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© 1998 I recorded these tracks in 199/8 I have only listened to them for the first time in the last weeks. A rather poignant and sad story attached to the making of them. I don't even know what genre to call them in the list? They have been sitting in a cupboard in a box for many years. A rather poignant and sad story attached to the making of them. Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics on the spot. I love to scat stories, but these tracks were not like the Jazz swing or funk grooves feel I usually scat /chat on. xxxx

© I recorded these tracks in 199/8 I have only listened to them for the first time in the last weeks. A rather poignant and sad story attached to the making of them. The began as a project with Steve, shortly afterwards Steve became Julia. A deeply sad resonance when Julia died a few years afterwards. I don't even know what genre to call them in the list? They have been sitting in a cupboard in a box for many years. Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics mostly on the spot. I love to scat stories, but these tracks were not like the Jazz swing feel I usually scat chat on.xxxx ©

© 1998 I recorded these tracks in 197/8 I have only listened to them for the first time in the last weeks. A rather poignant and sad story attached to the making of them. I don't even know what genre to call them in the list? They have been sitting in a cupboard in a box for many years. A rather poignant and sad story attached to the making of them. Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics on the spot. I love to scat stories, but these tracks were not like the Jazz swing feel I usually scat chat on.xxxx

© 1998 I recorded these tracks in 197/8 I have only listened to them for the first time in the last weeks. A rather poignant and sad story attached to the making of them. I don't even know what genre to call them in the list? They have been sitting in a cupboard in a box for many years. A rather poignant and sad story attached to the making of them. Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics on the spot. I love to scat stories, but these tracks were not like the Jazz swing feel I usually scat chat on.xxxx

I recorded these tracks in 1997/8 I have only listened to them for the first time in the last weeks. They have been sitting in a cupboard in a box for many years. A rather poignant and sad story attached to the making of them. I don't even know what genre to call them in the list? Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics on the spot. I love to scat stories, but these tracks were not like the Jazz swing feel I usually scat chat on.

© 1998 I recorded these tracks in 199/7/8 I have only listened to them for the first time in the last weeks. A rather poignant and sad story attached to the making of them. I don't even know what genre to call them in the list? They have been sitting in a cupboard in a box for many years. A rather poignant and sad story attached to the making of them. Very much improvised vocals on the tracks ..melody and on a couple of them, lyrics on the spot. I love to scat stories, but these tracks were not like the Jazz swing feel I usually scat chat on.xxxx

WORK. ＠

Sitting on a wall in somewhere town looking through a mirror

See tomorrow’s hours on the ground, got nowhere to go

Filling up the hours with a TV SCREEN

Am I a failure?

Don’t seem to fit in the worldly scene.. Why not? Why not?

Looking west and looking east.

Travel light, forget the beast.

A new way of trying

What they have is for themselves.

We're uninvited to the feast..

People are dying

Closed the doors, no work around I say, political lying

Forget what’s yours don’t make a scene. Why not?

Can they ski on butter mountains? Do they swim in milky lakes?

The tons of grain they throw away could feed a million mouths.

I can see it

you can see it

do they see it?

The Shout

Purcell Room

John L Walters

Wednesday January 5, 2005 The Guardian

Originally brought together as a vehicle for the compositions of Orlando Gough and Richard Chew, the Shout's 15 singers make a virtue of their divergent backgrounds. The resulting a cappella sound - broad, rich, thrilling - has meant that the ensemble has remained unclassifiable: too awkwardly multicultural for a bench at the high table of classical music; too unpredictable to become teatime TV favourites; too tuneful to be cool. They're so good it's possible to take them for granted.

In their latest touring show, A Day in the Life, populist seasonal songs rub shoulders with gritty originals and readings (perhaps a few too many), which include an account of Christmas in a London labour ward, an Auschwitz diary extract, and a nine-year-old's present wish list, cueing a jokily alternative Twelve Days of Christmas.

Pace and sound vary constantly, from a harmonically adventurous In the Bleak Midwinter (featuring ethereal ex-Doctor and the Medics soprano Louise Sofield), to Melanie Pappenheim's backwards version of See Amid the Winter Snow (sung while Gough chalks "40 words for snow" on a blackboard), to a spine-tingling all-female version of Didn't Leave Nobody But the Baby.

The second set builds to novelty items such as Christmas Pudding, in which the males intone the contents list of a shop-bought pud; Chuck Berry's classic Run Run Rudolph; and a campy version of the Pet Shop Boys' perennially dreadful Shopping. Giles Perring, introduced by Gough as "the high priest of improbable percussion", adds minimal but highly effective details: bass drums and oxybells. The show gives many of the group a chance to shine as composers and arrangers. Song of Work by Carol Grimes has a vigour and improvised complexity that recalls The Shouting Fence. Yet the musical heart of the Shout remains in Gough's substantial compositions and arrangements, including Saltwater Laments, Personent Hodie and an intense, raw treatment of I Saw Three Ships.

I was levitating above Mile End ! And yes! My pants were on fire!

Produced by Micky Gallagher.

Ain't that peculiar / Smokey Robinson.

Fashion Passion by Charlie Charles & Carol Grimes

John Turnbull (guitar), Mickey Gallagher (keyboards), Davey Payne (saxophone), Charley Charles (drums) and Norman Watt-Roy (bass).

From Mother CD

Irregular Records CG59 (CD, UK, 2003)In the memory of Stan Adler and Elton Dean

Musicians

Garol Grimes, vocals;

Ian Shaw, Hammond / Rhodes, vocals;

Greg Wain, guitars, vocals;

Steve Watts, double bass;

Stan Adler, cello;

Mark Fletcher, drums, percussion, fire extinguisher;

Annie Whitehead, trombone;

Josefina Cupido, percussion, vocals;

Elton Dean, saxophones;

Harry Becket, trumpet

Tracks

New Coat of Paint [Tom Waits] (3.01)

Into My Arms [Nick Cave] (4.24)

Who Knows Where the Time Goes [Sandy Denny] (6.08)

Moira [words Carol Grimes, music Ian Shaw] (3.50)

Scars [Fran Landesman, Simon Wallace] (4.13)

Gold in Them Hills [Ron Sexsmith] (2.56)

Better off Dead [Randy Newman] (2.51)

USA [Shane MacGowan] (2.49)

Two Grey Rooms [Joni Mitchell] (5.08)

Blues for Louis [poem Carol Grimes, music arr. Ian Shaw] (4.48)

You Don't Know What Love Is [Don Ray, Gene DePaul] (5.48)

Mother [John Lennon] (5.14)