Little Big Mouth - Stumbling Block 2017

Little Big Mouth

Whilst browsing the net for an old friends band formed in the early 90's (but broke up before the naughties) I found Little big mouths 'Stumbling Block' written by Les Woodley featuring 3 musicians (himself ) Jonny Baker & Stephen Mynott. The folkish mandolin and eerily famous 16th note or semi quaver riffs subtly massaged using semi quaver rests, it is a quality we rarely hear in present day. Soloing at around the two and a half minute mark Les plays a fluid and repetitive dreamesque melody in a phrase that neatly sews 16 bars tightly together. To me the track would get filed under "Reggae Folk" Although in surmising lyrically the great list of needs required to overcome the mythological wall of this metaphor of Little Big Mouths 'Stumbling Block' calls for a beat two and beat four, or just a kick on beat one. My wish for any kind of percussion to be included in the 5 minute 10 seconds piece is more than likely just a nod to previous folkies 'Fairport Convention' Totally enjoyed it 8/10

1997 Mike Lewis Sea Princess House Band

Found an old reel of AGFA & had it developed from a long time ago,today whilst searching for a 'verb manual i discovered the pictures again & thought i'd share with you the pictures from the Spain to Venice three week cruise. The Pig & Whistle, show bar band and Ballroom Band (Us)
With staff discounts a packet of 20 Camels & a pint wasn't far off £1.50

Jazz Junk & Funk (the first FT melodic album)

During 2006 I had two projects begin, the first a call from Mike Stephens, requiring me to be keyboard player / M.D for Alex Park's second album tour (Honesty) and Jazz Junk & Funk, my own collection of instrumental music I hadn't yet written & to be recorded in the newly converted studio/garage. As it happened I managed to combine both. Alex Parks required two weeks of rehearsals before the UK only ( and Scotland ) tour and on the train every morning I took out my sketch book and outlined the 30 tracks that would go on to form the JJF album recorded that year.


Once upon a time I wrote melody directly into the sequencer via playing the chords, then drums etc but i've found over time planning ahead can avoid needing to turn back. The Album was recorded with four drummers, three bass players, two brass section and two guitarists. Comp'd over a period of several months, and many of the tracks are in a fluid form mixed into LCR, mono and several lengths with alternate endings and beginnings.

I couldn't have found the time to write this album without those train journeys (and a bottle of water :) and I often corrected my scribbling on the way home from rehearsal, using the keyboard at Terminal studios to play those ideas I could hear my strengths/weakness and was not reliant on sheer imagination to maintain interest and strength in melody or rhythm (ie guitar strums, hanging on 5th or 6th phrases) . Not all of the beats were composed in the notepad, about 5/10 were made on the day by the drummer. Some elements formerly instrumentals became vocal songs with assistance and collaboration, obviously kept most of the works in the same positions/keys they were written, although i still believe some phrases or cup-lets do chime better in higher registers, end of 2018, 2019 we hope to publish again and the incentive to review the mixes is begging to be finished


Olaf our DIY kid on loan from Douy Martyrs has nailed up (rather hastily if i'm honest) these Japanese Empire & Israelie Hebrew alphabets for me. I'm thankful for not doing it myself, & if i speak frankly it could be just from where they were filmed ,anyway not wanting to be derogatory only to view the grapa-heme's but it never fails to raise a chuckle how free work can be critiqued