players and organise the running list and get the excitement started up.  

So, I was a little bit behind schedule to begin, -- in fact a shocking eight and three quarter minutes late!       If  other hosts can get it on at the stroke of eight, they will get a prize.
   
I got going with the up-tempo toe tapping number from Craig and Charlie Reid, The Proclaimers' 'I'm gonna be'. -- often referred to as ' I would walk five hundred miles', or just simply 'Five hundred miles'. This song features in the nice film 'Sunshine on Leith', as does the title song (Eponymous)!  -- 'Sunshine on Leith'. --This leads me on to my Lisp Twisting Tongue Twister: 'It's my belief that the thwarted thoughtless thief has been released by the Leith police.
Try saying that in a hurry!   

I often suffer a mental block in the middle of a song, and this time, I found myself singing " I would walk TEN THOUSAND miles, instead of five hundred.    This would prove to be a strange case of coincidence or telepathy, later in the evening.   I will tell you later.
   My second song 'The Path' is one of my own creations.  "The summer days have gone by, colder days will surely follow.........The early years are gone, older years will surely follow."     By the way, have I ever mentioned that you can find my songs on Amazon? (Search my name).    What's that I hear you say?    "Yes Clive!   You have actually mentioned it before!"

I asked Lance about his surname, and he told me. - That's why we just call him Lance Maleski.   He has his book of his own compositions which he calls his 'Bible', and from it he gave us his song which exhorts us to eat our vegetables.  ( Luckily not cabbage).
 This was followed by 'Free', in which he has included quotes from Pink Floyd's 'Dark side of the Moon album, and  from The Beatles' 'Abbey Road'.     Lance has become a new recruit for working the sound desk, and tonight he has been serving his apprenticeship under the watchful eye of Chris Martin. 

Tonight we had three players by the name of Mark.    Mark One was our friend Mark Lynch, who , like Lance, has been welcomed as a regular member.   Mark sat on our famous bar stool and gave us the traditional song that has several different titles, but known best as 'Wild Mountain Thyme'.   Mark invited Ella and Heather to sing harmony on the choruses.  Still sitting comfortably, he continued with Leonard Cohen's 'Sisters of Mercy'. 

It's unusual to see Chris Martin sitting away from the sound desk, but with Lance at the controls, Chris was able to try a different chair.  (Not such a comfortable one).     Chris's songs are meaningful and complex, even though his first one was 'Simple Message'.   Then he gave us another of his self -written pieces,  'The Man'.

Next up was Jim A'Cort, choosing two of his own songs for us to enjoy.   Firstly, his song about ants. When I asked him what it's called, he said  -"ANTS" -- I suppose I should have known.  He marched on with ' How can you miss her?'   ( When she won't go away).

Pete Tindall told me he hadn't been here for twenty years.  It's taken him a long time to return.   He played nice bottle neck slide guitar on both of his self -penned songs, firstly 'If I lived here', and then 'Lost Highway'.      We enjoyed his music, but then suddenly he was gone.

Lucky number seven on the list was Heather Curry, hot foot/ or rather/ wet foot from her fund- raising swimming challenge.  She has done the equivalent of swimming the English Channel.  ( La Manche - if you want the French).    Tres bien!      Heather gave us   'I'm gonna be a country girl again', by Buffy Sainte Marie, and then she went on to explain the meaning of the saucy lyrics to her next offering.   This was the traditional ditty ' Maids when you're young never marry an old man'.

Simon Watt (The Boss), always gives us a laugh, and tonight he told us a yarn about having to sit around a candle to keep warm.    On really cold nights, they would light the candle.    Simon also gives us a cool and calm performance every time, and his choice of songs is always just right.  Tonight it was 'The Tennessee Waltz'- music by the amusingly named Pee Wee King, and lyrics by Redd Stewart.  ( Not Rod Stewart).     After this, came 'Honey Pie',a sort of old fashioned style song by Paul McCartney.   Simon had some great accompaniment tonight from Greg on soprano saxophone.

Jason Loughran came to the floor to play a couple of solo pieces tonight.  Often he is joined by Lisa Jackson, but she was unable to come tonight.     We heard one of her own songs though, with Jason singing Lisa's 'Just for a while', and then to be a fair share, he did one of his own, 'Another year, another Song'.  

Coming in at number 10 , - No, not Boris Johnson, but  none other than Ella Moonbidge.
Ella's fingers are good on the piano, and also on  the Bazooka which she chose to play tonight.   She started up with one of her favourites, 'Carey'.            I've only ever enjoyed this song done by just two people -- Joni Mitchell, and Ella Moonbridge.        Her second song was featured in the lovely film 'Fly away home', and done by Mary Chapin Carpenter.     --And here is the telepathic coincidence that I mentioned earlier:  'Ten Thousand Miles' was the title, and I had sung that I would walk ten thousand miles.    Hey, spooky?       Isn't that interesting!     No, not really. 

Jamie Lynch (no relation to Mark Lynch),had been waiting patiently to come up to give us two of his own songs, firstly, 'Hang', and then 'Little Things'.   Thanks Jamie, it was worth waiting for. 

Also showing great patience was our second Mark of the evening, Mark Woodgate, playing bottleneck slide guitar, and giving  us 'Death Letter Blues'  by the American blues musician Son House, ( Not to be confused with the short - lived English band Sunhouse).   He followed this with one of his own songs, 'Sycophantic Blues'.      Is a sycophant someone who is sick of ants?

Then came our third Mark of the evening, Mark Sampson, down from London, and he sung a great song written by a veteran of the D Day Landings of seventy five years ago, Jim Radford, 'The Shores of Normandy'.   Mark then did one of his own compositions 'Seagulls'.    (Brighton and Hove FC).

We were just about finished now, but I decided as host,that I would like to do one more number to end with, the up-tempo song by Canned Heat,' Going up Country'.   There  was a tiny mishap as I got into the song, when my guitar strap, which was twisted, became un-hitched, and I became un-hinged.    Losing your guitar strap is one of those problems second only to breaking a string.    Anyway, it was all part of the entertainment.  

So, having started the evening eight and three quarter minutes late, we also finished eight and three quarter minutes late.    -- Good timing! 

Thanks go to Simon and Chris as always, and also to Lance for running the sound desk tonight.    Thank you to all of those who come, and who stay to the end.     

Best wishes
Clive Woodman

Earlier this evening, Simon mentioned  a forthcoming concert by Linde Nijland, who sings Sandy Denny songs, so my first video choice  is one of Sandy Denny herself.

My second one should be of interest to all guitar players, - a top twenty list of acoustic  guitar intros.

Then a drum solo by Ginger Baker, who sadly died earlier this month.

I’ve been doing a bit of research recently into the ubiquitous ‘blog’. Looks like we’re going to start one at work and all my instincts tell me not to.

The etymology of the word ‘blog’ is ‘web log’, ‘log’ of course being a record of important events in the management, operation and navigation of a ship. Captain Kirk of the Starship Enterprise always logged his ship’s adventures. I can hear him now: “Captain’s log; stardate 43421.9…" You always knew what you were going to get with the Captain’s log!

Not so the blog. It seems that anything and everything goes. And worst of all, the standard of writing horrifies me!

Having been in the publishing industry for decades, I am cynical. I raise my eyes in exasperation at the endless badly written streams of consciousness and so-called expert comment and opinion being thrust into the written word and littering the web like plastic in the sea. (Consider cutting down this sentence – Ed.) Blogs abound! There are blogs on how to write a blog, top tips on titles, recommendations for word count and content and, crucially, how to get your blog read. Everyone has become a writer! And not one blog is edited! (Don’t overdo the use of exclamation marks – Ed.)

One of my first jobs was in a London publishing house run by an ex-Fleet Street bulldog, whose pencil was as sharp as the Grim Reaper’s scythe. He was ruthless in his editing. Sentences were slashed, words were chopped, paragraphs lacerated. I was taught how to spot a badly written article and a tedious travelogue from a hundred paces… and how to turn them into a good read. (We won’t test you on this – ED.)

Still, I think of myself as a liberal, tolerant soul and I know that creativity must find a release. So, I must consider that whatever our personal views on how good or bad a piece of writing is, if a blog allows for creativity and expression and provides something positive to the blogger, then it is surely a ‘good thing’, isn’t it?

The same can be said of the open mic night. It’s a platform for creativity and expression. It’s inclusive. Anyone can pick up a guitar and come along to the SBFBC and sing something. By its very nature, an open mic night allows for all levels of skill and experience, just as a blog does. Yes, we all have a view on what makes a good or bad performance, or a good or bad song. One man’s delight is another man’s displeasure. But those of us who participate, recognise that we are all amateurs on various levels. We accept what each night brings and, most of all, we enjoy the experience of performing (I use ‘enjoy’ loosely here). I’m sure we all take home something pleasurable from each night too, whether it’s hearing an interesting interpretation of an old song, or gaining inspiration from an original composition.

Last Tuesday’s singer’s night at the Six Bells was indeed an example of inclusivity and variety. Regular performers gathered to support each other, encourage others and welcome new arrivals. We had singer-songwriter Jim join us again and share his songs with us. An American called Mark, who just happened to be visiting with friends, decided to step up to the mic and what a treat it was to hear him.

Our new committee members Heather, Mark and Lance, breathing new life and vigour into the club, entertained us with their individual music styles. Ella, Simon, Clive and Jason, unquestioning supporters of the SBFBC, made us smile, laugh and reflect. Songs reinterpreted, covers sung straight, self-penned songs of love and loss and laughter. The evening was a successful one, rounded off by Mark and John duetting with guitar and mandolin, to “In Days Gone By”. Variety is indeed the spice of life.

Conclusion? Well, with this blog, I have added more unruly words and poorly strung-together sentences to an already blog-overloaded world wide web. (Overdoing it on the adjectives here – Ed.) But I’ve enjoyed it and that’s what’s important, isn’t it? Whether you’ll read it is another matter!

Until we meet again on this musical journey - “Beam me up Scotty!” Lisa