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. ＠

SHORTSTACK

Wild women are wonderful. @ written in Newcastle 1999

I have a memory of a young girl living,
a life so strange to me.
Big hands, big heads.
Big talking, big fingers.
Pointing down at me.
All I wanted was to hang out 
where the Cool Cats do.
I wanted somebody to do the goo and ask me.
Hey, you wanna come and smoke a little this, 
and drink a little that,
and talk the night away”   
But they would say. You! Get back in the corner and shut your mouth 
  
I want to be a wild woman .
Cos wild women are wonderful. X 1

  Way back when I was a young girl trying
to look at life from the corner of my eye.
I bleed I feel I’m warm I’m real.
So why did I feel so low?
I wanted to put a bag, right over my head.
I wished I was stone, cold roll over dead.
So tell me, why is it?
When you know where it's at.
First, you too young for this.
Or you're too old for that.
You're too thin or you're too fat.
Well, that's all crap!

Carol Grimes  Wild Women..  from -  Alive at Ronnie Scotts

With Ivor Goldberg Phill Scragg Janette Mason Mike Bradley Gary Hammond.
We said yes.＠ 1996

V1
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.

V2
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.

V3
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.

Alive At Ronnie Scott's

'We Said Yes'  ＠ recorded on CD  Alive at Ronnie Scotts. Grimes/Hrybowicz

The Shout Contemporary Classical The Shout was formed in 1998 by the composers Orlando Gough and Richard Chew. The singers come from very varied backgrounds – gospel, jazz, blues, contemporary classical, opera, early music – and include several accomplished improvisers. It has been called a ‘vocal big band’, a ‘club choir’, a ‘vocal Stomp’, a ‘dangerous choir’, a ‘choir of Babel’ and a ‘choral phenomenon’. It is, we hope, all of these things.

The Shout performs a mixture of concerts, music theatre and site-specific pieces; our first performance was an outdoor oratorio The Shouting Fence (South Bank, July 1998) involving a large group of amateurs and children, the second a concert at the jazz club The Spitz, London (January 1999), the third a music-theatre piece Mouth at the Drill Hall, London (May 1999). Most of the singers are not actors; but the choir is interested in pursuing the theatrical implications of singing.

The choir aims to be a group whose personalities are revealed by the music and who are given freedom to sing solos and to improvise, and yet a group capable of homogeneous effort; it aims to explore the possibilities of sixteen individuals and of a single voice with sixteen components. It aims at achieving a high degree of choral sophistication while preserving a raw natural energy. It is interested in pursuing a kind of collective choral improvisation as well as using the individual improvising talents of the singers.
 In short, the choir likes to do things that choirs normally don’t do, and tries to push at the boundaries of what a choir might be.
Voices of approval for THE SHOUT AT THE PROMS
George Hall
Sunday August 6, 2006
The Observer 
Proms 20, 21, 24, 25, 26
Royal Albert Hall, London SW7
After the first performance of a new work, composers sometimes have to wait years for a second. A few hours after the first realisation of his choral piece We Turned on the Light in an afternoon Prom (20) given by the BBC Scottish Symphony under Martyn Brabbins last Saturday, Orlando Gough heard it again that evening with the BBC Symphony under David Robertson. It went down a storm on both occasions.
Setting a new, ecologically correct text by Caryl Churchill reminding us how our over-consumption of the earth's resources is landing us in big trouble, Gough's work is scored for large chorus and full orchestra - forces he handles with immense flair and panache. As with the orchestra, the main body of singers changed between the two performances - youth choirs from all over the UK sang the first; the BBC Symphony Chorus and Huddersfield Choral Society the second. But, in both renditions, a lot of the punch of this explosive piece came from Gough's own diversely constituted choir, the Shout - whose members come from backgrounds taking in gospel, jazz and blues, as well as contemporary classical, opera and early music - and from more informally assembled participants operating under the name of the Rabble.
These two Proms celebrated the singing voice. Getting the afternoon event off to a flying start was an atmospheric opener by Gough called, aptly, Open, which featured the mesmerising vocalism of Carol Grimes and Manickam Yogeswaran, among others, ricocheting around the Albert Hall at all levels and from every direction. Brabbins also conducted a limp account of Poulenc's Gloria, and one of Gershwin's An American in Paris where the transatlantic tourist kept his guidebook firmly in hand and never strayed towards the more dubious bits of Montmartre or Pigalle - which is arguably not the point of the piece nor, perhaps, of Paris. But a true highlight was the singing of 13-year-old treble Sam Adams Nye, in Bernstein's sassy-yet-sacred Chichester Psalms, which held the audience spellbound.

ON ARRIVAL

WHY DO YOU SING? The Shout

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 which include an account of Christmas in a London labour ward, an Auschwitz diary extract, Song of Work by Carol Grimes has a vigour and improvised complexity that recalls The Shouting Fence. 
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.  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

What Is It? The Shout

White Paper freestyle -  Cadrian

You Don't Know What Love Is- Nicola and Rob

A stroll up the stony beach, up to where Max Eastley and friends' aeolian harps were playing in the wind, at Sackville Gardens Beach this morning...

Audible forces 2

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

A poem written 2004 Carol Grimes
recorded on Jura  with Giles Perring 
Something Secret

Carol Grimes Wild Women.. from - Alive at Ronnie Scotts

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