Musicians. Dorian Ford Piano. Annie Whitehead Trombone. Winston Clifford Drums. Neville Malcolm Double Bass. Carol Grimes Vocals.
The Dance Grimes is a poem in praise of Marc Chagall

I imagine that we had never agreed to go our separate ways.
I’m not drowning in water; my body’s not porous, as only the lonely can be 
I am flying in heavenly moments, not counting the time or the cost.
Don’t wait for me, you will not see the one you assume is lost.
Dizzy wants to dance and strike up the Band under a round yellow sun.
Twisting and turning, She’s yearning for love To the beat of her personal drum.
She gave her heart to a red fiddler, A blue violin tucked under his chin, 
A ring in his nose A dance in his toes
They dance till the notes run dry
Long is the night, She spins delirious
Blue notes on the wind
Let's dance all three the Cockerel, the fiddler, the artist & Dizzy Dance till the notes run dry...
Dizzy you see, wanted to be a Gipsy tipsy with the dance. Whirling and twirling with a Cockerel as purple as Damsons in autumn all ripe with the sun
The artist slips sunbeams, into smiles as he shows her.
A bouquet of flowers, Red yellow and blue
For this woman as green
as the leaves in the morning after a shower of rain.

Cdawn

The Dance...a song

Guest musicians on the LP were Paul Kossoff, guitar on "We Got Time" and John 'Rabbit' Bundrick (piano). Most of the songs were penned by Dave Skinner, although there are a few covers, including Bob Dylan's "I'll Be Your Baby Tonight" (from John Wesley Harding) and Sam Phillips/Herman Parker's "Mystery Train". John Porter became a producer and produced The Smiths and John Lee Hooker's comeback album in 1989. Mitchell played with Clancy and The Sandmen. Skinner also played in Clancy and 801 while Legendary Ace Drummer Terry Stannard formed the hit band Kokomo later.

Old Hat

We've Got Time

Carol 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)
All songs arr. Ian Shaw

Mother

Two Grey Rooms

Woman to Child.
You who were darkness warmed my flesh
where out of darkness rose the seed.
Then all a world I made in me;
all the world you hear and see
hung upon my dreaming blood.

There moved the multitudinous stars,
and coloured birds and fishes moved.
There swam the sliding continents.
All time lay rolled in me, and sense,
and love that knew not its beloved.

O node and focus of the world;
I hold you deep within that well
you shall escape and not escape-
that mirrors still your sleeping shape;
that nurtures still your crescent cell.

I wither and you break from me;
yet though you dance in living light
I am the earth, I am the root,
I am the stem that fed the fruit,
the link that joins you to the night.

Judith Wright was a prolific Australian poet, critic, and short-story writer, who published more than 50 books. Wright was also an uncompromising environmentalist and social activist campaigning for Aboriginal land rights. She believed that the poet should be concerned with national and social problems. At the age of 85, just before her death, she attended in Canberra at a march for reconciliation with Aboriginal people.

Something Secret

Woman to Child. Judith Wright was a prolific Australian poet

Recorded in Memphis, USA, in 1974, Fredrick Knight.  

Uphill peace of mind. 
You got the time, I got the time. 
You got the feelings - I’m gonna make it all right.
Watch where you're heading.
Watch where you go.
You got intentions, baby, but you won't let 'em show

ch. 
Uphill I have got to climb - uphill I have got to climb.
Uphill baby, Lord have mercy 
I've got to find myself a little peace of mind 

 You got the time, I got the time.
You got the need uh huh to go on down the line.
You won’t share your loving you wont share  your heart.
You keep yourself in Prison baby, yes a 
Well, I don’t want any part. 
ch...Uphill......
Musicians.
Bob Manual, Buddy Davis, Hugh McCracken
Bass: Duck Dunn, Drums Willie Hall
Piano. Bobby Emmans Fredrick Knight
Horns - Memphis Horns & Michael Brecker
Vocals: Carol Grimes & The Holiday Sisters.

Carol Grimes

Up Hill Peace Of Mind

You drive me crazy. ＠
Did you really mean it when you said that you wanted me to hang around here?
Have you lost your mind?
You always were the kind that wanted independence.
Usually, I say oh no, and take off in the opposite direction.
But for you and no one else, I suppose I wanna make this one exception.
But the way you leave the kitchen in the morning is a mess.
You know you're lazy.
And I know within a week you’d find my love for getting drunk would drive you crazy.
Oh, but what the hell? I see your eyes and I can tell you really love me?
Yea, it would be a sin to run away because I really want you.
Hold on
Life don’t rush on so fast
I’m gone before I can make my mind up.

Concerning yesterday I feel I have to say
Maybe, thinking freedom is achieved by being on my own -
Is not always the answer
Maybe we should just accept the consequence of love and all those feelings.
Anyway, you make me laugh
And life’s no joke out there with all the dealings.
There’s just one thing I think I really ought to mention,
To tie you up or change my ways is not my intention
We don't live in fantasies this life
It’s bound to have its complications. But if you’re on, let’s take a dive.
No time, no time for hesitation.
Hold on
Life don’t rush on so fast..
I’m gone- before I can make my mind up.

Why Don't They Dance

﹟Drive Me Crazy. ＠

Life is dangerous. From 'Alive at Ronnie Scotts.'  
Life - is a struggle just when you thought you were out of the muddle,
You find yourself in a great big hole -
Digging deeper down, down, down.
Now - what are you seeing?
I know it’s hard to believe in.
There are fighting people everywhere. 
Don't wanna go down.
Just when you thought it was safe -
To trust the Human Race
 You find out - yes, we find out.
Hey -  I heard you saying 
Life is dangerous we had better start  praying
For other ways to live our lives
Without going down.
I know we could change things
It’s not enough to sit around here just waiting.
We got the future in the children’s hands.
Don’t let them go down.
Just when you thought it was safe
To trust the Human Race
You find out - yes, we find out.
Just when you thought it was safe
To trust the Human Race
 You find out - yes, we find out.

Bass – Phil Scragg
Drums – Mike Bradley 
Guitar – Ivor Goldberg
Mixed By – Chris Lewis, Debbie Dickinson
Percussion – Gary Hammond
Piano, Keyboards – Janette Mason
Producer – Debbie Dickinson
Recorded By – Chris Lewis
Vocals – Carol Grimes

Alive At Ronnie Scott's

Life Is Dangerous.

Recorded live at Lauderdale House London Dat Dere. Oscar Brown Jr.
Hey mama, what dat dere?
Hey, why that under dere?
And oh mama, oh hey mama, hey look at dat over dere
Hey, where'd they go in there?
Hey, what they do in there?
Hey, mama can I have that big elephant over there?

Hey, who dat in my chair?
Hey, what's she doing there?
And oh mama, oh hey mama, hey, what dat say up dere?
Hey mama, what's a square?
Hey, where do we get air?
Hey, mama can I have that big elephant over there?
My quizzical kid, she doesn't want anything hid
She's forever demanding to know
Who and what and why and where
Inquisitive child, and sometimes the questions get wild
Like mommy can I have that big elephant over there?

Don't wanna comb my hair
Hey, where my teddy bear?
And oh mama, oh hey look at the cowboy coming there
Hey, can I have a pair of boots like that to wear?
Hey, mama can I have that big elephant over there?

The time will march, the years will go
The little lady's gonna grow
I gotta tell her all she'll need to know
I'll help her along she'll know right from wrong
Gotta make her strong

As life's parade goes trudging by
She'll need to know some reasons why
I don't have all the answers but I'll try
As best as I can, gotta help her to plan so she'll make her stand

You give the kid your best and hope she'll pass the test
When you finally send her out into the world somewhere
Although she's grown up I bet I never will forget
Mama, can I have that big elephant over there?
 
What they do in dere?
Hey, where'd they go in dere?
And oh mama, oh hey mama, hey, why dat under dere?
Hey mama, what is fair? How come I've gotta share?
Hey, mama can I have that big elephant over there?
Yeah, mama can I have that big elephant over there?
Yeah, mama can I have that big elephant over there?

c.g. Oscar Brown  Jnr set 1

Dat dere

RUTH CAROL

Ruth & Carol

The Independent. A review for QEH Show. 
This was followed by "I Said She Said", another "confrontational" improvised piece for three pairs of women singers. By the time The Shout tore into "I Sing Because I Sing", the audience was hooked. This is a tremendous ensemble piece, with featured solos and duets. Carol Grimes was in particularly good form for her duet with Wayne Ellington. The Shout closed their fine concert with the relatively brief "Taking Leave Of A Friend".

There is something intoxicating about music like this. The Shout show us that there are many new things to be done with the voice, and that innovation doesn't have to be driven by technology, or anything more than a basic urge to make music - whether by scribbling it down, or by opening your mouth, taking a deep breath and letting rip.
 Purcell Room  John L Walters  Wednesday January 5, 2005
The Guardian 

….. 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.

Deep Blue

Falling

I’ll be the moon. Grimes/Hrybowicz © 1980s
V1
I thought I saw you on a crowded street.
When we touched, it wasn’t you.
I smell your perfume in an empty room 
I see your shadow on a stair.
V2
Was it your face I saw -
reflected in a neon glare? 
I heard your voice above the city noise -
when I walked out late last night?
V3
I find myself forgetting
You don’t live here anymore.
I took message from you today-
But I don’t know where you are.

Bridge.
I’ll be here -I’ll be the moon - I’ll be the tide in Spring.
I’ll be sun I’ll be the spring for you.. 

V4
I have the photo you took in Italy
When you were there last spring
Beside the mirror, your comb still holds those few stray strands of your hair.

V5
In winter, when the days are dark -
and the night seems too long to bear. 
I lie awake remembering 
The precious times we used to share.

Into The Red

I'll Be The Moon.@

The Singer's Tale

Gold In Them Hills
Song by Ron Sexsmith
 I know it doesn't seem that way
But maybe it's the perfect day
Even though the bills are piling
And maybe Lady Luck ain't smiling
But if we'd only open our eyes
We'd see the blessings in disguise
That all the rain clouds are fountains
Though our troubles seem like mountains
There's gold in them hills
There's gold in them hills
So don't lose heart
Give the day a chance to start
Every now and then life says
Where do you think you're going so fast
We're apt to think it cruel but sometimes
It's a case of cruel to be kind
And if we'd get up off our knees
Why then we'd see the forest for the trees
And we'd see the new sun rising
Over the hills on the horizon
There's gold in them hills
There's gold in them hills
So don't lose faith
Give the world a chance to say...
A word or two, my friend
There's no telling how the day might end
And we'll never know until we see
That there's gold in them hills
There's gold in them hills
So don't lose heart
Give the day a chance to start
There's gold in them hills
There's gold in them hills


Carol Grimes, vocals;
Ian Shaw, Hammond / Rhodes, vocals;
Greg Wain, guitars, vocals;
Steve Watts, double bass;
Stan Adler, cello;   RIP
Mark Fletcher, drums, percussion, fire extinguisher;
Annie Whitehead, trombone;
Josefina Cupido, percussion, vocals;
Elton Dean, saxophones;   RIP
Harry Becket, trumpet        RIP

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)

All songs arr. Ian Shaw

Gold In Them Hills

The Dance. A poem speaking of my love of the paintings of Marc Chagall

 If I could choose - I would be living - under a round yellow sun, where - a red fiddler stands, with a ring in his nose-  
a blue violin tucked under his chin. 
Let the music begin.
A golden green girl I would be - long indigo hair, 
sea shells for a necklace. I have flowers for the fiddler, 
 afloat on the breeze in the skies.
A tipsy Gypsy, twisting and turning - 
let the joyful dance begin.
A painter arrives on a sunbeam, a violet cockerel in his arms - giddy bird whirling and twirling whilst dancers dance and lovers entwine - there is no time - only golden time  never again to return to the greys of  familiar days.... 
Let me be here, be seduced here -
stay forever in mystery - eternally dancing the dance.  
I would see a bird with a crown looking down - 
from a nest nestled within a silvery tree. 
Humans transformed into fantastic creatures. 
They would sing the best songs - where food - 
is as light as moon dust - plucked from the air. 
Fluorescent abalone shells filled to the brim with wine -
 as divine as raindrops infused with the dews of the morning - 
before sweet sleep holds us all in her arms.

The Dance C.G. Reading my Poem

A Princes Parade. Call in the flowers.  Out of Cinque

If flowers were warriors 
I would marshal them onto Princes Parade.
An army of bluebells. 
A squadron of sunflowers 
A battalion of bees and a platoon of poppies
Marching onwards from the beaches.
Let us muster the mad March winds. 
Galvanise the moon and the stars. 
Shout out loud to those who turn away eyes and ears. 
Those who sleep walk - never heeding the warnings. 
The slow death of species, the rise of the seas, the earth  
warming - fire and flood.  Heatwave and drought. 
On bended knees, please, call on the flowers and the trees.  
Calling Badgers, the cattle, the sheep.
Calling the  birds.
Calling for nature to show us the way.

Call in the flowers
Call in the people
Call out the names. 
When winter is in and dark days are long.
When your eyes yearn for light.
Sunlight sky, clear Moonlight nights.
We ask ourselves - how long are we here?
Do we leave only concrete highways? 
High blocks of glass and steel? 
Red brick and plaster invading every corner of earth? 
We cannot survive this decimation of woodland and rain forest.   The pollution of seas, of rivers, forest and fields.
The drilling and dredging-
the scaling away of what is precious and essential for life.  
Let's call in compassion. Let's live for the truth. 
Let us grow the food. Let us feed the hungry. 
Let's face the dawn with delight.  With love.

Call In The Flowers. Carol Grimes

Blues for Louis. From my CD - Mother.
Inside my room, single bed, sink and gas ring  
I listened to the blues, black vinyl warm spinning heart wanting the sound in my mouth. 
Outside a window open in the summer heat, the street below the rowdy - dow of Earls Court Road. 1965. 
Saturday night down to Louis's subterranean home 
made mystic with leaves, sticks, stones, 
incense filling the air as he cooked fragrant food from Mauritius-new tastes for my tongue, his hands beating time on a drum - singing the songs I never forgotten. 
He played me ska records, Calypso and Blues. 
Seeking bohemian magic in Soho where Jazz is, 
late afternoon the sun shooting lights - dusty smoke spirals, 
setting fire to a golden brandy in my glass. My first brandy.
Sitting small in beatnik black, blue velvet,  blue jeans taking in mind seeds, drinking the juice of truth hanging on to the threads of dreams - wanting love and more...
Bottling for Paris Nat in Piccadilly one spring - his accordion, squeezing out the songs of France and the war,  lost love and more. 
Down to the big river. 
A mournful London lullaby of tugboat and train, 
the evening rain on my face. Softly.
I remained at the riverside, mesmerised by the water, the tide and the flow of it,  the comforting old of it 
A raucous chorus of seagulls - winging in on the wind from the sea in the east, 
hungry for the city’s feast. 
Castles and elephants, bridges and spires, factories, 
domes, a million little red brick homes. Back to back - - street by street.
Back to my home in The All Saints Road -
 The Grove next to The Mangrove, a Caribbean Cafe.
Now I am in a Winter mean morning wind raw in Bethnal Green,  grey London streets blood shot with buses.  
A woman catches my eye, I smile, she curses, 
her voice a sore sound in the air, howl and scowl.
 I knew her once a long lifetime ago.
He droops over his big issues, near asleep underneath a 
stooped back, outside Camden Town Tube. Heels clip clipping, cigarette tips glowing. 
Underground sulphur smell, hot breath, bodies close and 
souls apart, swaying in a metal tube, eyes avoiding eyes avoiding touch and mind the gap.  
Behind newspapers roaring the words of war once more,   I came in in War April 1944. Falklands. 1980s.
Glow burning sunset on the top of a hill, purple night inching in from the west.  In the City below the Hill Primrose Hill,  the Sirens wail, and headlights strobe flicker between the leaves on the trees; on the roadside a dog laughs... 
A man barks and the breeze lifts the hem of a skirt, flowers low bowing to the earth as I look with older eyes through tears and a once-upon-a-time song. 
I remember Louis and the drum and the song as I sing my blues............. Blues  for Louis.

Blues For Louis - Carol Grimes.﹟spoken word. A poem.

Jacques Brel:  Chanson
https://carolgrimes.com/london-tales-my-love-for-oscar-brown-jr-and-beautiful-songs-if-i-only-had/

live cdawn oscar set 1

If I only had.

We Are One Sing For Joy Choir

The Shout Christmas at  the BBC

Fashion Passion written by me and Charlie Charles xxxx

Track 02 Fashion Passion Carol Grimes & The Blockheads. ＠ Grimes/Charles

We said yes. Alive at Ronnie Scotts. Soho London 
Bass   Phil Scragg Drums   Mike Bradley (2) Guitar    Ivor Goldberg    Percussion   Gary Hammond Piano, Keyboards  Janette Mason. Producer  Debbie Dickinson.  Vocals   Carol Grimes
 V. Oh I saw you walking down the street the other day
You didn’t see me, and I thought lucky oh lucky because I know you.
Oh no, don’t throw away today - 
we’re having such a good time.
Don’t ever hide yourself away. 
Chorus
We said yes, we promised love 
I want my life with you.
We said yes -
I’m giving me heart only to you.

I had a dream last night, and in my dream
you were nowhere to be seen -
And I was so sad
In the morning when I woke, I felt you near  me -
I was happy, happy glad.

You can be as high as the moon, bright in the sky
Come dance with me now.
Nothing to say no for.
Everything to  go for.
Just let me say it. I love you.

We Said Yes

I love this song.  When I sing this song I sing it for my Daughter xxxxx

Into My Arms  from MY CD Mother

Mau Mau. ＠Written in Bethnal Green  E2 From a childhood memory. 1950s 
verse 1 
Europe, with your lands, your beauty 
and your culture.
Why did you rape and plunder so many lands and lives?
You destroyed, denied, stole and erased.
But spirits don't die.
They cry but don’t die.

Below spoken words
When I was a child growing up in the 50’s
I remember the Mau Mau.
Portrayed in the News, I heard it on the radio. 
I saw it in the papers & on the newsreel screen.
Savage hoards of cannibals.
People who killed and plundered
raiding white peoples' home and lands.
Mau Mau was the bogey man!
The dark reason for my fears in dreams.
Flashing eyes and spears and deafening screams.
They crashed through jungles and crept across the lands,
silently in the night to get me In my bed.
And I was afraid.
Why did nobody tell me?
Who was Mau Mau, and why?
Verse 2
On hot earth, still throbbing with the heat of bloody turmoil.
Cities whose riches and splendour are denied to those who built them
with their sweat and their pain.
But spirits don’t die-
They cry but don’t die.

Alto Saxophone, Baritone Saxophone, Piccolo Flute – Simon Clark*
Backing Vocals – Didi Hopkins, Dyan Birch, Hanna Wilson, Johnny Meringues, Josefina Cupido
Congas, Percussion – Neville Murray
Double Bass – Mario Castronari
Drums, Percussion – Mike Bradley (2)
Electric Bass – Andy Herbert
Flute – Angele Veltmeyer*
Guitar, Backing Vocals – Maciek Hrybowicz*
Horns – The Kick Horns
Keyboards, Backing Vocals – Steve Lodder
Producer – Alastair Gavin (tracks: 2 to 11), Maciek Hrybowicz* (tracks: 1)
Soprano Saxophone, Tenor Saxophone – Tim Sanders
Trombone – Paul Nieman
Trumpet, Flugelhorn – Roddy Lorimer
Vocals, Percussion – Carol Grimes

Eyes Wide Open

Mau-Mau #CarolGrimes ﹟EyesWideOpen ﹟Maciekhrybowicz

Going way, way back!  My young voice.. weird. I loved the Band. Donald Duck  Dunn  Willie Hall Fredrick Knight ........

He is a torn and tattered thing - a tiny bird, with a broken wing.
A beating heart which flutters in his breast.
He flies, he tries to reach the stars.
His body has no strength 
His throat is full - no song upon his tiny tongue,     
spinning in circles, adrift in a silent flight. 
Night sky,  scorched orange, urban light- obscuring the stars.
On winters icy winds a vertical descent - wings split-
eyes blind, voice mute above the city,
a tiny unseen bird, amongst a million seeking refuge. 
A tiny bird, without a song.
He longs to sing, to fly on wings as delicate as ancient lace, 
with the strength of an eagle, a fleeting flight - in grace.

heavy poeting mastered tube le

Sparrow CD heavy poeting

Sing Voices.
Is this a real day?
Is this a nightmare?
Sing voices. Sing stories.Tell it how it is.
I wandered lonely as a cloud, but  the cloud, was full of electrical lightening. 
I was fried alive, and kicking. OOOh it was frightening. 
I screamed like a Cockatoo. Very loud. I howled. 
Is this in my dream? Somebody wake me!
I’m taking a high dive. I’m splitting. Is this gonna break me?
Is this a real day? Is this a nightmare? Sing voices.

Recording Sing Voices at St. Georges Ivy Church On Romney Marsh. May 19th 1989 Charlie Izikia, Brian Abrahams, Mary Fagin, Simon Sumner, Jan Ponsford, Hannah Wilson, Ian Shaw, Carol Grimes and Sami El-Salahi. Released as part of Common Ground disc. Unknown Public. Photo Jo Nelson.

Unknown Public, Volume 2: Common Ground

Carol Grimes / Sing Voices/ Improvisation/

Lyrics below. "Thrice" ~ three sonic adventures dreamt up and marinated by Michael Kemp and Alex Tms (Intent). With many thanks to all contributing artists (in order of appearance): Alan "Fred" Pipes, Astra Chan, Jane Bom-Bane, the extraordinary Carol Grimes, Mick Stannard and Jules Arthur. 
 Mad old Bat .. taken from a scene in my book 'The Singer's Tale.'  An incident on Deptford High Street assisted by my 'Others.' Recorded in Brighton. On the CD Thrice.
 Mad Old Bat
 Well the street is long and the pavement wide,
if you see me on it better step aside;
‘cos I’m a mad old bat. And that is that
Mad old bat…
I've been around. And I've been about,
I could eat you up for breakfast I could spit you out;
‘Cos I’m a mad old bat and it's tit for tat. Mad old bat…
 I'm feeling old today I’m in the way and if you can’t get past?
Just stick it up your arse... 'cos I'm mad as hell and it won't end well.
 Mad as hell… whose breath was raging fire, 
terrible and mighty, swift of foot and strong.  She had many heads…"
 "One was a goat, And one was a lion; one was a snake,  One was a dragon.
She has many tongues, And she flashes fire; she strides and struts, 
When she’s in her lair…"
I got a heart of gold but I won’t be told, and you're outta luck 
'cos I'm a mad old fuck; and I’m a mad old gal. Un-pre-dic-table.
Mad old gal…  Mad old bat  ~  that is that, Mad old Bat  in my  basement flat,
Mad old bat  ~  and that is THAT !!

Mad Old Bat (master)

LIVE IN SOHO IN 2010 AT RONNIE SCOTTS Dorian Ford Max Wardener Winston Clifford Annie Whitehead

Rainy Night in Soho 01

Rainy Night in Soho CD ALIVE AT RONNIE SCOTTS. Shane MacGowan Irish singer-songwriter

Guesting with Greg Wain on His CD Mr Blue.

Mr. Blue

That's Life

Jazz Standard LAZY BLUE EYES CAROL GRIMES & IAN SHAW TONY REMY STEVE LODDER Offbeat Records, CDWIK 93 (1990)
I Got It Bad (And That Ain’t Good) (Ellington, Webster)
You Always Miss The Water (When The Wells Runs Dry) (W M York)
I’m Scared (Grimes)
Don’t Explain (Herzog, Holiday)
Lush Life (B Strayhorn)
In A Sentimental Mood (Ellington, Mills, Kurtz)
Lover Man (Davis, Ramirez, Sherman)
I Ain’t Got Nothing But The Blues (D Ellington, D George)
I Cover The Waterfront (E Heyman)
I Love You (Cole Porter)
Spring Can Really Hang You Up The Most (F Landesmann, T Wolf)
Lazy Blue Eyes (Shaw)
The Snake (O Brown Jnr)
Misty (E Garner, J Burke)
Body And Soul (R Sour, E Heyman, F Eyton, J Green)
with Steve Lodder (piano), Tony Remy Guitar

Lazy Blue Eyes

I Cover The Waterfront. CD Lazy Blue Eyes. Ian Shaw Tony Remy Steve Lodder Carol Grimes.

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).

CAROL GRIMES & THE BLOCKHEADS AIN'T THAT PECULIAR (12 INCH VERSION).mp3

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.

Track 03 Born with the Bombs

Recorded live in 2017 But I Was CooI. Oscar Brown Jr. 
I always live by the, golden rule
Whatever happens, ha, don't blow your cool!
You gotta have nerves of steel.
And never show folks how you, honestly feel.
I lived all my life this way, ha 
For example, take yesterday:

I breeze home happy bringin' home my pay 
Two gigs this week, hey ...  I haven't gone away!  
An' I threw myself down across my empty bed 
An' this is what I said:
Ooo shhhhiiiiit ooow ooow ooow 
What? Life, what are you gonna do with me? 
Ooo wow uh 
But I was cool!
So I ‘one for the roaded’ at a all night bar 
I wound up so loaded, 
I fell, off my chair 
The friends threw the book at me…
 I listened and said:
"Oow! Please oooow ooow,
 Please I got to know, I got to know 
What? What went wrong?  
I don't understand... I oh a……. 
But I was cool!

So I said I’m the only one, that’s gotta to pay 
And I fell into the next bar an' pulled out my purse,
My legs melted onto the floor my neck lost my head     
An' I realized that I may as well have been dead!

Oooooow, ruff ruff, rrr, rrr, rrr, rur, rur, rur 
As they carried me away
I was overheard to say,
 "Be cool, be cool, stay cool, be cool!"
A chance to howl at the moon or rage at the monsters.... scream at the sun and the stars... Shriek at the wickedness, the sheer evil running the show in these mad, bad days...... Why? Just because I can! Innit? Have good bellow.. it can be therapeutic.... Honest!

Carol Grimes

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