Mark Feltham – The Old Market Theatre, Sat 8.Nov 2014

Ain’t that a pity, I declare it’s a cryin’ shame

Sparklers i sepiaIt was Guy Fawkes’ night down at the Surgery. Beside the wood burner, Greasy Rob and Shagpile Jim were playing light sabres with their indoor sparklers. From the galley, the Doc was dispensing glögg and spiced ale. As Otis queued up Homework on the Sonos system, from the foggiest fathoms of his sub-conscience, he quietly muttered, ‘Poor old pigeons.’ The Doc set down his sepiamulling poker and turned from the ARGA. ‘Since when did pigeons and The J. Geils Band have anything in common?’ he asked. Otis resurfaced. ‘I was thinking of the fireworks; it’s coming down in stair-rods outside. The Rear Admiral said there’ll be a few damp squibs this year.’

Well you know it’s nine below zero
‘That’d be wet squab mate.’ Greasy Rob was chairman of the surgery’s pub quiz team and an authority on trivia. ‘Young pigeons are squab. A squib’s a small stick of dynamite; an out-sized banger to you and me. And we’re not talking Cumberland. And don’t you get me started on squid either, sick or otherwise. They’ve set up a marquee by the pond – they’ll be fine.’ Otis was back in the building. ‘Alright! Alright!’ he growled, ‘no need for the third degree.’

At that moment JJ, the local internet radio presenter, poked his be-spectacled bonce round the parlour door. ‘You should be on Egg-Heads Rob you saucy git. Here, any of you lively lot heard who’s playing The Old Market Theatre tonight?’ He flourished a wad of tickets. ‘Only Nine Below flamin’ Zero! It’s gonna be a proper R&B shindig.’ Otis sat freeze-Old NBZ Ticketframed, still pointing his finger at the guitarist on his album cover. ‘Sup up gentleman, we have some unfinished business!‘ The Doc pulled out his press pass and slipped it into his hatband.

(more…)

Oopsie!

I declare it’s a pity, and God knows it’s a crying shame

Credit to a recent contribution on Harp-L for bringing this small, but important detail to our attention. It’s a recording of the wonderful Sonny Boy Williamson II, starting Nine Below Zero with his harp the wrong way round and on camera. As you might expect from such a pro, he casually shrugs the moment off without ceremony and gets straight on with the job. And hats off to the man. That same thing could represent an insurmountable embarrassment to lesser mortals.

It’s nine below zero, and the fool done put me down

But hey, we’ve all done it! Don’t believe anyone who says they haven’t. When I did it – twice in the same gig – one harp was also completely the wrong key when I turned it round. I will never forget the look of disdain from my bass player and the raised eyebrow from my guitarist. No doubt the drummer was wincing behind my back too. But the simple fact is you can’t make the same mistake on a guitar or drum kit – you’d notice very quickly if your axe was upside down or you’d forgotten to pick up your sticks.

Not quite as simple for the poor harp player. Especially when he has a couple of dozen harps to choose from (all of which look the same), he’s on a quick turn around between two numbers, there’s been a key change and he’s in desperate need of a physiological break. Cut the harpoon man some slack for heaven’s sake!

I give her all my money, all of my lovin’ and everything

So how can we introduce some damage limitation here? We all have our own systems, but here are a few pointers. Number one – when it happens (not if), don’t let it get to you. As you can see from Sonny Boy, you ain’t the first and you sure as hell won’t be the last. And trust me when I say that once you have done it, you’re natural propensity to repeat will be very much diminished. That’s science speak for once bitten. Meanwhile:

  1. Assuming you’re a right hander, check the numbers are topside before you blow
  2. Reapply the sticker from the harp case to the top cover plate
  3. Dab some office white-out correction fluid to the top plate for visual reference
  4. Organise your harps neatly in a case and re-stow them after each song

If it happens, it happens. We’ve all done it. There’s nothing you can do to rewind and erase the moment, so don’t try to cover it up like a Bobby Charlton comb-over. And don’t go getting all embarrassed either. Smile, turn the harp round and carry on. Tell the crowd you learned it from the great blues masters! At least you picked up the correct key. Didn’t you?

Pack Fair And Square – Mark Feltham […with tab]

Life is like a card game, you always take a chance

And so to the final installment in our 9 Below Zero trilogy. So far we have covered Riding On The L&N and Swing Job. We’ve looked at the key musical influences in each case and considered some of the history involved. We’ve also tried tabbing out the harp parts. Pack Fair And Square holds no secrets. It’s drawn directly from The J.Geils Band’s live Full House album. Simple.

With 80s contemporaries such as The Cheaters from Manchester, 9 Below Zero were inspired by the high voltage delivery of the J.Geils Band’s live performance and they set about reproducing it British Pub-Rock style. (more…)

Swing Job – Mark Feltham […with tab]


Thank you. Good night!

Welcome to the second part of our trilogy, covering the top three harp tracks from 9 Below Zero‘s debut Live At The Marquee album, released on A&M in 1980. By that time the UK had already experienced the revolution of Punk Rock and DIY record labels such as Stiff, Beggars Banquet and Rough Trade. New Wave was virtually passe, two-tone ska was skanking it’s heart out and dueling shirted New Romantics such as The Teardrop Explodes and Duran Duran were waiting in the wings, busily back-combing. (more…)

Riding On The L&N – Mark Feltham [..with tab]

You can imagine sittin’ at Tulse ‘ill can’t ya!

I first encountered this barnstorming track on 9 Below Zero‘s debut Live At The Marquee album (A&M) when it hit UK record stores in 1980. The band had already raised heads with its eponymous EP a few months earlier (originally on M&L records featuring Pack Fair And Square, Rocket 88, Last Night and Tore Down). Their new LP bowled in, tweaked noses and blew everyone away. My copy flew onto the bedroom turntable straight from its jacket and there it stayed for months. Of the fourteen tracks that received a daily spin, L&N, Pack Fair And Square and Swing Job went straight to the top of the ‘I want to play harp like that‘ list. It was a tall order, but through trial and error the decoding process slowly took shape. (more…)

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