The Quintessence of Ladbroke Grove, Glastonbury Fayre 1971, Meanwhile Gardens, Here & Now and alternative community spirit


Hello Good People who read this blog….

If you like this post please could you rate it with stars or add a nice comment, thanks!

My friend and mentor Brian R. Banks sent me a link to a wonderful piece about the band Quintessence  from the ezine It’s Psychedelic Baby, to celebrate the release of their complete Island Records recordings.  In his article Brian describes the vibe of creativity at the time in the Ladbroke Grove area. He also has a very interesting interview with former Quintessence band member Raja Ram a.k.a. Ronald Rothfield who also depicts ‘the Grove‘ or Ladbroke Grove area, filled with musicians, squatters, and people living alternative lifestyles. Please follow this link to read Brian’s excellent article: http://www.psychedelicbabymag.com/2017/06/raja-ram-quintessences-complete-island.html

If you are wondering what Quintessence sound like, below here there is a film of them playing at Glastonbury 46 years ago.

They sing :

‘If you want a life that is free

If you want a life full of happiness

You’ve got to turn your back on fear and shame

Leave it, Leave it all behind you

Have no fear,

You’ve got to turn your back on Fortune and Fame

You’ve got to leave it all behind you

You’ve got  to leave it all behind you, ever free.’

Of course the Glastonbury Fayre was free to ‘get into’ , or rather walk into, in 1971. Others performing at this festival included a young David Bowie, Gong, Hawkwind, Traffic, Melanie, and Fairport Convention.

If you don’t like the music of Glastonbury 2017 and like me, could not afford to go there anyway, you can watch a documentary about  the free festival of Glastonbury Fayre (1971) here. To listen to Quintessence, play this video from exactly one hour onwards:

Today I walked down Portobello Road market, I found tucked away under the Westway in Acklam Road  there were residents and friends of survivors of the Grenfell Tower fire, selling cakes, clothes and a variety of things where the money goes directly to those affected. It’s going on tomorrow (Sunday 25th) as well, a bit hard to find but worth going to. I gave them a small donation and wished them good luck, but they really appreciated my modest  contribution. I was glad they organised something, just wish it was in the middle on Portobello Road and took up the whole market and wished they’d opened up the little ampitheatre in Meanwhile Gardens where bands used to play Saturday evenings for free, they could have passed the hat around and done a great benefit gig. Today so many rules and regulations and they are ignored by companies in terms of fire protection but if a few people want to gather and have a free gig , is that allowed? I hope someone does run a free gig there for the community to remember and not let it be only a grand  Simon ‘Chimney Brush-head’ Cowell production.

If you are wondering what I am talking about here is a documentary about Meanwhile Gardens from 1981; Music performance @ 20-23 mins, and in view of recent events, a rather disturbing giant Guy Fawkes Bonfire (30mins in):

 

I went to many gigs at Meanwhile Gardens including probably this one:

I was going to write about other alternative lifestyle things in Notting Hill but have to go now. I will leave you with more wonderful Here & Now from 1978 (Careful with that effects pedal Steffe). On the youtube video below there are some great photos. I recognise people, marquees, The Tibetan Ukrainian Mountain Troupe, etc……I wish I could find my old photos…people at free festivals didn’t want to be photographed a lot of the time. There are also photos of alternative lifestyles in Latimer Road with tower blocks from the estate in the background, possibly Grenfell Tower or tower blocks still standing nearby.

 

 

‘You’ll plot and scheme to get your way,

but you haven’t the got guts to do it yourself,

so you make an alliance with somebody else,

A thousand years it’s been the same,

political parties in power again,

if you’re listening man, I’d like to say,

Floating Anarchy is a better way!’  (Here & Now ‘What You See….Is What You Are’ 1978).

This is really great music and spirited musical performance..Please listen to this before bed and/or play it to your children and grandchildren instead of a bedtime story.

So wishing you Love & Peace, sending good wishes and hugs to all those affected by the Grenfell Fire disaster, let us rebuild a free creative community spirit where and when we can.

 

 

 

 

Bloc 2012 Festival Review


Bloc Festival Review or why you shouldn’t try to have a good festival in a paranoid London devoid of all common sense.

Hello Good People who might read this blog….


Postscript July 10th 2012: When I wrote this post, it was from a confused punter’s perspective, I’d just experienced the festival ,left early and the next day was trying to make sense of it ( and also review the music in my own daft way). I start off blaming health and safety rules being over the top then get very worried as I leave, due to angry crowds outside and  people being cramped and prevented from going where they wanted inside . Since then I heard a totally different story from the  festival crew, which I wrote on July 7th. I now feel totally differently about the whole thing. If the information which was told to me was correct, then I think that some people  were neglectful of public safety to different degrees and maybe when large sums of money and major investments are involved, we really do need health and safety rules.


It’s been a long time, sorry about that, I did start writing this blog under my real name but it didn’t really work, so here I am back briefly as Born2rant, to write about a festival I went to yesterday that could have been great, but which I decided to leave before it all went to pieces.

This will only be a review of my limited experiences. I guess I arrived at the Bloc festival site at London’s Pleasure Gardens around 4.30pm by 10pm I decided it was sensible to leave but had a lot of difficulty getting out.

I was due to hang out on the ship MS Stubnitz, which has successfully been sailing around Germany as a mobile art installation and general chilling out party place for some time. It takes coming to crazy Britain for the Germans to realise they are far better off back home where things are more liberal, the state has less control, and the general public has not lost its ability to make individual sensible decisions without external legislation. Forget gloating about how great and wonderful the British are when I was trying to leave the Bloc festival, it was like trying to escape from a “psychedelic concentration camp” and that was entirely due to Great Union-Jack waving, right Royal Diamond Jubilee, aren’t we proud to be having the Olympics in London, paranoid British madness.

I arrived at Pontoon Dock around 4.15pm. There seemed to be a lot of stressed out people in orange jackets obstructing the oyster card bleeping machines, so people got confused where to “touch out”. They ushered me to a bridge to cross over the road and immediately my bag was searched, then further on more people in orange jackets asking me for a ticket. Other punters were clutching tickets printed out from the internet, I thought that strange to start with, it might be OK for using a budget airline, but without computers, scanners, ID and a whole big security system how can you tell if a computer print-out is genuine? I asked where the guest entrance was after some confusion I was directed to a gate a few minutes walk away.

At the guest entrance I had my bag searched again, then a sniffer dog climbed up the back of my legs, then my bag was searched AGAIN!!!! I complained politely but complied. They couldn’t find my name on the guest list but gave me a wristband anyway because I was saying all the right names. I had to put the wristband on myself, also a bit strange.

It took me a few minutes to chill out after all the security measures, and dealing with stressed out people, lots of security guards on the site, and mobile CCTV units, but the security man I spoke to was friendly enough and to be fair all the police people I spoke to during the course of the day were polite, but then all the paying public I met at the festival were also extremely patient and polite considering we were treated like dangerous animals throughout the festival, and the people who payed £125 per weekend ticket must have been peeved.

At first I went on the ship, the MS Stubnitz where I had a great time. In Germany they do not have many health and safety regulations, and do not scream announcements to passengers on the tube to say that due to a little drizzle that people are bound to fall over and kill themselves on the potentially slippery floor. Therefore I think the general public were probably quite shocked to be on an actual fishing ship with many steps, some damp from rain, and bits of metal to step over, no warning signs and generally to be in a place where you actually had to take responsibility for yourself and keep yourself sober enough to watch what you did. Also there was a big central hole leading from one deck to another, this had some fencing and chains around it to stop people falling in.  From the all dancing deck below, I could see many punters going to the edge of the hole and testing to see if the fence was secure. I felt like saying “You are at a festival, you are free to enjoy yourselves now, so forget the fences, forget health and security rules and just enjoy the lack of them for once”. I feel that the British public and especially Londoners, are brainwashed at all times to seek fences and rules in order to feel safe. Of course bad things could and do happen, but life is dangerous, you can’t control everything, get over it and try to enjoy life!

People on the ship were having a good time, somehow in spite of sniffer dogs and CCTV everywhere, the odd person was skinning up on the top deck, most sat drinking beer, smiling beneath the warm sun bouncing off their sunglasses. Below many moved to the music whilst taking copious pictures of the ship on their phones. Downstairs there were at least two bars and padded “seating bars” around tables where they used to freeze and chop fish. The ship was an awesome place to have different party rooms, the angular industrial music bounced off the ship’s hull in a suitably sheet metal way.

My only gripe about the ship was the music, I would have preferred dancing to Led Zep’s Immigrant Song, that would have been perfect or some kind of heavy metal version of  the Ride of the Valkyries would have been great.Here is some Led Zeppelin with  The Song Remains the Same just for effect,old fart I am!

But the DJ I heard on the Stubnitz was mixing French café style accordion music with deafening heart-stopping bass and drum music, note I did not write “drum ‘n’ bass”. I am too old and psychedelic to know what type of dance music I was listening to but it was experi and mental. I left the relaxed atmosphere of the MS Stubnitz to go and see Steve Reich around 6pm.

This was another “odd thing” , I noticed that they put some of the biggest crowd-pullers on early on both evenings even though the music ended at 6 a.m. Gary Numan was due to be on at 6pm the following day (today). I started to realise that maybe there were “problems” with the festival. Well to be fair all festivals have problems, they are always a headache to run for the organisers but some are worse than others. You really need to know what you are doing when you run a festival, especially if you plan to run it in a dock full of water and then place barriers so people can’t get out.

I found the hugest biggest queue  zigzagging its way round a small bit of the site, but people were patient and well-behaved, I hardly saw anyone attempt to push in. I must have queued for over 20 minutes, everyone was saying they’d never seen anything like this and we could hear Mr. Reich playing from outside, we could not understand why security did not seem to be letting anyone in.

Once we got in the tent was only a third full and yet he had been playing for over 30 minutes. The sound quality was not good, the audience was pretty thin, so this did not help the general feel of the gig. Many people were waiting for their friends to be allowed in.

While watching Steve Reich there were times when I wanted to sit down or leave, but both options were difficult from where I was standing, once people were allowed in from their long queuing they tended to head into the crowd and stand and the only way out I could see was through the entrance with hundreds and hundreds of people blocking the way. I looked around and saw there was a zip in the side of the tent, if I’d been feeling trapped I thought I could always use it to get the hell out.

As people slowly and steadily dribbled into the tent, while many left, the music livened up a bit. This was when a full rock band ensemble in the form of Bang on a Can, complete with sheet music,  started to play. It was enjoyable but stilted at first. They sounded like ‘Yes’ doing a version of Mike Oldfield’s Tubular Bells, in fact I was beginning to wonder if Steve Reich had been listening to the final few minutes of Tubular Bells when he wrote it. I’m sure others must have thought the same as me! But then I decided that perhaps Steve Reich  wrote it first and Mike Oldfield and Yes who copied his style. Playing repeated patterns in unusual time signatures is the link. Steve Reich must be far more influential than I realised and I must listen to more of his stuff.

Here is Bang on a Can playing Steve Reich’s  2x 5 (2008)

( turn the volume up first, sorry about any ads that come up, try AdBlock)

But although Steve Reich is no doubt a genius and influenced Yes,

I’m afraid I much prefer the following clip which sounds remarkably similar,

compare the two introductions!

Perpetual Change by Yes  (1971)

OK I digress but it’s my blog so I can, and hopefully not bore the pants off you

After Steve Reich I couldn’t get back onto the ship because by now there were long queues and barriers preventing people from going on board, this made good sense to me because it was quite crowded and there was only one way on or off, unless you jumped into the water, but I still think that if people were left to their own devices that they could have managed to see it was too crowded before boarding instead of being restrained like stupid sheep.

I went for a walk about but there wasn’t a whole lot else going on, the cheapest Amber Leaf rolling tobacco on site was a staggering £7, so I decided to go to the local shop. I couldn’t find the way out as described on the map, so I went to the main way in. There were by now already hundreds of people stuck outside the entrance, and the security process was slow and they were clearly not in a hurry to let anyone in, I have never seen anything like it before, they allowed just a handful of people in then would let them wait a few minutes before letting in another few people, meanwhile crowds were building up outside.

I asked one security guard if I could go out and come back in again. He said “NO” sternly. I explained that I had a weekend ticket. He just said “You can’t leave till later and when you do leave, you can’t come back in again”. Since there were no camping facilities, I decided he was stressed out and uninformed and I continued to look for the exit but couldn’t find one, I asked another security guard but he didn’t seem to know anything.

Then I looked for the queue to go and watch Amon Tobin on the main stage. Another very long queue, at one point that queue got muddled into the ship queue and no one knew what they were queuing for or where the queues ended. After queuing for 20 minutes in the crowded area outside, I found the main tent almost empty once I got in.

It made no bloody sense at all.

This was a joke, why was everyone queuing outside virtually empty tents in a limited area surrounded by deep water, since the whole festival was in fact at an old dock?

Amon Tobin  came on. The 3D projections were fantastic. They had a big installation of a kind of cube shaped wall, I’d seen similar things at multi-media art installations, but this was huge and exciting to start with. Amon Tobin was inside one of the cubes which was see-through, it was a bit “Spinal Tap” but I’d rather have seen Spinal Tap.  I was bored, maybe if the sound had been better I would have enjoyed it. Like so much music in 2012, the visual element seems to be more creative and interesting than the sound itself. Maybe you disagree, here is a clip, it sounds better than I remember , it was visually stunning but after a while it was repetitive ( sorry Amon,I’m sure you are a nice guy, it’s just not my kind of thing)

While I was watching the show, all around me a load of very drunk vertically challenged girls wearing too much fake tan, too much make-up, with silly hats and no clothing but a few bits of white fur and denim, were hugging each other violently and squealing. They took millions of photos of each other to put online, they disregarded the music which was very loud and hard to ignore. On the side of the stage there was  a guy pointing a camera on the audience in a type of steering-wheel shaped frame, which I thought might be a CCTV camera scanning the few people that were allowed in. I decided it was not worth sacrificing my hearing for this, and being sober and not having a set of friends to hug, I decided to go outside to look for something else to do.

By this time there were a lot more people just hanging around outside trying to get into the various venues, queues here and queues there, it was ridiculous. Then when I walked past the main gate even more people were even more tightly packed and waiting to get in and being processed at a snail’s pace as if they didn’t actually want to let them in. Those waiting outside seemed remarkably patient, I am sure some of them had maybe shelled out £55 just to see Amon Tobin , the festival was sold out, but they were unable to get in, others may have paid £125 for the two days and the last DLR train back home would not leave that late.  I felt very sorry for these people waiting, thinking that they might not get in for more than a hour or two before they’d have to go home again. I went for a walk around the dock like others who got fed up with the queues. Thirty minutes later the crowds trying to get in were chanting and then someone let off a flare, the exiled crowd cheered, I wandered off for a bit enjoying the sunset and beautiful clouds, the weather was fantastic and there were some nice walks around the dock away from everyone.

But when I came back to the entrance the people waiting to get in had disappeared, something had happened. Inside the festival the crowds were growing a bit and all this queuing was taking up a lot of space, although walking around was no problem, but it was a pain to queue up all the time, I decided since it was dark to go home and come back the following afternoon. I still could not find the exit and a security guard suggested I went out through the main gate. Since there were no crowds left on the other side of the main gate, I thought that maybe they had all got in, but I could hear “booing” not far away. There were many metal barriers, in my way and I had to climb and crawl here and there, there were many security people thinking of not letting me out, and then telling me it was OK to leave, none of them directed me to the proper exit, if indeed there was one.

I got to stairs that led into the main road and then I was quite surprised at what I saw. A double police line at the top of the stairs, plus many more security guards and on the steps a huge crowd, well-behaved, but angry and a few shouting. Well wouldn’t you be, if two of the main acts had already been on, and you’d paid £125 for a ticket to get in?

The police were very calm at that point, some stood with their arms crossed smiling, they seemed surprised that I wanted to leave, they also could not tell me of another exit and they were very polite, and helped me to get out. As I went down the steps some man grabbed me and asked me a question and I pulled away and ignored him, then this other woman shouted to me and asked me if there was trouble inside, if it was safe to go in. I said “Yes it’s fine. It’s great!” but afterwards I thought maybe I should have told her about the amount of pointless queuing you had to do to get to see any act.

After I crossed the road to get into the station I turned around and then I realised that things were seriously wrong. I hadn’t realised just how many people were queuing to get in, there were in my rough estimation at least two thousand, booing. It occurred to me then  that either they had sold far too many tickets and had hoped to stagger the crowds by putting the main acts on at 6pm, or perhaps that having a computer print-out had allowed a lot of people to forge tickets. What I couldn’t believe is that there were ticket touts still trying to buy tickets off the queuing punters, it was clearly a nightmare situation by the large crowds unable to get in.

I worried then for my son who was working there and for all the people there because if everyone had got on the site and they continued to deny people access to all the stages, then it would be overcrowded and tempers would flare especially by 6 a.m. The thing is, the tickets were expensive, most people who were going there were well-dressed, calm, extremely patient and mostly seemed  sober and compliant with the law, but we were treated like we were criminals before we even got in. It was a disgrace. It was like being kettled and herded the whole time but at a paying gig. We were not  going to a riot, it wasn’t a political demo, in fact there were no politics in evidence of any kind, not even an Amnesty International stall.

After an anxious night I got a call from my son this morning to say he was fine.

It did get overcrowded and they had to get all the stages and DJs to shut down  the music at midnight, then the police cleared the whole area. There was another big stand-off with the police and a bit of trouble, nothing major that he knew of, none at all on the ship where the good vibe remained throughout.

I wonder now how people managed to get home from the middle of nowhere at Midnight or 1 a.m.. My son stayed there overnight. He seemed to think only one person got hurt with concussion but this whole queuing/kettling technique to deal with the crowds caused a lot of the trouble and people were very angry that they were not allowed to see the artists they had paid to go and see.

I hope there were no further injuries. The rest of the festival is cancelled. I wonder if they’d had no barriers at all,  if  just maybe people would be sensible enough to come and go as they pleased.

In less paranoid times, with an atmosphere of caring for one another and looking where you tread, could a few roadies and stewards, a St. John’s Ambulance, a fire  engine and maybe a few lifebuoys, be more than enough to keep this festival safe?

Will the police be kettling people all through the Olympic games for their own safety?

I need a musical interval, this next song was ringing through my head as I took the DLR home, very worried about my son and everyone left at the festival. In spite of my ranting about health and safety regulations, given the situation and the fact that people couldn’t leave easily, I am glad they stopped everyone from getting in, it could have been a dangerous situation, due to the tensions building up over a number of hours as well as the size of the crowd outside.

The Clash – London Calling (1979)

They should just have removed the barriers so people could leave at least!

The festival was sold out, did they sell too many tickets ? I can’t see that several thousand people would forge tickets.

 If you were there and want to say something please leave a comment.

Gary Numan who was due to play today, Down In the Park

Love and Peace

Born2rant

 

Too busy living to blog or watch TV, plus a teeny bit about Solfest 2010


Hello Good People who evidently still read this blog…

I keep trying to give up this blog for good but it’s up there in cyberspace without me, just like the millions of  photographs of teenagers on Facebook,  who may at some time, rue the day they allowed photos of, and  information about themselves, to be handed over to various companies and intelligence agencies who rule the net. My blog will outlive my initial enthusiasm for bi-weekly blogging ,and like many a dead rock star’s music, will probably outlive me.

I did go to Solfest this year , and I guess that by the number of hits on the day it ended, many will have to checked in to see if I have done a review like I have done the three previous years.

In a word  “no”, and I’m not really going to. It is still the greatest UK hippie festival that I have experienced this millennium,although a few less punters this year and slightly more zealous security. Well actually, I mean specifically one guy. A young security steward who wore large sunglasses day or night , wore a “security hat”, and obviously took his job extremely seriously. He questioned and scrutinised people at the gates of Solfest as if they were non-EU citizens of “Asian” origin trying to get through passport control at Heathrow. It was only one enthusiastic Nazi  in the whole organisation, but one too many, plus he never seemed to go off duty. Maybe he dreams of being head of all security services one day…in which case, don’t work at a hippie festival, run by hippies.

Backstage the air of hippiedom was also occasionally marred by the odd territorial argument over which loo one could use .One group of people in particular, got hysterical if other members of crew used “their” portaloo and shouted to me “don’t fill our loo up or we can’t use it”, which I found mildly insulting. There was also by the end of the weekend, a row over who could have access to my nearest water supply. Various people started to attach their own personal pipes,to the general standpipe going directly to their tent or caravan, leaving no access to water for the humble camper without extra water-pipe fixtures, and a trickle of water to all trying to get their direct private supply, due to low pressure. It was exemplary of the follies and injustices of  Capitalism, which I hoped to get away from completely during my stay at Solfest. I am hoping that the hippie spirit of sharing resources over and above stupid claims to exclusive access to basic amenities will return next year in the backstage area.

I have not written a review of Solfest, why ? Because I am not often here.

I’ve turned my back on blogging, Myspace, Facebook, hotmail, Googlemail, all mainstream TV news, most TV programmes, and most Radio programmes. I do still use youtube quite a lot, especially if I want to hear music from the other side of the world. I mainly watch TV if I have visitors who want to watch it or if I am just too tired or ill to think of anything else I can do. I read newspapers if I find them lying on the tube, and yet without the internet or the media intruding in my life as much, I am not suffering from any withdrawal symptoms. Quite the opposite, I actually talk to real people face-to-face,  go to real places, and don’t feel like my life is over because my hair is dull or I don’t have a car, or I don’t know what David deCameron said today, and I haven’t suffered any more patriotic military propaganda passing for news on a daily basis.

However I will entwine this rant against second hand communication and experiences with a bit of music from Solfest.

In spite of my previous negative comments, Solfest  is still friendly, creative, and the happiest weekend of the year for me. I always meet great people, have long rambling conversations, dance to loud music even though I feel I am too old to do so, laugh at the inventiveness of fancy dress costumes, discover new  music, see amazing landscapes, feel hopeful that there is a little bit of the year that is not cynical and under surveillance but is creative and flourishing. I love going up north, can’t cope with southern festivals ever since my first Solfest. Ironically it has now become a yearly gathering point for people I know from London, Brighton and South Wales.

Every ageing hippie seems to have their favourite yearly festival, the one where they will see their old friends again and maybe have a little smoke even if they gave up on New Year’s day 2000, laugh like teenagers again, and show their kids how to power generators by pedalling like crazy, how to make things out of wood, and basically introduce them to various degrees of alternative living.

Some of my favourite musicians at Solfest 2010.

Here is John Fairhurst playing sitar music on the guitar. I saw him on the main stage on Saturday, strumming hard and fast, blending slide guitar with flamenco and ragas, very impressive. Unfortunately there is no footage of him playing at Solfest, so here he is playing in 2008 at an album launch party.

John Fairhurst , a sublime creative guitarist. Here he  starts quietly and gradually builds up momentum, then later explodes into a raucous manifestation of  many guitar genres peeping out from one another to say a brief  hello. Are you following me? Good, if not, don’t read any more, have a cup of tea instead.

My favourite Drystone stage act at Solfest was Richard Barry and The Chaps from Manchester. Maybe I am biased, I met Richard at a residential songwriting workshop in 1999. His sense of humour, charm and excellent musicianship make him always worth catching. Yet again, there is no Solfest footage his performance. It was pouring down with rain when he started but he still gathered a crowd, and then the sun came out!

Richard Barry and The Chaps – Please Don’t Ration My Fags.

I spent a lot more time in the Dance Tent than I intended to, especially on Saturday night where I danced to Eat Static, now a solo act, but still doing “his”/ “their” thing, and this guy DJ Adsorb who did an interesting set. Well I enjoyed it but I am frankly not an expert in dance music at all!  I’m more of an acoustic guitar person myself. I just liked Adsorb’s set because there was plenty of variety.

Now maybe it’s because I have never taken the right drugs , or possibly because I haven’t taken the correct amount of drugs, or more likely because I don’t even know by what  acronyms the drugs I’d have to take, and ask for,  from someone  two decades or more younger than me, leads me to find the brain-shaking tones of “doofff-doofff-doofff-da-da-dooff-dooff-doofff etc…” looped for an hour, and somehow so loud that they obliterate any other sounds in the mix…..B.O.R.I.N.G..

However this Solfest having spent much time talking to DJs in the Chill-Out tent who had taken the correct drugs, with their abbreviated names, in the right amounts, to like every type of  Dance Music,  I was  re-assured  that what I was referring to, was music that was  “relentless”.

You can actually pretend to like it, then when in the company of those you truly trust, complain that in fact it was “relentless” possibly shaking your head to demonstrate just how relentless it was.

So now I can blend in with people who know and appreciate all types of dance music by saying  ” God, that was  relentless!” and show the punishment I endured with a little  downwards shake of the head.

But as you can tell I don’t pretend to be anyone but the anonymous person I am pretending to be.

I cannot find much footage of Solfest 2010 itself!

But here is some footage from the Dance tent, I don’t know which DJ this is but I am sure someone will tell me, it could very well be DJ Adsorb, this is then contrasted with the Dogs in Space ( Chill-Out) tent, where you will see a few seconds of an amazing trio driven by the jazz beats of the Van Der Graaf Generator drummer: Guy Evans, along with psychedelic guitarist, Nigel Mazlyn Jones and flautist/guitarist Jim Nield. I caught the end of their set and they created a sound as colourful and ambient as the décor and lightshow of the Dogs in Space tent itself, shame there are only a few seconds of this available to show. I thoroughly enjoyed their mesmerizing set of jazz drumming and psychedelia.

The Damned played but I didn’t go to see them, the youtube clips are pretty poor quality soundwise.

Another act who played twice in the Dogs in Space tent and performed in cafés all over the site were the excellent Marley Chingus, from Liverpool,played rich bebop jazz covers as well as their own compositions, their long-haired and bearded trumpet player was particularly outstanding although all of them are very highly skilled musicians. Again no footage of them at Solfest but here they are with one of their own compositions, no trumpet player but a great sax player instead.

Marley Chingus -Neolithic Chant.

Well I’m off now to make some tea and maybe listen to some music. In the meantime I asked a DJ who came to visit my place last night what his favourite Gong tune was. He told me this one because of the electronics in it, the synths were played  by Tim Blake. It’s a fantabulous track beginning with synths, echo and tabla and building up nicely into a freeform jazz jam with psychedelic lead guitar, slide “glissando” guitar, with other sounds and many instruments thrown in for good measure.

So, I’ll leave you with the brilliant and mind-awakening : Gong – A Sprinkling of Clouds (1974)


Love and Peace to all of you

and remember hippies are cool, superficial people are… well …superficial

Born2rant

Acid Mothers Temple,Stearica, Chambers of the Heart (Oxford 30/05/2010)


Hello Good People who still sometimes read this blog…

I return briefly to give a highly subjective account of a gig I went to at the weekend, that blew my mind and which has deafened me although I hope to regain my hearing gradually over the week (wear earplugs kids and don’t do as I did).

I decided on the spur of the moment to go to Oxford on Sunday to see Acid Mothers Temple.

I bought my ticket online, but shortly afterwards realised I was ill with a stomach bug and had a bit of a temperature, but decided to go anyway, these difficulties were  compounded by missing not one but two Oxford Tube coaches ( long stupid story). However I live with the philosophy that if something has many obstacles in the way, then the rewards at the end of it all are bound to be amazing so I forged my way to Oxford from London eventually.

The Bullingdon Arms venue was a bit grim but OK. Many posters about sniffer dogs and a ban on drug dealing, made me realise that I was probably not hanging out in the poshest part of Oxford but the low down and dirty experimental rock part, as it should be for such a gig.

The first act on were a young local band called Chambers of The Heart. I think they were a 5 piece band, it was hard to tell as they were playing in the dark, with only a film projection behind to illuminate them. Sounding like early Hawkwind, they were very loud and jammed continuously well, but in line with the age of the musicians, they sounded too well rehearsed and polished to actually be mistaken for a group who were creating sounds out of the air after taking a strange combination of far too many drugs ( i.e. early Hawkwind or any of the other 70s jam bands crawling out of the squats and back streets of Ladbroke Grove).

Chambers of the Heart had no vocalist but was fronted by a truly excellent female theremin player, who made this contraption her own by making it sing like a drunken but earnest Clanger. They sounded somehow slower  than Hawkwind, but compensated for this by having great swells of  loud energy and contrasting quiet peaceful bits.

I couldn’t find any youtube clips for this band but instead here’s their myspace:

chambers of the heart
http://www.myspace.com/chambersoftheheartgroup

Motorhead may have claimed to have “Everything Louder Than Everything Else“, but that’s only because Stearica was not playing live at the time. Italian band Stearica, have several pleasant-sounding melodic clips of themselves online however at this gig they were loud, forceful, speedy and raucous like this clip but much louder and somewhat faster:

Stearica 14/4/2008 ( in the spirit that I saw them play in)

Again there was no singer, but the drummer was the front man. He was the most manic drummer since Keith Moon , although this reference may now be outmoded. He asked the audience standing a few feet back from the stage,to come in closer, in a strong Italian accent. So I moved right to the front, but I had already become so engrossed in the music than I forgot to put in earplugs. Thereby injuring both brain and ears and experiencing the music in the same way as gorging a curry full of chillies and not much in the way of other ingredients.

The bassist played from a wheelchair, with energy and originality. A third member of the band played synth and guitar through two rows of pedal effects, but I was not able to hear him until the rhythm section stopped playing, and even  then, I wasn’t sure if what I was listening too was him playing high-pitched sounds or my internal screaming tinnitus.

However here he is on an occasion where he can be heard:

There was nothing subtle about this band, but also no boring moments,high-speed all the way through. At one point, in mid-song,the drummer got up and the whole band halted in suspended animation, which was surreal. They kept this up for some time until the crowds cheered enough for the drummer to start back up again and the others joined in perfectly in time. Pretty impressive. If I was running a psychedelic club I’d book them just for their sheer attitude and contagious enthusiasm.

By the time Acid Mothers Temple got on stage , I was already a bit deaf and had headbanged several thousand brain-cells out of existence ( now living in headbanger’s heaven). I was a bit worried that I would not be able to hear the next band or have any energy left to dance with. I needn’t have worried as they cranked up the volume of the Marshall amps even further, and the two guitarists standing in front of me, moved about as they played ,so that somehow I became possessed by a need to dance even more frenetically. I didn’t need drink or drugs, the music was enough to temporarily cure my stomach malaise and send me into a psychedelic trance.

The entire band was Japanese except for the bass player who had broken his arm and was replaced by a white guy with a poney tail and a moustache . He was a dead-ringer for a guy I used to know who was both a devout Catholic and a devout drug dealer with gangster connections.  This phased me initially, wondering if people who look just like other people, have similar personalities and lifestyles, but I digress. He was just a good bass player.

The lead guitarist was an artist. I don’t know his background but I could imagine him starting by learning to play Chopin from an early age and practising this for 5 hours a day and then graduating to Hawkwind, Hendrix, Pink Floyd and Steve Hillage in adolescence.

The front man with long grey hair, on guitar and synth, seemed also to have studied the greats. You note that I do not name them.I  know little about Acid Mothers Temple.

Of course I had heard of this band for some years , and knew that they had a connection with Gong, but the reason why I was at this concert was after a conversation in a London restaurant with some music students.

One girl, who is an excellent musician herself and generally a nice person, was taking the piss out of hippies as most people do. She was telling us about an Acid Mothers Temple gig she’d been to. She described them as being total hippies, who jammed for hours on stage, with a lead guitarist who did twenty-minute long solos, how everyone there was on acid and how there were hundreds of long-haired hippies in the audience either swaying or dancing crazily for hours on end to the loud psychedelic mayhem happening on stage. At which point I had to say “That sounds great!” even though she was criticising them. A music lecturer then helpfully told me that they were on tour and about to gig in Oxford.

I had heard some Japanese “noise” bands from clips on youtube, and this is what I was expecting, but Acid Mothers Temple was not only “noise”, it was bloody good music. It was not “original” music in Western terms, but blatantly imitating early Pink Floyd and Hawkwind jams, Hendrix , Steve Hillage, or other psychedelic artists, re-hashed (pardon the pun) and re-assembled into beautiful musical forms, sublimely executed by these crazed rebellious musicians. The riffs could be  a bit laboured and repetitive, but this had the effect of sending everyone into some kind of  trance. At one point I got slightly bored with the repeated riff  but then the bass player launched into the most amazing bass line in the style of Yes bassist Chris Squire.

But you can hear this for yourselves. A clip of  Acid Mothers Temple, this is one of their famous tracks ,Pink Lady Lemonade..wait for the bass to come in…followed a minute or so later by guitar solo (27 th march 2010 Vancouver)

Here is a little taster of them during a manic more disjointed phase of their musical performance from 2006:

The drummer was tucked away in the back but still drove the ever-changing speed and volume.There were phases in the music of light and dark, the pretty and melodic contrasted with piercing chaos. Feedback was used throughout as an extra dimension as well as prolific stage antics.

On several occasions, I expected the guitarist to smash his guitar to pieces in front of me and was ready to duck or catch it, if it landed in my direction. There were attempts at singing but due to the volume of the instruments it was impossible for either the audience, or the musicians to hear any vocals. At times,even the drum kit , which was being hit as hard as humanly possible, barely registered against the storm of surrounding feedback and electronic overdrive.

But hey, why have one drum-kit when you can have two?

Here is a clip of  Acid Mothers Temple ( with two drummers), doing a cover of a Steve Hillage track :The Glorious Om Riff Somehow they manage to shout the lyrics in a totally different key to the music, I don’t know if this is intentional , or just because they were deafened. Luckily they did not play this at the excellent Oxford gig I attended,as it is a bit painful to a  Steve Hillage fan, and yet it’s still brilliantly rebellious and entertaining. I assure you that they are much more “polished ” in 2010…if polished is the best word to describe them. Anyway Steve Hillage fans should play this clip from around 5 minutes in and see what you think of their cover version. Even later on in the clip, the band gets a tad nihilistic.

Acid Mother’s Temple with glissando guitar ( beautiful!)
14th April 2010 Kentucky

The final 30 minutes of the gig had virtually non-stop strobes. The lead guitarist threw his guitar around and then hung it up on the lighting rig, letting it ring out the feedback before leaving the stage.

Love ’em or hate ’em, the hurricane of electronic sounds and the dedication of the musicians to blow your mind into the ultimate psychedelic experience makes an “Acid Mothers Temple” concert an unmissable cathartic event.

It’s been three days and I still have some tinnitus in my ears, but all in all, that was the craziest psychedelic rock gig I have been to in 30 years.

There were no lyrics, no elaborate lightshows, no on stage choreography, but f*** me it was good.

Go see Acid Mothers Temple before you die, or they do (and bring earplugs).

Love and Peace

Born2rant

Open Mic Songwriting Communities


Hello Good People who read this blog….

Here’s me sounding terribly posh with an Ethnomusicology documentary on how acoustic/folk clubs support and help develop new songs and performance. Sometimes, like other academic research, I might be stating the bloody obvious, or putting long words to simple ideas, but I hope you enjoy it anyway.

Part one

Part two

Part three

Now I have to concentrate on my own music for a bit along with studies and personal life.

So wishing you Love and Peace

Born2rant

Track Listings:

Please note: I recorded over forty different songwriters over two days. Most of them did not introduce their songs on stage and I neglected to ask each one for their song titles , if indeed they had named their songs yet. I have therefore omitted many of the song titles.

All tracks are recorded by myself on a hand-held Olympus Digital Voice recorder (DS-40)

except for track 14) recorded in 1995 by Simon Scardinelli.

Most of the tracks were recorded at The Green Note, 106 Parkway, in Camden ,on Sunday 29th of March 2009 between 1 and 5 pm. The clips from the Virtually Acoustic Open Mic, were recorded at The Perseverance, 11 Shrotton Street, in Marylebone on Monday 30th of March 2009 between 7.30 pm and 11 pm.

1)Benjamin Thomas recorded at the Green Note Open Mic on 29/3/2009 -59 sec..

2)Interview : Dave Russell recorded 18/3/2009 in my home-56 sec..

3)John Peacock playing his song “Iodine”

Recorded at The Perseverance 30/3/2009 at the Virtually Acoustic Open Mic – 1 min. 2 sec..

4)Siobhan Watts introducing Open Mic rules.

Recorded at The Green Note Open Mic 29/3/2009.- 18 sec..

5)David Sherwood introducing his Open Mic

Recorded at The Perseverance 30/3/2009-23 sec..

6) Tom Poslett playing at the Virtually Acoustic Club recorded 30/3/2009-57 sec..

7)Interview: Alan Levy at the Green Note 29/3/2009- 52 seconds..

8)Alan Levy’s song about fridge and dancing on the table. Recorded at The Green Note Open Mic 29/3/2009-32 sec..

9)Interview :“George The Troubadour”

Recorded at The Perseverance 30/3/2009- 1 min. 9 sec..

10) Oka Vanga playing at The Green Note 29/3/2009-47 sec..

11)Alan’s Easter Song recorded at The Virtually Acoustic Club 30/3/2009-25 sec..

12) Clip of general social noise at The Green Note 29/3/2009- 14 sec..

13) Daniel O’Byrne at the Virtually Acoustic Club 30/3/2009- 52 sec..

14) John Gash playing “It’s Easy to be Terrified”recorded at Bunjies in 8/4/1995-

1 minute 9 seconds.

Recorded by Simon Scardinelli at Bunjies Coffee House and Folk Cellar 27 Litchfield street, London WC2 .

15) Tom Nancollas playing “Lady Jane” written by his friend Jan Yates.

Recorded at the Green Note 29/3/09-1 min. 3 sec..

16) Interview :Alan Levy on stage nerves.

Recorded at the Green Note 29/3/2009-21 seconds

17) Interview: Siobhan Watts on quiet and stage nerves.

Recorded at The Green Note 29/3/2009-23 sec..

18) Interview: David Sherwood talking about not playing his songs at his clubs.

Recorded at The Perseverance 30/3/2009-59 sec..

19) Gerry Scales stage talk and song at The Green Note 29/3/2009-56 sec..

20) Clip of Siobhan’s Stage talk: “Ham’s Travel” recorded at The Green Note 29/3/2009-

28 sec..

21) Mike Rosenberg playing “Carved in Stone” recorded at The Perseverance 30/3/2009- 1 min.

Bibliography

Bealle, John ( 1993) “Self-Involvement in Musical Performance: Stage Talk and Interpretive Control at a Bluegrass Festival” Ethnomusicology 37.1:63-86.

Cadle, Peter (1994) Nights in the cellar: A History by Peter Cadle with contributions from performers and audiences over the past 40 years. London:Bunjies pp.6-15

Hesselink, Nathan (1994), “Kouta and karaoke in modern Japan: a blurring of the distinction between Umgangsmusik and Darbietungmusik”,British Journal of Ethnomusicology 3:49-61.

Jang, Yeonok (2001) “P’ansori performance style: audience responses and singers’ perspectives.” British Journal of Ethnomusicology. 10.2:99-121

Kisliuk, Michelle (1988) “’A Special Kind of Courtesy’:Action at a Bluegrass Festival Jam Session”.TDR 32.3:141-155

Seeger, Charles (1977) Studies in Musicology 1935-1975. Berkeley and Los Angeles:University of California Press.

Stockman, Doris (1978) “Zum Problem einer Klassification der kommunikativen Prozesse.” in Philosophische und ethische Probleme der modernen Verhaltensforschung, edited by G.Tembrock et. al., Berlin:Akademie-Verlag. quoted in Hesselink, Nathan (1994), “Kouta and karaoke in modern Japan: a blurring of the distinction between Umgangsmusik and Darbietungmusik”,British Journal of Ethnomusicology 3:49.

– ( 1991) “Interdisciplinary Approaches to Musical Communication Structures.” in Nettl and Bohlman (eds) Comparative Musicology and Anthropology of Music,318-341. Chicago and London:University of Chicago Press.

Film References

Message to Love : The Isle of Wight Festival (1997) BBC documentary Directed and written by Murray Lerner.127 minutes.

Woman of Heart and Mind (2003) Directed by Susan Lacy. PBS Documentary.120 minutes.

Too much partying: Hawkwind and onto Solfest…


Hello Good People who still read this blog…

Some music to start with….

Here is one of my favourite Hawkwind tracks , the apocalyptic “Angels of Death” ( always reminds me of Hell’s Angels)

I can’t embed the Porchester Hall version but you can find it here http://www.youtube.com/watch?v=dsnbxH0etbM

I have been trying to get my strange radio show up on youtube before writing this review but basically I haven’t been able to due to being temporarily enjoying  a second adolescence in the body of someone old enough to be my mother.

So I might as well write what I can remember of the last week or so, excluding some of the most decadent bits.

On Friday the 28th of August I went with a friend to the Hawkwind Party in Porchester Hall  ( W2) to celebrate their 40th anniversary. I had just come back from travelling and seeing friends as soon as I got back to London. I had already way overdone it before the onslaught of the weekend, and spent the morning under my duvet thinking how I was too tired to go anywhere and just wanted to sleep for a week.

At lunchtime a friend of mine arrived to go to the party with me , we listened to “Carl’s Hawkwind Cassette” as part of  getting in “the right frame of mind”. This is a compilation made for me by another friend 20 years ago of some the best Hawkwind tracks, apparently it’s been copied and circulated so much,that bikers totally unrelated to Carl also have a copy.

Hawkwind – “You Shouldn’t Do That

We arrived at about 3.30 pm, it was very strange for me as the location of the party was in the same building as my local library and being the middle of the day, it didn’t quite feel like a “party kind” of time or place. Our first pleasant surprise was getting a free commemorative bag containing a free CD featuring the sadly deceased keyboard player, Jason Stuart, a postcard signed by the entire band, a flyer for the tour, a ticket simulating that of  their first ever gig as “Group X” at the All Saints Hall , a “Planet Rock” sticker and a packet of popping candy.

In the red carpeted stairs up to the hall, some girls in sci-fi costumes on stilts asked us if we wanted to ask a question. We didn’t understand that this was for  a question and answer session later and so proceeded to the hall.We expected a long painful wait until Hawkwind took to the stage but as we entered the room they were already on the stage blasting away. There must have been about thirty people in the audience.  Dave Brock looked kind of surprised to see us coming in. In between songs we were told how we were the lucky ones for being there early we would see Hawkwind twice unlike those who turned up just for the evening.

As soon as we got in the hall, and as the afternoon progressed,the following became clear:

(I’ll be negative to start with and positive afterwards!)

a) Something had gone drastically wrong with the organisation, and as someone who has organised different types of gig over the years I was shocked at certain things especially the “lightshow” . I have seen powerpoint presentations that were more exciting. At one point my friend asked me if it was normal to keep seeing a projection of   drop-down menus projected at the back of the stage. He thought it might be some kind of “sci-fi effect” like H.A.L.,or some computer talking to us visually perhaps.  I said “No, it’s that they can’t operate the computer software. If a lighting engineer had done this at Megadog they would have been shot!” ( or retrospectively maybe they would have been “chilled out” of the organisation).

Also the sound was awful during the acoustic bits and not great,the rest of the time until Hawkwind came on. Sometimes this is a “trick” engineers do to make the main act sound better than the support, like a bride who forces the bridesmaids to wear ugly dresses to make them look better. However I really don’t think that this was the case here, I don’t think anything malicious was going on.

In terms of the café, when I ordered a very expensive egg roll,they told me it would take 30-40 minutes. So I dragged myself  to one of the many fast food places nearby instead.

Hawkwind – “Quark, Strangeness and Charm”

b) On the positive side, we had a great time and we found it very endearing and comical when things went wrong. It was like seeing a band who really was just starting out, maybe playing in a church hall .

I think I would have hated the party if it was all running smoothly like clockwork, with glamour and perfection. The spirit of Hawkwind is anarchy, rough and ready, improvisation, free festivals, beauty out of chaos and  breaking all the rules, all this was evident during the party.

The other acts it seemed, were either composed of members of Hawkwind or roadies .

I particularly enjoyed seeing Tim Blake playing the theremin with great expertise and gurning. It was quite funny when he announced that he was going to play “an acoustic number” for the first time ever with the band “The Elves of Silbury Hill” . He played the acoustic guitar and sang but the sound of his guitar was truly unamplified and his voice was faint too, Dave Brock and the others were pretty good at guessing what chords he was playing thank God. ( didn’t there used to be a free festival on Silbury Hill or am I confusing it with Sisbury Ring or was I at both? Don’t ask me! It was a long time ago when one festival blended into another).

Also playing a set was Huw Lloyd-Langton . He had chatted to us earlier in the audience, and was very friendly although I couldn’t really understand what he was saying to me. I don’t think I took enough drugs to understand what Huw was saying, he was communicating on another level. I recognised him as a familiar face from Portobello Road from  deep  in my past but didn’t realise who he was until he took to the stage. Unfortunately on Friday, anything acoustic was very quiet and muffled, except for the awful poet who was miles too loud. I am a fan of  performance poetry  but this guy’s material reminded me of Vogon poetry.

Here is a clip of Huw Lloyd-Langton jamming from the Saturday set when the sound was a lot better, still he managed to put a few extra beats in there to keep Dave  Brock (on harmonica) on his toes!

By the time Huw did his solo set I had gone out several times for a cigarette in Porchester Road. People walking around in the street in the rush hour were puzzled by what they saw, as the street was lined by the weirdest, most extreme looking hippies mostly dressed in black with long grey hair, many of whom were smoking such vast quantities of skunk that passers-by must have been affected by secondary smoking. Several people asked me what was going on and were surprised to hear that Hawkwind were playing upstairs from their library.

I couldn’t help but think that if this party had taken place in the late seventies , that the drug-squad would have been there,  certainly people would have been searched and arrested. But here we all were, in the middle of London,in the middle of the day, in a town which is half-way to being a chilling example of a police state, and yet one of the most political, anti-authoritarian bands ever, had escaped attention from the local coppers.

Hawkwind- “Urban Guerilla”

There were many comedic moments provided by the compere, although these were not planned. He kept telling us how Hawkwind had made it a true party and festival atmosphere by decorating the hall and all the stalls. Each time he said this, we all looked around at the completely bare hall and wondered what the hell he was talking about. I guess these things materialised on the Saturday but the more he referred to it , the more we chuckled.

Hawkwind – “Assault and Battery “( Porchester Hall on Saturday 29th August)

The compere read out a “timetable of events” from 4pm onwards, it was very informative and interesting, but totally inaccurate! Meanwhile, to be honest I got pretty “tired but happy” and a lot of the afternoon was a blur.

The only event that actually happened on time was Matthew Wright’s question time. It was just like Question Time on the BBC but instead of swarmy politicians trying to sidestep questions and make themselves look good, the questions were posed to a line of mostly totally incoherent members and ex-members of Hawkwind. The questions included ” Where’s Lemmy?” ( answer : on tour). No one dared ask “Where’s Nick Turner, Mick Slattery , Terry Ollis etc?”. Ah, how divorce is hard! Who gets the alimony, custody of the name and all the friends have to choose whose side they are on.

Matthew Wright was the most eloquent and seemingly organised person there, thank God. The most popular question was supplied by a  friend of mine: “What was the most acid you have ever taken before playing live on stage? ( and when and where)” The question made Matthew Wright laugh quite a lot and the panel who were initially reluctant to answer, eventually got involved in a long discussion.

Dave said it was at the Windsor Free Festival, Huw disagreed but I am not sure what he was saying.Then there was a lengthy and confusing debate which involved orange and apple juice. Everyone in the panel contributed enthusiastically, but I’m not sure they were all answering the same question.

By the time Hawkwind rounded off the evening, introduced I think by Bruce Dickinson of Iron Maiden, or maybe he introduced someone else.

Hawkwind started with Assault and Battery and ended with Farenheit 451, which I sang all the way down the stairs and down Westbourne Grove, occasionally punching the air.

“Farenheit 451” ( I would have prefered it with the Truffaut film as a visual)

In between the beginning and end the songs seemed go very fast from one to the other. It’s all a bit of a blur I’m afraid. Matthew Wright sang “Spirit of The Age”. I can’t put a clip up of that version,but here it is from the album.

The also did “Magnu” ( this is footage from the Friday…I will have been dancing like a maniac somewhere not far)

After the gig, I stayed up for a couple of hours and had a couple of hours sleep. I woke up a six a.m., I am usually moderate with my intake, but not this time. I realised I had to pack for a camping trip and catch a train leaving at King’s Cross at 7 a.m. to get to Solfest in Cumbria. I dawdled, writing emails instead of getting ready and then threw a few things in a suitcase. The tube got delayed at Edgware Road, my brain was in a total haze,and as I ran up the stairs to King’s Cross station carrying a heavy suitcase I thought :“I’m going to die of a heart attack running to get to a festival! How fitting!” then I thought of Lemmy and somehow I made it onto that train with one minute to spare , I arrived at Solfest ten hours later…

Leaving you with Hawkwind “Better Believe it”

and another jolly tune “Psi Power” ( Hawklords)

I got to go to bed now, going to bed early for the first time in a couple of months.Will try to get it together to do a brief review of Solfest and much more ranting soon.

Love and Peace

Born2rant

The Big Green Dispersion and Solfest 2009


Hello Good People who read this blog ,

(to anyone who read my Guilfest post, I have just added a video clip of Alice Armstrong at the end of it)

Just a note to say  that I just got an email from my son telling me that “The Big Green Gathering“, probably the official festival most like the older style alternative free festivals of the eighties , has been cancelled.

The Big Green Gathering really does represent  alternative hippie counterculture in all its creative and political forms, so it’s very sad.

Some footage of the Big Green Gathering one of many clips to be found on youtube but this one is particularly well put together.

Here is the notice from the BGG website:

Welcome to
The Big Green Gathering
The world’s premier and award winning Green Festival
Attitude Is Everything – Bronze Level Award
July 29th – 2nd August 2009
urgent message

Dear Friends,
following threatened injunction proceedings in High Court by Mendip District Council supported by Somerset & Avon Police and having taken extensive advice from a prominent QC and other eminent lawyers, the directors of the Big Green Gathering have been left with no other option than to voluntarily surrender the license for the Big Green Gathering 2009. The event will now not take place and the directors’ advice and request is that no one intending to attend the event should attempt to do so, as the site is now closed and they are likely to be turned away by Somerset Police. It is our intention to avoid any form of confrontation or public disorder in regard to this and it is our earnest hope that all those involved will follow this advice. It is with great sadness that we have been forced into this position and we express our profound apologies to all those concerned. The Directors of The Big Green Gathering

This is a very last minute decision. I don’t fully understand why the festival has been banned by the local council and police.

According to the BBC , the festival is cancelled for safety reasons as well as crime. Is this the whole reason? Or is it to stop political subversives from meeting in large quantities?

see BBC website: http://news.bbc.co.uk/1/hi/england/somerset/8169477.stm

is it really that dangerous that it must be closed down?

It looks like a great way to socialise kids and help them to build for the future when the world will change through our abuse of it.

Here are some more highly dangerous and criminal activities at the BGG.Young people making their own films of the festival. These are fantastic.

**********************************************************************************************************

Meanwhile I should be going to Solfest in Cumbria at the end of August( 28th -30th) ,after going to Hawkwind’s 40th Anniversary gig at Porchester Halls in London the night before.

It’s a long way from London but still my favourite festival, the atmosphere is much friendlier than festivals in the south and people go there not to see any particular band but for the festival experience.Everyone is co-operative and creates a good atmosphere, Saturday is “Fancy Dress” day,which is always spectacular and inventive.

I recommend it for any hippies out there who can no longer go to The Big Green Gathering, but get your tickets early.

It only costs £85 for the weekend  including camping  and car with very limited tickets. You can get there easily from Carlisle by train and minibus.

from the Solfest website:

“Tickets for Solfest 2009 will be available from the following outlets:

  • The Carnegie Theatre, Workington, 01900 602122 (telephone and counter sales, cash and cards accepted)
  • The Cumberland Building Society, Aspatria (over the counter cash sales only)
  • The Cumberland Building Society, Wigton (over the counter cash sales only)
  • The Cumberland Building Society, Silloth (over the counter cash sales only)

For Solfest 2009 there will be a total of 6500 adult tickets available. There will also be a total of 750 children’s tickets and 750 Young people’s tickets. When they are gone, they are gone!”

Although I said that it isn’t the bands that matter, the line-up includes The Charlatans who I saw do a great live gig at Guilfest. Other acts include The Orb, Kula Shaker, Adrian Edmonson and the Bad Shepherds, The Beat ( who I was told did a great set at Guilfest too), The Buzzcocks, the  Blockheads, Nerina Pallot, and many more.

Solfest has all the things lacking at Guilfest in terms of quality of festival-going experience.

A sample from last year’s Solfest , as part of the goings-on in the all night Dogs in Space chill out tent featuring a bit of  Tetchi who are billed to play again there this year (this film makes the tent look a lot darker than in real life, it was actually fairly bright in there).

Any comments on why you think The Big Gathering was cancelled?

Love and Peace

Born2rant

p.s. thanks to the UK Hippie Forum, I have found this update about what to do if you have a ticket.Is there a UK Beatnik Forum? and a UK Crusty Forum? and if not why not?

Next time a radio show I made about the songwriting communities of Open Mic clubs in London.

From BGG website ( note that Gong are playing the Big Chill keep referring to the BGG website for news, the Big Chill is a good place if you want a holiday but it’s nothing like the BGG experience in terms of  green anarchy, still I think  it’s good that they’ve done this, better that than leave people totally stranded)

Several other festivals have already approached us, offering to accept BIg Green Gathering tickets for their events. Some have placed no limit on the number of our ticket holders they will accept. Others have offered us a quota… and have told us that they will announce, on their websites, how many they can accomodate and how many places for BGG ticket holders they still have left. So far, if you have paid for a ticket (whether full price or concession) you will find it is definitely good for full admission to SUNRISE 2010 (late May 2010, Somerset) See website for details of how their BGG swap quota is standing and we are hoping, soon, to announce similar swap options for several festivals. Watch this space please.
ALSO
If you are willing to pay an extra £20, you can swap your Big Green Gathering ticket for a ticket to the BIG CHILL. All you have to do is turn up at the gate of the Big Chill with your BGG ticket and your extra £20. We’ll have a stall there, and some of the same speakers who were on our bill (including Jonathan Cainer) will be in their Words In Motion tent. Also on the Big Chill bill are Max Romeo, Gong, Pharoah Sanders and Music from the Penguin Cafe, plus comedy from Noel Fielding, Tim Minchin, John Hegley, Josie Long and Rob Deering.
Click here for the link. Please note; the Big Chill is not yet a Green event but they do have a long history of supporting honourable causes including Amnesty International… and they are now starting to use more solar and wind power. Solar Aid have a presence there this year.
OR
If you really want to make a gesture of faith and support… you can hold on to your ticket and we will honour it at the next Big Green Gathering, wherever and whenever it will be.
If we can avoid having to give too many straight refunds, it will help us survive. And if you are feeling extra-ordinarily generous, you can simply write to us telling us that you are ‘donating’ your ticket towards our survival fund.