OOTB 296 – 10 April 2008

Enroll (debut), Fiona Thom, Open C, Ghostboy, Arran Arctic, squashee, The Beggar Girls, Featured Act, Mick and Jeff, Stoddart, Hughes and McQuade, Jules, Monkey Helmholtz, Gustav Gustav, Michael Dummigan, Andrew Iain, squashee, Jake & Ross, squashee.

Enroll (debut) This duo step up for the first time. He stares at the ceiling and begs, ‘did I upset you last night?’ as she harmonises, and beefs up the sound considerably. With the subject matter of post drunken atonement, and the delivery which could be earnest or funny, it’s difficult to tell where the line of irony lies. I quite like the ambiguity. ‘This city’ is pure escapism, just want to go away with you.   His voice would benefit a few more outings, and I hope we a re treated to them.

Fiona Thom Fi is as lively as her lime green jumper tonight, as ‘The very next room’ bounces around. If only seen Fi in the Listening Room, and the extent to which she fills the comparatively larger stage of OOTB is a nice surprise. ‘Let me down easy’ mixes vulnerability in the lyrics with a powerful drive in the tune. I can almost hear the happy hand claps. http://www.myspace.com/fionajthom

Open Sea This three-piece bring a smile to the face. Intensely pleasing as their many instruments (two guitars and fiddle) chime as one. ‘Waiting for You’ ends with a nice touch of mouth organ, blending folk and blues instruments to good effect. Their second is a lively one whose name I didn’t catch. The verses rotate between singers. Brave but fairly effective.

Ghostboy ‘The One’ showcases his particular acoustic Britrock. ‘Breathe’ likewise, opens slow and builds. This is a serious business, as he lives inside the lyrics don’t know where I’m going, don’t know where I’ve been  . Give the man a compass.

Arran Arctic – squashee This is brand new and straight off the dis-chords intrigue. On top, he lays his voice like a blanket, guitar bubbling beneath. If only we could just share it all   (looks like I’ve written ‘shave’ in my notes, though I suspect that’s not what he sang) Lovely inflections as his voice flits between soft and a full falsetto. Loved it.

The Beggar Girls, Featured Act We booked these ladies the first time we saw them, and they didn’t disappoint. ‘The Charmer’ has home truths laid bare whilst in the age old pursuit, my raven hair is a wig.   After the comedy into, we relax into the musicality and pleasant company this quartet brings. ‘He was my love’ is beguiling melancholy. Their harmonies come from an earlier time and lend the songs an effortless authenticity. ‘Feather Dance’ is Eastern European with melodies colliding and intertwining. A bit of a misnomer, this is heavy stomp. A new one now, and an ode to sloth, ‘I’m happy in bed.’ They do their set unamplified, which works well when all are singing, but if only one does so, the sound doesn’t carry to the back of the room. ‘Eugenie’s Waltz’, in 5/4 time, naturally, is an instrumental bursting with character (sounds like a wine). The waltz is stately rather than romantic, best for a ball in the royal court. We finish with a song that begins with a chant and fairly bustles along, with tempo changes and other challenges. It is brave and evocative, and a fine closer to the set.

Mick and Jeff These gents haven’t graced these parts for a wee while, and I believe this could be their first gig anywhere in over a year. Welcome back. We start with ‘a Scottish song’, though they never break far from their blues roots, think Skye Boat Song as Prairie Yarn. Before long, we’re back in proper blues territory, with ‘Been Here Too Long Blues.’ Their fine partnering recalls Sonny Terry and Brownie McGhee. Vintage. I hadn’t seen them before, but hopefully will do again.

Nyk Stoddart ‘Another Song’ showcases Nyk’s ability to play with perceptions and demolish them, with as riotous a performance as any. This is elemental acoustic rock.

Hughes and McQuade They begin with a ballad over a drone, and establish themselves as a confident pairing. Country-influenced, their stuff reminds me of those Lonestar chaps. Their second, ‘Glorious’, is no exception, speaking of redemption, I would pray for better days.   I don’t know which is Hughes and which is McQuade, but the singer has a voice of effortless pitch and power. Strong stuff. Pass me a bourbon.

Jules Everything solid melts into air,   he sings in a lively one that reminds of Pulp-style mock-disco. His second is decidedly repentant, all you ever get from me is trouble.   …and a song to remember him by, of course.

Monkey Helmholtz Perceptive, I know, this may not be his real name. I rather wish it was. A guitar that’s barely there builds through single notes, to hurried arpeggios, to pounding chords, while empowered vox soar overhead. The tide don’t come back in for me.   No, it probably doesn’t think it’s up to the challenge. His second has guitar mimicking vocals note for note, while the lyrics are feverishly spat and mumbled out. Being four days old, these dissolve by the end of the song, but it was striking, and well worth it, nonetheless.

Gustav Gustav A ginger rose by any other name (Calum Haddow), this man is one of my favourite acts to frequent (though it would be nice if he was a bit more frequent) OOTB, purely because the energy and fearlessness he brings ensures I’ve never seen a dud set. So it is tonight. Through me a line, I’m drowning up here   he implores, though he’s far from it. It is impassioned and compelling. Calum is acutely aware of the effectiveness of dynamics, as with ‘First Aid’, my favourite. His delivery raises giggles, which disarm the audience to the harrowing subject matter of a battlefield medic. By the climax, all my hairs are on end.

Michael Donnigan He’s still up from London, just, and I’m glad to have another chance to see some of the finest fretwork to grace OOTB. ‘Believe in me’ is about being dumped, with tight jazz nicely complemented light vox, and, as ever, immaculate guitar. A Dylanesque tale of when punk meant something (tight trousers and silly hair, not baggy trousers and silly hair like today); ‘Slanj’ is a toast to an old friend. His mate Brendan moans harmonies from the back, and the room crackles. Pretty touching stuff.

Andrew Iain – squashee Raises the mood again with the biting and funny ‘I don’t fancy you anymore.’ A jaunty song of the reversion to melancholy after the girlfriend is dispatched; he has the room singing the choruses by the end. Good fun.

Jake & Ross, squashee These guys have been solid attendees recently. ‘Spinning Rooms’ is pretty lively and happy given the debauched subject matter – getting wasted and comatose. This pair is pretty slick, and they’re on form tonight. I can’t help but think Jake’s onstage persona is bigger than the small arrangement here, bring more people onstage. All the same, one suspects a Featured Act slot beckons.

Compere: Daniel Davis, Review: Rob Sproul-Cran, Sound: David O’Hara

OOTB 295 – 3 April 2008

Performers: Lindsay Sugden, Colin Milne, Eddie Robinson, Gandalf, Lorraine McCauley (debut), Michael Dunnegan, Sparrahawk, Ross Neilson, Broken Tooth, Ian, Nyk Stoddart, Gerry McCann / Brendan Ryan (debut)

Lindsay Sugden Notes ping off the ceiling as our compere opens with current favourite, ‘If time stands still’. A master of original chord progressions, Lindsay conjures up melancholic fairies in my mind. I always enjoy this one.

Colin Milne ‘8 o’clock from Peebles’ is a train journey song in a pleasingly old-school vein, it makes the Borders feel like the Wild West, which in many ways it was. The whistle in the distance comes from way beyond the bend.   [Jim takes over] ‘Yesterday’ (not that one) was about how life has changed over the years, with Colin making observations about the less well-documented changes in society, e.g. yesterday we had the onion man/ wrapped with shiny spheres  .  Colin’s a-rhythmic picking style was reminiscent of Bob Dylan’s first album.  ‘Eye Candy’, about a walk down Princes Street, was spirited and uplifting.  Colin’s light, observational songwriting style made me think of Richard Stilgoe in his ‘Nationwide’ TV pomp (search on Wikipedia, kids).

Eddie Robinson This was my first experience of Eddie, who normally plays with Chris, and it was a most pleasant experience.  Eddie’s two songs were simple and beautifully played and sung.  ‘Beaufort’s Dyke’, a protest song about an ammunitions dump, featuring the line something under the water won’t go away  , was suitably evocative.  ‘Parasite’, about an ex-friend, really got the audience onside.  I fully expect, and hope, to hear more of Eddie in the future.

Gandalf Unlike the Lord of the Rings fellow, this Gandalf was a young, hungry OOTB debutante with a line in witty lyrics that the audience adored.  ‘Smoking Causes Cancer’ mixed serious subject matter with wacky lyrics about farting cows and smirting.  This was probably one of the most memorable squashee performances of recent times.

Lorraine McCauley (www.myspace.com/lorrainemccauley) Lorraine was making her OOTB debut tonight, and an excellent debut it was too.  Lorraine’s smoky, soulful voice was absolutely spellbinding, and her opening salvo ‘Who?’ showcased her nascent songwriting talent wonderfully. The jazzy ‘Dancing Round The Floods’ was about her first weeks in Edinburgh and there was a raw honesty about this that I could only admire. ‘Daydreaming’ was her first ever song – for most musicians (including myself) this would equal acutely embarrassing lyrics.  Not so with Lorraine who took us on a journey to a warm summer, basking in the peace of solitude.  Quite simply, one of the best OOTB debuts I have seen in the last year.

Michael Dunnegan I hadn’t seen Michael for about 10 years, mainly due to his being based in London, and it’s good to know that he is still as masterful a guitarist as ever.  ‘Flamingos’, about fancying Angelica Houston and falling in sleep in front of the TV, featured as flawless an exhibition of guitar playing as you’re likely to see.  The lyrics had bags of humour and Michael’s voice worked well with the subject matter.  Michael’s virtuoso chords and harmonics were great in his next number but he spoilt his set slightly by breaking the originals-only rule and slipping in a Nina Simone cover for his finale [Though in fairness, we probably should have told him this rule beforehand, Rob].  Nonetheless, a top quality debut from Mr. Dunnegan to close the first half.

Sparrahawk (www.myspace.com/aclspamborskee) The featured act tonight was Sparrahawk, TAFKA Spamborskee.  It really struck me how much OOTB misses artists of the calibre of Sparrahawk, who can make the audience laugh and think at the same time and has the respect of the local musicians’ fraternity.  The classic ‘Seagulls’ sounded fresh as a daisy and got the Canons’ Gait throng onside immediately.  ‘A Bad Case of Empty Wallet’ was a potent mix of blues ethos and Weegie patter. The line a bad case of chocolate biscuits/ leads me to decay   resonated with me.

‘Opiates and Oil’ gave his view on the underlying reason for the Iraq conflict (not a war, as a war has two sides).  This was throbbing, passionate performance and the line boom-boom-boom/ bang-bang-bang/ what about that for a masterplan?   summed up the poignant black humour that underpinned the song.  The poem ‘Feral Children’, about young people trapped in a cycle of poverty, provided an intermission to the heady mix. ‘Drunken Piper’, dedicated to Starship (Nyk Stoddart), was a modern Scots tale that would be a welcome addition to any Burns Supper.

‘Uncle John and the Masons’ was a real-life story about the role of secret societies in Glasgow.  ‘Secret Squirrel’ was a commentary on lifestyle choices in the USA, e.g. obesity, and featured quality Native American whooping.  The a capella ‘Lifespan’ was dedicated to soundman Mally McLean and was a surreal tale of his life journey, and included the crude-yet-poignant refrain get it up ye while you’re young  .

This was a 30-minute set of pure entertainment from Sparrahawk and I’m sure it won’t be long until he’s invited back to an Edinburgh music night. For Edinburgh musicians, Sparrahawk said he could point you in the right direction for getting a gig in Glasgow.

Ross Neilson Ross has been a familiar and popular face at OOTB in recent months and his pleasant opener ‘Halo’ showed why.  Ross’s impressive guitar playing, pleasing voice and well-constructed songs were the backbone of ‘Only One Way’.  Ross’s professionalism and commitment were displayed on ‘Fragile Tears’.  This sensitive, passionate ballad showed that Ross needs, rather than wants, to play his music and that might just take him far.

Broken Tooth (www.myspace.com/electricwhiteboy) TAFKA Electric White Boy, Broken Tooth started with the subtle ‘Miller’s Daughter’.  Check out the discussion about this Led-Zep-III-esque song on the OOTB discussion forum, [website address].  Mr. Tooth played the bluesy ‘Hoodoo Man’ next, introduced as [going] from the innocent to the sinister  .  BT showed ambition in trying to hit the high notes of a young, hollering Robert Plant.  The lovelorn ‘Hold Fast’ was dedicated to his ex-girlfriend and this was a heartfelt, earnest performance from Broken Tooth.

Ian Ian’s tousled-haired appearance made me think of a young Tim Buckley, my favourite singer ever, so that immediately put me in a positive frame of mind.  Ian’s music was very much his own and his youthful exuberance brought a renewed energy to the evening.  I didn’t catch any song titles, but his performance was engaging and the songs were well rehearsed.  One of Ian’s lines – I’m certain I could kill a man who tried to cheat me  , put me off ever inviting him round for a game of poker!  Excellent stuff from Ian.

Nyk Stoddart (www.mutantlodge.com) Nyk took on a squashee slot, and invited Broken Tooth up for backing vocals.  ‘Retro Space Age’ was the song played and his energising alternative view on life reminds me that I must take life a little less seriously.  Tune in, turn on, drop out?  Possibly, Nyk might just be the man to take you into the space!

Gerry McCann / Brendan Ryan Although debutantes at OOTB, Gerry and Brendan were familiar to me as they were flatmates of mine some years ago.  In fact, Gerry introduced me to my first ever open mic night, Writers in Song, at The Gallery Bar (now The Wash) in 1993, which totally changed my idea about what a music night could and should be.  Gerry’s guitar playing was excellent tonight and I’m pleased that he’s still got that edge.  Brendan’s passionate, soulful, mid-Atlantic vocals made me think he could be an interesting mentor for Broken Tooth.  ‘Just For Today’ was rocking and the voice and guitar melded into a powerful combo, making me think of Nazareth in their prime. The musical chemistry between Gerry and Brendan is still there after many years and on this evidence long may it continue.

Compere: Lindsay Sugden Sound: Malcolm Mally   McLean Raffle tickets: David O’Hara Review: James Igoe

OOTB 294 – 27th March 2008

NYK STODDART, EWEN FORBES, MAIN ACT: STEVEN CAREY, JAKE & ROSS, JIM IGOE, Squashee, THE BEGGAR GIRLS

OOTB is a lean, mean fighting machine on 27th March. A handful of folks haunt the place, and they are treated to intimate sets and surprising newcomers.

NYK STODDART What do you want written on your grave? So asks OOTB resident in Tombstoning  , a song which itself is the epitaph of self-indulgent pseudo sports celebrity. Nyk’s guitar is playing itself tonight; it kicks like an unbroken bronco. Bad Blues   is also unharnessed, and Nyk laughs it off like the pro he is. TV Leg, requested by this writer, is indeed my favourite of Nyk’s trio. A soul baring nearly takes place in these punchy lyrics. Picking scabs off my arms, cracked glass under my skin.   Cool tempo on this track as well.

EWEN FORBES Ewen is new to me; I like his humble demeanour immediately. Strangely, I find most of his lyrics unintelligible. His songs are well received, so I don’t fault him.  Ewen has pretty well mastered a three-chord repetitive pattern. This makes his tunes quite catchy. Homeward   is really cool; it could pass for a traditional folk song.

MAIN ACT: STEVEN CAREY I’ve seen Steven a few times and his songs randomly rumble around my head, while I’m wolfing down a macaroni pie at Piemaker or queuing for the 23 in Trinity. Great White Shark   has a certain … something … like it belongs in a VW commercial. Cheeky bastard says it has no socio-political overtones, but at face value it’s about being numbed by TV, media, the illusion of need fed to us by ad agencies. Traffic   shows off his pipes. A new tune finds him reminiscing about seeing her on George St in a pink coat. The dregs of your affection are not enough  , great hook. I am humming it before he stops playing it. Lorna   has that gorgeous harmonic intro and outro, and I can never tell if this is a song of consolation to a sister or potential lover. Party   might be Steven’s signature song. Who wouldn’t want to see this meek and mild chap bring out the ugly? One criticism is that his falsetto is kinda pitchy, but hey it’s still a class song. He ends with his personal favourite to perform at OOTB, a breakup song about a lying lover.

JAKE & ROSS Let’s get this point made. I don’t think Jake & Ross hung the moon, but they are very entertaining and one of the best duos seen in OOTB for ages. Ross is a capable guitarist, and when Jake lets go on vocals, it’s a treat. Spinning Rooms   is about being pished. This of course resonates with all OOTB committee members in attendance. Foolish Eyes   is rich in tasty minors and is perhaps Jake’s best vocal of the night. That said, they don’t seem to have an ending nailed down. Honest   is about something Jake would rather not describe. Ross gets a bit flushed with a guitar miscue, but who cares. It’s an intense, sad song.

JAY BROWN It’s unclear in bachelor Jay Brown’s song about marriage if he’s for it or against it. But we do know the river runs cold   in his goddamn soul. Standout line from song two: My sleeping lady’s fingers are as innocent as water.   This is a quiet, thoughtful song … about marriage. Above the Restaurant   might be the first song he ever wrote, he confesses. Don’t let him fool you that it merely concerns living above a restaurant. I say this clever song is about a relationship surviving change. Overall, Jay’s guitar playing is standard stuff. Good vocal and sincerity comes through.

JIM IGOE, Squashee Is it right for the co-founder of OOTB to play a squashee slot? Or should he have a standing invitation to play when and what he likes? Nae matter: it’s like pulling teeth to get a song out of him tonight! But he finally coughs up a tune about the first humanist wedding in the UK that occurred three years ago at Edinburgh Zoo (with the red panda officiating?). Hooray for the atheist victory … I don’t believe in God, but I believe in you.   Jim belts it out with a religious-less fervour. Nice one.

THE BEGGAR GIRLS Is anyone expecting a wine-drinking threesome from Peebles to steal the show? That’s exactly what goes down. Sporting a hand-drum, accordion, a couple of fiddles, spot-on harmonies and classically mournful lyrics, I swear I’m listening to the muses of Fanattica. Not much point breaking it down song by song. The whole thing is delicious. Do yourself a good turn and check out www.myspace.com/beggargirls. Rumour has it they will be our featured act in a couple weeks time.
[Ed: The album is pretty cool too!]

Review: Darren Thornberry

OOTB 293 – 20 March 2008

Broken Tooth, Ross Neilson/Zen Transmission, Freeloadin Frank, Jenny, Davy O’Hara, Nyk Stoddart, Jordan Ogg, Hugh Mann, Calum Carlyle and Jimmy, Jake Logan and Ross Coburn, Marcies New Haircut aka Kieron(debut)

Broken Tooth aka Electric White Boy Under his new moniker ‘Broken Tooth’ Jim brings us the blues with ‘Riding on the rail’ which sounds to me like John Lee Hooker wiv Led Zep thing, and even has Beatlesque ‘ooohs’ at certain points, although that could just be my warped imagination! I also can’t help but imagine what he’d sound like with shades and an electric guitar, as this sounds like the type of material that’ll really cook with it – although obviously not in the literal sense, as he’d have to carry a mini gas stove with him at all times, and that would be heavy…man. ‘I’ve lost my faith in love’ has a staccato attack wiv jazzy inflected chords, nice… He finishes with his new prog rock thing ‘Hold fast’ with its tales of ocean faring adventure. A fantastic start to the evening, holding everyone in rapt attention. Great to listen to when floating in outer space, as one does! www.myspace.com/electricwhiteboy www.myspace.com/crawdaddyblues

Ross Neilson/Zen Transmission Ross has been playing at OOTB for a wee while now and has a good line in brooding, but mellow, melodic songs. He often has well-crafted lyrics too, as the first song shows – ‘grass was green but not true like the sun’ was one line that stood out for me. In ‘julie come home’ he sings of ‘watching you in a beautiful disguise’ which i think is a great line, along with ‘dark passages of light smash a window in my heart’. His singing shows many different tonal colours within his vocal range, a performer who can command an audience quite easily – and whose songs bear repeated listening. A polished and interesting performer that’s always good to hear. http://www.myspace.com/zentransmission

Freeloadin Frank Roaming OOTB fixture Frank dedicates his first song ‘Rupert Murdoch’ to a well known social networking person, although what it has to do with ‘ol Rupert i don’t know! I’ve always liked the way he mixes it up with controversial subject matter. ‘King Kong’ is a crazed love song about a famous fictional ape and a rather large tower with planes crashing into it or something..’climbing up the empire state building, cos i’m so in love with you’ and ‘stood on a couple of cops…oops!’ are some of my favourite lines – finishing with a corny (deliberate i’m sure!) kazoo finale. We end the spectacular journey with a…hmmm…journey in ‘magic cornflake’ – this gets everyone going…before too long (or too long before) we’ll know him as singalongafrank… http://www.myspace.com/freeloadinfrank

Jenny As our compere for the night, Rosie Bell, pointed out, its good to see a woman up at the mike/mic – with the passionate ‘Freedom’ which she sings with some effortless high notes. She sings of the desire to find freedom from oneself, a trap we can all fall into. It’d be good to hear a full set from her soon. Come back soon please!

Davy O’Hara Heavy strummming…only joking! – Davy mellows us out wiv ‘Arabian Nights’ displaying some well nice fingerwork, wheras ‘Accidentals’ has a brooding european quality, with a bit of tequila sunset in there too, with its haunting and reflective minors and sevenths. It helps to hear him amplified, as in rowdier environments his playing, unfortunately, can be too soft – but that’s in the nature of proper classical guitar playing – it’s more meditative, and requires more attention paid to it. Nice one Davy!

(Darren Thornberry takes over reviewing while i play)

Nyk Stoddart Nyk seems a bit subdued tonight as ‘Songwriter’ begins. It’s as if he’s truly contemplating the words as they spill out. ‘You were born/bored, but only in your mind …’ Nice extended hum outro. Next ‘Out of the Fire, Into the Rain’ is a good ol’ bluesy number that we would be glad to hear again soon. ‘Tombstoning’ is as caustic as ever, shouting up the nihilism of stupid sports celebrity hijinx. By the end, Nyk is rocking to the beat and attacking his instrument. Good set from a faithful OOTB-ite. www.mutantlodge.com

(I return!)

Jordan Ogg The very talented Jordan starts the OOTB feature act with ‘Helpless Again’, he sings clear vocals that allowed me to pick up the lyrics (something that can, surprisingly, take some time to master) with lines like ‘history of rock may have not taught me about soul   and ‘would you be my Yoko’ accompanied by accomplished guitar playing and the addition of guitar body ‘tapping’ adding a percussive element reminiscent of boxcars chugging along a train track, somewhere. Jordan then jokes about putting himself in peril by singing a ‘love song for Glasgow’ – i’m sure at this point i heard someone in the audience shout ‘kill him!’…jokingly of course, us musos are a mellow bunch! ‘Dark and the deep blue sea’ was written about his return to Shetland, where he grew up, and the things that he discovered upon his return – ‘I should have come back a little more prepared’ he states before wailing into his harp – an instrument i’ve always liked as an accompaniment to a guitar. Indeed, his fingerpicking, along with strumsy hand muting create some clever dynamics within the song. ‘Pigeon Pie’ is one of my favourites, starting with a few lines about seeing a dead pigeon, it soon goes off on a tangent, with lines like ‘She looked so pretty when she cried’ and ‘whatever happened to redemption, the kids no longer sing along’. This song goes in my different directions, and i demand to hear this at OOTB again soon! ‘The prettiest bird’ finishes the set and has a great harp intro with melodic indie jazzy chords. He sings ‘the prettiest birds sing the prettiest songs’ making me wonder is he making a comment on a myth amongst musicians? Overall, a great set from an interesting and polished artist. Keep on keepin’ on, and remember to return to OOTB with whatever fantastic stuff you’ve written! http://www.myspace.com/jordanogg

Hugh Mann I know it’s irrelevant, but he wears a cap…in the ‘Same Old Man’ he sings of ‘every time I scramble free i end up back in misery’. ‘The light within my eyes’ has some jangly open chords – which seems to be a song about springtime – hoping to ‘take all your troubles and throw them away’ ‘Dream time and silence’ he says is a ‘wee song about drugs with a slant’ with mentions of ‘pill popping housewives’ and ‘so many highs seem to take me low’. A theme which is very much of our time – the wish to escape from our realities by whatever means possible, and its dangers. Hugh has a soulful voice which works especially well, grabbing the attention of the audience. Hope to see some more songs from you soon Hugh!

Calum Carlyle and Jimmy I’ve always enjoyed this duo, who always manages to bring a slice of Orkney with them. With ‘Dawn Song’ – ‘the world is ending, not with a bang but a whimper’ he sings, i think – but there sound isn’t…it’s a plaintive mix of folky guitar and resonator mandolin, creating a heady sound…the mandolin also especially good at drowning out harmoniums and suchlike in folky environments, apparently. ‘Promise of a perfect day’ is about moving from Orkney to Thurso…a dangerous journey indeed… ‘Modern Man’ reminds me, for some strange reason, of bar-room Americana – but that could just be my head… To finish, Calum does our oft-repeated favourite ‘The sound of falling in love at first sight’ – wiv lines like ‘you were the one true thing i can believe in’. The constantly changing key creates an up and down melodic elevation that sums up for me the whole territory… Wiv a great combination of melodic vocals and haunting songs, mired deep within the folk tradition, while still sounding contemporary all i can say is please keep making the journey to and from Orkney to play to us! http://www.myspace.com/calumcarlyle

Jake Logan and Ross Coburn I don’t know if they’ve played at OOTB before, but Jake Logan, the next female performer of the night accompanied with Ross Coburn start with ‘Face Me’ – where Jake shows her rock-chic credentials singing of ‘if you face me, i’ll face you’ and how she’s ‘learned to be alone’. ‘Got sugar in my tears’ has a nice line in snazzy pop melodics that glides along without a glitch, whereas ‘Here Now’ pushes up the tempo into the world of r-o-c-k (that isn’t an acronym by the way!, although i don’t know where i’m going with this) An excellent performance where they both create a sound and image that would appeal to a large audience with the added touch of Jakes groovy pink boots!

Marcies New Haircut aka Kieron (debut) We didn’t recognise our own Darren Thornberry recently, we would walk past him and pause, puzzled…something he’s gotten used to since he’s shaved his beard… Marcie, however, hasn’t and it’s good to see there are still some of us beardies still left! This is not Marcie, and not a new haircut, but an OOTB first-timer who has plucked up the courage to dive in and be heard, an experience i remember quite well meself… ‘Psycho pop loving song’ is an up tempo number, with reggae inflections singing of how he ‘tried to make everything right with you’. ‘Neeps and apples’ seems to have quite a few lyrics, unfortunately i didn’t catch all of them as they seemed to go by so fast! However, the whole feel of the song has an almost nursery rhyme feel to it, in common with his other songs, with some melodic fingerpicking. Despite his obvious nervousness, Kieron did a good first performance, showing that just getting up there and doing it is the best way to learn and gain more confidence. We all look forward to your presence at OOTB again soon! http://www.myspace.com/marciesnewhaircut And now it’s time for me to launch my spacecraft, and return to my homeworld…all words are coincidental, with no intended meaning or purpose…

Compere: Rosie Bell, Sound: David O’Hara, Review: Nyk Stoddart

OOTB 292 – 13 March 2008

John Downie, Rosie Bell, Hannah O’Reilly, Susanna McDonald, Jake Cogan & Ross Coburn, Ivor, Mike, Furious

John Downie
Well Jonnny’s back and this time he’s much more confident. J treats us to a number of amusing stories between songs, about how reviewers have commented on how scruffy he looks (so tonight he’s wearing a shirt) and how bad his guitar playing is (well it is simple, but it suits his unashamedly ‘pop’ delivery).
‘Times, they are a changing’ is typical of this and quite a catchy tune.
The second number adds a capo which unfortunately makes the guitar soo out of tune its painful. It also has lots of strangely unresolved 4th at the ends of lines. Hmm. At this point I pause to consider how lovely the room looks with all the candles that Jim has spread around.
‘I’ll Sail away’ is his most commercial sounding of the night, with its chug, chug guitar its not virtuosic, but its competant, who were these other reviewers?

Rosie Bell
This is Rosie’s first time playing in public since she broke her wrist, and is enjoying ‘getting back in the saddle’. Bad joints, uppity sustain pedal and poor keyboard notwithstanding, its great to hear lyrics of this quality. We are treated to a set of ‘Pollen and Salt’, ‘Nice to have you around’, and ‘The Open Mic.’ ‘Go down to the open-mic and we can dream together’ says it all.

Hannah O’Reilly
Susannah has given Hannah a present of a pink Ukulele this afternoon, and Hannah has already written a song for it. The diminutive instrument is camper than Craig Hill running around a field of pink tents, and causes no end of hilarity/heckling. I insist that its just a matter of perspective and Hannah holds it out at arms length until it looks almost guitar sized. Perhaps the instrument is fine, but Hannah supped from the bottle marked ‘drink me’. Who knows, but it’s a curious juxtaposition of a beautiful song played with a comedy instrument. ‘It was dead good’, I find written on my notes, probably by Ben.

Susannah McDonald
Susannah brings a stagefull of goodies tonight, and sits surrounded by equipment. She starts however with a belter ‘singing you a love song’ with just the guitar.
Buddha on the Sideboard is a great song, but it is in the set for one reason only, on its last outing RSC misheard the title as ‘Buddha, the Cyborg’. And tonight this song is indeed followed by a new song of that name. Its all about trying to meditate when your kids are driving you irate, surely if Buddha was a Cyborg he would struggle as we do. My favourite was ‘Remembered Laughter’ based on the Noel Coward poem of the same name. It’s a sophisticated song in 5/8, played with far more assurance that its last outing, and very affecting with its powerful lyrics.
Susannah rounds off the night with ‘Insomniatic’ using all her gadgetry to create loops on the fly with guitar, Cahon, keyboard, and vocals all taking their turn.
The whole point of this song is lying awake with the same thing going around and around –  I guess loops are appropriate, but its mighty difficult to concentrate on your performance whilst operating all this machinery. I did, however love the inspector gadget keyboard line – and secretly I think we all want to play with her toys.

Jake Cogan & Ross Coburn (debut)
Jake and Ross are a fine act, normally frequenting Sandy Bells. It certainly doesn’t sound like a debut to me.
Ross’ guitar is fabulous, lovely open-tuned playing, very accomplished and the Jake’s vocals are fairly amazing too, she stands at the mic with body language very much like Debbie Harry, all pouting and attitude, which I loved. They play ‘Foolish Hearts’, ‘Spinning Room’ (about being pished) and ‘Honest Mirror’. A classy set all round.

Ivor(debut)
Instrumental. Ivor says he has just been pursuaded to try open tunings, and nice it is too. I’d have to say it sounds a little like the backing to a song rather than complete on its own, but he says it’s a work in progress, so we’ll wait and see. Perhaps next time he’ll sing. The playing provoked lots of appreciate sounds from people around me.

Mike
As a curious piece of technical hiccoughs, I start to hear a heartbeat behind the music. It gradually becomes more invasive, before suddenly stopping at the end of the tune. Actually its Mike’s guitar dying, and although entirely unintended it was quite effective. His second is from his band ‘Salvador’ and is altogether more poppy. He rounds off with a third number that is more frenetic and has more spannish guitar, but vocals a bit like ‘Ferry cross the Mersey’.

Furious
And rounding off the evening a performer who apparently used to play regularly in the early days of OOTB is back. ‘Their time’s more precious than mine’, having heard many anti-war songs, its interesting to hear one as a call to remember service personnel. PMR says its very John Mellencamp. ‘Nothing’s right’ a song with a rather curious double bend, and finally ‘Another Wave’. This is a very accomplished and controlled set and fine songwriting too. An excellent end to a very enjoyable evening’s music.

OOTB 291 – 6 Mar 2008

Colin Milne, Open Sea, Mark Roper, Glen Smith, Fletcher, Ian Sclater, Gary, Nigel Ashwood, Hughes and McQuaid, Paul Gladwell, Cameron

All the slots are taken well before the event is due to start, it’s a sign that bodes very well for the evening. Several debuts, some regulars, some returning old-timers, and a mix of standards and styles that makes OOTB what it is.

Colin Milne
Colin’s songs are tender, sweet and full of the wisdom of a long life. Colin (so a birdy told me) is 87 but could easily pass for 20 years younger, I only hope that I will be writing songs as witty, wonderful, and occasionally filthy at that age. Tonight he plays his glute* unplugged and really engages the audience. I particularly like the one about sleeping with (or not sleeping with) a ‘pro’. The songs and playing have always been great, but Colin is really growing in confidence.

*[that’s a cross between a guitar and a lute, rather than the muscle of the same name]

Open Sea (Debut)
Open Sea make their OOTB debut tonight, and only their 2nd live performance ever. Ah the lovely sound of expensive guitars. They weave a rich soundscape with 2 guitars, one strumming, one picking, 2 vocals in harmony, and a fiddle too!. (the guitarists swap instruments each song, apparently their wives don’t allow them to buy enough guitars.) OK so they are not yet performance veterans, but no one has any business being this confident or good on their debut, and I for one, am an instant convert.

Mark Roper
Mark stretches the OOTB rules to the limit by bringing backing tracks on a computer and offering what therefore became a karaoke performance. I’m not questioning the song-writing, or his cleverness in the studio creating the backing tracks, but its not exactly in the spirit of an acoustic open-mic night. Next time please bring a guitar or keyboard, I’d love to hear you live, and I think it would help you to engage more with the audience, and help us to hear more of the songwriting and less of the production. The best cure for nerves is more performance.

Glenn Smith
Nice to see Glenn back after rather too long a break from OOTB. He brings a confident performance with his tradmark gravelly voice. I’m not sure if it was the PA or the performance, but it sounded a little aggressive tonight, its usually rather more smokey and smooth. Actually the first two songs were quite dark and a little menacing. The 3rd song is gentler and more optomistic. We would like to point out to all performers that ootb does allow happy songs, so thanks to Glenn for raising the mood.

(Break)

Fletcher (Main Act)
It must be said tonight’s OOTB is the busiest of the year, helped considerably by the large number of ‘Fletchlings’, so by the time our main act hit the stage it is standing room only.
Fletcher (Ben Cowan and Finn Donaldson) are an accomplished double act: Finn creating spannish guitar textures with classical poise, and Ben milking his performance of rock vocals for all he’s worth – and throwing in the odd Les Paul solo to boot.
Down by the Riverside, a perennial favourite, and grim tale about Edinburgh justice.
Great Expectations, It may be a small room, but Ben is going to wail like he’s playing Madison Square Gardens. (the poor sound guys dive for the volume controls) Finn is clinically proficient as ever.
Rufus, tonight without the ‘Birdsong’ introduction. Its about a man who’s ‘always got another bottle of wine’. It might be written about me. Ben goes in for a typically restrained Les Paul moment, oh no he doesn’t – a man after my own heart.
Seeds are Sown. It’s a perfect love song (many admiring comments from the lovely Fletchlings).
Buridan’s Ass. Who said guitarists can’t play contrary motion scales. Also features Finn’s first vocal performance.
Children of Abraham, a biblical tale only marred by the less that sensitive timing of coming in a week when there have been protests (at Ben & Finn’s Uni!) against Israel’s appalling recent treatment of their neighbours. But tonight’s crowd are not political and forget about the words after Ben breaks into another extended guitar solo.
Fletcher were, very generously, giving out free copies of their EP recorded at that well-know edinburgh institution called Windmill Sound. You can find them at www.Myspace.com/FletcherUK. Look out for the album coming soon.

Ian Sclater
The girl downstairs, who works with raptors. It’s a comedy number about Ian playing his music too loud for the neighbours, and goes down very well with the audience, especially the James Blunt jibe.
Black Silk, lovely song about a lady of the night.
Isabella, another song about a lovely woman, are your catching a theme toinight. There’s rather a lot of romantic encounters and much regret.

Ghostboy
Nice to see Gary as he’s not played here in a while. He is confident and on form tonight. A brand new song, ‘Fully Loaded Gun’ has rhythmic playing with just a little attitude, and gets every foot in the room tapping. Its just a squashee tonight, but we’d love to hear a full set soon.

Nigel Ashwood
Nigel played happy songs the last time and was not lynched so he is back again (see everyone it is possible). I’ve seen Nigel in the room a number of times, but tonight is the first time I’ve heard him play. He has a large-bodied Taylor with a deep sonorous tone, lovely. Songs aren’t bad either. ‘Angel in Stone’ is about someone beautiful but unresponsive,  I keep thinking of that episode of Dr Who, but then I’m sad that way. ‘Start’ is a song with a lot of stops. A competant set from a relative newcomer.

Hughes and McQuaid (Debut)
H&M are obviously nervous tonight, but really have no need to be, the songs, the playing and the vocals are all first class (Hughes’ voice especially). I think the songwriting and voice are both there, but the performance angle needs a little work to involve the audience more and add a little sparkle.  A few more performances to steady the nerves and these could be truly excellent.
The songs overall have a bit of a 60’s feel to them almost skiffle at times, and Hughes voice sounds rather Del Amitri, quality.
Their first number is slightly stompy, and with a little more confidence could be a real party track.
‘Lonely’ is more skiffle with high harmonies
H&M use that great technique having one guitar with Capo at the 4th fret so that they play the same chords with different voicings, giving a richer sound.

Paul Gladwell
Suddenly the room goes silent and everyone stops what they are doing and are glued intently to Paul’s performance. It’s unsaid, but mutually agreed that this is how you write songs.
‘Tell me what to believe’ has pithy witty lyrics, and is delivered at incredible speed. Paul looks all restrained and unflappable, but that’s difficult stuff.
‘Poets and Business’ is cooler and jazzier. He may be playing the house guitar, but Paul can make a simple guitar line sound fabulous.
Finally a song about a bella pasta in Inverness. One of the secrets of songwriting is the use of phrases which evoke far more meaning than the plain words: ‘Table for One’ says it all.

Cameron (Debut)
It’s his first time playing for 5 months, with the exception of Binkies on Monday (but that does not count due to playing cover’s). Cameron spent the evening encouraging other performers, he can come again, its really what the night is about. So now that he comes to play I’ll not hear a bad word about him.
His first song is a bluesy number about a breakup. The words start quite acidly, but Cameron being such a happy guy seems to have forgotten to put on his grumpy head before starting the song, he gets into it as the song progresses.
Grip is a pithy political number about soldiers with no equipment.
Cameron is so into his songs that its quite engaging  – that said some eye contact with the audience would be good.
His last number has lots of guitary chords and is sung much more gently, it really suits his voice. All told he sings with a lot of conviction. One to watch.

Compare: Daniel Davis & John Lamb, Sound: Malcolm, Review: Daniel Davis & Davis O’Hara

OOTB 290 – 28 February 2008

CBQ, Eddie, Calum Carlyle, Free Loading Frank, Broken Tooth, Dave O’Hara, Aaron Lowenberger, Iona Marshall, Nyk Stoddart, Ross Nielson, Trent Amour, Jake Cogan & Ross

The Canon’s Gait was packed for a fun-packed night of stylish performers – Big Jim wore his compering hat and an exceedingly fetching Out Of The Bedroom t-shirt (available at OOTB, be quick to get hold of this season’s limited edition must-have!).

OOTB old-schooler CBQ headed off proceedings with a dreamy number recalling how he ‘fell for [her] blue eyes across the moon’… Then ‘The End of Everything’, which raises the tempo a bit, and promptly sends me spiralling into melancholic ‘if only I’d known then what I know now’ desperation.  Ah, you can’t beat a bit of misery, I always say. The third song transports us to a continental cafe; sipping coffee and watching the world go by under the setting sun.  It was quite beautiful.

Eddie (minus is compatriot, Chris – who are part of Broken Lights I believe), is someone I have recently discovered and I’m very much enjoying discovering his tunes.  This was the first time I’d seen him without Chris, but he still managed to do justice to the songs.  His songs seem to talk of wild places and the weather, perhaps some metaphor for life. Anyways, just my thing.  ‘Rock’ describes how they built their house on a hillside, so when it rains, they’ll be ok.  That’s some top notch forward planning what with all this climate change & flooding stuff.  He then treats us to a brand new song, which I didn’t quite catch the name of.  It has a dark moody intro on the bass notes of the guitar. It makes me think of listening to radio whilst floating in the sea.  He says ‘there’s something lurking under the water’.  Eek. The final number, ‘High Acclaim’, is sweetly melancholic, sung over beautiful picky chords.  I love the vocal style, soft yet with depth.

Calum Carlyle is looking very dapper, in very smart suit attire.  He delivers a set of quirky & very well conceived commentaries on life. ‘Whispers in the wind’ was probably my favourite of the night, with a really intriguing walking bass-line on the guitar, mixed with chiming chords.  He talks of tea with sugar, served up with cheese. How very British.  From that, we switch to beefed up rock n roll where you can almost hear the fuzz box and the drum kit.  Dark & unsettling melody swirls over the clatter of bashed guitar, it’s cool as.  A bit more laid-back on the third song ‘Don’t go away’ (?), which features random falsetto sections.  Love a bit of that.

We are treated to one of Free Loading Frank’s public health messages in a wee one song slot…. you know the one… ‘Cannabis is very good for you’. Indeed, none of us should ever need the doctor ever again.  Frank pulls off this kind of thing better than anyone I know, you truly do believe him & his nursery rhyme type melody.

Next up is an OOTB debut!  Or hang on a minute, don’t I know that face? Crikey, it’s Mr Jim Thompson, aka the man formerly known as Electric White Boy, now known as ‘Broken Tooth’.  Good to see that the name change hasn’t resulted in a style change, and we still have our skilful bluesman with his ever-powerful vocals.  ‘Hold Fast’ starts small and ends big. No, massive, with outro full of fancy guitar work and big crescendo.  Second, ‘Miller’s Daughter’, complete with new intro (nice).  It’s one of my preferred Jim songs, and was good to hear.  I wondered if he ever spoke to the miller’s Daughter, or he only ever just saw her across the water. ‘Will you sing at my funeral?’ was a bit less of the quiet sensitive side, and back with the blues gravely voice, and it gets all speeded up at the end. Pretty cool…

Dave O’Hara, the elusive sound man emerges from behind his desk and enchants us with some of his fragile classical-style instrumentals.  He gets more confident every time I see him, though he still hides behind that hat.  His second tune was my favourite of the set, quite brooding and repetitive, and it draws you in like, er, a spiral stair-case going down and down into black emptiness.  I liked.  Finally, he tested out a flamenco style tune, still in development.  Hope it keeps developing, it definitely showed signs of becoming an O’Hara classic.

And then suddenly, without any notice, Big Jim transformed into Mr Rob Sproul-Cran, and our dreaded hero took over the reigns in style (yes, he too looked pretty dapper in trade-mark suit).

Aaron Lowenberger has been one of the big discoveries of 2008, but sadly, this ootb REALLY IS his last ever before returning to the other side of the pond 🙁  He’ll be sadly missed as he’s one of the most interesting and exciting guitarists kicking about these here parts.  Watching him doing his melodic instrumental guitar acrobatics is nothing short of awe-inspiring.  He played us a new song, ‘the way forward is back’ (perhaps a reference to his departure?) which was an optimistic sounding, bouncy tune with nice little hammer on and pull-offs, brings a tear to the eye.  Good luck Aaron.

And then for tonight’s featured act, the somewhat legendary Iona Marshall. She’s happy to be invited back to ootb, after it supported her back in the early days, and she gives a very assured performance, show-casing her vocal talents and distinctive style.  The first song ‘Two Hearts   is one of my faves, about being left hanging in the ocean, waiting for her love to bring her back to shore – in this case it’s the tides she awaits.  I like the metaphor of the sea.  Another highlight for me was the protest song against our favourite US president, which follows traditionally folky protest song rules, but is well worth the listen.  Her vocal style is unique, it jumps around all over the scale effortlessly, and sometimes appears to sing entirely different rhythms from the guitar, yet it all fits together perfectly, she even does a song in Spanish, which is great – luckily, or unluckily, my Spanish is quite sparse, so I don’t really know what it was about.  Her set was over all too soon… she finished with a number about wanting to be on a mountain – I can relate to that.

Nyk Stoddart – overcomes some technical issues with guitar and has Rob SC hold his lead into the end of the guitar while he’s playing.  It adds a certain something to the performance, but restricts him from his usual stage antics, unfortunately.  Still, stuck to one spot he still plays a blinder, punching out all the favourites. Fake jazz is top of my list, summing up the plight of a jazz guitarist – or at least someone attempting the old jazzy chords.  Nyk’s actually a pretty flash guitarist, and leaps effortlessly between strange diminished chords.  I love these kinds of chords, which perhaps isn’t the point, but what the hey, I enjoyed it. His last song exclaims ‘I’m an idiot, I’m a fool, and I don’t understand your rules’.  We’ve all been there.

Ross Nielson is the true indie troubadour, and looks the part with woolly hat and earnest lyrics about seeking the truth.  ‘Remember the time we stood in the dark?’…. he asks.  You can tell he really means it, and he really feels it.  His next song ‘Let Faith decide’, is similar in tone. Finally, he gets a bit wistful, remembering how ‘stars were in your eyes’ (or was it ‘you were on ‘stars in their eyes”? – er, no, maybe not).  I’m not sure if Ross has a band, but I think I can hear parts in my head. I reckon he can hear them too, and some of these songs would probably sound great with some more instrumentation.  They’re true dark indie chic.

Trent Amour looks like a proper indie kid too (maybe indie’s not the right word, but I like his t-shirt).  He sings in a very high register, full of emotion and real pain.  I must admit I was beginning to flag at this point in a very enjoyable evening, so didn’t catch as many of the words as I would have liked, but I did hear him mention ‘living in sin, waiting for answers’…. But do the answers ever come? He sings a song about some friends of his in love; I couldn’t tell if it was a happy ending.  Finally ‘my heart beats every time’, is a ballady, heart-felt song with that high vocal register lingering over dark chords.  Like Ross before him, there’s potential here for a band to really add to these songs.

Jake Cogan & Ross – I have never seen Jake before, and was very pleased to see that Jake was indeed a female Jake, given the severe lack of women performers at the moment it was a long awaited welcome change, and a great way to end a packed night at the CG.  Jake’s voice is one of the best, so deep, powerful and strong, yet with a massive range, and an ability to reach the high notes and sing softly at the same time.  Ross’s guitar is the perfect accompaniment, arpeggios filling out the sound.  ‘Honest Mirror’ is about, um, an honest mirror, I would say, and how it ‘tells no lies’.  In ‘Think of me’, Jake’s voice is reminiscent to me, of Beth Orton, though a lot more powerful than Beth’s.  It’s beautifully calm & reflective.  Finally, a bit early I know, but we get possibly our first Xmas song of the year… It rocks, dude.  you can tell they’re like total pros. Jake knows how to hang of the mic stand and not fall over, and they just generally know how to look cool & confident, and we could all learn a lot from that.  A perfect end to a top night.

Compere: Big Jim/RSC Sound: Dave ‘ga ga’ O’Hara Review: Lindsay Sugden

OOTB 289 – 21 February 2008

Darren Thornberry, Colin Milne, Starship, Hannah O’Reilly, Johnny Pugh, Aaron Lowen Berger, Rossco Galloway (Featured Act), Yogi, Colin Donati, Nigel Ashworth (debut), Ian Petrie

Our compere, Darren Thornberry, kicks things off with ‘In Theory’ which features his trademark  soaring counter-tenor. The tentative early days of a relationship trusting nothing   do not last and the novelty cannot sustain forever, love was meant to hold us.

Colin Milne Describes these songs as cathartic, with which most musicians purging demons through song can well sympathise. The first is a song of love, I believe for an offspring, your tootsies sure they’re tiny  . Either that, or a very small woman. ‘Divorces r us’ is a stung husband talking of a predatory ex wife, and of her new prey, is it pity or envy, I can’t make my mind up.   His third starts with some fine chords before moving towards more flourish with flowing arpeggios.  This man grows with every outing: more, please.

Starship Squashee Stoddart regales with ‘Another Song.’ I’d like to print his opening gambit, but I’m not OFCOM wouldn’t allow the blasphemy. Oh, sod it… this wind today, like God farted…   Thanks Nyk. Anyway, the song is blistering hard (acoustic) rock, highlighting both Nyk’s acute awareness of how he may be perceived, and his ability to parody it: I’m a fool ’cause I don’t play by your rules.   Anarchy in the OOTB.

Hannah O’Reilly She looks at us like a schoolmistress over her specs, then goes on to sing a song called ‘Bound,’ though there’s no dodgy stuff here. Rather, an enchanting tale of love as enthrallment, in the true sense of the world. ‘Dirty Angel’ is about rising above one’s circumstances, she’s a side show freak, but this dirt angel flies,   and named after a great compliment from a punter. Throughout, Hannah mixes original lyrical themes with a beguiling and assured stage presence, and her last, ‘Strange Friend,’ is typical of this. About a conversation with a crow, it is rich with metaphors. Hannah is masterful in mixing full voice and falsetto; light finger-picking and freefall strumming; and shifts the mood between verse and chorus with ease.

Johnny Pugh Wastes no time on stage, his first is lively and earnest, you can say these words as if they were once written by your hand… but I know this song.   Johnny starts in quiet mode, but can let rip when he wants to, and with great effect. ‘On fire’ highlights Johnny’s voice as one which is naturally full of tune and tone, annoyingly so. What a beautiful mess,   he sings to ascending chords, about a love that was. The last song manages to balance a difficult topic and not sounding trite. The bruises on you face shine in this light.   He has to muster excellent control and technique to carry it off, which he does.

Aaron Lowen Berger Aaron leaves the country tomorrow, so I can say what I like, but seriously, another fine display from the mute axeman on crowd-pleaser Last Man’s Jig. Always an inspiration for learning how to play guitar that bit better, I will miss it when he’s gone.

Rossco Galloway, Featured Act Our main man begins with ‘Fish Wife’s Tale’, which summarises perfectly Rossco’s ability to blend the familiar with the fantastical with the stuff of legend. I’m hanging round in a fish wife’s tale  . Includes tonight a beautiful intro, reserved for quieter occasions, which belies the driving beat to come. A new song follows which lilts along like a cowboy blues. Although she’s seen the world, she’s barely just a woman.   We all know one of those. ‘Pick a field tonight’ is all jazz chords over indescribable, untranslatable lyrics. I’m amazed if he knows what it’s about. Following, ‘My balance has stopped working.’ Happily the guitar hasn’t, as it follows the melody with not a note to spare. Bit like a folk psalm. ‘The Willow Tree’ is self-proclaimed Rossco folk, and a lively jig at that, dance a helter, dance a skelter  , before the chorus hits with real intensity. Reminds me of the party at the start of Lord of the Rings. ‘Love songs are ten a penny these days.’ And he doesn’t lie when he sings I wrote you eleven just to throw away,   – the man has written about 90 odd songs in all. This one is slow and restful with superb lyrics. Of love: easy to imagine, but hard to describe.   His next, ‘Iona’, talks of the island of which he is most fond, a haven in times of sin and unrest. the devil took one look and cried.   ‘Jemima and James’ is a wide-screen epic of hurt and redemption. Delivered with conviction. His last is a minor departure, with a quiet boogie/funk about trying to gain citizenship. A wide eyed man in a new world, I think I’ll pop a cork, and drink a toast to old New York.   Enjoyed the whole set immensely, and kudos to a man that can play 9 songs in 30 mins (!)

Yogi ‘Can’t go on this way’ Usually berating the world, for once Yogi turns his anger on himself, with this ultimatum of a song about opportunity lost. Not a shy man.

Colin Donati I can’t decide which I like better; his fret-work or his foot-work; as he begins with a good ol’ country song, ‘Black and White’. Unlike proper country he doesn’t lose his house, his wife, or his dog. It’s more chattering monkeys   and crocodiles. Jumanji, then. Sounds a lot like that song ‘Flowers on the Wall’. ‘Shadow in Summer’ is a very successful setting of a Norman McCaig poem to music. A minimalist arrangement which is any but straightforward, combining all sorts of time signatures effectively. Raises all sorts of questions about the authorship of a piece. ‘Various Moons’ is staccato and bare. a fading sky glows emerald green   Fine picking jazz/blues.

Nigel Ashworth, debut His first time Anywhere, apparently. Don’t know, he seems far too good for that. ‘You are’ starts with him picking a melody before he’s strumming chords up and down the neck, with great hammer-ons. About a beautiful girl. Not all schmaltz, though, as on his second he sings I know there’s no such thing as perfect love.   His finger-picking accompanies I’ve got to find the right way to love you.   ‘Curiosity’ starts soft and light, with a catchy chorus All you need is curiosity  , before getting bold and angry by the end (presumably from the gross over-use of reverb on the part of the sound-desk). Still, if this is his first time, in a couple of months from now…

Ian Petrie Making the long and arduous trip from Northumberland, Ian begins with a power ballad of sorts, ‘It comes and goes’. His soaring vox describing how it ebbs and flows.   Vocal gymnastics. ‘Steal Away’ carries on the vein of memorable melodies and a cracking counter-tenor. ‘I’ll stay by you’ New single, but one which I’ve heard before and thanks to the stupidly catchy tune, instantly recognised fondly. Great to see Ian at OOTB again.

Compere: Darren Thornberry

OOTB 287 – 7 February 2008

Performers: Nelson Wright, Aaron Lowenberger, Jonny D, Fletcher, Jim Tudor, Will Tomson, Lindsay Sugden, Mike, Jim Whyte.

Nelson Wright

Nelson plays delicate and evocative café music. Just when you are wondering if it is a touch understated or not quite perfect, you realize that you have been taken in by the lyrics and can ‘see’ the situations he is describing, so I guess the songwriting and the performance must be powerful.

His first, all about seeds is nice enough, but reminds me musically somewhat too much of ‘For Emily’ by Paul Simon.

Arty French Film is the best of the lot, the sound world reminds you of sitting in a French cafe, and you can see the film scene he is describing. It is played with considerable technique, I particularly like the part-leading where he picks out a melody that stands clear of the other picked or strummed notes. Tension is built using a prolonged tonic pedal. I have to say its nice to see how this music translates from hearing it in The Listening Room unamplified (perhaps its native environment) to being miced up and enabling us to hear every note and word.

You Really Shook My Egg, usually a great crowd-pleaser this performance was slightly short on the crowd front and short of things to shake. Note to self: bring egg.

Aaron Lowenberger

Last week’s featured act returns with a short set of his instrumental loveliness. He treats us to three tunes, in three tunings!

Uneasy Feeling, well it certainly wouldn’t have been easy for me to play, at times picking bass line, melody and inner parts all distinctly and nicely weighted. Simple techniques are put to good use such as passages in 3rds with answering phrases in 6ths.

Waiting for You; Waiting for Me, is in Drop D. Aaron creates harmonic direction with ascending scales in the bass line that just keep going up and up.

The DADGAD song. This one was much faster, and was played in the tuning of its provisional title, with lots of pull-offs. The openish tuning leant it a more bluesy feel.

Jonny D

Jonny he looks like a younger version of Billy-Joe Armstrong. He starts with a cover of knockin’ on heaven’s door  , oops didn’t someone tell him its an originals only night. So onto his second, I have to say this second song was much better, he was more confident and more at ease with his own material. Jonny has a voice that is rich and warm when he sings quietly and gets progressively more emo as he increases the volume. A solid debut performance.

Catch his material at www.myspace.com/jonnydownie

Fletcher

Amazingly this is Fletcher’s debut at OOTB, they have been a number of times but never managed to land a slot. Vocally its rock all the way, with the guitar influenced by classical/Spanish music, performance-wise Ben has a stance and attitude which mesmerise the audience, not to mention a great voice, whilst Finn sits unassumingly working subtle magic on the guitar, it’s an inspired pairing.

Down By The Riverside is a dark Edinburgh tale of a girl who turns on her attacker, only to be convicted of all his murders.

Lost Boys, inspired by Nick Drake

Tyrone Sunset

Catch them at www.myspace.com/FletcherUK

Jim Tudor

What can a reviewer say about a man who buys knitwear for his iPod?

Paper Castle, I love this songwriting – its anything but formulaic. The music has both short and longer range harmonic motion, and does not have symmetrical phrasing, but naturally follows the flow of the words. The long harmonic progressions give a more classical feel and yet there are some obvious folk progression thrown in. Altogether it has poise.

The Gambler, is Jim’s first fingerpicking song! No appologies required.

A Song from the Sea, a love song written on an overnight ferry. I’d argue that it sounds more like a sea-shanty than a love song.

Overall, its all delivered with such grace and dry wit, that its easy to miss how witty and occasionally filthy the lyrics are. More bawdy ballads please!

Will Tomson

Use to be a Good Lad

Young at Heart

Pretty on the sidelines

Words are very contemporary and on the ‘Pop’ side of life, the music all four-chord tricks and derivative. I would have preferred it with a full band and a catchier performance than in an acoustic environment. The lyrics would probably carry it with a youthful audience.

Lindsay Sugden

Beyond These Walls

She’s solo tonight, but I can hear the cello, backing vocals, and glock in my head, It’s the curse of having recorded this one my very self.

Time Stands Still

I can just hear the clocks ticking, ticking, and ticking in the background

On The Wire

Odd hearing this without ‘the band’ and mixing ott effects over everything, but the test of a great song is how it stands up naked, and it stands

The sophistication of these songs and Lindsay’s guitar is striking in contrast to the average singer-songwriter. I mean the odd chord-shape is standard, but almost every one has been crafted, perhaps its natural or perhaps she searches for what she is hearing in her head, but either way it add such depth to the songs. If only I understood what any of the lyrics meant, but then it wouldn’t be the indie chic that it is.

Lindsay has a new CD out of her music (with the Storm) as recorded at Windmill Sound, you can also catch her at www.myspace.com/LindsaySugden

Mike

Mike looks like a younger brother of Jason Wringe.

Having announced that he doesn’t do subtle, he starts with a soft jazzy number that I rather liked. All nice descending chromatic moves.

His second was Funky with a capital F. This gets more and more confident as he gets into it., More nice jazzy moves.

The last is more straight-ahead rock with a slight Spanish feel.

I think the songs and playing skills are all there, confidence will come from more performances, which we will welcome.

Jim Whyte

I Found Love

About a pet or a lover: you decide (I know what I think, even if he insists its about a rabbit). Tender and affectionate. Makes you want to give Jim a big hug.

Live Feed

Insistent high chords over a pedal, oh effect when the chords finally change is amazing. Its dying for a late entry of bass and drums to relieve the tension. Sung with such intensity that the audience is transfixed.

Slow Poke

You can just hear the band, swirling guitar chords voice dark and more menacing in this one, I daresay heavily distorted guitars threatening under the chorus.

A good set with passion, sensitivity, intensity and a great range musically.

Big Jim has a voice to break hearts, I could just leave it there… it says it all really.

Compere: Nelson Wright Sound: David O’Hara Review: Daniel Davis

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COMMENT: AUTHOR: kerry (by email) DATE: 02/15/2008 02:03:29

Have several times considered playing at this event and have several times thought better of it because of picky reviews like this. I thought the ethos of this night was to provide a supportive environment for songwriters to debut new songs, but already you are telling people what accompaniments their songs ought to have and picking things to shreds like a boring musicologist. Save your visions for your own material and let people develop at their own pace. Do you really believe that your criticism is contructive and are you in a position to give it? To previous reviewers; stop with the dull comparisons and amateur musicology. Does it float your boat or not? These are the questions worth asking and answering in music, which (remember folks) is a subjective thing.