Tuesday, 4 September 2018

Boogy time at Tetbury

2018 and we did enjoy those foot tapping Irish popsters, the Script at one of my favourite venues - Westonbirt Arboretum ... Good Times





As Qoted;
When singer Danny O’Donoghue, guitarist Mark Sheehan and drummer Glen Power emerged on to the stage at Westonbirt Arboretum, they were met with thunderous applause and cheers from the thousands of fans in attendance.
The trio, better known as The Script, had nearly everyone up on their feet within seconds of walking out - and that was before they had even had a chance to greet the crowd or pick up an instrument.
Such is the beauty of the unique venue, which is nestled among the arboretum’s trees and woodland, that many of those in attendance had come with picnic chairs and blankets - enjoying support act Tom Walker’s performance while sat down in the evening sunshine.DBut the arrival of Danny and his fellow band members on stage appeared to spark some life into the audience, which was made up of a mix of Script superfans, groups of young people and families with small children.
Without so much as a “Tetbury, how are you doing?” from lead-singer Danny, the band jumped straight into their opening song ‘Superheroes’. The track, from their 2014 album No Sound Without Silence, was in many ways the perfect start to their hour and a half-long set - it was upbeat and instantly recognisable, and proved popular with the crowd. After briefly addressing those in attendance, Danny led the band into track number two ‘Rock The World’ - the first of many from their latest studio album Freedom Child. The song, and the album more generally, is far more upbeat, up-tempo and ‘dancey’ than some of their previous work - but that didn’t seem to bother the crowd at Westonbirt Arboretum, who danced, sang and clapped along enthusiastically as Danny and co. made their way through ‘Paint The Town Green’, an ode to their Irish roots, ‘Wonders’ and ‘Arms Open’. Sandwiched in between the new material, which was pleasant enough to bop along to without necessarily knowing any of the words, were some of The Script’s better-known breakthrough songs - including ‘The Man Who Can’t Be Moved’ and ‘For The First Time’.
As the sun finally disappeared beyond the stage and the trees, and the stars started to appear in the night sky, another element of the show really started to come into its own - namely the lighting. Similar to other pop music bands like Coldplay and One Direction, it seems The Script have placed a great deal of emphasis on the visual element for fans at their live shows - making it more about the overall experience than simply tight vocals. This was particularly noticeable during their performances of ‘Rain’ and ‘The Energy Never Dies’, where the use of bright lights, lasers, smoke machines and large LED screens made you feel at times as if you were a million miles away from Tetbury.
The gig, however, did feature one or two slightly predictable live music moments - not least the part when Danny urged the crowd to turn on the lights on their mobile phones (“to create a moment to take to the grave,” as he said to the audience) or the part when they exited the stage only to return a few minutes later for the all-too-familiar encore.Although somewhat tried and tested, the audience were more than happy to play their part in lighting up the nighttime arboretum with thousands of tiny, white lights and scream “more, more, more” when the three musicians walked off-stage - only to scream even louder when they inevitably reappeared for a final hurrah of ‘Breakeven’ and their biggest hit ‘Hall Of Fame’.
In summary, it was an evening of enjoyable, family-friendly fun and live music - made all the more special by the glorious evening sunshine and unique venue.

some Smithington escapades ...

2018
Wandering in North Wales













Glooping around the Cheddar Gorge:










Faster than a speeding bullet












Offroading on 2 wheels













The Legend turns 50 ..








Giving it large in Latvia

2017 saw us exploring the Baltics and living it up in Riga
Highpoints being the drinking/eating; KGB headquarters; Zepplin factories and fun 😎









The mighty 2017 ride by the mighty Bish

As funbus aficionados, you will be aware of the passion Bish has for velocipedes.
Setting hiomeself the challenge of cycling from London to Paris he set about his training and research in his own inimitable style - ably supported and encouraged by the ever cool Tony 'the man'

Whilst we eagerly await a detailed contribution from the man himself .... here is an overview of the challenge and snapshots of them in action.

Itinerary

Our route takes us from Crystal Palace in southeast London to the Eiffel Tower in the heart of Paris. Cycling through stunning countryside and quiet country roads the following gives you a breakdown of the days, routes and distances:

Day 1: London to Calais

Our challenge begins bright and early from Crystal Palace heading south en route to the coast. Our route winds through the beautiful Kent countryside before we reach the famous white cliffs of Dover. From here we catch the ferry to Calais for our first overnight stop
95 miles (approx.)

Day 2: Calais to Abbeville

La belle France! Stunning picturesque countryside awaits us in northern France as we travel south from Calais to Desvre, a small market town known for its ceramics. From here we follow river valleys before finally arriving in Abbeville – steeped in history from the war but despite being destroyed in one night it has managed to retain its beautiful gothic church
75 miles (approx.)

Day 3: Abbeville to Beauvais

Our route this morning follows the river Somme out of Abbeville. The Somme is perhaps most famous for its battles but it is also a Celtic word for ‘tranquility’, summing up the feeling of the day as you cycle through this beautiful region. We finish the day in Beauvais where the market square is a true highlight with several of the buildings dating from the twelfth to sixteenth centuries
70 miles (approx.)

Day 4: Beauvais to Paris

Our final day of cycling and the big push to Paris! We are still treated to some stunning countryside all the way up to our lunch spot by the River Seine. After lunch we follow the river down through the suburbs until we reach the Bois de Boulogne – the largest park in Paris. From here it’s a short ride along the famous wide boulevards of Paris before reaching our finishing point at the Eiffel Tower!
60 miles (approx.)

Day 5: Paris to London on the Eurostar

The day is yours to soak up the Parisian way of life and explore the city and visit the landmarks only yesterday you were cycling by. We will meet you in the afternoon at the Gare du Nord to catch the Eurostar home arriving at St Pancras where you will be reunited with your bike which will have been transported for you overnight








Monday, 13 August 2018

The gangs all here in Devon ..

2017 saw the gang decamp to the hamlet of Hemyock for a quiet weekend of tranquil meditation and self reflection .

Hmmmmm - I think not!


History of Hemyock

Hemyock is the largest village on the Blackdown Hills, Devon, which is now designated as an Area of Outstanding Natural Beauty (AONB). The parish has an area of about 2350 hectares, and lies on the NW of the Blackdown Hills. The village has a very long history, some prehistoric remains may be found, from about 100 BC to well beyond. In the middle ages local iron ores were smelted in small  bloomeries (furnaces) to produce pure iron. In Saxon times a battle was fought at Simonsburrow between the native Britons and King Ime's Saxon army, which put an end (temporarily) to the Kings expansion to the west.
The name Hemyock could have originated from the British stream name "Samiaco" (meaning summer), other authorities suggest a Saxon origin from a personal name "Hemman" coupled with a Saxon word for a bend or a hook (occi).
Hemyock gave its name to the Hemyock Hundred, a unit of 7 parishes, that was an administrative unit of local government during the Saxon period.
After the Norman conquest a castle was built adjacent to the Parish Church, the remains of some towers may still be seen.
Hemyock is a typical upland settlement consisting of a central "town" surrounded by a number of hamlets (Culmdavey, Millhayes, Simonsburrow, Ashculme, Tedburrow, Madford, Mountshayne etc). From the 1500's to the early 1800's much of the parishes wealth came from the production of wool. The population remained fairly constant throughout the 1800's, and until the end of the second word war. Since then a  number of housing estates have been built, and our population has increased to over 2000.
Hemyock remains a busy village, we have a primary school, excellent medical facilities, 2 garages, 2 hairdressers, a pub, a building society, 2 shops one with a Post Office, a playing field (soon to become 2), a Parish Hall (soon a 2nd will be provided) and 2 Churches. (Baptist Churchand St Mary's)
The village has had some important national points of interest.
The Cadbury family, of chocolate fame, originated here.
Hemyock was the terminus of the Culm Valley Railway that ran for about 100 years from our village to Tiverton Junction.
The first mechanically operated butter factory in the West of England was started at Mountshayne in 1886 by 4 local farmers, this was later transferred to Millhayes, and was only closed in the 1990's.
The first Young Culm Farmers Club in England began here in 1921, and it continues to prosper as the Culm Valley Young Farmers Club.
Brian Clist 24th May 2003

love supreme 2017

Well it was that time of year again and so off we trekked to Glynde and a weekend of chillin and groovin to this fine menu of musical delights....


we also inducted a new member into the funbus hall of fame - meet Hepcat Dave - Brother of the ever cool  Tony 'the man' Weise.
honorary funbus Hepcat
As quoted;
Frank Zappa once suggested that jazz wasn’t dead, it just smelt funny. Judging by the ongoing success of the UK’s first outdoor jazz festival, that funny smell is now one of freshly mown grass, chemical toilets and hand sanitiser. After five years, Love Supreme – this gentrified camping weekend in the grounds of Glynde Place, near Brighton – is attracting its biggest and youngest crowd ever.
The festival has welcomed plenty of big R&B names over the years, from Chic to Grace Jones to De La Soul, but this year it hosted its first true jazz legend: Herbie Hancock. He eschewed the outdoor main stage for the more intimate Big Top, his quintet mixing up exploratory electric jazz with some expansive versions of bangers such as Come Running to Me, Cantaloupe Island and Actual Proof, with Hancock and his guitarist using Jacob Collier-style software to harmonise their voices. When he comes out for an encore carrying a keytar, to perform Chameleon, a crowd who were barely born when the record was released go nuts.
Jazz is often an introverted art form, and it’s sometimes difficult for its musicians to project their music in a festival environment. One extrovert who can is tenor saxophonist Shabaka Hutchings, who fronts three lineups on the Saturday. His Ancestors band engagingly mix danceable South African township jive with atmospheric sax drones and mantra-like vocals. Later on he gets an Arena stage moving with Sons of Kemet, his tuba-driven outfit (with two drummers, Showaddywaddy-style) who sound like a New Orleans-style marching band who’ve wandered through Lagos, Accra and Trenchtown. Later on, Hutchings re-emerges, fronting The Comet Is Coming, his Mercury-shortlisted collaboration with rave duo Soccer96. Mixing wailing improvisations with squelchy acid house basslines, thumping rave beats and juddering electronica, it’s a thrilling example of what “acid jazz” might have sounded like.
Throughout this festival, it was the thumpier, more exuberant acts who managed to connect, grabbing passing punters almost as hostages. The Hot 8 Brass Band – who play jerky, New Orleans-style arrangements of everything from Snoop Dogg to Joy Division – could probably get the crowd throbbing at any festival, anywhere. The Black Focus project – a south-east London quartet led by drummer Yussef Dayes and synth player Kamaal Williams – mix thumping junglist beats with fast and furious musicianship; while Nubiyan Twist add a dubby, Ethiopian jazz spin to funk and reggae. Even the more subtle acoustic outfits are pushed into wilder territory: the semi-classical drums/sax/piano trio Mammal Hands mutate into a high-volume rave act; German pianist Michael Wollny and his remarkable trio mix rumbling free improv with pyrotechnic moments.
The alumni of Kendrick Lamar’s To Pimp a Butterfly album are well represented on the Sunday bill. Kamasi Washington and Robert Glasper both play to huge crowds, the former anthemic and orchestral, the latter riff-based and intense. Shortly before appearing with Kamasi’s band, bassist Miles Mosley leads his own flashy four piece, the West Coast Get Down, in a smaller tent. Mosley sings and plays double bass – often through octave and distortion pedals – and takes the jazz funk of his recent album Uprising into thrash metal territory.
Some struggled in this environment. Corinne Bailey Rae’s excellent space-age soul ballads are a little too low-key for a big outdoor crowd, while lauded Canadian five-piece BadBadNotGood, shorn of the deliciously restrained studio production and all those guest singers and rappers, just sound like a rather classy smooth jazz band. Others worked surprisingly well. Mica Paris gets a huge crowd for her Ella Fitzgerald tribute, her chesty contralto and R&B band adding a heavy take on such standards as Summertime, A Night in Tunisia and Can’t Buy Me Love. Young American singer and educationist Charenée Wade impresses with a cracking trio and a supple voice that recalls Dianne Reeves. Laura Mvula, carrying an enormous white keytar throughout, succeeds with a widescreen mix of tribal beats and orchestral arrangements, pitched somewhere between Peter Gabriel and Kate Bush.

The veteran soul stars on the main stage fulfil their function. The Jacksons play a largely identical set to the one they brought to Glastonbury the previous week, with a fine backing band recreating some of the finest moments in disco history, even if the four sixtysomething brothers now have voices that don’t quite sparkle in the upper register. Amazingly George Benson, at 74, is in remarkably good voice (hear him negotiate three successive upward key changes towards the end of Lady Love Me) and his guitar chops are still in fine shape (check out his florid take on At the Mambo Inn). Benson is the second bona fide jazz legend on this weekend’s bill, and it’s his mix of populist R&B and heavyweight hard bop that seems to embody the spirit of this flourishing festival









Manics at the harbour side 2017

One of my all time favourites - in Bristol - in heaven !

As quoted locally;
So it was like a meeting of old friends when the normally taciturn frontman of Manic Street Preachers took to the stage at the Bristol Sounds series at the Lloyds Amphitheatre on Thursday night. And with the stunning backdrop of the Harbourside and the Matthew, the band received a huge amount of love which just grew and grew as they tore into their set. They didn’t disappoint, and packed their show with classic hits and crowd pleasers, like they were taking people on a guided tour of their back catalogue. Soon into the show, Bradfield was reminiscing about a city he knows well, and clearly loves.
He began name-checking every venue in the city the Manics have played at, giving a shout out to all the old fans who had been there from the start. And Bristol ’s recent news hadn’t passed him by, either.  “Shout out to the people who came to our early gigs in the ‘soon-to-be-renamed’ Colston Hall, where we played to about five people,” he said.
Support acts were decent too. The Anchoress, a female singer and pianist, showed promise, and British Sea Power warmed the crowd up well for the main event. But everyone was here for Manic Street Preachers. After that lovely Bristol connection, the crowd sparked into life with the first chords of You Stole The Sun From My Heart, and just to bring the cherry on the icing on the gert lush Bristol-Manics love cake, Bradfield reminded the crowd that local boy Nick Nasmyth was banging away on the keys.
 “Introducing one of your own…” said the singer. The hits flowed and the love built. Kevin Carter was followed soon after by If You Tolerate This, a song about fighting fascism which still resonates today. There was a brief mellow period with Ocean Spray was played acoustically, before the monster anthems You Love Us – dedicated to Massive Attack – and Tsunami brought us all into the home straight.

Then the finale. Regretfully, with the strict harbourside curfew of 10.40pm, A Design For Life was the last number. “This is our last one,” said Bradfield, scuppering hopes of a naughty extension. “I know you’ve got a spectacular council, but we’ve still got a curfew,” before launching into possibly the band’s best-known hit. It was glorious, the sound – which is sometimes patchy given the outdoor acoustics of the unique location – was perfect, and thousands of Manic Street Preachers fans ended the evening with the warm glow of reciprocated love