murphybridget837

On 4/1/2004 at 7:18 AM, scottST said:

Ian Simpson Citizen Awake

-----------------------------------

To be honest, before I had read this thread a week or so ago, I had never heard a single song by Ian Simpson. I had seen his profiles on the AUBL and HUBL, and didnt know he was even on Aberdeen-music.com.

When I heard the song Soup, I had become a lot more curious to hear a little more by this man. I took it upon myself to go out and get me a copy of an LP of his, and so I got Citizen Awake from One-Up (after having to ask where the hell it was in the store, I couldnt find it in the local artists bit!), to add my bit to this feedback thread, the first review of a whole CD by a local artist.

The cd's cover is nothing spectacular - neither are most bands in Aberdeen. All it is is a photo of someones garden, and his own logo/album title.

The cd opens with the familiar and assuring chime of bells, A Bottle of red wine in the Park. The bells cease as suddenly as they had started, and were thrown into a very The Bends-esque melodic rock ditty. The varied mixture of guitar riffs, along with Ians distinctive voice, takes the listener into a slightly edgy world this opening song, despite its relatively cheerful sounding opening bells, brought me through several senses while listening first a feeling of optimism, the opening part is really rather optimistic sounding, a song about friendship possibly? (Im not good at picking up lyrics really, you could shed some light on this yourself Ian?) When he sings And then the phone rang. at the opening of the chorus, the song comes to life. Backing vocals come out of nowhere, it sounds like Thom Yorke himself is singing, no mean feat, amazing vocal work. The low-end keyboard/vocals (?) at the.never saw each other again. refrain give the feeling that this song is building up, and is about to explode but alas, Ian sticks to his guns, and a poignant and surprising finale ensues. (is that an xylophone at the end of that song?)

The second track, "April in Amsterdam" reminds me a lot of 2+2=5 by Radiohead at the start, looped drums, and a simple yet effective guitar arpeggio making for a strangely calm, level headed intro but then the arpeggios stop, and the chords are being strummed. It keeps going like this, then I was really taken aback here a guitar solo!! And an effective one at that. Just as suddenly were greeted with an airport announcement, and the sound of a fairground being looped backwards. Abrupt ending! He knows how to keep the listener interested. Predictably unpredictable indeed!

The third track, "Change from 3 Points of View" opens with a very Bono-esque vocal. Keeping low key, long lines and the strangest of strange synth noises in the background, its an unusual opening to a song. It then calms down and fluctuates into a good chilling rock song. He has a knack of creating good vocal refrains that stick in your head, well, mine anyway.

Track four is Ians answer to Fitter Happier by Radiohead, a collection of totally random things, a childish synth hook, and looped drums, along with his own ramblings over the top. "Spot the difference".his vocals remind me of Ewan McGregor's bit at the end of Trainspotting, he isnt singing here. Very weird...

"Wintersong" is possibly the most accessible song on the CD. The distorted drums, and simple yet emotional single riff being twisted by some wicked effect makes me think of things I miss, its a real emotional song. Its basically an instrumental, with Ian muttering warnings of someone who has gone missing in the snow. It halts abruptly in the middle of its build, its a Winter song, its Meant to be cold! as Ian, well, coldly puts it. When it restarts it sounds like a different song Queen-style keyboard in the background, building itself up to a distorted, messy grave. Much like the coolest effect in the world used at the end of Karma Police.

Far Off Cry is first song on this cd with a definite bassline, a double bass slowly plucking impending doom out of the equally doomed sound of the guitar/vocals. Its fantastic usage of his instruments. The thing I notice about all of Ians songs is the sudden changes in the middle of them this one has some kind of news report in the middle of it, followed by a short chant of Quick!! (tribute to a favoured local band possibly?) and the most unsettling bout of guitar playing Ive ever heard, its extreme and original use of an instrument not suited to noise like this. It sounds like a part in a horror movie soundtrack when the monster is chasing you

.This theme carries into the intro of the next song, "Snowfall", which makes me feel the same way. Very unsettling, then it calms down, becoming a song the Foo Fighters would be proud of although I must say the guitar playing here reminds me of Everlong a little .it doesnt detract from the song. "Snowfall" is another very accessible song on the cd; its a typical rock song, with drums and all. Theres not much thats out of the ordinary here. An accordion solo adds to the song, along with some distorted humming, possibly a kazoo, and the best vocal part in the album, reverb-ed to oblivion, a distant soul singing a poignant chorus. The keyboard and bass combo at the songs tail end give the song its possibly theme - like the passage from pain to peace.

This next song, Why I Ran in Fear of My Life initially scared the shit out of me; its a very very VERY potent mix of Spanish-style guitar, a cello, and random drum noises in the background. Its fucking scary. Its got a very international feel to it, the accordion riff swings us from Spain to Italy, and then back to home with some Coral-style old fashioned playing, the first time it appears on the cd. The accordion reappears; this song definitely has some kind of European inspiration. Brilliantly written. Id say this is actually the best song on the album.

Still two more to go I wasnt sure at this point if I wanted it to end. Track 9, "Tall Oak", isnt a song. Its a lecture on the fears of the death of trees, and how Ian wants to prove to scientists a point, involving a big tree which he intends to drop on them.

Time for the finale I was expecting nothing less than a big ending to such an epic cd. With a name like Its a Beautiful World, I would imagine something inspiring. I wasnt wrong. It is a perfect mix of a huge number of influences, while keeping Ians distinctive vocal and instrumental style. The song finished too quickly for my liking, unfortunately.

Id imagine Ian knows as well as anyone hes a very talented artist in a genre which essentially died a long time ago, and hes trying to breathe new life into such an exhausted area of music. The solo acoustic ballad is nothing original but what Ian has done to it, mixed it with elements of dance, rock, blues, and capping it with his own trademark random predictably unpredictable moments, has made it more original, made this style of music his own. It has moved me to compare his songs to such great pieces of work by artists like Radiohead, U2, and more dance related bands like UNKLE, etc, and his vocal talents to masters like Thom Yorke, Chris Martin, and Bono. He has a great singing voice which easily outdoes any other local vocalist (sorry guys, but he does) and an instrumental style, which he keeps to his own strengths and plays whatever instrument he wants in a song, and however he wants to play. This is a trait I respect.

All together, a job well done Ian

Best tracks Snowfall, Why I Ran in Fear of My Life, A Bottle of Red Wine in The Park.

Sorry if you think the review is shit! Im not great on huge reviews

Thanks for sharing your thoughts on "Snowfall"! It sounds like it carries an intriguing blend of unsettling and calming vibes, reminiscent of the Foo Fighters' style.

On 1/26/2013 at 7:15 AM, chilli said:

reviews just in....This is TONIGHT

"It is at once doggedly old-fashioned and thrillingly modern, organic and post industrial, a throwback to the days when pop music could transport th...e listener to another world." 5 STARS *****, Scotland On Sunday

"Many artists develop signature sounds; rarer is the musician who accrues several. Johnny Lynch is one of the few to do so successfully" ALBUM OF THE MONTH, The Skinny

"The second Pictish Trail album has a multiple personality, skitting from electronics to anguished drum-machined fuzzy rock to Velvet Undergroundy feedback, and finally to gentler moments that, most of all, suggest the flowering of a Scottish Bon Iver... a strange, compelling, existential beauty" The Guardian

"Vol. 2 is a warm, inviting album. Being recorded in near-isolation has suffused it with that all-in-this-together caravan holiday feel, huddled around a glowing electric radiator, huddling together for warmth" 8.5 out of 10, The 405

"this spirited and life-affirming album succeeds in converting some of the sadder aspects of life into music graced with humour and, indeed, joy." BBC Review

"a glorious hotchpotch of screwball sounds, whizzes, bangs and bonkers instrumental breaks" Drowned In Sound

"as much fun to listen to as you imagine Lynch had making it" The Herald

"another mess of DIY wonderment, recorded in a caravan on his adopted home of Eigg for that home-cooked taste you get from a blend of drum machines, analogue keyboards, accordion and, who knows, maybe old coathangers and sticky back plastic. Lynch’s sweet, sorrowful voice binds it all together with a mix of tenderness and vulnerability" FOUR STARS, The Scotsman

"The album is a day-glo pop carousel. There’s hints of the Beta Band, Guided By Voices, even the Associates throughout the album but Johnny Lynch’s vision is singular." This Is Fake DIY

"his most cohesive, focussed work yet" Clash

Thank you so much for the kind words and the four stars! Recording in the caravan on Eigg was a truly unique experience, and I'm thrilled you enjoyed the blend of sounds. It means a lot that the home-cooked vibe and my voice came through to you. Cheers!

On 1/16/2013 at 11:18 AM, colb said:

I'm SO up for wearing ponchos and fake moustaches!

The accordion thing is my personal favourite. Although it makes me want to break into a post-rock polka....

On 8/4/2013 at 1:23 PM, Guest Young Adolesent said:

hi people, i volunteer every weekend with people with dementia for a charity called the VSA. now one of the people there is a musician but to be honest his dementia is getting worse. so before he gets worse i would like to record him singing, playing guitar and accordion as a memory for him, as i don't own my studio anymore. plus hes not allowed to leave the building i was wondering if anyone would be able to lend me a recorder for the weekend and a mic, doesn't have to be something special but as long as it does the job. this would be really appreciated as id be forever in your debt. its only needed for two days and i promise it will comeback in the same condition it left in. if needed. will collect on the Saturday, return it the same night. collect on the Sunday and return it on the same night 

I guess you can run a simple youtube channel for him, so that he can share his talents.

It sounds like a fantastic opportunity to delve into the rich tradition of Scottish and Canadian folk music! Breabach and Le Vent du Nord are both renowned for their talent and contributions to the genre.

On 4/27/2010 at 6:19 PM, The Ghost Of Fudge said:

www.TEAMFUDGE.com present:

SATURDAY 19th JUNE @ THE MOORINGS

2 trinity quay, off market street for the uninitiated

first act 8.30pm, 4tbc, 1am curfew

PADDY AND THE RATS

Paddy and the Rats on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Vocals! Bass! Electric guitar! Drums! Accordion! Fiddle! Tin whistle! Banjo! Bagpipe! That's what I call a band. To spice up their hot and dirty punk rock they use Irish pub music and Celtic features, but sometimes Russian and gypsy elements and rhythms are also present. Paddy and The Rats are Irish-Hungarian, know how to party, and like swearing. Last year they had more than 100 gigs, they took part in festivals in Hungary, Sweden, Denmark, Austria, Slovakia and Serbia. As well as their own songs, they play Irish songs such as Wild Rover and Whiskey In The Jar, sailor songs (Drunken Sailor, Bully In The Alley) and punk anthems (Sex Pistols, Green Day) with fiddle, banjo, accordion, bagpipe, whistle and of course, a whole lotta rocknroll. Their aim is to introduce the crowd to different kinds of pub music and pub culture or to be more precise: to turn the whole world into a pub! I'm just guessing, but I think The Rats and The Moorings are going to get along very nicely indeed...

Support comes from local metal titans, and officially the 'Best Band In Aberdeen' (Fudge Awards), BLOODNUT, plus Edinburgh's girl-fronted fivepiece alt.rock sensations REVELRY, and storming punk favourites 4 STAR SUNDAY.

BloodNut on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Revelry on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

4 STAR SUNDAY on MySpace Music - Free Streaming MP3s, Pictures & Music Downloads

Their diverse instrumentation, from accordion and fiddle to bagpipe and tin whistle, adds layers of texture to their high-energy performances.

On 11/10/2016 at 6:30 AM, offramp said:

[b]IMP present: Rick Redbeard + support @ Society of Advocates Library, 13 Jan[/b]

[b]01/13/17 06:30 PM to 01/13/17 09:30 PM[/b]
 

interesting music promotions present:

 

RICK REDBEARD + SUPPORT

 

Friday 13^th January 2017

The Society of Advocates Library, Concert Court, Broad Street, Aberdeen AB10 1BS. Phone (01224) 640079

Doors 6.30pm

Tickets £13 + bf in advance

On sale from http://www.wegottickets.com/event/375649

 

As this is a pretty small venue, tickets are limited, so advance purchase is recommended. Also, this is not a licensed venue so please BRING YOUR OWN BEER (or other suitable refreshments).

 

http://www.facebook.com/interestingmusicpromotions

http://twitter.com/IMP_aberdeen

http://www.socofadvocates.com

https://www.facebook.com/Society-of-Advocates-in-Aberdeen-177098125653688

https://twitter.com/socofadvocates

 

 

RICK REDBEARD

 

What’s that? You missed out on tickets for his sold-out support slot with King Creosote at The Tivoli Theatre. Well. Aren’t you lucky…best be quick though.

 

Three years after his glorious, SAY Award nominated debut 'No Selfish Heart', Rick Redbeard returns with 'Awake Unto': a collection of songs so timeless and melodic they emerge from the speakers like long lost friends...

 

Awake Unto is the second mesmerising collection of songs by Rick Redbeard, aka Rick Anthony of cosmic rock magicians The Phantom Band, and comes three years after his delicately poetic solo debut No Selfish Heart. Quarried from similar stone to that of Michael Hurley, Leonard Cohen and Bill Callahan and wrapped in layers redolent of Angelo Badalamenti, Awake Unto weaves folk,

balladry and filmic impulses into a tapestry of song so deftly detailed the rewards multiply with every listen.

 

Where his debut trod an uncluttered path, employing little more than Anthony's burnished baritone, acoustic guitar, piano and violin, Awake Unto brings a far broader spectrum to bear on its heavenly melodicism — banjo, accordion, reversed keyboards, drums, widescreen electric guitar — while still leaving space for the simple formula which lit up its predecessor. There’s a larger pool of

contributors here too: Rick’s sister Josephine duets on “Get Friendly (Blood)” while a cohort of his Phantom Band colleagues (Duncan Marquiss, Gerry Hart and Iain Stewart; Derek O’ Neill mixing) also manage to join the cèilidh. The family connections continue, with Awake Unto’s vivid artwork supplied by Anthony’s mother, providing yet another contrast to No Selfish Heart’s austere, monochrome woodland.

 

While lyrical themes suffuse both albums — love, sex, death, dreams and memory loom large — Awake Unto’s approach is less allusive and more confident as Anthony learns to stretch his limbs as a solo performer. Rick Redbeard is no maudlin troubadour either: in “The Golden Age” you find a loping, rainbow-bright paean to positivity; “What Fine People” salutes the human spirit over an

almost too beautiful haar of classical guitar and harmonium; and the closing “Let It Rust” makes the case for reality versus reverie as a painterly series of textures unfolds and dazzles, the mystical heart of the music a counterpoint to the plea underpinning the lyrics.

 

Following in the wake of two Phantom Band albums - Strange Friend (2014) and Fears Trending (2015), and the music he wrote for Theresa Moerman’s New Talent BAFTA-winning documentary ‘The Third Dad’, it’s hardly surprising Awake Unto marks an assured shift in scope, colour and tone from its spartan forerunner. Rick: “If No Selfish Heart was a tasteful black and white pencil sketch,

Awake Unto gets the crayons out to colour it in.” He’s too modest by half of course, as even the most cursory listen will demonstrate. Awake Unto takes the core elements of Rick’s debut — his towering, mahoganied voice and melodic imagination — and cloaks them in fabrics and hues; elevating them to giddying new heights in the process.

 

https://www.facebook.com/Rick-Redbeard-94385218942

https://twitter.com/RickRedbeard

https://www.chemikal.co.uk

 

 

Praise for ‘No Selfish Heart’

“an album that might have been captured any time over the past 50 years” MOJO [4/5]
“Superb…beautiful…a glorious album.” UNCUT [9/10]
“The entire album exudes a seductive yearning.” THE SCOTSMAN [4/5]
“A delightful record to treasure.” DROWNED IN SOUND [8/10]
“Something akin to a masterpiece.” THE LIST [4/5]
“This album in a word?  Astonishing.” THE HERALD [4/5]

 

IMP present: Rick Redbeard + support @ Society of Advocates Library, 13 Jan

 

The addition of banjo, accordion, drums, and electric guitar enriches the album's melodicism, creating a unique performance.

On 2/6/2012 at 12:52 PM, Graham Knight said:

I am glad you smiled at the video. As Shaki, Lucky Rathen, Robert Knight (definitely no relation ) and others visitors from this Forum know, the walls of the entire house including the bathroom are covered in pictures, contracts, and other 50's memorabilia. I will have to make a longer video.

I am sure your audience will like the inclusion of Great Balls of Fire. It is a tune that everybody seems to know despite it now being 55 years since it was a hit for Jerry Lee. It was written by the late Otis Blackwell and Jack Hammer. I am still in touch with Jack and he was recently trying to get Jerry to record a new composition called "I'm Still Burnin'."

I'd like to hear your confederate accordion version - let me know when and where you are going to play it and I'll be there.

Here is a link to a couple of accordion tunes from long ago: The first is the late Clifton Chenier who I saw in Lafayette in 1967. I think he was in his fities then and he said he had been doing this Hank Williams tune "since Hank died in 1953."

 

And here is another accordion special - your audience will probably catch on pretty quickly to the treble entrendre in the song's title.

 

That's a nice performance. His accent enhances the song even more.

On 4/18/2010 at 11:51 AM, Andy Mulhern said:

Vocoustics Promotions Presents:

THE UNWANTED TRIO+ FINFOLK

The Blue Lamp (121 Gallowgate, Aberdeen AB25 1BU)

Tel: 01224 647 472

Tuesday 27th April

8 from 8pm

http://i61.photobucket.com/albums/h71/AndyVocoustic/unwantedposter_500.jpg

THE UNWANTED TRIO

http://www.unwantedtrio.com

www.myspace.com/theunwantedtrio

The Unwanted are a trio of Sligo-based musicians whose work is inspired by, explores and reflects the combined musical traditions from Ireland to Appalachia and beyond...

The Band:

Roscommon born Cathy Jordan, lead singer for acclaimed group Dervish, moves effortlessly and with soaring voice between Sean-ns, Appalachian ballad and contemporary folksong, lending rich accompaniment on bodhrn and tenor guitar.

Sligo native Samus ODowd (guitar, fiddle) grew up steeped in the tradition of Sligo fiddling, early on expanding his repertoire to include the New World traditions and today he is as accomplished playing Blues on slide guitar as he is playing jigs and reels.

Rick Epping (harmonica, concertina, banjo, jaw harp), a native of California, has been moving back and forth between Ireland and the United States for over 40 years and has been playing the music of both lands since childhood.

"a gorgeous soundscape" (Scotland on Sunday)

"an attractive array of material from both sides of the pond, incorporating elements of country, folk, Irish, jug band, blues and Appalachia songs.... the trio deliver with passion and depth" (Hot Press)

"this masterpiece has you submerged in a journey of cowboys, drovers and music thats so real you can taste and smell it." (Irish Music Magazine)

FINFOLK

www.myspace.com/finfolk

Finfolk mix the Celtic music influences of Ireland, the Scottish Borders and Hungary. Featuring Tom Roche (button-accordion), Kenn Clark (guitar/vocals) and Jani Lang (fiddle) the music they produce knows few boundaries with a strong emphasis on self-penned tunes and improvisation.

Vocoustics Promotions

www.myspace.com/vocoustics

Finfolk's music is a captivating fusion that draws from diverse Celtic influences, spanning from the traditional sounds of Ireland and the Scottish Borders to the spirited melodies of Hungary. The trio, comprising Tom Roche on button accordion, Kenn Clark on guitar and vocals, and Jani Lang on fiddle, seamlessly blend these cultural elements to create a sound that transcends boundaries.

His expertise and passion for the button accordion are legendary, and his contributions to Boys of the Lough since 1980 speak volumes about his talent and dedication.

On 12/1/2010 at 7:09 AM, DAVID0347 said:

What level of tuition do you require? (David Brown)

If all else fails, expanding your search to nearby cities or towns may uncover additional options for accordion tuition. Don't hesitate to ask fellow musicians or music enthusiasts for recommendations—they may be aware of hidden gems or lesser-known instructors in the area.

From evening concerts to family-friendly lunchtime performances, there's something for everyone. It's fantastic to hear that Irish stars like Grada, Ivan Drever, and Duncan Chisholm will be gracing the stage, alongside local favorites Banish Misfortune.

Having performed alongside acclaimed musicians such as Anna Massie and touring with artists like Eddi Reader and Karine Polwart, Mairearad brings a wealth of experience and expertise to the collaboration. Her ability to craft intricate compositions adds depth and richness to the music.

On 5/8/2006 at 2:53 PM, flossie suvara said:

Can you narrow it down a bit? Folk music is a huge genre - do you mean singer/songwriter stuff, or traditional songs, or jigs/reels/strathspeys (also known in some circles as "diddly"?

There are plenty of resources on the web for the latter (which is what I like to play):

www.thesession.org - Irish traditional music site - lots of tunes

http://www.btinternet.com/~troubleatmill/links.htm#chord - link page to singer/songwriter lyrics and chords

http://www.cs.nott.ac.uk/~ef//music/database.htm - database of folk dance music

http://www.geocities.com/nacornett/tune.htm - page of links for tunes

http://www.traditionalmusic.co.uk/ - heaps of songs and tunes

http://www.blackflute.com/music/tunes.html - more tunes

http://www.cpmusic.com/tradmus.html - more tunes, with midi and sheet music

Some of the above sites use the ABC format - if you want to convert it into standard notation, then there's a resource which can do this at:

http://www.concertina.net/tunes_convert.html

As a general rule of thumb, the majority of traditional Scottish and Irish tunes tend to be in the keys of C, G and D, and follow a three chord trick

http://www.torvund.net/guitar/progressions/04-Threechord.asp

Hope that helps

Regards

Flossie

Thank you for sharing.

P.u.M.a.J.a.W, Adrian Crowley, and Gareth S Brown at The Tunnels in Aberdeen sounds like a musical journey not to be missed. P.u.M.a.J.a.W, the dynamic duo of John Wills and Pinkie Maclure, brings a unique blend of outstanding vocals, hypnotic guitar, concertina, lyre, and pagan rhythms.

What a fantastic musical journey Pinkie Maclure and John Wills have had.

Sadly the picture was taken down already.

Sounds like a set of fine gears.

Sounds like an epic night ahead! The mix of comedy, music, magic, and poetry promises a wild and entertaining evening. Scott Ironside's return after leaving a mark a couple of years ago adds to the anticipation. And who can resist the allure of Banjo Boy?

The BDE from Edinburgh sounds like a mesmerizing musical journey, especially with that eclectic lineup. The combination of banjo, cello, fiddle, harp, and more must create a rich and unique sonic tapestry.

Have you tried yousician or learning in youtube?

On 10/3/2005 at 9:38 PM, flossie suvara said:

I've got 2 banjos, so here's my tuppence worth.

5 string banjo (as described above) is completely different to guitar - mainly used in bluegrass music, to play it really well you do need to put in a fair amount of time and effort practising - 3 finger picking is the norm for bluegrass style, with thumb and fingerpicks. There are various tunings - normally to an open chord (mine is in G).

(My 5 string banjo does indeed sit in a corner gathering dust most of the time)

4 string banjo (also known as tenor banjo) - tuned in fifths - normally CDDA, but often tuned up to GDAE for irish/scottish folk music - It was quite a common instrument in jazz bands, and if you listen to early jazz recordings, you can hear the banjo sound quite clearly.

6 string banjo - essentaily a guitar with a banjo body - tuning and chord shapes are exactly the same as a standard guitar.

Other banjos - mandolin banjos (I've got one of these, but have only got 4 instead of 8 strings on it, as it tends to go out of tune when fully strung), banjoleles (ukelele with banjo body - as played by George Formby)

As you can probably work out, the sound of the banjo doesn't come from the tuning, but from the construction of the beast - the parchment skin gives a very distincitive tone, which is loud and cuts through effectively, but which gives almost no sustain.

I would probably go for a 6 string banjo if you're just looking to get a banjo sound - it would allow you to play straight away, but you'd have to adapt your playing style to cope with the lack of sustain. It would depend on what style of music you're into if you fancied another type:

Bluegrass - 5 string

Irish/Scottish Folk - Tenor or mandolin banjo

A banjolele is probably the cheapest option (via ebay) - the 4 strings of the ukelele are separeted by the same intervals as the top 4 strings of a guitar, so chord shapes are pretty easy to pick up (but obviously they wouldn't be the same chords)

There's plenty of banjo sites on the web - www.frets.com has got heaps of good stuff, useful to all acoustic musicians. www.mugwumps.com is more banjo orientated but from a historical point of view.

And always remember - "Welcome to heaven, here's your harp. Welcome to hell, here's your banjo"

Hope that helps

Flossie (poofbat player and occasional banjo plucker)

We're glad someone with that variety of banjo share their experiences on each one.

You should have had pictures.