Dub Station

If you ever see an affordable copy of King Tubby Meets the Aggrovators At Dub Station on cd or vinyl buy it and then give me a call. I've been after it for some time. Recorded in 1975 (and reissued on cd in 2007 and currently out of print) it is a superb dub reggae album. The cd reissue is currently priced on Discogs at getting towards £45. A vinyl copy on Amazon marketplace is being offered at £134.00. Yup. So if you chance upon a copy in a charity shop, car boot sale or second hand shop that doesn't check Discogs, buy it. You won't regret it and it may just become a handy nestegg. Not that you'd want to sell it.

A Youtube uploader has handily put the whole album up and the bonus disc of another twelve songs. Bunny Lee (on the phone above) assembled The Aggrovators as the house band at his studio an throughout the 70s and 80s they included the cream of Jamaica's musicians. Jackie Mittoo, Sly and Robbie, Aston Barrett and countless others passed through the ranks. King Tubby was Bunny Lee's go-to man for dub effects and this album showcases Tubby's skills with tape manipulation, echo, sound effects and all manner of tricks. The band, particularly the rhythm section, are on fire throughout- bouncy and punchy on the faster tracks, spaced and stoned on the slower ones. Horns and woodwind provide fanfares and melody, riding above the stunning bass.

Loud And Clear

This came out on Record Shop Day back in April, Timothy J Fairplay's remix of Finitribe's 101, a beat and bass driven monster on the orangest vinyl I've ever seen.

Getting There

This came out digitally at the start of May, a very nice chugger from Rich Lane in his Cotton Bud guise, successfully carrying off the trick of being both uplifting and melancholic- lots of echoes of Technique period New Order but updated for now, summer 2015. Speaking of summer, where's the sunshine? It's late May and we've had nothing approaching early summer weather yet. People living in sunnier and warmer climes, please leave your gloating in the comment box.

Now What You Hear Is Not A Test

In 1991 CJ Mackintosh remixed Gang Starr's Take A Rest, starting with the 'Now what you hear is not a test' sample and then housifying it from there. This didn't go down too well with the goosedown jacket fraternity but hip-house had its place and I still like this remix, even if it is a tad dated. Guru and DJ Premier made their music sound so effortless.

In Colour

There's been a lot of internet used up today with opinions about Spike Island, from naysayers and fans alike. I just read a review of the forthcoming Jamie xx solo album, In Colour, and then scurried off to listen to something off it. Listening to Gosh Jamie has taken that line from She Bangs The Drums and run with it- 'the past is your's the future's mine'. It's exhilarating, inventive and absorbing stuff. The staccato rhythm (sounding like the blood pumping through your head when you're exercising and at full pelt), the build up and then the drama of the last two minutes is something else.



Wherever it was that I read the review said that Jamie's album is about memories of UK rave and dance music (or something along those lines). That dance music is always about creating something new from the recent past. That this album is in colour compared to the black and white palette of The Xx. I'm up for all of that. Now I'm off to listen to Gosh again.

Spiked

Twenty five years ago today I was one of thirty thousand people standing on an island in the river Mersey near Widnes, just next to a chemical plant. The idea a year or two previously that a British indie guitar band could draw that many people to watch them was absurd and that was one of the things The Stone Roses brought to the late 80s, the thinking big and being ambitious. The day itself involved a lot of sitting around, a few support acts that didn't really connect at all and huge queues for the beer tents. This wasn't really a beery crowd though, unlike Heaton Park in 2012 which was collectively about as drunk as it could be. The band came on at nine and played well, clearly partly blown away by the event and the crowd's enthusiasm. The sound quality has been debated ever since, the wind whipping it about the island. Where we were, it sounded good. The final three songs were illuminated by the lights bouncing off the huge mirrorballs suspended above the stage just as it had gone dark- Made Of Stone, Elizabeth My Dear and I Am The Resurrection. We were driven there in Al's Grandad's chocolate brown Austin Allegro. I distinctly remember the compilation tape we played on the way. Killer by rave hero Adamski (and Seal)...

808 State's Pacific, which was everywhere that summer (and the one before)...

And this, Sympathy For the Devil. Woo woo.

King Size

Eric Cantona turned forty nine a couple of days ago. He was, as far as we're concerned in this part of the world, the King. In modern football terms, as they said about The Clash, Eric is the only footballer that mattered.

King Tubby's productions are rightly the stuff of legend, the work of a man who re-shaped music. Ideally some of the dubs he cut in the 1970s should be listened to alongside the A-side, running together. This one from 1976 has the lead side of Johnny Clarke's Don't Trouble Trouble and then at 3.27 Tubby's Ruffer Version from the flip. Phased horns, machine gun fire, underwater sounds, sirens, the odd snatch of vocal and the sublime bass of The Aggrovators original rhythm track.

Medium Size

                                                           ID magazine fashion spread, 1981

It's a Bank Holiday here so I thought we'd have some tense, agitated punk-funk from 1981. There's a new compilation of Adrian Sherwood's early production work out (Sherwood at The Controls Volume 1, 1979-1984) covering Mark Stewart, The Slits, Prince Far I, The Fall, African Head Charge, Shriekback and loads more. It's wiry, dub and reggae influenced, political stuff, very 1981. Adrian Sherwood doesn't get the respect he deserves- well he does, but it's a very niche respect. He has been making essential music for so long yet is so unknown by so many. This song, Hungry So Angry by Medium Medium, was I'll admit a new one to me- I was only eleven in 1981 and wasn't listening to stuff this far into the leftfield. It has loads to commend it, even with the slap bass, like a simmeringly furious ACR. Stick this on at neighbour-worrying volume levels later and see what happens.

Only Gone Tomorrow

This will probably only be of interest to the most committed of Clash and B.A.D. fans. The clip below is an audio recording  from Liverpool Royal Court in July 1988 of Joe Strummer and Latino Rockabilly War. The quality isn't great, it sounds like an audience member with a Walkman, but it's Joe and band covering Big Audio Dynamite's career highlight V13. Mick and Joe had long since made up and Joe co-produced the album and got co-writing credits on several songs so it's a close to a Clash reunion as there was. In truth B.A.D.'s version is miles better. Nevertheless it's interesting to hear and a shame there isn't a soundboard recording. 

Chwyldro

After listening to Weatherall's latest radio show for NTS I went backtracking- there was a Weatherall remix of a song called (I thought) Hydro by Gwenno. Actually Chwyldro, Welsh for revolution. Then a hop and a skip and I found the original, released by Gwenno Saunders in 2013. Gwenno is from Cardiff, speaks both Welsh and Cornish, was in The Pipettes and has since made some solo records. This song is like a sunny, optimistic Stereolab, a Welsh speaking St Etienne after a weekend doing motorik drums having forgotten to bring the synths. Gwenno herself claims that this song will change the world, end world poverty and help you find your keys. It will make your Saturday morning a whole lot better.

Echoes And Bunnymen

I was skipping through Bill Drummond's excellent book 45 the other night, due to turning 45. He was Echo And The Bunnymen's manager all the way through their best years and writes very eloquently and passionately about them. Then I went and found this- the Bunnymen live at Rockpalast in 1981 with an hour and half set spanning the first three albums, showing what a formidable back catalogue they were building up. But the most striking thing is how different their set up looks with them playing in a line across the front of the stage, not with the drum riser behind the singer- changes the whole look of a band playing live. Almost revolutionary. Actually, on second thoughts, the most striking thing is Ian doing sexy in his ripped t-shirt.

Roosevelt High

Dreadzone's 2013 album Escapades contained a fair few gems, showing the fire is still burning brightly. This song, Roosevelt High, made the miles disappear on my journey home last night, a very satisfying piece of dub techno with some lovely slide guitar.



Dreadzone turned twenty one this year. To celebrate Greg Dread offered the people a new deal (ha!) and put together a mix of twenty one Dreadzone songs, in chronological order, from the dancefloor end of their work including remixes from Underworld and William Orbit. Bouncing.

Vox Low Part Deux

I found something else from Vox Low, a duo from Paris making entrancing and hypnotic spacey, pyschey, krauty music who I posted about on Saturday. They have an ep out on Astro Lab Recordings, four songs including this remix by fellow Frenceman Ivan Smagghe.

45

I am 45 today, so happy birthday to me and all that. The first 45rpm single I bought with my own money was Golden Brown by The Stranglers. At least, I think it was the first- I can't really remember but that's the story I've always told and I'm sticking to it. I remember buying it quite clearly, from a little record shop on Wilmslow Road in Withington. It came out in January 1982 so I would have been 11. The rumour that it was about heroin went round pretty quickly. I liked the harpsichord riff, the strange time signature and Hugh Cornwell's vocal delivery.



As Ctel posted recently at Acid Ted there was a cover version of Golden Brown by Better Daze and in 1997 a gorgeous dubbed out remix by Fila Brazillia, which washes all over you in ambient waves. Texture like sun.

Golden Brown (Fila Brazillia Remix)

To The Centre Of The City

Thirty five years ago today Ian Curtis brought his life to an abrupt and premature end. Ian's suicide brought Joy Division to an end as well, though they found a way out eventually.

In 1978 Joy Division played live on Granada Reports, after Ian harangued Tony Wilson in a nightclub. This was Wilson's response, their first TV appearance. The editor's decision to superimpose footage of cars rushing along the Mancunian Way was inspired. In his autobiography Hooky recalls that each band member was given £2.50 by Rob Gretton to buy a new shirt for the occasion. Hooky also recalls being pissed off that Wilson said in his intro that the guitarist (Bernard) was from Salford ('a important difference') when he was a Salfordian as well and still lived there. It's the little things that stick in the memory.

Rosarita

Rosarita is from a brand new ep from Pareese, straight outta Stockholm. A dreamy, moody way to ease into Sunday. Kettle on.

Don't Touch That Dial

More audio goodness from Weatherall's radio show for NTS, broadcast two days ago. Music's not for everyone.

Andrew Weatherall Presents: Music's Not For Everyone - 14th May 2015 by Nts Radio on Mixcloud

Vox Low

I came across this from Parisienne duo Vox Low, Andrew Weatherall's favourite new band. They describe themselves as 'subterranean music that oscillates between rock and psychedelic old wave... dark and cinematic'. I'm having all of that. Plus distorted organ, primitive drum thumping, ghostly backing vocals, spindly guitar and dirty bass. But don't take my word for it or Weatherall's for that matter. Listen for yourself.



Released, inevitably, on numbered, limited, transparent 7" vinyl. And equally inevitably, sold out. You can get a download at Bandcamp. I'm now expecting a remix.

I Don't Even Know Myself

I was listening to Soul Mining, now (and then I think) seen as one of 1983's most important releases. It is the work of a man in his early twenties and some of the lyrics are a bit overwrought as a result but at least three of the songs are as good as anything else anyone put out that year- This Is The Day, Uncertain Smile and Giant. The lyrics of Giant- and much of Matt Johnson's output- deal with existential angst, long nights of the soul, and he gets it all out in this one. How can anyone know him? He doesn't even know himself. Giant also offers a massive step forward- you can hear the future in Giant, in the pitter-patter of the drums, the big synth bassline, the length of the song, the groove, the mad percussion break down  after five minutes and in the extended chanted vocals.

Giant

Multiplier

I end up ignoring a lot of the unsolicited music submissions that come into my inbox- I don't have the time and it's not really what this blog is about. I got one a few weeks back which I didn't delete straight away and then a follow up email (which usually pisses me off but this time it did remind me to give them a listen). Multiplier are from Manchester, a four piece band, promoting their debut ep which contains three songs. This is the lead song, Choice.



They reference Doves, The Chameleons and shoegaze in their press release and that isn't too wide of the mark, especially with the guitar playing. The drumming reminds me of The Bunnymen's use of the tom toms and singer Andy Gardner has strong, deep voice. This widescreen British guitar music is pretty unfashionable at the moment- which makes it all the more appealing to me somehow. Multiplier seem a bit like a band who have pitched up at the wrong time and that's not a bad thing at all. You can get the mp3s at Bandcamp (pay what you like). Second song Heart Of Gold is my favourite right now, those guitars and backing vocals really hit the spot. Smithsy. Last song Acres is where the shoegaze shines through the early morning haze. Good stuff, a cut above and full of promise.

Public Library

I noticed that The Swede posted this yesterday at his place but my post was half written so I thought I'd go ahead and publish anyway- that's the crazy, reckless kind of man I am.

Mick Jones has a new album out called Ex Libris, a six song record of instrumentals that are all really good, mood pieces- piano and drum machine, a bit of dub bass, a bit golden age of British film soundtracky, a bit 1950s lounge. There's some squealing feedback on the last song, Bad Mood, that's a welcome addition. Shame there's no vocals on any of them but very enjoyable. It can be bought on limited edition vinyl here, a bit pricey at £30 but it looks like a nicely put together package. I suppose you're paying for the fact that only nine hundred and ninety nine other people will have a copy. I'm dithering yes (but it is my birthday soon).



The record is out to coincide with Mick's Rock and Roll Public Library being exhibited in Venice- his collection of pop culture artefacts from the last fifty years along with stuff from his days in The Clash and B.A.D. I keep hoping he'll bring it up north one day.

As a bonus here's a clip I found a while ago- Mick in his Carbon/Silicon days in the mid-00s, playing The Clash song Hitsville UK with daughter Lauren on vocals. Lauren definitely has a certain appeal.

Go

He's a funny character Moby- the veganism and the Christianity along with the love of 80s punk and hardcore, the flitting from one genre to another, the hardcore punk album and the multi-million selling Play where every song was licensed to sell one product or another. It makes him difficult to pin down, which is possibly the intention. Maybe it makes him just like the rest of us, a bag of interests and contradictions rather than a cartoon or a one dimensional media person. It may also explain why I only have a sporadic interest in his career. Yesterday's This Perfect Life (from 2013) being the first time that I'd really paid any attention since Play (1999) although he did record a cover version of New Dawn Fades with New Order for the Twenty Four Hour Party People film. But I was pretty unfussed by that. The first time I encountered him was on his 1990 rave single Go, a classic of its kind. Sampling Laura Palmer's Theme from Twin Peaks and vocals snatched from Tones On Tail and Jocelyn Brown it  reached the top ten in the UK. The video is very 1990 and I don't have the song on my hard drive right now so it'll have to do for today.

When You Had Me In Your Hands

You might remember that in 2013 (and 2014) I raved about Andrew Weatherall's remix of The Perfect Life, from Moby's album Innocents. Weatherall turned The Perfect Life into Another Perfect Life, adding house pianos, burbling synths, ecstasy and sheer sonic gold. The original isn't too shabby either- acoustic guitars, gospel and a Flaming Lip. Moby wrote the song and then asked Wayne Coyne to sing on it. Wayne's lyrics seem to be about the narcoleptic effect of drugs, a heroin user slipping away. Thus, I guess, The Perfect Life is not so perfect after all. I found a clip of Moby performing the song live in L.A. The woman with the big voice is Mindy Jones and she can definitely hit it. If you look closely Daenerys Targaryen from Game Of Thrones seems to be playing keyboards (Mother of Dragons, Breaker of Chains, Tinkler of Ivories). I'm also enjoying Moby's slightly wonky guitar solo.



The Perfect Life

The video is equally feel good.

How Big Are Your Eyes?

The stats page on the dashboard of this blog tells me that in the last couple of weeks one of the most read posts has been one from July 2010, Two Lone Swordsmen's remix of Come Together by Spiritualized. I don't know why there's been a sudden interest in people looking for this track. But if you're one of the people looking for it, here it is again.

Come Together (Two Lone Swordsmen Remix)

It sounds nothing like the surging garage rock of the original. Instead there is fifteen minutes of stoned, gritty machine music with a voice sampled specifically to freak you out.

Get Up And Fight Them Back

Well that was utterly depressing and dismal. Five more years of ideological austerity. English voters opting in increasing numbers for antisocial, narrow minded, throwback politics. Seeing Nigel Farage miss out was the only bright spot of the whole thing really, although I can't say I was sorry to see George Galloway lose his seat- he's a shit stirring, self serving, opportunist. Labour need to re-evaluate their policies, message and position entirely. Trying to occupy the same ground as the Tories has led to defeat and the loss of many of their own supporters. We're all going to pay for this for many years to come.

Steve Mason, ex-Beta Band, one of recent times most political song writers.

Fight Them Back

An Alternative Imaginary Clash Compilation

A week ago JC at The (New) Vinyl Villain published the latest in his imaginary compilation album series, The Clash back catalogue boiled down to just ten songs. A valiant effort at an almost impossible task. It caused quite a bit of discussion and led to me thinking that there are a handful of Clash songs that are so utterly essential for any Best Of The Clash that they pick themselves- Complete Control, (White Man) In Hammersmith Palais, London Calling, Straight To Hell, Safe European Home. So I thought I'd consider an alternative Clash compilation, taking those songs out. I also decided that I would not include any songs that were the A-sides of singles (so that ruled out White Riot, I Fought The Law and Bankrobber, also automatic shortlisters) and that I'd rule out any of the songs that JC picked (which removed the cream of some of the album tracks- Clampdown, which is essential, Armagideon Time, which is a masterpiece, and Stay Free, which is glorious and heartfelt). I managed to get a list of about twenty and then the head scratching began. This is my album as it stands today. See it as a companion disc to JC's, maybe in true Clash style a double disc set (for the price of a single obviously. 'There will never be a Clash album for more than a fiver' said Joe Strummer)

Side 1
1. Spanish Bombs
A rollicking chord sequence from Mick and Joe's brilliant lyrics switching between Spain in the 70s and Spain in the 30s, from London Calling. Oh my corazon...

2. Groovy Times
The best lesser known Clash song, from The Cost Of Living e.p. This record shows the band falling for the USA (I Fought The Law and Mick's Gates Of The West especially) but this song is completely British lyrically with references to boarded up shops, football terraces and early evening ITV. Meanwhile Mick plays acoustic guitar. Acoustic guitar- that's not punk!

3. Garageland
The closer from the debut and the moment they began to write their own mythology (and respond to press criticism).  A stunningly raw riff, thumping drums from Tory Crimes, the guttersnipe lyrics, 24 singers and 1 microphone.

4. Guns Of Brixton
Because this the greatest bassline of the 20th century and because Paul Simonon was so much more than just the bass player in a punk band.

5. The Street Parade
I love this song, buried deep inside Sandinista. Topper's drumming and percussion have a Latino feel, there's a sweet, understated melody and Joe sings about the joy of being lost in the crowd, being swept along anonymously.

Side 2
1. Ghetto Defendant
Combat Rock is a mixed bag- big hit singles with songs that take in funk, jazz, cinematic sounds, all sorts. Ghetto Defendant works, it has depth and groove and weight- Allen Ginsberg as the voice of God, reggae bass and Joe nailing heroin addiction versus rebellion.

2. Death Or Glory
London Calling's full of definitive Clash songs. This one both holds up and debunks the rock 'n' roll myth. The band playing is superb and it contains the still jawdropping lines about gimmick hungry yobs, nuns and joining the church.

3. The Prisoner
The Clash spewed out singles with good B-sides. The Prisoner was the flip to (White Man) In Hammersmith Palais, which is possibly their greatest song. The Prisoner is a riot, manic, trebly, breathless. It namechecks Watford Junction, Camden Town, the Second World War, Johnny Be Goode and Johnny Too Bad, the tube and more, all crammed in one short song.

4. Somebody Got Murdered
Mick Jones could write fast, uptempo rockers with sleek guitar lines until the cows came home. This one from Sandinista just edges it although I nearly went for Up In Heaven (Not Only Here). The opening is a rush of drums and guitars, like seeing the city from a speeding car. Joe's words were based on real life events viewed while staying in New York. Mick sings them like his life depends on it. Many Clash songs have drama, this one especially.

5. Police and Thieves
Any Clash compilation needs a reggae cover version- I'd have gone for Armagideon Time but the rules disallowed it. Pressure Drop, another B-side is good, then there's Police On My Back. But Police And Thieves is the one, the song that shows the rules of 1977 punk were going to be broken, that cut the tempo of the debut album in half but still kept the pace up. Junior Murvin's original is light as air. The Clash's version is heavier. Trash reggae- in a good way.

Groovy Times

There are a bunch of songs from the debut I considered (I'm So Bored With The USA, What's My Name? for two), most of the rest of London Calling and at least five from Sandinista I could have gone with (Washington Bullets, One More Time, Rebel Waltz, Broadway, Something About England). The back cover of Combat Rock suggests Atom Tan, Inoculated City, Car Jamming. Shorn of Safe European Home and Stay Free, Give 'Em Enough Rope doesn't offer that much to me (English Civil War and Tommy Gun were both singles but I don't think either would get near this compilation). But this ten are at this moment, my alternative imaginary Clash compilation.

Things Can Only Get...

Election day, 7th May 2015. I've been thinking a lot about how to vote. In almost all of the elections I've voted in since turning eighteen in 1988 I've voted Labour. Like many people the Labour party haven't endeared themselves to me quite as much in recent times. I'm pretty envious of our Scottish friends who have an actual, meaningful alternative to voting Labour in the shape of the SNP, and the same is true in Wales. I would like to vote for a left wing political party- a party who put social justice above narrow personal self interest, who aren't contributing to paranoid, stoked up fears about immigration, who will fund the NHS and who will support those less well off. You could suggest at this point that this option does exist for me and that I should vote Green. Which has crossed my mind. However I think when I go to the polling booth tonight I shall mark my cross against the name of the Labour party candidate. The bottom line, to my mind, has to be to get rid of the Tories, to vote this shower of shits out of office and I think that voting Labour is the most effective way to do that.

That brings up the dangerous question of voting Lib Dem tactically (and we can all see where that got us last time- the Lib Dems propping up a nasty right wing clique of bankers and ex-public school boys). Fortunately not a problem round here, the Lib Dems trail well off in third but some people may have to make that choice.

In 1997 after nearly twenty years of Conservative government the Labour party had the wind behind them and optimism in front of them. They appropriated D Ream's pop-house anthem Things Can Only Get Better. I quite liked it until that point. Right now, I'm not sure if things can only get better but if we get five more years of what we've just had then things will get a lot worse.



David Cameron (part time punk, Eton mod and class warrior) has stated before that The Eton Rifles is one of his favourite songs. Eton Rifles is a bile-fuelled invective against public school boys (from Cameron's old school) spitting and jeering at unemployed miners marching from Jarrow to London set to a piledriving post punk tune. As Paul Weller said 'which part of it didn't he get?'

Live on Something Else in 1979 (the same episode Joy Division were on).

Whatever You Wanna Do, Do It Now Pay Later

Super Furry Animals are all over the place again, getting rave reviews and rightly so. This song, from 1997's Radiator album, is an infectious joy, giddy and excited, with a singalong falsetto chorus, mad and manic instrumentation and some really funny lines as well.

Play It Cool

Higher States

This is the view of the campsite we spent the weekend at- photographed on Monday morning, the only time the sun shone. Beautiful eh? Friday night- cold, began to rain. Saturday- rained all day, windy, very cold at night. Sunday- proper rain, all day until late afternoon, windy at night. Still quite cold. We managed to have a cracking time nevertheless, with copious amounts of alcohol, multiple layers of clothing, sausages galore, a stone circle near Ulverston, the Dock Museum in Barrow and for a couple of us a lungbusting, thigh burning bike ride towards Hawkshead and then around Windermere on Sunday night (just getting back to the campsite before it got dark). The climb up to the campsite nearly did for me.

On with the music. Death In Vegas lynchpin Richard Fearless got his techno groove back a while ago, in some style.

Higher Electronic States

Cascades

I posted this song way back, one of my favourite records of the period 1990-91- Cascades (Hypnotone Mix) by Sheer Taft. It came out on Creation and was on the killer Creation dance comp Keeping The Faith. Cascades is an acid house influenced, hypnotic and trippy adventure from the imagination of Glasgow's Sheer Taft. I make no apologies for posting it again- you'll love it, if you don't know it already.

The picture above shows Sheer Taft with Bobby Gillespie at Glasgow Barrowlands in 1991, presumably at Primal Scream's gig there on the Screamadelica tour. The day before yesterday there was a comment left at the Wordpress version of this blog (which is just a back up version really, in case blogger ever pulled the plug on this one which has happened to other bloggers in the past). The comment was left by the man himself, Sheer Taft, in response to another anonymous comment asking if there was an earlier version of this song and how much input Hypnotone had. So Taft has helpfully cleared it up for us.

'The original version was recorded by myself (Sheer Taft) and Andrew Innes from Primal Scream in a flat in the east end of London.
We then recorded further versions of the same track at a studio in Fulham.
Hypnotone ie Tony Martin was involved along with me in remixing the track with a great deal of input by Thrash from the Orb answer a few suggestions from Brian Enough who was working in the same studio in Berwick Street at that time.'

Thanks Sheer Taft. It freaks me out a  little when the people who make the music comment on the blog but it's good too.

Cascades (Hypnotone Mix)

We are going away for the weekend, it being a Bank Holiday. We are camping. In a tent. With a load of other people. In tents. A few weeks ago when the sun was shining and the temperature was nudging 18 to 19 degrees, this looked like a brilliant idea. Now the wind is blowing, the night time temperature is close to zero, rain keeps sweeping in, and there was hail falling from the skies yesterday. It doesn't seem such a brilliant idea anymore. it seems a bit stupid. I'll let you know how we got on when we get back- supposedly on Monday. Have a good weekend.