write up in Time Out for tomorrow night's Recycle Collective gig…

Once again, we’ve got a really lovely write up in Time Out

“Singularly talented solo looper/electric bassist Lawson moves his long running RC night from Darbuka to a new regular slot at the Vortex. Joining the ambient effects maestro tonight will be bewilderingly versatile singer Cleveland Watkiss, also looping his a capella voice, and Royal Opera singer Andrea Hazell, this will be breathlessly spontaneous, indefinable, music making.”

That’s rather nice, and true, and means you shouldn’t miss it!

Yet more places to find me on the web…

With musicians and listeners alike realising just how useless and archaic the MySpace interface is, a host of other options are springing up for musicians looking for an audience, and audiences looking for new music. One of the best ones I’ve found recently is Reverb Nation – I saw it a while ago when Seth Horan moved his mailing list over to it, and then today, the lovely Lo. re-alerted me to its existence, in relation to how it can be placed on one’s facebook page. So i created a profile, added the facebook plugin thingie, and away we go. It’s looking good.

click here to see my Reverb Nation Profile.

comments are go…

Hurrah, thanks to Sarda The Wondergeek, we have comments back! Let’s see how quickly I get spammed into oblivion now… get commenting, peoples, there are now nearly 1400 posts in the blog, so plenty to go back and rant about… :o)

website update!

in lieu of the complete overhaul that my website will get when I get round to it, I’ve made some tweaks to the front page that hopefully make it easier to access the info you want, and also to buy stuff, should that be your aim (and you buying stuff is certainly one of my aims…)

head over there and have a look

Captive State II – the follow-up

George Monbiot’s 2001 book Captive State was a masterful work – a fantastic dissection of the fallacy of PFI – the ‘private finance initiative’ which this government copied from the last tory government as the way to fund public projects like hospitals and schools.

Even in 2001, Monbiot was able to show what an utter disaster the project has been in terms of the amount of government money squandered on projects that fail the end user and line the pockets of the directors of the corporations responsible for the projects – projects that were frequently late, over budget and woefully inadequate. The technical term for this in political and economic circles is a right royal fuckup. It’s been a disaster.

And how much of a disaster – in today’s Guardian, George posts this follow-up to the story of coventry hospital, or rather what was coventry hospitalS – plural – until the cost of refurbing them was deemed to low and the returns to slight to get any big money investors interested so they scrapped them both and built a new one out of town… initial budget – £174m. Cost of refurbing BOTH the existing hospitals? £30m. As George notes in his article – ” In March 2007, the Birmingham Post reported that the final cost was £410m.”

Go and read it, and be outraged. It’s sick. It’s even more sick that it’s a so-called labour government that did it. At a time when our American cousins are becoming increasingly aware of how having nationalised health care doesn’t mean you become Stalinist Russia, any more than not paying a policeman every time he arrests a crim on your behalf would, we’re letting the government dismantle public services on behalf of big business by not holding them to account for their false duality in presenting us with the options – we were told that we could either have old beaurocratic crumbling NHS (which wasn’t really all that crumbling after all) or new shiny PFI one run by shitheads in board-rooms. It’s a lie, of gargantuan proportions, when a proper publicly funded and transparently consulted and reported overhaul of the NHS would have been both cheaper AND better.

Read George’s article about the balls-up in Coventry, then multiply that up by the number of hospitals, schools, bridges, road-schemes, that have been funded, scale it up over the next 30 years of GUARANTEED revenue, and then throw in British Rail and the BBC as more projects that were sold off under the same false assumption that the options were business-as-usual or sell it off… the cost, both in financial terms and the degradation of public services is astronomical… ‘ever feel like you’ve been cheated?’

video of last night's gig…

here’s the video from last night – I can’t remember what I said in the gig, so some of it may be a little off for the childrens… :o)

anyway, here’s how to loop with no pedals… :o)

More ways to download… hurrah!

Those magical wonderful peoples at cdbaby.com have started doing download sales direct from their site – hurrah! If you want to get mine, you can go to my main page at cdbaby.com and if you click on any of the solo albums, you can get them there for just $10 downloaded (and the files are 200k MP3s, so considerably higher quality than iTunes.

The duo albums aren’t up there yet, but I’m going to look into sorting that out fairly soon…

And don’t forget that you can get the 3 Lessons Learned From An Aged Feline albums from my online shop for just £2.50 (that’s $5!) each… Go on, you know you want to!

Time to instigate a gig checklist…

Each time something like this happens, I vow to never let it happen again… but it does. For last night’s gig at the Perseverence in Marylebone (that’s in London, worldwide bloglings), I managed to forget all but one of my foot controllers – no midi board for the Looperlative, no expression pedals, no volume pedal… just the two button footswitch that i use for the Lexicon… which did save my arse, as it meant I could still do rhythmic loops, which I could then rerecordf rom the Lexicon into the Looperlative. It made for an interesting gig, which was webcast (sorry I didn’t let you know before…) and I think will be archived somewhere to be watched at a later date… I’ll post the link, once I’ve checked out the general levels of crapness on it…

As it was Lo. played pretty well, considering I was without hoof-controls. And I did a couple of nice improv-y things at the beginning, including one based on Bach’s Cello Suite no. 1 in G, that I’ve done a couple of times before (with the best version I’ve done being the one at Tuesday’s gig at the Spitz).

So I’ll comment again on the show, once I’ve watched it back. The audience, however, were lovely – almost all friends and some people I haven’t seen in ages, which was particularly pleasing.

But I really have to be more vigilant about what I need to pack for gigs! doh!

Greenbelt round-up…

So Greenbelt – another fab weekend. This year’s them was ‘Heaven In Ordinary’ – I didn’t like it when they suggested it last year, but it’s what Greenbelt is, an ordinary world full of heavenly loveliness. At least, it is for those of us who’ve been going there for years and know a million people (bit tougher for those peeps who are there for the first time and spend the weekend meeting a million new peoples…)

Anyway, we got there thursday evening, set up the tent.

Friday was spent catching up with friends and getting ready for the first gig of the weekend that both Lo. and I were playing at – a mainstage set with Sarah Masen. The first nice surprise was how well bands are looked after on mainstage – lots of lovely roadies and stage managers sorting everything out. Good peoples. The set went really well – was a whole lot of fun, and the crowd was HUGE for a first-band-on. Sarah sang beautifully. All good nothing bad.

The best thing about that was that we then had the rest of the night off, and were able to see a bit of Over The Rhine, and then all of Billy Bragg’s set. He was, as expected, outstanding. Funny, engaging, moving, all good things. Couple of great new songs, fab versions of old songs. He just confirmed why he’s one of my favourite live acts in the whole world, and one of my favourite guitarists too.

Onto Saturday, which started as Friday ended, with Billy Bragg, doing a talk about the campaign for a British Bill of Rights. Interesting stuff, if not without some unanswered questions (especially his attachment to the notion of a new inclusive english national pride to replace the cynical racist nastiness of the BN/P et al.)

Anyway, that was great, fascinating stuff. Following that was The Rising – Martyn Joseph’s songwriters in the round session that he does every year – fascinating stuff as usual, with BB, Amy Wadge and the bloke from Willard Grant…

After that much mellowness ensued, hanging with friends, eating lovely food, until it was time to get ready for a busy evening, firstly my gig with Ric Hordinski and then the Recycle Collective. Always a highlight of Greenbelt for me, the RC gig was a blinder, featuring me, Lo, Ric, Andrea Hazell and Patrick Wood. Much lovely music followed, and Patrick in particular was on incredible form. A real triumph.

Sunday was meant to be my mellow day, but after the previous night’s gig, Ric asked if I’d play with him again in the Performance Cafe, and I’m v. glad I did, as it was probably the best gig we did – we rocked! Great reaction from the Performance Cafe crowd too.

After that I was supposed to be compering but managed to delegate and get some time off for buying fairtrade shoes and hanging out with lovelies again. Got to see Sarah Masen play solo in the Perf. Cafe (aside from a couple of song with the lovely lady vocalistes) and she sounded great, as did Emily Barker who was on before her.

Late nights at GB are spent in the Organic Beer Tent – friendships are made, beer is drunk and the world is put right.

Monday was back to more gigs – I was compering in the Perf. Cafe, and got to introduce one of my highlights of the weekend – Nizar Al-Issa (though I got his name wrong on the intro – sorry, Nizar!) – he’s a singer and oud player, and a really great musician. Beautiful haunting music.

After him was Lo and I doing our main duo gig, playing to a nice full tent of peoples, and we played pretty well. Lo’s piano songs being especially great.

after that I got to see another one of my highlights – Beth Rowley, a fantastic singer with an amazing band (it helps that her guitarist and drummer, paul and phil wilkinson are two of my favouritest musicians anywhere). Really great stuff.

the evening was spent watching first Iain Archer, then Duke Special on the mainstage – both long time faves of mine, and both on fine form, playing to a huge crowd who loved them muchly. The headliners on the night were of no interest to me, so we headed for the beer tent. After being there an hour, Lo and I got a call asking us to go and play the late night cabaret (playing to about 1500 people)… after 2 pints… hmmm, we did it, and pulled it off. ‘Twas a little ragged, but fine.

And thus ended another great greenbelt. Now it’s time to buy a load of the talks I missed as downloads.

See you there next year!

Tuesday night's gig at The Spitz.




6-String Bass

Originally uploaded by Schrollum

Got back from Greenbelt on Tuesday morning (more on that in the full GB round-up coming soon), and barely had time for anything before having to pack my stuffs up and head out the door again for the gig at the Spitz, opening for Hauschka and Max Richter. I wasn’t familiar with either musician before the show, so didn’t have any particular plan of what to play.

Before i went on, the event organiser, Ben Eshmade, was DJ-ing, playing some really really beautiful music, which inspired me to stick to the more ambient mellow end of things, so I started with Grace and Gratitude, which morphed into a more electronic drum ‘n’ bassy thing (with that slap ‘n’ pop percussion idea I’ve used on quite a few improvs). I then played Behind Every Word, again, with big improv cadenza and with Looperlative weirdness at the beginning (actually it was MIDI footo-controller weirdness thanks to a pedal getting stuck, but it meant that the loopage didn’t happen quite as planned…) – and I finished up with an improv based around Bach’s Cello Suite #1 in G Major. Much fun, and a fine set, though I say so myself, which was very well received. Hauschka’s music was beautiful prepared piano stuff, quite minimalist for the most part, and his stage persona was most endearing. Max Richter had a two person string section with him and a laptop, and played ice-cool piano-scapes, with lots of vocal samples and backwards stuff. Lovely, if a little to far to the blue end of the colour spectrum (I’m a hapless romantic, don’t you know ;o) )

All in a fine evening (including a delish curry on Brick Lane with Lo, Sarda and Kari). But I’m now knackered and definitely in need of some time off!

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