Mammoth tour blog

Right, I said in the mini-post that it looked like things were going to be rough, but that was an understatement… please try to keep in mind as you read this that Ned and I aren’t Spinal Tap, and this shit actually happened…

So, the back story is that the promoter – Blooz Promoz, run by a guy called Nigel in Leeds – was someone that Ned had worked with last year, he’d organised a few gigs that had gone OK, so it seemed like a good idea to go there again. I’d not had any dealings with him, but as a proven entity, was more than happy to just let Ned take it from there. We had two gigs booked on a £250 promise for each gig, and a clinic at Sound Control in Leeds.

We drive to Wakefield, get to the gig, and the venue owner says he hasn’t heard from the promoter for weeks (at this point it’s worth pointing out that he was booked as ‘promoter’ not just ‘booking agent’…), but we assume he’ll be turning up.

It gets to gig time, still no promoter, punters start to show up, in small numbers, all via my mailouts and friends of those people. Not one from any contact with the promoter, and he wasn’t there to collect the money on the door, so WE DIDN’T GET PAID. Not a penny. The people that were there loved it, and we sold a lot of CDs and t-shirts etc, but still nowhere close to the £250, and anyway, merch money wasn’t in anyway factored into that figure.

So we head to where we’re staying (with Nicola from Greenbelt – thank God we weren’t in a hotel as well!) and crash.

Friday morning we head into Leeds for a wander around, and serendipitously Ned recognises in the market the area where Nigel promoter-monkey has his stall. We head down there, and some dodgy mate of his is looking after it, who clearly not knowing where we were playing, let it slip that the venue was ‘shite’ telling us that Nigel wasn’t booking there anymore… uh-huh.

Nigel eventually appears, and after some chasing around and half-made apologies, claims he’s been ill (an email or two telling us that if it was true would have gone a very long way) gives us £100 for the previous night’s gig (hmmm – £100? what happened to the other £150?) – I’m in a rather strange position at this point as I’ve had no contact with him up to this point, so can’t argue from any real knowledge of what has been said/agreed/emailed, but Ned does a sterling job, and Nigel assures us that the Oceans Eleven gig is going to be fine, and he’ll have someone there to meet us at 8ish, and we’re on at 9. We then say ‘so we’re all fine for Sound Control this afternoon then?’ – er, apparently not. That’s not going to happen. WTF? excuses blah blah bullshit blah blah fucking nonsense etc. etc. Cancelled. Not happening. Let’s face it, almost certainly not booked in the first place.

So we head off back into Leeds city centre in search of wifi, and notice that there is NO mention of the gig anywhere (remember, promoter not booking agent) – no posters up in the music shops, no nothing. The guys in one of the guitar shops haven’t even heard of the venue…

Out for a much needed and much appreciated curry, then down to the venue. Which is closed. And by ‘closed’ I mean closed as in ‘in receivership’. Notes on the door saying ‘this property has been purchased by ************, please phone *************** for details’. So our fuckwit promoter has added barefaced lies to his catalogue of fuck ups (remember, this is Blooz Promoz in Leeds).

So grand totals for Leeds area leg of the tour –

  • gigs ‘booked’ – 3
  • total guarantees agreed prior to this leg of the ‘tour’ – £600 (£250 for each gig, £100 for Sound Control – all of which are low figures anyway, but you figure when a promoter is planning to give the band £250, there’s going to be an audience, and therefor decent merch-ops, and the chance to make it all worthwhile…)
  • gigs played – 1
  • total income – £100
  • petrol costs – about £30
  • curries eaten – 2 (each)
  • venues no longer in existence – 1
  • effect of stench of bullshit from the catalogue of lies and misinformation – overwhelming.

Now, at this point we meet up with Greenbelt chum Steve Thackray – lovely bloke, very friendly and helpful, who in 10 minutes (10 minutes!!!), gets us closer to having a gig than Blooz promo buffoon does in four months. Given 24 hours, Steve could have given us a range of venues, and found us an audience. Next time I go to Leeds, I’m talking to Steve first – he’s a man with his finger on a pulse or two…

So Saturday we get up and head to Stockport for masterclass at Riffs Guitar School, which was much fun, but underpaid. But hey, it actually existed so we’re already ahead on Leeds, and we met lovely people, sold lots of CDs, had a great time, and we had a gig in the evening anyway, so all in a fab way to spend an afternoon.

We then head into Manchester to Iguana – it’s funny how after the nonsense of the previous two days, normal treatment suddenly feels luxurious. We get there, one of the bar men comes to help us with gear and there are lots of staff there to advice, provide drinks, and the venue has many posters up advertising the gig (OK, so their own adverts say that I’m an ex-member of King Crimson and Level 42, but you can’t get everything right).

Once set up, we head to the MEN Arena, where Ned’s buddy Curtis Stigers (yes he of the mullets and power ballads in the late 80s) is opening for George Benson, and we’ve got time to catch his set before we play. Yes, you read that right, I’ve got a free ticket for a George Benson gig, and I’m leaving before he comes on. I’m crying as I type this. No, really, it hurts. A lot. George frickin’ Benson – one of the greatest human beings ever to pick up a guitar. I’ve half a mind to blow our gig and stay to watch. But we don’t, we watch Curtis, who is actually not bad at all, perfect for the audience, does a rather cool little beatbox thing in one tune, and scats a hilarious and very impressive upright bass solo in another, and while not being world-class jazz singer material by any means, does a pretty fine job and was worth going to see.

Back to the venue and lots of lovely friends have arrived – students of mine, web buddies, greenbelt friends, and people from MySpace. A proper gig with a proper audience that actually know where the gig is, and a venue that’s real, open, and has a cheque waiting for us when we finish.

We play well, sell CDs, chat to all the lovely people (special treat to see L1z there – yay!), and eventually head off home at about 12.30. Without the cheque. It’s made out to Ned. Doh! It will be sorted, no problem. Iguana’s a lovely place, and I really hope to play there again.

And we drive home through the night. Laughing about the fuck-ups of the last few days, glad to have had the last fine gig, and wondering what on earth can be done to get the dismal promoter to pay up. Believe me, if he does, I’ll amend this blog so it’s less likely to be the top hit on Google should you go looking for info on Blooz Promoz in Leeds. But right now, they’re on my black-list, shit-list and every other list that says don’t even think about working with them in a million years. We’re down £500 on a tour, Ned’s had to fly from Boise Idaho for this!!!

Next on the tour list is either Saucy Jack or Jazz Odyssey.

What’s wrong with being Sexy?

Fret Phobia gig pt 3

Gig last night in Wakefield. Both Ned and I played well, and the audience loved it, but we’re definitely in for a rough ride with this promoter… more on that later…

Tim Bowness/Steven Wilson live in Norwich

Norwich is an awful long way to go to watch a gig. Norwich is an awful long way from anywhere. Which would be fine if it was a stinking hole, but it’s a lovely city, and someone should pick it up, drag it 50 miles west and join it up with Cambridge – Camwich would be a really really lovely city.

But I digress. It’s a long way, but I went anyway. on the main bill were Tim Bowness with his band, and Steven Wilson. Tim was the singer I gigged with last Friday. This time he had a whole band with him, featuring the truly marvellous Andrew Booker on drums (the last time I saw Andrew play drums with Tim, Brian Eno was at the gig, and wanted his phone number… did he ever get it? I don’t think so… a miss opportunity methinks).

The show was opened by Andy Butler – a looping guitarist, using multiple echoplexes. Sadly, because the gig started earlier than advertised, we (by ‘we’ I mean me, Dweez and Mrs Dweez, who all went for food, planning to be back in time for advertised start) missed all but the last few minutes of Andy’s set.

Steven Wilson set was really enjoyable – I didn’t know any of the songs (for some reason, despite liking all the stuff I’ve heard of theirs, I don’t own a single Porcupine Tree album… must rectify that), no, I lie, he covered ‘Thankyou’ by Alanis Morrisette, and that I knew. Anyway, most of it was just electric guitar and voice – something that I’m always amazed more people don’t do. Billy Bragg is the absolute master of that format, but i’ve heard others do it well (Iain Archer is another that plays brilliantly with just a elec. guitar and no band). I had a brief chat with Steven afterwards (we’ve got a fair few mutual friends, not least of all Theo who has played on Porcupine Tree things and opened for them at Shepherd’s Bush).

So all in a great night, and what’s more I got to meet up with Myspace chums Jeffrey and Samantha, here from New York. Much fun.

Friday Random 10 on saturday…

a day late…

1. Pigs, Sheep and Wolves – Paul Simon
2. Part IV – Mark Isham (from Tibet)
3. Just For Now – Imogen Heap (sadly not a live version – this was the single greatest live looped performance I’ve EVER seen when I saw her do it in London and Brighton)
4. Rain – Iain Archer
5. Little More Time With You – James Taylor
6. Making Flippy Floppy – Talking Heads
7. Off The Wall – Michael Jackson
8. Creeper – Gary Peacock and Ralph Towner
9. Meanwhile – Art Lande/Jan Gabarek
10. I Will Find The Way – Pat Metheny

…now that’s a compilation I’d buy!!

John Lester/Paul Tiernan gig

Headed up to Cambridge last night, to CB2, where I’ll be playing in just over a week with Ned Evett, to see John Lester and Paul Tiernan.

John’s new album, ‘So Many Reasons’ is fantastic, so I was really looking forward to seeing him live again. It’s been quite a while since I was last at one of his gigs, and he didn’t disappoint. He and Paul switched back and forth playing each other’s songs, playing some solo tunes, and a handful of covers, including the only acoustic version of ‘Play That Funky Music White Boy’ that I’ve ever heard.

Paul Tiernan was a revelation – not having heard him before, he’s got a gorgeous voice, like a more intelligible John Martyn. All in all a very enjoyable gig.

John’s album isn’t officially released yet, but I’m sure if you email him via his website, he’ll sort something out for you…

Friday random 10…

seems to be a bit of an online tradition to post a random playlist generated by your iTunes or whatever on a Friday. ‘Til now, there hasn’t been much point for me, as I didn’t have enough stuff to do it with. But now that I’ve got the new harddrive, and am furiously copying CDs across, it’ll be a little better –

1- Steve Lawson, No More Us And Them (seriously, it’s not a fix!)
2 – Charlie Haden/Pat Metheny, Tears Of Rain
3 – U2, Tryin’ To Throw Your Arms Around The World
4 – Paul Simon, Senorita With A Necklace Of Tears
5 – Steve Lawson, Here Endeth The Lesson (again, it’s what actually came up!)
6 – The Works, Meeting Place
7 – James Taylor, Line Em All Up
8 – Mary Chapin Carpenter, I’ll Take My Chances
9 – Jeff Buckley, Corpus Christi Carol
10 – Lleuwen Steffan, Gwahoddiad

there you go!

:o)

Paul Simon – Surprise

Just got this through today, and am on my second listen. Paul Simon is in that very tiny group of people who’ve never done a bad album (caveat, I’ve never heard ‘Capeman’, the soundtrack to his ill-fated musical) – most people of his era (Joni Mitchell, Jackson Brown, Neil Young etc.) mad some fairly duff albums in the 80s, but Paul, like Tom Waits and Bruce Cockburn, has remained pretty consistent all along. Which is why it always amazes me when this album is described as a return to form – his last album, ‘You’re The One’ is outstanding! It’s a really great record, with a couple of tracks that would be in my all time Paul Simon top 10, and not a duff track on it.

It was the same when James Taylor brought out ‘Hourglass’ – ‘return to form’ says the press. Huh? His previous two albums before that were ‘Live’ (possibly the greatest live album ever recorded) and ‘New Moon Shine’, a truly beautiful album.

The problem is that critics always want a hook to hang a story on. ‘It’s brilliant, like all his other albums’ isn’t as dramatic as stories about emerging from a creative wilderness or doing your best album for 15 years… maybe I should just pretend that everything else I’ve done has been completely eclipsed by my new album… :o) I mean, I do genuinely think it’s the best thing I’ve done (I wouldn’t release it if I didn’t…), but it doesn’t make Grace And Gratitude look like an amateurish work…

So, my review – the new Paul Simon album is magic. Full of great songs, great playing, and some fantastic sonic treatments from Brian Eno. For the bass geeks amongst you, Pino’s on it, Abe Laboriel Snr’s on it, Alex Al is on it and Leo Abrahams (from the RC gig before last) is on fretless bass on one tune! That’s the kind of calibre of player we get at the RC.

But every Paul Simon album is magic. You really ought to have the set. He’s got a way with phrasing a line that make it feel like a conversation. The melody never gets in the way of the words. Like Joni Mitchell and a handful of other singers, it’s as much story-telling as it is singing.

MySpace controversy

there’s been a lot of forum activity across the entire internet created by the MySpace.com terms and conditions, with lots of musicians protesting that MySpace are going to be stealing our songs and photos and using them all over the place, selling them on etc.

This is the offending section in the T&Cs –

  • Proprietary Rights in Content on MySpace.com.
    • By displaying or publishing (“posting”) any Content, messages, text, files, images, photos, video, sounds, profiles, works of authorship, or any other materials (collectively, “Content”) on or through the Services, you hereby grant to MySpace.com, a non-exclusive, fully-paid and royalty-free, worldwide license (with the right to sublicense through unlimited levels of sublicensees) to use, copy, modify, adapt, translate, publicly perform, publicly display, store, reproduce, transmit, and distribute such Content on and through the Services. This license will terminate at the time you remove such Content from the Services. You represent and warrant that: (i) you own the Content posted by you on or through the Services or otherwise have the right to grant the license set forth in this section, and (ii) the posting of your Content on or through the Services does not violate the privacy rights, publicity rights, copyrights, contract rights or any other rights of any person. You agree to pay for all royalties, fees, and any other monies owing any person by reason of any Content posted by you to or through the Services.

(Italics added by me).

The purpose of this bit is to stop anyone from suing them for having their songs played on someone else’s myspace page. It also leaves them free to have streaming audio on the site for ‘artist of the day’ type deals, or even myspace online radio using the tracks that have been posted. Without this clause, they could be hit with royalty claims by God-knows how many shitty indie bands whose mates have put their tracks on their page… It’s an arse-covering clause, not a rights-thieving one.

Think about it – MySpace is currently one of the top three biggest sites on the entire internet. It’s huge, it’s a phenomenon. They really can’t afford to piss people off. They have huge name musicians on there, with incredibly adept legal teams who would fry them alive if they decided to start using MySpace music clips on TV shows or whatever. If they stole some of my music or nicked photos of my site, I’d be onto the papers quicker than you can say ‘any publicity is bad publicity’, it’d be front page news and the site would start haemorrhaging users at lightning speed. Their ad revenue would disappear and the site would implode.

Now, I like most people think that Murdoch is a despicable odious louse on the pubic hair of society. He’s filth and scum of the worst kind. He’s also a business genius. A rancid amoral business genius, but one who really knows what’s going on. MySpace is his latest acquisition and he’s not about to let it fall apart over the licencing of a few tunes. The cost of paying a band to use their music on a compilation album or tv advert or whatever is tiny compared to the legal costs of being sued by Madonna for trying to claim that they have the right to use her tunes anywhere.

So, please, stop fretting about the MySpace T and Cs. Them doing what people say they are going to do would result in such a HUGE own goal for the site and for News Corps on mass, that it’s really not going to happen.

Panic over.

Life Lessons From Songs

TSP bought the DVD of Love Actually on Ebay last week. I’d seen it before, but watched it again. I quite like Richard Curtis, despite thinking Four Weddings was largely nonsense, and Notting Hill suffered from the much-publicised lack of black people in a very heavily black part of London. I like the fact that he wrote Blackadder – that’s a good thing. And I like his commitment to the Make Poverty History campaign.

Anyway, this isn’t meant as a review of the film (though it must be said, the scene where Hugh Grant disses the American president is a blinder… sad that he had to be inspired to do it by the pres. hitting on his tea-lady, rather than just out of some kind of moral response to the evil horse-shit that American presidents are so often involved with, but viewers can’t be choosers, and it’s a sweet moment, nonetheless). the interesting bit of the film is in the extras.

Richard Curtis does a little talking head slot about each of the featured songs in the film, and makes the comment that he’s spent his life learning about emotions and being instructed in human relationships by female singer/songwriters. And it was a point that struck home. Particularly because two of those he picked were Joni Mitchell and Mary Chapin Carpenter – two of my favourite singer/songwriters, and also lyricists that I’ve learnt loads from.

So I’ve just been listening to ‘Come On Come On’ by MCC, which features the first song I ever heard by her, ‘He Thinks He’ll Keep Her’, which I bought on single when I was 18 or 19, and played to death. I think the album was one of the first CD albums I ever bought, and I’ve been collecting her stuff ever since. But I was struck by the lyrics, about bored housewives in loveless marriages finally having enough and leaving, and the husbands being all surprised at the end of the relationship. And it made me think, made me aware to some degree of how things are. As did so many other songs by her, and a whole host of other great female songwriters – Tracy Chapman, Suzanne Vega, the Indigo Girls, Jonatha Brooke. Some times the lessons were political, like ‘War’ by Jonatha Brooke. Sometimes just about feeling alive, like Gallileo or Watershed by the Indigo Girls. But all of them vital lessons.

And then it got me thinking about what happens when that isn’t there. Where instead of strong, intelligent female figures, you’ve got faux-feisty soft-porn-alikes, telling us that a man ain’t no man if he ain’t buying me bling, or coming out with imbecilic horse shit like the Pussycat Dolls. ‘Don’t You Wish Your Girlfriend Was Hot Like Me?’ – no, you moronic, corporatised, tragic shell of a human being, I don’t wish my girlfriend was anything like you at all.

Lads are growing up with this as their lessons from women. was it much better in the 80s? Who were the equivalents of these totems of fuckwittage that parade across top of the pops? Mel And Kim, the Bangles, Janet Jackson before she apparently went on the game, Salt And Pepper, Kylie, Bananarama… a mixed bag, for sure, but not half as bad as the genetic detritus that passes for celebrity today. Who is there to save the day? KT Tunstall, at least. She’s fab.

So if you’ve got kids, get them into singer/songwriters. Buy them some Joni CDs, and Mary Chapin Carpenter, James Taylor and Paul Simon, Carly Simon, Bruce Cockburn, KT Tunstall, Suzanne Vega, Jonatha Brooke, Kelly Joe Phelps – story tellers not clothes horses, observers of the human condition not shills for the corporate dollar.

In a world where the bardic tradition is all but lost, we need surrogate poets and story-tellers, mythic historians and reflectors of who we are, who we want to be and who we can be if we get it together. And it’s not even about them being amazing people – John Martyn’s a disaster as a human being, but a great weaver of poetic magic. James Taylor was a violent smack-head when he wrote ‘Shower The People You Love With Love’. We just need story tellers to show us the way.

So, a comment thread – favourite songs for telling how it is, should be or could be? at least one from each of you, dear bloglings, thankyou. ;o)

Is it just me…

…or do ‘Dirty Pretty Things’ sound like McFly ripping off the Clash? When is this lame-assed Libertines implosion going to go away? Doherty is a talentless loser, and Babyshambles are indeed childish and shambolic as well as devoid of all musical merit. Go away you drugged-out, imbeciles!!!

grrrrr.

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