#bouzouki club

[peterwebscott]

Singing rebetiko with the angels

As my post about Dimitris Mitropanos’s song Roza (https://wordpress.com/posts/wordscene.wordpress.?s=great+song+bu) has for some reason been generating a lot of interest recently, I thought I would translate another song in the zeïmbekiko style of the Greek rebetiko tradition – brilliantly performed here by Themis Adamantidis, Dimitris Mitropanos and Dimitris Basos. The lyrics, by the writer…

[scotianostra]

Happy Birthday Ian Anderson, born 10th August 1947 in Dunfermline. After attending primary school in Edinburgh, his family relocated to Blackpool in 1959. Following a traditional Grammar school education, he moved on to Art college to study fine art before deciding on an attempt at a musical career. He was influenced by his father’s big band and jazz records and the emergence of rock music, but was disenchanted with the “show biz” style of early American rock and roll stars like Elvis Presley. In 1963 with some school friends he formed his first band The Blades, a soul and blues outfit. In 1965 they regrouped into The John Evan Band with major lineup changes. They disband two years later when Anderson moved to Luton. In his new surroundings, Ian meets the drummer Clive Bunker and the guitarist Mick Abrahams and with Glenn Cornick, a bassist - of The John Evan Band-, Anderson creates the seed of the group that would become the legendary Jethro Tull. Still enjoying a lengthy if intermittent ongoing career, Jethro Tull has released 30 studio and live albums, selling more than 60 million copies since the band first performed at London’s famous Marquee club. After undertaking more than 3000 concerts in forty-something countries throughout four decades, Tull has played typically 100 concerts each year to longstanding, as well as new fans worldwide. Widely recognized as the man who introduced the flute to rock music, Ian Anderson remains the crowned exponent of the popular and rock genres of flute playing. So far, no pretender to the throne has stepped forward. Ian also plays ethnic flutes and whistles together with acoustic guitar and the mandolin bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. I briefly met Ian on Skye in 1987 on my way back from Benbecula where he had an estate and ran a Fish farm, well 11 fish farms as my research has unearthed, he also employed over 400 people before selling it in the 90’s. Anderson recalled in an interview how he started as a flautist… “ once owned a 1960s Fender Stratocaster, which had previously belonged to Lemmy Kilminster before he found fame with Motorhead. But when it dawned on me I was never going to catch up with the growing band of hotshot British guitarists at that time – Jimmy Page, Jeff Beck and Eric Clapton – I traded it in for a Selma Goldfield student flute worth £30. I knew Jimmy Page and Eric Clapton didn’t play the flute, so I thought I would be in with a chance. A lot of people told me it was a ridiculous trade because the Strat was worth at least £150. But in fact it was a great buy because learning to play it was the start of Jethro Tull.” Anderson lives on a farm in the southwest of England where he has a recording studio and office. He has been married for 37 years to Shona who is also an active director of their music and other companies. They have two children. In 2006 and 2010, he was awarded Doctorates in Literature from Heriot Watt University in Edinburgh and the Abertay University of Dundee. He received the Ivor Award for International Achievement in Music. Ian admits he owns no fast car, never yet having taken a driving test, and has a wardrobe of singularly uninspiring and drab leisurewear varying from light grey to black in colour. He still keeps a couple of off-road competition motorcycles, and a saxophone which he promises never to play again.

Our birthday boy likes to play more intinate venues rather than grand halls, I noticed in the past he has played in religious buildings like cathedrals, he said in an interview ‘Playing in a cathedral gives you a sense of history, responsibility, and humility’ He seems a man after my own heart, while I am not a religious man I do get this same feeling when visiting these sites.. It's not about profits for Jethro Tull, again I have posted that he doesn't charge over the top prices for his tickets, and when he plays in historical places he gives back….The profits from the sales of tickets for my Christmas concert in Bristol Cathedral will go to the upkeep of these sacred buildings, and, perhaps, also in support of the musical liturgy of the church.

Ian admits that he is responsible for an enormous carbon footprint over the years —" I’m a climate sinner — but I’ve planted over 50,000 mixed deciduous trees on our farm. Its heavy clay isn’t not capable of producing arable crops. At best, it grows grass for grazing, but some margins aren’t suitable; so we’ve extended our ancient woodlands with many oak trees. They are an emblem of the Anderson-family clan, whose legend is “Stand sure”.

Jethro Tull are playing Bristol Cathedral on December 11th, tickets are £25-45 snd Salisbury Cathedral next day. These dates are sandwiched between a European tour.

The video features the song, Dun Ringill, from the group's 1979 album Stormwatch, it is an ode to the Iron Age-era fort of the same name. The fort, located on the coast of the Isle of Skye in Scotland, was occupied by the Clan Mackinnon for centuries.[1] The ruins of Castle Ringill, located near Loch Slapin, were located on Anderson's Scottish property, thus inspiring him to write the song. Anderson explained: " Dun Ringill" [is] about the ruins of an old hillside in the Isle of Skye, off the west coast of Scotland, where Nordic invaders would have landed to pillage and plunder and the local folk would have hidden the women and children and the sheep under fortifications.

It's a cool video, pity it was filmed at Dover rather than on Skye though!

[justforbooks]

When Ry Cooder famously made his debut appearance at Glastonbury, playing on the Pyramid stage on a damp day in June 1990, he chose not to be backed by a band but by a second guitarist who came on sporting bright red trousers, and hair and sideburns that were very long, even by rock music standards. The duo perched on stools, surrounded by a dozen guitars, mandolins or bouzoukis, and proceeded to prove that they were both virtuoso players who could sound as thrilling as any amplified band as they switched from the atmospheric Paris, Texas to songs made famous by Woody Guthrie, Lead Belly or Jerry Lee Lewis.

Cooder’s companion, David Lindley, who has died aged 78, was a musicians’ musician. He may never have been as well known as those he played with, but he was one of the most sought-after session players in the US. Best known for his collaborations with Cooder and Jackson Browne, he also recorded with an astonishing list of musicians that included Leonard Cohen, Bob Dylan, James Taylor, Iggy Pop, Linda Ronstadt, Dolly Parton, John Prine, David Crosby, Graham Nash, Ben Harper, Rickie Lee Jones and Bruce Springsteen. They wanted to work with Lindley not just because he was a great musician who could play almost any stringed instrument, from guitar and fiddle to slide guitar and mandolin through to oud and bouzouki, but because he knew how to interpret the mood of a song, adding texture and emotion without ever dominating.

His own musical taste was far more varied than the rock or singer-songwriter styles of the stars for whom he acted as sideman. When leading his own band, El Rayo-X, he was able to branch out and demonstrate his sense of humour as he explored blues, funk and reggae. Like Cooder, he was fascinated by musical styles from around the world, and some of his most original recordings were with musicians from Madagascar, Hawaii, Norway and Jordan.

Born in San Marino, Los Angeles, he was the son of Margaret (nee Wells) and Jack Lindley, a lawyer and music fan. He grew up listening to his father’s eclectic record collection, which included music from the Middle East and Asia, and he learned to play his father’s ukulele, then the banjo. While at La Salle high school in Pasadena he formed a bluegrass band, the Mad Mountain Ramblers, and then the Dry City Scat Band, which played around the Los Angeles folk clubs and at Disneyland. He was still a teenager when he first won the annual Topanga Canyon banjo and fiddle contest, but was asked to stop competing after he had won it five times.

Lindley’s reputation was growing fast, and in 1967 he landed his first major session, playing on Cohen’s debut, Songs of Leonard Cohen. By then he had formed his first electric band, Kaleidoscope, along with Chris Darrow, with whom he had played in the Scat Band. They released their first, wildly experimental album, Side Trips, in 1967, mixing Middle Eastern music with rock, cajun, country and bluegrass, but, though they were praised by Jimmy Page of Led Zeppelin, their unique brand of “psychedelic folk” didn’t sell records. They broke up in 1970, after recording four albums, and Lindley moved to England to work with the singer-guitarist Terry Reid, who had famously turned down Led Zeppelin.

Moving back to the US, Lindley teamed up with Browne, with whom he spent the rest of the 1970s, touring and recording as a key member of his band, playing acoustic and electric guitar, slide guitar and fiddle. He perfectly complemented many of Browne’s best-loved songs, playing lap steel on Running on Empty and fiddle on Before the Deluge. Browne called him “my hero”, and other musicians asked him to play on their records when Browne did not require his services. His recordings during that period included three albums for Ronstadt, including her first No 1 album, the exquisite Heart Like a Wheel (1974), two with Rod Stewart, including his bestselling Atlantic Crossing (1975), along with albums with Crosby & Nash, Taylor, Warren Zevon and Parton.

He first recorded with Cooder on Jazz (1978) and Bop Till You Drop (1979), after which the duo began performing live together, touring in Australia and Japan. A 1979 live radio recording from Osaka was released on CD in 2021. On their tour in 1995 they were joined onstage by Cooder’s son, Joachim, and Lindley’s folksinger daughter, Rosanne, and released the album Cooder/Lindley Family Live at the Vienna Opera House.

After leaving Browne’s band in 1980, Lindley moved from sideman to band leader with El Rayo-X, which he called “more or less a party band”, and in which he matched his own songs along with a bravely varied assortment of old favourites. The band’s self-titled debut set in 1981 included a glorious, furious treatment of KC Douglas’s Mercury Blues, while Win This Record, released the following year, included the Toots and the Maytals song Premature. Mr Dave (1985) included his own reggae composition Alien Invasion, and the band’s final album Very Greasy (1988) continued to demonstrate his fascination with the Caribbean. Produced by Ronstadt, it included Ronstadt adding harmony vocals on Lord Kitchener’s calypso classic Gimme da Ting (on which Lindley played guitar and kora) and a reggae reworking of Zevon’s Werewolves of London.

While running the band, he still managed time to visit London to play alongside Richard Thompson and Rory Gallagher, and revive his love of flamenco with Juan Martin, at a Guitarists Night concert in March 1984. And he continued his session work, including albums for Browne, and for Emmylou Harris, Ronstadt and Parton on Trio (1987). In 1990 he worked with Dylan on Under the Red Sky.

Still keen to expand his musical range, he travelled to Madagascar with the guitarist Henry Kaiser to record the musicians and unique instruments of the vast island off the east coast of Africa. The aim was to present local stars to an international audience, but Lindley and Kaiser joined in several of the sessions. The resulting albums, A World Out of Time, Vols 1 and 2 (1992-93), included Lindley playing slide guitar with the traditional band Tarika Sammy and joining guitarist Rossy on a reworking of I Fought the Law, the Crickets song popularised by the Clash.

Moving on to Hawaii, this time in the company of Cooder, he recorded with the Pahinui Bros (1992) on a set that included a Hawaiian reggae treatment of John Lennon’s Jealous Guy. Further musical travels included recordings in Norway with Kaiser for The Sweet Sunny North (1994). In 1994-95 he also recorded with the Jordanian oud player Hani Naser, and between 2000 and 2004 with the reggae percussionist Wally Ingram. Their third album together, Twango Bango III (2003) included When a Guy Gets Boobs, a comment on the American diet. “I have always liked songwriters like Warren Zevon who could write something goofy and also really serious,” he explained.

In 2006 he was reunited with Browne for a short Spanish tour on which they were backed by a flamenco percussionist. Love Is Strange, a live album recorded on that tour, was released in 2010, when Browne and Lindley toured Europe and the US, and played at Glastonbury, with a set that included Running On Empty and Mercury Blues. In the same year Lindley also worked with Bruce Springsteen on The Promise. His own final solo album, Big Twang, was released in 2007.

Lindley had a wild stage image, thanks to his colourful clothes and long hair, but he never favoured a rock’n’roll lifestyle, and would often retreat to his hotel room to rehearse after a show. He hated being disturbed in the morning by hotel workers, and would imitate a dog, scratching at the door and barking, to keep them away.

He lived in Claremont, California, in a house filled with musical instruments, and was married to Joan Darrow, the sister of his Kaleidoscope colleague Chris Darrow. He is survived by Joan and Rosanne.

🔔 David Lindley, musician, born 21 March 1944; died 3 March 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[triposzt]

The Dreadnoughts - Roll and Go (2022) / Green Willow (2023) double album review

For the first English post of this blog, why not make a review of my new favourite band's last two albums? It's a bit late, I know, I originally wanted to make one about "Roll and Go", but never got around to do it, so when I heard that a new album is coming out this year, I thought "hey, now is the time to combine the two reviews into one post!" And I'm still freakin' late with this again!

But anyway, let's start the story from the beginning.

At least a decade ago, the first two songs I've heard from The Dreadnoughts were "Sleep Is For The Weak" and "Randy-Dandy-Oh" - no idea whether I found them randomly or someone showed them to me, but I liked both… and then kinda forgot to listen to any of their other songs for a while 😄 Then, fast-forward to approximately early 2020, when at work I was browsing for music, listened to one of the previously mentioned two and through the "related songs" links, found "Gintlemen's Club" (unsurprisingly from the same 2011 album "Polka's Not Dead")…and BAM! Immediately I was like "This is awesome, why haven't I listened to them for ages? Let's discover more!" And I did… and that's why I was anticipating the 2022 spring release of the new album Roll and Go even more. Let's see how it turned out:

ROLL AND GO (release date: June 24, 2022)

1 - Cider Jar [7/10] Hold up, a booze-infused version of "Twinkle Twinkle Little Star"? That's ridiculously brilliant! 😃 Cider Jar serves as a short intro to the album and the closing "arr-oh-arr" just flows right on to the next track, which…

2 - Cider Holiday [7.5/10] …was the first track released from the album and in all honesty, did not hit me in the sweet spot back then, but has grown on me since. The prose-like bridge part gives it a unique flavour, and speaking of flavour, the song itself just makes me wanna drink cider or visit the West Country. Or both, preferably.

3 - The Rodney Rocket [8/10] You never know where artists can find an inspiration for a song. Sometimes, it might be a video about an old alcoholic Canadian fella having fun with some snowy extreme sports in Rodney, Ontario 😁 The Rodney Rocket is easy to sing (mostly due to its percussion-heavy background and the L-C-B-O chant in the chorus), plus the tempo changes well along with the story - the silly-sounding words in the lyrics (dickered, hullabaloo) and a callback to "Fire Marshal Willy" are just the icing on the cake. What's not to like?

4 - Problem [10/10] Second track to come out as a single and I instantly loved it. Somehow it's just perfect: the repeating "Problem" at the end of lines, occasionally replaced by various - and hilarious! - sound effects, both the beat and the inserted Polish lyrics obviously referencing Sleep Is For the Weak, the backstory of the song, it all just culminates in this masterpiece. The music video is weird enough, although it does not reach such heights, but anyway, who the fuck cares, we are here to listen to songs, not watch them. Problem?

5 - Brisbane Harbour [8.5/10] A worthy continuation of true sea shanties like "Whup! Jamboree" and "Eliza Lee", and one which surely makes any listener's fingers and feet tap to the rhythm.

6 - Battleford 1885 [8/10] The shortest "normal" track on the album, and its title was intriguing to me when I first saw it - turns out, music can be educational (duh), because Battleford 1885 sheds some light on a tragic event of indigenous people in Canada (here's the post about the background of the song). Oh, and the ascending drum in the background of the bridge is just… *chef's kiss*

7 - The Storm [9/10] Beautiful, just beautiful, equally eerie and empowering, with an instrumental break inspired by Greek bouzouki tunes. If the previous song was about the story of oppressed people rising up against their masters, then this one puts you right in those people's mindset. Well done. And I'll be forever grateful for the Substack post about The Storm for introducing Smokey Bastard's "Baba Yaga" to me, I fell in love at first listening.

8 - Vicki's Polka [7.5/10] Judging by the title only, I thought this was going to be the obligatory instrumental track, but then again, I might have been misled by "Clavdia's Waltz". Instead, Vicki's Polka is rather a love story spanning decades, featuring references to the band's 2010 hit "Polka Never Dies" and the popular folk song "Who Stole the Keeshka?". Assisted by some top folk musicians, the bounciness of this true polka track slows down only near the end, when it's time to say goodbye to the titular Vicki, sadly taken away by the Covid-19 pandemic. Goddamnit, 2020.

9 - Scrumpy-O [8/10] You've been listening to the songs of the album in order and you're missing the amount of alcohol in the lyrics for a while? Worry not, Scrumpy-O definitely has your back. Just grab some locally made and/or rough cider (that's what "scrumpy" means), learn the words to the chorus, and raise your bottle to the sky!

10 - Tuika [7/10] Now this is the instrumental track I thought Vicki's Polka was gonna be. The frequently changing speed of the song makes you imagine dancing arm-in-arm with someone at one moment, then jumping into a mosh pit at another. (P.s.: if anyone has an idea what the title means, let me know, I could only find a politician from American Samoa by this name.)

11 - Dusty Ground [9/10] One of my favourites from the album, a very well executed song. Listen to how the tempo decelerates almost into melancholy in the third verse and then turns back up for the last chorus, just fantastic. The lyrics… likewise. If I'm not mistaken, they are meant to convey the transience of life via a clever metaphor: the ever-thirsty ground, which swallows us up like water. Well, all right, I might have taken a peek at the origin story of the track ;)

12 - Bold Reilly [5.5/10] Honestly, out of the thirteen tracks, this is the song that resonated the least with me. I wouldn't say it's bad or anything, just… Too repetitive? Too slow? I don't know. Also, being "the worst song of a Dreadnoughts album" is still a pretty high level 😁 And it has a reference to Randy Dandy-Oh, nice!

13 - Roll and Go [8.5/10] For some reason, I classified the trio of The Storm, Dusty Ground, and this closing track as giving the same vibes - no idea why I feel the similarity, at the very least Dusty Ground is notably quicker. Anyway, all three songs are unique enough for me to love each of them. Roll and Go provides a fine closure to this wonderful album: the musical background resembles a marching band (here I am giving praise to the percussion section yet again 👏), the lyrics emanate the feeling of brotherhood, and the ending slowly fades with the promise of a "fine and lucky day". Amen to that!

Overall: this was easily the release of the year for me. Usually when I listen to an entire album for the first time, the tracks don't really have their own "identity" in the beginning, and the whole thing is just a raw, big mess. Not this time! A few tracks stood out instantly and I grew to love the rest even more. Roll and Go turning out to be that awesome, given the difficulties the band had to face while recording, just proves how talented these guys are. I'll be sure to mention this album when people ask me about my favourites. Verdict: 8.5/10

GREEN WILLOW (release date: March 14, 2023)

1 - We Shepherds are the Best of Men [8/10] A proper start to the album, with a great rhythm and an even better chorus. Apparently, it's an older folk piece, which has a few versions with different lyrics, but The Dreadnoughts are the first "modern" band to cover it. And oh boy, they did it well! (One small caveat though: the grammar nazi inside me is so bothered by the "We drinks our liquor freely and pays before we go" part every time 😅)

2 - Hej Sokoły (Zal za Ukraina) [9.5/10] I see two great reasons why this track was chosen as the initial single of the album. Firstly, this song is an absolute earworm. I mean, so dangerously addictive, it can be stuck in your head for a day! Secondly, it's dedicated to the people fighting for Ukraine, and whoever has listened to The Dreadnoughts' songs knows that Eastern Europe has a special place in their pool of inpsirations. Accordingly, Hey Sokoły covers a popular old Polish-Ukrainian folk song, and frankly, I just can't ever get enough of Polish lyrics in the band's songs - no wonder the band fell in love with the suggestion of this cover. Highlight: as the last verse slows down and then builds up into the energetic last chorus… goosebumps, goosebumps every time.

3 - Rigs of the Time [7/10] It's like a good worker who does not yearn for promotion but is never in danger of getting laid off - not necessarily oustanding in his field, but someone who is trustworthy and does his job well. It has a message and a great chorus. You need tracks like this on your album. (Ironically, the song is about dishonest tradesmen, but still, that's the metaphor I chose. Also, the whole "blaming the rising prices on the war" thing is too real nowadays.)

4 - Roll the Old Chariot Along [8.5/10] This song is apparently covered by a few artists, but I don't recall hearing it before I listened to the album - only since then, but for that, the almighty Algorithm might be the one to "blame". Anyway, I remember instantly liking it upon the first listening and my opinion remains unchanged: what a fantastic and catchy tune! "And we'll all hang on behind!" (P.s.: Lads, there's a missing verse - and some other confusion - of the lyrics on the Bandcamp page.)

5 - The Foggy Dew [7/10] A classic Irish ballad, full of historical references (one of which could even be meant as a hint to "The Bay of Suvla"), so far it was only familiar to me because Dropkick Murphys used it as the opening instrumental for their shows (The Chieftains version to be exact). The lack of repeated parts and intricate rhythm of the verses makes it very difficult to sing along, but nevertheless it's a beautiful rendition.

6 - Twankidillo [7.5/10] "Half of you are going to hate it, it’s fucking weird." That's the premise I've read before I even listened to the song… and I didn't even mention the strange title. 😄 *1st listening*: They were right, what the hell is this? *2nd listening*: Okay, it IS weird, but certainly catchy… *3rd listening*: "Here's to old coal, and to young coal and to no coal at aaaaaaaaallll!" Yep, it grows on you. It's another cover of a traditional folk song (like all tracks except one), and if you haven't noticed, the lyrics also contain a reference to the album name. Yay!

7 - Spanish Ladies [7/10] Sorry guys, I have absolutely been in love with Sarah Blasko's version of this song for years, and I don't think anything can change that. To be fair though, this cover is more sea shanty-esque, if you close your eyes, you can almost visualize the crew hauling ropes or heaving the capstan around.

8 - The Unquiet Grave [8/10] Upon seeing the tracklist, this was the title that stood out the most for me - and damn, it did not disappoint, especially storywise. This tale of love beyond the grave has been sung for centuries, I haven't heard it before, but I must say that The Dreadnoughts have really managed to capture the appropriate eerie vibe which surely gives you the chills. (Bonus funfact for anyone who's familiar with the band's discography: this track was first intended for the 2017 album "Foreign Skies".)

9 - Apple Tree Wassail [8.5/10] Don't believe Google Translate saying "wassail" is an Arabic word, this catchy track is actually a blessing ritual for apple trees in hope of a good crop to make cider from… although the mental image in my head is stuck halfway between an orchard and a mosh pit due to the song's fast pace. Hell, I hope at some point I'll have the chance to hear it live and jump around like a maniac. (Please come to Hungary!) (P.s.: The "Let every man drink up his glass" line is possibly a callback to "Spanish Ladies", am I right?)

10 - Roll Northumbria (Loud Version, sometimes called "Heavy Version") [7.5/10] Green Willow features nine covers of traditional folk pieces and a reboot of one of the band's earlier songs… yep, this closing track is the reboot one. What I said previously about Spanish Ladies, can be applied here as well - I like the original so much that no newer cover can surpass that, even if it's from the same band. Also, I think the original's slow and dark vibe is more fitting to the topic of the song, but if there's one place where the heavy/loud version could be used, it's concerts. The final drum beats provide a great ending to the album.

Overall: When I first listened to the entire album, I thought "maybe Roll and Go set the bar too high", although my reception of Green Willow has improved well since then, as it can be seen in the ratings. A shorter collection of tracks than its predecessor, but it has a bit of everything from patriotic through silly to haunting, while covering well-known and lesser-known folk songs. I know an album a year would probably be too much to ask, so I'll just patiently wait for some fresh stuff from The Dreadnoughts! Verdict: 8/10

Thanks for reading! 😊

[davidisen]

NYC Music Safari, Part 3

[Updated to include December 27, 28, 29, 30]

On Wednesday, December 27, I caught the early show at Birdland, David Ostwald's Louis Armstrong Eternity Band.

That's Ostwald on the tuba, Will Anderson on clarinet, Joe Boga on trumpet, Jim Fryer on trombone. Not visible in the back row, Vince Giordano (banjo) and Alex Raderman (percussion).

Will takes a solo, revealing Vince and Alex. I've seen the show several times. Same cheesy jokes, same over-learned moves and dialog, but great, spectacularly great, expertly executed music.

At Birdland I sat next to Anna, an impressive young lady. She didn't know anything about jazz, but clearly took huge delight in the music!

Got down to the Zinc Bar just in time to meet Neal and Peter for the Miss Maybell show.

Miss Maybell had an expert supporting cast of Brian Nalepka (bass), Dan Levinson (reeds) and Andy Stein (violin). And, it goes without saying (or showing), Andy Judkins was ragging the keys next to Miss Maybell's right elbow.

On December 29, Peter and I got to Mezzrow early, so we heard the last half of the early set from the back of the room, and then had a band-side table for the second set.

It was the Chuck Redd trio, with Chuck on vibraphone, Neal Miner on bass, and (not shown) John DiMartino (piano).

There's John DiMartino.

Chuck has total command of the vibes. When I first saw him in a combo at Dizzys, he was completely new to me and so impressive that I had to hear more.

One Sunday night at The Ear, Chuck sat at our band-side table and played a rhythm on the table with drum brushes. I held an empty glass for him, and occasionally he'd hit it.

The surprise of the evening was Janis Siegel, of the original Manhattan Transfer, who sang a couple. Ooh!

On Saturday, December 30, Neal and I went to see Les Chauds Lapins at Pangea.

Anybody who plays the banjolele like it's a serious instrument is crazy enough to be a friend of mine. Kurt Hoffman and Meg Reichardt play French swing from the 1900s with style and humor. The French I learned in school wasn't quite enough to keep up with them, but occasionally I'd catch one of their double entendres.

The band's name, for example. Les Chauds Lapins literally means hot rabbits, but the better French syntax would be "les lapins chauds." I looked it up. Chaud lapin is an idiom for horny guy, or ladies' man.

Kurt and Meg were charming performers and good musicians. They were backed up by a violist, a cellist and a bass player who stayed decidedly in a supporting role.

On Saturday, December 30, Garrett Manley (guitar), Shane Del Robles (percussion) and Ian Hutchinson (bass) played a delightful brunch gig at The Canary Club in Chinatown.

Typical NYC gig - take three world-class musicians, hire them for your 15-seat cafe, and stuff them in a corner by the closet. By the way, the food was excellent.

That's Shane's washboard "kit."

That evening I went to see Quince Marcum at Barbes. He's one of the bartenders there, but he has a quirky folksongy genius.

He plays Bouzouki, not guitar. And he sings in at least three languages.

So ... tonight is New Years Eve. The prospect is a little bit frightening.

[celtic-cd-releases]

https://clannamorna.ca/

https://www.facebook.com/ClannaMorna/

https://clannamorna.bandcamp.com/

https://open.spotify.com/playlist/6IUgXS10XrAl17YcczyX2o

[odeonrecint123]

Falling in love with Greece comes easy once you’ve made your first visit. Beautiful islands like Crete, Santorini, and Samos are a few of the spectacular locations for a week or two of rest and relaxation. Besides beautiful beaches and the islands there are ancient civilizations ready to be discovered, like the Knossos in Crete, the Acropolis in Athens, the theatre of Epidavros and more. The buzzing cities of Athens and Thessaloniki are alive with youthful energy with hundred of restaurants to enjoy the amazing Greek cuisine and numerous night clubs to enjoy the best bouzouki music.    This compilation is a perfect example of Greek instrumental music featuring the sounds of the bouzouki. Have a great time visiting Greece and listening to the wonderful Greek music.

[irishfolkclubmunich]

ANDY IRVINE

Irish Folk Club Munich - Theater im Fraunhofer

Monday, 08 Mai 2023 - Beginn: 20:00 - Einlaß: 19:45

Als einer der einflussreichsten Triebkräfte der neueren irischen Folk-Szene seit Mitte der 60er Jahre ist der Bouzouki-, Mandola- und Mundharmonikaspieler, Sänger und Songwriter Andy Irvine aus der irischen Musik von heute nicht wegzudenken. Lieder voller einfühlsamer Kraft, filigrane doch treibende Rhythmen, rabenschwarze Kommentare und eine faszinierende Virtuosität. Ein ganz Großer der Musikszene.

http://www.andyirvine.com/

Irish Folk Club Munich - Theater im Fraunhofer

Monday, 08 Mai 2023 - Beginn: 20:00 - Einlaß: 19:45

Fraunhoferstr. 9

80469 München

U1/U2 Fraunhoferstrasse

Tram 16/17/18: Müllerstrasse

Das Theater und die "Kulisse" im Fraunhofer befinden sich im Hinterhof.

BOOKING:

Bitte beachten: Nur bezahlte Reservierungen per email an irishfolkclubmunich@t-online.de oder per Telefon an 089/63499848 (auch Anrufbeantworter), die wir auch bestätigen, sind gültig!

Please note that only paid reservations made by email to irishfolkclubmunich@t-online.de or by telephone to 089/63499848 (with answering machine) and confirmed by us are valid!

[hannahhook7744]

Meet Noah Sage Napoleon Bradford Aoratos;

Fc: Jason Simmons.

Fic Title: The Marvelous Misadventures of Hannah Hook.

Nicknames: Sunshine boy, Sunflower, Sunshine, flower boy, Ghost boy, ghost prince, Koala boy, Koala, blondie, Sunny, giggles, smiley, Golden Guy, Goldie Locks, Musturd Head, Sun Ray, Yellow Fellow, Honey Head, Sweets, Bloom, Blossom, brother bear, boo boo, Zippy, Small Fries, Shortie, Charming, Minion, Huggie, Homie, Half-pint, Halfling, Dimples, Amigo, Bruddah, Bredrin, Brethren, Bitsy, and Baby Brother.

Sexuality: Unknown at the moment.

Pronouns: He/him.

Birthday: March 20.

Height: 3"2.

Hair Color: Golden blond.

Eye Color: Sky Blue.

Place Of Birth: Mount Olympus.

Hobbies: Playing in Haul's band, hide and seek, dress up, tye dying things, making flower crowns, playing house, running errands, braiding hair, making plants grow, watching cartoons, coloring, singing, dancing, treasure hunting, dressing up his stuffed koala, tea parties, etc.

Likes: Playing the lavta, bouzouki, the Harp, the lyre, and bağlama. Koalas, sunshine, flowers, foral prints, the sun, music, bright colors, tattoos, long hair, tiny furniture, flower suckers, talking plants, bugs, piercings, dress up, plays, stuffed animals, silly bands, slap bands, swimming, etc.

Dislikes: Needles, bullies, being evil, his friends sad or hurt, the dark, people trying to cut his hair, lightning, thunder, and Frollo.

Favorite Musicians: Vampire Weekend, Slipknot, Lizz Robinett, Fall Out Boy, The Offspring, Taylor Swift, Cher, Blink-182, Green Day, Iron Maiden, and Black Sabbath.

Physical Quirks/Scars: Sun-kissed skin, dimples, freckles, and soft features.

Family: Hades (father), Persphone (mother), Mal Fae (paternal half sister), Hadie (twin brother), Treycor Fae Aoratos (paternal half brother), Alex Aoratos-Sinclair (paternal half brother), Darcy Aoratos (parental half sister), Skia (full sister), Hercules (paternal cousin), Meg (paternal cousin by marriage), Herkie (first cousin once removed), Ariel (first cousin once removed), Urusla (first cousin once removed), Uma (second cousin), etc.

Honorary Family: Fiona Foundling and Hannah Hook.

Friends: The Stormbringer crew.

Pets: Cerberus.

Love Interest: Fiona Foundling (Future).

Optimistic or Pessimistic: Optimistic.

Introvert or Extrovert: Ambivert.

Occupation: Student at Dragon Hall and Junior/cabin boy of Hannah Hook's crew.

Extracurriculars: Gardening club, art club, Piracy, Ballet, band, and drama.

Favorite Animal: Koala.

Favorite Color: Pink.

Favorite Book: 'The Koala who could' by Rachel Bright.

Favorite Food: Sunflower seeds, fruits, veggies, and anything koala/flower shaped.

Favorite Drink: Pomegranate juice.

Favorite Movie/TV Show: The Wild Kratz and The Lorax.

Favorite Class: Artists and Thieves.

Background: Youngest son of Persphone and Hades, Noah Aoratos was born on Mount Olympus and was raised on the isle until the barrier came down when he was 10. He's Hannah's cabin boy and Fiona Foundling's future true love. He's also probably the most adorable, most sweetest person on the isle.

~~~~Playlist~~~~

"You are my Sunshine " by Christina Perri.

"Pocket full of Sunshine" by Natasha Bedingfield.

"Happy" by Pharrell Williams.

"Wagon Wheel" by Darius Rucker.

"The Kids Aren’t Alright" by Fall Out Boy.

"Thanks for the memories" by Fall Out Boy.

"Thunder" by Imagine Dragons.

Inspired by @thecaptainsgingersnap and @theinnerworkingsofoc yet again. Made to cheer @cleverqueenchild up. This one is for @cleverqueenchild .

[melviships]

Okay okay okay- Belle A. Vess is a former faunus huntsman that winds up retiring to... gonna go with the Hinoki forest for now, but their semblance is Decibelle- they can amplify sounds and deafen anything with eardrums, but can also make it so strong that the soundwaves can create physical effects such as nausea, dizziness, vertigo, and even movement. Their weapon is a cross between a bouzouki and a burda ! They can choose to play songs and amplify the sound or rip off the neck and use it as a club.

I am gonna work on backstory whenever I finish the current volume and finish reading the supplementary comics, but for now they are a supporting character who is gonna rip Qrow a new one for endangering the kids cause WHY WOULD YOU GO WITH THEM WHEN YOU KNOW YOU HAVE A MISFORTUNE SEMBLANCE DUMBASS

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#140-131)

#140: Lordi -- Hard Rock Hallelujah (Finland 2006)

“You will see the jokers soon'll be the new kings!” I'm semi-convinced that if I heard this song when I was a child, I would've been so scared I would just hide (I also panicked at the cover of Harry Potter and the Half Blood Prince, though that maybe because I didn't want to read such a long book). Watching it for the first time in 2020, I didn't mind it, though the monsters still puts me off. As much as I like to jam to this one, I can’t see myself listening to it over and over again. That said, one can’t take away from the sheer catharsis of this song, from the opening notes to how Lordi gleefully announces their arrival and thunders down Athens with the arockalypse. Whether it’s the first hard rock winner or the last schlager one, Lordi came, saw, and grabbed a first win for Finland after so many attempts, and made rock more popular in Eurovision for a few years. i You can’t resist yourself from headbanging to this one! Personal ranking: 3rd/37 Actual ranking: 1st/24 GF in Athens

#139: Natasha St-Pier -- Je n'ai que mon âme (France 2001)

“Mais je n'ai que mon âme pour te parler de moi, Oh, juste mon âme, mon âme et ma voix,” “But I only have my soul to talk to you about me. Oh, just my soul, my soul and my voice.” By the turn of the millenium, France switched back to contemporary ballads to represent them. While 1999 and 2000's entries didn't do well, their next two would be really strong songs amongst the weakest years ever, and that's why I appreciate France so much in the contest. Initially, I didn’t get it, because it sounded a bit derivative (not unlike what Celine Dion would sing). However, one thing which won me over was with the intro, which provided the base of a really great build. A soft intro leading to a lush instrumental, it shone above the crowd, and it turned from being "derivative" to being "gentle and sincere. Natasha delivers this with equal parts softness and grace, though the English parts did feel a bit out of place in the end. That might have cost it a (deserved) place on the podium, and France would have wait twenty more years for the next medal-placing. Personal ranking: 2nd/23 Actual ranking: 4th/23 in Copenhagen

#138: Lena -- Satellite (Germany 2010)

“I even painted my toenails for you I did it just the other day!"

Whenever you check the comments of any video on this song, you will note a bunch of angry Turkish people who insist MaNga should’ve won 2010. While I really love their song (and will end up later on the list), Satellite was a worthy winner. Along with its commercial success, Satellite is adorable because it is uptempo, sweet, and infectious. Lena acts like she’s having fun on stage and doesn’t even try to pretend. Her accent, which emerged as a result of her English teacher, adds to the charm and her overall innocence. It’s cute, which can turn off some people, but not me--I really embrace it. Also, Arilena Ara made a cover last year for Eurovision Home Concerts, which you should check out! It keeps the poppy vibe, but adds a funky edge to it. Personal ranking: 4th/39 Actual ranking: 1st/25 GF in Oslo

#137: Lazy Bums -- Shir Habatlanim (Israel 1987)

“עושה לי כוס קפה ומדליק לי הסיגריה יוצא אל המרפסת לפצח גרעינים הציפורים יורדות העציצים של המרפסת ומפזמות איתי את שיר הבטלנים” “I make myself a cup of coffee and light a cigarette I go out to the balcony to crack open some seeds The birds come down to the plants of the balcony And sing with me the bums’ song” The Culture Minister threatened to resign when Shir Habatlanim was chosen for the Israeli entry in 1987, but it adds to the charming element to this performance. After a decade in which the Israeli entries pranced around, this was something different, and the two actors really take on the role. The lyrics were a bit silly, but relatable with the bums not seeing the sun because of the buildings and doing random tasks while hanging out with the birds. The Lazy Song before the Lazy Song, I'm starting to think this is the "reality" on playing hooky, whereas "Ferris Bueller's Day Off" is the "expectations" part (and they are really high in the movie). The Blues Brothers-inspired performance ("We're coming to ya--"), combined with Kobi Oshrat's orchestration, makes this otherwise troll song into a comedic masterpiece. It's three minutes of fun and endearment, and I can't help but smile. Personal ranking: 4th/22 Actual ranking: 8th/22 in Brussels

#136: Antique -- (I Would) Die for You (Greece 2001)

"Κάθησα και σκέφτηκα Κι είδα ότι μ’ αγαπάς Μόνο εσύ, μόνο εσύ" "I sat down and thought Realised that you love me Only you, only you" Greece's first top-three placing in Eurovision is thanks to Helena Paparizou and guy whose name we do not know Nikos Panagiotidis, both who were based in Sweden at the time. They were well known for combining Greek instruments and dance beat; Opa Opa (written by Giorgios Alkaios, see #207 for his entry) is a really good example of this! (Thanks again, Nikos Terzis for composing this too) From the opening bouzouki, Die for You establishes a sense of cool; the pop production following it adds a sense of modernity that the 2001 class lacked for the most part. And compared to Je n'ai que mon ame (#139), the switch from Greek to English is absolutely natural. It feels like being in an exclusive club, filled with dim lighting and a very spacy ambience of it all--though the orange in Parken works as well. And despite being nineteen, Helena oozes cool in all the ways. From her sleek hair to her jumpsuit to how she moves, she makes the song her own, for what it's worth. I frequently find myself copying her handography, though sometimes my desk lamp blocks my left hand, making it feel a bit clumsy. Though I don't say this often, either Antique or Natasha should've won in 2001. Personal ranking: 1st/23 Actual ranking: 3rd/23 in Copenhagen Final impressions on 2001: DR tried to go big with 35,000, but everyone went to drink, and it felt like one hundred. The songs at hand tried hard to be cool, though in some places, we were better off in school. On their own, the strings in our hearts remain broke, though when the trophy did, our minds awoke. Despite the ambitions, the contest would make people leave the room. Thankfully, it was better than that of 2002! :) (On another note, of all the years Italy didn't participate in the contest, 1999 and 2001 were the most irritating. Here, Elisa's Luce (tramonti a nord-est) won Sanremo, and it's a surrealistically beautiful indie song with cool lyrics (especially it was originally written in English, and had to be changed to Italian for the contest). Had they competed, I could see a top-five finish for them, and I could see this as an all-time favorite for me.)

#135: Katerine Duska -- Better Love (Greece 2019)

“Won’t you lean on me You can lean on me Let them look, don’t know, don’t care Go deep with me...” She's not Amy Winehouse, she's Katerine Duska! I had a love/hate relationship with this song during the 2019 season. On the one hand, it’s a really good song, with a lush production and sultry vocals from Katerine Duska. The lyrics, while simple, deals with the theme of love in an interesting way--no matter who you are, you deserve a love that suits you.

On the other hand, considering my grudge towards the 2018 contest, I was worried that this may do well and restart the Greek golden age. That feeling amplified when the rehearsals started, when Katerine and co. had this faerie queene aesthetic. It looked absolutely beautiful, with flowers and fantasy and whimsy. And most important, swords (the MV had sabres whereas the live performance had epees.)!

Of course it qualified, but it collapsed in the final and placed 21st in the end. Some people attributed to how "messy" the staging was, along with Katerine's vocals. In hindsight, I could see it with the former, but the latter remained firm, and she aced that high note.

But it was a good change for Greece, showing that they can do indie music as well as pop and ethno. And Katerine's non-Eurovision songs are fantastic; especially check out Autumn Again and Athenian Skies! Personal ranking: 4th/41 Actual ranking: 21st/26 GF in Tel Aviv

#134: Netta -- Toy (Israel 2018)

“Wonder Woman don’t you ever forget You’re divine and he’s about to regret...”

This has been a total phenomenon ever since its release. However, it’s also quite polarizing, with some people really bopping to this one whether it's on the radio or Tik-tok, and others getting repulsed by the chicken noises or the strong message it provided.

For me, it's Toy's "in-your-face' nature which makes it really special. From the first listen, there's the element of surprise with Netta's looping (the MV intro on Spotify >>> regular studio intro). It then builds until Netta announces herself as a "beautiful creature" and that she wasn't going to be bullied by others. While the songwriters definitely used the "Me Too" movement as a vehicle for the song, it's Netta's influence, along with the Mizrahi instrumentation in the chorus, which packs a punch. Without those chicken noises, Toy would fall flat.

The staging had to be worked on several times, but the final result captured the song's kookiness in every way. From the fake looper to the backing dancer's choreography, the following three minutes is an explosion of fun (though some of the energy died on stage on first viewing).

In short, Netta deserved to win, and those who suggest otherwise is just mean.

Personal ranking: 5th/43 Actual ranking: 1st/26 GF in Lisbon

#133: Mariza Koch -- Panagia Mou, Panagia Mou (Greece 1976)

“Κι αν δείτε ερείπια γκρεμισμένα, όι-όι μάνα μ', Δεν θα 'ναι απ' άλλες, απ' άλλες εποχές, Από ναπάλμ θα 'ναι καμένα, όι-όι μάνα μ'…"

“And if you see shattered ruins, oh oh my Mother, It's not from other, from other eras It is burnt by napalm, oh oh my Mother...”

In their second appearance at the Eurovision Song Contest, Greece sends this politically-charged song to criticize the invasion of Cyprus two years before. The Greek military junta at the time wanted to unite the island with mainland Greece, which led to a coup. As a result, the Turkish government invaded Cyprus, and declared the non-recognized Republic of Northern Cyprus. This status remains to this day, which has hindered Turkey's admission to the European Union.

(Interestingly enough, Turkey broadcast this contest despite not participating, and censored the Greek song to replace it with a patriotic song. Haha)

Dark context aside, it ties into the folk tradition during that time, but adds a Greek touch to it with the bouzouki. Combined with thoughtful yet tragic lyrics, it stands out as a darker yet deeper tone from the 1976 contest. Mariza also conveys this with her clear, yet harsh vocals pinpoint the horrors of what was going on. Also, the orchestration adds to the grandeur of this with its lush strings.

Personal ranking: 3rd/18 Actual ranking: 11th/18 in Den Haag

#132: Chocolate, Menta, Mastik -- Emor Shalom (Israel 1976)

בוא, בוא, בוא עוד היום”, אני עוד כאן אז בוא אמור שלום, אמור שלום

“Come, come, come today, I'm still here so come say hello Say hello..”

From one heavily politically charged song to a slightly less so, haha! Emor Shalom is s very playful and cute song, the three girls charm their potential lover (or diplomatic) with their voices and dance moves.

The hidden political context comes from "shalom"--is it hello, or is it peace? When the song was performed, Israel had been independent for thirty years, but their geopolitical relationships were not good with their neighbors. So the three girls, who sung for the military, were not only hoping for a lover, but also for peace.

The song itself incorporates some elements disco with trumpets, which got me into it in the first place. I'm not entirely sure about how the latter works--they are fine, but it does feel a bit cartoonish. While the lyrics are a bit simple, they still add to it.

Personal ranking: 2nd/18 Actual ranking: 6th/18 in Den Haag

#131: Sonja Lumme -- Eläköön elämä (Finland 1985)

“Kaupungissa on yö, puistoon kanssasi jäin Sä seisot edessäin täynnä toivoa” “It’s night in the city, I stayed in the park with you You’re standing in front me full of hope” Top ten anime opening themes, part two!

From the intro until the end, I love how Eläköön elämä progresses. It not only has a sound which matches with music trends (along with those mullets, but it's the 1980s so we can move on about this...), but also has a joie-de-vivre in terms of the lyrics. I've heard about it being connected to the Cold War; considering it was before glasnost, I'd imagine one of the themes here was to enjoy every moment before the world ends.

Ossi Runne's orchestration mixes the punchy pop-rock with some really good strings and brass. An awesome instrumentation and hopeful lyrics, when put together, you’ve got one of Finland’s best ever entries.

Personal ranking: 1st/19 Actual ranking: 9th/19 in Gothenburg

Final impressions on 1985: While Sweden first hosted in 1975, the production ten years later shows their capabilities in putting on a good show. From the graphics to the stage to Lilli's hosting, it's a totally fun experience. The songs were a bit weaker than it, though there were enough gems to keep the mood buzzing. Plus, there were several good orchestral moments there (especially #193) which made it all the better!

[scotianostra]

Happy Birthday Ian Anderson, born 10th August 1947 in Dunfermline.

After attending primary school in Edinburgh, his family relocated to Blackpool in 1959. Following a traditional Grammar school education, he moved on to Art college to study fine art before deciding on an attempt at a musical career. He was influenced by his father’s big band and jazz records and the emergence of rock music, but was disenchanted with the “show biz” style of early American rock and roll stars like Elvis Presley.

In 1963 with some school friends he formed his first band The Blades, a soul and blues outfit. In 1965 they regrouped into The John Evan Band with major lineup changes. They disband two years later when Anderson moved to Luton. In his new surroundings, Ian meets the drummer Clive Bunker and the guitarist Mick Abrahams and with Glenn Cornick, a bassist - of The John Evan Band-, Anderson creates the seed of the group that would become the legendary Jethro Tull.

Still enjoying a lengthy if intermittent ongoing career, Jethro Tull has released 30 studio and live albums, selling more than 60 million copies since the band first performed at London’s famous Marquee club.

After undertaking more than 3000 concerts in forty-something countries throughout four decades, Tull has played typically 100 concerts each year to longstanding, as well as new fans worldwide.

Widely recognized as the man who introduced the flute to rock music, Ian Anderson remains the crowned exponent of the popular and rock genres of flute playing. So far, no pretender to the throne has stepped forward. Ian also plays ethnic flutes and whistles together with acoustic guitar and the mandolin bouzouki, balalaika, saxophone, harmonica, and a variety of whistles.

I briefly met Ian on Skye in 1987 on my way back from Benbecula where he had an estate and ran a Fish farm, well 11 fish farms as my research has unearthed, he also employed over 400 people before selling it in the 90’s.

Anderson recalled in an interview how he started as a flautist…

“ once owned a 1960s Fender Stratocaster, which had previously belonged to Lemmy Kilminster before he found fame with Motorhead. But when it dawned on me I was never going to catch up with the growing band of hotshot British guitarists at that time – Jimmy Page, Jeff Beck and Eric Clapton – I traded it in for a Selma Goldfield student flute worth £30.

I knew Jimmy Page and Eric Clapton didn’t play the flute, so I thought I would be in with a chance. A lot of people told me it was a ridiculous trade because the Strat was worth at least £150. But in fact it was a great buy because learning to play it was the start of Jethro Tull.”

Anderson lives on a farm in the southwest of England where he has a recording studio and office. He has been married for 37 years to Shona who is also an active director of their music and other companies. They have two children.

In 2006 and 2010, he was awarded Doctorates in Literature from Heriot Watt University in Edinburgh and the Abertay University of Dundee. He received the Ivor Award for International Achievement in Music.

Ian admits he owns no fast car, never yet having taken a driving test, and has a wardrobe of singularly uninspiring and drab leisurewear varying from light grey to black in colour. He still keeps a couple of off-road competition motorcycles, and a saxophone which he promises never to play again.

Jethro Tull are about to start a US tour on Friday, Aug. 18th, at the Ravinia Festival in Highland Park, Illinois. They will however be hopping over the Atlantic to perform in Europe during the tour.

[tradmusicilike]

FourWinds - The Rollicking Boys Around Tandragee/The Gaelic Club/Sweet Marie

Daoirí Farrell (singing, bouzouki), Tom Delaney (uilleann pipes), Caroline Keane (concertina) and Robbie Walsh (bodhran).

[imsfire2]

Tagged by the lovely @sadieandorto list ten songs tied to specific memories and then tag ten people

And you’re right, this is hard!  Stand by for some oldies...

Come on Eileen: Dexy’s Midnight Runners.  Soundtrack of my 16th summer, the first year I began to believe my life wouldn’t permanently be just a helpless mess.  School just beginning to look like it would end one day and I’d be free (I hated school).

El pescador: Totó la Momposina y sus tambores.  At WOMAD in 1994 I was lucky enough to get a place in an early morning singing workshop run by Totó la Momosina in which she coached about twelve of us, all amateurs, into singing “El Pescador” with her in four-part harmony.  Such a buzz!

Recuerdos de la Alhambra: Francisco Tarrega (numerous recordings available, mine is by John Williams).  My first trip to Athens, I was walking up one of the little steped streets in the Plaka district and an old gent was sitting on a balcony playing this in the moonlight.  Absolutely breathtaking moment!

This is the sea: The Waterboys.  Glastonbury 1986, OMG.  It rained.  I was in love.  We cooked for 33 people over an open campfire.  Laurence got so stoned he slept in a stranger’s tent.  I got my heart broken.  It rained and rained and there was mud everywhere.  But the Waterboys were fantastic live.

Silver machine: Hawkwind.  My first-ever rock concert, Hawkwind at Maidstone Art College, with my very patient elder brother.  Headbanging at the front with a lot of rockers making sure “the kid” was ok.  A 14th birthday treat, followed by a midnight snack of mostly mince pies on the train home!

All I want is you: U2.  Being at college, listening to compilation tapes on my Sony Walkman and painting, painting, painting!  Anything off those bootleg compilations takes me right back to that happiness.

An Innocent Man (album): Billy Joel.  Soundtrack of my 18th summer, that extraordinary phase when you’ve just left school, got your first job, are wondering about uni, and the world begins to seem Totally New.

Porque te vas: Jeanette.  A coach trip from Granada to Cadiz in spring of 1999, the sun shining down on the glorious countryside, this coming on the radio and everyone singing along.

Stou Kosmou tin aniforia: Manos Tacticos.  Sitting in a small taverna in Asiní, in the Peloponnese, in October 2016, and hearing this, my favourite track from the 1970s bouzouki album my mum bought when I was ten, coming up on the radio.  My fascination and love for Greece coming full circle.

Ven, devorame otra vez: Lalo Rodríguez, cover version by Orquestra Marc Ventura.  Learning to salsa in Granada, bitter cold outdoors, hot sweaty dance club indoors, I was in love, lalala, I was a lousy dancer at first but boy did I work hard to get better.  Didn’t get the guy but I did master the basic footwork eventually!

[celtic-cd-releases]

https://www.daoiri.com/

https://www.facebook.com/DaoiriFarrell

https://daoirifarrell1.bandcamp.com/

https://open.spotify.com/album/0tfffdU9asMvxBn0z67gtj

[bellatones]

BELLATONES Bellatones new six piece line up are excited to be releasing a series of seasonally-themed EPs; with the Spring EP due for release in March 2024 following December's Winter EP featuring the tracks Space of You, River and If You Ever. Bellatones have built a reputation for soaring melodies and dramatic songs showcased in their energetic live performances. Alongside the EPs, a series of gigs, festival appearances and a new album are scheduled for an exciting 2024. MUSIC

Summer EP by Bellatones

Spring EP by Bellatones

Winter EP by Bellatones

Coming Up Strong by Bellatones

Out to Sea by Bellatones

VIDEOS

GIGS Saturday 30th March 2024 2-4pm The Yard Cafe Cotesbach, Lutterworth LE17 4HX Wednesday 1st May 2024 8pm Take the Stage, Duffy's Bar, 18 Pocklingtons Walk, Leicester LE1 6BU Sunday 16th June 2024 4.30-7pm The Donkey: 203 Welford Road, Leicester, LE2 6BH Sunday 14th July 2024 PM Crick Fesitval, Bury Dyke, Crick, Northampton,NN6 Saturday 20th July 2024 Glastonblaby Charity Music Festival Leicester Lions Rugby Football Club, Lutterworth Road Blaby Leicester LE8 4DY Friday 26th July 2024 Barefoot Festival Cattows Farm, Swepstone Road, Heather, Leicestershire, LE67 2RF Sunday 25th August 2024 Wigfest, Somerset Saturday 16th November 2024 3pm Outside/Inside Festival – Firebug and Duffy’s, Leicester Sunday 1st December 2024 Queens Road Fair, Leicester Saturday 14th December 2024 730-11pm FESTIVE SPECIAL - £5 online, more on the door - Book HERE - The Soundhouse Leicester, 28 Southampton St, LE1 1SJ Sunday 22nd December 2024 The Blues Bar: 4 Montpellier Parade, Harrogate HG1 2TJ BAND Olive Rollings - Lead Vocals, Fiddle, Bouzouki Paul Yates - Vocals, Guitar Sam Watts - Vocals, Flute, Clarinet Ian Harmer - Keyboards Phil Downing - Drums Nigel Underwood - Bass WITH THANKS Reuben Frank Woods - EP Artwork and Photography Chris Tweed - Band Photograpy CONTACT Tel: 07960 384453 Email: bellatones@outlook.com Social Media

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