Thursday, 24 November 2016

morris folk club - november

On Tuesday - a week earlier than expected, for double booking reasons - it was November's Morris Folk Club. Running the risk of outstaying my welcome, I was up four times, but they all went fine I think.

I sang Long Time Gone, from the Everlys, which I had done before at Sharp's a long time ago. I expect I pitched it better, a bit lower, and people joined in the refrain, which was good. It's good to sing songs that people can join in with, especially early in the evening I think, and I was first up. (Jo's put me first up a few times recently; perhaps because I'm doing two, to spread them out, or just because I seem happy enough to go first. Perhaps to set the bar low for the encouragement of others. Hopefully not just to get it over with.)

Then Ruth and I sang The King. She had sung it at folk club before, and I knew it from Steeleye Span's version. At Greenbelt Ruth had suggested singing something together at their folk night, but we didn't have time to prepare something, but knowing she might be up for it I suggested this. I learnt one of the harmonies off the Steeleye Span version (Maddy Prior's part, in fact). We had a couple of practices in the cupboard at choir which went fine (happily the versions we knew were essentially the same), and so it did on the night too, I think.

Then Elaine, Fiona and I sang Echo Mocks The Corncrake, a traditional song done on the Songs of Separation album/project, sung by Karine Polwart. It was Elaine who suggested to Fiona and I that we do it - it was one that had been suggested but not selected for our collection of bird-themed songs for choir this term. Elaine and Fiona sang the tune and I sang a simple harmony that I made up. Again, it seemed to go pretty well.

Last of all I did Flora (which I know from Peter, Paul and Mary). Again I encouraged people to join in on the refrain, and they did. I pitched it nearly too high - even after stopping and taking it down - so I decided to give it the full loud and melodramatic treatment (it is rather a melodramatic song, and going loud is one way to reach the high notes, I find), and that seemed to come off alright. Made for a contrast to Long Time Gone, at least, which I had gone quite low-key (literally and metaphorically) on.

Full setlist here.