Category: BR Content

Words by Matthew Osborne / Pics by Katja Ogrin

Poor old Johnny Marr, doomed to always live in the shadow of a much more popular and venerated member of the Smiths.

We would do well to remember that both he and Morrissey were the creative forces behind the Smiths, and bitterly fought law suits will always be there to remind us, lest we forget.

Like Mozza, Marr is still idolised by a certain demographic, and around the Institute before the show begins, I swear I walk past him two or three times; each ‘sighting’ turning out to be just another retro dressing mod with Noel Gallagher’s haircut. As one of the Godfathers of the Madchester scene, Johnny’s following are clearly identifiable at fifty paces.

The real Johnny Marr takes to the stage looking like many of the audience. He does his best to liven up some of the fairly pedestrian tracks from his first solo album with a number of awkward and jagged stage moves plucked from a repertoire which included air kicks, pointing, and showing the audience his guitar.

He reminds me of the boy who Jack Black recruits as his guitarist in School of Rock, and then educates to embody all of the biggest guitar show offs in the history of rock and roll.

Johnny Marr, however, is rock and roll history; and never is that clearer than when, from in amongst a set consisting mainly of the middle of the road tracks plucked from The Messenger, a familiar guitar lick rings out from Marr’s trademark Rickenbacker, and we are treated to ‘Stop Me If You Think You’ve Heard This One Before’, ‘Bigmouth Strikes Again’, ‘How Soon Is Now’ or anthemic set closer (and best moment of the evening) ‘There Is A Light That Never Goes Out’ – all of which, let’s not forget, he is responsible for in varying percentages.

The crowd welcomes these tunes with such enthusiasm that I can’t help but feel sorry for Johnny, destined always to live in the shadow of his former glory but too far gone to ever be able to do anything else (plumbing, dentistry etc).

And Marr is not a natural front man, mainly because his voice is not powerful enough to be heard clearly above the roar of the guitars. He has historically teamed up with lead singers whose voices are unmistakable  powerful in their uniqueness; whether that be Morrissey, Isaac Brock (Modest Mouse), David Byrne (Talking Heads) or Chrissie Hynde (The Pretenders).

After so many successful years providing spectacular guitar two steps to the left of the limelight, it is strange that Marr waited until now to make it on his own. With such a remarkable CV his influence and abilities are unquestionable, but the point of his first unremarkable solo album is.

Whatever the reason, it’s nice that we have an opportunity to celebrate a man who’s lived in the shadow of some notable characters; Marr deserves the adoration that the audience bestow upon him. His band keep the songs tight, allowing him to strut around the stage like he owns the place, and this is what the crowd have come to see.

However, after the hero worshiping hysteria dies down and the buzz of seeing a live rock band dissipates, I wander how many will remember the non-Smiths songs that are played tonight.

Perhaps for a short while, but ask them again in a couple of years time..?

For more on Johnny Marr, including digital downloads of ‘The Messenger’, visit http://www.johnny-marr.com

For further events at the Institute, visit http://mamacolive.com/theinstitute/listings

Words by Ed King / Pics by Katie Foulkes

“They’re addictive,” explains Tania Smith, owner of Caton Alpacas – a small breeding farm in South Devon, “they’re economical, easy to keep; and they don’t barge you out of the way like sheep can.”

It’s the first day of the British Alpaca Futurity (BAF) annual show at the NEC and I’m surrounded by over 400 Alpacas, nonchalantly chewing hay across half of Hall 3a.

It’s an unusual site, pen after pen of the inquisitive looking creatures; dangerously cute. Half of me wants to laugh, the other half wants to stuff a small Alpaca under my shirt and run.

Tania Smith now rears 17 Alpacas, starting out with three females about seven years ago. And like many of the people I’m talking to today, she started on a whim.

“I had a small plot of land,” says Tania, “not enough for cattle but too much for chickens. Then I saw the Alpacas and looked into rearing them.” One Alpaca pricks its ears up, straightens its soft head and poses for the camera, “I now breed them commercially, and sell the fibre on.”

Originally brought to the UK in 1995, by an Australian commercial farmer called Alan Hamilton, the Alpaca’s original habitat are the South American Andes.

With now over 30,000 Alpacas in the UK, kept in both professional and personal capacities, the British marketplace is growing – with Alpaca wool being comparable to Cashmere in both quality and price.

“The wool is hypo allergenic, so there’s no itch factor,” tells Liz Giblin, owner of The Alpaca Shop – an Essex based farm and retailer selling ’a wide range of alpaca fleece & fibre products’, and one of the 35 trade stands at the BAF. “It stays drier than sheep wool, and it doesn’t absorb as much odour.”

I look at the £10 socks and £18 gloves on display, then think about my week in the Lake district and the grey skies outside. Then I think about my wallet, and pause. “Alpaca wool is one step up from Cashmere,” offers Liz, as if sensing my fiscal dilemma, “and just feel how soft it is.”

I know my way around Pashmina silk and reserve a response; reaching down I rub the head of a plush Alpaca soft toy, priced at £27. My hand feels as if it’s melting into the fur.

Susana van Oordt de Portaro is President of Gama Arte, a Peruvian based ‘non-profit museum service organisation’, and is also hosting a stand selling Alpaca products. Gama Arte ‘promote(s) Art and Culture and the preservation of Peruvian cultural patrimony’, and uses the UK market to raise money for artisans in Peru, selling their hand made products direct to British consumers.

“Alpaca wool is better than Cashmere,” explains Susanna, with what appears to be the Alpaca wool mantra, “and we sell garments and products made from the artisan in Peru.”

I scan at the ‘HAND MADE IN PERU’ signs that adorn the modest Gama Arte stand; “Alpaca wool is important for the artisan in Peru,” continues Susana,” they make some of the finest and most luxurious products.”

Again I feel the soft, soft fur – this time on a selection of hats that Susana says makes our photographer “look like Julie Christie, from Dr Zhivago.”

Although there is a serious undercurrent, with the Andean Alpaca farmer having suffered in the middle of a vicious guerrilla war between the Communist Party of Peru (Partido Comunista del Perú or ‘Shining Path’) and the state military in the 1980’s.

Significant numbers were killed, destabilised or imprisoned in work camps; with organisations like Gama Arte now working to build a market for the trade in foreign territories. After the BAF, Susana will exhibit Gama Arte’s Alpaca products at the Country Living and Spirit of Summer Fairs in London.

But the central focus of the day is the ‘Alpaca Parade’, where highly groomed Alpacas are showcased, both for prizes and for auction.

BAF organisers, Chas Brooke and Rachel Hebditch, are showing Agnes – a proud looking CME Champion Brown Female, decorated in rosettes and sashes, whom they intend to auction.

I wish the three of them luck, Agnes looking at me like I’ve stepped on her even toed hoof, and move over to the bleacher seats to watch. A low monotone description comes out of the tannoy, and I am soon lost in terminology that only an Alpaca enthusiast would know.

The Alpacas, being classified into gender and species (or colour, to the layperson), behave very differently as they get paraded and examined.

Some walk with a pageant professionalism, others are seemingly dragged across the green felt. It feels messy, confused and like a Christopher Guest film.

But there’s a lot of love for the animals, from a varied audience made up of breeders, pet owners and people who have come out of pure curiosity.

“They are fascinating creatures,” tells Lindsay Welch from Kidderminster – who rears a handful of Alpacas privately, “and it’s great to see them at the NEC. Usually you only find them at agricultural shows or county fairs.”

Fiona and Joy Bratherton are at the NEC for a neighbouring education show, and met an Alpaca breeder on the train down from Crewe. “It’s like a zoo,” explains Fiona, “but with the best animal shown again and again.”

“And they’ve got such cute faces,” confirms Joy, “I know they’re wild animals, but I just want one as a pet.”

And I would too, if they’d let me; but every Alpaca I try and stroke just sniffs and backs away.

Although I am apparently alone with this, the over 400 Alpacas at the BAF being surprisingly friendly and tactile to everyone but me.

 

“Perhaps it’s just your smell,” suggests one breeder, “or the colour of your clothes;” but I’m out, there’s only so many times you can get rejected by a 4ft cuddly toy.

And despite not becoming the Dr Doolittle on the Andean Alpaca (a notion I only half jokingly entertained) I do leave the NEC with at least one mission accomplished.

Nestled beneath my Alpaca repelling Salmon pink shirt is the softest plush toy I’ve ever held.

And if my niece doesn’t give it a good home, it can happily come and live on my bookshelf.

For more information on the British Alpaca Futurity, visit http://www.britishalpacafuturity.com

For information on the NEC Group, including event listings across all venues (‘What’s On’ tab to the right of the screen), visit http://www.necgroup.co.uk

Born under a bad sign (well, on Halloween) Johnny Marr has been heralded as one of the UK’s most influential contemporary guitar players.

Predominately remembered as co-songwriter and guitarist for The Smiths, Johnny Marr has played in several bands; including The Pretenders, The The, Modest Mouse and The Cribs.

Now operating as a solo artist, as of 2011, Johnny Marr released his independent debut album – ‘The Messenger’, in Feb 2012. A subsequent 16 date UK tour brings Marr to the Institute in Birmingham, on Sat March 16^th.

Cited as an inspiration for many artists prolific in their own right, including Oasis and The Stones Roses, Marr’s signature Rickenbacker 330 and Fender Telecaster guitars created for him a six string thumbprint; an identifiable sound ‘early critics’ described as ‘jangling’.

Marr’s own biography cites ‘Van Gogh’s Starry Night in angry animation, or the echo of diamonds raining down upon zinc-plated cobblestones’ as well as ‘the sound of kitchen cutlery bouncing off a gaffer-taped Telecaster’ – a method actually employed whilst recording ‘This Charming Man’

Growing up in Manchester, Marr had early aspirations to play professional football; being approached by Nottingham Forest and having trails for Man City.

However music became his ultimate calling, with Marr forming his first band, The Paris Valentinos, in 1977. Other band members were Andy Rouke, who would later play bass in The Smiths, and the actor Kevin Kennedy (nee Williams).

Five years later and the 18 year old Marr formed The Smiths, after ‘seeking out the reclusive and elusive Stretford poet, Morrissey’. Five years later still, and The Smiths would disband; but not before releasing four albums on Rough Trade – none of which entered the UK charts below No2, although ‘Meat is Murder’ being the band’s only No1.

Despite their comparatively brief time together, The Smiths hold a prominent legacy in contemporary music; with their acrimonious court case over percentages an unfortunate epitaph.

Fans of The Smiths have long called for a reunion, but despite several rumours and Marr telling the NME “I’ll do it if the coalition steps down”, industry pundits remain skeptical.

Marr’s manager, Joe Moss, also told the NME, “It isn’t happening. We are fully focused on preparing Johnny’s new album for release and booking shows for 2013.” 

Johnny Marr performs at the Institute in Birmingham on Sat March 16^th. For tickets and details on this, and other gigs at the Institute, visit http://mamacolive.com/theinstitute/listings

For more on Johnny Marr, including digital downloads of ‘The Messenger’, visit http://www.johnny-marr.com

Promoted as ‘a different day out’, the annual British Alpaca Futurity (BAF) comes to the NEC this week; taking over Hall 3A on Thursday 15^th and Friday 16^th.

Tickets are £7.50 on the door, or available through www.ticketfactory.com / Accompanied children below 16yrs get in free.

‘Over 35 trade stands’ will be selling equipment needed to raise and care for Alpacas, along with advice from existing breeders on how to commercially rear the animal.

Garments and products using Alpaca wool will also be sold, along with ‘live demonstrations of felting, hand spinning & crochet work’ – plus a chance for the public to ‘make your own’.

There will also be a showcase ceremony, where over 400 Alpacas will compete for rosettes and awards. Organisers have compared this event to Crufts, but for Alpacas.

Competitions will also be held in Alpaca based photography, art work and fibre craft.

But what is an Alpaca? Described by BAF organisers as ‘creatures which look like a cross between a sheep and a giraffe’, they are part of the Camelidae family; sharing linage with the camel and llama.

Found predominately in South America, enjoying the higher altitudes of the Andres across southern, Peru, northern Bolivia, Ecuador and northern Chile – Alpacas number ‘approximately 30,000’ in the UK; being farmed for their fleece and wool.

Used to harsh mountain terrains in dangerous climates, the Alpaca can adapt to the systems of British rotation grazing well. They also eat approximately 1-2% or their body weight per day, as opposed to 2-3% for sheep, and have a healthy self-discipline of separating areas for eating and for waste.

Alpaca wool is sold for fleece linings, shawls, scarves, waistcoats, hats and jumpers; as well as duvets, blankets and pillows.

The British Alpaca Futurity 2013 comes to Hall 3A at the NEC on March 15^th & 16^th. Tickets are available at www.ticketfactory.com or on the door.

For further information on the British Alpaca Futurity, including a programme of this year’s event, visit www.britishalpacafuturity.com

Words & pics by Charlotte Rose

I find myself brimming with a certain amount of ‘Brummie Pride’ when I visit the Symphony Hall. I can’t help but get caught up in the buzz; and that’s without even stepping foot inside the magnificent main hall.

And tonight is no exception, as I arrive there is a vibe of excitement in the air for tonight’s ‘Folk for Free’ event – the young singer/songwriter, Katherine Priddy (although as Justin Bieber is also performing down the road at the NIA, some of the screams may be for him). 

The Moseley Folk Festival organises a series of ‘Folk for Free’ events across the year, taking over the Symphony Hall Café Bar.

The great bit about a free performance is that you can just stumble across it and experience something new, for nothing. And as people trickle into the bar area, grab a drink, and sit down, I notice a diverse mix of ages in tonight’s audience.

Katherine Priddy opens her set, rather bravely, with an original – ‘Indigo’, and straight away catches the attention of the audience; some of whom are now sitting on the floor. At the age of 18, Priddy’s raw talent is obvious.

She continues with covers of John Martyn, Seth Lakeman and a particular favourite of mine, ‘Rosemary Lane’ by Bert Jansch; her pure vocal tone conveys the lyrics of the songs perfectly, and creates a hypnotic ambiance that transports us into the stories.

‘Ring O Roses’ is Katherine Priddy’s second original song of the first set; a song, that by her own admission, she isn’t so confident about the guitar parts. And whilst there are a couple of slip ups, it doesn’t seem to matter to an audience in admiration of her humbleness.

A short 10 minute break and we’re into the second set, with a mixture of original songs (one of which is so new it hasn’t got a name) and covers – a personal highlight being Iron and Wine’s ‘Naked As We Came’.

And whilst I wouldn’t call myself a connoisseur of Folk music, and find some of tonight’s set all a little melancholy, my real enjoyment is in Katherine Priddy’s delivery.

Her performance is one of maturity; and whilst not without faults, something that merits further attention.

And attention I’m sure she’ll get. Perhaps not in the teen screams that are sent Beiber’s way, but I do spy one mesmerised fan handing Priddy a hand written note as she finishes her set and packs away. 

For more on Katherine Priddy, visit her Soundcloud page https://soundcloud.com/katherine-priddy  

Or YouTube channel http://www.youtube.com/user/pridsters?feature=chclk

For more ‘Folk for Free’, and further listings for the Town and Symphony Hall, visit http://www.thsh.co.uk