Tuesday, June 08, 2010

Transports of Delight


A couple of weeks ago I was walking along the river, through Bristol's prestigious "impossible to get anything remotely resembling a glass of beer" quarter. On the courtyard in front of the Lloyds building (usually occupied by young men falling off skateboards) I stumbled upon what was obviously some kind of convention or flea market for bus enthusiasts.

You may think that "bus" and "enthusiast" is a contradiction in terms, and I may think that "bus" and "enthusiast" is a contradiction in terms, but the people who were walking around the convention writing down bus numbers in their notebooks were clearly very enthusiastic indeed about buses. And there are apparently enough of them for it to be worth holding a convention in Bristol. There were perhaps 50 or 100 buses: buses that didn't look much more ancient than the ones one waits for on Stokes Croft; buses that looked so old that you wondered why they didn't have horses attached to them. Mostly local and country buses; green buses and buses with regional insignia and heraldry. I venture to say that the fans of scarlet painted London Transport diesel engine 97 horsepower London buses have their own conventions, and laugh (ha!) at regional bus fans. (I am city kid. Buses are red and it is only in quaint places outside the Thames TV area where you visit elderly relatives that buses are green. I have heard that if you stand outside Cockfosters tube (where the London Underground comes to an end) you will eventually see buses turning from red to green, and do in part believe it.) Some of them wore the uniforms that bus conductors wore in the days when there were bus conductors.

I assume that an individual collector can't possibly own his own bus. Presumably, there must be vintage bus societies, and each vehicle must represent thousands of pounds and thousands of hours work by society members. I picture them packing up their sandwiches and piling into the society bus, and then converging on Bristol at an agreed time, like Hells Angels or the Caravan Club. (The last time I went to Bournemouth I discovered the phenomenon of the costumed marching band: a large group of local men in Spider-Man suits doing cheer-leader majorette type marching, followed by, as it may be, a group from Clacton all dressed as Buzz Lightyear or a group from Lewes all dressed as Vikings. Can you imagine a better excuse to visit a different English seaside town each month during the summer? Well, yes, so can I, but that isn't the point I'm trying to make here.) And of course, there were trestle tables on which people were selling antique bus time tables, back numbers of bus magazines, cigarette cards with buses on them, and old Corgi models of buses, many of which are much sort after by the sorts of people who collect corgi models of buses.

Now, I have always taken it for granted that someone, somewhere knows about buses. If I were making a movie set in Weston Super Mare in the 1950s, an admittedly remote contingency, I would expect to be able to give someone a ring and say "There's a scene where my hero is waiting on the sea front to meet his girlfriend off the bus. Please, what kind of a bus should it be?" Some people believe that history grows wild on the Internet. You can close history departments, fire the academics, give all the universities a restructuring they'll never forget, and when the BBC wants to make a lavish costume drama about the life of a kitchen maid at the time of bloody Mary, trivial data about Tudor dish-washing will magically fall from the sky. But I guess I'd been assuming that bus experts were a species of Local Historian or a sub-phylum of Vintage Car fanatic. But no. It appears that there are people whose whole life is buses.

I imagine they are just as bored with people who say that you wait hours for a bus enthusiast and then a hundred come along at once as I am with people (and I'm looking at you, Venue magazine) who can't see a meeting of strip illustrators without saying "Zap!" and "Kapow!"

At this point in the proceedings you would very naturally expect me to start using expressions about "getting a life", wondering whether these bus enthusiasts would ever "grow up" or if indeed they had ever "got laid". But in fact my reaction to a courtyard full of people wondering whether this 1/76 die cast ABC model West Midlands PTR Volvo TRA 5005 was in better condition than that 1/76 die cast ABC model West Midlands PTR Volvo TRA5005 was to cry out "Brother!" or at any rate "Distant cousin twice removed on my Auntie Annie's side!"

In my third favourite pub there is sometimes a group of people who spend the evening talking about their capacitors and their resistors. It turns out they are radio amateurs. Not even Citizens Band: I don't think C.B ever really took off in this country. Proper Hancock style Radio 'Ams. How can it possibly be fun to use home made radios (and Morse Code, for heaven's sake) to communicate with people from other lands in an age when electronic mail, and, I believe, telephones, are relatively common? There's only one possible reaction to this kind of stupidity. "Fellow geeks!"

There is literally nothing better in the world than a group of friends getting together to do something they like. When it's something that hardly anyone else likes, something which everybody else thinks is quite silly – something which in the cold light of day, even they realize is quite silly – that makes it even better. Rather noble. Rather Corinthian, if that's the word I'm groping for. I don't know why the 1972 Pagham – Littlehampton time table was so much less beautiful than the 1964 version had been. Why should I? They don't know that the 1996 invasion of Earth by the Mekon was only defeated because the human race bothered to practice redundant skills like horse-riding and sword-fighting which the Treens had long abandoned.

So. I hope you all enjoy your big game of kickabout very much indeed. But please – don't pretend it actually matters. And do try not to kill anybody afterwards.


You've done this one before - Ed





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Sunday, June 06, 2010

Martin Carthy / Jim Causely / Emily Portman

Bath Fringe Festival (Tent)
4 June

Martin Carthy wasn't allowed to do an encore. He had already sung all twenty four stanzas of Prince Heathen, including the twiddly bits between the verses. So the show had gone on 15 minutes longer than planned: any later and the tent might have lost its licence...

He also did Lochmaben Harper, which I'm sure I've never heard before, about a harper who makes one of those unwise bets that he can steal the king's favourite horse. He (Martin) claims that it is the most satisfying song in the repertoire. When you know as many songs as Martin Carthy you must have a lot of favourites. (The harper's wife comes up with a ruse to win the bet. Martin says it's always the musician's wife who has to think up a "plan B".)
He also does a lot of the old staples, of course, including the most spine-tingling version of the The Trees They Grow So High I've ever heard.

Jim Causely is notably less silly without Mawkin to banter with, but these things are relative: the set includes a song about a ferret to the tune of My Grandfather's Clock! (And Snow White and the Seven Dwarves, of course.)
His accordian playing is pretty good. There's a poetic vibe to the set. He sings a version of a Dylan Thomas poem about looking for "long linbed summer girls" on the beach. (
"If I tell you who it's by, you'll say "meh, Streets of London"). He also does his own rendition of
"All Souls Day" by Charles Causely, of whom he turns out to be a distant relation.

Emily Portman, who I've never heard before or of, sang a lot of down tempo songs of her own, cleverly and obliquely inspired by fairy tales. They were very dense and I'd like to hear them again. I enjoyed the
jolly traditional number about wife beating ("He put the salt-hide on her back / Hide woman hide /He beat her blue, he beat her black / That'll lay down your pride"). I'm not sure we actually needed the additional verse in which the man gets his comeuppance: we could probably have taken it for granted that the singer didn't approve of domestic violence. She finishes with a Lal Waterson song in which Martin Carthy joins her. Isn't it lovely that such a senior performer will play guitar for the relative newcomers who are supporting him?

As a result of the lady spending quite such a long time refusing to cry when the heathen dog tells her to, I missed the last train back to Bristol and had to sit on Bath Station until 1.15 AM. Worth it, though, definitely worth it.

Friday, May 28, 2010

Nancy Kerr and James Fagan

Jazz@FutureInns Bristol
19 May




I suppose you are are expecting me to say something interesting or clever about this weeks performers.

Well, then.

Nancy comes from England and James comes from Australia.

She plays the fiddle and he plays the ouzouki. I know this because I overheard him telling somebody in the interval that that's what it was. Otherwise, I might have thought that it was a guitar.

They just had a little baby boy named Hamish, who will one day be able to tell his friends that his granny was Madeleine the Rag Doll.

They used to live on a boat on the river outside Bath, but have recently moved into a house because of the baby, which brings them out in a lovely song about sailors longing for the land.

They do a nice line in clever song medleys, so that Thaxted (I vow to thee, my country) turns into Sad To Be Leaving Old England, with just a level teaspoon of Hard Times Of Old England for seasoning.

Nancy has a delicate, little-girl-lost voice; James is more robust, less folk songery.

Nancy sings a lovely gypsy influenced version of Barbary Allen which she says is the first song she remembers her mother singing.

James opens the second half with some contemporary Australian tunes. Blood Stained The Soil of Australia was completely new to me: one of those leftie anthems which makes you want to go on strike regardless of your previous political affiliations. It was written by their late friend Alistair Hulett: I have to say I liked their version better. James also does a not at all folkie but very good song called The Long Run apparently written by a group of left-wing economics students.

The Australian side of the partnership definitely dominates tonight's set: the first half finished with the mighty Farewell to the Gold -- not quite as good as Nic Jones version, but then, what is? Nancy contributes her own ballad about Ned Kelly's final days in Jerilderee. Their next album will consist entirely of original Nancy songs.

Words like "sweet" come to mind when I try to describe the partnership; the music, even the angry political songs are light, melodious, catchy.

Hamish gurgles occasionally from the back row: we're assured he likes Mum and Dad's songs and will go to sleep if we join in the choruses. From time to time during a riff they catch each other's eyes and grin or laugh. The venue is ridiculously empty, but you can tell how much they enjoy being on the stage together.

So, I shall attempt to say something clever and insightful about the evening:

"Nancy Kerr and James Fagan play nice songs, beautifully."

And they seem to be nice people as well.