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Impossible Songs (FTM) – The Magicians Assistant

Beverley was the assistant to “The Great Gondolli” a travelling magician who worked the lower levels of the club, cabaret and occasionally cruise liner circuits. Based in Plymouth, because of the climate and some loose family collections they toured the UK in short but lucrative bursts. Tonight they were in Doncaster, tomorrow Chester, and next day Salford. Life was a series of long night time motorway drives, travel lodges and guest houses, snacks and crisps and rehearsal and live sessions. The act was in its twelfth year, “The Great Gondolli” having graduated from part time party work and kids conjuring shows to their now staple diet of clubs, bingo, discos and bill sharing with hypnotists, drag acts and pole dancers. Beverley had been his assistant since day one and as the act had changed and developed she had adopted a more glamorous and at times technically demanding role. Much of the act consisted of her handing him items, shielding him (blinding in the trade), distracting the audience and participating as a skilful willing victim in numerous stunts and illusions.

Gondolli (real name Bill Blair) was always hoping for the big break into TV work or into the high paying US or European cabaret circuits, but despite years of working and developing the act the big break was no nearer. The killer trick, the great illusion, the big bang he needed had eluded him and so their optimistic treadmill existence continued as he sought the idea and effect that would make both him and Beverly household names. Beverley had, as part of their visionary planning changed her surname from Hinchelwood to Hills some years ago, the irony of their current situation and their stubborn bad luck was now a constant source of annoyance. Bill and Beverley had been lovers in the early years, this feeling had now dissipated and though they remained together as a couple in practice their love and tolerance for one another was at a low ebb. Rooms with single beds were generally sought after though following a recent performance in Dudley and the consumption of a fair amount of champagne afterwards they had spent a night of unplanned passion together in a large double bed in the Station Hotel. Little was said about it the next day, both acting as if it hadn’t quite happened as the hotel bill was paid and they loaded their cases into the back of their Ford Transit.

This evening however Bill was grumpy, the creative muse was eluding him as he sat on the edge of the main hall at the Starlight Club, Doncaster nursing a glass of bottled orange and eating a packet of cheese and chives crisps. His feet were on a bar table and he was chewing a pencil and pulling faces. He thought again of a disappearance trick involving Beverley appearing to be cloned on return from her banishment. Somehow she would return from behind the cabinet she had disappeared from, but on both sides as a twin of herself for a personal confrontation. The problem was the size and angle of the mirror and how it was placed. Factors also were the light glare and portability all brought about because the scale of their act was too small for the kind of elaborate tricks a more sophisticated audience wanted. Bill knew that they needed to have and develop big working illusions in order that they got some kind of worthwhile media attention.

Beverley, wearing an embroidered silk robe was absent mindedly doing her nails on the opposite side of the hall, filing and inspecting each one, applying colour and polish, looking close, looking away and fiddling with the various bottles she had in her cosmetics case. She remained a very good-looking woman, tidy and fastidious and not prepared to drop her standards of appearance at all whilst on the road. She firmly believed, even after all this time that her face and figure were her fortune and that they must be cared for and maximised so that her part of the show was always as striking and well presented as it could be. Hair (mostly wigs and pieces), face, costumes (mostly skimpy), poise and movements were all given maximum attention in her preparations. She was dogged by thoughts of how she could have done better, had a part in a bigger show, worked with a name rather than a nobody but it was hard to change when that big break may be just off the next slip road. Finishing her nails and allowing them to dry she started on her eyebrows, squaring and plucking tiny hairs forming almost invisible lines over her eyes. She sipped a diet cola and tried not to look over at the doodling Bill.

Bill was sketching mirrors and angles, planning and designing a cabinet in a stage set and getting nowhere. The idea was good, dramatic, could be misunderstood though as Beverley II could simply be a double, so the clone idea had to be well emphasised, the audience had to engage, the patter and presentation had to be right. Bill scribbled on for another half hour without making any more progress becoming more and more frustrated over his inability to crack the trick. The punters were starting to arrive and by now Beverley had completed her preening so with the minimum of spoken contact the two headed to their dressing room to change for the show that was a little over an hour away.

In the dressing room they discussed tonight’s set as they changed. It would their normal £500 show with a set menu of tricks and illusions, lasting over an hour. Bill would wear his special tuxedo with pockets and string pulls and various other hidden features. He always was meticulous and careful as he loaded up the pockets and laid out the cards and cups he needed for the first part of the act. Actually putting on the tux had become a ritual of order and timing as had preparing the trolley and the cabinets. Bill busied himself with the final trick preparations and then began to dress fully, white shirt, trousers and black socks, special shoes with hidden compartments, and the fully loaded and prepped jacket. The black tie was the last detail added as he rechecked his mental list of items and their locations, patting each hiding place for luck. Beverley was made up and quickly dressed in a silver spangley two-piece over a shimmering body stocking; her hair was pulled up tight with a ponytail topped of with a tiara. She spent fully ten minutes picking at and smoothing herself in the mirror whilst staring at her own bum. Conversation during these times was minimal, both knew the routine and timing and as professional’s mistakes were not expected or tolerated and there seemed little new detail to discuss.

Their set CD music piped up from the sound system and they were on stage and plugged in. The show ran smoothly as they slickly moved through their routine paces smartly and to decent levels of attention and applause. The big illusion they did as their climax was a disappearing cabinet trick, one Bill liked to think of as his signature, not only did Beverley disappear, so did the cabinet and so did Bill. With Bill and Beverley reappearing at the opposite side of the hall and the cabinet simply gone. In these smaller clubs, with a close up audience it was an impressive trick that went down well, in the wider world it would be considered cheesy and old fashioned. So “The Great Gondolli” and Beverley Hills effortlessly pushed through with their act and being well received returned relieved to the dressing room to relax, recover and pack up for the road. The manager of the venue was pleased with their act also, though felt it was a little shorter than he would have liked, but the comedian and singer now on could fill time easily with an extra couple of songs or gags.

Once the whole show was over, about 1030, Bill was able to remove all his props and cabinet parts from the stage and stow them in the back of the van. Then once Beverley joined and helped to finish of the last of the loading it was of to the travel lodge for a cup of tea, a shower and as good a nights sleep as either could get. Both were a little more talkative than usual as they drove back, Beverley had enjoyed the venue and Bill though frustrated by the problems with his trick development felt the show had been a good one. They came close to congratulating one another, brushed hands and arms in an air kiss manner as they turned into the lodge car park. The girl at the check in was politely uninterested in them as she handed them the key card to room 333, “last left on the third floor, checkout by 1100!” Bill thought it an odd room number, half of 666, foretold as the Biblical Beast’s, the Devil himself’s   number, but never mind, he wanted a rest now, not a maths or theology problem to solve.

They lugged their overnight bags up stairs and along the corridor and found the half evil room, everything in it in the usual place, to the normal standard. The only thing Bill and Beverley noticed was a sweet smell that seemed to be hanging in the air by the door. They acknowledged it tiredly, set themselves ready for showers and bed in their routine way and flopped down into their single beds a little after midnight. Tired as he was Bill found sleep eluded him. That smell seemed stronger too, almost thick in the darkness. Disturbed he got up sniffing the air and opened the door into the lighted corridor. A sharp stab of cleansing light rushed into the room momentarily disturbing the sleeping beauty Beverley before Bill quickly closed the door. Nothing wrong, no obvious incident or noisy neighbour, just an increasingly pungent smell.  Bill returned to bed, Beverley groaned a little in her sleep and turned over. Silently Bill watched her, sitting up on his elbows and craning over in the dark for a few moments allowed stray thoughts and old hopes to run quietly riotously across his mind. Then he slowly lay back down and fell into a conjurer’s magic sleep.

It is strange to think that a magician occupying Room 333, a magical room in Doncaster at the junction of some ancient ley-lines, would fail to sense the signs or recognise its inherent magical properties. For a real, red bloodied magician, born of earth elements and from the universal riddle school the combination of numbers and air borne odour (plasmagratamn) would have been like an early warning slap in the face. Bill as himself or “The Great Gondolli” had no real appreciation of proper magic, it was like a blunt idea to him, a half formed religion, a science with no base and not his business as he (and Bev) were entertainers. The plasmagratamn and number combination were however at work now and not on the unbelieving Bill as he hugged the pillow like a lost lover. Beverley was the focus of the magic’s attention. Magic is a conscious force, it has a purpose and a life, it is mainly good and benevolent but it can be mischievous, cruel and vindictive, the recipient or victim’s attitude can play a large part in the outcome. Stumbling into a magic hole or finding yourself in its presence will be life changing and it is always best if the moment is recognised and handled properly by the individual, even in sleep. Tonight for reasons known to no one living or dead the magic was choosing to work on Beverley.

It was at one o’clock the morning, in the quiet and dark it all began to happen. The plasmagratamn was like a cone and conduit for magic, it rose and hovered over Beverley, the tip of the cone directly over her sleeping head. Silently invisible magic juices were dispensed by the cone into her ears, nostrils and mouth. Still asleep she breathed them in, absorbed and ingested them until her being was fully explored by the magic and its power. She trembled slightly, her skin flushed, slight sweats came and went, as the blood flow and the endless road map of veins and arteries carried magical gloop through every part of her body. She dreamed vividly through the process, wildly and colourfully, the magic told her stories and pulled through elaborate plots and conclusions. New explanations and knowledge pulsed into her mind, threading through every conscious level, magic talk, magic ideas, powers and transformation. Her dreams grew new vivid life as if in cinemascope, 3D and surround sound.

Firstly she was a white horse with great deep dark eyes and a golden mane and trashing tail, galloping and racing with no rider, thundering across endless sands and seashores all unrecognisable. Snorting and bellowing into the wind and surf, splashing in half formed waves in an ecstatic and never ending run. Then she was herself, naked and hugely pregnant, in a squealing tightening pain, fit to burst, her belly expanded in quick time then her waters broke out in a pink and blue splashing flood. The flood signalled an orgasmically delightful release of pressure, the multitude of new infants sailed away on the flood like laughing dolls come to life. Her breasts suddenly filled with milk and the babies returned from the distance to feed and grow fat and healthy – all played out in a time in the world when fat was healthy. She saw their little happy faces as they fed, paused and stared and fed again. Then she was a black dark witch, beautiful, queer and distant crouched over by a black Bakelite telephone on a hallstand in a stony walled and candle lit dungeon. As the phone rang she picked it up and devoured the receiver hungrily so that the caller and all their conversations were swallowed whole and into her digestive processes. She pulled back her witch’s cloak to reveal a glass aquarium tummy full of floating and swimming phone users babbling and squawking in frustration as they slowly disappeared and were consumed. Her two hands covered the greasy glassy front to protect and hide the telephoning victims she had feasted on. Then the phone rang and another victim was on line.

She was herself again in one of her silver stage costumes lying on a couch. A stemmed glass materialised in front of her containing a pale bubbly liquid, it pushed itself against her lips and she drank the lot.  Next she felt what seemed like a hot cocktail of buzzing herbs and hormones in the back of her throat tinged with lemon juice, she gulped the liquid back and screamed as instantly her genitals bulged out from her costume to form a huge penis and testicles. She grabbed the member with her right hand tightly digging in her fingernails and drawing blood, the penis thickened in a pulsing erection pointed up between her eyes and angrily came, splattering her mouth and face. She licked her lips and swallowed more, once again tasting that lemon juice cocktail. The cycle continued for many minutes, coming, licking and swallowing until she was exhausted. Then she was aware of a floating sensation, floating in air or water or something unknown with the plasmagratamn smell heavy in her nostrils making its way through her head like a small green snake. She could see the green snake pass through her nostrils like a ghost, swimming and squirming across her brain and inside her skull, then down through her neck and throat twisting in a new route round her nervous system and vertebrae. The clinging beast moved easily and slithered round each plate shaped bone, tingling and touching every nerve in the switchback railway system that her nerves relayed messages on. It coiled and uncoiled around her belly and intestines, through her womb and emerged from her glossy wet vagina a look of exploratory triumph on its little snake face. Then half way out it turned back on itself again, opened its mouth to reveal razor reptile fangs and promptly gripped and bit into her clitoris. The searingly painful and electric effect made her pass out, lapsing into a black sleep devoid of dream or feeling as her hands clutched firmly to her groin grasping for unperceivable comfort, pleasure and protection. Then morning came, the smell was gone and daylight was struggling to pass through the heavy hotel drapes.

“I’m afraid of this flow I’m feeling” said Beverley “I woke up this morning not understanding myself, my dreams last night were grotesque, crazy and I feel sooo tense like I have to do something, but I just don’t know what it is!” Beverley was speaking and spouting far more than ever she did so early in the morning and Bill had no idea what to make of it. Their breakfast was now almost over in the Little Chef next to the travel lodge, there was no make up or preening, she’d not eaten much anyway as she was preoccupied with talking about anything that seemed to cross her mind, and there was a lot of anything. Certainly he hadn’t enjoyed a great sleep in Room 333 and that sweet and sour smell had made him uncomfortable but why on earth was she suddenly so animated, so bloody annoyingly alive and in touch with herself? It had been a very odd morning so far, she had wakened him by jumping naked into bed beside him, mounting him and giving the hottest early morning sex he could remember, next she’d taken a twenty-minute (cold?) shower and then she’d started babbling almost in tongues about her sleep and dream experiences the previous night. None of which made any sense to Bill. It was with an acute sense of relief that he’d led her out of the room and down to the diner for breakfast, but now the drivel and chat and enthusiasm for everything wouldn’t stop. Was this the stress of the road manifesting itself, was she breaking down, what had she found?

He noticed that as well her continued chatter and observations she was fidgeting non stop, she had a hold of the salt cellar, gently thumbing it and as she put it back down Bill noticed that it was floating an inch above the table. She had picked it up, held it for a few moments and now it was floating, he stared transfixed by the phenomenon and then as it slowly lost the power to hover and returned to the table he looked Beverley straight in the eyes interrupting her in mid flow (she was talking about snake charming), “How the hell did you do that?” Beverley had been so busy talking she had genuinely not noticed what had happened so Bill explained. She picked the salt up again, rubbed it whilst suppressing the strong desire to talk about snakebites and once again let it go. It dropped as if to strike the table, then stopped once inch from the cloth. The sight silenced Beverley this time and Bill’s eyes grew wider and more focused. With a little thump and a few seconds delay the salt returned once more to the table. “Whatever has happened to you”, began Bill, ” I believe it and it’s something else!”

Beverly resumed her chattering, Bill listened with a new interest and seriousness as they returned to the van to begin the journey across to their next engagement in Chester. “There must be a way we can add this levitational power you have to the act, we have to test it, we have to know how powerful it is, how you can control it!” Bill ranted and explored levitation ideas as he drove the van, Beverley still was rewinding and processing, talking about the white horse, and the sexual significance of her dreams, and the lightness she felt all about her. By ten thirty they were on the motorway, busy as any morning but today with the added hazard of thick patches of seasonal fog that controlled the speed and flow of traffic, though some drivers paid it little heed and still hammered along in the fast lane relentlessly. Beverley felt a little tense as the fog thickened around the van and Bill duly slowed down, visibility was poor with only dim lights and traffic noise breaking into their floating frost fog world. Beverley was gripping the door handle on one side and the arm rest on the other, than van was travelling at about fifty, slowing down slowly for the fog when Bill exclaimed,” bloody steering’s gone!” The wheel was suddenly light and unresponsive, the van was moving forward in the fog but the speed and sense of motion were indiscernible as the fog flicked passed mirrors and screens and tortured the wipers by holding onto the freezing moisture.

Neither Beverley nor Bill spoke as they realised they could now see nothing but fog, they were moving, the engine was running but Bill was hardly steering or driving. The sensation was like flying through the clouds because that was exactly what it was. Bill suddenly looked over at Beverley, she was still gripping the door handle and armrest and he realised what had happened. He took a deep breath, met her eyes and started to speak quietly and slowly “Bev, don’t move your hands, don’t loosen your grip on the handle, your magic thing is at work!” Beverley didn’t answer, stifled a building scream but remained still, her mouth dropping open now as the van broke through the top of the cloud of frozen fog and they got their true bearings at last. Beverley had levitated their van from the motorway surface to well above the fog bank; they were not really moving forwards, only gently upwards as if floating in a hot air balloon. “Don’t take your hands off!” repeated Bill, his voice had risen an octave and he was trying to think what best to do, as if there was some obvious solution to their predicament that he must have missed and was about to remember. It was Beverley who came up with the only practical course of action. She spoke calmly but her eyes were wet with fearful tears, “In the restaurant, I did this with the salt, when I took my hands off it didn’t crash down, it floated, it came down smoothly, it did!” “Yes!” said Bill, “you are so right and we have more control than we think, this is worth a bloody fortune!”

Beverley relaxed a little but still kept her hands on the rest and handle, Bill was having his big idea. There was no need for his hands to be on the wheel as they floated, now about three hundred feet above the fog, the cold winter landscape unfolding and the patches of surface fog breaking to reveal roads and bridges and buildings, trees and farmland carpets below them. Bill picked up his phone and called his agent. “Fred? Bill Blair here, have I a story! Get all the TV and press people you can, Bev and I are performing the fucking stunt of the century right now above the M18! Our van is being levitated by pure magic, we’re five hundred feet in the air and we’re not coming down until you get us a £10 million contract to do this over Las Vegas, Niagara Falls and the bloody Great Wall of China!” Fred was naturally a businessman first and a passionate unbeliever but Bill persisted, Bev was screaming and wailing in the background, “He’s not kidding, he’s not drunk, it’s all true, we want £100 million!”

Fred relented and agreed to call back so that coverage could be arranged, however the secret was already out. Bill and Bev became aware of a chop-chop noise and saw a completely shocked and puzzled police helicopter patrol crew staring at them and gesturing whilst flying at their own level fifty yards away. The white Ford Transit was slowly rising and spinning, they had been in the air twenty minutes or so and were somewhere above the motorway bobbing impossibly on the breeze. Bev’s hands were now getting sore and stiff and she was sobbing slightly in a mixture of pain and delayed shock. Now the challenge of how to execute a safe and a controlled landing became the main topic of conversation in the van. “OK just keep doing what you’re doing, we have time.” Said Bill now as animated as Beverley had been at breakfast. “When Fred gets back to us with the TV details you’ll slowly loosen your grip and we’ll descend as smoothly as the elevator at the Ritz Carlton Hotel, avoiding all motorway traffic, and we’ll be on every news broadcast in the world tonight!” Beverley allowed herself an apprehensive smile in return but was trembling and shaking more and more. The chopper was shadowing them still and signalling and trying to communicate allsorts as they floated like competitors in some surreal balloon championship.

Bill’s phone rang. It was a newly and increasingly hysterical Fred, the news was out, they’d been spotted, the companies and agencies were going wild, vans, crews and reporters were speeding to the area and the agencies were all wanting patched to Bill’s phone. Fred told Bill to start talking, as the news agencies were recording and broadcasting live. “Yes this is “The Great Gondolli” you are hearing and I, accompanied by my lovely assistant Beverley Hills, am performing the greatest feat of magic you will every see or hear of in your lives. We have levitated a Ford (get that Ford! Get them on the phone!) Transit along with ourselves hundreds of feet in the air through pure magic. Nobody can explain or replicate this trick – it is the greatest feat of magic ever!” A series of questions followed from various broadcasters in assorted accents. Bill trumpeted and crowed whilst Beverley clinging to the arm and handle began to sweat and struggle more and more with the situation. “I have to let go!” she sobbed, “I can’t stand this!” “OK, OK,” said Bill, “It’s time, the crews will have our bearings, we must have drifted well away from the motorway, we’ll do it!”

Looking down they could see that from about their seven hundred foot height they had drifted south of the motorway and looked to be above open fields and woodland. “Beverley, we’ll go now, we’ll go now!” Bill sounded calm and confident, he was already thinking about the interview he would give as they stepped out of the van onto the grass and into the media spotlight and the offers that would surely follow. Almost petrified with fear, but able to make the move Beverley slowly loosened her grip with both hands. Down below three TV trucks, two police cars and an ambulance were spinning round a farmyard trying to predict where the van might touch down. Members of the public had joined the chase around the minor roads and lanes that edged the motorway and numerous digital and video cameras were trained on the white van. On the motorway itself the traffic was crawling as everybody stared beyond the vanishing fog at the sight of a 700ft highflying van. Bill had opened up his phone line again and was about to start to describe the descent to SKY News.

“Beverley, we’ll go now!” The voice came over clearly via SKY, BBC, ITV and CNN; it was “The Great Gondolli’s ” finest moment. The white van hung in the air as the cars and vans below stopped, it looked set to land on a soft green hillock backed by a hawthorn hedge about half a mile from the motorway. Lenses focused and crews recorded as the flight was about to end and “The Great Gondolli’s ” triumphant interview and explanation would be broadcast. The van hung as if on a thread that God held, dangling like his son’s toy from some unknowable heavenly location, nose slightly down, lights on with the two occupants visible and waving inside. The police helicopter maintaining a safe and respectful distance whilst gravity and all the known laws of maths, physics and nature were being so publicly challenged before a watching world.

Then as if God had cut the thread the van plummeted back down to earth in seconds, gravity and all the accompanying laws quickly returning to their rightful and proven places from their previous temporary suspension. As the van impacted the three quarter full petrol tank exploded in a red and orange flash and fireball, a delayed thump followed and then an all consuming fire that ended the careers, hopes and lives of “The Great Gondolli” and the lovely Beverley Hills for ever. “This footage is worth millions! How on earth did they do it?” Moaned a perplexed and shocked SKY News cameraman-reporter. “Magic!” said the Police Constable.

A List of 100 Download Sites for Unsigned/New Artists

Thanks to DigitalTRAFFIC for this current, active list of 100 top music download sites for unsigned / new artists. They all allow you to create an artist page, bio with your music uploads. Most are free, some require a small one off payment others charge a fee – check the small print on site. Some require label submissions only. Some are social networking websites that allow you to sign up as a band and submit your music.

1. http://www.musicfreedom.com/digitaltraffic/

2. http://www.glasswerk.co.uk

3. http://www.audiostreet.net

4. http://www.imeem.com

5. http://www.ubl.com/artists/digitaltraffic

6. http://www.pumpaudio.com

7. http://www.itunes.com

8. http://altsounds.com/digitalTRAFFIC

9. http://www.zooped.com/digitalTRAFFIC

10. http://www.we7.com

11. http://www.allmusic.com

12. http://www.synthtopia.com

13. http://www.sectionz.com/

14. http://www.indiestore.com/digitaltrafficmusic

15. http://www.soundclick.com/digitaltraffic

16. http://www.freemymusic.com

17. http://www.dmusic.com

18. http://www.artistlaunch.com

19. http://www.acidplanet.com

20. http://www.broadjam.com/digitaltraffic

21. http://www.showcaseyourmusic.com/digitalTRAFFIC

22. http://www.masscharts.com/

23. http://www.britband.com/bands/digitalTRAFFIC

24. http://www.extraplay.com/digitaltraffic

25. http://www.music.com/digitaltraffic

26. http://www.unsigned.com/digitaltraffic

27. http://www.garageband.com/artist/digitaltraffic

28. http://www.ArtistServer.com/digitalTRAFFIC

29. http://www.noisehead.com/mypage/digitaltraffic

30. http://www.mp3.com

31. http://www.arkade.com/digitalTRAFFIC

32. http://www.scotloads.co.uk/artist.php/digitalTRAFFIC/

33. http://www.last.fm/label/digitalTRAFFIC/

34. http://www.amazing-tunes.com/dashboard.aspx?hID=1582

35. http://www.musicane.com/Store/digitalTRAFFIC

36. http://bandmix.co.uk/profile12719.html

37. http://www.numberonemusic.com/digitaltraffic

38. http://www.projectopus.com/digitaltraffic

39. http://www.funender.com/

40. http://www.purevolume.com/digitaltraffic

41. http://bandwagon.co.uk/band/digitalTRAFFIC

42. http://www.isound.com/digitaltraffic

43. http://www.napster.com

44. http://www.tunetribe.com/

45. http://music.yahoo.com/

46. http://www.cd-wow.com/

47. http://www.tiscali.co.uk/music

48. http://www.hmvdigital.com

49. http://www.mycokemusic.com/

50. http://www.eMusic.com

51. http://www.audiolunchbox.com/

52. http://www.bleep.com/

53. http://www.bignoisemusic.com/

54. http://www.sonyconnect.com/

55. http://www.epitonic.com/

56. http://www.virgindigital.co.uk/

57. http://www.songslide.com

58. http://www.artistopia.com/

59. http://magnatune.com/

60. http://www.beatport.com

61. http://www.trig.com

62. http://www.cruxy.com

63. http://www.cdbaby.com

64. http://www.payloadz.com

65. http://www.beatsdigital.com

66. http://www.musicfinity.com

67. http://www.altsounds.com

68. http://www.scotloads.co.uk

69. http://www.mymusicstream.com

70. http://www.unsignedrevolution.com

71. http://www.bleep.com/

72. http://amiestreet.com

73. http://www.mindawn.com

74. http://www.sellaband.com/

75. http://elisteningpost.com

76. http://www.labelsound.com

77. http://www.bandlink.net

78. http://www.icompositions.com

79. http://www.napload.net

80. http://www.musicsubmit.com

81. http://www.loudbeats.com

82. http://www.reverbnation.com

83. http://iacmusic.com

84. http://www.soundsurf.co.uk

85. http://www.motionbeatz.com

86. http://www.blooter.com/

87. http://www.bebo.com

88. http://www.snocap.com

89. http://cdbaby.net/

90. http://www.electrogarden.com

91. http://www.the-muzic.com

92. http://www.musicdock.net

93. http://www.musicgorilla.com/

94. http://www.freewebs.com/digitaltraffic

95. http://www.audiosparx.com

96. http://indimu.com/

97. http://shadowglobe.com/

98. http://www.indie911.com/

99. http://www.music.coca-cola.com/music/digitaltrafficmusic

100. http://www.blastmymusic.com

In The Dark by Fraser Drummond

Posted 24/12/2008 By admin

In The Dark by Fraser Drummond

In the dark, in the night
I feel I have some kind of sight
I can see, things never meant to be
In the dark of the night

Every nameless fear that wallows
In every sunken hollow
Of every tear stained cheek
On every rain soaked street

A captured heart, vanquished in the dark
Trapped, like amber in a dream
Wrapped, in sheets, a silken shroud you weave
As this earthly realm you leave

Your every nameless fear
Every awkward sound you hear
Footsteps on an empty stair
By the open door to the demons lair

Come with me, vistas vast and free
Uncurl, behind your eye
Skies, unfurl, as far as you can see
We want you to be free

Another dawn breaks like a heart
Pumping blood as it tears apart
I only wish that we could see
The child inside who’s wishing he could be.

Having Confidence on Stage

Posted 20/12/2008 By admin

Having Confidence on Stage

There are times in life when you will be nervous about performing. That’s just a simple, unchangeable fact of life. There’s nothing you can do about that. What you can do, however, is to think about how you handle the nerves when you are onstage.

One of the biggest points that sets beginners apart from seasoned pros is how they value their material while onstage. It’s all too common to hear someone saying “Sorry, that was rubbish” after a song, or “I don’t know why I’m playing this, its not really finished”. While it may sometimes come across as self-deprecating and humble, more often than not the audience finds themselves thinking “well if its not that good then why are you playing it?” You should try not to apologise for your songs – if you genuinely didn’t think they were any good then you would probably not be going to an open mic night to play them. Have confidence in your work, don’t try to judge it by other people’s standards, just write your very best songs and get them out there for people to enjoy.

There will always be times when you have to play after someone that you really like and respect. Sadly, we very often hear people saying “that last guy was amazing, I could never hope to follow that”. Instead of trying to compare your work to theirs, try to think about how your work differs to theirs, how your individual style can offer the audience something they didn’t get in the previous set. The whole thing can work to your advantage, in fact – if the previous person really did play a great set then they will have warmed up the crowd for you. Use this momentum to make a great start into your songs.

It’s true, there’s a fine line between appearing confident and coming across as just plain cocky. Just remember though, the audience are there to be entertained. They come along to open mic nights to see people play their songs, not apologise for them.

The most important piece of advice anyone can give you is just to have fun. I mean, really, it’s not like you’re pouring out your soul to a room full of strangers or anything…

OOTB 325 – 4 Dec 2008

Posted 04/12/2008 By admin

OOTB 325 – 4th December 2008 – reviewed by Calum Carlyle (whoever he is!)

Ho there, traveller, and welcome to the haven known as Out of the Bedroom! None of your karaoke here, or those dodgy oasis covers you hear floating around the ether. It’s the final OOTB for 2008, if you weren’t there, you missed it. Never mind though, here’s a review of the entire night! just look up all the performers on myspace, then read the review for each one while their music’s on and you can sort of kind of not really approximate what it was like. Well, actually myspace is never going to be as good as live music no matter what happens, so you’ll just have to make the effort to come along to OOTB more often in future if you want to hear quality music such as the likes of these brave souls you’re about to read the review of (go on, read it, you know you want to!)

OOTB will be back in 2009, and no doubt we’ll badger you with emails before then telling you all about it. Till then, here’s my review of Out of the Bedroom number 325 to give you something to read on those long cold winter nights:

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NICK – “I love you, England, you’re a diamond geezer”

Nick starts the evening off with three lovely scratchy jangly folk tunes. He detunes the guitar quite shockingly but to good effect. Ray Davies style lyrics (at one point he rhymes “butter” and “nutter”, lovely!) and John Renbourn style guitar are in evidence, both of which i very much approve of. His voice is very distinctive also, i keep trying to think who he sounds like, but can’t work it out.

AL YOUNG – “Being in your own space can be a positive thing and it can be a negative thing”

Al plays us three songs of what i’d call ethereal acoustic pop – like Coldplay if all their awfulness were harnessed and somehow used to do good in the world. It’s like hearing a song on somebody else’s radio that you try to sing along to, but find you’ve never heard it before. His second song, Africa Dancing, has seven beats to the bar, nice. Two protest songs in Al’s set tonight, mainly because he’s plugging an evening of protest songs that he’s hosting at Forest Cafe on Sunday 14th December. His final song has a hint of good old psychedelic chordal improvisation and Al’s trademark unpredictable chord sequences.

MISTER BROKENTOOTH – “ninety nine names for God, not one of them is ‘father’, for what kind of parent would ask his son to be a martyr?”

Toothy starts with old favourite, Hold Fast, he gives us a spirited rendition as usual, i’m always impressed by his ability to be about twice as loud as everybody else. He’s a bit tired tonight, but this doesn’t detract from his performance, instead he incorporates it into his style. Toothy’s a Scottish bluesman. He doesn’t sing blues in an och-aye-the-noo accent or dress in tartan, but he does play blues, instead of mimicking the American mode of blues he puts his own life experience into his music, which really is what blues is about. His final song, Summer Rose, breaks the mould a little, acoustic pop with Toothy’s usual broken vocals. Somehow nostalgic. The first half’s like hearing a Billy Bragg song sung by Tom Waits, and the second half’s like hearing a Black Crowes song sung by, well, Brokentooth!

AILEEN – “I’m a ghost in the queue at Haddows”

Tonight’s only first timer i think. Lovely voice, lovely songs. The first song was quite mysterious and curious. Aileen’s got a lovely voice. As she’s playing her second song, Nobody’s Daughter, i’m thinking she sounds like Tanya Donnelly if she was from Glasgow. That’s definitely a good thing in my book. More nice acousticness with the third song, and this time it’s mysterious and curious, but also slightly insidious. Also, maximum points for using the word “dystopia” in a song.

MILO – All day i’ve been sitting here waiting to be given some work that is humiliating.

Later on this evening, Milo will win a much coveted OOTB T-shirt in tonight’s raffle but for now, in these early innocent hours, he plays us some interesting music. He stops during the intro to his first song to comment “That was obviously wrong”, and then carries on immediately, into a song reminding me of 80s ska, like The Specials or the Beat. Second song was the hit single out of this set, in my opinion, I’m Not Your Mailman, plenty of interesting tempo and pitch changes and imaginatively written too. It’s almost like he’s doing all his own backing vocals as well. More tense depressingness for the third song (and i mean that in the nicest possible way). “You’re going to want your money back when you find out what’s wrong with me” he sings, well i didn’t think there was anything wrong with him, myself!

NYK STODDART – “Ho ho ho, secret Santa”

Nyk does a quick squashee (what a word!), and sings his Syd Barrett style song about Christmas in Edinburgh. Also featuring surprise (even to him!) special guest Robbie Sprout-Cranberry on bongos (yes, very seasonal). Everybody sang along of course, well you would. Life’s too short not to.

*** NICKY CARDER *** – “What we do we just do and I don’t know why we do, we just do”

Nicky is tonight’s featured act, and i for one am very pleased about that. Nicky’s really impressed quite a few people since appearing almost from nowhere a very short time ago. She’s got a lovely voice. This is the sort of honest voice i think pop singers should have. She has lovely songs too, full of syncopation and interesting chord voicings, setting the scene for Nicky’s huge vocal delivery. Nicky’s second song, Ice Cream, could be my favourite of hers, but it’s tough to decide. As i said she keeps up the quality the whole way through her set.

Her third and fourth songs, Pacing Shoes and Your Words, come and go and she maintains her power throughout, managing to move effortlessly up and down her dynamic range. She’s no slouch in the rhythm department either, with several of her songs changing rhythm quite effortlessly. Everything’s there, all the ingredients. This is the sort of thing that Radio 1 should be playing. The fifth song, Trees, had some crazy augmented or suspended chords in there. Nicky’s songs remind me of my favourite songs from back when i was still young!

Powerful + Honest = Impressive. I could have listened to Nicky Carder for another half hour yet with no complaints to be honest, but the show must go on.

YOGI – “The inner rage is inside of me, getting higher in intensity”

Go on it does, with a squashee from Yogi, he attacks his song, Prevail, playing lots of interesting suspended chords and other curious things. This is a triumphant no nonsense rock song on one acoustic guitar. Good stuff

ROB SPROUL-CRAN – “She thought my piety would last and she was wrong”

Rob Sproul-Cran in 2006

Rob Sproul-Cran in 2006

Possibly tonight’s quietest performer. He starts off with a groovy swing number, but done in Rob’s signature minimalist style. Everybody’s rapt, but somehow i want to hear a screaming electric version of this. Maybe that’s a sign of good songwriting. His second song, I See Stars, was written tonight while Nicky Carder was playing! That does impress me. There’s actually been quite a lot of “improvisation” at OOTB recently, and i certainly applaud it, honing a song actually in front of an audience. Well, that’s what you’d do in your actual bedroom, so why not bring it out of the bedroom to… well, Out of the Bedroom? Anyway, the song’s lovely, but it does veer precariously close to Coldplay at times, but not in a bad way.

SAM BARBER – “There ain’t no millionaire made it by playing fair”

Sam Barber regales us with pop ditties from a land where guitars smile but singers know life’s bitterwseet aftertaste. I detect the ghost of Ray Davies in here too, and possibly Donovan as well. All his songs are good, his second song, Equals, is a protest song, a good few of them being played tonight now i think of it, nothing wrong with that, quite the opposite in fact. I wonder if all these protest singers are popping along to Forest on the 14th of December. A solid performance from Sam.

MARTIN – “The stratosphere won’t let me know how it was born. The alphabet is less complex, but I use it more”

Martin’s stuff is a bit weird. Not weird bad, and not even weird inaccessible, but weird in a sort of indefinable way. You can’t actually hear why it’s weird, it just sort of suggests weirdness somehow. That’s great though, for me weirdness is a prime ingredient for a performer and/or songwriter. Spread the weird, i say. His first song’s about the aplhabet. Lovely Bert Jansch style fingerpicking and a nice harmonised chord progression. I’d like to hear this played by a duo, just to see how it could be developed. His second and third are just as good, and just as imaginative as the first, the third one being quite bluesy. Imaginative is the word with Martin, actually. His second song’s a bittersweet tale about a laughing asthmatic, for instance. Don’t go away, Martin, you’re good.

TICA DOUGLAS – “Nineteen years old is the perfect age to give your old heart a thrill!”

Tica’s a relative newcomer and yet somehow it’s almost like it wouldn’t be OOTB without something from her! Anyway, she plays a squashee (!) song, Five Years Isn’t Bad, that she wrote on the piano, and which she plays standing up (a first for Tica at OOTB) on the guitar. Hadn’t heard this song before and it’s a little different from her usual, though still recognisably Tica. Jolly, nice long lines, clever song construction, bouncy accompaniment, smooth vocals. Tica comes across as a relaxed and confident performer. she recently threatened to go back to the USA but i think somebody must have blackmailed her to make her stay, which is no bad thing.

HENRIK AND CONRAD feat DOCTOR BARNEY – “I’m red like the devil, I’m blue like the sea”

No messin’ stompy jugband bluegrass rhythm and blues, including some great blues harp, played with real feeling, as well as some highly extravagant rug cutting, and special mention must go to the excellent tambourine playing. the amount of times i’ve heard a tambourine actually being played well in my life can be counted on one hand, but that number’s increased by one tonight, good stuff. Sometimes a bit ragged, these guys really make it work for them rather than against. A nice skiffle combo, they really get it going.

CALUM CARLYLE – “You were the one true thing that i could believe in”

I finished up the night with three songs, and when i’d come offstage i found that Jonny Pugh had helpfully reviewed me as i performed! So here’s what he had to say about me:

1)Living Proof, Nice to hear with a fresh audience who really appreciated the whimsical lyrics. Well delivered by Calum tonight, guitar work had some nice embellishments which sounded delicate high up on the fretboard. The song works particularly well because of the elegant musical backing.
2) The Sound of Falling in…, This song washes over the listener with a beautifully warm timbre. The lyrics speak of an aching loss made all the more poignant. Emotional honesty on show, “I wanted to be there just to see you smile”. Peaceful music, anguished lyrics.
3) Ain’t Gonna Look Back, Foot tapping stuff, quick pentatonic runs lending a bluegrass feel to the intro. Sense of emancipation in the lyrics matches the excitable guitar work, which shows off both Calum’s dexterity but also his ability to craft a catchy melody.

OOTB 323 – 20 Nov 2008

Posted 20/11/2008 By admin

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The Weather Underground kick us off tonight with a song about the singer’s
“girlfriend’s orgasm” amongst other things. The violin (or viola, I can
never tell the difference) provides a piercing introduction, while the
chord alternates between hammered on chords. I thought the double
stopping towards the end thickened the sound well, and maybe could have
been used a bit more. Their second entitled “Matter of Time” begins with
some intricate interplay between the guitar and the violin’s pizzicato,
before exploding into a thumping, rock riff, and lyrics about the
“passions of youth”. The singing style is unique, in restraining itself
where others would turn to shouting the lyrics, and it works well here.
They finish with “Father Forgive Them”, which had some interesting lyrics
such as “The Government deals with the devil’s hand”, over the contrasting
staccato chords on the guitar and the flowing violin line. Enjoyable start
to proceedings.

Sam Barber gives us a quick squashee performance with new song “Catch”,
which is (quite fittingly) very catchy indeed. “I wouldn’t want a piece of
your shadow” he sings over confident strumming. I think this would work
well with a band, but the songs stands well in solo performance as well.
Would have liked to have heard a few more, and I hope that I will soon get
the opportunity to do so at OOTB soon.

Calum Carlyle The newly appointed webmaster begins with an instrumental
entitled “walking through the shallows”. It has quick sequenced runs
through the scales which showcases Calum’s proficient technique, without
descending into over indulgence and keeps a fine melody as well. I
particularly enjoyed the brief allusions to an augmented chord in some
parts. Next, Calum takes to the mic and belts out “Drinking and Driving
(My Car)”. This is a real bluesy number, it almost has a show tune quality
to it. Whatever, it had the audience feet tapping and finger clicking.
Calum has a great voice for this sort of thing, and can reach the falsetto
notes most proficiently. Finally, we hear the techno influenced “Acid
Test”, which shows a different side to Calum’s guitar playing, using
intelligent chord voicing to build up a menacing sound, whilst he laments
“I still need you”. Cracking.

Colin Milne This is a first for me…. Colin is taking to the stage without
his world famous glute!! Instead we are treated to some songs on a nylon
string guitar. “Lunchtime” tells the tale of a gentleman’s affair with a
younger lady. Colin really is adept at creating pictures of the story in
the listener’s head, with great humour as well. “Folks I didn’t mean to go
that far” sees Colin put on an outrageous American accent for some lines,
as we hear of a farmer who had 6 daughters and….well I’m sure you can
guess what happens. Peals of laughter ring out as Colin assures us that
“when I climbed into that car/ I didn’t mean to go that far”. His last
sees Colin revert to “granddad” tuning (brilliant), and a song more
serious in tone entitled “The Attic of the Mind”. Here he sings of certain
thoughts which are best left in the metaphorical attic, such as “The
things you’ve done, you’ve left undone.” Colin carries this off possibly
even better than his more comical material, which given the laughter in
the room previously is no mean feat.

Darren Thornberry Our illustrious chairman takes to the stage for the
first time in quite a while, and shows us immediately what we’ve been
missing. He begins with an absolutely mesmerising a capella, whose lilting
melody would be enticing, were it not sung in such anguish. “Where is the
substance to this abuse?” he asks. This sort of thing requires a powerful
voice, but also exceptional control, and Darren pulls it off superbly. For
me, and I’m sure many others, definitely one of the most memorable
performances I’ve seen at OOTB in quite some time. To follow, Darren
accompanies himself on guitar with a gentler song, with real pathos: “The
wind is without mercy and maybe so am I” he contemplates. The song is
peaceful, which contrasts the sadness in the lyrics effectively. His last
uses a nice descending sequence on the guitar as sings “I just wanna walk
with you/ why is that so hard to do?”, which sounds more like frustration
than desperation. A really top set from Darren, hopefully much more of
this to come now he’s back with us!

Rosie Rosie describes herself as “an almost open mic virgin”…I only wish
that I could manage the vocal control she does tonight some day, let alone
after my first few performances. The chords are gently strummed with the
thumb, which provides a tender backing to the warning that loaded words
are “much to dangerous to let out on their own”. Her second is called
“Nothing to Fear”, which has a more rhythmic feel to it, with some nice
diminished chords knocking about. After a dramatic recall to the stage,
Rosie leaves us with a song about “Letting Go”. The descending major,
major 7, major 6, chord sequence adds an enticing quality to Rosie’s soft
vocal, which complements lines such as “I know that its right, but its so
hard to do” well. A superb (almost) debut, and I hope that Rosie will
return in a matter of weeks rather than years this time!

Furious George 19 April 2005

Furious George 19 April 2005

Furious is up next with a quick squashee performance with “feelings define
our chemistry”. The song is forceful in spite of the sparse arrangement
given Furious strong vocal. Some good lyrics on show as well, I
particularly liked the idea in the line “speak to me visually”.

Tica (Featured Act) Tica really is one of the most unique performers on
the circuit at the moment, so it was a pleasure hearing her give us an
extended slot. She begins with a new song which demonstrates her
inimitable lyrical and vocal style, the conversational approach mixing
acute observations with fine storytelling. Not many can write a song about
being mistaken for an Australian by a drunken punter. Really liked the
‘favourite book’ motif as a lyrical device. “Hip Hop” sees Tica sing over
a quick staccato riff, (which, by the way, is much more difficult than
Tica makes it look). Again some great lyrics (“its not that I’m unhappy/
my life just feels too planned“), which begin with the banal, (discussing
music taste), before exploring heartbreak and relationships, and back
again in one effortless swoop. Her third is a new one, which is a
monologue over syncopated picking, and rhythmic slaps on the guitar. The
long sustained chords of the chorus offer a good contrast, and offers the
song a strong structure. This is followed by “Sandwich” which sees some
good old fashioned strumming, and a fantastic allusion to a Simon and
Garfunkel classic. Again the lyrics are well crafted, describing a day out
to the beach with a crate of coronas (sounds good, especially in deepest
darkest November), a really upbeat, singalong number. “Crazy Bitch” is my
favourite of the set. The bitter words in Tica’s nonchalant vocal is
really effective, and the chorus sounds really pained, but also
incredulous. Again, I am impressed by a lot of the lyrical ideas in the
song, but I am constantly having to remind myself to listen to the guitar
work, which is really quite complex. Her penultimate song is in a slightly
different style which is well placed in the set, singing about karma and
that “it is all about energy”. The set finished with another upbeat
number, about choosing music in the front seat of a car, before Tica
assures herself “things must look up now”. The thing that strikes me when
I listen to Tica is the structural intelligence of the lyrics, which can’t
really be reflected by quoting a few random lines. Whilst most confine
themselves to either straightforward storytelling, or purely confessional
lyrics, Tica is an expert in crossing the boundary between the two. In
conjunction with her unique singing style, this causes the listener to
become totally immersed in her songs. Tonight was no exception, as we
heard a polished, versatile, and thought provoking set.

Not Andy begins with a protest song about those killed in war. Really
powerful stuff as he begs “let no more names be added”. I believe this
refers to a wall in Stafford according to ( not) Andy if I remember
correctly. This is followed by “The Ballad of Bob and Rose”, who make
“sweet music all of the time”. Good for them. This song had a good tempo,
but did sometimes rush the vocal. Really did get the foot tapping though,
and the lyrics told a convincing tale. The set finishes with what I
thought was the strongest song overall, “50 things to do before I die”
about “being pissed off“. This sees (not) Andy let rip with a rockier
sounding riff, and an anger which strengthened the vocal line. “I’ve found
a new website” he sings confidently, before listing the eponymous 50
things. Nice idea for a song, and well delivered.

Henrik (debut). This debutant begins with a song he wrote for an ex
girlfriend. The dom 7 chords lend a bluesy feel to the swaggering punchy
lick. There is a touch of the Jimi Hendrix to the part in which he sings
“It’ll all blow over”. This is followed by “Strawberries and Cream”, which
in spite of the pastoral title, mutates into a menacing, snarling
rant….albeit minus a tuba. This lamentable state of affairs is soon put
right in his final song “A wee waltz”, where a small orchestra of OOTB
members provide a tuba sound at the appropriate juncture (I wish someone
form the bar had walked in at this point). The song itself was written in
the rhythm and style of a waltz, which gives the song an almost cabaret
feel. A strong and memorable debut performance.

Martin Brooks (debut) Martin’s first is about the Bermudan tradition of
catching a shark, and using its oil to tell whether its going to be
stormy….music and cultural education tonight! The song is folky, and
suitably off wall given the subject matter. “White Rabbit” has some
interesting imagery, with lines about “electric fences”, before asking
“have you cast a spell on me?”. Not entirely sure what it was about, but
this may well be the point. His last is about Ospreys (the birds I
presume, not the rugby team), again using natural imagery, over some
delicate runs between the chords. An intriguing performance, and with the
confidence that will come from future outings, I think Martin will develop
into a really unique, quirky performer.

Cameron begins the long line of squashees that finishes the evening. He
plays a song of his brother’s (which I for one can’t complain about) which
is a pleasant listen, and provides a good platform for Cameron’s strong
voice. Don’t know the original, but Cameron gives a hearty rendition.
Would like to hear one of his own soon!

Rosie returned to the stage for the third time of the evening. Her song
has a warm timbre, with a nice spider/fly metaphor. “Have I ever told you
how wonderful you are?”, she sings softly. I can almost imagine this as a
Morcheeba, trip hop sort of song. Nice one.

Toby (debut) Toby gives us a song about a young lady, hope and whiskey.
“Angel’s share” is a cracking lyrical idea for a metaphor about lost love,
and Toby give a really strong performance. From the Ryan Adams school of
songwriters, I hope to hear a full set from him soon.

Nicky finishes the evening with “In Hiding”. This was a really raw,
assured performance. The song would sound great with a band, but tonight
Nicky takes up the stage and the song completely by herself, given the
great power in her voice. She is getting better each time I see her. Look
out for what I’m certain will be an explosive featured act slot from her
in December!

Compere: Jim Whyte
Sound: Daniel Davis

OOTB 322 – 13 Nov 2008

Posted 13/11/2008 By admin

OOTB 322 – 13 Nov 2008
Performing: Rosie Bell, Nicky Carder, Ross Neilson, Duncan, Pip Robinson,
Lorraine McCauley, Calum Haddow, Nyk Stoddart, Charlie Scuro, Steven
Lundy, Johnny Pugh, Freeloadin Frank, Hannah O’Reilly.

Rosie Bell
“Sally picks up her notes and puts them in a pattern” What a fine way to
begin. Rosie talks of the ‘American Golden Age’ in a manner half
reminiscent of between Tom Lehrer. ‘Hallelujah’ is a biting attack on
those who murder that song – “Leonard Cohen would tear his hair and scream
and moan.” She finishes with ‘Always Never’, which is, I think, a metaphor
for a long journey. Much like the mic stand, as it moves inexorably
downwards during Rosie’s set.

Nicky Carder
She improves every time I see her. “Swear I met you, swear I knew you
before”, she sings. Time and tempo changes are becoming more fluid with
more performances, and her voice goes from a whisper to full-on roar. Her
second song is a fairytale rooted in real life – “there was a boy who
lived in a bouncy castle.” Her last highlights a vocal control for pitch
intervals. This girl needs a Featured Act slot sometime soon, methinks.

Ross Neilson
“Have you ever felt the darkness?” he croaks. I don’t think he means the
band. I hope not. Ross sings with a hoarse voice that certainly adds
passion and character, but it’s clear it’s not his own. He might be losing
some authenticity unnecessarily as a result. His second sounds like
pounding Smashing Pumpkins “Running faster all of the time”. He could
afford to shave a verse off for impact. His voice remains angry to the
last.

Duncan
‘Crown of London’ is a soothing folk piece. “I was singing softly, proud
as a young man can be.” And so he was. He follows this up with the first
contender for dirtiest song of the night – ‘The Four Whores of Baltimore’
Crude doesn’t quite do it justice. He finishes with ‘Black Douglas’, a
historical epic of a song – “Horses charge down, horses fell.” And “I’m on
the road to Jerusalem”. The crusades retold as they were – rampaging
zealot hordes. In an acoustic world where ‘Folk’ gets bandied around more
than it should, this set truly was, and all the better for it.

Pip Robinson
She shows us what a covers night is all about – making a song your own. I
don’t think anyone expected Nirvana’s “…Teen Spirit”, but Pip’s version is
enchanting. Drawing out all the dark emotion of the song, by the end I can
scarce remember the original.

Lorraine McCauley
“A great big hole in the middle of my life shaped just like a heart” So
she sings on a Karrine Polwart number. I’m afraid I didn’t know the
original, but it compliments Lorraine’s voice well. ‘Haunt Me’ is her’s,
though, and on lines like “Her angels shrugged in fear”, succeeds in being
bewitching and spooky. The guitar tick-tocks. Her last sounds like a
music-box twinkling, but the normally soft vocals get to breathe here.
‘Light in the darkest corners’

Calum Haddow
A tender offering. “We do what we can”, he sings. This is supposedly a
cover, called ‘Still Alive’, but to be honest it sounds like someone must
have tried to write a song in the style of Calum Haddow, so fitting is it
to his delivery. The perfect mix of dark humour, heartfelt lyrics and all
sorts of timbre is entirely Haddow territory.

Nyk Stoddart
‘Burn like a Calypso’ Not only is the title, but also the least surreal
lyric from one of Nyk’s latest efforts. I’d love to tell you what it’s
about… I have no idea. ‘Fake jazz’ is more obvious – a coruscating
piss-take of self-indulgent playing at its worst. I can’t help but feel he
needs to be even more OTT to carry off the joke, though. He ends with a
bizarre version of ‘Knockin on Heaven’s Door’. Bizarre in its straight
delivery. I think everyone was waiting for him to mash it up, but as a
standard telling, it certainly had the melancholy.

Charlie Scuro
New to me and, I think, to the night. Charlie mixes biting lyrics with
blistering guitar play. He uses his own nylon string, and to good effect.
All to often, these are made to sound like second-best steel string, but
not here. There’s a running debate on who had the dirtiest lyrics that
night, but given that one of Charlie’s more publishable ones is “Girl, I
couldn’t be happier than when you’re on your hands and knees,” you suspect
he’s in with a shout. He finishes with ‘Gonna build the biggest bomb,’
which is brave and satirical, and way closer to the bone than most would
dare. You can guess what its about.

Steven Lundy
Given that Steven has travelled all the way from California just to play
at OOTB, I hope he felt welcome. ‘Mama rock me’ is a strummy country
number that deals with the epic journey of crossing the US. He follows it
with one which, as its covers night, I have to mention sounds identical to
Rocky Racoon. He’s usually with a band, though, so I have to think that
would help to disguise such similarities. His last is enjoyable and upbeat
– “She and he were meant to be.” Hope we see more of this guy.

Johnny Pugh
Again making a song entirely his own, Johnny takes ‘Build me up,
Buttercup’, and tells it like the wrist-slitting goth anthem that it truly
is. It raises some giggling from the audience to start, but as the song
progresses you do get what he means – its pretty depressing stuff. So, I
think he walks the humour/melancholy tightrope ably. His next and final
offering, however, had me straight-out weeping. Tears of laughter, that
is. Never ask Johnny Pugh to sing Enrique Englesias’ ‘Hero’ and not expect
to wet yourself a little bit. Quality.

Freeloadin Frank
Treats us to ‘Ghost Riders in the Sky’, and he garners easily the finest
audience participation of the night. Who’d have thought? Enjoyable, as
ever, from the freeloader.

Hannah O’Reilly
She closes with ‘Yesterday’, but her own, not the cover. Nice jazz chords
match a finger-clicking rhythm. We end the night on the soon-to-be classic
that is ‘Killed a Man’. I once tried to harmonise from the audience on
this one and came off like a ten-year old. This tune has more balls than
The Hoff, and Hannah lets rip. A fine end.

Sound – Big Jim
Review – Rob S-C
Compere – Daniel Davis

OOTB 321 – 6 Nov 2008

Posted 06/11/2008 By admin

OOTB 321 – 6 Nov 2008

Now, the review from this week, brough to you by Steve Osborne, who is
brought to you by Calum Carlyle, who is…

OOTB 321 Out of the Campfire

Hi there, Calum Carlyle here, reporting on Out of the Bedroom number 321,
on November 6th 2008, or as it may become known “Out of the Campfire
episode two”. I think there were about ten people in total, including the
performers. At half past seven we decided not to bother with the PA, and
we all sat round a table and had a jolly good sing song. Satsumas were
consumed by anyone who wanted one and at the last minute, I asked Steve
Osborne to write the following review (and I’ve put the myspace links for
all the performers for those of you who missed this gem of an evening).
Don’t be too shocked but we actually played a few covers and
collaborations once everyone had had a shot at playing, but don’t worry
nobody dragged out Wonderwall or Redemption Song, though there was a
version of Sultans of Swing and I’m sure I heard the intro to Hallelujah
at one point…
~~~~~~~~~~~~~~~

1. Freeloadin’ Frank
http://www.myspace.com/freeloadinfrank
Frank began with a sprightly political song concerning bloodshed and
bullshit (what you can easily get with politicians), then followed it with
a love song (nice contrast), although it was about Scully from the
X-Files…..?! ‘Paranormal’ rhymed with ‘hormonal’? His third song then
had it in for Rupert Murdoch, which is fair enough….

2. Marcie’s New Haircut aka Kieron
http://www.myspace.com/marciesnewhaircut
Marcie’s first song (his newest) was intriguing focusing very much on the
words, but seriously, his second (his oldest) was utterly bizarre but
funny. The third, ‘Dream’, just as bizarre and including whistling,
rounded off his set – could be described as oddly whimsical.

3. Sophie Ramsay
http://www.myspace.com/freeloadinfrank
Incredibly childlike music that sounds like it’s from another time.
Imagine Rose or Valerie of the Incredible String Band doing their own
songs. Quite remarkable.

4. Rob Sproul-Cran
http://www.myspace.com/robsproulcran
Rob plays us a delicate folkie piece with high-pitched vocals, ‘Stealing
Away’.

5. Calum Carlyle
http://www.myspace.com/calumcarlyle
First an intricately constructed piece – ‘Sleepytime’, which goes from
softly sleepy to loudly awake, fittingly. Followed by a vibrant,
rhythmically varied piece with some very unusual chords. Like Davey Graham
on acid. Lastly an extremely frenetic, strangely chorded piece, ‘Sex (it’s
a dirty word)’ which gets aptly orgasmic very quickly. Ear grabbing stuff.

6. Johnny Pugh
http://www.myspace.com/twocarvedstones
Firstly, a folkie song which Johnny puts his own individual stamp on
making it a bit less Paul Simon-esque than it would have been, followed by
‘Splinter’, a more emotionally “confessional” piece.

7. Pip Robinson
http://www.myspace.com/piprobinson
Pip plays us two movingly melodic songs with heartfelt vocal delivery.

8. Calum Haddow
http://www.myspace.com/calumhaddow
To this listener, an original oddball eccentric. The air smelling of snow?
Second song ‘no one gets left behind on my watch’. Very funny and hugely
memorable.

9. After the break, including Nyk Stoddart
http://www.myspace.com/nykstoddart

After the break there was a cover version (!) from Rob, Calum Carlyle
doing his Nyk-inspired ‘My Penis is a Gyroscope’ and ‘Politics, Politics’
(an early song of his). Frank (for me excruciatingly) did Pete Seeger’s
‘If I Had a Hammer’. God, I hate that song! Nyk then arrived and did a new
song ‘Surprising’, which was rather. Calum Haddow continued, as quirky and
oddball as always, with a jaunty cover, then Kieron again with an amusing
cover this time, and finally Frank finished the evening off with one of
his own songs.

OOTB 320 – 30 Oct 2008

Posted 30/10/2008 By admin

OOTB 320 – 30 Oct 2008

A very warm welcome back, and congrats in his new apointment, to Mr Darren
Thornberry, who fittingly provides the review this week…

Out Of the Bedroom 30 Oct 08
============================
Ian Sclater, Ross Neilson, Ms. Fi, Norman Lamont, Broken Tooth, Main act:
Alistair Kilgour, Duncan Drever, Wahid, John Fink, Steve

Ian Sclater takes the listener on a sentimental journey. Is he plucking
heartstrings or guitar strings? “Days Go By” is a tale of four seasons
represented by characters like Dr Winter, who pronounces Autumn dead. I
know this imagery is true when I step outside at the break. Brrrr! “This
Time Around” is a strummy number that asks for second chances and promises
to do things different.

Get Ross Neilson to tell you the funny story about the lyrics in “Change
of Heart.” No spoilers here. Anyway, his marquee title goes down strong;
then he moves on to a first-time-playing-live-ditty, “Heavy Head.”
Something feels wrong and it might be that the chorus has him singing and
playing in very different keys. Anyhoo some fine-tuning will put it right
or maybe it’s just my hearing is going. Ross’ last song, a sad outing,
turns a cool phrase about every time the sun bled in her eyes. I like it a
lot.

Fiona Thom aka Ms. Fi makes me want to waltz to “Afterglow.” Number two
is a short song, so short that I miss taking notes while distracted by
someone speaking to me. “Rise” is a song we all need to hear at 6 a.m.
when the alarm sounds. Great song about an everyday morning done with a
hint of joy, like when toast pops up to greet the day.

Norman Lamont dazzles with Ms. Fi on percussion, BGVs and bass. His songs
wink mournfully, pregnant with irony, and Norman sounds a bit like Mark
Lanegan but with a better voice. Tonight he’s playing songs from his new
album, “Roadblock,” and the barnburner is “When I Came Home From Egypt.”
This song is badass. Norman is a very engaging singer whose knowing lyrics
definitely punch a hole. If this review seems particularly rosy, then
you’re getting my point. Above average set, with groovy bass by Ms Fi, and
songs from a worthy new album.

Taking the moral high ground, Broken Tooth announces that his new cd will
be available for one night only, at Secret Cds this week, and that all
proceeds will be given to Amnesty International. So stick that in your
rainy day fund! Toothy rips into “Riding on the Rail” and before you know
it you’re mixing it up with hobos somewhere outside New Orleans.
“Borderline” begs you to think about Jimmy Paige with some beefy riffs and
would be an absolute scorcher on electric guitar. I like the line about
going out to the ocean to let the tears roll down. I would like to do
that.

MAIN ACT: ALISTAIR KILGOUR

“Letter” has a gorgeous instrumental intro, so long in fact that I briefly
believe it to be its own song. The lyrics, about a letter of application
and how there’s no going back once it’s read, are surely metaphor and I’d
be curious to know what’s under there. Next “Woodland” is a touching song
that promises it would take snow-capped mountains to keep the writer from
the object of his desire. There’s a true instrumental thrown in now, very
fast and furious, and the audience loves it. (Also the room is packed.)
The next three songs serve up well-placed key changes, great lyrics and a
dynamite finishing instrumental flourish. Alistair is a sound guitarist
and may as well consider this OOTB gig the first of his Scottish tour.
Then, the world.

Hullo Duncan Drever, singing a folk tale of sorts called The Black
Douglas. On first hearing The Black Douglas is on some sort of pilgrimage
and seems to be a pretty self-aware guy. A quick glance at Wikipedia … the
Black Douglas is none other than Guid Sir James, soldier and cohort of
Robert the Bruce who fought in the Scottish Wars of Independence. Pretty
sweet. Clever song. There’s also a tune about being lonely for his Orkney
Islands. I really dig the word pictures … sailing ghosts, ancient cliff
face … and I love the line about “shuffling home when I have nothing.”
Duncan Drever impresses. He’s flippin’ tall, too.

Wahid the Squashee. Man this cat has some energy. It’s bluesy, reggae-ish,
aggressive, and uplifting. A rallying cry to “our people” to get up, free
your mind and find a reason to keep believing. Fair enough. The OOTB
audience eats it up.

John Fink is competing now with some chatty folk, but he holds ground. His
second song is cool. “Put things back, put them right. Things will turn
bad if you don’t.” I’m a bit frustrated for John because we’ve reached
that very unmagical time of night when people start buggering off mid
song. All in all great potential and I hope he comes back and gets an
earlier start. John’s third is a well-played, lovely tune.

I think Steve is a bit surprised that there’s time for him to play, but
here he comes like a sardonic court jester. He’s funny, but that doesn’t
make him funny, if you know what I mean. His songs go for the big-chorus
jugular. Sample topics include sleeping till he’s dead, pulling s*** out
of pensioners’ bums, and a hatred for smelly deadlocks. I can’t do the
tunes justice here – you really need the context. When Steve finishes, I
rattle off a thank you and goodbye, but there’s nothing more to say,
really.

Review/Compere: Darren Thornberry

Sound/Tech: Malcolm Mclean

OOTB 317 – 9 Oct 2008

Posted 09/10/2008 By admin

OOTB 317 – 16 Oct 2008
============================
Sam Barber, Neil Watson, Ross Neilson, Nyk Stoddart, Hannah O’Reilly, Dave
o’Hara, Broken Tooth, Gustav Gustav Gustav Holst, Bill Philip, Calum
Carlyle, Johnny Pugh, Sophie Ramsay, Stewart Maclenan and Graham McLeod

Sam Barber
‘Breadline’ is timely angst, economic or otherwise – “when those who win
rely on us to lose.” The words are spat out over chunky, aggressive
guitar. ‘The Choice of Heracles’ is not a Greek epic, but is more rousing
folk anthem “Easy to turn a new leaf, harder to plant a tree.” I don’t
remember Heracles having to plant trees, but whatevs. It’s been a wee
while since Sam graced our stage, and it’s a pleasure to see him back.

Neil Watson
Likewise with this chap, who begins with ‘Candlelit Wood.’ A hoarse voice
hovers over sparse strumming. ‘Alone’ is a song of extra-denominational
love pulling apart other relationships – “I can’t believe you let us stand
alone, now she’s gone.” Romeo and Juliet, basically. “You want us to make
it,” he protests on his last one. Ah – a good old tale of lopsided love.
When so often its passion that gets lyricised, it’s nice to see a bit of
apathy as song.

Ross Neilson
His style has been evolving over his time at OOTB, the performance more
polished, while the delivery harsher. He holds a long, raspy note for
effect, and lyrically, it’s about release – “high enough so I can ease my
mind.” High in the general sense, of course. “I don’t know bout Sunday
nights without you,” from his second, a slower tune that makes more of his
vox, which is improving. “I’m searching for an answer I’ve tried so hard
to find,” he sings on his last. Quick, get that man a self-help course.
Anyone have the number for a Buddhist retreat?

Stoddart
Manic plucking (not chickens, mind) is counteracted by lyrics of the
everyday – “when I’m on the phone, talking to you.” Interesting
combinations, though I prefer his more obscure stuff. Speaking of which,
when his second song includes such pragmatism as “it could be worse… I
still have my hands”, then you know you’re onto a winner. Such is ‘How I
met myself’. He ends with the crowd-pleasing Green Monkeys. He’s got a
schism in his prism, don’t you know.

Hannah O’Reilly
Just a squashee tonight, so I’m delighted when it’s a new offering – what
the night is all about. In fact, this is its first ever outing. “You were
a comfortable stranger, til you damn well knew me too well.” Clever lyrics
and an original theme. Soaring vox completes the package. It’s a keeper.

Dave o’Hara
He’s like one of those farts you used to do at school – silent but deadly.
Dave treats us to nylon-stringed instrumentals, on those rare occasions he
deigns to oblige. Cap down, eyes on the fretboard, his first is Spanish in
flavour. His second builds from simple, single note melodies. Timing has
to be precise with such a sparing arrangement, and is. It sounds like
Crocodile Dundee. His last, ‘Arabian Nights’ is tense and evocative. I
feel like I’m in the Aladdin Disney film. Where’s that monkey gone?

Broken Tooth
“I’ve lost my faith in love”, he sings. Sorry to hear that from such a
fresh-faced lad. Hope he recovers soon. Harsh muted strums cloud his next
– “you’ve got me weak in heart, so weak in the brain.” It seems to be
called ‘Going to the ocean’, but I’ll have to listen for more clues as to
why next time. ‘Miller’s Daughter’ is his final, and I must say, I was
most taken by it. Soft and harmonic, with interesting guitar thrown in.
There’s a lot to recommend it.

Gustav Gustav Gustav Holst
The ginger ones yells, “I’m made of dirt and clay and triumph and disgust
and failure…” And it’s all quite breathtaking. No-one puts more into a
performance than Calum Haddow. ‘Tetsuo’ (hope I spelled that right) is an
awesome epic of a land crushed by a lack of love. I think. For take-home
lyrics, look no further than “Wrong, little pig, you’ve gone wrong”, from
his final offering, ‘Death to the Animals.’ Gauntlet down. The depth,
variety of styles, and sheer power astounds.

Bill Philip
A couple of short poems from Bill this evening. The first might even be a
Haiku, and features few more lines than, “I’m angular, she said.” Bill’s
stuff is shrouded in metaphor then let loose. If there was ever a girl to
have said that, I suspect it now means more than it ever did then. ‘The
shortest day’ is a rallying cry never to clock watch, effective for its
attention to detail – “a death before midnight, or a birth just after.”

Calum Carlyle
Voice on top form tonight (for more of that, Calum is Featured Act this
week – do not miss), he squashees-in ‘Don’t go Away’. Calum revels in
taking a finger-twisting guitar part, then layering a howling vocal on
top. Add some audience toe-tapping, and you’ve got yourself some funky
acoustic cake. Probably cheesecake.

Johnny Pugh
The boy is a trooper. Having been highjacked to compere at about 5 minutes
to 8, he had a night of that to get through before playing his own set.
Worth the wait, though. “She comes to me in twilight” sets the tone for a
tale of desperation – “I asked her for rope, she gave me the noose.”
‘Don’t ask me more’, his second, is a timeless ballad with such gems as
“let the broken hearted ones forgive, though they won’t forget.” The trick
is in delivery, and you believe every lyric. The guitar plays perfectly to
the voice – never over each other. ‘Inertia’ continues the ear candy, and
when he sings “this love is unstoppable, when it’s on the way down,” there
is pin-drop silence.

Sophie Ramsay
The first time I’ve seen Sophie, but not the last, with any luck. “Your
soul is gone, and all there is, is body for me to see,” is a fine
metaphor, if it is one, on ‘Reverse Ghost’. Her lyrics are wonderful –
“Brown cow buildings rustle and ruminate and dream” – and all the better
for having some of the clearest enunciation I’ve ever heard on the
acoustic scene. It’s all so quiet and endearing, especially on her last,
‘Sorry’. It’s about apologising for not loving someone back, but put like
this, how would you not forgive? “If there was any sense in my heart, I
would love you, the way you love me.”

Stewart Maclenan and Graham McLeod
“Love, in a mist, surrounds us”, like the harmonies which are used
sparingly, but effectively by this pair. It’s very catchy stuff. ‘One way
street’ is a chilled little number, where the guitars play in harmony.
“Another lovely day spent dreaming,” it goes. Stewart tends to settle on a
decent lyric then go with it for most of a song, which highlights melody
over all else. Just when we relax, they finish with the finger-clickingly
good ‘Living on borrowed time.’ I’m been looking forward to seeing these
guys for some time. Hope they come back.

Compere – Johnny Pugh
Review – Rob Sproul-Cran
Sound – Jim Whyte

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