An Interview with The Victor Pope Band

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Edinburgh’s finest band are about to release their long-awaited fourth album, THIS IS GOING TO HURT… the Mumble were honour’d to get a wee blether with the band before their highly anticipated album launch

Hello Victor and welcome back to Mumble Towers (read last year’s interview here). This time you’ve brought an entourage, your band, can you tell us who they all are and what they play?
Victor: Well there’s me, otherwise known as Victor Pope, on acoustic guitar and vocals. Roy Jackson, also known as Nice one Man on backing vocals, melodica, mandolin and electric guitar (usually not all at once), Jess Aslan, otherwise known as Terminator Jess, on keys, Graeme Mackay, otherwise known as Grime, on bass and finally Jon Harley, otherwise known as Cuddles McGee, on drums.

Hello guys, nice to meet you. So, Jon, as the heartbeat of the group, what is the true ethos behind the Victor Pope band?
Jon: It’s always a singular pleasure playing a drumkit with Mr. Victor because, quite simply, Vic is Love!

Victor Pope & Graeme chatting with The Mumble in the pub

Hello Roy, this is the band’s fourth album, where, when and by whom was it recorded?
Roy: We recorded the full band with Alan Moffat & co at the old Leith Recording Studios above/next to Leith Depot pub. They drilled through the walls & used the Depot’s gig room as a live room. The council have now chucked them out of their premises though, so Edinburgh Uni can get more students in, but I believe Alan recently secured a new property in Leith & they’re back up & running again. Woo hoo!!

Hello Jess! You bring an interesting sound to the band, what is it and how did your musicianship evolve into the instrument?
Jess: Hi Mumble.I play a mono synthesiser adding some melodies and sometimes harsher sounds to the songs. I joined a few years ago, and love working with the guys. Steve’s pretty specific (demanding) about the sounds he feels works or don’t work with the song. Really it’s easy to implement a sound world if someone’s already got a fixed idea of how they want it to go. Not to make out he’s a control freak about the songs or anything (is that what we’re meant to say Steve?)

That’s great. Bouncing back to Victor now – what would you say are the band’s biggest influences
Victor Pope: We all bring our own unique flavors to the brew but for me it’s songwriters who value truth over musicianship. I’m into me lyrics and a bit of humor doesn’t hurt either. People like Lou Reed, Syd Barret, Billy Bragg, Kimya Dawson, the Television Personalities, Jon Otway, Jon Cooper Clarke, Daniel Johnston and Half Man Half Biscuit.

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Recording the album on Leith Walk, edinburgh

Hello Graeme – the Victor Pope Band are your first band playing bass. How is the experience improving your skill and your style (try not to mention me unless it’s in proper context) and how would you describe the basslines and vibe you supply.?
Graham: Hi Mumble. Indeed, I picked up bass for the first time in order to support the Victor Pope band and their surge to the top! The biggest help above all that improved me as a player are the people around me. Steve, Jess, Jon and Roy are all incredibly accomplished musicians and the music just flows out of them from every pore! I like to watch what they are all doing and take bits here and there to add to what I am doing. I think it’s what all good bands do – learn from each others strengths! My basslines are all pretty simple but I think that gives others the platform to inject a little more pezang into the songs. My vibe? Mr reliable

Back to Victor, can you tell me about the song selection for the band’s fourth album?
Victor: Well, there’s a lot of new stuff on there but there’s also a couple of old classics I’ve dredged up from the back catalog. One song in particular, Voodoo when U smile, I wrote about twenty years ago. It’s kind of a twisted take on a love song. I believe it was Bukowski who said “Love is a mad dog from hell” and I guess it’s my take on that. The rest of the songs cover a variety of topics. It’s not really a concept album. It’s more of a selection box where you’re never quite sure what you’re going to get next. I like albums like that. They keep you on your toes. But I like to think humor and a cynical, almost nihilistic viewpoint on life are recurrent themes. I’m a bit of a miserable bastard really. But I like to laugh about it.

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Jon at the Sketchy Beats Tent, Lindisfarne Festival 2019

This is a question for anybody to answer; You’ve opened up you house during the fringe via AirB&B’ and three famous figures from history are staying – who would they be and what would you make for breakfast?

Graeme: Will need to think about the 3 but they’d all be getting sliced sausage rolls that’s for sure!!

Jon: For me, Karl Marx, Charles Darwin and Grigori Rasputin. When they’re finally all chatted out and snoring wax their beards together and see how they get on with their waffles with eggs poached in vodka

Graeme: Ok. Tutankhamen, Jesus, Tollund Man. Nice mix of historic figures there and plenty to talk about.

The Mumble: Graeme, you’d give meat to Jesus?

Graeme: I’m not sure you could even class sliced sausage as meat!

Victor: Charles Bukowski, The Marquis de Sade and Mr Bean. Chocolate Fudge Sundee.

Roy: I’d invite Freddie Mercury, Jimi Hendrix & Mozart. Not sure exactly what I’d make but it would definitely be something with jam in.

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Jess: Wow boys, no women?!

Victor: It’d be nice to have a lady there but I’d be worried if Mr Bean started to get a bit lecherous..

Jon: Good point luv… ditch Marx for Annie Jones Elliot.

Jess: Three air bnb guests will be Delia Derbyshire the boss of electronic music, Roberto Bolaño seemed like a pretty cool cat and Mac Miller who just died way to soon and should come back and make some more excellent pop music – Porridge and apple as standard.

Victor: OK. Margret Atwood instead of Mr Bean. Bah humbug.

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The Album Cover (artwork by Mira Knoche)

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Thanks guys, so back to the new album, I’ve been listening to it & its great work. Graeme, Your bass on festival casualty is really top notch, can you tell us how. It was created and do you think it’s your best work on the album?
Graeme: Interesting you say that as I would say that Festival Casualty is my weakest song on the album in terms of bass. The bass line I am most pleased with is the suicide (specifically the chorus). It kind of came out of nowhere but looking back at it there seem to be some similarities to Rock the Casbah I’ve noticed! It’s all about taking in your influences when coming up with new music. Recycling old material.

Roy, you’ve been with the band since the start. Does this album capture the band’s live sound, or is their a lot of overdubbing. Also, how would you describe the band’s sound overall?
Roy: We always like to record the bones of a track live in the round whenever possible & that’s what we did again for this album. I suppose the more you record the more you begin to think about overdubs though. Certainly on this record there were backing vocals & percussion that we only conceived when we were listening to the live rushes. Also, I would describe our sound as loud!!

So Steve, you’re launching the album this weekend, can you tell us about it?
Victor: Aye. Well it’s set up to be a big night. We’ve got Little Love and the Friendly Vibes supporting us who are one of my favorite bands in Edinburgh. We’ve done a lot of gigs with them, they’re kind of like our sister band, as their sound is quite close to the kind of thing we do. We’re trying to start a scene but so far it’s just us two bands. We’ve also got Lou McLean who writes these beautifully sharp, witty and honest songs who we saw at a previous gig with Little Love and were very impressed. I bought both her CDs! We’ll have merch for sale including the new album of course and the previous one plus some T shirts. And we’re doing 2 45 minute sets. The new album back to back and a kind of greatest hits set after that. Oh, and it’s at Leith Depot, 7pm onwards, Saturday 19th January, a mere 3 pounds entry. We like Leith Depot. It’s kind of like our home turf.



Review by Mark ‘Divine’ Calvert


Strengths gather fears and worry dissolve. It had been one of them days January blues. I skipped down Leith walk to the Depot in time for Anne McIntosh’s Birthday gathering. The Depot was packed with creatives that I love and we had a really beautiful start to the nights proceedings. Hugs and kisses at every turn. I first saw Steven Vickers perform as Victor Pope, taking the stage of a Strip Cub on Lothian Rd 5 years ago. It was one of Granny Nessie Radge Romie’s musical spectaculars and the night that Steve first blew me away. Hmmm I thought. He can have a private dance. indeed in the resulting years that followed our friendship would bloom, both being Northern English Urchins gave us a bond. And for a while I became part of the rhythm section of The Victor Pope Band.


Tonight’s performance was a gig in two halves. The first half was the new album “This Is Going To Hurt” performed in full. The second half was a greatest hits set. Having performed with the band more times than I have seen them, being part of the audience was quite a thrill, Acis As had travelled from London to perform this groundbreaking intimate gig. It didn’t take long to have the place bouncing and it soon became evident that this new album, is to be the release that takes The Victor Pope band to the next level of performance art . The greatest hits set was fantastic in the same way. Knowing the rhythm of each song set my dancing feet on fire. It was a fantastic gig and the perfect tonic. Everyone was buzzing and excited in the knowledge that something legendary had taken place.


2019 is going to be the year that sees this very entertaining Band reach greater heights of creative and performance success. The Perfect Tonic and Remedy great Rock N Roll and great friends, thanks everyone for transforming the Divine January Blues.

Photography: Anne Macintosh



Teenage Funkland 3: Newport


Continuing Damian Beeson Bullen’s Retrospective adventure thro’ the Birth of Britpop: The Oasis gig at Tjs, May 3rd, 1994

The train jump to Wales was a dead easy affair… a simple buffet-trip pass-by move on the conductor found us sitting in the Dead Zone (the area where he had already swept), smiling widely, the next stop Wales. I’d nicked the first ever copy of glossy new lads mag ‘Loaded’ from Manchester WH Smiths (59,400 actually bought the magazine), & was eagerly gorging on the laddisms – I was a lad, too, a young impressionable one, but still a lad. So was Nicky actually, maybe more of a geezer than a lad, but still fuckin’ cool. Marketed with the tagline “For men who should know better”, Loaded was originally published by IPC Media, took its title from the Primal Scream song & was the natural, cooler evolution of the worldscape defined by Viz & its readership. “What fresh lunacy is this?” went its opening editorial, “Loaded is a new magazine dedicated to life, liberty and the pursuit of sex, drink, football and less serious matters. Loaded is music, film, relationships, humour, travel, sport, hard news and popular culture. Loaded is clubbing, drinking, eating, playing and eating. Loaded is for the man who believes he can do anything, if only he wasn’t hungover.”

One of the highlights of the magazine was an ambitious young actress, the 27 year-old English Rose that was Elizabeth Hurley, looking tough, sultry & damned sexy. “I‘m forever being offered roles,” she complained, “where I wear a low cut dress, mini skirt, have dirt on my face and an AK47 in my hand driving a porsche but whats the point?” Not that famous at this point,  she’d been in Beyond Bedlam – its terrible, shes great – & one of the Sharpe episodes (Sharpe’s Enemy). Her boyfriend was an equally unfamous Hugh Grant – Four Weddings & a Funeral is a few weeks away yet – & in the magazine Hurley complained that while in Russia she found Madonna hitting on Hugh.

Back in my wee world we passed through Cheshire, Shropshire & Gloucestershire before pulling in to Bristol one early afternoon in late April. From there we jumped on a big intercity that was heading to Cardiff, which was so advanced in it’s journey the conductor was sat on his arse… then we came to Newport. Following a cursory inspection of the town to our surprise we found it looked just like England. In a record shop window we saw a poster advertising an Oasis gig in Newport in a week or two…

Buzzin, we’ve gotta go!”


The NME version of the tour poster

From Newport we caught a train a little train that wound through North through the valleys. Here we were in the heartlands of Wales, where the hills echo the sweetly sung songs of the miners & the chief occupation of the women was getting pregnant as soon as possible & living off benefits. This job reminded me of Liverpool’s main source of income… accident claims. Deeper into those trench-like vales we found ourselves in a small town not far from Blackwood. We went to Michelle’s & were welcomed with a slap-up feast. Suitably fed we caught a couple of buses & arrived in an obscure village. There, she introduced us to her friend Lisa, who gave us the keys to her pad & scarpered. So that was us in Ynyssdu!

The Author revisiting Ynysddu in 2018

Your author outside his old house (number 8)

Ynyssdu! I still can’t really believe I lived there…. What a mad litter place. Firmly entrenched in the valleys, home for a few hundred mad Welsh, it sported a rugby pitch, Mobile chippy & shop. I didn’t see many leeks & I didn’t hear much singin’, but the people were friendly & accomadating, even the very kind woman in the shop giving us credit when we went hungry. Across an Iron bridge over a little river you could walk along a grassy, disused railway that once used to take the coal from the valleys to civilisation. Our home stood on Commercial Street, me & Nick living downstairs & two crazy Welsh guys upstairs. We shared a kitchen, although all they ever seemed to eat were brown sauce butties. Our own fare was hardly better, oven chips, sausages, plumbed tomatoes & fish fingers… a hell of a lot of fish fingers. Everytime we our jumbo-sized box of fish-fingers back in the freezer we dossed a bit on the new-fangled Magnetic Poetry set that Lisa had left on the fridge. Hundreds of tiny fridge magnets with random words typed onto them suddenly became amazing poems. Or that was the theory, me & Nick just competed to make up the rudest sentence we could. There was also Mari-mari. He was a little budgie left behind in the flat & we soon grew hardened to his constant tweetin. It was nice to have a pet & before too long we were firmly attached to the little fella… we were like a family!

A couple of fifteen-year old schoolgirls soon collared us & we were invited to babysittin sessions with them… booze, spliffs & snoggin ensued but me & nick positively refused to assist their quest for child benefit money & housing benefit… but they were dead sound all the same. On a couple of occasions we went to the one-screen cinema in Blackwood, all sat snogging & fumbling in the dark. We saw Ace Ventura rescue the Miami Dolphin’s pet Dolhin (reyt funny) & creased up at a showing of Cool Runnings & the Jamaican Bob Sled team’s Eddie the Eagle Edwards style efforts to win gold at the ’88 Calgary Winter Olympics… again, reyt funny.

For cash we signed on up in Blackwood, about fifty quid a week pocket money seeing as we had no rent to pay. Enough for spliffs on the hillside, pool down the pub & our munchies. Michelle’s mate had left us a stereo, so we listened to Supersonic & this tape that Michelle had given us. It was Bjork’s solo masterwork Debut – released 5th July 1993 – one of the first albums to introduce electronic music into mainstream pop. We instantly fell for her quirky, haunting voice as she grooved away through tunes such as the opening throbbing wonder of Human Behaviour & the epic glory of Big Time Sensuality, which made my ultimate DJ set. An “anthem to emotional bravery,” featuring a bouncing riff sampled from Antônio Carlos Jobim, it contains lyrics described as “simple but passionate”, concerning Björk’s relationship with her co-producer Nellee Hooper.

The hard core, & the gentle,

Big Time Sensuality…

I also got to know one of Michelles’ arty mates, Lisa. She lived in a nice cottage & lent us a casio keyboard to make some tunes on. One day, whilst waiting for our smoke to arrive, we were struck by the muse & expressed ourselves in song, Mari-Mari tweeting along to the tune. Weed is a clear classic… drawin on the classical three chord turnaround, CFG, we told the story of a simple country boy caught by the fuzz, locked up & needin a smoke. We got the chorus from a vocal Nick buzzed off down the Orbit… here’s the lyrics;

Way back when I was a farmer
Growin some marijuana
In the middle of a bush-like-field,
Smokin all the crops I yield,
And you don’t know what I need,
Yes you don’t know what I need,
I need some weed…
Herb a weed an a
Weed a gange an a
Ganja a weed an a
Weed a marijuana

I sold some ganja to my lover,
She was a copper undercover,
Now I drink water with my bread,
Don’t have a reefer to ease my head,
And you don’t know what I need,
Yes you don’t know what I need,
I need some weed…

See what I mean, a clear classic, which ended up as part of one of the songs in my ‘Alibi’ musical.

Splashed all cross the headlines at the time were the forthcoming Presidential Elections in South Africa. (26-29 April) For decades that vasty country swathed across Africa’s southern tip had been the problem-child of global harmony. Apartheid had not eased a fundamentally racist system, where an Imperial white minority once again kept an indigenous people shackled in semi-slavery. But the age of Empire had passed & eventually the voices of the native blacks & a contemptuous world boomed too loudly & Nelson Mandela was freed. He became the leader of the African National Congress & was put up for election… & a democratic one at that. A landslide was expected & despite a series of bombings by anarchist neo-nazis attempting to disrupt them, he became the first black president of South Africa. As he was being sworn in dignitaries from all across the world sweltered in the African heat, but everyone of them was happy as the world seemed to step into a new era of harmony. The three centuries old flag was furled, a new flag raised & the decolonisation of Africa became complete.

In the world of comedy, on Sunday 24th april, the British elite all turned up at Saddler’s Wells Theatre on behalf of the Terrence Higgins Trust to promote safer sex in the early days of the fightback against AIDS & HIV. Steve Coogan was just at the dawn of his immeasurably brilliant career, while the Spitting Image puppets were at the end of theirs.


On the arrival of a giro we caught the bus to Newport on a combined scouting & shopping mission. As we passed thro Ynyssdu’s neighbouring village, Cymfeilanfach (pronounced cum-vel-lin) we noticed how much the word looked like Come for a feel and a fuck… called the latter from that moment onwards. After an hour or so of Southerly winding we arrived at Newport. It’s not that bad a place, & I liked the bridge that spans the river. The shops were cool enough & from a record stall at the market I got two tickets for the Oasis gig… After a Maccy Dees we wound back home & slapped on Oasis…

“I’m feelin Supersonic

Give me gin & tonic”


So, the day of the Oasis gig had come, the 3rd of May 1994. Ayrton Senna had died at San Marino on Mayday, only a day after his friend Roland Ratzenberger had died on the same course. About the same time the dodgy guy from upstairs rolls down Commercial Road in a funky little green Datsun. We didn’t ask where it came from, but bought it fer thirty quid. Nick loves his drivin, how many a cruise had I shared with him buzzin about our homelands. After putting in two pounds worth of petrol we rode the road to Newport… the bus journeys now a distant memory. After parking up we admired our green steed then went to scout out TJ’s, where the gig was gonna happen. It was yer typical small town venue… a stage, a dance floor & a bar, with rock-stars & album covers plastered across every inch of wall space. We found out the time it all kicked off & headed back out into sunshine. Just as we did so a big white van with Salford van hire emblazened across it pulled up outside the venue. The doors slid open & who would cockily burst out onto the pavement but Mr Liam Gallagher. He was inside the venue in a flash, followed a little more casually by Bonehead & Noel. Further up the street we met the rythym section, Tony MaCarrol & Guigsy, munching on a Maccy Dees.

“Good luck with the gig fellas!”

 “O… cheers!”

They said with the novelty of being stopped & recognized in the streets of a foreign country… something they would have to get used to very quickly. These rapscallions from the back stage of Burnage simply had the knack of getting through to normal people They were unpretentious in a pretentious kind of way. When they needed a verse for the soon-to-be-released Shaker Maker, for example, Noel Gallagher found himself pulled up at some traffic lights outside Mr Sifter’s second-hand record shop in Manchester, leading to the spontaneous lyric;

Mister Sifter sold me songs
When I was just sixteen
Now he stops at traffic lights
But only when they’re green

Wildly unoriginal, their music is a museum of British pop culture – Beatles, Kinks, Clash, Sex Pistols – its all there somewhere, woven together by Noel’s great ear for melody & his brother’s unbelievable swagger & voice, it was a winning combination.

People coming down here on a Tuesday, its raining, and it’s like this is gonna be a mega night, it happened to me when I went to see the Roses, know what I mean, to be part of summat
Liam Gallagher



Image result for oasis tjs 1994Before they’d reached Wales, the boys had been on an extensive tour of smallish venues across Britain; Lucifer’s Mill, Dundee (5th April), La Belle Angel, Edinburgh (6th April), The Tramway, Glasgow (7th April), Middlesborough Arena (8th April) The Wheatsheaf, Stoke (11th April), The Duchess, Leeds (12th April), The Lomax, Liverpool (13th April), The Adelphi Club, Hull (29th April), Coventry University (30th April) The Wedgewood Rooms, Portsmouth (2nd May). It was TJ’s, Newport, next – & me & Nick were gonna be there!

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TJs was a legendary nightclub which became a symbol of the city’s burgeoning music scene – dubbed at one time as ‘the new Seattle’ by New York Times critic Neil Strauss. Founded in 1971 by the late John Sicolo, the venue’s stage has been graced by some of the biggest names in music history, developing a reputation that also led DJ John Peel to dub it ‘The Legendary TJs’. For many gig-goers, TJs was a cultural melting pot – a venue that gave unknown bands a chance while providing an electric atmosphere, a community and a place to meet musical heroes.

TJ’s was voted one of the top 50 ‘Big Nights Out’ in the world by FHM in December 1997. TJs closed down a few years ago, but its ‘spit and sawdust’ vibe – there was no stage, it was eight-inches off the floor – was fondly remembered by the thousands who ventured into its den. There is even a myth that Kurt Cobain proposed to Courtney Love on the night her band Hole played TJs in 1991. Catatonia filmed their single “Mulder and Scully” at the venue while other bands which played at T.J’s early in their careers include Manic Street Preachers, Green Day, The Offspring, Lostprophets, Iron Maiden, The Stone Roses, Muse, Primal Scream, The Vandals, The Ataris, and Skunk Anansie.

Oasis had formed in 1992 when Liam Gallagher & Bonehead formed a band called Rain. Apparently they weren’t very good, but when Noel Gallagher turned up in Manchester, flush with cash after roadieing on the Inspiral Carpets US tour, things were about to get better. After playing the other Burnage boys Live Forever they were bowled over enough to let him take over the band. Kitting them out with good gear with his wages he proceeded to write the stuff of Definitely Maybe & gig like hell until that fateful day in Glasgow when they met the Creation Records Uberfuhrer, Alan McGee. He basically fell in love with the fellow drug monkeys that were the musical version of Ade Edmonson & Rik Mayall in bottom, & the rest is history

We’ve got quite a lot of female interest at the moment through the band. Backstage in the dressing room at this one London gig there was this really good looking girl, man, & she says, ‘ Do you want me to like, do anything for you?’ So I said, yeah pass us a beer out of the fridge will you.
Noel Gallagher

After smoking a few spliffs in the balmy evening’ air we handed over our tickets & found ourselves in the gloomy depths of TJ’s. The roadies were setting up the gear & checking sound, while the club begin to slowly fill up… very slowly. On the floor of the stage a roadie taped down the set list & I checked it out. Supersonic was down, as was Ciggarettes & Alcohol, both tunes I knew. Then at the bottom I saw I Am the Walrus scribbled down.

“Yo Nick, they’re playin the Beatles!”

 And on they came, the fifty or so punters not really sure what was gonna happen. They barely spoke a word as they thundered through their set, tune after tune of crunching guitars, loud drums & Liam’s crackling chaunt. Proper buzzin. Miles better than some dodgy rave or a cider-drowned hootenanny. So this was Rock ‘n’ Roll… cool!

I am The Walrus came on to finish, & we had a bit of a dance, as were most of the other fifty or so folk, buzzin’ off the rythmic handcuff swagger of the Mondays dash’d with & slobbering splash of crunchy guitars… then all of a sudden… “Cheers… good night!” And then they were gone. The club emptying in a sort of semi-daze, but all acknowledging that Oasis weren’t bad at all. Outside, Nick skinned up a spliff while I bought a couple of cans of lager & we chilled out under the stars. All of a sudden the temperature dropped & we decided to drive home. Unfortunately, back at the Datsun she wouldn’t start.

“Must be petrol…”

Said Nick & we pushed a mile through the lamplit streets of Newport til we found a garage. In to the tank went our last two quid & I stood nervously waiting while Nick turned the ignition… nothing happened. Luckily enough, a guy who recognized us from the gig passed by. We explained our predicament & he took us to a student party. There, we smoked the last of our weed & talked about the gig with other guys & it was all kinda cool. However, some guy spewed in some other guys bed & we all got kicked out.

“What shall we do now!”

“We gonna have ter sleep in car!”

“Yer jokin!”

What else can we do?

 It wasn’t the best nights sleep we’ve ever had, scrunched up in the back of a datsun, no coat on & cold as fuck. It wasn’t quite sleeping rough but it was pretty damn close. After a few uncomfortable hours Dawn broke & we were at the bus station waiting for the bus. I retold our story to the driver, of how we had bought a Datsun, how we had been to a gig, how we’d had to sleep in the car & how we had no cash.

“On yer go boyos!”

And we were away. On getting back to our little room it was the first time we’d valued it as a home… & it was good to be back. I turned round to Nick, & with a cheeky smile said,

“Yo Nick, we live in fuckin Wales!”

Ynyssdu – 2018










Divine’s Hogmanay


Stramash, Edinburgh

Having lived in Edinburgh for the greater part of my life now, Hogmanay I have experienced, the bells and the Fireworks, from just about every location possible in Edinburgh. On Princess Street, Calton Hill, Arthurs Seat, Blackford Hill, last years Princes St Gardens. With the frequency of mega firework displays in Edinburgh. The appeal for the OOOOoo Ahhhhhhh factor wains somewhat. So I wasnae sure what I was going to do this year., however good The Human League, Colonel Mustard And The Dijon 5 and Rag N Bone Man were at last years street party was baltic and not the most comfortable gig I have attended So the musical draw was nae there for me this year.


The Muse was taking me to the Cowgate and Stramash to witness and groove Three local Bands that I have celebrated in reviews of past years. Sea Bass Kid, who I shared the bill with at Granny Radge’s Hogmanay Bash at The Backpackers in 2014. They were first on, so I made sure that I was on experience proceedings with David Blair and our host Steven StramashThank you for the invite guys  . Sea Bass Kid were the perfect band to bring the Bells in. A Folky Stomp that cover everything from Reggae, Ska, Rock N roll Folk and traditional Scottish tunes. The dance was on and Stramash was packed to the rafters. at the Bells, Aulde lang Sign was the song of choice and everyone in Stramash Loved hugged and kissed. It was awesome. When they did a cover of Underworlds Born Slippy, performed in sea Bass Kids unique Folk Rock way, myself and the celebrating audience agreed, it was absolutely fantastic. 5 stars all round guys. Awesome 


There were so many people in Stramash last night that I love and had nae seen for a while. there was a really good vibe perfectly created by Sea Bass Kid. The party was on. Bombskare are a local Ska outfit that have achieved great things in recent years becoming festival headliners, with an infectious blend of Rock N Roll and Traditional Ska. Its been a while They always bring my inner Ska Boy out and I was all Walt Jabsco for the occasion. Sea Bass kid had warmed the venue to fever pitch Bombskare set it on fire. Everyone was having the best time. fantastic Gig Another 5 stars.

By 2.00am on The First Of January 2019. I was knackered and my hip was nipping, my boots though, were supporting my sartorial elegance and thoughts of blisters were far from my mind. So my apologies to Jay Supa and his wonderful band for not staying for his performance, But they are a band that have created the funk in my world in years past and I know that you will have continued the delight in my absence. Love you guys.  Divinexx.

All in All 5 Stars All Round

Mark ‘Divine’ Calvert

The Medicine Men, Stanley Odd, Colonel Mustard & The Dijon 5.


Barrowland Ballroom. Glasgow.
22nd December 2018

My night was curtailed by TK Max Berghaus walking boots. BLISTERS! I danced so much during The Medicine Men and Stanley Odd. Stanley Odd I had seen before on the festival circuit so I knew to expect good quality Scottish Hip Hop.. The Medicine Men I had nae seen before. Being a Spiritual Healer the name of the band intrigued me. An emerging talent that took Rock N Roll inspiration from Rush, progressive and captivating.creating in unison a very satisfying Progressive Rock/Funk groove. The perfect opener for the nights proceedings.


Indeed, the morning before the gig, I had freshly dyed my hair flame red, Brought a ten year cycle of Healing Development to a satisfying conclusion, shaped my eyebrows, crimped my lush red hair and spent some quality time doing my make up. When one has healed as deeply as this and one knows that this feeling in my heart a quiet celebration and my date with The Mustards at the Barrowland Ballroom gave me an added incentive to look fabulous. I had time to pop in to see Amisa Neonova before I walked into town for my bus to Glasgow, My boots had created a blister the day before so bought some plasters, hmm its a new boots kind of thing. So I placed plasters in the appropriate places and two pairs of socks. By the time I got to the bus stop the plasters were failing in preventing the blisters from hurting. It was nice to get on the bus my hip was nipping a bit too (Old age and growing pains). I meditated throughout my lovely bus ride. Holding the love in The Barrowland. The morning before whilst sending distant healing I had asked the Angels to ground the love and heal the hearts of the people attending in the Barrowland Ballroom. It worked. ❤ The place was Bouncing. However the walk from Buchannon street to The Barrowland, having only been there once before I had a vague idea of where I was heading, Divine disnae have a fancy phone so I had to use old skool tech knowledge and asked people directions to get to my destination. I wanted to be at the venue in time for The Medicine Men so had hastened my pace. This was not proving fitting for comfy walking.The Blisters were bringing tears to my eyes. The Barrowland Ballroom’s Brilliant neon sign flashing its multicoloured Glory, I joined the queue and picked up my AAA All Areas. Pass, put my coat in the cloakroom, had a burger and a can of juice and headed to the ballroom.


I hit the Ballroom dancef loor bang on 7.30pm. To be delighted by The Medicine Men, proving to be the perfect warm up for Stanley Odd. Who thrilled the increasingly filling Barrowlands. inbetween bands DJ5 mixed classic rave keeping musical momentum and driving my dancing feet wild. I boogied with Angela Jack for a while. By the time Colonel Mustard took to the stage my right foot was so sore it hurt to move it. So I flashed my AAA pass and took a comfy seat at the back of the Ballroom on the riser. It was a perfect vantage point.

Having followed the rise of Colonel Mustard And The Dijon 5 for a number of years now, this would prove to be the 2nd time I have seen them take the Barrowland by storm. Both times filling the place with their loyal Yellow Army, inbetween the two times I have witnessed the live spectacular, This band have notched up the air miles both creatively and physically. Taking the show to be a Headliner at The Edinburgh Hogmanay Street Party to headlining most of the Scottish festival circuit performing to increasingly bigger audiences. They have also taken the Yellow Movement to South Korea twice. So with a set of songs so well rehearsed, it would be impossible not to thrill the now capacity Ballroom fit to explode with anticipation of their heroes return. With DJ5’s opening banger The Dijon 5 took to the stage and the party went off.


The Mustards played their cannon beautifully, full of colour an inflatable bounciness, firing through all of their greatest songs. The Ballroom was full of Bouncing happy people singing along to all of the songs performed, word perfect. A testament to how greatly loved Colonel Mustard And The Dijon 5 are. This band of Angels donate a large proportion of Gig profits to worthwhile charities. Indeed a creative art performance spectacular that benefits all concerned. So it came as no surprise that they were inducted into The Barrowland Hall Of Fame last night. The audience went wild, the legendary sprung dance floor was bouncing. This was the ultimate feel good Gig, The 90 min performance time flew by but bye eck I’m glad I made the effort.

After the gig I was torn between the options of going to The Art School After Party or catching the 23.59 bus home. My blistered foot was dictating the flow. So I hobbled across Glasgow and got the bus back to Edinburgh. The boots are going back to TK Max.

5 Stars For the Performance.
0 stars For the Boots

Mark ‘Divine’ Calvert

Photography: Mundito

An Evening of Traditional Music

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Royal Conservatoire Scotland
5th December 2018

Back at the beautiful Ledger Room in early December, there was a great sense of welcome at the Royal Conservatoire Scotland. The title anticipated an enjoyable show: “An evening of traditional music” to be given by students from all four years of the programme. All of whom performed songs that were both covers and songs written by traditional composers; odes with both serious and frivolous content and all on the theme of traditional Celtic (Irish & Scottish) folk music.

It was the sheer variety of this performance that really held it apart from other musical gatherings of the classic traditional kind. And the refreshing youth at its heart did nothing but refresh us as we sat in our plush red seats. The set was prepped for up to 8 or 9 players who, apart from the piano carried their own instruments on stage each time. There were violins, bagpipes, piano, guitar and, as a constant throughout, a harp. With each instrument being used to the fullest extent, the evening proceeded with high exuberance and brilliance from every performer. Having a new group on stage for every song only enhanced the sense of entertainment and made the evening fly by.

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Woven through the established works, the students also performed their own pieces as they had been set tasks to in turn create their own songs; they had come up with something quite serious such as crime stories or death, with a melody to fit into the music to give an exact focus of how to celebrate these stories in turn. The music swelled from traditional dance tunes that had your feet tapping, and only fell just short of getting you up out of your chair to dance, now faster now slower as song by song we welcomed the performers to the stage in ever changing tempo and mood.

More often than not, all the instruments blended together so well that no one performer stood out. Rather everyone focused their attention on their collaborations so that together they shone. And, having said that, the direction of the scores took their turns and twists from solos of violin and the mighty bagpipes which were loudest of all and nearly blew the roof off which their spooky heart-ending dedication to the tradition of Scottish folk music. That sense of tradition grew to a great height when lyrics in Gaelic gave the music a kind of heart and soul.

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A notable feature of this evening of traditional music was the great variety of nationalities who were performing together, which served to emphasise the universality of music and the way it can dissolve boundaries. An ethos that the Conservatoire is very conscious of and proud to maintain. And as they all sat and played together you couldn’t help wondering where they would all be a year from now and what the future would bring. One can only wish them great luck and the best of things for times to come.

There is, it seems, a whole new respect for this evening’s kind of traditional music round the globe because of evenings like this and the work the Royal Conservatoire Scotland is doing. And quite right too – I don’t know anyone who doesn’t like it, what’s not to love?

Reviewer: Daniel Donnelly


Søndergård’s Guide to the Orchestra

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Royal Scottish National Orchestra

Glasgow Royal Concert Hall 

Saturday 24 November

To celebrate the Year of Young People, the RSNO performed a programme of  treats for what their celebrated conductor Thomas  Søndergård called “the young at heart”. Britten’s Young Person’s Guide to the Orchestra is known to all classical musically minded families in its narrated version as entertaining but a wee bit didactic. But here we were given the original concert version and Britten’s brilliant orchestration of Purcell’s sea shanty theme an interpretation that was as scintillating as it was instructive. The full-bodied opening statement was followed by each section of the orchestra in turn playing variations on the theme to show off their timbre and range, before the whole was re-built with the finale’s great fugue. But that only describes the form. What the RSNO and their conductor gave us was Britten’s playful catalogue of the almost infinite number of possible textural combinations between percussion, timpani, woodwind,brass and strings, played with terrific clarity. It was like being given a grown up version of what was written for the young, without any loss of the fun it has engendered since its first performance in 1946.

“Open the Eastern Windows” by Michael Cryne, winner of the RSNO’s 17:18 Hub New Work commission is unlikely to enjoy such longevity. On first hearing at least, his composition had no apparent form or discernible logic. With nothing for the mind to latch on to during ten minutes of agreeable sounds apparently proceeding solely via shifts in volume and tonalities, its première was a disappointment.  And then on came two grand pianos which were nestled together like pieces of a jig-saw, and twins Christina and Michelle Naughton to play Poulenc’s Concerto for Two Pianos. The youthful and glamorous pair played the work with brilliance and enthusiasm, bringing out the exoticism and lyricism of the three contrasting movements, while the orchestra’s pleasure in performing this entertaining work with such sensitive interpreters of its shifting moods, was apparent.


Another première brought a complete contrast of mood in “Ghost Songs”, a specially commissioned work for the year of Young People, from Gary Carpenter. The RSNO’s Junior Chorus gave a wonderful account of his sensitive settings of four poems by Scots poet Marion Angus, R L Stevenson’s “On Some Ghostly Companions at a Spa” and the folk ballad “The Wee Wee Man”. The composer exploited the quality of the children’s singing – not only their remarkable musicianship and beautiful sound – but also their nimble articulation and willingness to engage with the mysterious, spooky, amusing verses they were singing. This new composition will get many an outing over the years to come because its composer matched his forces and materials to express the qualities of the texts, and in so doing created a memorable musical experience for audiences of any age.

Last but by no means least, the final treat on this evening of treats was Carnival of the Animals by Camille Saint-Saëns.  Originally written only for a private concert, the composer tried to get it banned from public performance, fearing, rightly, that its popularity would eclipse, for all time, his more serious efforts. The evident pleasure the Naughton sisters showed, during their energetic commitment to every nuance of the score, more than doubled the fun for the audience. The required chamber-sized ensemble played every creature with serious wit and flair, and the double bass soloist in The Elephant and cello in The Swan were superb. For the RSNO and their conductor it must have been a treat to fill a programme with works they hoped would have their audience leaving the concert hall smiling; and it worked. One caveat: an afternoon rather than evening concert would have brought many more youngsters to hear, and be inspired by, their contemporaries in the RSNO Junior Chorus.

Mary Thomson

Resurrection / The Doors Of Perception


The Regal, Bathgate,
Friday 23rd November

Rock ‘n’ Roll does solve most problems. The Divine natural retort at this time of year is hibernation with a capital H. One has to push one’s self to seek out the muse. So after Friday Morning’s distant healings, I gave my wisdom-streaks another colouring taking the red deeper. Colour Therapy! ❤ Then started my eye make up. Heading to Doreen’s and Andreas’s Love Shack to finish off my eyes before our Adventure to The Regal in Bathgate. To see The Doors (Of Perception) Supported by Resurrection a Stone Roses Tribute. And A Northern Soul, covering the work of Richard Ashcroft. Divine had a VIP invite. Good Time ❤ Motivation enough.

Neither me or Doreen drive, Doreen’s lovely boyfriend does and we have wheels. Andreas is from Rhodes, so finding the route out of Edinburgh was a bit of a magikal mystery tour. We got to Bathgate at 8pm, Missed a Northern Soul. Resurrection were performing as we arrived. It was my first time at The Regal and yes it is very regal indeed. Old time music hall with original features. I loved the venue.Resurrection faithfully performed The Stone Roses ‘2nd Coming.’ The performance took me back to 1995, when I first moved to Edinburgh and Brit Pop was massive. Indy clubs three times a week. June Swanson who I was staying with was the bar manager of The Citrus Club, so The Stone Roses were a soundtrack of that time. I really took Resurrection in. Brilliant musicians revering their Hero. “I Wanna Be Adored” was the trigger. 23 years ago blimey!


Then we all travelled further back in time to the year Divine was born. 1967 and the release of LA Woman, by The Doors. Jim never got the opportunity to perform this live. I was fired up and excited to dance. The Doors (Of Perception) took to the Stage and everybody’s inner flower child emerged, The Lizard King Invoked the dance within me. And what a wonderful dance floor it was. Seeing and Hearing LA Woman performed by such accomplished and experienced musicians, it taught me a lot about composition; especially the keyboard parts and how simple they are to reproduce. Then ,Riders On A Storm took me completely. The dance was on. Groove to The Max.

Frazer “Fuzz” Fowler – vocals.
Michael Mathieson – guitar.
Huw Rees – keyboards.
Rich Gregory – bass.
Addi Addison – drums.

The Doors Of Perception got Jim Morrison’s nod of approval and the audience was totally captivated by the musical delights that this brilliant collective reproduced. Have always loved dancing to The Doors. Performed live was a real treat and tonic for the soul.

Review: Mark ‘Divine’ Calvert
Photography: Doreen Phillips