{"id":25822,"date":"2026-07-19T07:00:00","date_gmt":"2026-07-19T06:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=25822"},"modified":"2026-07-19T09:18:30","modified_gmt":"2026-07-19T08:18:30","slug":"sidetracks-detours-sunday-19th-july-2026-working-in-a-coal-mine-or-a-car-repair-shop-with-lee-dorsey","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2026\/07\/19\/sidetracks-detours-sunday-19th-july-2026-working-in-a-coal-mine-or-a-car-repair-shop-with-lee-dorsey\/","title":{"rendered":"SIDETRACKS & DETOURS Sunday 19th July 2026: WORKING IN A COAL MINE or a car repair shop with LEE DORSEY + PARRANDA JANUBIO celebrate 40th anniversary of music, + the closing football games of The World Cup"},"content":{"rendered":"
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LEE DORSEY<\/strong><\/p>\n\n\n\n

working in a coal mine<\/strong><\/p>\n\n\n\n

and Norman Warwick decided to Lendanear<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

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No singer in the Big Easy had a more easy-going manner than Lee Dorsey<\/strong> (right)..<\/strong> The rhythms behind him could be wickedly syncopated (they usually were), and Dorsey would still sound unruffled, unhurried, as if it were a sunny afternoon and he had nothing better to do than sit on his front-porch swing and watch a boisterous, second-line parade go by.<\/p>\n\n\n\n

Just listen to the way he sings his first big hit, 1961’s Ya Ya.<\/strong> He drawls out the words, \u201cOh, well, I m sitting here la la, waiting for my ya ya,\u201d filling up every vowel with a happy-go-lucky hum. His buttery, slightly nasal, baritone croon is immediately relaxing. The singer is sitting around, waiting for his girlfriend to show up, but it hardly matters whether she does, because he\u2019s already feeling fine. He’s got the bouncy exuberance of the catchy little piano figure; he\u2019s got the<\/p>\n\n\n\n

 laid-back serenity of his own vocals\u2014who could ask for anything more? Certainly not his listeners, who can\u2019t help but envy a man so content that the arrival of his lover would be mere icing on the cake.<\/p>\n\n\n\n

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\u00b4Lee had what I look to call a smiling voice\u00b4, said Dorsey\u00b4s most frequent songwriter and producer , )left)Allen Toussaint,. \u00b4When you hear his voice n just about any song, it sounds like a smile. He had a free-hearted spirit for life, and one could hear that in his voice\u2014his voice had a lift to it\u00b4.<\/p>\n\n\n\n

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The same sunny singing, the same effortless funkiness can be heard in Dorsey other hit singles<\/p>\n\n\n\n

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Working In The Coal Mine<\/strong> (later re-fashioned by both Devo<\/strong> and The Judds<\/strong>,Left)<\/strong>),Get Out Of My Life Woman<\/strong> (re-recorded by Paul Butterfield, Joe Tex<\/strong>, and, as an instrumental, by Toussaint<\/strong>), Holy Cow<\/strong> (remade by The Band<\/em>), and Do-Re-Mi<\/strong> (later redone by Dusty Springfield<\/strong>). Dorseys original recordings of these songs can now be found on Arista\u2019s twenty-song, single-CD anthology Wheelin\u2019 and Dealin: The Definitive Collection.<\/em><\/strong><\/p>\n\n\n\n

Twenty different Dorsey songs are on another crucial set, Yes We Can and Then Some <\/strong><\/em>(Polydor Chronicles),<\/strong> including such key cuts as Yes We Can<\/strong> (later a hit for The Pointer Sisters<\/strong>) and Sneakin\u2019 Sally Thru The Alley <\/strong>(remade by Robert Palmer<\/strong>). Taken all together, these forty songs (plus the nine on his marvellous 1978 valedictory album, <\/em>Night People<\/em><\/strong>) represent a body of work so rich and influential that it prompts the question, \u201cWhy isn\u2019t this man in the Rock and Roll Hall of Fame?\u201d<\/p>\n\n\n\n

The answer is lost in the Vatican-like secrecy of Hall-of-Fame voting. But other questions arise as well. For instance, how could a voice sound so sanguine amid the rugged push-and-pull of New Orleans syncopation?<\/p>\n\n\n\n

In most cities, total relaxation means an absence of movement, but in New Orleans, it means an absence of inhibition. Remove all tension, and the body will not hibernate but will undulate\u2014not sink like a stone through the rhythms of the streets, but float upon them like a cork<\/p>\n\n\n\n

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That\u2019s what we hear in Dorsey\u2019s singing\u2014a buoyant voice that rides the waves beneath him. Just listen to Working I The Coal Mine, where a high-squeaking guitar and a low-throated baritone saxophone tug the beat back and forth. The song takes on one of those memorable New Orleans grooves that we hear with the hips as much as the ears. And yet there\u2019s no danger of Dorsey\u2019s airy vocal losing its place in the staggered rhythm. And that\u2019s the joke of the song\u2014even a job as dreary as coal mining can\u2019t make the singer worry or lose his way.<\/p>\n\n\n\n

How could a man who was so mellow and carefree be patient and stubborn enough to achieve the intricate craftsmanship of these songs? The trick lay in a brilliant division of labour between Dorsey and Toussaint. Each supplied what the other lacked. When Dorsey stepped up to the microphone, he filled the moment. He had that creamy voice, that irrepressible optimism, and a knack for bringing them to the fore the moment the song started. What he didn\u2019t have was the dogged patience to peck out a melody on the piano, instead he fingered it slightly differently each time until it sounded surprising and familiar all at once. He also didn\u2019t have the determination to link words to music, drums to bass, guitar to piano, or lead to harmony, building a song gear-by-gear until it ran like clockwork. That was Toussaint\u2019s job, and he was brilliant at it. What Toussaint didn\u2019t have was the sensual voice, the stage-front charisma to bring his clock-like creations to life. They needed each other\u2014the short, wiry singer who always seemed to be photographed with all his teeth shining in a big grin, and the tall, stately, mustached producer in the dapper suits.<\/p>\n\n\n\n

\u00b4When a certain kind of song came knocking\u00b4,<\/em> Toussaint remembers, \u00b4I knew right away if it were a Lee Dorsey song, because there was subject matter Lee could sing that wouldn\u2019t work with someone who had a more serious or debonair attitude. For Lee, I could write about working in a coal mine, about taking a trip to Mexico, about riding a pony, songs where you don\u2019t take things so seriously that you can\u2019t enjoy the flowers. Who else could sing Holy Cow<\/strong>? Anyone else would be too hip for it. But Lee was as relaxed in life as he was in the studio. He was definitely a live-and-let-live person, a very free spirit<\/em>\u00b4.<\/p>\n\n\n\n

I<\/strong>rving Lee Dorsey was born in New Orleans\u2019 Ninth Ward on December 24, 1924. He and some other kids used to tease an overweight neighborhood friend who always had to stay inside and practice the piano. They called him \u201cFats\u201d and the nickname stuck\u2014Antoine \u201cFats\u201d Domino<\/strong>. When Dorsey was ten years old, his parents moved to Portland, Oregon, and it was there that the youngster became a fan of the Grand Ole Opry <\/strong>and learned to yodel like Jimmie Rodgers.<\/strong><\/p>\n\n\n\n

\u00b4Lee straddled the fence between blues and country\u00b4,<\/em> Toussaint insists. \u00b4In his music, those two elements come into contact quite openly. On a song like Lover Of Love<\/strong>, you hear a country feel, but also a lot of blues. Those two genres have a lot more in common than most people think. If you hear a good, sincere country song, it can get as bluesy as blues can get\u00b4.<\/em><\/p>\n\n\n\n

Dorsey was drafted into the Navy and saw action in the South Pacific during World War II. After the war, he was billed as \u201cKid Chocolate\u201d<\/strong> and became one of the Northwest\u2019s top featherweight and lightweight boxers. Then in 1955, he gave up the sport and moved back to New Orleans. He studied body and fender repair under the G.I. Bill and soon landed a job in a shop owned by local disc jockey Ernie the Whip.<\/strong><\/p>\n\n\n\n

\u00b4I used to sing to make my work go easier\u00b4, Dorsey<\/strong> told author Jeff Hannusch<\/strong> in his invaluable book <\/em>I Hear You Knockin<\/strong><\/em><\/p>\n\n\n\n

\u00b4I wasn\u2019t thinking of making no records. But one day this guy came in to get his car fixed\u2014Reynauld Richard<\/strong>. I was up under a car hammering and singing away, and he said, \u2018Hey, you want to make a record?\u2019 I said, \u2018Sure.\u2019 I didn\u2019t think he was serious. But he was.\u201d<\/em><\/p>\n\n\n\n

Richard was a local record promoter, and he helped Dorsey cut several singles in 1957. On one of them, Lottie-Mo<\/strong>, producer Harold Battiste<\/strong> brought in the young pianist Allen Toussaint to play one of his signature riffs. Thus began the long association between the two.<\/p>\n\n\n\n

Lottie-Mo<\/strong> didn\u2019t sell a lot of copies, but it did catch the ear of Marshall Sehorn<\/strong>, a promotion man for Fire\/Fury Records<\/strong>, who alerted his New York boss, Bobby Robinson<\/strong>, who  came down to New Orleans and discovered that Dorsey had a wonderful voice but no original material. As the label owner and singer sat on Dorsey\u2019s front porch, trying to think of songs to record, they heard some kids across the street clapping and chanting a nursery rhyme, \u201cSitting on the la la, yeah, yeah.\u201d Robinson called the kids over and had them sing it again until Dorsey had learned it. Then the two adults repaired to a bar and wrote out new lyrics on a napkin. That was Ya Ya<\/strong>,  and it was recorded with Toussaint on piano and Dominos Red Tyler<\/strong> on saxophone. It quickly became a national smash, topping the r&b charts and rising to number seven on the pop charts. Dorsey quickly followed it up with another nursery rhyme song, Earl King’s \u201cDo-Re-Mi,\u201d<\/strong> which became a top thirty hit. The momentum stalled, however, when Fire\/Fury<\/strong> went into receivership and Toussaint went into the military.<\/p>\n\n\n\n

In 1965 Toussaint formed a partnership with Sehorn, and one of their first projects was recording Dorsey. Toussaint wrote and produced Ride Your Pony<\/strong>, a cowboy song brimming with sexual innuendo, and it featured Dorsey\u2019s bubbly voice gliding above a funky groove, with a chink-a-chink rhythm guitar pushing against a percolating bass line and baritone sax-honks. It was a top ten r&b hit and a top thirty pop single, and it kicked off a string of Toussaint\/Dorsey hits: Get Out Of My Life Woman <\/strong>(#5 r&b, #44 pop),  Working in the Coal Mine<\/strong> (#5 r&b, #8 pop), Holy Cow<\/strong> (#10 r&b, #23 pop), Go-Go Girl<\/strong> (#31 r&b), and Everything I Do Gonna Be Funky (From Now On)<\/strong> (#33 r&b).<\/p>\n\n\n\n

\u00b4I had this way of writing for Lee where Willie Harper<\/strong> and I would start singing together and we\u2019d put Lee\u2019s voice in the middle\u00b4,<\/em> reveals Toussaint. \u00b4For example, Lee never sang the whole line, \u2018working in the coal mine\u2019; he just sang \u2018working,\u2019 and Willie and I sang the rest. Get Out Of My Life Woman<\/strong> was another one of those songs that we had that fun formula where the backups would sing half the song. We\u2019d sing every other line in a call-and-response pattern. There was no question where the lead was, because once you heard Lee Dorsey\u2019s voice, you knew that was what it was all about\u00b4.<\/em><\/p>\n\n\n\n

In 1970 Toussaint tried to transform Dorsey into a progressive-soul album artist similar to Curtis Mayfield<\/strong> or Marvin Gaye<\/strong>. The producer wrote some brilliant songs about black pride and solidarity (Yes We Can<\/strong>\u2014also called Yes We Can Can<\/strong>\u2014and Who\u2019s Gonna Help Brother Get Further?<\/strong>, about class issues, and When The Bill\u2019s Paid<\/strong> and On Your Way Down,<\/strong> and about Louisiana\u2019s<\/strong> distinctive culture (Riverboat<\/strong> and Gator Tail<\/strong>), and Dorsey sang them with an ebullience that captured the optimism of the era. The 1970 album Yes We Can<\/strong><\/em>,<\/em><\/strong> and its 1978 follow-up, <\/em>Night People<\/strong><\/em>, were artistic triumphs but commercial failures.<\/p>\n\n\n

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Dorsey didn\u2019t care; he went back to working on cars. He appeared almost every year at the New Orleans Jazz Festival<\/strong>, and he toured with The Clash<\/strong> in 1980. For the most part, though, he was content to work in his auto shop, singing to himself as he straightened out dents and bumps. He died of emphysema on December 1, 1986.<\/p>\n\n\n\n

\u00b4If he had a record out that was doing fairly well\u00b4, Toussaint explained, \u00b4he\u2019d go out and perform. But after a while, as the popularity of a recording diminished, he\u2019d retire into the body-and-fender shop where he was very happy and was around a lot of his buddies and family having a great time bending fenders.<\/em><\/p>\n\n\n\n

\u00b4He loved recording and the stage thing, but he knew he had another life that he could trust and was very good at it. It was not like a demotion to go back to that. His fender work was artistic as well, and he was proud of it. One time he wanted a Cadillac, so he just built himself one. After a few months of visits to the junkyard, he put together a beautiful\u2014and I mean flawless\u2014Cadillac. If things were slow in one area, he always had the other. Maybe that\u2019s why he sounded so carefree when he sang\u00b4.<\/em><\/p>\n\n\n

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Music & Emotion in Playa Blanca<\/strong><\/p>\n\n\n\n

9.00 pm Sunday 12th<\/sup> July 2027<\/strong><\/p>\n\n\n\n

PARRANDA JANUBIO celebrates its 40th anniversary review by Norman Warwick<\/strong><\/p>\n\n\n\n

To celebrate playing in the town square in front of the beautiful church in Playa Blanca Parranda Janubio<\/strong> invited Bego\u00f1a Quintero, Iv\u00e1n D\u00edaz<\/strong> and the brothers Jos\u00e9 Manuel<\/strong> and Leo Garc\u00eda Corujo<\/strong>, four great voices from the archipelago<\/p>\n\n\n\n

We had enjoyed hearing Parranda Janubio already celebrating its first four decades of their musical career last June in Las Bre\u00f1as<\/strong>, when they had opened a concert by the great Acatife<\/strong> band. That had been a fantastic night and you can find the report of that event in our edition published on xxxx<\/strong> under the title of xxxxx, <\/strong>in our easy to negotiate archives of over 1,800 free to read arts related articles..<\/p>\n\n\n\n

However, because Parranda Janubio have always been linked to the southern celebrations of the Virgen del Carmen<\/strong>, they took to the festive stage on Sunday 12th<\/sup> July<\/strong> Juluin our home town of Playa Blanca<\/strong>. We decided to make a full night of it, as the concert was due to begin at 9.00 pm and headed out for a pre-concert meal at Le Gondola<\/strong>, currently one of our favourite local restaurants near the town beach. There was a real buzz along the sea path down into the centre of town, as local residents were out in all their finery with their ever noticeable pride in the community, There also seemed to be a signify cant rise in the number of tourists, of mostly young families able to be here now that the schools in the UK and mostly across Europe are into the summer school holidays. It was our favourite waiter who served us in The Gondola and delivered our tapas portions of canaria potatoes with sauces and salt<\/strong> and then a pasta dish<\/em>, washed down with my cervaza sin alcohol<\/strong> and Dee\u00b4s white wine.<\/strong><\/p>\n\n\n\n

We enjoyed our long, slow supper until, at 8.45, we decided to take the five minute stroll up the town square to choose our seats for this free concert.<\/p>\n\n\n\n

We were treated to a carefully curated repertoire of Canarian folklore, as Parranda Janubio had invited Bego\u00f1a Quintero, Iv\u00e1n D\u00edaz and the brothers Jos\u00e9 Manuel and Leo Garc\u00eda Corujo,<\/strong> four great voices of the archipelago.<\/p>\n\n\n

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The Janubio Folk Music Gathering<\/strong>, presented by Leandro Mart\u00edn, <\/strong>was a true gift of emotion for an audience that was able to enjoy the 40th anniversary of the folk group led by Clotildo Mart\u00edn<\/strong>. Of the original members of Janubio, from that group of passionate founders who spearheaded the creation of the group in 1986 in Las Bre\u00f1as, Clotildo Mart\u00edn (strings) and Leonardo Cabrera (vocals)<\/strong> are still active.<\/p>\n\n\n\n

And from the musically trained youth of Janubio, there is real evidence of the continuity and musical growth of young people who began singing and playing instruments from a very young age, among them Fabio Cabrera<\/strong>, just as young Aar\u00f3n Fusari<\/strong> does today, with such flair, playing the timple. Elena Acosta<\/strong>, president of Janubio, was unable to perform, but her colleagues conveyed a heartfelt message of affection to her.<\/p>\n\n\n\n

Janubio is a deeply grateful group, so during their performance they took a few minutes to thank all the people and organizations that collaborate and have collaborated with them throughout their fruitful artistic career. The Councilor for Festivities of Yaiza<\/strong>, Daniel Medina<\/strong>, received a gift on behalf of the Town Hall: a pair of espadrilles<\/strong> that symbolize not only the group’s journey and the legacy they have left, but also their enthusiasm for continuing along the path of music and tradition<\/p>\n\n\n\n

The \u00b4borough\u00b4 of Yaiza, of which Playa Blanca is a part,  publicly praises Janubio’s contribution to Canarian folklore and its tireless work promoting popular music among young people. The group will surely continue sharing malague\u00f1as, fol\u00edas, seguidillas, and isas<\/strong>, celebrating the songs of ther late poet V\u00edctor Fern\u00e1ndez Gopar<\/strong> and demonstrating in every performance their love for the municipality of Yaiza, a feeling made of poetry and music.<\/p>\n\n\n

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The spoken \u2013word interventions of history and information about writers and singers etc are fairly frequent, fairly lengthy and, rightly, of course, are delivered in Spanish. All that changes the nature of what would normally be a more free-flowing concert, and I couldn\u00b4t imagine the Glastonbury Glampers accepting these lessons, mid show, with such alacrity. However the fact that the indigenous people of Lanzarote, and The Canary Islands, wear their pride on their sleeves is so much a part of the charm of these events.<\/p>\n\n\n\n

So, too, does their habit of applauding particular parts of a vocal or instrumental, during the song rather than only at the end. There were songs here of sea swells and sea shells, of sun sea and sand and colours of the challenge and chaos of the historic volcanic eruptions of four hundred year ago that even today still influence our way of life here. The twenty or so musicians and vocalists on the stage played at times as a tour de force and at others as soft as a sigh. There were songs we have come to know in our ten years of living on the island, and there were new songs to add to our understanding of the folklore.<\/p>\n\n\n\n

Finally, though, there was a solo guitar pick of a tune that I know damned well from my knowledge and love of Americana<\/strong> music. What I don\u00b4t know, yet, is which tune pre-dates the other but I do know that after the emigration from The Canary Islands to San Antonio Texas<\/strong>, a lot of Canarian music was adapted into the songs that were sung round the camp fires whenever the cattle drives settled for the nights. And there was that cowboy song ringing out across the Church Square in the second quarter of the first hundred years of the 21st<\/sup> Century.<\/p>\n\n\n

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To learn more about this phenomenon, look out for any folk lore concerts held here on Lanzarote<\/strong> and look out for a wonderful English-Language<\/strong> version of book by Jose\u00b4 Juan Romero Cruz,<\/strong> in which he tells of North Americans With Roots In Lanzarote.<\/strong><\/p>\n\n\n\n

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Playa Blanca<\/strong> completed its first weekend of festivities with high audience figures. Humour, creativity, and tradition came together in the town centre.<\/p>\n\n\n

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So the Town Hall<\/strong> facilitated the screening of the  Spain-France World Cup match on Tuesday, July 14th<\/strong>, as the game was shown on a giant screen in the town square at 8:00 PM. Of course, I couldn\u00b4t resist attending that, having watched every previous match in this world cup alone in my tv room at home. Obviously, England would be playing the winners of this match, so I could go and watch it, make some notes and send them off to Engand\u00b4s German manager<\/strong> to help him refresh his tactics after beating Argentina and Messi<\/strong> in the second cemi final.<\/p>\n\n\n\n

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What could possibly go wrong? <\/strong><\/p>\n\n\n\n

Well, as walked down into town carrying our fold up chairs on our shoulders to watch the Spain versus France cemi final on the big screen I had yet another fall, perhaps because I was walking to fast. As I always say, there is no soft place to fall on Lanzarote, and this morning, Wednesday 15th July I have new cuts and bruises that, as if by magic or curse, have appeared between the fading cuts and bruises from the previous occasion. A couple of guys helped me up, sat me on a chair and a lady came across with a handful of tissue to clean up my wounds. Yes, yes, thank you all for your help, but can I go now? There\u00b4s a match on.<\/p>\n\n\n\n

In all the years of watching major live concerts in this sqaure we were amazed to see that all the seats provided by the council were taken and the perimeters of the square were lined by six or seven rows of fans standing up. We set out our chairs, but could only catch fleeting images of the screen, but the Spanish commentator kept us informed and we could tell by the pitch of his presentation, high voiced, fast and loud whenever Spain were in possession, which seemed to be nearly all the time, His tone was quiter, slower and sounding terrfied whenever France had the ball. He usually laughed off his worried tone whenever MBappe fell over,…just like me, only I don\u00b4t try to claim a penalty every time !<\/p>\n\n\n\n

So, as you all probably know, Spain were awarded a penalty, that was definitely a penalty, and we actually had a good view of that goal.<\/p>\n\n\n\n

The crowd at this special screening, mostly young parents and their teenage children, gave a raucous, but somehow restrained reception to he goal. No bottles or beers were thrown, just lads raising their arms to the Gods and the girls dancing in delight before it was hugs and kisses all round. That was ok, we coul\u00f1d put up with that.<\/p>\n\n\n\n

An hour later, although the match was still not without jeopardy, a second goal for Spain and even better Spanish goal that was disallowed for a very marginal offside decision, relaxed the crowd outside the church and we all knew, then, that their prayers had been answered.<\/p>\n\n\n\n

So tonight I will watch England play Argentina on my television, with a couple of cervazos sin alcohol, to lend my support so that we can have a wonderful Spain v England final<\/p>\n\n\n\n

What could possibley go wrong?<\/strong><\/p>\n\n\n\n

Well,…..the manager had definitely gone wrong with his substitutions after England had gone one nil up against Argentina, and then the players tired mentally and physically,….all part of a familiar failing by England.<\/p>\n\n\n\n

Nevertheless, England<\/strong> will now play ina meaningless match against <\/em>France, <\/em><\/strong>whohad been seen as tournamentys favourites until they met Spain.<\/p>\n\n\n\n

So last night I settled down to watch a match without jeopardy, a fixture created to bring one more revenue-providing game as FIFA are trying to keep the customer satsfied.<\/p>\n\n\n\n

What could possiblgo wrong?<\/strong> Well, nothing went wrong for the first forty five minutes. England ran rings around a France who looked as iof they were strolling in the park looking for a place to enjoy a picnic. At half time we (England) were leading by four excellent by excellent goals to no goals at all. The rot set in, though, as soon as the kick off for the second hafl was taken, and after only tweve minutes France had scored three goasls and MBappe had become the competition\u00b4s leading scorer. Suddenly 4.0 had become 4-3 and the next ten minutes England held on by sheer luck, until the hydration break. Mr. Tuchel took the opportunity to put some substitues on including some of ther headliners like Bellingham. Becausehe had learned his lesson about the best way to defend i to attack England begant o becoime something of a threat again, even whilst France were missing chnce after chane. On a breakaway England won a penalty, which Sacha took to earn himslef a hat-trick and free match-ball, which apparently cost 1,800euros. For the last five minutes of the match England defended desperately, but with two minutes left France scored again and I had a nightmare that they were going to score an equaliser that would have takent his meaningless but masgical match into extra time. However, showing a lot of determination England were clinging but two good tacksles and an inspired pass u to Bellingham on the half way line saw England\u00b4s new saviour drible at pace past three tiring French players on his way to their goal, to slam the ball pasttheir goalkeeper to make England 6-4 winners of the >bronze Medal. <\/p>\n\n\n\n

So now Lanzarote is showing a live screening of today\u00b4s (Sunday 19th July 2027)<\/strong> for up to 50,000 fans <\/strong>( I\u00b4m guessing 98% Spanish and 1% might be English now living in reidence on the island and 1% who might want anyone except Argentinato to win ! So it should be a great atmosphere, and Spain should win,…..,.,, so, there is also a scrrening scheduled on Arrieta beach, too.<\/p>\n\n\n\n

Miguel, of Lanzarote Information, <\/strong>has written in hs weekly newsletter of his memories of when Spain last won the World Cup, and how he and his family painted their faces in the colours of Spain\u00b4s team shirt, sang all the \u00b4champions\u00b4 songs in Spanish and generally had a great time in a wonderful atmosphere. And now that joyous atmosphere is being recreated all over again,…..<\/p>\n\n\n\n

what could possibley go wrong???<\/strong><\/p>\n\n\n\n

We\u00b4ll discuss that next Sunday, when its all over.,…but meanwhile, COME ON, SPAIN !!!<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY JULY 26th<\/sup>  2026<\/p>\n\n\n\n

jazz and classical music explore themes of unity and social progres<\/strong><\/p>\n\n\n\n

featurng<\/p>\n\n\n\n

Wynton Marsalis<\/strong><\/p>\n\n\n

\n
\"\"<\/figure><\/div>\n\n\n

SIDETRACKS& DETOURS SUNDAY AUGUST 2nd<\/sup> 2026<\/p>\n\n\n\n

Songwriters & Invisible Angels chapter 3<\/strong><\/p>\n\n\n\n

by Peter Pearson and Norman Warwick<\/p>\n\n\n\n

featuring<\/p>\n\n\n\n

Kate Wolf and Julie Matthews<\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 9th<\/sup> AUGUST<\/p>\n\n\n\n

a year as poet laureate<\/strong><\/p>\n\n\n\n

featuring<\/strong><\/p>\n\n\n\n

\u00b4\u00b4Sammy Weaver<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 16th<\/sup> AUGUST 2nd<\/sup> 2026<\/p>\n\n\n\n

Michael:<\/em> a film about art for arts\u00b4sake ?<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 23rd<\/sup> august 2026<\/p>\n\n\n\n

Buddy Mondlock is a songwriter !<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 30th<\/sup> AUGUST 2026<\/p>\n\n\n\n

Too Darn Hot: live jazz<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 6th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Canary Cruising,\u2026cool<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 13th<\/sup> SEPTEMBER 202<\/p>\n\n\n\n

secretly recorded live gigs legitimised on line?<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 20th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

Waiting For Godot and Music At Lunchtomes<\/strong><\/p>\n\n\n\n

SIDETRACKS & DETOURS SUNDAY 27th<\/sup> SEPTEMBER 2026<\/p>\n\n\n\n

r.i.p. David Alan Coe, songwriter and unreliable narrator<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

LEE DORSEY working in a coal mine and Norman Warwick decided to Lendanear No singer in the Big Easy had a more easy-going manner than Lee Dorsey (right).. The rhythms behind him could be wickedly syncopated (they usually were), and Dorsey would still sound unruffled, unhurried, as if it were a sunny afternoon and he had nothing better to […]<\/p>\n","protected":false},"author":2,"featured_media":25850,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25822","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=25822"}],"version-history":[{"count":16,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25822\/revisions"}],"predecessor-version":[{"id":27128,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25822\/revisions\/27128"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/25850"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=25822"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=25822"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=25822"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}