No fool like an old fool!

This was the second year for the All Fools' Open Music Night. The fact that April Fool's Day was the previous week didn't seem to dampen anyone's spirits, or limit the enthusiasm for the telling of jokes. In the blog will be some of the jokes from the evening as well as some of the light bulb jokes, just in case you missed them. The night's opening joke being; Two Irishmen walked into a bar and the landlord said "I really need to change those light bulbs". Mine didn't get any better than that, but there were some very funny contributions.

Tonight's new procedure for slot allocation went ok, with one or two opportunities for improvement. I started the ball rolling as per usual singing a couple of my more recent songs, 'Old Town Blues' followed by 'The Canary'; an appropriate song given that during this week America dropped the largest non-nuclear bomb in Afghanistan and it was declared legal to rent out a spare room in exchange for sexual favours, so legitimising the exploitation of vulnerable people in need of housing. Agreed it wasn't the most humorous beginning, but I knew that that would soon be put right. 

Next up, to his surprise, was Bob Deluce. The surprise came from drawing plectrum No.8 and assuming that meant that there were seven others before him. That he had drawn the lowest number and missed my running order announcement meant he was a bit thrown. Bob had brought his studio with him and required powering up and plugging in. This meant that he was tucked into the wall a bit. I'll make sure that there's a flying lead available for next time Bob. Bob's contributions to the evening were Gerry Rafferty's Shoeshine Boy and Beatles Back in The USSR. I have to say, the Gerry Rafferty song really suited Bob's vocals and sounded superb. Bob also receives the 'That Joke' award for his Gary Glitter joke.

Bob shares the running of an open mic night at The Royal Oak, Crick, with Derrick Meyer on the last Thursday of each month. Bob and Derrick provide the PA and you can benefit from some of their gadgetry, such as drum machine and harmonising effects if you wish.

#1 Roadie taping up the gantry harness 

Here's one for Shirley: How many roadies does it take to change a light bulb? One, two, one. two.

Tony was lent John's homing pigeon joke; What do you lose if your homing pigeon fails to return? The answer being just a pigeon.
His first song was a delightful innuendo laden 'Let's have a ride on your bicycle', by Max Miller. Between songs Tony (sorry, the very blurry photo was rejected by the editorial staff) announced that this year's Folk on The Water event includes an open mic evening at The The Boat Inn, Stockton, in aid of Zoe's Place Hospice. It takes place towards the end of June. Tony's second piece was printed on a sheet that was defying his eyes attempt to see the words, so he reverted to a song he knew by heart. Al Read's, 'Our Joe Won't be With Us Much Longer'. I was possibly the only one struck by the irony.

How many folk singers does it take to change a light bulb? Ten. One to change the bulb, one to play accordion, and the other eight to sing about how good the old one was.

The not so mighty MDF were without Ross, John and TCB tonight, and because Mike had to be away before ten thirty, and it looked like being a long night, we did a three song set, with me standing in for Ross singing Galway Girl, while Tracey sang The Travelling Wilburys' 'Handle Me With Care' and Don Henley's 'Boys of Summer'.

It was Mike that made MDF's contribution to the jokes; going something like "I was annoyed at my computer for not accepting my new password. It said it had to have eight characters, but wouldn't accept 'Snow White'.

How many men does it take to change a light bulb?  Just one good one, but we know how difficult they are to find.

Regular Collectivist, Steve, Was on form, his opening line being "Can I beat last year's Italian joke? Corsican" I was so busy chuckling about that, while mingling at the back that I didn't note down his first song. I know I enjoyed it, but when it came to writing up for the blog I couldn't recall it at all. His second was an excellent cover of Keen's 'Somewhere Only We Know' which he absolutely nailed. 

How many aerospace engineers does it take to change a light bulb? Look, it's not rocket science.

By special request we were treated to a six song set by Stained Glass Bluegrass.

There was the obligatory 'Man of Constant Sorrow'; which no Bluegrass set would be complete without , along with a few less familiar tunes, and a very impressive a capella which gave me goose pimples.

It was good to have a extended set from this accomplished band, and I hope it isn't too long before another band or performer does the same.

Their song list for the evening was:

Lonesome Road

Man of Constant Sorrow

Russian Mandolin instrumental

Lord, Don't Leave Me Here

I'll Bear My Cross

Cold Sheets of Rain by The Blue Dogs

Not only did they play an extended set, they also had an extensive repertoire of jokes, with each band member taking at least one turn. Some of them were clever, some of them were funny, some of them were clever and funny, but at least one was neither! The best one belonged to their American mandolin player who offered the following travel advice for those seeking to visit Southern Carolina. "Why are there so unsolved murders in South Carolina? Because they have few teeth and all share the same DNA." 

How many fishermen does it take to change a light bulb? It was this big, took at least five of us to get it in!

After a short break, that allowed me to tidy up what had become a very busy and cluttered stage, and untangle the mic and instrument cables, we had a three song debut from The Soul Sisters, Sue, Ange and Debs, who had come all the way from Napton.

Their performance included Sixpence Non The Richer's 'Kiss Me', Mamas and Papas' 'California Dreaming' and ended with the beautiful Tom Waits', 'San Diego Serenade'.

It was a very polished performance and I really enjoyed the close harmonies and I don't recall us having a sax here at The George. I hope that it isn't too long before we see them again.

How many members of the Labour Party does it take to change a light bulb? Just the one, if they have enough Momentum behind them.

How many cabinet ministers does it take to change a light bulb? None, the light bulb is not broken, in fact it is better than it was under the last Labour Government, and is getting brighter and brighter.

More first time visitors, Dave and Joy. When we spoke after they'd arrived Joy confessed to not singing as often to Dave's accompaniment as to backing tracks. They were a bit undecided as to whether they would perform or remain in the audience for the evening. Clearly they were encouraged by the friendly and supportive atmosphere, or by beer, and they came up to give us a couple of songs.

Their first song was from George Gershwin's Porgy And Bess, made famous as a jazz standard by Ella Fitzgerald; 'Summertime', and then a song written and performed by Leadbelly, and covered by many over the years including Johnny Cash and Creedence Clearwater Revival, 'Them Old Cotton Fields Back Home'.

How many opticians does it take to change a light bulb? One.... or two? One.... or two?

How many drill sergeants does it take to change a light bulb? "One two three one two three one.

How many opposition politicians does it take to change a light bulb? Fifty two, one to blame the Government for the chronic under funding that lead to the bulb failure in the first place and fifty one to go 'yah, yah, yah'.

Keith and Kate have visited us a few times in various band guises; their most recent being as The Hatstand Band. This evening they were minus Richard, their cajon player and backing vocalist. The Hatstand Band material is a bit darker than we're used to hearing
I'm not quite sure of the title of their first song or who wrote it. It was something like 'River is Rising'. Their next was Justin Cross' 'Drink The Water'.
One we all recognised was Dorothy's 'Why Did Love Put A Gun In My Hand' which they've played many times, allowing us to sing along.
Finally, they ended their set with 'Too hard, too long'. When Keith said that searching Google for this song he got in a lot of trouble. So did I. Keith also provided what I thought was the funniest line of the evening. My wife asked me to pass her the lipstick, I misheard and passed her a glue-stick. She still isn't speaking to me.

From Kate. How many clinical psychologists does it take to change a light bulb? Non, the light bulb must want to change.

Tony adds a bit of uke authenticity to Baton Rouge

To finish the evening we had an ensemble for Baton Rouge.

How many Republicans does it take to change a light bulb? Three. One to hire a Mexican to do it, and two to deport the Mexican once the bulb has been changed.

How many divorcees does it take to change a light bulb? None, the bulbs went with the house.



Ross is in command for the May Open Music Night, while I enjoy a continental wedding. He is very keen to hear some Punk anthems, so might even have a prize or two. There is no need to swear, or spit, or wear a bin bag, or have your nose pierced; and you don't even have to be angry about anything. Just have a listen to this if you are after a bit of inspiration. Here is a link to The Bad Shepherds. Bad Shepherds, London Calling

If I was coming, and I wish I was, then Iggy Pop's 'Passenger' would be one of mine. Perhaps if no one gets in first I might do it another day.

Just one last one. How many thriller writers does it take to change a light bulb? Two, one two screw it in almost all the way and another to give it a surprising twist at the end.

March 2017 Open Music Night

After the excitement of February’s ‘Night of Lurve’ love song competition, March’s Open Music Night seemed a much calmer affair; and with some of the regulars away on holiday, and the legacy of this Christmas’ lurgy still evident, it was good to see a couple of returning faces.

I opened with the first performance of a new song, ‘I'm Not Ready For You’.
There is a difference between singing at home and performing something in public, and I’ve already made a couple of tweaks following its outing. My next two were more familiar, both to me and the audience. They were ‘Old Town Blues’ and ‘Simple Life’.

Nigel Lewis was next up and, with a little help from Hedley on violin, Torgul (hiding) on percussion and Sue adding a very effective bass, performed Bob Dylan’s 'Knocking On Heaven's Door', followed by another classic, Ben E. King’s 'Stand By Me'. His last was a self-penned song. 'I'm Not Sure Any More'.

Folk at The Oak regular Steve Bates was back again. Tonight he nailed REM's 'Losing My Religion', and provided a couple of self-written songs. The first was 'You Make My Day' and the second was the very sad 'The Phone Keeps Ringing'; inspired by a personal experience.

Dangerous Derrick Meyer brought his own studio with him; with more pedals than a church organist would know what to do with. The effect of the effects is to give Derrick's performances the feel of a band, and an accomplished band to boot.

Derrick is so comfortable in his performances that he adlibs and tweaks the songs; and his comical asides can be delightful or infuriating depending on how much you love the song being performed. Tonight's offerings were The Eagles, 'Take It To The Limit', X Ambassadors 'Renegades' or Lemonade, (Derrick and Tracy's in joke), and Derrick's last song was the Lionel Ritchie classic, 'Easy'; with the audience, after a little coaxing, providing the 'ah ah ah!' Tonight he managed to make his exit without any drama, possibly because I’ve replaced the uprights to the lighting rig with longer ones, increasing the headroom by at least a foot.

Paul, Sandi, Torgul and Sue, AKA ‘ShudBBand’ were in the mood for some Creedance Clearwater Revival tonight. Starting with 'Stuck In The Middle With You' and followed by 'Have You Ever Seen The Rain' and then they covered Bob Dylan’s ‘Don't Think Twice, It's Alright'.

Tonight's performance was a bit shaky and it was apparent that it was clear on stage too. Whether it was the introduction of Torgul's Telecaster with amp at the back of the stage made it more difficult for the rest of the band to hear each other or not, it identified the urgent need of some monitor speakers. I’m on it! Having been in a similar situation with MDF at a recent gig where the sound system was supplied but not set up properly, I know how difficult it can be.

Mike, who hadn’t been sure if he would make it this evening, having just shaken of the worst of the lurgy, and John were next up. Mike is usually in strong voice, but tonight he wasn’t, as they say, on song. While their Cat Stevens' 'Moonshadow' was excellently performed, their Brian and Michael ‘Matchstalk Cats And Dogs' proved a bit of a stretch and Mike was defeated on The Fields of Athenry, as his voice began to deteriorate quite rapidly. It didn’t help when John produced a different version from the one they rehearsed. Hopefully, Mike will be back to full strength by Thursday’s Folk at The Oak. Sadly, John won’t be able to make April’s night so he got his joke in early.

MDF was barely recogniseable this evening, with no D, and no F;
but we did have an M, with Mark on accordion. John (Grandad Banjo) played banjo and guitar and I played guitar and stood in for Ross on vocals. I didn't do too badly, but not well enough for Ross to feel in any way threatened.

We kicked off with a well-known 'Wagon Wheel'. Well we would have had Mark got the right accordion strapped on; and he would have had if John put the songs on the stand in the right order. There’s nothing like looking professional. The Bob Dylan / Ketch Secor song was followed by The Waterboys ‘Fisherman's Blues’, which we seemed to do really, really slowly. The last song of our set was Woody Guthrie’s ‘Worried Man Blues’. The list of artists that have covered ‘Worried Man Blues’ is full of legendary performers. I’ll leave it there.

As always, Paddy delighted the assembly; this time with his Brexit based Christmas song, ‘The Turkey's Referendum’. It should remain topical at least until 2019, possibly much longer if the negotiations drag on as long as some suggest they might. His second was ‘Sing Like Johnny Cash’, in which he did sound remarkably like him. You can find this one on Youtube, but to save you looking, and I’m sure he won’t mind, here’s the link.
https://www.youtube.com/watch?v=p3RCbiFLygo

His last song of the set was ‘Fun With Birds’; a salutary tale about the apparently good ideas formed while under the influence of alcohol. It doesn’t matter how often I hear these songs I can’t help laughing.

Last but by no means least was Andy Rogers, who must have enjoyed himself
last month because he was back, travelling all the way from Napton. He treated us to a couple of self-penned songs. The first was ‘Friday Salvation’, and one written for his daughter when she was a baby ‘Don't Be Afraid of the Dark’. In between, like a cover sandwich, was Newton Faulkner’s ‘Dreams catch me’. As always, Andy’s delivery is flawless, an excellent ending to the first part of the night.

Balancing the number of performers, the number of songs and then squeezing them all in to the nominal three hours is one of the challenges of running an open mic. When folk arrive a bit late, the list is already drawn up and I don’t like having asked people for three songs to then reduce the number, especially when the early acts have had their go, so tonight the first half took us to half past ten, only enough time for a few more songs, but not from everyone. I think in future I’ll create
a list based on a finite number of slots so that early arrivers get more than those that slip in after the evening has started.

After some pretty dark and heavy tunes in the early part, the evening ended on a lively and up-beat note. Steve Bates accompanied once more by Hedley performed ‘San Francisco Bay Blues’. The only thing missing was a kazoo. ShudBBand continued their Credence Clearwater Revival revival with a rousing ‘Proud Mary’. Paddy, once more in jocular mood, provided dietary advice in his ‘Instructions from The Food Police’; a fabulously satirical side swipe at the nanny state’s attempt to encourage healthier eating. MDF were back with Guy Clarke’s ‘Baton Rouge’. To finish off the night, Paddy, Mike, Steve and Nigel came up for an impromptu 'Wild Rover', with Paddy in the driving seat and the rest of us trying to keep up.

Time is flying by this year, so I’m already starting to prepare for April’s Open Music Night. I say preparing, I need to find some jokes.

Thanks Shirley for taking the photographs.

Night of Lurgy was a real Night of Lurve

The 3rd Night of Lurve made for a fabulous start to the New Year. The first event of the year went off with such a bang. Thirteen acts took part and it was standing room only right to the end of the evening. There would have been a couple more, but a seasonal lurgy has been laying waste to a significant part of the population. Only a week earlier I'd spent a couple of days under the duvet and while I was ok to act as MC for the evening, singing was right out for me.

Each performer had two songs, the first for the warm-up, to get levels right and second song was the competition entry. Voting was for the best performance on the night and while the votes didn't reflect the quality of entries; very high indeed, they did reflect the difference between the good and the best.

This year's winner, with an unassailable lead was folk musician Mick Bisiker. His warm-up was a self written reflection on marriage called 'Ball and Chain'.
His competition entry was 'The Green Mossy Banks of The Lee'.

He took away a bottle of Champagne, a compilation CD of love songs and a voucher for a meal for two at The George.

After Mick's astonishing lead, there was little between the next performers, and the runner-up position was shared between last year's runner-up Steve Edgar, and old friends of the OMC, John Wright and Hilary Wilson.

Steve's warm-up was The Troggs, 'Love Is All Around' and his entry for the competition was the sad Bobby Goldsborough song 'Honey'.

John and Hilary went back to Robbie Burns and 'A Fond Kiss' for their warm-up. Their entry was the lovely James Taylor, 'Close Your Eyes'.
















Scoring slightly less than Steve, Hilary and John was Harriette and Jason. Their wam-up was Adel's 'Hello', and Harriette's delivery of the Amy Winehouse classic 'Love Is A Loosing Game' was a superb entry.





Second up was 'Dangerous' Derick Mayer, starting with 'Misty' and 'Amazed'. His entry was slightly tweaked to make it more personal as it is his and Tracy's wedding song. The old romantic was put off mid song when he caught his wife's eye at a particularly soppy bit.


Andy Wenham lost his way in the warm-up with 'The Hiring Fair'. We've heard him play it many times at The Oak, but his mind went blank and that was the end of the song for Andy. We've all been there. But he was back on form with his competition entry, the Willie Nelson classic, 'Always On My Mind'



The last time we saw Mark he had his daughter with hm, playing violin. Tonight he was on his own and he warmed-up with a jazzy and amusing 'Gee Baby Ain't I Good To You'. His entry was the beautiful Fleetwood Mac 'Songbird' from the 'Rumours' album, later covered by Eva Cassidy. s he commented, it's a song that does seem to lend itself to the female voice, but Mark made it his own, and it sounded lovely.

Winner of the First Night of Lurve, Gordon warmed-up with , 'Cry For Me' and then his entry for the evening was 'Autumn Days', both songs written by him.



Should Be Banned were out in full this evenng with Sue on bass, Paul and Torgul on guitars and Paul and Sandi sharing vocals.
There was ony going to be one winner of the 'Special Relationship' spot prize that celebrated the great romance that is Theresa May and Donald Trump. Their entry for the competition didn't fair quite so well, it was 'All Over Now'


Jason was hedging his bets by playing both with Harriette and Rachael. Their warm-up was one we've heard them play many times, Carole King's 'Will You Still Love Me Tomorrow' their entry was much more surprising, taking on Kate Bush's 'Man With A Child In His Eyes'. This was the first time I think that they'd performed it in public and I hope it isn't the last, but gets added to their regular repertoire.


Pete Nash, who runs an open mic at The Bull, Clifton, paid us a visit and his warm-up was an untitled, self-penned teenage composotion. His entry was the wonderful George Harrison 'Something'. If there was a prize for audience participation, this one would have won it. (note to self for next year)

No Strings Attached, AKA Ken and Roland, had love songs in mind this evening as a distinct change from their folky songs and ragtime instrumentals. Warming-up with 'Careless Love' and 'Then I Kissed Her'.

Last act on the night was MDF. Sadly we were without Grandad Banjo who had the lurgy. Mark left his accordion in favour of his electric guitar, very effective on the warm-up 'Boys Of Summer' and the final entry of the night was 'Girl Crush'.

The photo was MDF with a bit of help from their friends singing 500 miles while the votes were counted..

Next month is a regular Open Music Night.

Night of Lurve Rules

Open Music Collective – Night of Lurve – Love Song Competition - Terms and Conditions (small print, smaller print and dubious financial implications in barely intelligible legalese gobbledy gook )

The first year's winner, Gordon

The 'Night of Lurve' Love Song Competition is open to all, however, as the competition is held in a licensed premises and one of the prizes is Champagne, anyone under 18 must be accompanied by a responsible adult. Should they be successful, the responsible adult will receive any alcoholic prize on the under-age competitor's behalf.

Harriet, 2016 

For the purposes of this competition, the definition of what constitutes a 'love song' is loose. The voting audience will determine its worthiness.

The winning entries are determined by audience and performer vote. Each nomination for 1^st and 2^nd choice is counted and the total scores per performer are added together to determine the winner. There is one nomination form per person.

Points are awarded as follows:

Best performance (1^st choice) scores 2 points, Second best (2^nd choice) scores 1 point.

The total points for all performers are added together and the highest scoring pair are identified as 'Winner' and 'Runner-Up'. In the event of a tie, the performer with the highest number of first choices wins. In the event of this being tied, the Master of Ceremonies decides the final order. There is no right of appeal.

Mick Bisiker, 2017

Other awards will be identified as and when applicable and awarded in accordance with the declared criteria..

All audience members and performers will be invited to nominate their preferences.

Performers can vote for themselves, even if they don't really deserve it, but in the spirit of fun and friendship please vote for what is, in your honest opinion, the 'best' performance on the night.

In the event of the prize being won by a band or duo etc., the prize is awarded to the act and it is up to the performers as to how it is shared. If a performer is appearing as solo, but has some backing support, this should be declared on entry.

Lew Bear winner 2018

The number of slots is limited due to time constraints and the requirement to achieve best sound quality for each competitor. Position on the list is determined by first come first served, so arrive early to guarantee a place. Previous winners (even Gordon) are welcome to compete.

One entry per act, though a person might appear more than once if they are performing in separate acts. i.e. as a solo performer and as a member of a band.

Entry to the competition is at the discretion of the organiser. Late entries (after the competition has started) may be permitted if slots are still available, at the discretion of the organiser. Slots are of around ten minutes duration to allow for setting up, sound checks and volumes, and for the warm-up piece and performance piece. Therefore, the evening is limited to around twelve acts.

Last one at The George, Kilsby, 2019 Winner, Dangerous Derrick

First Prize – Bottle of Champagne and Winner's Certificate

Second Prize – Box of Roses chocolates and Runners-Up Certificate

Other prizes, as announced on the night.

In the event that someone is deemed to behaving in a manner likely to result in dispute, i.e. canvasing votes or attempting to unfairly influence proceedings; poor sound or stage set-up, dissatisfaction at position in the running order; quality of prizes; size of certificate; in fact, almost anything; the complainant will be reminded that this is supposed to be for fun.

The Open Music Collective and its logo are subject to trademark and cannot be used/reproduced without the owner's permission.

No responsibility can be accepted for loss or damage to instruments or equipment either by Mediterranean Knees or The George, Kilsby.

By entering the competition, performers are deemed to be in agreement with these terms and conditions.

Rules on the night

Each participant has two songs. Their first is a warm-up to allow for sound levels, the second is their entry. The vote is on the second song only.

After the last performance of the evening, audience members, whether performing or not, are invited to nominate their favourite and second favourite performances.

After a short interval, while the results are calculated, the winner will be announced and prizes awarded. In previous years the winner has performed their winning song again, or something else if they choose.

Issue 1, Jan 2017
Issue 2, Nov. 2017
Issue 3, Dec. 2017
revised, Dec 2018

All I want for Christmas is Youuuuuuuuuuuuuuuuuu!

The Xmas Warm-Up at The George, Kilsby, is one of my favourite nights of the year. Radio 2 has begun playing the Christmas songs; well all except that one. It is a bit early for the office party, but there is a sense that the festivities can legitimately get under way.

After the usual welcome, I settled down to open the evening's performances with a couple of my songs. The first is my second Christmas Song, 'Santa Never Looked So Good' and then a reflection on finding myself in an old and familiar place that feels very different with the passage of time. This one was called 'Old Town Blues' and was written towards the end of this year.

Getting the Fender to hold its tune was a nightmare. A long day in the back of the van meant that once in the warm it moved all over the place. The Martin, which I'd ony brought along for playing with MDF, was unaffected, so it became my instrument of choice for the evening. In the second half I sang a seasonal 'Have Yourself A Merry Little Christmas' and Neil Diamond's 'Solitary Man'

Our next performer was Steve Edgar, now an established feature at The George. If anyone is going to get away with a bit of Beatles, it is Steve, who carries off the vocals with ease. Tonight we had a bit of George and a bit of John with 'Isn't It A Pity' and 'Imagine' before ending his first set with Neil Young's  'After The Gold Rush'. His second half offerings were Jeff Buckley's other song, 'Song To The Siren' and 'Somewhere Over The Rainbow' Steve's being a cross between Isreal Kamakwawiwo'Ole and Eva Cassidy


Paddy Wex was third up on stage this
evening and entertained as usual with a range of songs from the sublime to the ridiculous. His own compositions topical as ever dealt with the season, 'Good King Whatsislad', the political 'You Chose Trump Voluntarily ( to a tune by Purcell) and 'Speciesism' a guide to political correctness that encompasss the feelings of all sentient beings. The sublime components were written by others, Tom Paxton's 'Last Thing On My Mind' and Ralph McTell's beautiful 'Nanna's Song'.

It was a pleasure to welcome back Brian and Alan. They were meant to be second up, but when I looked in their direction to call them to the stage Alan was just tucking into his dinner, and Steve stepped in. Still, they were worth the wait as they entered into a shared double slot.

Between them across the two sets they sang and played 'The Rocky Road To Dublin 12345', The lovely Alan Bell 'Windmills', 'The Black Leg Miner', is well known to The George audience, it being one of the MDF regulars, but Alan's vocals and frame drum accompaniment gave it a menacing feel; 'The Flower of Sweet Strabhane', 'It's A Working Man I Am', 'Dance Oh Dance Kate O'Neil', 'Spancil Hill' The Rout of The Blues' and one that involved a lot of 'whack fol de do foll de diddly I de day' but the title of which escaped me once again.


The Greengrass lineup this evening included the fabulous voice of Lauren. Their first song 'Wild Goose' gave my goosepimples.
Their second song I missed the title of, but it was a moving song. I tried to google the lyrics without success, so when I see Keith or Kate in the New Year I will be asking.
They ended their first half set with a rousing 'Old Salty' and the goose pimples were back in the second half with the Fairport Convention
'Who Knows Where The Time Goes' and 'Dance Me'

Roland had come out for an evening of audience participation, little realising that leaving his guitar at home would offer him no protection.
He borrowed my guitar for his ragtime medly 'For The Folk At The Oak' and gave us a couple of a cappella songs. 'The Dark Eyed Sailor' and the amusing 'Rottenstall Annual Fair'.

MDF were very light this evening with Ross, Mark and myself.
We performed Fisherman's Blues, Mud's 'Lonely This Christmas' and the evening's finale was an MDF favourite, 'Wagon Wheel', which we delivered enthusiastically with a little help from our friends.

Keep your eyes peeled for the review of 2016 and I look forward to welcoming the start of a new year with the February open music night, our famous 'Night of Lurve' love song conpetition, Friday 3rd February.