Julie Fowlis breezes into Chester with the force of a Gael

JULIE FOWLIS
Telford’s Warehouse
Chester
Monday 16th April 2007

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Such is my enjoyment of live music and the atmosphere of the whole event, that when someone recommended a singer who I’d never heard of, I bought a pair of tickets for the first available local gig.
Not only was this singer unknown to me, she sang totally in Outer Hebridean Gaelic.
As is what has now become common practice on Myspace, I signed this singer up as a friend, but I refused to satisfy all curiosity by deliberately avoiding listening to the songs that were uploaded on to her page. The idea was to attend this gig without any preconceptions and have a totally open mind about what was about to hit me.

I had no intentions of compiling a set-list. I didn’t know any songs and more to the point, I couldn’t even spell them. One thing, which did strike me as peculiar, was that there were no instruments at rest on the stage and, apart from 4 microphone stands, there were no trailing wires.

Well, that’s all the negatives cleared up. A glance up at the nameplate on the speaker revealed the word BOSE, a second glance to the left saw the quartet arriving on stage. From hereon, we’re talking quality.

Any fears about Gaelic vs. English were put to rest as each song was explained with clarity and humour. The subject matter ranged from elopement, being seasick and good old fashioned tales of love and romance.

Julie Fowlis, second left, was lead singer, tin whistle player and chief story-teller. To her immediate left (audience’s right) was a fellow Scotsman, Duncan Chisolm, on Violin, the pair were flanked by her fiancé, Eamon Doorley on Bouzouki and Tony Byrne on Acoustic Guitar. The latter two were from Dublin.

The celtic fusion and humour is best exemplified by the introduction to one of the medleys of jigs and reels. Duncan, in a fine Scottish brogue, said “The second one is a traditional Highland tune entitled ‘Morag, please trim your toenails because they’re ripping the blanket’ ”. Eamon replied, “Over in Donegal, the very same tune goes by the title ‘Mary. Please cut your toenails, you’re scratching my ankles’ ”

Julie’s vocals were clear, confident and captivating. The opening song, Hug air a Bhonaid Mhoir, (Celebrate the Great Bonnet) was the first from her latest CD, Cuilidh (pronounced Ku-lee). It was so catchy, it immediately claimed your attention. It might be worth noting that not too many people possess CDs by female folk singers from the Outer Hebrides, so there’s many a prized collection with a noticable gap. Another thing that I noticed was that there wasn’t an Aran sweater or pair of corduroys to been found in the wide age-ranged, attentive, audience of over 100.
Word has already got around, it appears. One explanation for the healthy attendance might be put down to the fact that her music has been endorsed by the likes of BBC R2’s Mark Ratcliffe and Radiohead’s Philip Selway.

Songs of varying tempos were delivered with clarity. The storylines which preceded each one gave the listener a strong enough understanding to almost translate the lyrics. Not that the lyrics mattered anyway, the sincerity and purity of Julie’s singing coupled with the quality of the instrumental backing was good enough to satisfy my aural requirements. These songs were interspersed by a couple of instrumental jigs & reels and excellent solos & duets, both vocal and instrumental.

The two hour trad-arr trip ticked away with tormenting rapidity and encore time came all too soon.
Eamon and Julie returned to the stage and after a brief Gaelic tutorial we were invited to join in the chorus !

If you ever get the chance to witness Julie Fowlis, don’t use the fact that it’s all in Gaelic as an excuse not to go. Learning about it is a delightful ear-opener……..so if will excuse me for a while, I’m off to translate The Theme From Harry’s Game !

Celine Carroll's follow-up to Itch won't be a rash decision

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Here is a video of Honey, a little taster to whet the appetite for those who are hungry for more after her current album, Itch. This was taken during a recent gig at Bewley's, Grafton St. Dublin.

CELINE CARROLL - Live Show, Honey

Moya Brennan's Signature is worth all the polycarbonate it's written on

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Compiling gig reviews is relatively straightforward because it’s a descriptive snapshot of a moment in time. Throw in a few nice words about the performer(s), the effect on the audience, maybe tag on a setlist and you’ve cracked it. However,an album review is a different kettle of fish.

You should therefore appreciate that it’s going to take a very special album to make me wax lyrical about its merits. Ladies & Gentlemen, I now present to you my views on the best album that I’ve heard in years, Moya Brennan’s Signature.

Signature was produced by Moya Brennan and mixed by guitarist/pianist/backing vocalist, Fionan De Barra. It was released on the BEO record label, October 2006. The album contains 12 quality tracks which takes little effort from the listener to get totally immersed in.

A quick feather of the cymbals, then we’re dropped into a rolling Purple Haze. From a lyrical aspect there are no more than half a dozen phrases. Musically, it’s lethal. Rolling piano, wild Uillean pipes and Moya’s pure vocals will beat the aural recipient into submission. By the time Merry Go Round , track 3, comes around the listener’s grip on reality has become totally loosened.

Study the quality of the weaving of voice and violin in Tapestry, track 5. Dream your way through Black Night, track 6, and sink to your knees to Hear My Prayer, track 7.
Maire Breatnach’s name appears in the sleeve notes of this album. Although this virtuoso of the violin is not associated with any given track, I suspect that she might have joined in on this particular song at least.
Many Faces, track 9, has the backing music from the League of Nations. It has an Egyptian sand-dancer’s beat, the odd plink of the harp takes you to Latin America, while the Uillean pipes could well be charming snakes in the depths of India. The penultimate song, Gone Are The Days, track 11, allows you to reflect on your carefree days of youth before closing with the beautiful simplicity of a ‘trad. arr.’ , entitled Pill A Run O.

Getting tired of listening to this album is not an option. It’s just impossible to put down. Even if you attempt to do so, then please take extreme care when listening upon return. It has the cheek to sound even better. Signature not only takes over your life, it gnaws away at your soul.

To those who may still have second thoughts about accompanying this CD on the journey from the display shelf to the checkout till, then rest assured that the seal of quality is Moya Brennan, the voice of Clannad. This album doesn’t need the help of self-centred radio stations to push sales. In fact, they might have to air this album to attract the listeners.

Two autographed CDs , but no Signature

MOYA BRENNAN
Pacific Road Arts Centre
Birkenhead
Friday 23rd March 2007

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I’ve been in possession of Moya Brennan’s Signature CD for about two weeks or so now, and I’ve absolutely hammered it. And, boy, I was more ready for this concert than a footie fan is for a Wembley cup final.

At the rear of the stage at Pacific Road Arts Centre is a tram museum. Black drapes just about hide the audience’s view from these relics of yesteryear. To further assist the optical protection, there is a constant stream of dry ice and the artistes enter the stage like they do on Stars In Your Eyes.

This was no tribute act though, Moya, (vocals, harp & shaker) and her 7 piece band were about to take us from these mists of the ‘Pacific’, across the Irish Sea to drop us on the other side of the Wicklow Mountains into the fields of the 32 counties and 40 shades of green.

Such is the mystical power of the music of Moya Brennan. Moya’s voice has the purity of Waterford Crystal and her songs are simply mesmeric. From the first song onwards the optical view of the band is overwritten by images from the mind’s eye and you just float away.

I didn’t take note of the setlist, but the show lasted for around 2hrs plus a 20 minute interval. The essential content was a plentiful supply of songs from her latest album, Signature, with some favourites from Clannad. There were also a couple of instrumental medleys of jigs & reels which saw Moya on the harp.

Irish jigs & reels are interesting enough with a conventional set of instruments, but when you include 2 harps, Uillean pipes and the obligatory fiddle within this array. then your ears are in for a bit of exercise.

Tapestry (Moya’s Signature) and New Grange (Clannad’s Lore & others) opened the show before Moya conversed. She was pleased to back on Merseyside and felt almost shocked that it was several years since she last appeared over in Liverpool. The mere fact that that the venue was just about sold out proved out the proverb about absence and the heart.

Old favourites form the Clannad days included Robin the Hooded Man, Theme From Harry’s Game and In A Lifetime. The Signature CD was well represented, although the album wasn’t available at the CD table.

Two hours just whistled by, and as she came to introduce the last song, Gone Are The Days, Moya explained that Signature is a snapshot of her life and that particular song reflected on her younger times. Judging by her looks and her voice, the fountains of youth are still flowing.

Moya returned for the encore which closed with an old Irish fighting song, Against the Wind, which features some fantastic drumming by Paul Byrne. Golden uplights on the drumkit make for a spectacular finale.

At the end of the show I added a couple of CDs to my collection, one being her Christmas album (shop early !) and her debut solo album , Maire (RCA 1993). This album features her sisters, Dee, Bridin and Olive and it’s well worth a listen just for the natural sibling harmonies from the Irish equivalent of the Von Trapp family !

Moya’s Band :

Moya Brennan - Lead Vocals, Harp, Shaker & Bones
Paul Byrne – percussion
Fionan De Barra – Guitars, Vocals
Sinead Madden – Fiddle, (perfectly matched)Vocals
Sam Jackson – Keyboards
Eamonn Galldubh – Uillleann Pipes, Saxaphone, Clarinet
Yoshinobi Izumi – Electric Bass (left handed), Vocals
Cormac De Barra – Electric Harp, Vocals

Click Here for the Signature album review

Not radio, I regret, but the 'net which filled the Met for Juliet

JULIET TURNER
Bury Met,
Friday 9th March 2007

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Apart from a change in the support act and just one song previously unheard, there has been no great change in Juliet Turner's offerings since her last appearance at this venue some 13 months ago.

She hasn't had the momentum of a big UK tour to call upon either.

Even radio airplay has been almost non-existent recently. The odd play on Wogan here and there have been my only JT encounters over the past 12 months.All this relative inactivity is hardly the best foundation for a successful live show on a cold Friday March evening in the heart of Lancashire.

So we have to choose from, good venue promotional work, word of mouth, the internet, the undying support of the faithful followers or the quality of Juliet Turner & guitarist Brian Grace as the reason for filling the Bury Met.

Draw your own conclusions, but the quality element is what drags me out of my armchair.

It's common knowledge that the reason for her musical inertia is that Juliet is studying Speech Therapy at Trinity College, Dublin. Although the studying is probably intense and most of her time is now dedicated to achieving her anticipated qualification, she assured the audience that she does manage to visit the studio now and again and a new album will be forthcoming soon.

As for the content of the gig, the Bury faithful (and any newcomers) were treated to about an hour and a half of her `old' favourites. Starting with `Pick A Story' and closing with `Everything Beautiful Is Burning', the performance was faultless, the banter was friendly, the between-song stories were a-plenty and new. It was also difficult to imagine that Brian Grace and Juliet had not performed live together as frequently as say, last year. The best example of this natural musical togetherness was particularly noticeable at the closing of `1987' where they were racing along chord for chord and without even a glance to each other, they nailed the finish with perfection.

She returned for the encore, which closed with the much-requested `Vampire' , but the highlight of the evening – and probably for the entire duration of my Juliet Turner support – was that she agreed to sing `Broken Things'. She sang this song at the Memorial Service for the victims of the Omagh bombing. I don't believe she has ever performed it since. I have only called upon this song a couple of times since then during my own personal traumas, such is the gravity of this beautiful song.

Thank you Juliet Turner for the quality music that you have delivered so far, thank you also for promising to return. Good Luck with the studies.

Thanks to Paddycam for this vid from a gig at Whelan's , Dublin

Be upstanding for the Duke

DUKE SPECIAL
The Barfly, Liverpool
Tuesday 6th February 2007

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Quite a bit has happened to the musical career of Duke Special since I saw him perform live in Wrexham last May. That show attracted little more than 20-odd die-hards and the souvenirs comprised of little more than a couple of EPs, a boxed set of vinyls and one or two egg whisks and cheese graters.

He’s since made a new album, Songs From The Deep Forest and he’s released Freewheel as a single from it. Freewheel was released this week and it is getting regular airplay on BBC Radio 2.

Bears are featured on the sleeve notes of his album, the cover of the single & video and also the ‘Duke Special on Tour’ T-shirts.

The original version of Teddy Bears Picnic announced the bands pending arrival on to the stage. The concert hall at the Barfly became the bear pit as a crowd of about 250+ welcomed Duke and his band to Liverpool with a great big hug.

Apart from sharing a tour with The Divine Comedy, airplay on BBC R2 for that last fortnight and a couple of minutes with Billy Butler on BBC Radio Merseyside earlier in the day, there has been little else, other than word of mouth and the internet, to explain the reason for this ten-fold increase in audience figures.

And as he sang Brixton Leaves to open the show, any malingering thoughts about the audience’s authenticity soon evaporated when they cheered as one to the line where Belfast was mentioned. As the applause eventually grew quiet at the closing of the song to make way for Duke to speak, he said “Hello Liverpool” in a somewhat surprised tone, “ Where did you all come from ?”

When you’ve witnessed someone come from humble beginnings as a support act and followed him to this point some three years later, it makes you feel that both audience and artiste are in this together. It promised to be, and it proved to be, one glorious night.

I didn’t make a note of the setlist, but tracks from Songs from the Deep Forest accounted for most of the show which included a few favourites from previous tours. Wake Up Scarlett, Freewheel, and Last Night I Nearly Died are taking on an anthemic aura.

On stage Duke (piano and accordion) is accompanied by, The Temperance Society Chip Bailey (percussion) and two others whose names I didn’t catch. If the instrumentalists match the album sleeve notes, they are Ben Castle (clarinet, saxophone & synth) and Paul Wilkinson (bass & guitar). The latter two played well as straight-forward out-and-out quality musicians.
Duke, apart the odd first-night-on-tour lyrical slip-ups, was excellent, of course.

But the visual delight was Chip Bailey. He makes Animal off the Muppets look as boring as a politician. One moment his arms are waving about like windmill sails clattering everything in sight, next moment totally disinterested, next moment poised for a dab on a cymbal like a cat ready to pounce. Add to that the array of items he makes use of besides the drumkit – stompf fiddle, egg whisk & cheese grater and goats toenails to name but a few, then you’ll appreciate that descriptive words will never match the visual.

If there were any complaints, it had to be that there were no seats and an obstructed view. One or two of the elder members of the audience would have put a bench or two around the perifory to welcome use. However, the lack of such facilities encouraged a spot of dancing now and again.

Liverpool was the first port of call on the Songs From The Deep Forest album tour. Catch him live on this one if you can, while the tickets are cheap – next tour might see him in the big arenas !

A brilliant oldie from Into The New

I'm a bit partial to Irish female singers and I like my '80s - so if you combine the two, then the result is heavenly.
Courtesy of You Tube, I present to you IN TUA NUA featuring LESLIE DOWDALL.

I'm enlightened as Santa's sack was lightened

While we were taking a weekend break in Dublin in November I was treated to my usual Christmas present, namely, a bundle of CDs from Dublin's finest music emporia. One of those CDs was actually a DVD. Sharon Shannon's Live at Dolan's.
When I got back home this DVD somehow managed to dodge the wrapping paper. And even if I had the slightest clue about the quality of the contents I still wouldn't have let this wait under the tree.

To the unfamiliar, Sharon Shannon plays the accordian....the tin whistle....violin.... Very good, so what's the big deal, you might say. Does she sing ? I haven't noticed yet......Hmmm, still not convinced then ? Well, all I'll say is that her previous album, released early 2006, and this DVD topped their respective charts in Ireland, almost immediately after release. That doesn't leave all that many besides you who are unconvinced.

Live at Dolan's opens with 3 instrumentals. I'll guarantee that before these 3 tunes have finished, your feet will have tapped, the top front teeth will have touched the bottom lip and the head would have nodded, your fingers would have clicked. If there's a pint of Guinness or a glass of wine nearby you'll be ready for the next one. Even the fellas will be ready to get up and dance. And no one has sung a note yet !

Sharon had managed to assemble an impressive 10-piece band for this DVD which was filmed in July 2006 Dolan's Warehouse in Limerick. As well as playing their respective roles within the confines of a band there were plenty of excellent solos and cameos within some of the tunes. The quality was high enough to warrant the creation of a DVD on the band's performances alone.

Gerry O'Connor playing banjo on Time to Time is worthy of over 8 minutes of your undivided attention. And before you've got chance to recover, lead guitarist, Jack Maher, gets behind the mike to give a superb bluesy number entitled Don't Give Up. The mood is impeccably enhanced with James Delaney (where've I seen him before?) on keyboards and Richie Buckley on Tenor Sax.

I could go on at length trying to describe the tunes which have become Sharon's anthems over the years. But I will point you to a couple. The Mighty Sparrow which ambles along at the start with Jim Murray strumming away on acoustic guitar while Sharon weaves patterns through it with her accordian. Robbie Casserly steps in with the drums and the tune chugs along into a brilliant Jack Maher guitar solo. Not to be out-done, Richie then steps in on Tenor Sax. If you haven't arrived in Chillville at the end of this tune, you've just got on the wrong train !

Another stormer goes by the title 'A Bag Of Cats' which sees Sharon, her sister Mary, Winnie Horan and Gerry O'Connor kicking off a reel on their violins. Each one of the band members build upon it until this wall of sound one by one until the crescendo reaches Michael Flatley proportions. The camera pulls back to take a view from behind the audience for a while. The whole place is bouncing.

All members of the band have been mentioned except for one person. Nobody seems to notice him, yet if he wasn't doing his job, there would be no-one to drive the whole thing along. He's been in Riverdance, he's featured on Juliet Turner's Live Album, he's appeared with Eleanor McEvoy & the RTE Concert Orchestra at Dublin's NCH. He's Bass Guitarist , Paul Moore.

As for the guests...... well, compere/MC is Jon Kenny who does a bit of stand-up comic stuff and sings a couple of songs. He's no mean singer either, sort of a cross between Johnny Cash and Meatloaf.
As for the real singers, Roesy is the first to be heard. As well as being vocally gifted he does a bit of painting too. He could pay off the mortgage, whichever carreer path he choses.
The Brennan Sisters ( another clan !) are definitely worth keeping an eye (and ear) open for in 2007. I've heard, from a reliable source, that they could be releasing their debut CD later this year.
Damien Dempsey is Dublin's answer to Billy Bragg. I've No Alibi is a song about his opinion on these boy bands and the like. I share his point of view completely. There's no point in arguing with him anyway - you should see the size of him !
Declan O'Rourke is another classy singer. Galileo has even been publicly endorsed by Paul Weller.
Dessie O'Halloran first appeared on Sharon's Diamond Mountain Sessions album. Everybody loves him.
I first heard about Mundy early last year when Mike Moloney played 'July' on Ocean FM - it's already an anthem.
If there are CDs available by any of the above, I'm on the look out for them.

The show draws to a close with a 3-song encore which sees the entire cast on stage. My 2006 Summer holidays were taken in Ireland. It appears that I missed this show by just a couple of weeks......If only I'd have known about it earlier.

I might have been a bit naughty, playing this DVD before Christmas. Santa, however, didn't appear to be too upset because he left me the double CD on Christmas Day !

Watch RTE's Late Late Show - Ring of Fire

Downtown Dublin for Christmas Shopping, Christmas Lights and Carroll Singing

CELINE CARROLL
Bewley’s Café Theatre, Grafton Street,
Dublin
Saturday 18th November 2006

I popped into Tower Records in Wicklow St. and bought myself a copy of the new Beatles album. It didn’t get released in the UK until the following Monday so I was quite looking forward to getting back home on Sunday to don the headphones and get a head start on the rest of the UK. However, there was someone, a bit more special than a mere mini-exclusive on the Fab Four, who was my real reason for jetting over to Ireland.

Buying a CD is a token gesture of support, going to a concert in a nearby town is considered to be an act of dedication to some, so where does that leave a weekend return flight and overnight hotel on the fan club ladder ? The focus of this attention is Celine Carroll, the act of support was fully justified.

Most of the tables in this candlelit cabaret were occupied when Celine took to the stage. Her band remained silent while she sat at her piano and delivered Apologise. It was dedicated to yours truly and warmly received by all. From the first clap onwards the trend was set by a receptive audience in this intimate setting. All attendees shared the same intentions. They were here to absorb and appreciate the uncomplicated quality of Celine’s own music.

Her band joined in from song 2, Long Time Here. Reading across the stage from left to right, they were Siobhan Lennon, (assistant vocalist). Celine Carroll, (piano & acoustic guitars), Jim Tate (5-string bass), Jerry Fehily, (drums), Dave McGinley (lead electric & acoustic guitars).

Siobhan was perfect. Her vocals were so well matched with Celine’s that you’d swear they were sisters. Assistant vocalist as opposed to backing. She even had her own solo contribution on Take It All In which was duly appreciated by all present.

Jim Tate’s left hand was weaving some grand patterns up and down the neck of his bass guitar. However, the opening bars of Pink Floyd’s Money failed to convince Celine that she should increase his fee.

Jerry was faultless on his un-miked drumkit although his face was obscured from view by one of his cymbals.

Dave on lead guitar(s) also gave a top class solid performance. He’s by far removed from the ‘prima-donna’ type of lead guitarist, but he should have his own mike as we missed out some grand one-liners. He even had time to offer a ‘bless you’ to a sneeze on one of the front tables.

As for Celine, we were treated to 21 of her very own songs. There were enough new songs to convince me that there is already plenty of material for a further 2 more albums to add to her existing releases. Her 2 hour show felt as though it had lasted for just 2 minutes.

Her songs are uncomplicated and intelligible. Her influences range from Sir Paul McCartney (check-out Grey Sky Blue) to Gilbert O’Sullivan (Better Than This). Celine says that she has been cleaning the stairs or walking along the beach when the inspiration kicks in

From what I witnessed tonight, I see no reason why Celine Carroll should not be up there alongside (and above) the cream of Irish female singer/songwriters.

If I have any misgivings, Celine Carroll deserves far more radio airplay.

Did the show warrant the journey ?– most definitely.
The Beatles Album ? – the jury’s still out

Set List

1. Apologise
2. Long Time Here
3. Grey Sky Blue
4. Slow My Wheels
5. Itch
6. Love Disappears
7. Take It All In
8. Yeah
9. Fool
10. You’re Still Here

Interval

11. We’ll See
12. Sunny Day
13. I Believe In Love
14. Home
15. Standing On My Own Two Feet
16. Watching The Wheels Fall Off
17. I Don’t Mind
18. So Wrong
19. Better Than This
20. You’re Every Beat Of My Heart

Encore
21. Sweet Heart Of Mine

Celine's web site : http://www.celinecarroll.com
Interesting link : http://wikicompany.org/wiki/Bewley's

Cara Dillon’s Orchestra Pit Manoeuvrements in the Dark

CARA DILLON
Opera House
Buxton
Sunday November 12th 2006

I spent the first 23 years of my life in Buxton, so any visit back there is a little bit special. Surprisingly enough, this was the first time I set foot in the Opera House since I left the town. A town which I still refer to as home. Way back then, the Opera House was a cinema but it has since been lovingly restored to its original status.
(Check this BBC Radio Derby link for the panoramic view)

All the nooks and crannies of this beautiful example of Victorian architecture were as I had left them. However, with the cinema screen removed the place looked entirely different from how I had perceived it. The stage went back almost forever. It appeared even more oversized with the orchestra pit boarded over. Cara’s 4-piece band’s instruments, although widely spread, looked lonely on this chasm of a stage.

This plentiful supply of space was also available to the audience. The gathering of 250 to 300 were comfortably embedded in a sea of olive green velvet upholstery. Silver-grey hair seemed to outnumber the 30-somethings by about 3 to 1. So before the show got under way I had more than a gut feeling that the audience were going to attentive and composed.

At 7:30 prompt a fresh-faced young man, acoustic guitar in hand, ambled on to the stage and sat on the 2nd chair from the left. The softly spoken lad introduced himself, “Good evening, I’m John Smith”
Oh yeah, I thought….with a name like that, you’re really going to get yourself noticed. And he began to play.

A couple of random chords strummed on his guitar, held in a conventional manner, did nothing to change my mind. Then, suddenly, he flipped the guitar on its back, percussion sounds of varying pitches, chords appearing from all over the place, and he began to sing. He voice was akin to Peter Gabriel and the songs were as haunting as those by Damien Rice. Believe me, this kid is marvellous.

His 5-song, 40 minute set was all too brief. 3 of which were from his recently released album The Fox and The Monk. Autographed copies of the album was available after the show. Each song was vocally delivered in this mesmeric Rice/Gabriel style. If that wasn’t enough to command your attention, you were visually drawn in with the trickery on his guitar. During The Green Man he was retuning the top string whilst continuing the melody on the other 5. The subject matter was equally diverse. Pay attention to The Axe Mountain (not on the album) is a fictitious tale of a murderer on the loose on Dartmoor.

He interspersed the songs a few lines of smalltalk. Although his words were few, he did display a dry sense of humour. An example of this was his amazement over the difficulty in obtaining a website domain name. He claimed that even the Korean address was taken up. Incidentally, his website is http://www.acousticsmith.com


John’s setlist follows :-

1. Winter
2. So, so
3. Green Man
4. Axe Mountain
5. Seeds

After the interval, Cara and her band arrived on stage. The band came on first. Sam Lakeman on keyboards on the left, James O’Grady on flutes, whistles & Uillean pipes on the right. Centre left on acoustic guitar & BVs, John (yes him again) Smith. They played the opening bars of She Moved Through The Fayre before Cara arrived on stage for what was going to be an entertaining, yet abbreviated set. The reason for the abbreviation was because Cara is expecting twins. I’ve no idea when, but by the looks of things, soon.
Erin the Green saw the Uillean pipes making their first appearance of the evening. A quick glance at the stage floor proved that the lighting crew were paying attention.
After Where Are You Now, Cara explained that she hadn’t actually been pigging out on chicken pies, but she was actually expecting twins. Cara claimed that one of nature’s quirks for a young lady in this condition is that 2% of the brain cells get destroyed. In her particular case, she said that it could be more. The other night she managed to create a new word – manoeuvrement.
Cara mentioned that covered orchestra pit seemed to distance her from the audience. James later claimed that being pregnant affected her balance and that was the real reason that they were placed so far back.
Cara left the stage to sit-down for a while. The remaining band members then delivered a set of tunes entitled, The Rights Of Man.
Cara returned for a couple duets with Sam. The first being Garden Valley, the latter being There Were Roses. Audience participation was requested for this one. The chorus lines were warmly delivered by a healthy number and Cara applauded us afterwards.
Sam departed to be replaced by John for another duet. Both were seated and delivered a brilliant love song entitled The Lass of Loch Royale which was about a man who sets out to sea leaving his beloved behind.
The rest of the band returned to play a collection of jigs & reels. Cara remained seated, playing the bodhran. James claimed that they’d only just given these tunes titles, namely, John’s Intro, James’ Tea Chest and Sam’s (on guitar) Huntsman.
Cara got back on her feet for Black Is The Colour which received a singular, Whooh! from a young lady in the audience.
At around 9:30 Cara closed with P is for Paddy. Looking understandably tired, Cara thanked the Buxton audience and said that shoe hoped to be back very soon. My personal message to Cara is the title of Track 2 on her After The Morning album – if you’re still curious, buy it.
Cara and the band returned for the obligatory encore. It was a collection of jigs & reels which saw Cara playing the violin.

Cara’s setlist
1. She Moved Through The Fayre
2. Erin the Green
3. Where Are You Now
4. A set of tunes – The Rights Of Man
5. Garden Valley
6. There Were Roses
7. Lass of Loch Royale
8. A set of tunes – Intro/Teachest/Huntsman
9. Black Is The Colour
10. P is for Paddy
Encore – A set of untitled jigs & reels

Roots, Trad Arr, Acoustic .... It's the New Wave

Let's big it up for Seth Lakeman. I tend to avoid the TV these days, escpecially when it comes to music. After all I'm 'up to here' with X-Factor and I reach for my headphones whenever my son flicks through his ear polluting electronica ! TV & music in our house is a lethal combo I'm telling you.
However.....
I was just about to amble up to the pub for the Saturday night half-gallon and while I was waiting for the missus to get herself ready I put TOTP2 on. Cliff Richard dancing away through We Don't Talk Any More....a couple more from somebody else and then.....Seth Lakeman - White Hare.
This lad has hit the big time , You Tube has got him on GMTV, Sunday AM, Sharon Osborne, BBC R1
Freedom Fields (different CD sleeve than the one I've got !) is in the album charts.
This is excellent news for not only Seth, but the entire acoustic movement. Music I've been pleading to be played on radio stations for years is now being championed by Seth Lakeman............and if you like what you hear, check out his sister-in-law Cara Dillon. And if you want more after that, then there's Eleanor McEvoy, Celine Carroll, Frances Black, Mary Black, Juliet Turner, Eimear Bradley......and lots lots more.

SETH LAKEMAN on the SHARON OSBORNE SHOW

An Entertaining Tale from the Rufus Court Chester

ELEANOR McEVOY
Alexanders Jazz Club, Chester
Thursday 5th October 2006

As I queued outside the venue, patiently waiting for the doors to open at 8:00PM prompt, I just took a moment to ponder. Is this just becoming an annual routine? This was the 3rd time in as many years that I’ve come to see Eleanor McEvoy at this venue. I’ve dragged the missus away from her regular evening episode of Emmerdale, she’s not best pleased. We’ve arrived early because if we didn’t then we won’t get a decent seat. Eleanor won’t get behind the mike until 9:30. All this lot will have an hour and half’s worth of drink inside them by then. Is it really worth the hassle? Then the rain falls…..

As luck would have it we brought along a couple of friends, time passed quickly and it wasn’t long before the sound technician was at the desk and lights were dimmed. Eleanor popped up from nowhere and launched, accapello, into the opening lines of a slowed down I’ll Be Willing.

From the off the audience, whose ages spanned the spectrum, were spellbound. Every song was greeted with full attentiveness from all and each one received timely and generous applause. This was not lost on Eleanor and it was best summed up when a voice in the crowd enquired about the prospect of an Eleanor ‘Live’ album. “If I ever made a Live album, I’ll probably make it in Chester”.

This was Eleanor’s first UK concert since the release of her latest, and in my opinion, her best album, Out There. The album is a perfect example of pigeon-hole unfriendliness. Further evidence of her versatility was backed up with the array of instruments lined up across the back of the stage. The only one she didn’t have a go at was the barstool upon which her violin was resting.

In the afternoon prior to this show Eleanor was appearing at Liverpool’s Radio Merseyside being interviewed by Billy Butler. As well as correcting him on the actual venue, this was an ideal opportunity for her to encourage prospective attendees to shout out requests for their particular favourites. So as well as a healthy representation from her Out There album, there was a bit of audience participation.

Eleanor herself joined in with off-the-cuff song selection with a special lyrically adapted version of Joni Mitchell’s Cary, which contained a reference to Alexander’s Jazz Club.

This was yet another terrific performance by Eleanor. No doubt she will always be welcome to return to Alexander’s again and again – no doubt I’ll be queueing outside too – whatever the weather.

Chester setlist

Acoustic Guitar
1. I'll be willing
2. Fields of Dublin 4
3. Quote I Love You Unquote
4. Non Smoking Single Female
5. Whisper A Prayer To The Moon
6. Only A Woman's Heart
7. Did You Tell Him

Violin
8. Driving Home From Butlers
9. Paddy Carthy's Reel
10. Wrong So Wrong

(Interval)

Acoustic Guitar
11. Isn't it a Little Late
12. Days Roll By
13. Joni Mitchell's Cary (lyrically adapted for Alexanders)
14. Did I Hurt You (audience request)

Bass Guitar
15. Little Look

Mandolin
16. Suffer So Well

Electric Guitar
17. Ave Maria (audience request)
18. Territory Of Poets
19. The Way You Wear Your Troubles

(Encore)
Electric Guitar
20. Biochemistry
21. Apologise (audience request)


Editor's Notes

1. Said hello to a couple of very keen followers - Martin & Sue. If you think that a drive up to Chester from Essex was an act of dedication, they told me the were taking in the UK tour. The following night's gig was on the Isle of Aran ! Check the link to Tim Symes' review , Martin & Sue get a mention. (Tim's personal journey was from Taunton to Wolverhampton).

2. We were given lift to the Chester gig by Mr. & Mrs Butler - and after the show they gave us a lift back.....you could say we were Driven Home by Butlers.

3. Eleanor received the odd shout out from the audience for one or two songs (I don't shout out myself) but after the show I did mention a brilliant cover of I'll Be Your Baby Tonight by Bob Dylan. I heard it a couple of years ago on an RTE Radio 1 concert but I've never witnessed her do it at a gig.....now go and check Tim's setlist.

4. Eleanor closed with Apologise (Check out the cheeky Radio Caroline jingle between the opening chords on the Podcasts). I think that its rather fitting that she did. My next scheduled live gig is Celine Carroll in Dublin in November. It was the same title , different song, which sparked my interest in Celine.

Martin & Sue's UK Tour Report
We’re back and recovering from a holiday of a lifetime. We can hardly believe that 8 days seem to pass so quickly especially when you consider all that we packed in. Yes, if you haven’t guessed by now we are the folks Eleanor talked about in her recent pod cast.

The planning started some time ago when we decided that the joy of seeing Eleanor and the destinations on her UK leg of her tour had us hooked.
The adventure really started on Thursday 5th setting off from deepest darkest Essex and driving the 213 miles to Chester. Despite the rain we managed an open top bus tour of Chester and had the full devoted attention of the tour guide as we were the only ones on tour. Alexanders in Chester was an excellent location and a very well attended evening. We were both worried and amused when in the second half she declared that after a conversation with the promoter in Arran no tickets had been sold. Of course we knew that at least two had been sold or at least that’s what we hoped as the arrangement was to collect at the venue. We could hardly resist at the end of a superb performance letting her know that we too were Arran bound, much to Eleanor’s amazement.

The journey to Arran was long and took most of the day on Friday, but we managed to get there in time for the 15:00 ferry. On arrival we had some more concerns, a notice that ferries may be delayed or cancelled due to bad weather greeted us. Something that wasn’t accommodated in our tight schedule! Fortunately the ferry was prompt and we hoped that the tour bus had made it too. If we were thinking of a song to sum up Arran on Friday it was definitely ‘The Rain Falls’. Torrential rain fell most of the afternoon and drenched us on our way to eat at a local restaurant. The McAlpine hotel, venue for the concert and our room for the night was just yards from the ferry terminal. The highlight of the hotel was the hospitality and the enthusiasm of Tam the hotel manager and promoter for the evening. Tam had an incredible sense of humour and this was evident in the sign displayed at reception – ‘Any unattended children will be sold as slaves’. The audience was small but not exactly just the two of us, about 30 people in an airy ballroom in the hotel with a magnificent mirror. We manage to fight through the crowds and get a table in the centre at the front and our quest for the day was rewarded with a fantastic performance including our request from Chester of ’To Sweep Away A Fool’. The audience were very appreciative and it was pleasure to have no background distractions of a bar in the same room, which usually brings with it washing glasses and stocking up.

Saturday morning the sun shone on Arran revealing the true beauty of the island and encouraged us to take a short walk along the coastal path.
But no time for resting when you’re OUT THERE on tour! We boarded the ferry and bid farewell to Arran. Next stop Coatbridge. A much shorter journey once we had reached the mainland but complicated by a SatNav failure. Resorting to a manual option of a map book and roadsigns we successfully reached the Georgian Hotel, once again venue and our bed for the night. We had expected to eat in the bar before taking our seats but had taken no account of Scotland playing France at football and a 5pm kick-off didn’t make eating in the bar a peaceful choice. So we set off to see what Coatbridge (small suburb of Glasgow) could offer and the best we could find was a kebab supper i.e. with chips. We guessed that France had scored with the roars and cheers from the bar and it all ended 1- 0 to Scotland. The venue for the concert was a large function room at the side of the hotel with a bar. The audience were the largest and the nosiest of the tour and the promoter even had to ask people to be quite during the first support act (well done that man). As Eleanor took the stage they were far quieter. She was brave enough to sign ‘C’est bien’ in the second set, but it was well received particularly as the Scots had won.

The journey was getting shorter each day. Sunday 8th October and Edinburgh was our destination. Just a 40 minute drive and no boats! We had decided that Sunday required some luxury for us and we checked into the Sheraton Spa and spent most of the afternoon indulging in pure relaxation in the Spa.

After dinner in the hotel we walked the rain drenched street of the Holyrood district and after asking directions from a couple of students we found the Cabaret Voltaire club. A small venue with no windows, which appeared to be set in the vaults of a tall granite building. The audience were quiet and very appreciative and some had travelled far. A man buying CDs after the concert had travelled down especially from Aberdeen (about a 4 hour drive)and was quite a recent follower. In fact he had heard the Out There CD in a music shop and was immediately enthralled. Our own discovery of Eleanor had been while she was supporting the Homespun tour in 2005 and we were delighted to hear an acoustic version of ‘Effortless Cool’. We were also surprised to hear ‘I hear you breathing in’ from Yola, which we hadn’t heard live before.

Monday 9th October and heading back to England. We had more travelling today to get down to Doncaster and the A1 provided us with a scenic journey through the borders. Unfortunately not both of us could attend the concert in Doncaster as an Open University exam needed Sue in London. We had told Eleanor in Edinburgh so she wasn’t too surprised when Martin attended with another woman – his sister who lives near Doncaster. She had a wonderful evening and got her copy of ‘Out There’ signed for her birthday. Recognised a few people from the Wath-Upon-Dearne festival in April and Ruth joined Eleanor on stage for a duet of ‘Only a woman’s heart’.

The Hull venue was the smallest. The New Adelphi Club is situated in a residential area of Hull quite close to Pearson Park. The crowd was few in number (about 35), but they were appreciative and there was plenty of banter, particularly when Eleanor asked if an Irish woman with a van would be required to pay a parking ticket. We were rewarded for our request in Arran and Eleanor finally played an excellent version of ‘Trapped Inside’ -a delight! Perhaps in recognition of the local connections with Homespun she also played a Homespun number, ‘You are here’. We had hoped that Dave Rotheray would make an appearance but unfortunately he wasn’t in town.

Thursday 12th October, and we had finally reached the last destination of the tour (for us anyway) in Wolverhampton. We thought it only right that just before the concert, we presented Eleanor with a token of our appreciation and the most appropriate gift was a ‘set list bag’. The bag contained a bottle of Beaujolais wine, Jameison whisky, Champagne, coffee,milk and of course bread. In return she played ‘Its mine’, ‘My own sweet bed tonight’ and ‘Biochemistry’. We were also thrilled to hear ‘Memphis Tennessee’ and ‘Stray thoughts’ for the first time on this tour.

We never tired of seeing Eleanor play for 7 nights and there were always changes to the set list. In total we must have heard about 40 different songs with regular appearances of ‘Non smoking single female’, ‘Fields of Dublin 4’ and ‘Suffer so well’. It was all the fun we had expected it to be.
And of course the finale was to arrive home and find that we even got a mention on Eleanor’s latest Pod cast. What a holiday!

Sue & Martin

Interesting Links



WOLVERHAMPTON 12-OCT-06 REVIEW by TIM SYMES



ELEANOR McEVOY - THE WAY YOU WEAR YOUR TROUBLES
(Balcony TV, Dublin)

Out There is up there so go out there, get into it and be where it’s at.

OUT THERE
Eleanor McEvoy
(Released Sep 11 UK, Sep 8 ROI)

It never ceases to amaze me how some people are not only just creative but they can also set new standards as they do so. One such person who possesses such a talent is Eleanor McEvoy – and I rest my case with her latest album , OUT THERE.
OUT THERE is Eleanor’s 6th album and in keeping with the trend set on all her previous releases , it’s so much different from the one before. Each album I could happily return to and leave playing uninterrupted, but this latest offering is more complete as opposed to themed.
The opening track is also her latest single, Non Smoking Single Female. On first hearing I didn’t really like the song , but after a couple of takes all the clichés from those classified ads start to raise a smile. The backing music comes straight out of one of those 60s movies which always seemed to be set in London with voices and mouth movements invariably out of sync. The following track, To Sweep Away A Fool, is completely different and has a Streets of London style acoustic guitar running through it. Track 3 Wrong So Wrong, is as different again. It has a dabbed violin with ethereal synthesiser & warming bass delivering a steamy and sultry sound….. and so the diversity goes on ranging from Blues (The Way You Wear Your Troubles) through classical (Interlude) to Hill-Billy Country (Suffer So Well)
Look out for a stripped down cover of Marvin Gaye’s Mercy Mercy Me. She really manages to get you to focus on the lyrics and just how true they still are today. The Fields of Dublin 4 asks questions of how The Celtic Tiger economy is changing the character of Dublin folk.
I’ve only had this album a few hours, but I do believe it’s Eleanor’s best yet. Current favourite track is So Much Trouble – a mandolin backed song about a wife’s discovery of her husband’s web of deceit.
Out There sees Eleanor McEvoy playing a whole range of instruments, ably backed by Liam Bradley on drums and the occasional whistle.
Recorded in Norfolk and produced at Metropolis, London.

Gig reviews , maybe. Question is, can he do interviews?

CELINE CARROLL

Every once in a while you'll hear a song on the radio which just hits you straight away. It will stay with you day-in, day-out and you will stop at nothing to get hold of a copy.
Such was the case with Apologise which was played on Mike Moloney's Irish Album on Ocean FM (Sligo/Donegal).

The combination of melody, vocals piano and violin would together melt the coldest of hearts.
Proof of the quality of the violinist requires just a namecheck - Maire Breatnach.
I hope it won't be too long before we associate that same quality mark with the singer and author of this song - Celine Carroll

Apologise can be found on an album called Itch. (Happy Trails Records).This album contains 10 quality songs all written,sung and produced by Celine. Celine also plays lead acoustic guitar and piano. Maire is featured on several other tracks the album.
Lyrics and samples are available on Celine Carroll's web site.

How I obtained the album is another story and I can safely say that I must have been the first person in the UK to get a copy. You should be able to buy Itch from Road Records and Nova Records, 9 Surrey Street, Littlehampton, West Sussex BN17 5AZ.

I met Celine in her hometown of Dublin the other day and she kindly agreed to take part in an exclusive interview.

Celine, Itch is a wonderful album and it has an almost ˜live" feel to it. How did you achieve this?
I purposely only had a few run- throughs of the songs with the band because I wanted everyone's playing to be spontaneous, kinda edgy, everyone playing off each other.'TIGHT BUT LOOSE' became our motto in the studio. In order to achieve this, we had one full rehearsal. When it came to recording, we set ourselves up in different rooms in the studio, put on our headphones and started playing. We could all hear each other playing. And it just sounded so natural and right.

I love the violin on Apologise and I've since discovered that the violinist is the legendary Maire Breatnach. When did you first encounter her and how did you get her to agree to perform on the album?
I always knew I was going to put a string arrangement on Apologise. I had recorded the strings myself on keyboards during the preproduction of this song. By the time I got to record it, together with the live feel of all the other songs, it was obvious that we'd have to record live strings. Enter Maire. My engineer, Ciaran Byrne recommended her. I called her up, had a chat, sent her my demos of the track. She liked the song and Bingo,came in and put it all down in a flash!!!!.
It was that simple.

Maire appears on other tracks too....
Yes, She layered violin and viola on Home, Itch, Slow My Wheels, Grey Sky Blue(awesome)and Flying .

While we're namedropping it would be wrong not to mention the other musicians involved...including yourself
My guitarist is Dave McGinley from Dublin, a wonderful musician, Paul Moore also from Dublin on bass and Jerry Fehily all the way from the Peoples Republic of Cork on drums. He's just amazing.
The entire band were great. Even Ciaran, my engineer played a mighty trombone solo on one track.

You've written all the songs on this album and your previous (debut) album Catch You As You Fall, have any of these been recorded by anyone else?
I've had one track from a previous album called Don't Get Me Wrong recorded by Frances Black. I think at the time, Frances was taking a departure from the folk angle that has appeared on all her other albums. She was going for a different feel on this particular album. Don't Get Me Wrong suited what she was doing and it became the title track of the album.

Is there a follow up album in the pipeline?
Not at the moment. Trying to shift this album on the masses is keeping me busy. But I do have a lot of songs ready to do battle. I just need someone to sponsor the musical war!!

You've no doubt been pleased with recent live shows, when is the next one and are there any hopes for touring Ireland and beyond?
We are in Bewley's Cafe Theatre in Dublin this Saturday, August 19th. It's a great gig because the venue is very intimate and cosy. Suits my style of playing and singing. After that, hopefully some gigs in the Autumn.

Your music has a rare quality of appealing to all ages. Is this fact reflected in the audiences at your live shows?
Absolutely. We get a great mix of ages. And I notice that everyone has their favourite song and they all pick different songs. With one exception-Bird In A Cage seems to win hands-down everytime with everyone.

A message to your fans (past, present & future)
Come on in, the door is still, and always will be, OPEN!!
Happy Trails,
Celine.

Celine Carroll...Thank you

Editor's Note
I must thank Celine Carroll for agreeing to take part , without whom this interview would never have happened. I would also like to thank Bernadette from Celtic Cafe for encouraging me to do this.

Recommended Links
Celine Carroll
Maire Breatnach
Frances Black
Celtic Cafe
Ocean FM

It isn't rocket science - these tracks from Stevenson will send you off the rails

I would just like to call your attention to an unsigned singer/songwriter.
All I will say is think of Sarah McLachlan, give her a lovely Belfast accent and throw in a dash of disenchantment from male disappointments.
Now click on the image above and listen to Laura Stevenson.

Frances' singing strikes a chord at The Quays

FRANCES BLACK
The Lowry
Salford Quays
Thursday 29th June 2006

All the Frances Black concerts that I’ve attended to date have started with Stranger On The Shore and finished with You’ve Got A Friend. After all this time, the penny dropped. We meet as strangers and depart as friends.
A simple approach really, but it works because that was what this particular evening was - a meeting of friends.

A new album was on release to accompany her tour. This Love Will Carry is a double album containing many favourites from the past 12 years or so.

And as we’re not strangers any more, then there’s no need for Strangers on the Shore for openers, Instead we called up our old friends from the days of Arcady in the form of a brilliant delivery of I’d Cross The Wild Atlantic. Bass guitarist, Eoghan Scott, flexed his versatility muscles with a haunting keyboard intro and Gerry O’Connor weaving mystic violin patterns throughout.

And just as I was thinking how Frances takes to the ‘Trad Arr’ songs like a duck takes to water, we were back with the familiar setlist. Again, I wish I had made notes, but this was the Lowry, proper stage lighting and darkened auditorium meant that I couldn’t see even if I brought my pen..

As for stage lighting, red uplights against a big blue curtain at the back of the stage for most of the time, except for Rathlin Island. It was about the third song in and it is dedicated to the memory of her father, who she said had lovely icy blue eyes. He used to take the family back to Rathlin , his birthplace, for holidays. Upon return to Dublin , Frances was convinced there was a certain sadness in those eyes – and there’s a line in the song ”Cast a blue eye, back to Rathlin”. You can guess the colour of the lighting.

Time was also put aside for the memory of her dear mum, Patti. Although on this occasion, instead of Somewhere Over The Rainbow, Frances sang an unaccompanied music hall song which her mum used to sing – title escapes me – but it’s about a girl who brought her boyfriend home and he left her for her mother !

Frances encourages the audience to sing along as the show progresses and we closed the first half by joining in with the chorus of This Love Will Carry . The interval left us mulling over a request to join her on stage for that Ronan Keating number in the second half.

First song of part two started with another ‘Trad Arr’. Another Black family musical link with The Corrs. (Her sister Mary sang No Frontiers in Liverpool last month). This time it was Foggy Dew, which leaves the The Corrs version off their Home album for dead.

When You Say Nothing At All saw seven volunteers on stage to assist Frances. I’ll just say that harmony prevailed, although not necessarily in a musical sense.

Overall it was a really well balanced set. As well as the ‘Trad Arrs’ mixed in with the standard Frances set there were a couple of pop classics in the form of Gabrielle’s Rise and Bill Withers’ Lean On Me and even some jigs and reels seeing Frances on the bodhran.
There was even a "Happy Birthday to You" sang by everyone present for Jimmy Smyth. I think he was 22.

Yours truly got a mention in the encore. I don’t remember telling her that we were going to the concert, but she knew somehow…….I just thought to myself , "Ain’t it good to know , you’ve got a friend"

Frances Black - Vocals
Gerry O'Connor - Violin /Mandolin
Eoghan Scott - Bass Guitar / occasional keyboards
Peter McKinney - Drums
Jimmy Smyth - Accoustic Guitar

Will the Farmers spread it around for Andy ?

TWELVE STRINGS
(Andy Whitaker & Tiny Scientist)
Farmers Arms
Frankby
Wirral
Friday 23rd June 2006

A popular local pub was holding an engagement party and obligatory disco, so this was hardly the ideal venue for focussing upon the live act. The clientelle were more interested in the buffet, the World Cup, the next pint and maybe a bit of a bop to Dexy's Midnight Runners and the end of the night slowy than the talents of a singer/songwriter and his mate who travelled the best part of 40 miles to perform.

I encountered Andy courtesy of a fleeting friend request on Myspace.com and I accepted his invitation after discovering that he was due to play at this venue which was on my doorstep. I was recognised virtually on arrival and stayed for his opening half hour set.

First song (check his website) was 'An Individual Mind' - dedicated to yours truly - and it was duly appreciated by its recipient. Apart from the dedicated half dozen the rest of the pub were enveloped in their own discussions rather than the talented duo. Undeterred and all credit to their professionalism, they persevered. A few Beatles covers, plus others from the Monkees , Byrds (Mr. Tambourine Man), Pink Floyd (See Emily Play) and a finale (Shadows - Apache) saw them starting to win the people round.

If you do meet Andy at a disco-type gig , and if he does play Apache then just close your eyes and imagine he's playing the Fender Strat because it's hard to believe that such sounds can come out of an acoustic guitar.

We left at the end of the first set but I have now doubt that an entertaining evening was about to develop and that quite a few of the party will start to spread the word about the talents of Mr. Andy Whitaker.

If he appears at a venue nearby again and if he gets the chance to sell his own wares then meet me in the queue for tickets.

Ladies & Gentlemen, I give you MR ANDY WHITAKER

Caroline ruled the waves on 199 - now she touches the Sky on 199

As from Monday 12th June 2006 The legendary Radio Caroline is now available on SKY Channel 0199. No other channel would be appropriate because this lady once ruled the waves on 199 Medium Wave.
The commercial radio stations should take note that you probably wouldn't have existed if it wasn't for Caroline.
Over forty years on, Caroline is still here - Britain's first and only album station.
It's brilliant - all that nostalgia along with plenty of quality new stuff as well without the shackles of a controlled playlist and script driven presenters.
But don't take my word for it - tune in and support free spirited radio.
The Legend Lives On!

Mary Black brings a Full Tide to fill the Phil

MARY BLACK
Liverpool Philharmonic Hall
Wednesday 31st May 2006

Thanks to this commitment of mine towards supporting all the founder members of the 'Woman’s Heart' phenomenon, I’ve managed to collect one or two albums from Mary Black.
I’ve been so focussed on one or two of the others that I took Mary’s albums for granted and ignored them somewhat.

A couple of months ago I received a listing from the Liverpool Philharmonic and Mary was due to appear at the end of May. There was an autograph missing on my AWH album sleeve so the tickets had to be bought.

The early start (7:30) meant there wasn’t much time to dash home from work and get back into city centre Liverpool in good time for the show. That prospect removed any pre-gig excitement, so as we found our seats the frame of mind was to just take in whatever comes.

In no time at all the auditorium lights dimmed and the midnight blue stage lighting was all that prevented a full house from experiencing a total blackout. The four members of her backing band took their positions before Mary entered the stage to generous, yet polite, applause.

Singer Mary’s first musical contribution was the harmonica bars that open ‘Land of Love’, the first track on her latest album, Full Tide.
The ascent from my pre-gig lethargy towards euphoria hit vertical as the first note was struck, such is the magic behind a live act.
Her second song followed straight away. It was an old favourite - (printed on the setlist as 'Adam')

Then came the spoken word.
She explained that was how things would pan out for the evening. A few songs from her latest album filtered in with the old favourites. It was while she was talking that I drew immediate comparisons with her sister Frances. Mary's band had a drummer, but the rest of the band were placed in the same positions.
Keyboard player on her left, then the bass player, back left, drummer behind and lead guitarist on her right.

Mary confidently throws in a good story between songs albeit more aimed towards the songwriter. There were mentions about the family. Indeed, her son Danny was listed as accompaniment on this tour but he wasn’t available on this particular evening as he was representing Dublin playing in a sporting fixture against Wexford.

The disappointment over his absence soon evaporated when her daughter Roisin joined in for a couple of songs. If Roisin follows in Mum’s footsteps she won’t go short of money that’s for sure.

The first half ended on a couple of personal favourites, 'No Frontiers' and 'Stand Up'. No Frontiers was penned by Jimmy McCarthy and it was recently covered by The Corrs on their Unplugged album. 'Stand Up' is from her latest album.
Towards the end of the second half 'Real You' (from Full Tide) drifted into a jam by the band where each member was spotlighted for a solo stint closing with Bill Shanley giving a guitar solo that would have left Carlos Santana gasping for breath.

The main body of the show consisted of two halves of about 9 songs each and two returns for encores. It would be difficult for anyone to find fault in around two hours of top-class entertainment.

I consider myself lucky to have witnessed a legend in action and I spent the rest of the night wondering why I’d let Mary Black just pass me by.

The Band
========
Pat Crowley - Keyboards / Accordian
James Blennerhassett - Bass / Occasional Keyboards
Martin Ditcham - Percussion
Bill Shanley - Lead Acoustic Guitar
Mary Black - Vocals/ Occasional Harmonica/Tambourine/Shaker/Bodhran
Roisin O'Reilly - Guest Vocals

Setlist (as per printed list nicked off the stage)
=======
1. Land of Love
2. Adam
3. Siul A Run
4. St. Kilda
5. Columbus
6. Your Love
7. Saw You Running
8. No Frontiers
9. Stand Up

Interval
========
1. Bright Blue Rose
2. By The Time It Gets Dark
3. Make You Feel My Love
4. Carolina Rua
5. Don't Let Me Come Home A Stranger
6. Katie
7. Summer Sent You
8. Real You
9. Flesh & Blood

Encores
=======
Lay Down/Just Once in a Very Blue Moon/Past the Point of Rescue

2nd Encore featured Ellis Island
and she definiteley sang Moon River somewhere in the set.

Tuesday : Duke's singing Stays With Me 'Til Dawn

Picture : mark@pickthall.fsnet.co.uk

DUKE SPECIAL
Wrexham Central
Tuesday 23rd May 2006

The uninitiated would be forgiven for thinking that after their first glance at Duke Special that they're in for a musical performance away from the norm and difficult to comprehend. They'll be partly right but they'll be wrong on the comprehension issue.
In a musical world where it is almost impossible to be unique, Duke has perfected his own sound which is melodic, clear and easy on the ear.
I first saw him as a solo act supporting Juliet Turner on UK tour early in 2005. Last night he was headlining with an accompanist who was as daft as a brush.

It was one of those nights where you just knew you were going to be entertained. A brief examination of furniture on the stage before the duet made their appearance added weight to that assumption.

It looked more like an antique bric-a-brac shop window than a conventional musician's set. The drum kit comprised two big bass drums, one at the front, the other was at the percussionist's right at around head level. There were a couple of old fashioned gramophones placed either side of the stage. Duke's tatty old upright piano was void of varnish. It looked like something you'd pay someone to get rid of. There was a transistor radio placed on top of it. Centre front of the stage was a broomstick thing with a bell at the top various other bits and bobs attached, finished off with a battered old pan lid at the bottom.

After a couple of support acts, Duke and his accompanist, Chip Bailey, entered the stage. Chip sat behind his drumkit, shoulder length crimped hair, adopting a somewhat disinterested pose while Duke wound one of the gramophones up to speed before taking his place at the piano. Then piano was bashed and drums were clattered as we were launched into action with 'Wake Up Scarlett'(from his My Villain Heart EP).

Prior to their arrival I was receiving verbal earache off the missus. There were threats of "I'm not coming to any more of these!".

At the start of the third song, 'Last Night I Nearly Died' (another from My Villain Heart), Chip came from behind his drumkit with a Tesco carrier bag in hand. After delving in and flicking the first old egg whisk over his left shoulder he produced another and a cheese grater. These were used as percussion for the first line of the chorus. Second line he turns and bashes the cymbals with the whisk in a state of rage. Tears of laughter were streaming down my wife's face..I think all was forgiven.

The cluttered broomstick made an appearance in a couple of other songs. It was addressed and played in a manner similar to the way a joiner studies and shapes a piece of wood.

When I first heard Duke perform in Manchester last year there was one song which stayed with me for months afterwards, that was 'Freewheel' (from his Lucky Me EP). He sang it again last night - and that song alone is worth getting out of the house to witness live.

Procedings closed with two song encore. 'Goodnight Irene' an oldie possibly dedicated to the members of the audience with links to The Principality. And 'John Lennon Love' from his latest EP, 'Your Vandal' . Audience particpation, was invited at first, then it was demanded (and obtained) by Chip.

For me, the biggest disappointment was the audience. Their attentiveness and behaviour were faultless - their number was less than 40 though. Duke Special & Chip deserve full houses wherever they play.

My souvenirs from the show :- his latest EP , 'Your Vandal', a cheese grater with egg whisk (plus a sheet of instructions) and the live version of Freewheel still playing in my mind.