Acoustic Monthly September1st

Free

On-line Acoustic Music Magazine

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A truly remarkable musician andsinger/songwriter.

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If you are getting under thebright lights, remember to SEL.yourself. See page 11

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Luthier, musician & Philosopher.

●Skinny Lister @ the Donkey.Carrie & DannyLook Out For……Acoustic FeaturedAnd Lots, Lots More

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Nigel takes a look at the GrandConcert

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In this issue

Welcome to the first ever issue of! We are the first UK,

Online based magazine dedicated to ALLacoustic Music. We will be sharing techniques, tips,tricks and reviews from instruments toaccessories, starting this month with the

. In every issue you will find inter-views with top acoustic musicians andsinger/songwriters, also music reviewsand upcoming events. We take an in-depth look at per-forming and gigs with tips to help youalong the way, this issue we look at Stagemake-up with professional make up artist

. We have really enjoyed making thefirst issue, and look forward to supplyingthe Acoustic Music Scene with a valuablereference in the future. If you feel thereis something you could give, or would liketo see in the magazine, feel free to emailus here atcontact@acoustic-monthly.com

Lastly, enjoy!

4and their relevance

6 A truly remarkable musician and songwriter

11Gives tips on make-up under the bright lights

13Kevin tells us about the Kontra Roots Club

17Our monthly look at who to

22Nigel Elcoat takes a look at the Turner 42CE

Grand Concert

An accomplished fiddle player and slide guitarist, Touring the UK soon

26Skinny Lister, Reviewed in that one and only Skatz

Style.

28Luthier, Musician and Philosopher by Phil Trate

31New artists, exerienced artists, all come together in

our feature spot

33Together on their UK Tour

36 What’s coming up soon. (More on the web-site later)

38Our version of the Classifieds

If you didn’t advertise in

this month, it’s because youdidn’t contact Shelley.

3

choice, also print a press release in25 words, 50 words, 100 wordsetc. These were often done by copywriters who charged an arm and aleg to do them, and some times stilldo. Also a CD was in the package ortape or vinyl in the early days. Theywould be sent out to anyone youthought might give you publicity orbookings, such as Club Owners,Agencies or the press. The presswere always looking for articles fortheir papers etc. so if you gave themone that saved them time, theywould be over the moon and yougot to be in print.

These days we have the world wideweb, so all you need to do is relatethis history to the web. You haveput up your gallery, so they see youcan perform, also music clips fromyour album, so they can hear you,so what else do they want?The main things are a collection ofphotos and different size write-ups.There are other parts you can addbut we will not deal with them heretoday.

Press Packs

Press packs are they important ?Are they still relevant to today’sgigging bands and performers? Wellyes, but performers are notoriousfor not doing them. They willpractice all day to get vocal andnote perfect, and now they wantthe bookings, but they don't do thework it takes to get them. Is itsimple? No, but like your choseninstrument you have to startsomewhere and the more you doit, the easier it gets. Other wisethere are people out there that cando it for you.

Back in the early band days and notso long ago, they were normallysent out by post and were quiteexpensive to do. To send out athousand Press Packs you wouldneed to print out 1000 photos,sometimes 2000 to give them a

Bob Spencer

Talks about

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Say “thank you Bob” because I’mgiving away valuable information tomy rivals here. I am a photographerand do this type of work.

Just put yourself in the position ofthe people who may or may notbook you. Their web-site maybeneeds a small image of theperformer for the Home Page anda larger one on their Listings page.That’s fine, but the person you areasking either spends a lot of theirtime updating and looking after theweb-site, or they spend a lot ofmoney on the same. So give them areal choice. Offer images thatreflect the performer, but still gowith the web-site in question, eg.“Your purple photo does not gowith my orange web-site”. So givethem a choice, a black background,a white background or an imagewith no background at all. Use yourimagination and look at theproblems of the person you areasking to book you.

Finally (on this article anyway) wehave the Press Pack write-ups.Again, try to see it from theperspective of the club owner orthe people who need your write-up. Some clubs need a small write-up for the Home page to getpeople’s attention, and a moreintuitive write-up for the Listingspage. Give them write-ups tochoose from, 25 words, 50 words,100 words. You would not believethe time this would save the club ifall the Guest artists had these ontheir web-sites. If you email a guy tosay “Giz a Gig” Yes, your music hasgot to be good, but if the other guysmusic is as good as yours, but youhave done your Press Pack, thenthe the club owner will look with

more favour on you because youhave just saved him 2 hours work.

Also there are dozens of places onthe web that need write-ups justthe same as the papers etc. A fewyears ago local papers andmagazines would welcome outsidewriters to submit their articles.There are countless music magsout on the web that wouldwelcome a write-up on your music.Do a search and find the right ones.Don’t try to submit your folk musicto Local Thrash Bands Weekly. Useyour head. One last word about theformat. Look how I’ve written thisarticle, a sub title, then a paragraphabout the sub title. Start with thismethod, and you can sort out howto do it better later if you wish.There is a lot of help for writers outthere so you can always get moreinformation to better yourresponse.This Magazine needs all the help itcan get so go to Apache OpenOffice Org and download one ofthe best word precessors for freeand get typing.

Happy Writing

Bob Spencer

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5

His ability to jump genres has beenthe main reason he has flourished asa professional musician for 23 years.As he puts it,“I wouldn't be able to make a livingas a singer-songwriter alone, or ajazz pianist, or any one thing – thevariety keeps me afloat, but alsokeeps it fun.”

Chris has worked with a surprisingarray of musicians, once touringwith Monkee Peter Tork, or withthe Vikki Clayton Band rubbingshoulders with members of JethroTull and Fairport Convention. In hisduo with Dan Britton he hasopened for Bob Geldof, RichieHavens, Roy Wood, JeffersonStarship and more...

He has released 88 albums, eitherunder his own name or with hisbands or in co-operation withothers, and he's also become aproducer for other artists. Chrissays

Chris Conway

Summing up Chris Conway's musicin an article is no easy thing – letsjust say he plays a lot of differentinstruments, in a lot of differentbands, in a lot of different genresand released a lot of differentalbums.

Hailing originally from Michigan,USA, coming to the UK as a child,Chris Conway has been a fixture onthe Leicester music scene for over20 years. You might find him todayplaying his songs at an acoustic club,playing jazz piano in a bar, playingIrish whistles with Celtic bandGovannen, or making strangenoises with his theremin atelectronic jam sessions orrecording relaxation albums athome.Jumping Genres

Shelley Rose

Talks To & About

Chris Conway

“Yes it's become a bit of a problemhasn't it? I've always loved recordingand each group or project wants tomake an album an album”.Some sell only a handful, whileothers are with labels and sellseveral thousand around the world.

So what is he up to now? As usualhe's busy on a lot of fronts so it'seasier to divide things up.

Celtic band Govannen with DanBritton, Adele McMahon and NeilRabjohn is his busiest band live,playing weddings, ceilidhs, concertsaround the midlands. It's a busyworking band with two identities.They play the old Irish songs inrowdy pubs, but they also recordatmospheric Celtic chill out musicfor new age label Paradise Music.They have just released a newalbum, produced by Chris called

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Shanovitch who just released a newalbum Undiscovered Time this year.

The Theremin – that strange elec-tronic instrument you play without

touching –came intoChris's life12 years agoand drovehis interestin electronicmusic. For 3years ormore he hasrun a

monthly improvised electronic mu-sic session in Leicester called Quad-electronic. He also has a duo withJim Tetlow called Memory Wirewho make atmospheric ambientmusic and have released 4 albums.Chris says, “Electronic music I dofor love, because no-one ever buysit or comes to gigs. Enthusiasts aretoo busy making electronic musicthemselves!”

Chris spends much of his time in theday recording new age, relaxationmusic for the Paradise Music labelfor whom he has recorded manyalbums. His latest one Celtic

Celtic Earth, the follow-up to CelticFire which won an award in theUSA for best world music album.

Chris performs his own songs soloor with Dan Britton or with hisbacking trio with Neil Segrott andNeil Rabjohn. He plays an blend ofmellow West Coast American influ-enced songs (think DavidCrosby/James Taylor) which hemixes with humorous sci-fi songs (agenre known as “filk”), Irish whistletunes and hints of jazz, 60s, bossa,and world music songs backed byhis African kalimba. Chris onceoverheard someone trying to de-scribe his songs to someone else.They said “He plays songs aboutlove and peace... and outer space”.That has been his tagline ever since.

Chris start-ed out as ajazz pianistand stillplays solo orin duos withsax playerAndy Ni-cholls andoccasionally with his jazz band,mostly in restaurants, jazz clubs andweddings. He also writes and singsjazz songs and Brazilian diva Itha-mara Koorax recorded one of hissongs.

Since he took sitar lessons 25 yearsago Chris has been involved inworld music, usually fusions withIndian music, mostly in 2 bands –The Rain Garden with sitar playerCarl Peberdy and London basedJazz Orient – also known as Re-Orient - with sitarist/tabla playerBaluji Shrivastav and singer Linda

Dreamer is his fastest selling album.He explains, “It's a fun way of mix-ing mellow electronic music withCeltic and world music, just as Ialways have – I just slow it down abit and add more reverb”.

Confused yet? So is Chris some-times, but he likes the variety. As heputs it, “If I was a baker I wouldn'twant to just bake macaroons.” In adifferent analogy he adds, “I likeevery week to be different – eachgenre for me scratches a differentitch.”

If variety is the spice of life thenChris's life is a vindaloo.

9

Skin Prep your face with a primer. Areas of the face holdfoundation differently and a primer will create an evensurface.

Apply foundation on all of your face that is a shade darkerthan your skin as the stage light tends to wash out thecolour. Choose a foundation with yellow or neutral, ratherthan pink undertones. With the help of a damp spongeblend it down onto your neck.

Lightly set your foundation with a yellow-based mineralpowder to avoid the ‘oily look’.

For a natural cheek, apply a blusher just on yourcheekbones. Use the same color as the undertone of yourlips or blood vessels.

EyesIn order to make your eyes appear larger, use a matt eyeshadow to draw thin lines: underneath and above.

Start with a top line by applying it at the inside corner ofyour eye, close to your eyelashes. When you get to themiddle of your eye bulge, take the line away from the lashline. Think of drawing a straight line extending out tocreate a flick. Fill in the space between the line andeyelashes with the same colour.

For the bottom line find the lowest point of your lowereyelid and make a small dot. Apply the matt eyeshade as astraight line from that dot perpendicularly extending toyour inner and outer eye corners.

Use the flesh tone eye shadow to fill in the space betweenthe lower line you created and the inner waterline. Finishoff with curling your eyelashes and non-clumpy mascara.

LipsOutline lips with a lip liner before applying a lipstick. Blotyour lipstick with a tissue, powder your lips and applylipstick again. Repeat the process 2-3 times to ensure thatthe lipstick stays on all night. Avoid lip-glosses and neonshades. If you have no time for blotting, lip stains will bean easier solution.

Stage Make-up Hints & Tips

It is important to remember that stage makeup is different to ‘going out’ or ‘day-to-day’ make-up. Under the bright stage lights your face can look ‘washed out’and your skin can appear too pale. The make-up tutorial below helps to enhanceyour features while still looking natural on the stage.

11

Interview with

Set up in 2005 by roots musicianKevin Buxton, Kontra Roots Pro-motions is an informal organisationdedicated to promoting qualityacoustic roots music in the North-amptonshire area and beyond. Itfounded and organises the highlyregarded Kontra Roots Club, aswell as The Finedon Sessions con-cert venue, and in addition suppliesacts for several first-rate venuesand festivals in the region.

Kev will be writing a regular columnfor the magazine over the comingmonths, so we thought by way ofan introduction we’d ask him a fewquestions about all things Kontra,past and present.

**********

Bob Spencer

Talks to

KevinBuxton

This system of drum construction is unique to FlintPercussion as it allows for a truly ‘suspended’ drum shell.This is achieved by having the drum shell ‘suspended’between the top and the bottom drum skin, with noexternal hardware being in contact with the shell .This system of tensioning means that both drum skins areat equal tension. The pitch of a drum skin is a function oftension, and its material characteristic. Generallyspeaking, a ‘thinner’ drum skin will have a higher pitchthan a ‘thicker’ drum skin, for any given value of tension. Flint Percussion have designed their own snare throwlever that fixes to the bottom hoop, instead of the drumshell. Once again this system is simple, and very robust.The butt plate and tube lugs also fix to the bottom hoop. The throw lever has twin functions of snare application,and snare wire can be adjusted whilst the throw lever is inthe on, or off, position.  Once constructed, this drum tensions both headssimultaneously by means of tightening the top screws only. The result of this unique construction is a drum with ashell that is 100% resonant, and enhances the full tone ofthe shell, whether this is made of wood or metal.  Due to it's enhanced resonance, our Kit Snare isparticularly suited to drumming styles of reggae and ska. "Because of the isolation of the hoops from the shell,cross-sticks and rim-shots are both splendidly clean andcrisp" – Rhythm magazine June 2012.

www.flintpercussion.co.uk

12

Interview with

KB: Well I enjoy putting on agood show. I have a theatrical back-ground and I’ve always had this urgeto entertain people, so when I real-ized that people were having a goodtime at these nights I started think-ing about how I could improvethem.

Q: Improve them how?

KB: I changed venue for onething, moved to the Monk & Min-strel pub in Isham, just south ofKettering, a bigger, well establishedmusic pub with a good reputation,whose then landlord was very sup-portive. Gradually more peoplecame along and I started putting ontwo featured acts instead of justone. I also started inviting perform-ers from further afield, really goodplayers who I’d met on my travels.Gradually the open mic element randown as people came primarily tosee the guests. Eventually, in Sep-tember 2006, we relaunched theevent as Kontra Roots Club, featur-ing three or four diverse, qualityacts, with no open mic at all, andover the next two years the clubslowly evolved, building a reputa-tion for presenting entertaining andeclectic evenings of very classyacoustic music.

Q: Kontra Roots Club is now in its

8th year and is recognized as one ofthe best acoustic roots showcasesin the Midlands, and indeed the UK.You’re a roots musician yourself.Had it always been your ambitionto run a club?

KB: Not at all. Nothing couldhave been further from my mind! Itwas a complete accident. Back in2004 a friend of mine started run-ning an open mic at a country pubnear Wellingborough, then sudden-ly decided to relocate to Irelandand asked me if I fancied taking itover. I was busy trying to establishmy then band – Kontra Band – onthe acoustic circuit at the time, sorunning an open mic just wasn’t onmy agenda, but some voice in myhead stopped me from saying no,and I must say I’m very glad it did.

Q: How did the club develop froma humble open mic?

KB: For the first few months Ithought I was making a big mistake:the open mic wasn’t well supportedand I didn’t really enjoy it. I was onthe verge of calling it a day when Ihad the idea of putting on “featuredacts” - good local solo performersor bands - to finish off the eveningwith a 30-40 minute slot to ensurethere was a bit of quality to theevening - just in case there hadn’tbeen previously! Featured acts arecommonplace these days of course,and the majority of open mics nowhave invited guest performers, butback then hardly anybody did it.Anyway, it proved to be a greatsuccess and was a real turningpoint.

Q: And you must have started en-joying yourself!

Q: You’ve now got a superb venuefor the club, at Kennedy’s Bar inFinedon. When did you move there?

KB: We moved from the Monk& Minstrel in 2007 after a disastrousrenovation killed the atmosphere,then spent 18 months at the WhiteHorse in Woodford, a wonderfulpub which was unfortunately on itslast legs. When that closed in No-vember 2008, Julie Carr atKennedy’s invited us to transferthere. It proved to be the perfectvenue, and the club really startedtaking off once we got going. It’snow become our natural home andI can’t imagine running the club any-where else.

Q: You have a reputation for at-tracting some of the best up andcoming acoustic talent from acrossthe country, as well as more estab-lished performers from home andabroad - including many profession-al performers. I understand they allplay for no fee, just basic expenses.How on earth do you manage it?

KB: I sometimes wonder that my-self! I think it’s down to getting thebasics right. Most important is thesound. Geoff Bland, my Kontrapartner, is one of the best soundtechnicians around, and no matterwho’s playing he goes to infinitepains to ensure the sound is spoton. We get quite a lot of acts whotell us we’ve given them the bestsound they’ve ever had. The otherreally important thing is our audi-ence. We’ve built up a large, enthu-siastic and regular audience whoactually listen to the performers.There’s no talking at all while theacts are playing, which is rare evenat good acoustic venues.Performers really appreciate that.Audience average is about 40 at the

Kevin Buxton

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A premier league singer-songwriter wholearned her craft in the tradition of the trueBritish troubadour, by uprooting and buskinthe streets of European cities with a bat-tered guitar and seeking out those whoinspire and inform her music. A writer ofstunningly honest songs that sit somewherein a musical genre between Gillian Welch,The Be Good Tanyas and Beth Orton, shehas the rare ability to hold an audiencecaptive with her emotive songs, exceptionalvoice and skilled guitar playing. With a bigEuropean and UK following, Emma hasopened for acts as diverse as The Fall, HughMasekela, Salif Keita, The Indigo Girls, TheZombies, Nancy Kerr & James Fagan, andDr Feelgood among many others, and shehas just released a brand new album, Swim-ming In The Moon, that features some ofthe finest grassroots musicians around to-day. A must see performer of rare purity.

(www.emmablack.com)

KONTRA ROOTS CLUB

EMMA BLACK

OUR NEXT MEETING AFTER THE SUMMER BREAK WILL BE ON14 SEPTEMBER WHEN OUR GUEST WILL BE:

Held on the 2nd and 4th Fridays ofthe month at Kennedy’s Bar in Fine-don, Northants, a typical Kontraevening will showcase three veryvaried, top quality acoustic rootsacts, who play for 45 minutes eachapprox. The club starts at 8pm andruns through till 11pm or later, andthough admission is free, we dowelcome voluntary donations.Kennedy’s is an ideal venue foracoustic music, characterful andfriendly (it also serves real ale) andit can be found at The Tower SportsGround, Irthlingborough Road,NN9 5EJ.

couple of other venues myself, areally good act can often get two orthree gigs from me as well at differ-ent venues.

Q: That’s right, you run several oth-er venues as well as Kontra RootsClub. Tell me about those.

KB: Well, just up the road fromthe club in Finedon is the Commu-nity Centre, our concert venue,where we hold quarterly acousticconcerts called The Finedon Ses-sions, usually on the first Fridays inFebruary, May, August and Novem-ber. These feature big name actsfrom the world of folk, blues androots, with supports from thecream of the acts from KontraRoots Club. The Community Cen-tre is a very imaginatively convertedMethodist church, which has won-derful acoustics and atmosphere,and in my opinion is one of the bestvenues in the region for roots mu-sic. We’ve had a wide variety oflegendary acts there since we start-ed in 2008: from Julie Felix andRichard Digance to The PrettyThings, who came and played aknockout acoustic set for us lastyear. Tickets are very competitivelypriced too, usually between £8 to£12, which is about a quarter to athird cheaper than the norm.

Q: Tell me about Joules Yard.

KB: Aha! Joules is my other mainvenue, and certainly my most ec-centric as it’s also an antique shop,restaurant, garden centre and laun-dry! It’s just off the High Street inMarket Harborough and is actuallypretty impossible to describe– youreally do need to go there to fullyappreciate its uniqueness – but I’vebeen booking acts at Joules now forthe last two years and its become

moment, not counting musicians,and I can’t remember the last reallyquiet night we had. I’m told that wehave a top class reputation on theacoustic circuit, and as a result I’mapproached by all kinds of tremen-dous performers, many of whomtravel from across the country toplay for us, as well as some superbmusicians from abroad who regu-larly include us in their schedule.

Q: The most incredible thing forme about the club is that admissionis free. I’ve been to clubs whereyou’d pay at least eight or tenpounds for an evening of similarquality. Have you ever thoughtabout charging?

KB: It crops up from time totime, but we’re basically non-profitmaking and I don’t want to changethat. Because it’s a free night, peo-ple are actually quite generouswhen buying raffle tickets – pro-ceeds from which go towards artisttravelling expenses – and we alsohave a contributions bucket. It’squite possible for a popular act tomake quite a reasonable amount.One of our most popular perform-ers recently got £40 expenses andsold two dozen CDs, which meanthe went away with over £200,which isn’t bad!

Q: I know a lot of performers areprepared to travel a long way toplay a good gig, even if they don’tpay much.KB: That’s very true, and playingthe club also helps to “break” an actin the area if they’re not wellknown round here. We get most ofthe local roots promoters droppingin from time to time to check outinteresting sounding musicians, soan appearance with us can oftenlead to other work. As I organize a

hugely popular with both audiencesand musicians alike. Throughout thesummer there’s music every Satur-day evening and Sunday lunchtime,much of it free, and, like my otherevents, it’s very eclectic, high quali-ty stuff. Joules really is somethingspecial. Well worth checking out.

Q: All this must keep you incrediblybusy!

KB: It certainly does, and in thesummer I organize a few small festi-vals too so it’s pretty non-stop. For-tunately I really enjoy it, and I evenfind time to play my own music too!

For more information about allof Kev’s events, go to:www.kcbworld.co.uk.

Club Owners, Agencies or thepress. The press were alwayslooking for articles for theirpapers etc. so if you gave themone that saved them time, theywould be over the moon andyou got to be in print.

Kevin Buxton Continued

15

Polly's debut single and title trackfrom the album, ‘Mr. Bookshop’,was chosen by international musicindustry bible, Music Week, for in-clusion on their 'Sounds of Ireland'CD and resulted in Polly being invit-ed to open for artists such as AgnesObel, Chris Wood and Julie Felix ontheir recent tour dates.Polly Barrett began her music ca-reer as a busker on the streets ofCork City. Her mellow, folksysongs and clear, easy voice reflecther love of nature and matters ofthe heart. The album 'Mr. Book-shop' draws comparisons withsongstresses such as Nanci Griffith,Mary Black, Kate Rusby and NorahJones, while its collection of beauti-fully crafted songs draw influencefrom artists like Joni Mitchell andJohn Martyn.

Polly BarrettLabel Self-ReleasedRelease Date August 27 2012www.facebook.com/pollybarrettmusicPolly Barrett, the new jewel of Irishfolk-pop, recently launched her de-but album Mr. Bookshop in hernative country.

“Polly Barrett is the new jewel of Irishfolk-pop” Music Week“(Mr. Bookshop) a fine introduction toa talent worth keeping an eye on.”Hot Press‘Ireland has a habit of producing won-derful female singers and Polly Barrettis no exception’. Goldenplec

a journey that spanned two conti-nents, numerous snowstorms, andstages of every size, often held to-gether by little more than an Italian-English dictionary and a mutual loveof The Beatles.“The frustrating and often hilariouscommunication problems we haveare part of our story.”Coogan explains. “Wereally have to work byfeel, nuance, and mood,because words aren’tgoing to cut it.” OneDutch venue describedit as one of the bestshows in their history,and another describedthem as “a match made in heaven.”Audiences adored the passionatesound and immediately began clam-ouring for a record that mirroredthe live show - no production, nodistractions, just the two of them.Convening with thousands of otherpilgrims during Holy Week, Cooganand Fiaschi recorded The No-

The Nowhere, Rome SessionsLabeLabel Self-ReleasedRelease Date September 3 2012www.annacoogan.comIt is often said that music is a univer-sal language that transcends cul-ture, borders, and boundaries. ForAnna Coogan and Daniele Fiaschi,who don’t share a language, muchless a culture or even a time zone,music is the only language. She is aNew Englander, from the EastCoast of the USA, a former operasinger and biologist turnedtouring songwriter. He is a Romanwhose Etruscan roots go as farback as anyone can remember,raised on classic rock and touringwith some of Italy’s biggest popacts. Introduced by producer JDFoster in 2010, they embarked on

where, Rome Sessions at NowhereStudios in Rome on April 6 and 7 2012,and mixed it the next day. The resultis a gorgeoussnapshot of that weekend: sunshine,cigarette smoke, red wine, espresso,laughter - and the sheer joy they expe-rience playing together.

Nowhere was recordedwith minimal overdubs andeven fewer edits, often re-cording each song seventimes in a quest for theperfect take. A collectionof their six most popularsongs and three previouslyunreleased songs, therecord aches with emotion

and the raw energy the two have be-come known for. Also included is a livetrack from their much heralded per-formance at the 2011 Roepaen Festi-val in Ottersum, Holland. Coogan andFiaschi return to the UK & Ireland tocelebrate the release of The No-where, Rome Sessions from Septem-ber 18-October 6.

17

the CD and just lived in the studiofor the next two weeks, writingtwo new songs and recording al-most everything live.”

The timing ended up being perfectas Drew was able to record withsome of his favourite Michigan musi-cians, including Michael Crittenden(B-3 organ, Wurlitzer, piano, gui-tars), Mark R. Schrock (bass, mando-lin, vocals), Brian Morrill (drums),Drew Howard (pedal steel, Dobro),Jen Sygit (vocals) and BettyeLaVette’s guitarist Brett Lucas whowas coincidentally not on tour andwas able to come in from Detroit.Adding some soulful electric guitarparts, Lucas added a rock edge tosongs like ‘Promised Land’ and ‘Dan-ny and Maria’ while adding subtletextures to acoustic tracks like ‘St.Jude’ and ‘Here and There’.

Together this ensemble of musiciansbrings Drew’s sad and beautifulworking class tales to life. Speakingto today’s hard economicrealities, Tilt-A-Whirl illuminates peo-ple’s struggles to hold onto theirhopes and dreams as they spinthrough the wild carnival ride of life.

other directionless lost souls.

"As you encounter the characterson this record, it becomes clearthat Drew Nelson has dedicatedand re-dedicated himself to gettingat real human stories," says ac-claimed songwriter Peter Mulvey."Some of these characters are him,and some are people he knows,and all their stories let us knowthat Drew is standing in the Mid-western cold, seeing and telling asclearly as he can."

Recorded in his home state of Michi-gan, Drew’s new album sprung outof a series of serendipitous eventsthat started with a chance encounterwith a friend in 2011. It had beentwo years since his radio-chartingalbum Dusty Road to Beulah Landcame out, and this friend told him hehad to make a new CD. “I justlaughed and said ‘Yeah, if I couldpay for it.’ He asked me how muchit would cost, and he wrote me acheck.” Drew then called up hisproducer Michael Crittenden atMackinaw Harvest Studios and to hisgreat disappointment, discoveredthat the studio was booked solid forthe next six months. But five min-utes later, Michael called back sayingthat the band had cancelled for thefollowing week. “That was it,”Drew says. “I started to call all themusicians I knew that I wanted on

Red House Records is pleased toannounce the release of Tilt-A-Whirl, the label debut of Michigansongwriter Drew Nelson. An artistwith an international reputation andseveral critically acclaimed albumsunder his belt, the folk/Americanaartist writes as a witness to the livesand journeys of those he has metalong the way. Mixing Springsteen’sroots-rock sounds with the folk sto-rytelling sensibility of Nanci Griffith,Drew introduces us to an eclecticcast of everyday characters that in-cludes out of work war vets, forsak-en lovers, migrant workers and

DREWNELSONTILT-A-WHIRLLABEL RED HOUSE RECORDSCAT. NO. RHR CD 249RELEASE DATE NOVEMBER 5 2012

UK Tour · November…December 2012www.drewnelson.net

18

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The finish is very nicely done withno sharp edges on the frets as yourun your hand up and down thefingerboard something othermanufacturers should take note of(it’s a personal gripe). The neck isslim with a nut width of 45mm nicelow action very easy to play, didn’twant to put it down in fact. As it’sa cutaway guitar access to higher

Nigel Elcoat’s Guitar Review

Turner GuitarsTurner Guitars are based inDoncaster South Yorkshire UK, andif this guitar is anything to go by,long may they continue.

The model in question is theirModel 42CE Grand Concert whichis a single cutaway small bodyguitar with a solid spruce topOvangol back and sides and amahogany neck, with a naturalgloss top and satin back and sides,with Grover style machine heads.Electrics are delivered through aFishman Isys + preamp withvolume, treble, bass, phasereversal , tuner and battery checkbuilt in, a nice touch is a separatebattery compartment so thatbattery changing is hassle free, nofiddling inside the sound hole great.

Turner Guitars42CE Grand ConcertWelcome to our first guitar review with thanks to The Guitar Workshop IbstockLeicestershire for lending us this guitar for review.

frets is easy if you want to playchords or a bit of lead work beyond

the 12th, fret.

Sounds

The guitar is very responsive to thetouch with a very good bit naturalsustain both acoustically andplugged in. Acoustically it soundsquite bright which is what you

22

Build QualityPlayabilitySoundValue for moneyLooks

18/2018/2018/2018/2018/20

FINAL SCORE

The Guitar Workshop01530 260984

www.theguitarworkshop.co.uk

would expect from this style ofguitar with its smaller body, but itisn’t over bright or thin soundingwith a nice treble and good lowbass response. Plugged in theFishman produces a great sound,very even and the natural sustain

really shines through, which is verygood for either finger picking orplectrum work

Finally

I like this guitar its well puttogether and good for differentstyles of playing. Whether youwant it for the stage. plugged intoa PA or playing acoustically at thefolk club. Go and give it a go, you’llbe glad you did.

www.southamptonmusicshop.co.uk

The Music Shop

New & Used

Group

EquipmentTel:02380 437 937

FactfileTurner Guitars42CE Grand ConcertTOP- Solid SpruceBACK & SIDES-OvangkolNECK-Mahogany, 648mmscale,bone 45mm nutFINGERBOARD-20fret,Rosewood with offset pearldotsBRIDGE/SPACING-Rosewood,bone 55mmHARDWARE-Die-cast“Grover” style tunersTwo strap buttonsELECTRICS-Fishman Isys+preamp with volume, treble,bass, phase reversal, tunerand battery check.

FINISH-Gloss natural top,satin back, sides, and neck

vice in the seductive, siren-likecallings of the electric guitar. Orreally acoustic slide guitar withgnarly pickups screwed into it.

The Shovel vs. The Howling Bonesis an album of self-destruction. “Itis my agony put into words andmusic via 11 songs,” Lincolnexplains. “It is the story of buildingdreams and tearing down thosedreams all in the same moment. Iam both the shovel and thehowling bones. Burying while atthe same time howling andcontesting my own burial. It is myexistence.”

Lincoln Durham simply owns thestage! Equipped with old,makeshift 1950s amps,resonators, fiddles, harmonicas,tin can microphones, slides,stomp boards and you name it,

Lincoln Durham…

He's an intense-looking youngman with an old bastardizedGibson acoustic. Worn-out bluejeans and a crop of long, wavyhair. But there is something in hiseyes, something that suggests heknows something most peopledon't. The eyes of an old soul. Thesoul of an old bluesman,withered, weathered, worn butprimed and ready to burst out ofthis young man and preach thenews of some new kind ofdepraved music.

An accomplished fiddle playeraround Arkansas and Oklahomawho had won the Texas StateYouth Fiddle Championship bythe age of 10, Lincoln hadafterward followed the path somany musicians have, finding his

Debut UK Tour • September-October 2012

www.lincolndurham.com

Lincoln gives birth to a sound thattranscends genres. His dark,poetic and raw writing style isreminiscent of his mentor RayWylie Hubbard, telling tales thatPoe would have been proud of.His guitar work is like a locomotivepumping and driving the runawaytrain that is Lincoln Durham andhis music. This is not to imply thatany of it is in any way out ofcontrol. On the contrary, he neverstops driving that train.  This ismusic that harkens back to the oldblues masters, Son House andFred McDowell, infused with thelikes of Tom Waits and Ray WylieHubbard himself.

Lincoln Durham’s passion seemsto know no bounds. He has takenthe roots of the blues andbluegrass and has carried them toa new place. Intelligent lyrics,strong musicianship, a seriouslyinfectious vocal style that slays –he's rolled them all together into aperfect package that can only becalled Lincoln Durham.

24

ence what it is to be blasted by true,gut-wrenching, heart-pulling,dance-grabbing music gifted to usby people who really MEAN whatthey’re saying.

OK, art analogies aside, here’s thenitty gritty. Skinny Lister, like theirbiography rightly states ‘are notyour average, modern day, gentri-fied English folk group. Fronted byDan Heptinstall and Lorna Thomas,a vocalist with a lusty cackle andflirtatious presence, the Londonbased five-piece hail from acrossEngland.’ Their biog may need up-dating, Dan and Lorna married re-cently, possibly to the chagrin ofevery hot-blooded male in the na-tion! Songwriter Dan is from York-shire, bassist Dan Gray is fromTyneside, Lorna from Leicester-shire. Together with long-timeshanty singer Sam ‘Mule’ Bruce andLorna’s brother Max they are a five-piece destined for great things.

It’s only been a few years since theirmixture of perceptive and bucolicEnglish ballads and roaring shantiesset off on their rum-fuelled partytrain journey to recognition, takingin the nations canals and water-ways, bursting spontaneously intosong in pubs and clubs and kickingthe collective musical backsides offestival-goers into a frenzy of danceand drunkeness. Dubbed by PRS as‘The Hardest Working Band of theSummer 2011’ (30 festivals in all);and they don’t seem to have let upsince; it’s no surprise that at TheDonkey pub where I saw them theylooked a little bleary eyed and onlyplayed for about an hour after their2 support bands. I guess they couldhave played for twice as long andwe’d still have screamed for more.“We travelled hundreds of milestogether in a Land Rover with a

even painting by numbers perpetra-tors of the art world.Skinny Lister, on the other hand,are the full on, living-in-a-ware-house studio, throwing multi-col-oured oil paints at huge canvassesthen scraping and shaping themwith all manner of brushes, rags andgarden implements in a frenzy ofcreative passion kind of painters.The kind who live their art, im-merse themselves in it, shout anddream and fly and sweat their muse.

The differences are palpable. LikeJustin Beiber vs Johnny Rotten (ashe was, not the traitorous, butter-selling scab he’s become).

Maybe the sort of fans who werejigging at the first gig sadly couldn’ttell the difference, which is a shame.If not, I wish they too could experi-

Skatz

I’ve been lucky/unlucky enough tosee two bands recently playingwhat could generally be referred toas ‘that jumpy about folky stuff’; thereason for my forward slash is thatthe two bands were at oppositeends of the spectrum.

One was the kind made up of mid-dle aged, middle class peoplewho’ve seen it done, worked outthe chords to Wild Rover, got theirmates together, read the wordsfrom lyrics.com, found an account-ant who could sing the tune with nodiscernible emotion to be theirfront man and managed, with thehelp of an enthusiastic drummer,tight bass player and a selection ofvery recognisable songs, to get halfof the audience clapping and jigging.To give an artistic analogy, they arethe watercolour painters, perhaps

26

double bass strapped to the roof,sharing the driving, playing gigs eve-ry night and going out to party af-terwards. We didn’t make it easyon ourselves but it does bond youas family.” Dan recollects. Yes Dan,we can tell. And it makes us happycos it makes us feel part of it.The gig was made even better ifthat’s possible by the addition ofhonorary member, ‘Party George’,Lorna’s dad, who got up to sing asong or two. Almost as flirtatious ashis daughter (and you can seewhere she got her rumbunctious-ness from), he invited us into hisworld with twinkled-eyed devilish-ness. Go George, we salute you,much as the band do at every gig.The Skinny’s have a debut albumthat’s just been released, and it’s astonker. ‘Forge & Flagon’ is namedafter a ShedPub (that’s a gardenshed that’s been converted into ahorse-brass spit-and-sawdust partybunker) run by Mandy & Smudge,two of the most fun people in thisdimension, in a secret location inLeicestershire, frequented secretly

by some wonderful secret musi-cians who secretly drink them-selves silly and sing at each other.Secretively. Many are the times I’venot been seen not being carriedaway, not at all the worse for wear.But that’s enough about me, thealbum can be ordered through theband’s website,www.skinnylister.com, where youcan also find out more about them,listen to some tracks and get theirtour itinerary amongst other stuff.

They’ve also just made a short filmfor Channel 4 which you can get onYou Tube along with the othersong videos (look out for the one ofthem maypole dancing with 4 landrovers). And if you look on Face-book you can see pictures of thesort of huge crowds they wereplaying to in America.In summary, catch ‘em while youcan in a small venue, or wait till youhave to pay loads to go somewherewhere they’re a distant dot on a

leviathan stage, it’s up to you. Butcatch them, catch them like virulentsyphilis. Scratch that itch. There is acure but you may not want to takeit. Wait, I can’t finish like that. Flow-ers and trees and warm sunshine,frolics in the meadow, lusty maid-ens dancing among the buttercups,the distant sound of church bellsand the clonk of leather on willow.There. Ahhhhhhh.

The debut album unfurls charms in detail. Up tempocarouser , a trade sea shanty dating from Mule’s earlyGreenwich days, and stomping celebrations and

; (a song written by Party George – Lorna and Max’sfather – which they reinvent with characteristic verve) are winninglycontrasted with the reflective coming of age waltz Seventeen Sum-mers, the lovely nature appreciating and the skinny-dipping frolics of .

27

general picture from the client ofwhat is required and then will builda guitar with that overview in mind.If the client feels that the guitar isnot for them, then he or she isunder no obligation to buy, Bobbelieving that there is alwayssomeone for each guitar.

Although he has made electricguitars, his first passion is foracoustic models and he intends tomajor on these.

It takes approximately 200 hours ofwork to make each instrument, thesanding, polishing and veneeringtaking a large proportion of that.

Care and attention to thesoundboard is paramount, and thisis where the wood that is chosen isso crucial. Apparently Stradivariusonly used wood from the north sideof the tree, where the moss hadgrown. George Lowden’s earlierguitars used only split wood, notsawn. Even the shape, grain andpositioning of the braces makes a

Undaunted, and bolstered by hisstoic philosophy of ‘the moremistakes you make, the more youlearn’, Bob decided that he,nevertheless, wanted to be a makerof acoustic guitars.

Sadly, there was a paucity ofsuitable wood in England (more ofthis later) and so he and a pal raisedthe then princely sum of £500which funded a trip to Germany topurchase the appropriate ‘timber’ (some of which is still in Bob’spossession today – ‘my pension’ hecalls it!).

The first guitar he made was for hisown use. This was perhapsfortunate as this one too seems tohave had a built-in self destructmechanism. More lessons learned!The guitar which his friend hadbuilt, however, sounded great. Thispuzzled him as the two instrumentslooked very similar. “Learning tolook is a hell of a skill,” he muses,“as is learning to listen.” He studiedthe less obvious differences verycarefully and put it all right in hissecond effort. He hasn’t lookedback.

Guitar making became Bob’s fulltime occupation in 1985 when hebegan working for Pilgrim guitars.Although this provided valuableexperience, Bob was in effect partof a production line and his realwish was to build from start to finish.

Working from his small workshop ,this is now exactly what he doesand loves.

Bob doesn’t take commissions,which surprised me, and he doesn’tmake copies ( if you want a MartinD-35 then buy one, don’t order acopy) He works by gleaning a

Bob Dayfield

Bob is all of the above and I had theopportunity to chat with himrecently gaining some valuableinsights into the Luthier’s art whilstlistening to his story.

Bob comes from an engineeringbackground and has certainlyinherited his father’s love of ‘seeinghow things fit together’. In the early70s Bob’s interest in music ingeneral and acoustic guitars inparticular was first fired by listeningto Stefan Grossman’s blues andragtime playing. He rememberswith affection Martin guitars with‘snowflake’ inlays on thefingerboard (which, incidentally, Ithought were called ‘fretboards’)

A Martin was far beyond his budgetso an Echo model had to suffice. Inorder to brighten up the sound Boblavished his attentions andsandpaper on the soundboard(which I thought was called ‘thefront of the guitar) until it was aneighth of an inch thick. Sadly, thisproved a bit too much for the poorinstrument which ‘fell to bits’ rathertoo soon.

28

difference to the final tone Bob tellsme. He believes that each luthierputs something unique into theirinstruments which defies definitionbut is all part of the poetry, so tospeak.

He laments what he perceives asthe loss of a certain pride inproducts that reach the marketthese days. The sense of pride thatBob takes in his work really cameacross in our meeting, as did hisabsolute love of the journey eachnew guitar is, from anonymouspiece of timber to a unique andbeautiful crafted instrument. Hethinks that all too often now moneyseems to be the only measure ofsuccess. The product is now theresimply as a means of generatingcash, whereas the money used tobe just one of the necessaryingredients to achieve a final qualityproduct in which the makers couldtake pride.

Mmm, that could generate verylong conversations over a few beers!

Guitar Repairs LeicesterBob Dayfield

Proprietor

Hand Built Guitars

Repairs to most fretted

Instruments

Tel: 0116 2 671 028

How many Luthier’s,wouldyou really trust with your

beloved Guitars

Finally we can let you in on what's been keeping us smiling for the last fewweeks in the Acoustic Gathering cellar – We booked the Lightning Seedsfor our first ever Saturday Spectacular! Bona fide pop perfection, IanBroudie's collection of music and musicians are a genuine sensation, takingyou on a beautiful and harmonious journey through their rather lovelyworld. This special acoustic performance is something we areexceptionally proud to present, a rare chance to see a great act in a uniquelocation.

Acoustic Featured

We’ve got the best thing to come out of Devon since cream teas and icecream, 3 Daft Monkeys, headlining Acoustic Gathering 2012. We hadthem in 2008 and they loved playing on the lake so much, they wroteabout it in a song. Expect dancing, fiddling, banging, singing, loving andgrooving.... and that'll just be us! They are a musical tour de force whoreally must be experienced live at least once in your life.

“Matt Norris & The Moon are a cracking Edinburgh-based folk bandwho’s dynamic performances, driving melodies and great four-partharmonies will entice lovers of Mumford & Sons, Laura Marling andJohnny Flynn” – Folk Radio UK. The band have had a busy year so far in2012, starting on New Year's Eve itself, performing on the main stage ofEdinburgh's Hogmanay celebrations alongside Primal Scream! In spring,the Moon released their new EP 'This Kingdom' and have been busy eversince touring the width and breadth of the UK

Many thanks to http://clipart.edigg.com/ for the page header clipart

We've never needed to look too far to find excellent music and MarkStanley and The Fieldnotes prove that Scarborough has a depth of talentunrivalled throughout the land. Following the success of his recent soloEP 'Ragnorak', Mark has been touring America as well as performingregularly this side of the pond as well. We've been looking forward tohearing this incredible band play our stage and cannot think of a betterway to start our 2 day extravaganza.

31

Carrie chose one of Danny'sclassics, ‘Company Of Friends’, acontemplative song about howour relationships forge our veryidentity. This particularperformance is a departure fromthe plaintive solo version ofDanny's, with Carrie's powerfulvocals leading an anthemic marchwith a choir of friends.

And Danny chose a lost jewel ofCarrie's entitled ‘Swing From ANote’, a sweet pensive love songin one of those infectious liltingcountry waltzes that Carrie hasbecome famous for.

Recorded live with a group ofAustin's finest musicians, thesetracks showcase the steel guitarwork of Colin Brooks (from TheBand Of Heathens) and numerousguest harmony vocalists,including Paul Curreri, DevonSproule, Raina Rose, and RebeccaLoebe.

CARRIE ELKIN & DANNY SCHMIDT

UK Tour · September-October 2012

To coincide with their returnto the UK together inSeptember 2012, Carrie Elkin& Danny Schmidt will release anew digital 45, entitledTogether. These two lifepartners typically performsolo, but in 2012 they aretouring together in musicalpartnership, as well. In a showof artistic solidarity, these newrecordings feature Carriesinging one of Danny's songs,and Danny singing one ofCarrie's songs, with the otherjoining in harmony.

Carrie & Danny will beperforming together in the UK

for the first time fromSeptember 26 through October

16It’s a special treat when Carrie

Elkin and Danny Schmidt, whonormally tour separately andsolo, get to share the stagetogether. If the chemistry seemsespecially sparkful, they come byit honestly, as they are a rarebreed: a romantic partnership inreal life, not just musical life. Andthe two together on stage makesfor a classic case of the wholebeing greater than the sum of itsparts. Danny Schmidt is best known forhis riveting poetic lyrics, whichhave drawn favourable com-parisons to Leonard Cohen andTownes Van Zandt for their depthand complexity. And gypsy spiritCarrie Elkin is best known for herincredibly soulful and dynamicvocals, which have drawnfavourable comparisons to PattyGriffin at her most powerful, andNanci Griffith at her mostintimate.

CARRIE ELKIN&DANNY SCHMIDTTOGETHER

Our relationships forge ourvery identity.

33

On Danny:

Named one of the ChicagoTribune’s 50 Most SignificantSongwriters in the Last 50 Years,Austin, TX-basedsinger/songwriter DannySchmidt has been rapidlyascending from underground culthero status to being broadlyrecognized as an artist ofgenerational significance. Dannyis considered a preeminentwriter, an artist whose earthypoetry manages to somehowconjure magic from the mundane,leading Sing Out! Magazine totag him: “Perhaps the best newsongwriter we’ve heard in the last15 years.”

On Carrie:

One of Texas Music Magazine’sArtists Of The Year in 2011,Austin, TX-based Carrie Elkin is aborn performer, possessing aninfectious energy that cannot becontained. As MaverickMagazine so eloquently put it:“We have never seen a performerso in love with the act of singing.Onstage Elkin is simply a force ofnature.” With her dazzling voiceand unpretentious charm, Carriewins over audiences with songsthat are, as FolkWax puts it:“Intimate, yet universal. Naked,yet richly adorned. Her voice is

Don’t miss these twogreat artists in a raresplit-bill performance,sharing songs back andforth, lending their voicesto each other’s tunes, inharmony. And lendingcommentary to each oth-er’s tunes, in the form ofsmart-ass between-songbanter.

CARRIE ELKIN & DANNY SCHMIDT

TOGETHERTHEIR FIRST DUO RECORDING!

New digital 45 featuring Carrie singing Danny's

classic, ‘Company Of Friends’ and Danny singing

Carrie's lost gem, ‘Swing From A Note’.

Together is available exclusively from iTunes

Acclaimed Austin songwritersCarrie Elkin & Danny Schmidt

announce their first UK tour together , tocoincide with the release of their new two-

track Digital 45 Together .Also be supporting their current Red House

Records releases, Call It My Garden andMan Of Many Moons

34

Carrie Elkin & Danny Schmidt · September-October 2012 UK TourSeptemberWednesday 26 Bristol                                           The Hen & Chicken

Thursday 27 Nottingham                                              The Maze

Friday 28                   Chiddingly, nr. Lewes                             Chiddingly Village Hall - Chiddingly Festival

Saturday 29 Penryn, Cornwall                               Miss Peapods

Sunday 30 Launceston, Cornwall                            No 8 Café

OctoberTuesday 2 Plymouth                                                    The B-Bar

Wednesday 3 Formby, Merseyside                               Grateful Fred’s @ Formby British Legion

Thursday 4 Lichfield, Staffs. House Concert

Friday 5 Saltaire, Shipley, West Yorks.              The Living Room @ Caroline Social Club

Saturday 6 Abington, nr. Biggar, Lanarkshire    The Abington Hotel

Sunday 7 Glasgow CCA - Glasgow Americana Festival Austin Songwriters in the Round with Sam Baker & Eliza Gilkyson

Monday 8 Wombwell, nr Barnsley                        House Concert

Tuesday 9 Sheffield                                                     The Greystones

Wednesday 10 Cheadle Hulme, Stockport                  Chads Theatre

Thursday 11 Swansea                                                     The Chattery

Friday 12 Kelvedon, nr. Braintree                The Institute

Saturday 13 Brighton                                                     West Hill Hall

Sunday 14 Tunbridge Wells                                    The Beacon Hotel

Tuesday 16 London                                                       The Old Queens Head, Islington

Praise for Carrie Elkin’s Call It My Garden (Red House Records, 2011) “an album of refreshingly original songwriting and refined performances” Country Music People

“generous songs of open hearts and honest reflections” Irish Times

“a writer and performer of some considerable skill and talent.” R2

Praise for Danny Schmidt’s Man Of Many Moons (Red House Records, 2011)“Schmidt gambles everything on lyrical intensity and simple presentation, and succeeds.” BBC Music

“(Schmidt’s) singing voice has a quietly compelling quality and if you switch onto that you'll enjoy dipping into his ever-growing

body of work; there's a richness in his songwriting that means you'll as happily revisit these songs as any of the great singer-

songwriters in your collection.” FlyinShoes Review

“Man Of Many Moons shows off wonderful melodic tunes, with deft and sharp lyrics.” The Telegraph

www.carrieanddannytogether.comwww.carrieelkin.comwww.dannyschmidt.com

35

What’s On Jazz Open Day

Thursday 13 Septemberhttp://www.ram.ac.uk/events

www.oxfam.org/oxjam

Academy Harp Ensemble

http://www.ram.ac.uk/events

MALCOLM HOLCOMBEUK & Ireland Tour

www.malcolmeholcombe.com

Drew Nelson

British Tour

Www.drewnelson.net

36

What’s On

The Big Band Swing Greatshttp://www.ram.ac.uk/events

Total Brass

http://www.ram.ac.uk/events

Antje DuvekotFriday, September 28, 20128pm

New Gloucester, ME

Village Coffee House19 Gloucester Hill Road, New Gloucester, ME 04260

phone: 207-926-3161

www: www.villagecoffeehouse.org

Www.sheehans.com

37

Acoustifieds (Classifieds)

8 & 9 WestgateGrantham

LincsNG31 6LT

Tel: 01476 570 700

Massive Selection of Instruments and Accessories.Fast UK Delivery

Sales: 0845 458 4583www.djmmusic.com

3 Finkle StreetCarslisleCA3 8UU

Epiphone HummingbirdCherry Sunburst Finish

Phone for details 01228 537469

38

www.dawsons.co.ukFor musical instruments and recording equipment

Tel: 01925 582 420

Www.chimesmusic.com

We have Music Stores inNEWCASTLE - GATESHEAD - DARLINGTON

www.jgwindows.com

Www.fiddlersgreenmusic.co.uk

Acoustic-Knights

An Acoustic Music Eveningevery

1st Tuesday of the MonthStarting at 8-30pm at the

Royal ArmsMain Street, Sutton Cheney,

Nr Market Bosworth.See web-site for full details and map

Floor singers/musicians from all genrePlus Guest Artist/s

£2 ADMISSION

www.acoustic-knights.co.uk

39

Thanks for looking in on us

Photoshoot-CreditsModels

Ayesha West, Model Mayhem 2393432Stacey-Louise, Model Mayhem 2724482James Barron, Model Mayhem 1715729

Make-upCat Cleaves, Model Mayhem 2644386Maryna Sam, Madel Mayhem 2678661

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