Reasons To Be Cheerful (Part Two)...



I first heard The Innocence Mission back in the 80s when a friend passed me a cassette tape that had their debut CD coupled with the first Sundays album. It was actually a sweet pairing — The Sundays' Harriet Wheeler has a vocal delivery that's not a million miles away from that of Innocence Mission singer, Karen Peris, and both albums had an attractive shade of melancholy lingering beneath the pop sheen.

To be honest, the 80's production of The Innocence Mission's self-titled release hasn't aged anywhere near as well as the songs themselves. It often sounds a little too glossy, especially in light of the beautiful pure-of-heart songs being played and sung. It hardly matters though. For some reason, it's an album of songs that regularly call me back for another listen every couple of years. When I do, I always end up immersed in its beauty; totally captivated by Peris's pristine voice and the sentiments she effortlessly expresses, and I nearly always get choked up to the point of embarrassment.

These days, the albums crafted by this husband and wife team of Don and Karen Perris are more stripped-down affairs. The production and instrumentation is sparse, largely acoustic, and totally appropriate. Their little celebrations of life's beauty, sadness, faith and hope are all understatedly delivered with an easy style and grace that is so refreshing, especially amid much of the clatter that passes for entertainment these days.

When I first saw this clip, I watched transfixed for its duration. I'm not sure I even blinked. The simplicity of the visual; the starkness of the two-guitar accompaniment and the fragile beauty of the vocal just totally reaffirms the power of music to me. Exquisite.

Anyone have a hankie?

Website?... What website?

So where the hell is steverobinsonmusic.com? Well, the official reason is the old standby -"technical difficulties". Of course, the real reason is gross ineptitude on my part. It is, of course, inexcusable, and I should be duly punished. Unfortunately, my hairshirt is at the cleaners.

Speaking of old standbys...Normal service will be resumed as soon as possible. Thank you for your patience.

Swedish envy...

It's that time of year again-- the dawning of another dreaded Florida summer, where the constant dreary hum of the air conditioner serves as a brutal reminder that unless you're partial to third-degree burns and heatstroke, you're going to spend the next six months or so indoors.

I may not have solar panels on my roof; I don't drive a hybrid car, and despite my best intentions I'm still not composting in my garden, but I've most definitely gone "green" in one respect: I'm jealous as hell of anyone who gets to spend their summers in more civilised climate.

One such lucky sod would be English-born, Swedish resident Malcolm Carter. Malcolm is the kindly gent who recently wrote the generous review of Undercurrent for the Scottish-based Penny Black Music website, and he recently interviewed me for the same publication. Among other things, The Headlights, mushy peas, and Peter Noone all came up in the discussion. You can read the whole thing here.

Apparently, he resides in Sventorp, which I found humourous, since Sven would be the Scandanavian equivalent to Steve, and Torp must be where Thorpe comes from. My hometown is, of course, Scunthorpe (stop sniggering at the back!), and many of the towns and villages in the surrounding area take their names from nordic words (take a bow, Viking invaders). Funny old world innit?

At the time of the interview I had no idea he lived in Sweden. If I had, I might have been tempted to ask him a few questions of my own, like: "Is it difficult to get a work visa?"

Oh well, back to the swamp...

Catch a wave...to Colorado?

Well, the dream of relocating from Florida to Colorado may have been put on hold for a while (housing market take a bow), but at least I'm getting a little Rocky Mountain airplay.

DJ Carmen Allgood has been bravely promoting independent artists for donkey's years now --she was the first in the nation to produce a local radio show, apparently-- and continues to do so via her Colorado Wave radio programme.

This not-so-little-anymore syndicated radio show (over 100 affiliates and counting) has, over the years, assisted over 12,000 stylistically varied independents in gaining a little radio exposure, and I'm pleased to be part of that group. Volume 537 of the show features "Forget About Love" and can be heard here.

Stamp of approval...

Getting your Indie CD reviewed, whether in print or online, can be quite a challenge. You have to be aware that your CD and its accompanying press kit will be arriving along with countless others, and that the odds are largely against you. There's no guarantee that anyone will actually listen to it, let alone assign it for review.

When I send out a package, I know that there's a certain amount of luck involved. I'm fully cognizant of the fact that there's every chance that my album might be doomed to sit unopened in an anonymous pile of similar submissions, or be unceremoniously tossed into an already overflowing waste paper basket, after a perfunctory audition. I also know and accept that an editor may well indeed give it a fair and open-minded listen, and decide that it's crap, and pass on it. It might be that you caught him on a bad day; it could be that he picked the wrong track, and that the previous one would have knocked his socks off. Or... it really might just be crap.

Either way, you have to accept it, move on to the next victim, and not take the rejection personally. Conversely, you have to really enjoy and appreciate it when you actually do land a review. I certainly made sure that I took the time to savour the following review from the Scottish-based website Penny Black Music . I caught him on a good day, apparently.

Reasons To Be Cheerful (Part 1)...



Ok, so maybe "cheerful" and "Gilbert O'Sullivan" might appear to be a little oxymoronic, especially in light of the fact that one of his biggest hits on both sides of the Atlantic was the desperately sad "Alone Again (Naturally)", and to be honest, this earlier UK hit from 1970 was hardly a knees-up either.

Like several of O'Sullivan's records, this one has that sort of distinctly English, sepia-tinged sense of melancholy about it, but despite its rather solemn subject matter, I don't find it a dour affair at all. In fact, when I hear it I usually find myself beaming. I suppose that part of the reason is that it brings back such vibrant and mostly pleasant memories of the early 70s. It was, after all, a time when my mother was still with us; our family well and truly intact.

My mum loved Gilbert, and had a stack of his 45s that she'd play relentlessly. "He's lovely"- she'd always inform us, and it seems that she was onto something. At the time, of course, I'd be rolling my eyes in adolescent disgust. I was far too obsessed with glittery and sartorially resplendent superstars, like T.Rex and Slade, to be able to relate to this corny, street urchin-looking throwback with a cloth cap and pudding bowl haircut.

Listening to it now, I'm totally knocked out by the sheer musicality of it. A brilliant song, beautifully arranged and played; truly lovely. Always listen to your mother.

Sunshine Drenchy newsbrief...

Hello poppy folk,

Just a quick update for you on the upcoming Headlights/Ditchflowers show at the Largo Cultural Center on Saturday, Feb 9th.

There has been a time change --the show is now scheduled to begin at 8:00 pm, rather than the previously advertised start time of 7:00 pm. I'm not sure how this will affect my scheduled solo spot at this point. It will probably be a bit of a squeeze (no "Up The Junction" jokes, please) but there may be time for a shortened mini-set. If not, I'll just have to relinquish the solo spotlight this time around and save my newly-penned, Australian-themed Folk-Rock Opera, "Pommie" for a future date. Not quite so disappointed now, are you?

Tickets for the show ($18 advance/$21 day of show) are available in person at the Box Office, or by calling 727-587-6793. More details about the venue/map/directions etc. are available on the website

There has been a lot of gossip surrounding this particular Headlights get-together. Some are touting it as the final show (some may even be praying, I don't know); others have suggested that it might be time to record some new material. I have to admit that I've long felt that as a band we never really managed to hit our stride in the studio. We certainly managed to conjure up a little magic on stage on occasion, but considering how long we played together, I think that we're woefully under-represented by our recorded output. I personally wouldn't mind the idea of bolstering the old back catalogue a bit. I know I have a couple of songs that I've not recorded as of yet, probably because they felt more like Headlights songs to me. There's a part of me that likes to think that schedules permitting, and pending suitable alignment of the stars, that I might be able to have a bash at them with the lads. Who knows?

Speaking of having a bash, there's a bit of a "do" at Dave's Aqua Lounge this coming Saturday, Feb 2nd featuring The Ditchflowers, Lorna Bracewell, Ronny Elliott & Rebekah Pulley, and Have Gun Will Travel. It's all for a good cause too. I'll leave the spilling of the details to Ditchflower, Ed Woltil -- everyone's favourite local, rather tall, uber-talented musical all-rounder, who despite the fact that the closest he ever gets to the Netherlands is when his wife picks up some imported Edam cheese from the deli, nevertheless has a really cool Dutch-sounding name.

What follows is an exerpt from a recent Ditchflowers bulletin. Take it away Ed...

"All our local fans are, of course, familiar with WMNF 88.5 Community Radio, the staunchest supporters of Bay Area musicians on the airwaves. Many of you, however, may not know about BAAMO (Bay Area Arts & Music Organization), a not-for-profit outfit that exists for the sole purpose of helping to promote Tampa artists. Gotta love ‘em — great people.

BAAMO’s major annual event is the Florida Bandango, a showcase of Tampa Bay music and musicians at the world famous South by Southwest (SXSW) Music Conference in Austin, Texas. The incorporators of BAAMO have hosted this event since 2003. The purpose of the Florida Bandango is to bring exposure to local musicians from the music industry and music press attendees of SXSW. Over 500 individuals attended the 2007 Florida Bandango. WMNF is another staunch supporter in helping to make this event a success.

This year, The Ditchflowers are proud to be one of the five Tampa acts participating in the 2008 Florida Bandango. Along with Ronnie Elliott & Rebekah Pulley (performing as a duo), Lorna Bracewell, Giddy-Up Helicopter, and Sarasota’s Have Gun Will Travel, we’ll be headed off to Austin to perform on March 12.

Another great thing BAAMO does is release a CD compilation of great local original music. The latest, Cheatin’ Heart: Tales of Lies & Love, features the above artists and more, and is hot off the press and available soon. Next week, for instance, you can pick up a copy at Dave’s Aqua Lounge when you drop in to check out all the above artists (except Giddy-Up Helicopter, who are unable to attend) performing in a special fundraising concert. That’s Saturday, February 2, at Dave’s Aqua Lounge. A suggested $10 donation will help us starving artists pay our way to the musical promised land of Austin, Texas (hey, travel’s expensive). Hope to see you there if you can make it-- all of these musicians are exceptionally talented, and this promises to be a night of great music, fun and camaraderie (show details below).


Gotta run...thanks again for your support.

Luv,

Ed

One For The Road 3
Saturday, February 2, 2008
Doors @ 8:00 pm, Music @ 9:00 pm
Dave’s Aqua Lounge on Gandy Boulevard in St. Petersburg
(10820 Gandy Boulevard)

It's like riding a bike...

Of course, you can still fall off.

I recently joined with my old mates in the Headlights at a rehearsal for our upcoming reunion show at the Largo Cultural Center on Saturday, Feb 9th, and although it was great to play with them again, it became apparent that I'm a little out of fighting shape.

There were a few chord changes going awry, and the occasional lyric that eluded me, which I suppose is understandable since it's been a couple of years since I sang the songs. More jarring though, was the physical side of it. After a couple of hours, my left hand began to cramp up on me and I had trouble gripping the fretboard. By the end of the evening the hand looked like something from Curse Of The Black Claw.

Then there's the vocal cords issue. I mean, I knew it'd be a bit of a strain -- singing hard and trying to make yourself heard over a plugged-in band is, after all, a far different thing that sitting by yourself in front of a microphone in the relative hush of your home studio -- but it was perhaps a little worse than I expected. Although I didn't quite sing myself hoarse, there was enough strain to ensure that when I awoke the next morning, my speaking voice sounded a little like a cross between Tom Waits and Barry White.

I'm hopeful that another rehearsal will help me toughen up a bit, so I can be in fine voice for the show. If not, at least there'll be an opportunity to do that "Downtown Train/Can't Get Enough Of Your Love, Babe" medley that I've always wanted a crack at.

Monk's the word...

Well, we're approaching the middle of January -- everyone's Christmas decorations have been safely packed away in the attic for a couple of weeks now; resolutions lay scattered about in tatters, and the last few pine needles from the Christmas trees have been vacuumed away. It takes a while to get them all, doesn't it? Every couple of days or so, you'll see a couple of them taunting you from beneath the edge of an area rug, or nestling unnoticed against a seldom-used door jamb. The bastards. I wouldn't mind so much, but for the past four years, we've had an artificial tree.

Speaking of resolutions, I usually make them only half-heartedly, and so the inevitable breaking of them doesn't seem so monumental. Either that, or I make them too easy to keep. Last year, I vowed not to set fire to any important Government buildings, and it worked out quite well for me.

I also make sure that they never involve me limiting the amount of food I eat. I have no interest in such silliness. I want to eat like a king. A gluttonous king. I adore food, and refuse to deprive myself of one of the great joys of life, in order to be in step with the latest health diet du jour. If I start to look a little pudgy or lumpy in certain areas, I just see it as a sign that I need to move around a little more and at greater speeds. So, I increase the old running schedule; it's a simple enough equation, I think.

Nor do I have any desire to stop drinking. Don't get me wrong, I don't consume like I used to back in my gigging days with the band; that would be daft. Back then, I'd knock back any mass-produced swill that was even rumoured to have hops, barley and malt somehow involved in the brewing process. Now, of course, I limit myself to quality micro-brews and the occasional Belgian abbey ale brewed by Trappist monks (just keeping it Holy, you know).

No, my New Year's resolution wasn't even made before the new year began; it just sort of dawned on me during the past week, and it involves MORE enjoyment, rather than less. Simply put, I'd like to try to actually enjoy the music-making process, from now on. It might sound like a foregone conclusion to some, but so often for me, the creative process tends to be a bit of a painful exercise, fraught with uncertainty, insecurity and self-doubt. I get anxious and jittery; my palms sweat, and I lose focus as my mind races ahead and tries to envision how a song will sound when recorded, sometimes before I've even finished writing the bloody thing. There is often much gnashing of teeth and plaintive wailing during the small hours.

This needs to stop. For one thing, it frightens the neighbours, and it really throws a damper on the far more desirable feelings of joy and wonderment that can arise when you realise that you somehow just created something that rather resembles a song, out of a bunch of hastily scribbled phrases and a jumble of guitar chords.

A couple of days ago, I picked up the guitar and turned on the machine that I use to record with (a Korg D1600 for the anoraks among us), with the intention of capturing a couple of sketches of song ideas that I'd had buzzing around my brain for a while. With the red recording light flashing in wait, I began reacquainting myself with these assorted song snippets and prepared to capture them for future study. Somehow, I got sidetracked, forgot what I was doing, and out of nowhere, found myself playing something completely new. It was only a couple of chords, but they felt good, and before I knew it they were suggesting, nay, insisting upon a nifty little melody that infected me and wouldn't let go. Before I knew it, I found myself grinning all Cheshire Cat-like and reaching for the record button.

I've yet to expand upon that little germ; I have no idea whether it'll turn into a fully realised song any time soon, years down the road, or even at all. It hardly matters really. The fact is, that for a few minutes I was buzzing with excitement about it. It excited me; invigorated me and made me want to get to work. That's the sort of moment I want to learn to savour. To try not to worry about whether or not I'll be able to conjure up a suitable chorus or bridge section; whether it'll all pan out into a decent song, or even wondering if my vocal on it will end up sounding anything like Peter Noone, but to try and have the mindfulness to be able to enjoy grabbing hold of a little gift like that, wherever it may lead -- to enjoy the journey, as they say.

I mention Peter Noone, because I've been hearing comparisons to the eternally youthful Herman's Hermits' singer for a couple of years now. I don't really hear it myself, but I'm wondering if it's a hint of my northern accent poking through. I've heard several comparisons to Graham Nash too, and his northern tones are still occasionally audible, so it could be an accent thing. Either way, I take it as a compliment. He was a bit of a trendsetter in a way; I mean, he was singing in a Mancunian accent while Morrissey was still in diapers wasn't he? I know one thing-- If I look as good as he does when I'm his age, I'll be an 'appy camper.

So, as I contemplate enlightenment, and continue to work on my quest to try to live more in the moment, feel free to read the latest comparison to the luvly Mr Noone in the latest review of "Undercurrent", courtesy of babysue/LMNOP . If you need me, I'll just be enjoying the journey...to the fridge, where a fine Belgian brown ale awaits. Something tells me I'm into something good.

Hearsay, there and everywhere...

Although it's still up and running quite nicely thank you very much, steverobinsonmusic.com is currently undergoing a little refurbishment. As a result, the Reviews section of the site hasn't been updated in some time. This situation will be remedied shortly and links to recent reviews should soon be posted.

In the meantime I thought I'd share a few recent quotes of note:


"Every cut is a crystalline gem" --Luke Torn, Uncut

"One of the better discs of 2007 that I've heard" --Stephen Ferra, Absolute Powerpop

"'Undercurrent' is often gorgeously melodic - the ballad 'Love Is Real' borders on majestic - and Robinson's clear, controlled tenor is the perfect conduit" --Eric Snider, Creative Loafing

"Great guitars, great harmonies and awesome lyrics" --Johanna Bodde, Insurgent Country (The Netherlands)

"Elegantly crafted Beatlesque folk-rock of the highest calibre" --Rob Lincoln, CD reviewsonline.com

"His songwriting and guitar playing are, as his label suggests, drenched in sunshine" --David Cowling, Americana UK

"Can I please put my Hannah Montana CD on now, dad?" --Emma Robinson

Blessed are the Meeks...

On the heels of his rather glowing Indie Launchpad review, Colin Meeks kindly featured my nostalgia-tripping school playground singalong "The Best Days Of Your Life" alongside tracks by The Weakerthans , Jane Taylor and Chris Brown on Episode #74 of his Indie Launchpad Podcast .

Colin's love for his family, and his unabashed enthusiasm for Indie music that moves him, are on full display during his podcasts, and it's quite endearing. It's also quite contagious--after listening to him positively gush over every one of his selections, I felt compelled to investigate them all further.

Quality stuff, as it turned out. Chris Brown, in particular, impressed me. His track All My Rivals made me think of The Beach Boys' underappreciated "Holland" album. See if you don't agree.

If not, it's detention for the lot of you.

Is that an Irish lilt, or do you always stand like that?...

I'm pleased to announce that the smart online retailer Miles Of Music has added "Undercurrent" to their catalogue. They passed on my last release, so I was quite pleased that they saw fit to take this one on board. They're even selling it with a money-back guarantee, apparently.

Miles Of Music reviewer Jeff Weiss writes -- "Robinson...creates pop gems teeming with mandolin, harmony, touches of English folk, Irish lilt and baroque pop."

Let's not argue with the man; let's all click here, or on the logo above to read more, and to listen to audio samples of "Wooden Hill" and "Wasted And Waiting", shall we?

If you don't do it for the mandolin or the harmony, at least do it for the Irish lilt.

Absolute Power Pop...sort of...
Living as I do, in that grey area between Folk and Pop music, I'm quite accustomed to occasional rejection notices from Folk radio stations for being too poppy, and from AAA radio stations for being a little too folk. Without being a mind reader it's impossible to know exactly where you may have crossed the line and moved into an undesirable genre. My guess is that to the ears of many a AAA programmer it could be something as simple as the abundant use of mandolins or harmonicas, whereas electric guitar riffs and programmed instruments may well cause folkie Music Directors to reach for the Tylenol.

I think it can often be a very fine line though. I recently heard from a AAA station in Colorado that they were declining to add my album to their playlist because it was a little too folky for their pop/Adult Alternative format, yet later that day, the same record was the recipient of a rather glowing review on the Absolute Power Pop website. Conversely, a certain folk show programmer politely informed me that he'd passed my CD on to another, more pop-orientated dj at his station, just the day before I discovered that three songs from it had been added to the playlist of the excellent Online Folk Festival Radio.

To cloud matters even further, the Dutch review site Insurgent Country not only posted a review of "Undercurrent", but also asked me to write a few words about my previous ...er, country album, "Away For The Day". (Interested parties can click on the"Reviews" tab to access both articles)

Identity crises aside, you have to embrace this don't you? People are always going to label your music, and there seems to be so many genres and sub-genres out there, that there's bound to be some overlap. I try to look at it as a positive; a way to scamper under the various descriptive umbrellas out there and sneak a radio spin wherever possible. Being labelled a stylistic imposter once in a while is a small price to pay, really.

Now if you'll excuse me, I have to go and brush up on my stand-up bass skills--there are several Bluegrass radio stations out there that are ripe for the plucking.

Can you dig it?...
Yes you jolly well can, dear friends. Individual tracks from the new album are now available for download at Digstation . Of course, you can also download the whole thing, liner notes and cover art and all, if you're so inclined.

For the more traditional-minded among you; those who still prefer to have an actual hard copy release, CDs are now available for purchase at CD Baby.
While you're there, have a listen to lo-fi clips of the songs, and then, if you're sufficiently impressed, you can always spring for the full, er...mid-fi experience.

If not, I'll totally understand. We'll part friends, and you can trot off and tell everyone how Robinson has lost it, and has not only written a song (Road To Ruin) that veers awfully close to anti-war/protest song territory (something I've long claimed I would never do) and hired a young and gifted fiddle player (Victor Gagnon of Seven Nations/Rathkeltair fame) in an attempt to enliven and add a little Celtic flavour to an otherwise lumpen, drunken "Wasted And Waiting" tale (something I've long wanted to do), but has also resorted to adorning the knees-up nostalgia-fest known as "The Best Days Of Your Life" with a (gasp!) tuba solo (something I may well do again).

I can live with that; fair's fair, I suppose. Do me a favour though--don't mention the bodhran, ok?

Plans for the release of the new CD, "Undercurrent" are going swimmingly...

It's been over two years since the release of "Away For The Day", and one would think that I've had ample time to leisurely work on this follow-up record. One would be bloody well mistaken.

For various reasons (most of them my fault) the CD pressing deadline I had, turned out to be a rather concrete one, so the last couple of months have been an insane, mad dash to the finish line. The reasons why aren't really important; what IS important is that I publicly acknowledge the Herculean efforts of my friends and co-producers, Ed Woltil and Brian Merrill, without whom this posting would be an apology for an unfinished project rather than a release date announcement.

Yes, for want of a better term, Ed and Brian saved my sorry arse. What started as a casual, good-natured invitation to embellish my half-finished home-recorded tracks at Brian's studio B, quickly became a succession of hastily scheduled, late-night recording and mixing sessions that proved to be essential in ensuring that "Undercurrent" was released as an LP rather than an EP.

Fueled by Ed and Brian's boundless energy, enthusiasm (and the occasional Belgian Trappist ale), drum tracks, electric guitars and bass tracks were somehow miraculously recorded in time to meet the rapidly approaching deadline. In between sessions, Ed continued to somehow find the time to add his always sympathetic (and at times telepathic) touch to my songs, even co-writing one of them ("Class Clown"), as well as programming additional parts at his own home studio. Yes, schedules were interrupted and sleep was sacrificed; there was even rumours of Brian being seen mixing in his pyjamas. Be that as it may, the bottom line is that the two of these fine gentlemen went so far above and beyond the call of duty, that it verges on the embarrassing. I remain in awe of their tenacity and talent, and I thank them from the heart of my bottom.

So, who's on it? Well... unlike the last DIY effort, this one is a more collaborative affair. Aside from the aforementioned input from Mr Woltil, "Undercurrent" also features veteran drummer Chuck Darling(Nineveh Project); a guest spot from young Celtic fiddler Victor Gagnon(Seven Nations, Rathkeltair), as well as some harmony vocal help from my ten year-old daughter,Emma, who managed to nail her parts in two takes (her dad could learn a thing or two).

As far as the songs go...there's an unapologetically Beatle-ish pop song of love and commitment (Love Is Real); a Celtic-tinged folk-rock expression of awe at the bond between a parent and a child (Please Emmalene); a nursery rhyme-infused homage to a dearly departed mother (Wooden Hill), and an old-timey, music hall-influenced singalong remembrance of schooldays past (The Best Days Of Your Life).

Lest this all sounds a little too much like an exercise in ever-sentimental, rose-tinted nostalgia, I also tossed in a rather disquieting strangled-folk rumination on global religious conflict (Road To Ruin); a tale of drunken excess, emotional disconnect and failed ambition(Wasted And Waiting) and an apologetic lament on the pervasive celebrity worship culture that we humans seem content to wallow in (Boring God). A little undercurrent, you might say.

And where might one purchase said confection? Well, I'm expecting to have CDs in hand by May 24th; retail outlets like CDBaby,Kool Kat Musik,Woven Wheat Whispers, and Not Lame etc., should have them a few days after. I'll post details as soon as I have them. If you prefer, you could always e-mail me via the website, and for the paltry sum of $12, I'll send one directly to you. No messing. I'll not even charge you for shipping and mishandling. Of course, it will be arriving via carrier pigeon, but you know what they say about looking a gift horse in the beak...

Get Carried Away...every home should have one, you know.

I speak, of course, of the latest Sunshine Drenchy Records release, Carried Away by The Ditchflowers

When you think about it, it's preposterous that I even have to mention this. If exposure were directly proportionate to raw talent, we'd probably all be quite sick of them by now. Several of these tracks would be in heavy Clear Channel rotation; CD artwork and oversized promo displays would be beckoning to patrons in Best Buy outlets nationwide, and nationally-syndicated TV shows would be serenading us with Ditchflowery soundtracks all over the bloody place. Of course, some of us would be falling over ourselves to reminisce aloud about how we used to go and see Ed Woltil's "Mad For Electra" and Brian Merrill's "Barely Pink" in the clubs and bars back in the day, and how they were so much better back then, before they sold out.

As we all know, however, talent seems to have fallen way down on the list of prerequisites for commercial success these days. Generally speaking, you have to scavenge and forage about the outskirts of the pop landscape in order to find the true gems. No, it's not what you'd call fair, I suppose, but there is a special kind of satisfaction to be had in such discoveries.
It's not my intention to review this stellar album, track-by-track for you; I'd rather you enjoy unearthing the little beauties for yourself. So, off you go-- have a Listen and tell me that these Ditchflower lads aren't making some of the tastiest pop music you've heard in donkey's years, and I'll meet you at dawn, rapier at the ready.

Will they sell out? They will if there's any justice.

Getting away for the day? Make sure you're properly dressed and accessorized for the occasion. Pop over to Closet-Folkie's Closet and have a look at some spiffing T-Shirts and sensible Tea Mugs.

There are several designs to choose from. Among them, is the Emma Robinson/Don Moore-designed Sunshine Drenchy Logo; the Away For The Day CD artwork, and the tasty retro-looking design above.

Thanks are due, again, to my long-suffering graphic artist friend, Don Moore, who has worked tirelessly to help me bring all these website and CD ideas to fruition. The man is a saint, and I couldn't have done any of it without him. Now you know who to blame.

Is that your vinyl answer? ... I'm hesitant to enter the fray and lament the passing of the vinyl record album. For one thing, it doesn't appear to have totally gone away yet. Witness the recent upsurge in bands pressing Limited Edition vinyl versions of both albums and singles.

I'm wondering how many of the fans purchasing these releases actually own turntables, but I suppose it really doesn't matter. They certainly have appeal as a curio-type collectible for a die-hard fan, and even if you can't actually play the thing, they still look considerably cooler than a CD or an MP3 title flickering on an iPod screen.

Speaking of iPods, one such monster will be winging its merry way into the Robinson household this Yuletide season. My 9-year old daughter informs me that she'll be distraught, nay, inconsolable should one not be in her stocking this year. Can't have that, can we?

I have to give the girl credit though--she may be enamoured with all things MP3 and USB, but she can still appreciate the aesthetic beauty of a good old LP. So taken, is she, with my collection of Beatles albums that she now has three of them mounted and framed on her bedroom wall. The thing is, I don't think she really associates these striking 12x12 images of the fab ones crossing leafy London streets, or all dressed up in their Peppery finery, with the songs contained within; they're simply like cool little posters to her. It's amazing to think that even though she loves all things Beatle, she's only ever heard their music on CD. If my trusty old turntable hadn't bitten the dust years ago, I'd dearly love to be able to actually play some of these records for her. It would be a great opportunity for me to do my best middle-aged-father knows-best routine; rocking back on my heels and imparting pearls of wisdom like -" There...that's how this music was meant to sound", or "That's bloody analog that is; can't beat it. None of your namby-pamby sterile digital shrillness there, love. Ah, just listen to that..."
Of course, she'd probably spoil it with a "What's that crackling sound, dad?" Fair's fair, I suppose.

With this particular bee in my bonnet, though, I've taken to leafing through musical equipment catalogues, of late. They all seem to offer several turntables for sale. Many have USB connections for easy computer hook-up, presumably so that we can take these vintage aural masterpieces of the analogue domain and compress the life out of them as we import them into our vast, squashed digital libraries (I know, I know--it's progress).

"Do you know what a turntable is, Emma?" I'd casually inquired of my little Beatle fan-in-training, over the weekend.
"No" she replied, off-handedly.
So, reaching for a nearby catalogue, I showed her a photograph of one of the turntables on offer.
"Oh-that's a disco machine, dad" she scolded.

Trying to ignore her allusion to DJs, and hoping against all odds that I could somehow make her aware that these beautiful devices were once the primary way of delicately delivering music to the ears of a generation of music fans, I prompted her with a rather hopeful -"Yes, but you know what you put on them, right?"
" Yeah--your hands", she offered, as she reached out and mimed a circular motion with both palms, redolent of a DJ scratching. Despite being crestfallen, I howled with laughter, and by the time she'd delivered an onomatopoeic "Whizzy-whizzy" for further comic effect ( with the flair and ease of a veteran comedian, I might add), I was in convulsions.

So, of course, the catch-phrase of the week in the Robinson household is "Whizzy- whizzy!", and it gets a laugh every time. Enjoy it while you can, little Miss Robinson, because when I finally get around to ordering that brand new Technics Disco Machine, you're going to be in for some serious listening.

Oh Darlington...
Off The Beaten Track is a delightful Podcast; a series of audio/video travelogues that focus on some of the more difficult to reach places(and people) of interest in the UK.

The recently aired episode Darlington Railway Centre and Museum featured my song "The Golden Age Of Steam", which pleased me greatly, since I'm quite the softie when it comes to steam trains, and feel oddly compelled to write songs about them at every opportunity.

Apparently, Darlington's North Road Station is said to be haunted. Quite appropriate then, that they picked a song in which I was attempting to face a few ghosts of my own.

American Idle?...

Ok I admit it. I upoaded a song to the American Idol Underground website. Since CDBaby members were given the opportunity to enter a song without paying the standard fee, I thought that it couldn't hurt.

I was wrong. The song appears to have won March's Folk Song competition, and part of the prize is a CD pressing/printing package courtesy of Discmakers. This means, of course, that there will definitely be a follow-up CD. You have been warned!

I must confess that I do feel a little guilty about not participating on the aforementioned site. It was a while back that I submitted the song, and to be honest It'd slipped my mind. Until I received the e-mail notifying me that "How The Mighty Have Fallen" had won (placed first out of 475 entries), I never gave it a second thought. Now, of course, I seem to be thinking of it quite often.

Actually, there seems to be a host of competitions on the site, some of which run concurrently, and it would appear that I'm still in contention in a couple of categories. I'm not suggesting that you go to my profile page
and rate my song there, because I'd hate to jinx things by campaigning for votes (besides, you really should be voting for Danny Schmidt
--he's quite brilliant).

I do believe though, that the Grand Prize in each genre is something approaching 200 billion dollars in cash and ownership of a Carribean island, so if you really must...