Friday March 7th

WIZZ JONES

Well what more is there to say about Wizz Jones? He turned up, tuned up and gave a great performance, as he always does.

Wizz Jones is one of the un-sung heroes of Folk and Blues music, which when you consider his talent and ability to entertain must be one of the great crimes of this and the last century.

He ambled to the stage sat down, said, “Jeff this microphone is sticky” and immediately rattled into two Big Bill Broonzy numbers, went on with his tribute to Mississippi John Hurt and then pulled, as if from nowhere, some classics. My favourite being ‘Story of Love’ – again a Broonzy classic.

He interspersed his two sets with some lovely self-effacing stories. He was dropping names that a big hat would have been hard pressed to catch yet you knew he was just talking of friends he knew, who just happen to be very famous. Telling the story of how it was Ewan McColl that introduced him to Big Bill Broonzy, and of how recently he thumbed his way through Eric Clapton’s recent biography to see where he was mentioned. He found the reference and went to the page. Sure enough, there was the reference to Wizz playing in a pub in London and the great Clapton was there. Wizz can recall the pub, the gig, the set even but not Clapton.

In his second set he treated us to some wonderful playing, which was obvious due to the uncontrolled smiles on some of the audience faces. People were moving round the floor to see if they could get a better view of how he actually played guitar. I think the master song of the second set was his interpretation of The Massacre at Beziere. I have heard it on one of his CD’s but the live performance had so much more going for it.

Overall, a great night and great performance from a great man. Wizz always gives of his best.

Jeff Blythin

15th. February. 2008.

Pete Abbott with Gegor Borland.

This guest night booking was arranged long before the tragic events of the passed week would be known. Pete Abbott the talented singer/songwriter and current member of the renowned and respected John Wright Band was so affected by the sudden passing of John Wright only a week before, that he was going to cancel the gig', but a thought crossed his mind that if he did, the great man would 'kick his arse'.

So stoicaly, Pete battled with his emotions and called upon his friend and fellow J.W.B. member, Fiddle player Gregor Borland to help him out. As all true friends do, Greg dropped everything and flew from his home in Spain to join his pal and hastily rustle up a tribute gig for their former boss.

Pete tentativly opened up with one of his own songs Against the Wall, the mood of the audience was slightly sombre which was only to be expected, but they soon warmed to Pete's humility and honesty.

He was visibly grieving the loss of his good friend but his talent and growing professionalsm carried him along. By the time he got to his fourth song 'Fairweather Friends' the Rhyl crowd had taken him into their hearts and the scene was set for a very moving but highly enjoyable evening of top class music.

After 'It Doesn'nt Have To Be This Way' Pete invited Greg onto the stage to join him sing 'Lancashire Rose', a song of the trials of a wife with a not so attentive husband, but muddles on regardless, because of the kids.

Greg displays considerable skills on fiddle, guitar and mandolin to highten the pairing to its full musical potential finishing the set with 'Almost A Year' which tells of the impromptu meeting of former lovers.

The second set was a brilliant and moving tribute to John, with the lads doing justice to the songs they had performed alongside the great man. Such as Pete's own 'Windy Harbour' as well as 'When my Morning Comes Around' 'All the Lies''The Battle is Over' 'End Of The Innocence' 'Down To Deep' and they had the audience singing their hearts out, as John used to, with 'Whatever Goes Around' and 'Black Clothes' and finally ending the night with 'Family' All in all a moving night of top class music peformed by two really nice guys.

Gentlemen you did him proud.

Nick Gausden © 2008.

Virginia Barrett at Rhyl Folk Club, Friday 19th October 2007

I have to admit that when I first saw Virginia Barrett perform alone, late in 2005, I didn't "get" her songs.

They seemed to be full of the indulgence of Simon and Garfunkel in the 60s, the self referencing of Joni Mitchell in the 70s, and the introversion of Suzanne Vega in the 80s.

Not that these are bad artists, on the contrary, they are very good and popular singer - songwriters.

The problem for me was that many artists like these were writing songs picked up by the teenage angst market, and became two dimensional - lacking a rounded reflection of the human experience.

Steadily, Virginia grew on me.
What I wasn't doing, what I would encourage anyone to do now, is actually listen closely to the lyrics.

Virginia now sings regularly with Stuart Lupton, a guitarist whose beautiful, economical and precise playing compliments Virginia's songs perfectly.

Virginia's lyrics may often be born out of the feelings of frustrated and spoiled love such as "Waiting For Something To Happen", or "One More Day" but even her most poignant songs offers some hope, or a measure of positivity, that other writers rarely portray.
And there is an intelligence, a trust and humanity in her love songs - such as "Little Warm" and "Under Your Golden Shade" - which can often be found wanting in the love songs of some other artists.

Even the more confrontational song "Beautiful Smile" comes with an emotional intelligence that is fairly unique in this type of ballad.

Though singing other people's songs is an exception in her performances, her interpretation of Dave Mallett's "Red Red Rose", and Mike Scott and the Waterboys' "Whole Of The Moon" bring a new dimension to these much loved songs.

The best, most requested song of the evening was "Lighter Shade Of Blue" a beautiful new song written for the friends and loved ones who support us - often unthanked - when we are dealing with sadness and loss. This a song that fills a real need, it reminds us that there are people we should thank, and often we are so distracted we forget.

There were 16 songs in Virginia's set, every one exploring a facet of human emotion with courage and tenderness - a three dimensional thoughtfulness which is so rare and so welcome.

I look forward to her next appearance.

Tony Franks © 2007

John Wright Band at Rhyl Folk Club, Friday 23rd March 2007

The John Wright Band made their annual Spring visit to the club and as predicted it was an all ticket sell out. By now the regulars have come to expect the very best from John and his band and this year was no exception.

Making his second appearance at Rhyl as a band member was the very talented Pete Abbott on guitar and vocals, Pete is also a singer/songwriter much in demand as a solo artist on the folk circuit.

A debut appearance at Rhyl by the highly rated Scottish fiddle player Gregor Borland completed the line up. Gregor also displayed his mastery of the mandolin and acoustic bass guitar.

So the scene was set, and after a terrific opening set by Rum Bum & Concertina, John and the boys took to the stage. With a song list combining old favourites to tracks from the new album 'Gypsy Life' the audience were in the palm of his master's voice from beginning to end.

John Wright has been singing for Rhyl Folk Club now for the past eight years, nobody could have been more professional, consistantly good and such a crowd pleaser. I know you shouldn't wish away your life, but... roll on next spring!

Pete Coe at Rhyl Folk Club, Friday 2nd Feb. 2007

Rhyl Folk Club is one of the most venerable clubs in the North West Federation, having been in existence for well over 40 years now. At the end of 2006 a new venue became an urgent necessity and the club moved to the RAFA Club in Windsor St. This new venue is, without doubt, the best the club has enjoyed in its long existence and it is no surprise that audience numbers are picking up nicely.

It was surely fitting that the club’s first guest following the move was Pete Coe, a man who has filled the top spot at the club many times before. To my mind, Pete bears comparison in some ways to the great Woody Guthrie. He has the same wry humour, the same gritty kind of working class attitudes, the same kind of radical streak in many of his own songs but also the same respect for the many traditional songs in his repertoire and for the singers who handed them on.

The evening started out in fine style with the resident group, Rum, Bum and Concertina (Ted Robshaw, Jeff Blythin and Alun Rhys-Jones) entertaining with their usual mix of anarchic humour and strong chorus songs. Then there were a few songs from yours truly before it was time for Pete to take the stage.

Pete’s opening song was ‘Penny for the Plough Boy’, a belting song composed by Colin Cater around the traditions of Plough Monday; strong tune, great imagery, a singable chorus and a clear indication of what to expect for the rest of the night. Pete certainly has an ear for a good song and his repertoire is just full of them, every one a gem.

Traditional ballads like ‘An Acre of Land’ (related to the well known ‘Scarborough Fair’), ‘Across the Western Ocean’ (learned from Stan Hugill) and ‘The Banks of Red Roses’ (learned from Sarah Makem’s next door neighbour during a sixties trip to Ireland) were well to the fore. These old songs rubbed shoulders quite comfortably with some of his own compositions including ‘The Seven Warnings’, ‘None so Steady’ and the old favourite ‘Joseph Baker’.

Pete is not on any kind of ego trip, however, and his own songs are easily outnumbered by the works of other writers. His version of Don Bilston’s ‘The Fireman’s Song’ is a particular favourite of mine and, as ever, Pete accompanied the song, not just with his bouzouki, but with his feet, step dancing in time to the rhythm. Pete quipped, ‘this seemed like a good idea twenty years ago’. I know what you mean Pete.

Pete is not just a bouzouki man, of course. Anyone who has seen him will be well aware of his prowess on the melodeon, the Appalachian dulcimer and the five string banjo too. Each accompaniment clearly has been invested with a lot of care and thought and is a model of how to enhance a song with appropriate playing. He changes instrument with almost every song; there’s surely no way that an audience could get bored when Pete’s on stage.

All too soon we’ve reached the final song of the night and Pete launches into Vic Gammon’s ‘Kings and Queens of England’ a deliciously seditious song and a suitable moment for any royalists in the audience to go to the toilet. I look around but don’t see anyone heading for the exit. It must be said that the Rhyl Folk Club still preserves that left wing flavour which was a mark of the folk scene in the sixties. In other words, I don’t think many of us voted for Maggie.

The thunderous applause leads to an inevitable and well deserved encore for which Pete trots out a reworked version of the old hymn, ‘Light from the Lighthouse’, with new words by former coastguard worker Bob Zentz. This is possibly the best chorus of the evening and the audience respond accordingly.

This, for me at least, was an evening which represented everything that a good folk club night should have; great music rooted in the tradition, plenty of choruses to join in, a radical viewpoint, a sociable gathering and a very enjoyable (and not too expensive) pint of best bitter. All this is a million miles away from the celebrity obsessed bullshit we spend the week trying to avoid in the media. Whoever invented folk clubs should get a medal, I say.