Entries by Norman Warwick


Live On Wye is run by the community with a deserved reputation for being relaxed and family friendly. You can expect delicious local food, arts and crafts and of course the Imaginarium, where you’ll find a superb and continuously improving programme for young people. It’s the kind of festival where you can sip lovely ales on the riverbank while enjoying some of the best emerging bands and service with a smile!

a stage for all the world ON LANZAROTE

This was not, to be confused with the ofte insipid fusion music that often is distilled into a homogeny until it sounds like a root alcohol that has been watered down until it tastes like tea. No, this is the real thing, a raw, new sound celebrating its nationality and its people and its origins here in a safe place.

Here´s to you, MRS. ROBINSON

The version of “Mrs. Robinson” in the movie employs what’s known as a “Bo Diddly beat,” which goes duh-duh-duh-dh-dh, or 1-2-3-4-5. The final version for the movie, which was completed on February 2, 1968, was released three months after the film came out. In it, a louder and more staccato bass drum can be heard along with splashy cymbals.


So, as has so happened so often over the past four years I have been writing these daily blogs, my memories have failed to queue in a chronological order, forcing me to dive into some research to prove (or, more often, disprove my points). In doing that I have excellent essays by a couple of great journalists and what makes them great is that they write in such enthusiastic manner that they persuade me to revise some of my long held prides and prejudices.

, ,


At first glance Jerry looked like a record executive stereotype, with slightly greying black hair, mustache and goatee, and black-rimmed glasses (which he was constantly exchanging, and peering over the top of), but a closer look at his “mod” dress (turtleneck sweater/shirts with his jackets) and his distinct New York accent (Washington Heights) laced with musicians’ slang, and there was no mistaking that the man you were talking to was the head of Atlantic’s A&R.


I feel we’re affording less value to music, and that our culture is being let down by governments and institutions. I’m sure that if you ask any consumer who loves an artist, they would want that artist to be paid, but it’s not the consumers who decide what Spotify pays artists. The problem is with the middleman, and that’s what needs to change. You don’t go up to an ice cream vendor, ask for six ice creams and walk away without paying, but that’s how the tiny royalties from streaming feel. As we’re moving into a more digital age, it has to become a safe space for professionals to not be taken advantage of. Creativity must be properly rewarded´.