Crowd funding the CD release of The End of Words is going massively well. I just need one more pre-order and I can go into production! Thanks to everyone who has already pre-ordered! I’m asking £10 each plus £2 for P&P – please send £12 to http://paypal.me/timhawthorn and don’t forget to include a mailing address if you would like to get in on the initial send-out. The more people that order now means I might actually make some money on it, which will enable me to keep working and making new music. So feel free to share this around. Thank you all for your support, this really means a lot right now. https://timhawthorn.bandcamp.com/album/the-end-of-words
English spelling is famed for its irregularities. Not only is it next to impossible to predict the spelling from the pronunciation, it’s also often difficult to work out the pronunciation from the spelling. This has social and economic costs; it takes English speaking primary school children two years longer to master basic spelling than speakers of other languages and dyslexia is a major challenge. English spelling has been chopped and changed by countless scribes, printers, invaders and others since the Roman alphabet was first used to write Old English during the seventh century, and no longer matches the way we speak.
Now that International English has been recognised as a separate dialect from British and American English, reform of corrupted alphabetic principles is being seriously co-ordinated for the first time since 1953 through organisations such as the International English Spelling Congress and the English Spelling Society. One such proposal is Inglik, based on similar principles to the Simpel-Fonetik system, which is intended to serve as an alternate, easy to learn English writing system suitable for international use. It attempts to directly match single symbols (graphemes) to sounds (phonemes) in order to regularise spelling and uses a simplified grammar.
Inglik is being developed as an Open Source project with a minimal ruleset including: a Spelbuk, Gramäry and Kôrpys of literature including this Frázbuk.
The examples below include a list of respelled place names that even native speakers frequently mispronounce and a selection of basic phrases of the kind that might be used to teach English as a foreign language. There is a pronunciation guide at the end with IPA equivalents and examples of the different ways sounds are written using conventional orthography. You will need a font that can display IPA characters, diacritics and special characters used in other European languages to view this page properly.
Alnwick – Anik
Bicester – Bistyr
Birmingham – Byrmiŋym
Bristol – Bristw
Cholmondeley – Čymly
Durham – Dyrym
Edinburgh – Edinbryh
Glasgow – Glazgy
Gloucester – Glostyr
Godmanchester – Gymstyr
Hunstanton – Hynstyn
Leicester – Lestyr
Leominster – Lemstyr
London – Ländyn
Magdalen College – Môdlin Colëj
Middlesbrough – Midwlzbryh
Norwich – Norij
Peterborough – Pétyrbryh
Piccadilly Circus – Pikadily Sŷrkys
Shrewsbury – Šrózbry
Teignmouth – Tinmöþ
Warwick – Warik
Worcester – Wustyr
Ðis bé simpwl sentäns yu kan úz tö þaŋk sömwön.
Þaŋk’z älot för ðë bŷrþdáy möny.
Þaŋk’z älot för dríviŋ mé hóm.
Ðis kan ålsó bé úz’d tö mén:
Yuv bé’n wörs ðan úsles, gó äwáy.
Endiŋ mesij wið “þaŋk’z” bé wårniŋ ðat yur perlösly klós tö lusiŋ yur tempyr, ful stop jyst mén yur aŋry.
Wen yu néd tö get þrûh byt ðêrz söm ijöt blokiŋ yur wáy, sáy “Ekskúz mé”.
Yu kan ålsó sáy ðis fráz tö pölítly get sömwön’s ätenšön. För ekzâmpwl:
Ekskúz mé syr, yu apéär tö häv drop’d sym lityr.
Ekskúz mé, dyu nóu wåt tím itiz?
Í bé sory.
Úz ðis fráz tö äpolöjíz az myč az posybwl, weþyr för symþiŋ big or smâl. Úz “för” tö giv môr dëtáwl. För ekzâmpwl:
Í bé sory för béiŋ syč fykwit.
Í bé sory för ðë mes. Í wåznt ekspektiŋ ánywön tödáy.
Yu kan úz “rély” tö šó yur very sory för symþiŋ:
Í bé rély sory Í didnt invít yu tö mý pârty.
Ekskúz mé, sory, bé ánywön sitiŋ hiër?
Ðis mén: “Yu hav þré sekönd’z tö mûv yur bag béfôr Í kil yu.”
Yu kan ålsó úz “sory” tö mén. “Get out öv mý wáy, šit-hed”
Lets sáy sömwön dónt yndërstand än ídéa yur trýiŋ tö eksplán. If yuv eksplán’d it óvyr and óvyr and hav’d ënyf, jyst sáy “ó, nevyr mínd”. Yu kan naw tâwk äbout symþiŋ els!
Yu kan ålsó úz “nevyr mínd” tö mén “it dónt matyr” or “jyst förget it”. In ðîz sičúášyn’z, sáy it wið smíyl and pozitiv tón; öðërwíz wen yu sáy ðis fráz slówly wið fâliŋ low tón, pépl’z wil nóu yur pis’d wið ðem.
A: Bé yu góiŋ tö ðë grósry stôr tödáy?
B: Nó, Í bé not. Wý, dyu néd symþiŋ?
A: Ó, nevyr mínd. Its ókáy, Íl gó tömoró.
Nót: “Í bé jyst popiŋ out for lynč, döz ánywön wånt ányþiŋ?” mén “Í bé getiŋ mý own lynč naw, pléz šyt yur mouþ.”
Yu kan ålsó úz:
“Not tö wyry” = Í wil nevyr förget ðis.
“Its fín” = It rély kudnt posibly get ány wörs, but nó dout it wil.
“Perfik” = Wel ðats ðat rúin’d ðen.
“Onëstly, it dónt matyr” = Í šal nevyr spék tö yu ägán.
“Nó harm dyn, it kud bé wörs” = Yuv fyk’d it ríht yp.
Í bé lŷrniŋ Iŋliš.
Ðis simpwl fráz tel pépl’z ðat Iŋliš bé not yur nátiv laŋwij. If yur tótäl nûb, ad “jyst stârt’d” âftyr “Í”: “Ív jyst stârt’d lŷrniŋ Iŋliš”.
Mý nám bé … and Í bé lŷrniŋ Iŋliš.
Wen yu bëköm môr fluënt yu kan sáy:
Í bé spékiŋ ðë very gud Iŋliš.
Í dónt yndërstand.
Úz ðis fráz wen yu dónt yndërstand wåt sömwön mén.
Sory, Í dónt yndërstand wý Brityn wånt tö lév Úröp, it sém very kynfúsiŋ!
Ku’d yu rëpét ðat pléz?
If yud lík sömwön tö sáy wörd, kwesčön or fráz ägán, úz ðis kwesčön. Sins “tö rëpét” mén “tö sáy ägán”, yu kan ålsó âsk, “Ku’d yu sáy ðat ägán pléz?”
Ku’d yu pléz rëpét ðat?
Í dónt yndërstand wý Brityn wånt out öv Úröp!
Ku’d yu rëpét ðat pléz?
Ku’d yu pléz tâwk slówyr?
Nátiv spékyr’z kan tâwk very fâst. Fâst Iŋliš bé hârd tö yndërstand! Ðis bé än ézi wáy tö âsk sömwön tö spék môr slówly.
A: Yu kan giv ys kâl ány wékdáy from 8:00 .m. tö 5:00 p.m. on fív fív fív, tw fív zéró êht, ekstenšön þré þré …
B: Í bé sory, ku’d yu pléz tâwk slówyr?
þaŋk yu. Ðat help älot.
Âftër sömwön stârt spékiŋ môr slówly för yu, þaŋk ðem wið ðis fráz.
Yu kan úz it in mány öðër sičúášön’z, tû.
A: Ku’d yu pléz mák ðë font bigyr? It bé hârd för mé tö réd ðë wörd’z.
B: Šûr! Íl čánj it from síz 10 tö 16. Howz ðis?
A: Þaŋk yu. Ðat giv wârm féliŋ to mý yndyrpârt’z.
Wåt döz … mén?
Wen yu héär or sé nú wörd, úz ðis fráz tö âsk wåt it mén.
A: Wåt döz “font” mén?
B: Its ðë stíyl öv letyr’z, nymbyr’z and pynkčúášön mârk’z wen yu típ. A komön font bé Tímz Nú Rómän.
How dyu spel ðat?
Iŋliš speliŋ kan bé triky, só mák šûr tö lŷrn ðis kwesčön. Yu kud ålsó âsk sömwön, “Kud yu spel ðat för mé?”
A: Mý nám bé Wayn Haŋkerčîf.
B: How dyu spel ðat?
Wåt dyu mén?
Wen yu yndërstand ðë wörd’z wön bý wön, byt not wåt ðey mén tögeðyr, úz ðis kwesčön. Yu kan âsk it wenevyr yur kynfús’d äbout wåt sömwön bé teliŋ yu.
A: Ðë Smiþ’z hav rély nís hous, byt ðë grâs bé âlwáz grényr on ðë öðër síd.
B: Wåt dyu mén?
A: Í mén ðat if wé hav’d ðë Smiþ’z’s hous, wé probly wudnt bé hapiyr. Wé ålwáyz þiŋk öðër pépl’z hav betyr lív’z ðan ys, byt öðër pépl’z hav problym’z tû.
B: Yêh, byt öðër pépl’z hav nís grâs’z tû.
Méniŋ’z öv “Í beg yur pârdön”:
- Í didnt héär yu.
- Í äpolöjíz.
- Haw very dár yu!
Nóåt Í mén?
If yur haviŋ trybwl mákiŋ yurself yndërstud yu kan úz ðis fráz tö mák ðem ânser “Yeh” évyn if ðey stil hav nó ídéä.
Intrödúsiŋ Yurself and Mákiŋ Frend’z
Ðêr bé mány wáy’z tö sáy “Heló” in Iŋliš, from ðë infôrmwl “Wočyr” or “Âwríht?” tö ðë môr formwl “Haw dyudu?”. Ðis bé not än invitášön tö koment on persön’s kwality öv líf, só du not rëplý wið list öv álmynt’z.
Hí! Í bé …. (And yu?)
Hiërz än infôrmwl grétiŋ yu kan úz wen yu mét nú frend’z. If ðë persön dónt tel yu ðêr nám, yu kan âsk “And wåt’s yur nám?” or “Hûðäfykâr yu?”
Hí! Í bé Bârbi. And yu?
Nís tö mét yu.
Âftër yu lŷrn éč öðër’s nám’z, its pölít tö sáy ðis fráz.
A: Hí Bârbi, Í bé Boris.
B: Nís tö mét yu, Boris.
A: Nís tit’z Bârbi.
Wêr bé yu from?
Âsk ðis kwesčön tö fínd out wič kyntry sömwön bé from. Yu ânsyr ðis kwesčön wið “Í bé from …”.
Kan yu ânsyr ðis kwesčön in Iŋliš? Sáy bóþ ðë kwesčön and ânsyr äloud ríht naw.
A: Nís tö mét yu, Sergio. Só, wêr bé yu from?
B: Í bé from Brentförd. Mé and Boris liv hiër.
A: Ó Í þôt yu wåz from Éstyrn Úröp.
Wåt dyu du?
Móst adylt’z âsk éč öðër ðis kwesčön wen ðey mét. It mén wåt dyu du för liviŋ (wåtz yur job). Í þiŋk ðis kwesčön bé boriŋ, só Í âsk öðër kwesčön’z. Byt mány pépl’z wil probly âsk yu ðis, só its importänt tö nóu wåt it mén.
A: Wåt dyu du, Újény?
B: Í wörk ät ðë Únivyrsity az fínanšwl spešälist.
Wåt dyu lík tö du (in yur fré tím)?
Insted öv âskiŋ för sömwön’s job títwl, Í prëfyr tö âsk wåt ðey enjoy doiŋ. Ðë rëspons’z (ânsyr’z) bé úžly myč môr intrestiŋ!
A: Só Újény, wåt dyu lík tö du in yur fré tím?
B: Í löv tö pláy vijó gámz and mastyrbát!
If ðey stârt tö giv tû myč införmášön, yu kan sáy “Nó yêh ðats very intrestiŋ” wič mén “Yur bôriŋ mé tö deþ”.
Wåts yur fón nymbyr?
If yu wånt tö kép in kontakt wið sömwön yu jyst met, âsk ðis kwesčön tö fínd out ðêr fón nymbyr. Yu kan rëplás “fón nymbyr” wið “email” if yu wånt tö nóu ðêr email adres.
It wud bé grêt tö mét up ägán symtím. wåts yur fón nymbyr?
Wen yu hav ðêr fón nymbyr, yu kan foló ðat wið:
Yu lík seks wið mé, Í giv yu möny!
Mány pépl’z kép in töč (kontakt) þrûh Fásbuk. Úz ðis kwesčön tö fínd out if sömwön hav Fásbuk äkount. Yu míht ålsó âsk, “Âr yu on Dryg’z?”
Lets kép in töč! Dyuäv Fásbuk?
If péplz wånt tö mét yp, yu kan sáy:
Í míht join yu látyr. = Í bé not léviŋ ðë hous tödáy ynles its on fír.
Pop round ánytím. = pléz stáy äwáy from mý hous.
Wen yuv hav’d ënyf, ðèr bé lots öv wáy’z tö ekskúz yurself:
Ánywáy, bé ðat ðë tím?
Ríht ðen, Í spóz Í rély šud stârt þiŋkiŋ äbout posibly mákiŋ mûv.
Fráz’z för Wörk
Hiër bé sevn básik fráz’z yu míht úz ät job.
How kan Í help yu?
If yu wörk in kystömyr servis, yul úz ðis fráz älot. Its ålsó komön fráz wen ânseriŋ ðë fón.
[On ðë fón]: Heló, ðis bé Bârbi spékiŋ. How kan Í help yu?
Íl bé wið yu in mómynt.
Wen sömwön wånt tö sé yu, úz ðis fráz if yu néd minit tö get yur klóð’z on fyrst. If klíynt bé wátiŋ ät stôr, yu kan ålsó úz ðis fráz tö let ðem nóu ðêr tyrn bé nekst.
Yu kan rëplás “mómynt” wið “minit” or jyst “mó”: “Íl bé wið yu in (jyst) mó”.
Änöðyr komön fráz för ðis sičúášön bé: “Íl bé ríht wið yu”.
Gud môrniŋ! Íl bé wið yu drekly.
Yu kan úz “Wenevyr yu get minit” tö mén “ríht naw!”.
Wåt tím bé … ?
Yu kan úz ðis kynstrykčön tö âsk ðë tím öv ány ëvent: “wåt tím bé [ëvent]?”
If yu wånt tö âsk äbout métiŋ on sertyn dáy, ad “on [dáy]”. För ekzâmpwl:
Wåt tím bé our métiŋ on Þyrzdy?
Wåt tím bé our métiŋ on Wenzdy?
Pléz kâl mé (bak) ät…
Wen yu wånt sömwön tö kâl yu or tö kâl yu bak (tö rëtyrn yur kâl), úz ðis fráz tö giv yur fón nymbyr.
Hí, ðis bé Újény from ðë fínanšwl ofis.
Í bé wöndriŋ if yu found ðóz misiŋ möny’z.
Pléz kâl mé bak on 555-5555. þaŋk’z!
(Ó rély?) Akčúly, Í þôht…
Wen yu disãgré wið sömwön, “Akčúly, Í þôht…” wil mák yu sound kondësendiŋ and môr disinjenúös ðan sáyiŋ “Nó” or “yur wroŋ”. Ðis fráz bé úsful wen yu hav betyr ídéa ðan sömwön els.
A: Só Sams kymiŋ in töníht ät 8, ríht?
B: Akčúly, Í þôht šé wåznt wörkiŋ ät âl ðis wék.
A: Ó, ok. Íl hav tö luk ät ðë skedúl ägán.
B: Akčúly, mý hovyrkraft bé ful öv él’z.
Akčúly, Í …
Jyst lík äböv, yu kan úz “akčúly, Í…” wið mány difrynt vyrb’z: “héär’d”, “lyrn’d”, “bé”, “kan”, “kânt”, etc. Yu šud úz it för ðë sám sičúášön az äböv: wen yur tâwkiŋ tö än ijöt or mákiŋ ekskús’z.
A: Did yu finiš ðë rëport’z?
B: Akčúly, Í bé ryniŋ bit bëhínd, byt ðeyl bé dyn drekly!
C: Wen yu típ, âlwáyz put tw spás’z bétwén sentäns’z.
D: Akčúly, Í lyrn’d tö put siŋwl spás bétwén sentäns’z.
Í bé (jyst) äbout tö …
Wen yuv kymplétly förgot’n tö du symþiŋ, yur “jyst äbout tö” du it.
Í bé jyst äbout tö send ðóz email’z.
A: Í bé äbout tö páy ðë bil.
B: Yu šudäv páy’d it yestyrdy.
A: Í wudäv páy’d it sûnyr, but Í bé skint. Boró mé tenyr?
B: Wé kudäv âlredy got ourselvz intö bit öv pikwl ðêr.
A: Ðats sertänly wön wáy öv lukiŋ at it.
Ðêr ár mány wáy’z tö tâwk äbout béiŋ boðyr’d: “wudäv”, “šudäv” and “kudäv” bé þiŋ’z ðat didnt hap’n in ðë pâst; “wónt”, “šânt” and “kânt” bé úz’d tö indikát lak öv intrëst in ðë fúčyr.
Ðêr bé lots öv difrynt wáy’z to ëkspres disagrémynt:
If yu sáy só … = wåt yur sáyiŋ bé bolöks.
Wið ål dú rëspekt … = Yu hav absölútly nó ídéa wåt yur tâwkiŋ äbout.
Éč tö ðêr own … = Evryþiŋ yu du bé sčúpid.
Rëmembyr tö praktis sáyiŋ ðéz fráz’z out loud békoz yul nevyr plouh fîwld bý tyrniŋ it óvër in yur mínd.
|b||/b/||bug, bibble, bit, bobulate, banter|
|d||/d/||dad, add, din, fuddy-duddy|
|f||/f/||fat, cliff, phone, enough, half, often, kerfuffle|
|g||/g/||gun, egg, ghost, guest, prologue, gongoozle|
|h||/h/||hop, who, ham, house, hobbledehoy|
|j||/dʒ/||jam, wage, giraffe, edge, soldier, exaggerate, argie-bargie|
|k||/k/||kit, cat, chris, accent, folk, bouquet, queen, mockery, box|
|l||/l/||live, well, left, lips|
|m||/m/||man, summer, comb, column, palm|
|n||/n/||net, funny, know, gnat, pneumonic|
|p||/p/||pin, piss, pot, dippy|
|r||/r/||run, carrot, wrench, rhyme|
|s||/s/||sit, less, circle, scene, psycho, listen, pace, course|
|t||/t/||tip, matter, thomas, ripped|
|v||/v/||vine, of, stephen, five, vat, vomitorium|
|w||/w/||wit, why, quick, choir|
|z||/z/||zed, buzz, his, scissors, xylophone, craze, gazump|
|ž||/ʒ/||treasure, division, delusion|
|č||/tʃ/||chip, watch, future, chat, righteous|
|š||/ʃ/||sham, ocean, sure, special, pension, machine, conscience, station|
|þ||/θ/||thongs, thigh, thing|
|ð||/ð/||this, then, leather|
|ŋ||/ŋ/||ring, pink, tongue|
|y||/j/||you, hallelujah, yes|
|á||/eɪ/||bay, maid, weigh, straight, play, eight, gauge, mate, break, they|
|e||/e/||end, bread, friend, said, many, leopard, heifer, aesthetic|
|é, î, -y||/i:/||be, bee, meat, key, phoenix, grief, ski, deceive, people, quay|
|i, ë||/ɪ/||kit, england, busy, guild, gym, sieve|
|í, -ý||/aɪ/||spider, sky, night, pie, guy, island, height, kite|
|o||/ɒ/||lot, cloth, honest, want, quarrel|
|ó||/oʊ/||open, moat, bone, toe, sow, dough, brooch, bodacious, sew|
|u||/ʊ/||wolf, look, bush, would, foot|
|y||/ʌ/||lug, monkey, blood, double, strut, upchuck|
|û, -w||/u:/||who, loon, blue, flute, shoe, through, fruit, group, canoodle, spoof|
|ä||/ə/||about, ladder, pencil, dollar, honour, augur|
|ê||/eəʳ/||pear, their, prayer, where, stair, declare|
|â||/ɑ:/||arm, bath, palm|
|ŷ, ö||/ɜ:ʳ/||bird, term, burn, pearl, word, journey, merkin|
|å, ô||/ɔ:/||paw, ball, fork, poor, fore, board, four, taught, war, bought, sauce|
|ú||/ʊəʳ/||cure, cube, fatuous, stupid, tourist|
This album is important for me because it represents the end of a four-year process of releasing my entire catalogue (10 albums including this one) via bandcamp and on CD. It’s also the first band album since Will died and to be honest, probably the first thing I’ve released which actually sounds the way I imagined it should. It has involved a lot of duplication of material, for which I apologise but also have to defend, in that (I hope) all the alternative versions are worthy of themselves and different enough in interpretation and arrangement to warrant release.
This is what I was trying to do with The Invisible Opera, but never really pulled it off. Jim’s aurision of psychedelic music was very much based on the west-coast sound of the Beach Boys and CSNY; I don’t think he was ever comfortable with my atonal space-crash punk tendencies. I loved what he did with my songs, it just wasn’t necessarily how I heard them. Maybe one day those recordings will get released.
It’s been incredibly liberating to play with Willow and Richard for the past year. It’s like being in a three-pronged no holds barred or punches pulled rock berserker squadron. I’ve been playing with Willow for something like 30 years, both in solo projects and with Invisible Opera. This might be the first time we’ve actually sat down and properly rehearsed a set. I think the world has really yet to hear what an awesome drummer Willow is, I’m hoping this new set we’re rehearsing will give him the platform to do so. Although a seasoned singer-songwriter and performer in his own right, this is the first time Richard has been The Guitarist in a band. His general musicality is a joy to work with, when the song calls for a solo he rips into it, when it needs pinning down he’s on it. Andy’s synthesiser wizardry similarly provides the kind of classic sound textures that I’ve always wanted to hear on my songs. When he’s not working with us he makes soft synths for ipads. Laura is our secret weapon; apart from her enchanting alto tones lifting us gently out of the boyzone, she also adds multicoloured glitter icing from her synchronised glock and handy hand percussion. Normally I dissuade vocalists from joining in on the shaky egg, but Laura just seems to intuitively know where to kick in with the tambourine.
We have 9 new songs in the set since recording this, including two of Richard’s tunes and one more obscure classic from the dawn of psychedelia. I know it’s very rock’n’roll to say so, but this really is the best band I’ve ever worked with. Finding people you can harmonise with I now know is a rare and wonderful thing, particularly if they can hold it together in the middle of some crazy space rock jam. It’s just magic. The band also shares a great commonality around why we’re doing this and wider ethical issues, so there is a combined consciousness when we’re playing. That’s another part of the magic. The third and possibly most important part of the magic is the way you (yes you) have supported making it happen, buying CDs and coming to gigs. I just wouldn’t have done this by myself.
So this album was the second gig with this line-up and after a handful of rehearsals. It was so well recorded by Pete Wibrew that mixing it was relatively simple, so it’s pretty much the gig as we played it with a couple of discreet edits. It’s the first recording of my songs that I can actually say I’m happy with. Finally actually getting a decent band album out there may be a small step for mankind, but it’s a giant leap for this man.
- White Horse – Yoo Doo Right 09:46
- Who But I? 04:42
- Nothing Serious 03:44
- Seven By Seven 06:54
- Samsara 04:40
- She Lives In A Time Of Her Own – Mining For Starlight 14:38
- Over Under Sideways Down 03:17
Tim Hawthorn: Vox, Bass
Laura Tupker: Vox, Percussion
Richard Mason: Vox, Guitar
Andy Bull: Synths & Keys
Greg Willow: Drum Kit
Recorded by Pete Wibrew at Kozfest 2016
Mixed by Tim Hawthorn with assistance from Sam Welbourne and Andy Bull
At summer solstice I reformed The Archetypes with Rich Mason (gtr/vox) and Laura Tupker (vox/perc) from Tantric Panic. I’ve been having fun playing bass with them over the last year, so I pitched the idea of doing some amped-up psychedelic rock, which they responded to enthusiastically. Sadly communications with Jim Peters broke down earlier in the year. I’m going to cite personal and musical differences here, you know the story. So I invited synth wizard Andy Bull, who has previously worked with Nukli and Will Greenwood amongst others, to come and add his cosmic harmonics to the mix. A week before the gig we still had no drummer, but Greg Willow came to our rescue with a huge barrel of enthusiasm and sat in on the first gig. It went down so well that Dave Hatfield has asked us to cover the solstices and equinoxes at the King Arthur for the foreseeable future – We’ve confirmed Dec 21st and March 20th 2017 so far.
The fact that we all live fairly close to one another has meant that this line-up has been able to practice regularly. This definitely reflects in performances and as a result I’m much happier with what I’m hearing than ever before. The combined energy of the band, particularly between me, Rich and Greg, is pure rock’n’roll; I’m loving it! Since Lemmy’s passing I’ve turned up the gain and started using a pick on some numbers; I’m finding this rather liberating too.
Our Kozfest performance got recorded this summer by Pete Wibrew (Gentleman and scholar), so some of that will get released in some form fairly soon. Is that vague enough for you? I seriously can’t wait for you to hear it … because the songs are actually sounding like they do in my head at last. Greg, Andy, Rich and Laura are a phenomenal team to work with. I’m loving the way everyone makes a uniquely strong contribution to the sound and I’m impatient to do more.
Sadly there isn’t much on the horizon for the band before solstice. This is in part due to Rich being in chronic back pain for the last few months, which makes touring unthinkable right now. Hopefully in the new year. Meanwhile we shall be working on some new material for the solstice gig and some old stuff that you won’t have heard like this before! Mwahaha! And I’ll work on getting this Kofest recording in front of your lugholes. From here on in it’s a scorched mirth campaign, leaving no left turn unstoned. Love this planet or get lost …
It gives me great pleasure to announce that Uncarved :: Live at Mellstock is now officially a thing. It represents a small step for mankind, but a huge step for me in crowd-funding. The entire production has been financed on goodwill and donations. I neither have a day job, trust fund or savings, nor do I claim benefits. I survive literally on what I earn from music, every month I struggle to pay the bills … I’m not complaining, it’s a good life, but it does get tricky when you need to come up with chunks of money all at once.
I’ve been particularly inspired by Amanda Palmer on the “Art of Asking” and although I don’t have anything like the fan-base she has built up, I thought I’d give it a go. What I have learned is that there are a lot more people than I had imagined who are prepared to support my music. If that wasn’t amazing enough, along with financial support came heartfelt messages, constructive advice and feedback. By asking for help I have got a really strong message back that you lot want me to keep on writing, playing and recording music.
So this album was recorded at a little festival in Mells. Mells is the ‘plum’ that Jack Horner pulled out of the pie, so the album was recorded in the church that Jack built. The festival was put on in order to raise money for Help in Action and the whole thing was recorded by Sam Welbourne. Sam persuaded me that the recording was releasable and in the final analysis I decided to release the whole performance, nothing added or taken away, as the set had a really nice coherence to it. I had wanted to put out something that represented me busking and for my birthday last year, Earl Bramley-Howard had given me a wonderful pencil drawing of me performing on the street, which seemed the perfect piece of artwork to use for he cover. All the pieces came together really smoothly once I decided to do it.
Sam has given his time and expertise largely on trust, and this is now the third album he has facilitated in this way. I put out a cry for help in August and was overwhelmed with the responses, pulling in enough to keep the website running and produce an initial run of CDs in just two days! Despite all this support it is still slow, going. It’s taken me two months to get round to updating the site. Hi Dad. And I still have a few pre-orders to dispatch. This is partly because I’m an ultra-distractable creative person, I have just completed a series of maps showing language families and dialect continuums across the world and I’m writing a comedy screenplay, oh and the book … , partly because I’m working with such a limited cash-flow and I’m also just really rubbish at posting things. In an ideal world I would have someone do deal with the mail order. Fortunately, you don’t have to wait for me as you can now download it from Bandcamp. So thank you all for your patience, I hope it has been worth the wait!
So here is Uncarved. I really couldn’t have done this without you.
- Lowlands 04:48
- Samsara 05:14
- Truth – Box of Rain – The End of Words 18:39
- She Lives in a Time of Her Own – Mining for Starlight – Love Chant – Music is Love 23:30
In Memory of Will Greenwood (1959 – 2014)
In August 2013 on a stage in Devon at Kozfest there was a re-convergence of four old brothers of sound: Tim Hawthorn, Will Greenwood and myself had not played together for 10 years, and we were joined by our old pal from Invisible Opera Company of Tibet times, Nick Harrison on drums, who Tim and I had not seen for even longer, and who Will had never played with at all!
An hour of unrehearsed spontaneous psionic surfing ensued, with another the following weekend at the Green Gathering. We were so happy to be playing together again doing our psychedelic thang, and that seemed to be communicated to our audiences in a pleasing way. We agreed to do it a lot more often from then on!
Four months later we assembled again (without Nick) in the living room at St. Dunstan’s House, next door to Glastonbury Abbey ruins, for an intimate Midwinter’s evening of Solstice carols and Tim’s songs, at the behest of our marvelous host, Sam Welbourne who, naturally, recorded the performance.
We had no idea it was to be Will’s last. He died 10 weeks later on 10th February 2014.
Playing with Will was always special and exciting for me: his mastery of the guitar and boundless musical versatility and invention, played with a crackling intensity yet such apparent ease, sparked me in a rare way and something exciting always happened. A precious and thrilling thing!
Then, when you add Tim’s amazing songs and our harmony blend…
and decorate with the beauty of vocals from Laura Iseley, and violin and flute from Harmony Davies…
Magick Can Occur.
Thanks to Sam’s vision, generosity and care we reckon we’ve bottled some, and with it Will Greenwood’s last display of sonic wizardry.
Will’s last text message to me, a few days before he died, was upbeat and ended thus:
“Let’s get together and play soon mate. Music Is Love and I wanna play! Want to sound like a good band, which I think we are xx”
Music Iz Love!
Glastonbury, 11th Feb 2015
released February 11, 2015
Will Greenwood – Lead guitar
Jim Peters – Keys, D whistle and vocals
Harmony Davies – Violin and flute
Laura Iseley – Vocals
Tim Hawthorn – Guitar and vocals
Produced by Sam Welbourne, Jim Peters and Tim Hawthorn
- Dangerous Thing 3:28
- Overnight (Robb Johnson) 5:28
- Blood Mother / Cailleagh 10:19
- Maid in Bedlam (trad) 4:25
- Samsara 4:40
- Dance your Dreaming Awake 3:51
- She Lives in a Time Of Her Own (Rocky Ericson / Tommy Hall) / Mining for Starlight 8:16
- Oak and Ash and Thorn (Rudyard Kipling) 5:31
This is a live solo acoustic concert recorded at Mellstock, which was organised to raise money for Help in Action
released September 23, 2016
Recorded by Sam Welbourne
Cover drawing by Earl Bramley-Howard
Continuing the story of getting this backlog of recordings released:
We’ve just released
Mandala Mother an archive recording of me and Jim Iz around one microphone at Dave Goodman’s in 1997. The first few copies will come with unique hand-made covers. Please give me a few more days to get the ordering system in place. It’s been rather hectic of late.
Close on its heels we intend to release
Crazy Horseshoe Resurrection a recent band jam session; and
Live at St Dunstan’s a live record of our semi-acoustic set and the last gig Will played with us.
In the longer pipeline is the long awaited Invisible Opera album
Open for Isness; a live Silver on the Tree album and we’re also intending to remaster and digitise
Eye of the Aeon / Mystic Spiral at some point.
Then there’s my solo album, working title
The End of Words which I hope to be able to release during my own lifetime.
They will all be made available via bandcamp and on CD when the time comes.
- Truth 05:39
- All Comin’ True 08:09
- Bad Self 05:09
- Simple Song 07:10
- Mining for Starlight 05:13
- Music Power Medicine 06:00
- Empty Space 03:20
- Uma Parvati 04:47
- Divine Mother 05:46
The morning after a crazy party on Gypsy Hill in honour of Matt Spacegoat’s birthday 1997, Dave Goodman locked us in the studio with only a stereo microphone for comfort. This is what happened.
So, friends and dear ones, here’s a thing … In the aftermath of a rather colourful party at Mandala Central Gypsy Hill in October ’97 in honour of Matt Spacegoat, ‘Dalaman’ Dave Goodman (always remembered with deep Love) ushered Tim and I down into the hallowed basement, assembled us around a microphone and said, “just do those songs you were both singin’ last night,” as he pressed the Red Button and walked back upstairs … That was 17 years ago … the resultant recording has been heard by maybe half a dozen people since (therein lies another tale, or two). On the few occasions I’ve rediscovered it over the years, I have always been struck by the energy and joy in the performances … we were flying and you could tell! The summer of 1997 was intensely potent, creative and magical for us, and this musical snapshot always seemed to me to be a distillation of that halcyon time. Dave captured and bottled the essence of the particular phenomenon that is the musical blend of Tim and myself, bless ‘im x Then I was in my 34th year, and now 17 years on I am in my 51st. (you do the …) This is the next octave of the story. Music is powerful medicine (I wrote that somewhere), and we’ve not really released our musical spells out into the world in all these years, but the time is NOW! We have survived, and this is a time of rekindling connections. There’s more than a whiff of that same magic in the air and we have ignition! We’re playing together again, and recently have been doing our thing out on the street for the first time and ‘coincidentally’ being filmed in full flow …
The full electric psychedelic boogie band experience is also back up and very much happening, with the addition of old friends and new, taking off in a field near you this summer … channels open, power’s on! Psst! here’s another thing … we’d rather be playing on the street because we want to, not because we have to. So, if you dig the music, or if you might get a warm glow from helping us to keep doing what we seem to be on this planet to do … or even both … for a fiver (or more if you feel so inspired), you can download the whole 9 song session which we’ve named
Mandala Mother here: http://timhawthorn.bandcamp.com/album/mandala-mother. Alternatively, if you still have a yen for those old-fangled CD objects, you can order Limited Edition CDs, each with Unique Hand-made Covers (may include sparkles) … message us. Music is Love, and we’re prepared to put our music where your ears is! There’s so much more to unleash … we really appreciate every drop of encouragement! Thank you for helping us get this thing in the air …
Cover art: Jo Thilwind.
released 14 May 2014
Jim and I were recently captured singing for our supper in Glastonbury by camera genius Tom Eveson. We’re rather pleased with the results, although silencers on the passing motorbikes wouldn’t have gone amiss.
Check out the rest of Tom’s work too, he’s a bit good at capturing random moments of beauty in and around Glastonbury. 🙂
We’re still reeling from the death of our guitarist earlier this year.
http://www.centralsomersetgazette.co.uk/Tributes-paid-Glastonbury-musician-Greenwood/story-20766145-detail/story.html published a great obit so reprinting here as words still fail me.
FAMILY and friends have paid tribute to talented musician Will Greenwood, following his sudden death.
Will, who was born Stephen Worley in Greenwich, South London, on June 13, 1959, and was raised in Deptford.
His dad, Reg, died when he was 11 and after that he was brought up by his mum, Vera, and his uncles – They were a proper close knit London family.
His mum and dad met when she was working in the Co-op in Deptford and his dad came in to buy some corned beef, she gave him extra and the romance bloomed.
His mum never remarried after his dad died and she always said she was her one true love. This made Will a real romantic.
Will moved to Glastonbury in the mid-80s and after arriving he quickly joined the music scene.
He became the musical director of Glastonbury Town Players for eight years in which he staged seven pantomimes and regular seasonal shows and cabarets.
He lived on boats for some time in the 90s and bought another boat in 2009 with money left to him after his mum died. He then began to partially live on the boat, mainly on the Kennet and Avon Canal but also venturing onto the Thames, the Avon, and the River Wey in the summer.
Will’s partner Jacqui Woodward Smith said: “He was a real wanderer and lover of the land. He also loved science, especially physics and astronomy, and had been studying for a degree with the Open University. His love of space comes out a lot in his music.”
Will, who leaves a daughter named Gaia who is in her early twenties, was part of the peace convoy at the Battle of the Beanfield on June 1, 1985. Although he wasn’t with the group when they were attacked, he witnessed the devastation of it the following day.
Will was a talented artist, singer, songwriter, and multi-instrumentalist, but his main love and talent was the guitar. He is widely acknowledged as being one of the best guitarists on the festival scene.
Will formed his first band in 1974 playing his first gigs jamming on the South London blues pub rock scene. He has also been a regular on free festival stages since the mid-70s.
Unable to study music at school, Will taught himself guitar and attended electronic music classes at Goldsmiths College.
In the mid-80s Will started the original Space Pirates. They played gigs and festivals throughout the 80s and 90s and they supported bands such as Here and Now, Hawkwind, Radio Mongolia and Cardiacs.
Will was also involved with many other bands and projects over the years including Blue Cheese From Space, Splatman, Glass Unicorn, Spannerman, Titanic Dance Band, Will Greenwood’s Impossible Stress Factor, Medicine, Kemunnos, Hubba, Indivisible, Invisible Opera, The Kaputniks and The Glissando Orchestra.
Will’s first recordings were with Joie Hinton in 1986 and then on his own equipment from 1987 onwards, during which time he developed as a multi-instrumentalist arranger and songwriter. His first album Half a Dozen of the Other was released in 2000, followed by Lament to a Space Pirate in 2004 and The Endlessness of It All in 2009.
Will also arranged one last outing for the Space Pirates recording Avast Beyond in 2007 and performing a few gigs, notably at that year’s Eastern Haze event.
Will’s most recent performances included performing as part of The Glissando Orchestra and at Kozfest 2013.
Will was due to play this year at both Cosmic Puffin and Kozfest, both festivals that were very close to his heart.
This year’s Kozfest will be dedicated to Will’s memory and the Top Field at Kozfest will now be named The Will Greenwood field.
Mrs Woodward Smith added: “I thought that he was a brave and intelligent man, who never lost his kindness and humanity despite his illness and the lack of support he received. I think that his alternative way of life is something that the authorities find it hard to handle in terms of offering healthcare. We had a very difficult time.”
Unfortunately, he suffered from poor mental health throughout most of his life and that was made much worse when he began to suffer from Post Traumatic Stress Disorder in the early 90s.
Since his sudden death on February 10, there have been several tributes to Will on the radio, most notably on Radio Caroline and an hour-long tribute by Starship Overflow.
His funeral will be held in Glastonbury on March 7 followed by a woodland burial close to Stonehenge.
His funeral has been entirely funded and organised by family and friends so that it will be completely about him.
Read more: http://www.centralsomersetgazette.co.uk/Tributes-paid-Glastonbury-musician-Greenwood/story-20766145-detail/story.html#ixzz30xPyI3Ll