Venus doubles up with Taurus and Libra and puts it out there. A quick look.
There are few more remarkable musicians than Stevie Wonder. A great singer, songwriter, multi-instrumentalist, who infuses his songs with passion and intelligence.
But what might the luminaries say?
Well, to begin, we have a Taurus sun conjunct Mercury closely trine Mars in Virgo. It suggests a very strong singing voice, Taurus, after all, rules the throat and Mars will only add virtuoso power and strength from Virgo.
What is more, here also is a practical (earth), highly dexterous potential, with innate, multi-faceted (Mercury) skills.
There is Libra on the ascendant, like Taurus also ruled by Venus. Amongst other things, Venus is closely associated with music.
Close to the ascending degree we have Neptune. This ‘outer planet’ can provide an air of inspiration, mystique, glamour, attraction when placed so close the the AC, and Libra rising is often noted for its powers of diplomacy and attraction.
The ruling planet, Venus, is in Aries in the 7th house of relationship, the natural house Libra. This combined with an Aries Moon suggests ardent feelings for others – the ‘You’.
An Evening of Brilliant Music, Humour and Poignancy in Spalding.
On the Saturday evening of May 11, ‘folk rock’ band Fairport Convention once more graced the stage at Spalding’s Civic Centre.
Although the auditorium was not quite full, there was a good, convivial atmosphere, helped by the band members’ laid back approach, great sense of humour and also by the timeless quality of the music aided by a back catalogue of over fifty years, even though the subject matter of these songs is often anything but genteel.
Take the song ‘Matty Groves’, described by founder member Simon Nicol as having two chords and nineteen verses. The song itself is a traditional, lascivious and violent tale, originally adapted for Fairport’s landmark album, ‘Liege and Lief’ in 1969, and is delivered with a rocky, cutting edge, one of the best examples of ‘folk rock’ in my opinion.
Cutting Edge Rhythm Section
Throughout the performance, that cutting edge was amply provided by the deft skills of the highly experienced rhythm section, namely Gerry Conway on percussion and Dave Pegg, the latter’s dexterous familiarity with all of the neck of his bass guitar being a wonder to behold, as was the light hearted attitude he exuded. I have seldom seen a more lyrical example of great bass playing.
Not to be outdone, however, Gerry gave a stunning, virtuoso percussive performance which combined his conventional, rather minimal electronic set with what I understand to be a traditional Peruvian drum called a Cajon (Spanish for box) on which he actually sat all night. Simply remarkable.
And the evening was not all about the band’s older back catalogue either. For example, there were lovely performances of songs written more recently by multi-instrumentalist Chris Leslie, whose easy transition from fiddle to mandolin to guitar to tin whistle… was amazing.
Conversely, yet equally impressive, was the fiddle-dedicated Ric Sanders, whose unconventional, at times jazz influenced, reverb infused playing style, perfectly complemented the rest of the band.
What is more, there were the fantastic vocal harmonies too, adding to the overall richness and quality of the sound.
Leader of the Band
However, the undoubted leader of the band is founder member Simon Nicol, whose precise, often understated guitar playing could not be overlooked, especially by amateur guitarists like myself who appreciate exactly how well he does it.
Furthermore it was Simon who provided the most poignant parts of the evening. The band’s rendition of Sandy Denny’s ‘Fotheringay’ was a particular highlight, sung with deep feeling by Simon, the story of Mary Queen of Scots final hours in 1587.
‘The Hiring’. Statue recently erected in Hall Place, Spalding
Equally moving and with some local interest too, was Ralph McTell’s beautiful song ‘The Hiring Fair’. Simon had clearly seen the statue ‘The Hiring’ recently erected in Hall Place in the town centre, giving a precis of how hiring fairs used to work throughout the country.
And so to the encore, which had to be the anthemic ‘Meet on the Ledge’, one of the band’s best known songs. It’s exactly fifty years since the tragic road accident which took the life of drummer Martin Lamble and Jeannie Franklyn, who was Richard Thompson’s girlfriend.
In the aftermath of the tragedy the band nearly split up. Thankfully for us and to continually honour those who died, they decided to carry on, though it was clear that the anniversary of the event was leaving its mark on what was a very enjoyable evening.
Finally, there is the Cropredy Convention which takes part every year in August over three days. If you missed them this year on their spring tour, why not try to catch them at Cropredy? There are many other bands and musicians to see and a good time will be had by all, that’s for sure.
My Faith Mercury – in all its parlour beauty. Note the lovely rosewood binding.
I’ve had my Faith Mercury parlour guitar for nearly four years now. I remember that it wasn’t a very easy purchase.
So OK, let me explain. I love electric guitars too; I’d had my American Stratocaster for number of years but it simply wasn’t getting played. It wasn’t that I didn’t like it, far from it. I don’t gig so it’s far easier sitting around with an acoustic. I just wanted something smaller, lighter, easier in my lap – a ‘sofa guitar’ you might say.
Look, I’d got other acoustics (I’ll come back to them another time) but not a genuine 12 fret join-at-the-neck acoustic. They are usually called parlour guitars due to the fact that they were originally made in more genteel times for ladies to strum in their parlours. How quaint, I thought. I’ve seen plenty of women who can handle much bigger guitars than this, but again that’s another story.
You actually traded in the Strat?
So, once I’d come to terms with the knowledge that parlour guitars weren’t necessarily the exclusive property of women, I had to make a decision. Yes, I was going to trade in the Strat! What? It was hard to let it go: Heck, even the smell of it was great.
Yet, when I first took hold of that light Faith Mercury parlour it was the perfect fit for noodling, fingerstyle playing which is basically where I’m at these days. You might call it the quintessential songwriters’ guitar and I’ve been known to write a few.
Nice touch.
The Faith Mercury is a perfect wee beastie: The simple Faith logo on the headstock, solid woods all round with a spruce top, trembesi back and sides and some beautiful rosewood binding to boot, which I really love. Mine has the glossy top, with matt finish back and sides. The solid trembesi, I am told, sits tonally somewhere between rosewood and mahogany. Sounds great.
Not boxy out of the box
However, perhaps the most surprising thing, considering it’s a parlour guitar, is that it’s not that boxy sounding; in fact there’s a fair amount of bass and thus a fuller, richer sound than I was expecting. It was in tune ‘right out of the box’ as the saying goes, and it’s so easy to play, the action just right for me. And by the way, it wasn’t actually a box but rather a very nice case emblazoned with the Faith logo.
My only ‘quibble’ is the fact that it doesn’t smell like a Martin (Martin owners will know what I mean) – but you can’t have everything, I suppose. Faith make some fantastic, great value guitars and I wouldn’t hesitate buying another. The only problem is making a choice. I’ve always fancied another Faith Mercury with the scoop and pick up. Equally I’d like a Venus, but which one?
The grain of the solid trembesi wood is particularly impressive.
Bog oak – is that a thing?
Then there’s the one made with that ancient bog oak, was it? Actually I think they’ve made several by now. One day I will make my mind up. I just hope I don’t have to trade in another to get one.
But get this. About a month ago my wife said, “can you teach me to play guitar?” After getting up off the floor and saying “yes, of course, Darling,” I wondered which of my several acoustics she would prefer to learn on. Absolute no brainer, the Faith Mercury won hands down. “It’s just the right shape for me,” she said, having struggled just a little with the others. Now she’s already trying to pick out the ‘Game of Thrones’ theme tune and I can’t get a look in!
Oh, did I say Grovers too?
It looks like parlour guitars are indeed very suitable for women and most especially the Faith Mercury. I’ll just have to remind her that it’s actually my guitar!
Lychgates, also sometimes called resurrection gates, are a curious English (though not exclusively) phenomenon.
The name derives from the Old English word lych, or lich, meaning body, referring to entrance to the churchyard though which the body of the deceased was carried. This was seen as the beginning of the path towards resurrection by being buried in holy ground.
In medieval times, signs and symbols carried a lot of weight as most of the population were illiterate. Nevertheless, it would be a mistake to think that signs and symbols don’t carry as much weight today. We just have to read and understand them.
Ciscography 