A more experimental Thursday night than most saw the performers pushing those pop boundaries ever further.  No less than three stringed instruments (2 violins, cello) made their appearance with three different acts, and varied the sound in a most pleasing manner.  The vast bulk that is the OOTB house keyboard was also used twice, which I think is a record.

Jim and I played a couple of our own songs to get things going, then came Scott Reilly, sporting a very dapper purple crushed velvet shirt.  He’d changed his set from last week, but the style was pure Scott, a sound of aching loneliness set somewhere between Edinburgh and Kentucky.  New songs (to me, at any rate) included “This House Ain’t big enough For The Both Of Us” and a brilliant minimal blues called I think “My Baby Left Me Last Night”.  As Scott said himself, his voice and guitar playing have improved a fair bit of late, and this despite not having the Devil tune his guitar at a crossroads at midnight.  And, to show that songwriters are not always gloomy depressing people without a sense of humour, Scott stopped his last song halfway through, and explained that the chorus came next, but as we’d already heard it before, we could imagine what it sounded like.  I demand that the relevant authorities record this man in a £10, 000 a day studio now.

Next up were a male/female duo called The Abrahams (Rick and Joanna), new to OOTB, but who have been playing together for over a year.  Keyboard, guitar, violin, backing vocals and sharing of main vocal duties ensured that their sound was always intriguingly changing.  I particularly liked the rolling, bassy left-hand part on the piano that was employed by Joanna in one song, and the violin and guitar combination worked very well too, I thought.  To do them justice, we’d probably need a grand piano and about 10 mics, but their sound was original and interesting nonetheless, and I certainly want to hear them at OOTB again.

Someone whom I was also glad I could hear again was Riley, this time djembe-less without his percussion partner Ian.  I can’t remember 3/4 time ever sounding as good as it does on “You Don’t Even Know What You Do”, a beautiful, fragile country-tinged waltz around a broken heart.  The more up tempo “Older Women” came next, a topic not too often touched upon in song writing, but which in this case makes for that best of juxtapositions, an intelligent pop song.  The more haunting “Love Is A Word” finished the set, and as well as the customary great singing and lyrics, also had some very fine picked guitar playing.  I’ve been singing the song ever since, it’s seeped into my brain juices and won’t go away.  If this man isn’t recorded in the same studio as Scott soon, then I’m writing to my MP.

Someone who probably doesn’t need that studio is Julie Dawid, as she’s putting together a CD of her own.  Back from her trip to London, she brought with her a cello, of all things, plus luckily a friend to play it.  It sounded great though, played with the bow one minute and then the pulsing picked style of pizzicato the next, and set off the fine voice and guitar playing of Julie.  One of their songs was a strumming, Jacques Brel-ish number which I liked very much; it had a very “continental” feel to it somehow.  Julie invited me to play bongos on the next song, and then she finished with “My Fingers Strum Strings”.  I think that even in the short time that OOTB has been running, Julie’s singing and guitar playing has improved, and after this performance, I’m looking forward to what she can come up with next.  A guitar/tuba combo, perhaps?

Not to be outdone, Norman Lamont also brought his violinist friend Alison along to accompany him.  “Why Don’t You Come Back” also featured Alison on backing vocals to great effect, and “Crying In The Street” (one of my favourite NL songs) appeared in all its stark, moon-lit beauty before us. “Only The Sea”, (another song I like very much) was next, and what a superb rendition of it they gave.  Norman’s de-tuned guitar conjured up images of shifting sands and waves, while Alison’s violin was the moaning, spray soaked wind blowing over bleak grassy cliff tops.  The whole thing though, was infused with a raga-like droning, from both the guitar and violin, and combined with Norman’s Indian-influenced vocal, it sounded brilliant.  And to prove the point again that songwriters aren’t depressing fellows, he started the next song in the wrong key, then sang “I’m Changing The Key!” without missing a beat and promptly modulated the song, much to everyone’s amusement.  Norman has also been in the studio recently, so watch out for his CD when it comes out.

Claire has been to OOTB before, and is one of the few people brave enough to play the monstrous House Keyboard, kicking off with a song about a bridge in London.  “Beside Me Tonight” had a great rolling, bluesy feel to it, and showed Claire’s clear voice off very well, I thought.  One she’d played before, but which made a welcome return was “T.I.B”, not a song about her cat, but which stood for “This Is Britain”, a tale of repression of expression between the sexes.  Monstrous though the house keyboard is, it wasn’t quite monstrous enough for one of Claire’s songs, as she suddenly stopped playing halfway through and exclaimed, “Oh, it’s not big enough” meaning that the keyboard did not possess a full, piano sized range.  Rather amusing, but it luckily didn’t put Claire off.

Newcomer Tam was up next, with Riley helping out on BV and some light bongo duties.  I think the first song was called “You’ve Come Out Of The Sun”, and it was a very atmospheric song, slightly menacing in feel and featured some good dynamics which gave it a dramatic quality.  Tam’s voice had a harder, more rockier edge to it than the country twang of Riley’s, which meant that their vocals complimented each other very well.  Some nice guitar work by Tam on this song and the next means that I’m hoping he comes back to OOTB again soon, as I was very interested in what he was doing.

You might think that two of our staunchest non-performing supporters, Bruce and Graham might have won the mystery prize at the raffle by now, seeing as they come just about every week.  They think that too, but no, this week the truly splendid prize of a wooden recorder was won by none other than Norman Lamont who was overheard to say “You’ll regret this later when I play it on stage!” or something similar.

Joe was next, and played whilst stamping his feet at the same time, a feat of co-ordination never before attempted at OOTB, but which he managed with aplomb.  Some nice strumming and pleasant singing meant that Joe was appreciated by the audience, and as I think that as he just turned up at the Waverley for a drink, without suspecting he was to perform later, he acquitted himself admirably.  I think Joe may be working on some new material to bring down in the near future, so watch out for him.

Completing the evening was Tron stalwart Iain, opening with a breezy, up-tempo song called “Vodka and Red Bull”.  I might be wrong, but I don’t think anyone’s written a song about that before, and it showed his pop sensibilities at their best.  He finished with “The Kid Who Couldn’t sing”, a Bowie-esque pastiche (or rip-off, in Ian’s own words), about a kid who doesn’t like hearing his own voice through the speakers on stage, and suffers a lack of confidence as a result, but comes through in the end.

So, an evening of experimentation, string sections, high comedy, mystery prizes and sheer song beauty (there’s no other word for it) was had.  I’m certainly looking forward to what next Thursday will bring, but if you happen to be in London on that day, then Norman Lamont is playing at the 12 Bar Club, 22 Denmark Street, Soho at 9.20.  If you can’t make it but know someone who would like to go, I’m sure Norman would be happy to see them there.

And with that, I’m gone.  See you next Thursday,

Nelson

Just when I think that OOTB at the Waverley can’t get any better, it goes and does precisely that. The standard and variety of performers on Thursday was a wonderful thing to behold, and indeed to listen to.

After Jim and I opening proceedings with a single song, the first act on stage was Jill Hepburn, who travelled all the way from Falkirk to play. And I was very glad she made the trip, as her jazz-tinged breaths of cool, wistful pop transported me from the mid-winter blues of Edinburgh to somewhere decidedly pleasant and with a lot more sunshine. She also broke her previous personal best of one song per set at OOTB, this time playing the standard three. I would like to see more of this young lady in the future.

Next up was Martin Chiesa, who made the decision to play without any amplification. I think it was the right decision, as he certainly filled the room with his well-projected voice, and rhythmic and tuneful songs. He varied the more normal OOTB 6-string sound by playing a 12-string guitar with energy and volume, in an up-tempo catchy fashion. I always like to see a 12-string being played, perhaps because I’m too lazy to play my own, and full marks to Martin for carrying on after breaking a string in the first song. Perhaps all this change came about because in his own words, “I didn’t get pissed like I did last week”. Spoken like a true musician.

Scott Reilly is a man who had previously impressed me when the now defunct Edinburgh Songwriters was at The Tron Tavern. His individual sound is hard to describe, but if a bald madman brandished a sawn-off in my face and ordered me to do just that, here’s what I would say: His voice and guitar carry tinges of Country music, but not of the Tammy Wynnette variety, more of the bleak Hank Williams type. Having said that, there’s a definite pop sensibility in there too, with an ear for a catchy tune and melody. His song “Shades of Blue” particularly had me whistling like a moron and annoying my flatmates all day on Friday. I’m not sure if Scott’s recorded any of his material, but if he has, then I’d definitely like to reserve a copy.

Graeme ‘The G‘ McDonald played last week with Norman Lamont, providing BV and harmonica, but this week came on his tod. And he proved that he’s no floating sideman, delivering a set with panache and no mean skill, by playing a guitar and harmonica in a neck brace, normally something which reminds me of Bob Dylan, but on this occasion Graeme’s performance blotted out any comparison. His last song, called I think “Going Out Like A Hero”, was a particularly fine piece of songwriting, and not even my joining in on the bongoes (I’d had a couple of pints by then) could ruin it. And anyone who knows my bongo playing will realise what a compliment to a song that is.

After the interval, Riley and Ian came up to share with us some more of their strange and beautiful world. On paper, it doesn’t sound like it would work: an acoustic guitar, a djembe, and a voice touched by country and blues. The reality? It sounds bloody fantastic, even when the djembe (played expertly by Ian) is swapped for a duburka (not sure of the spelling), as on the opening song “Jennifer”. The bass boom of the djembe was used for my personal favourite of theirs, called “Older Women”, which careered around inside my skull for two days solid, especially the lines “Don’t you take her for granted, Don’t you ever make her blue, She can always find another young fool like you”. Riley’s way with a melody and a hook will surely gain them more attention in future. Great stuff.

Philly and Callum had the unenviable task of following that, but by thunder, they damned well did, producing a set displaying sheer mastery of the voice and guitar respectively. Philly had a way of singing that although it didn’t sound like him, reminded me of Horace Andy in that you felt the words, rather than heard them. High and soulful, it went straight to the heart and didn’t come out again for love nor money. Callum’s guitar had dynamics galore, ranging from a delicate plucked arpeggio to a full-throated strum, and never took the easy route of well-trodden pop melodies, preferring instead the narrower, more dangerous path, but one which they traversed with ease. The duo always left enough space for each other to show their talent, and judging by their reception, could be back again at a future date.

The raffle was well patronised, but there can only be one winner of the Mystery Prize, and this week that winner was Callum (of Philly and Callum), winning a splendid black “Eggz” percussion instrument, which came all the way from the good ol’ USA. Will he be shaking his egg down at OOTB this Thursday, I wonder?

Finally, to round off the evening, a performer known simply as A.D. played two songs, neither of which could be strictly said to be wholly original compositions, but which were played with sincerity and feeling. Merci beaucoup, Monsieur A.D.

Well, I think I can say it was an extremely enjoyable evening on Thursday, and I’m looking forward to more of the same this Thur. If anyone wants to play the house keyboard, then feel free to do so, like the house guitar it’s always available.

Nelson

Jim & Nelson, Iain Roberts (debut) , Norman Lamont & Graeme McDonald, Martin Chiesa (debut), Freeloadin’ Frank, Matt’s band (debut), Riley & Ian, Colin Donati.

No review this week.

It was another busy night at The Waverley with a full card of performers. The standard was exceptionally good, possibly the best night yet.

Trip Fontaine came back after a month away and it was good to see the hairy Mancunian again. “Freeway” has to be one of the most melodic songs I’ve heard at these evenings. There’s a pleasant, cathartic pain in his voice which chimes with the 12-string guitar in a very pleasant fashion. Trip won a demo competition on Radio Scotland and consequently has a session on Monday, 11th February at 10pm. Make a date in your diary now.

Scott Reilly has come on immeasurably since I first saw him at Edinburgh Songwriters a couple of years ago. The tunes are great, if the Lightning Seeds had interesting lyrics and an edge they’d be comparable to Scott but they don’t. “Tell It Like It Is”and “End Of The Line” are top quality songs. More of this please, Mr Reilly.

I don’t know how many songs Norman Lamont has in his repetoire but he always plays one new to me which is amazing. One of the opportunities these open mic nights have is to let people bring new songs to try out. Norman uses this artistic license to the full. “Singing Nothing” is a very happy tune with a melancholic lyric partly about waiting to meet people in London in the rain (know the feeling). “(I’ve never gone down on a) Submarine, Girl” (important comma) is a fun song to end any set. Glad to see Norman back from his cold.

Free Loading Frank, freshly shaven and looking younger than his 29 years, was in ebullient mood. “Bloodshed On The Way” is becoming a singalong favourite in the Waverley. I imagine Frank, like millions of others (including myself), raised a smile at George W Bush choking on a pretzel. I don’t wish anyone ill but…Back to music. If anyone hasn’t heard “Scully” they’ve missed one of the most memorable and amusing songs played in Edinburgh’s open mics in the last five years. Will Frank ever record his music? I hope so, we shall see.

Lynsey Hutchinson seems to get better each time I see her. Sometimes when I do the sound I don’t get a chance to listen to the performers very well but going over the tapes it was a pleasant surprise to hear how very good Lynsey’s voice is. “Brother Grimmer” is a dense, symbollic lyric much like the old Brothers Grimm tales themselves and a heartstring-tugger it is too. Her new song was also a densely lyrical piece with more than a hint of melancholy. You can’t sing lyrics like these without feeling and this young lady certainly delivers. Look out for her new band Brundelfly. I would advertise their gig but it’s on a Thursday night so I can’t do that. (By the way, apologies for calling you Lesley, Lynsey!).

The raffle was won by Stephen McMurray. The prize – a kazoo that lights up from the USA.

Iain Firth came on with his customary energy; admirable as he comes straight from his top chef job in an Edinburgh restaurant. Another performer with a large collection of songs, with lyrics containing a lot of “ba-ba-ba”s (didn’t do the Beach Boys much harm). One song (“Electric Shocks”?) was a romantic piece about sex and flowers, his “ba-ba-baa” number was about foxes not sheep. A Dan Mutch tribute song “I Wish I Was Something Different” was indeed reminiscent of the style of the ex-Khaya frontman’s own compositions.

The first debutante of the evening was also the last act. Riley Briggs (and friend Ian Stoddart on drum) came on and, while I don’t like to single anyone out, blew me away. His first song “Jennifer” was an absolutely gorgeous genre-crossing pop song about a girl from Dumbiedykes. An obviously natural guitarist with a golden voice and some of the best melodies I’ve ever heard. “Older Women” highlighted a love of country music in style and the subject matter of love for older women is someting I can currently relate to. I think the audience’s very positive reaction was understandable. The next song – a new song “Love” – is a beautifully understated, sentimental (in a good way) piece. “My Love Is Blind” ended the evening and achingly fantastic it was too. These guys will definitely be at Out of the Bedroom again if I have to drag them there! Wonderful stuff.

Another landmark musical evening then. Hope to see more performers, new and old, over the coming weeks and you, too.

Take care each and everyone of you,

Jim

The new year at The Waverley started off with a bang as the biggest crowd yet came down to The Waverley to see a packed programme. It was great to see a lot of first-timer performers at Out Of The Bedroom, hopefully this year will see these singer/songwriters develop into even better musicians.

Helen Woods & Frank Macdonald came on first with Frank on guitar and vocals and Helen on lead vocal. Songs such as “Blue Jeans” and “Dreaming Of Berlin” may be familiar to regulars at Mondays at Whistlebinkies but they haven’t lost any of their quality with time, quite the reverse. It was the best I’d seen Helen sing, particularly, in a while.

Scott Reilly has a great set of understated melodic pop songs and again he was on form tonight. “Shades Of Blue” is a gorgeous slice of melancholia sung with genuine ache. “This House Ain’t Big Enough For Both Of Us” is a singalong on the topic of separation.

A young chap with a booming bass/baritone voice by the name of Fraser Calder was up next. A very energetic, fiery, angst-ridden set reminiscent of the best of Pearl Jam at times. It’s fascinating the way Fraser stretches and bends words; coupled with the voice, it makes for a very intense experience. Look out for his band ENKI around the music venues of Edinburgh.

Gordon Ballboy played an entertaining set with his usual quality patter. “Stars & Stripes” was as mesmerising as I’ve ever heard it. “I Wonder If You’re Drunk Enough To Sleep With Me Tonight”    (and we’ve all been there) was most poignant. Look out for a new single from his band ballboy in the next couple of months and a warm congratulations to the band who had two songs in John Peel’s Festive 50 for 2001. Their website is at http://www.listen.to/ballboy and I urge you to visit it.

Fee Brown & Wez both from Australia (you’ve got to have Aussies at New Year(s)). Fee’s first song “A Child Carrying A Child” was about believing she was pregnant at 17 – a powerful song indeed. Fee’s voice is a fine instrument to behold sailing between anger and tenderness expertly. Wez’s very fine drumming featured on Fee’s next track (a newie) and Wez ended with an expertly-played instrumental – a gifted man.

Mike Evans from London won two differently-pitched little bells all the way from New York in the prize draw.

Lynsey Hutchinson, who debuted two weeks ago, played a top set. Her tribute to “The League Of Gentlemen” TV series, “Benjamin Denton Blues”, is a legendary track and showcases Lynsey’s unusual, interesting lyrical style. An instrumental “I Am Legion” was the first to be played at O.O.T.B. and a fine tune it is too. Lynsey has a residency at the Fire Station pub in West Port.

Young Stephen Watkins, from the band August 81, was next with the aforementioned Fraser on drums (another multi-talented musician!). He managed to break the bottom e-string – the thick one – on the house guitar but I won’t hold that against him. “Back To You” and “In The City” had bags of energy and I think you should keep an eye on the listings to see when the band’s next playing.

A Swiss trio – no less – were next. Called Momma Would Like It adapted their bass/12-string/drums to two guitars/three vocals/drums. This band were very off the wall indeed; I don’t think their first language was English. “The Secret”, a song about friendship, had a loping, melancholic feel (influenced by cult Welsh band Gorky’s Zygotic Mynci?) and the vocals were all excellent and almost complimentary. “The Man With The Pan” (co-written with Paul McCartney apparently) about cooking. I enjoyed the pronunciation of gourmet (goor-mate). This was an outstanding performance and the kind of thing that makes these nights special. If you’re ever in Corcelles or Neuchatel in Switzerland, look out for them.

Iain Firth, who kindly loaned his guitar to the Swiss boys, played one song, “Harriet” devoted to his fiancee (written last week).

The next show is on Thursday 10th, starting approximately 9.15, and is free.

Jim

No review was posted, but I have memories of the evening.

The smallest OOTB audience ever comprised of the three artists who took the stage plus Bruce Blacklaw, Graeme and Julia Mackel, Andrew Hunter (I think), Lorraine (American lady), and some guy.  Cracking night, with Freeloadin’ Frank given free reign on stage with two amazing sets!!  Jean-Marie was a lady with some peculiar views on life and a quite amazing falsetto (I remember she did a cover of ‘Woodstock’ – och the covers rule was relaxed for this one).  I made up the numbers.

Jim

No review posted this week… but I have done a summary from memory.

Summary: first Out of the Bedroom Christmas special.  I’m sure we must have worn party hats and had cakes.  No?

Notable for some excellent debutantes:

• Danny Mullins would almost certainly have sung the hypnotic ‘Smoke Myself To Sleep’ in his laid-back style.
• Lynsey Hutchinson would have played her macabre, densely lyrical songs about muder and characters in ‘The League of Gentlemen’.
• Jimmy Spence read his poetry (poetry? yes, we were tolerant of such things in the very early days).
• Scott Reilly would have had us in awe of his stunning, immaculately crafted pop songs.

This night was possibly the busiest and certainly one of the most enjoyable evenings at the Waverley so far. It was good to see so many venture out on such a frosty evening.

Free Loading Frank was back to start of the evening in a typically raucous fashion. There was a rare performance of ‘I’m In Love With A Woman Called Scum’ which was delivered with Frank’s usual gusto. The ‘Anti-Car Song’ resonated with a sincerity. A storming version of ‘Bloodshed On The Way’ got the crowd singing along – when is this man going to get a CD together? Soon, hopefully.

Newcomer Jan was next up with unfortunately only the one song, ‘Traveller’s Tune’ . His bass/baritone voice was a treat and I hope there’s more where that came from.

Another newcomer was John Hunt who’s a bit good. A performer of some pedigree, he was clearly at home on stage. A rich, cigarette-stained voice with some consummate guitar-playing. ‘Spiders & Flies’ was drawn from observations of men & women in pubs (possibly Monday nights at Whistlebinkies?). ‘What Is Your Drug?’ was perhaps the most memorable song and put forward the proposition that we’re all addicted to some ‘drug’ e.g. bingo, religion, football and – yes – cannabis; which may be contentious but it’s a good song and very funny. A talent who I hope we see again very soon.

The prize draw was made and the winner was the lovely Emily who won a pair of castanets.

Julie Dawid played her sensitive, uplifting tunes for her 3rd performance this year. A song for her friend ‘Lauren’ was reminiscent of sixties rock siren Nico’s early work in its plaintive delivery. Julie also performed a song she’d written the day before! That alone impressed me and I actually thought it was her best song on the night – see you when you get back from London, Julie.

Colin Donati played what I thought was his best performance at the Waverley so far. Colin kicked off with ‘Klingons’ and a fine tribute to George Harrison but an absolutely storming version of ‘Daniel (Get Out Of Jail For Free)’ stole the show. Accompanied by bongos, shakers and a variety of harmonies, it’s a killer song by anyone’s standards one of a few songs from these evenings that could trouble the pop chart (not that that’s always the sign of a good song).

Norman Lamont was again a standout with more new songs (to my ears) from his vast reservoir. Perhaps the rhythmic ‘Beirut’ (with bongos) was the standout of the newer material. My personal favourite ‘This Horse’ – with its hypnotic, drone-like guitar and richly symbolic lyrics – finished a fine set.

Sandy the photographer filled in at the end and actually had a good voice but played covers and broke a string on the house guitar so I can’t really encourage that behaviour.

I must stress the one golden rule of the evening – original songs, please. You can rip things off, steal and sample by all means but no cover versions, please.

I look forward to seeing you all sometime soon. Have a happy Christmas and peaceful New Year (or should that be peaceful Christmas and Happy New Year?)

Jim

A very fine evening upstairs at The Waverley was had by all with a completely new songwriter line-up and clientele from last week.

The show kicked off with compere Nelson and soundman Jim playing a spooky tune called “The Weather In June” originally premiered with the band Scatter (The Pigs Are Coming) several moons ago.

Next up was a gentleman from Manchester by the name of Trip Fontaine. Following in the footsteps of fellow Mancunians the Smiths, Oasis and the Bee Gees may be daunting for some but not Trip. He has that gift of being able to write songs that you think you’ve heard before but are in fact original and very tuneful, too. Playing a well-worn 12-string guitar, he took the audience on an almost spiritual journey with his simple, melodic and uplifting music. Starting with “Here She Comes” and “Final Cigarette” you knew a star of O.O.T.B. was born. “Freeway” was the first tribute to the dog from popular US 80s TV programme “Hart To Hart” that we’ve had at the Waverley. Finally, “Mr. Sunshine” is a summer song that bursts with colour at any time of the year. A very fine debut.

A familiar face to regulars of Edinburgh Songwriters’ Showcase (R.I.P) at The Tron Tavern, Jim Bryce is a musician and showman extraordinaire. He started on keyboards with the awesome “New Directions For The Blues” – a commentary on the depressing nature of the news media. “Waiting For The Man”, is folk/blues with a definite edge, with very impressive guitar-work.  “Moon And Water Song” was a haunting, spiritual piece with a most harmonious penny whistle moving like the tide in between Jim’s vocals. A Christmas song “Pictures” was the first such seasonal offering at the Waverley and a sentimental, pretty song it was too . A one-man variety act with, it seems, a vast reservoir of good, tuneful songs. (Jim Bryce is in panto at the Brunton Theatre, Musselburgh in ‘Sleeping Beauty’).

There was a welcome return for Julie Dawid who played a couple of weeks ago. This young lady from London entertained with a smile on her face with bittersweet tales of love lost. She gets better every time she plays and is a regular at Kin, a music/poetry/book reading evening that runs fortnightly upstairs at the Café Royal, which is worth checking out. In the style of a female Nick Drake, she started with a song (“In The Ground”?) about that eternally favourite subject of songwriters i.e. death. We were treated to a song, “I Wish You Wonderful Things”, she’d only ever performed at her brother’s wedding, a very touching song, and I felt privileged that Julie played it on our night. On “My Garden” – a “back to the planet” song – she was accompanied by Nelson on bongoes. Her song “City Dreams” is perhaps the best, a song about her home village of London and it flows very nicely indeed.

The raffle was then drawn and Mrs. Trip Fontaine won the prize – a swanney whistle for her jam sessions with her husband!

Mr. Trip came back on for a couple of numbers and Jim and Nelson also ended with a brace to end the evening.

Hello you music heads,

Thursday’s shenanigan’s at The Waverley Bar were kicked off in lively fashion by none other than Freeloadin’ Frank. His country-tinged tales of wit and humour were put momentarily on hold while he delivered a full broadside to the vehicle industry with his anti-car song (don’t know the real song’s name!), which has one of the eeriest alternative guitar tunings I’ve ever heard. Quite brilliant, and as Norman Lamont opined “He should do serious more often”. Then the spell was dispersed in the best possible way with his irrepressible “Magic Cornflake” which despite having, shall we say, “possible pharmaceutical references” is widely enjoyed by children across the land, due to it’s instant chorus and catchy good-naturedness.

Next up was Devon Perry who hailed I believe, from Canada, reciting his poetry. Not something that we do a lot of at OOTB, but sometimes we feel like letting someone do it. Devon’s rapid fire, beat style, stream of consciousness poems were appreciated by the crowd, and anyone who can speak that fast has got my respect, especially when they’re saying big words.

OOTB bedrock Norman Lamont climbed on stage next, opening in a jazzier mood than I’ve seen the fellow in for a long time. Very pleasant, then that was followed by two effects drenched raga-like droners, namely a radically re-worked “She Said” (Beatles) and Norman’s majestic (only) “The Sea”. The set culminated with a new song to me, “Portobello Slam”, which conjured the image of a huge brawl on Porty beach.

After a short interval, next up was OOTB newcomer Shane Knight-McGrath, who was the possessor of a splendid red acoustic guitar. His two songs had a picked guitar backing, and the vocals had a bluesy feel slightly reminiscent of Robert Plant, although not everyone agreed with me there. His “Face Of An Angel song” had a particularly plaintive, haunting quality.

Kin stalwart Ally Price then betook the stage, and as Jim remarked, she certainly has improved her vocal projection a lot over recent months, displaying her intricate vocal talents to good effect. At times echoes of a female Cat Stevens, but her “Castle Song” was all her own, even to her spoken introduction, where she wondered if the castle itself had remembered her visit, somewhat spookily.

Not to be outdone by a fellow non-British English-speaker, Anne Easthaugh (from Australia) also did a quick poem before launching into a very pleasant strummy acoustic pop song. Jim later found out that she was leaving the country and won’t be back for several months, but we wish her a speedy return to OOTB.

Last week’s keyboard sensation Claire Milne was in a more experimental mood this week, with her beautiful “A Matter Of Time”, preceded by the “Bridge Song”, which had some very nice strange notes. They’ve probably got proper names like suspended ninths diminished or something, but I don’t know much about that. Still good though.

Topping off a damned good evening was Graeme Mearns, who like Claire, also used to play at the Tron Songwriter’s Showcase. His blistering version of his own “Cinderella” has to be seen to be believed, and it’s a wonder that Shane’s guitar survived intact. A damned catchy tune though, I found myself cheerily singing “Everyone one’s a whore, nothing less and nothing more” days later. Can we expect a fuller set at some later stage, I wonder?

So, an extremely varied evening of performers, and well attended by non-performers too. The raffle? That was one by Claudia who for some strange reason didn’t want a pair of boxer shorts with Homer Simpson on them, so she took Jim up on his gallant offer of some blank cassettes instead. Next week we’ll have to raffle something else!

Nello