Joe Stead – The Ramblings of an old Codger - Volume 182 - November 2015


Special Anniversary Issue

Volume 3


The East Coker Folk Festival was in July 1971 and it brought me back into contact with two very old friends of the folk scene, both now regrettably long dead, who would eventually record on my record label.  But I'll tell you about that next month.  John Isherwood and Pat Nelson both hailed from Portsmouth where they were immensely popular.  Together they could fill the Guild Hall which could seat over 2,000 people.  We were booked together for a one day festival along with 'Dave Calderhead, otherwise known as "The Singing Toby Jug" and Dave Sampson.  The pictures below are from the finale.  Just what Isherwood is doing on my shoulders is as much a surprise to me today as it probably was then.  Of Irish descent Jon Isherwood was an enigma.  Mysterious certainly and impossible to understand completely.  I'm still in touch with his son, indeed he might be reading this; so I must be careful what I say.  First of all, like most folks at that time, I just loved the bloke and we worked together on numerous occasions.  His party piece would be to smoke a cigarette whilst introducing the 'next' song.  He would smoke it quite rapidly thus making the cigarette as important as his words.  When it had reached the appropriate length he would open his mouth and without touching it he would turn it through 180 degrees so that the lighted end was inside his mouth, the filter tip sticking out through his lips.  He would then proceed to blow smoke through his nose/mouth before turning it round the right way all along continuing with the song introduction.  He would do this about 3 times, never touching the cigarette with his hands, and then suddenly to everyone's amazement it was gone, whence he would add "Don't know why I do that, it bloody well hurts" before bursting into the song he had been introducing.



A showman certainly, but he too frequently drunk too much alcohol for his own good.  He nearly died shortly after these photographs were taken in an horrendous car crash somewhere near Bath.  Jon was not driving.  His injuries were so bad nobody expected him to survive.  But survive he thankfully did, however regrettably his performances were never the same afterwards.  Jon was filmed in Ireland in July 1992 and you can see him for yourself if you look him up (Jon Isherwood - My Old Guitar) on You Tube.......  A very rare recording.  What you are seeing is of course a long way removed from what he was in his pomp; but the impish loveable smile and twinkling eyes are still there.  I suspect it was filmed during a reasonably heavy drinking session.  The man at the camera!?!?  Well let's put it this way; he was no professional and that's for sure.  But I urge you to have a look at it; complete with his Frank Spencer impersonation.  You might well also stumble across the delights of Jon discussing, amongst other things, Oliver Reed consuming a tank full of goldfish.  And whilst there, in case you didn't believe me, look up 'Jon Isherwood and the Cigarette'.


For a while Jon had a music shop in Portsmouth, but it didn't work out for him.  All went well at first but he too frequently employed a manager, now dead and should remain nameless, who according to Jon stole from the till. 







John Isherwood died in April 2002 his partnership with Pat Nelson has drifted into legend.  Fame always just eluded Jon despite the fact that had an incredible talent for making his audiences enjoy themselves.  Signed up by the Beatles to Apple Jon actually received a royalty cheque from George Harrison dated 19th April 1970 for 1/10d.  (For those who don't remember the old currency that's just under 10p).  Jon never cashed the cheque.  I would imagine it will be worth a bob or two today.  I wonder what happened to it?  


One thing is certain I do know how he got it !!!!




On June 6th 1968 I was back in the studios of Westward Television waiting to do another live spot on Westward Diary.  I don't remember now whether Rollo Gambol was still the director, I think he was.  Two years earlier on June 28th I had made my television debut singing 'Jimmie Crack Corn' on the same programme.  Again I had arrived at about 10 o'clock in the morning and we had run through a few songs and the director had chosen the song he wanted me to do.  Then at about 3 o'clock in the afternoon, or it might have been a couple of hours earlier, all Hell broke loose.  It was suddenly announced that Bobby Kennedy had been assassinated in Los Angeles.  Of course everybody was stunned and the whole programme had to be re-arranged - indeed it might have been cancelled altogether.  One thing was certain my 'live' appearance was right out of the window.  But one bright chap suggested they should film me singing three songs and they could utilize these if and whenever they needed them.  I was there so why not use me was the policy; and I certainly didn't mind because that meant I earned 36 instead of the 12 I would have been paid for one song.  One of the three songs I recorded that afternoon was the song we had chosen for me to perform live:- "I didn't care" by Jon Isherwood.  Jon had only just written it and I had only just learnt it.  Two years later the song had gone through the long dark corridors of the PRS through the system into the vaults of Apple Publishing and George Harrison had signed the cheque.




Jon was later signed by Decca.  But his singing career really came to an abrupt halt that summer evening in Somerset somewhere near Bath when he was involved in the horrendous traffic accident which left him hospitalised for many months.  He came back on the folk scene - but his body was frail and he was never the same man.  So many memories; I remember another evening at the Railway Folk Club in Portsmouth ending an evening on stage with Jon and Pat when Jon poured a whole pint of beer down the insides of my trousers.  I believe it was my own pint of beer.  Why?  Because it probably seemed like a good idea at the time.  I then drove back to London with the car stinking like a brewery.  Luckily I wasn't stopped by the police, because by that time the breathalyzer had been introduced.  Those who knew Jon will all have their own incredible memories of a talent that was abruptly ended by that wretched car crash and his later addiction to alcohol.  At 61 he went too early.


Pat Nelson on the other hand was very different, like most of us he enjoyed a beer or two, but he ran a very successful motorbike business in Powerscourt Road in Fratton.  both Pat and Jon were later to record for Sweet Folk All Recordings.


Bookings in 1972 started on Sunday January 2nd, back at an old haunt 'The George and Dragon' in Downe, near Bromley where I had made my very first professional appearance with Ralph May (McTell) in 1965, and engagements continued at a rate of about 4 a week all year.  It was to be an interesting year for many reasons.


My first long playing record was to be recorded in Manchester on the 24th, 25th and 26th of March in Manchester; or Cheadle Hume to be exact; and I had spent preceding weeks working diligently with Dave Plane, Dave Lewry and Lisa Turner who were to be backing musicians.


I was especially excited because in 1971 I had arranged with Peter Abnett to make, what I at the time considered, would be a unique instrument.  I had seen something similar he had made for his son Dan who must have been about 4 at the time when calling at his home to have my banjo skin replaced.  It had a banjo neck and a mandolin body.  We weren't sure what to call it at first, but being half banjo and half mandolin it made sense to me to call it a 'Bandoline'.  (Pronounced 'Bandolin'). 



To have called it a 'Manjo' would not have been wise; as I said many times at concerts "Somebody might have come up and eaten it during the interval; so I didn't".  It appears from the label that he made it on Sunday February 20th 1972.  And it was Number 1 of the model.  I've always suspected it took him more than a day to make though. 


The instrument cost the princely sum of 125 plus 25 for the case.  It is without doubt an exquisite instrument, strung with light gauge guitar strings (, the heaviest strings wound, it has a delightful a soft sound that was, and still is, ideal for songs where the banjo was obtrusive.  It was ideal for me as I never learned the guitar.  It's 2015 now and I still use it on occasions with Kimber's Men.


When playing in Connecticut in 1980 I proudly announced that my Bandoline was a unique instrument; but later that night at his home the club organiser showed me a picture of an instrument made in 1890 an instrument that was identical to my Bandoline.  I can't remember the name it had been given, but it was the same shape, with the octave five string perched halfway down the neck.  I was gutted at the time, but I've got over it since.





Peter has subsequently retired from making instruments.  He is now in his late 70s, and  is apparently feeling his age. Several months ago, he decided not to make any more instruments and was determined not be lured back into the workshop so the doors are now permanently closed.  It is time for Peter to enjoy his retirement.  But he was a prolific luthier with a client waiting list of several years.  I believe Peggy Seeger played an Abnett guitar and during the 1970's the whole of the band Bully Wee played Abnett manufactured instruments.  I remember too in the late 1980's  discussing Peter with Gordon Tyrell at the Bradshaw Tavern Folk Club in Halifax.  I was intrigued to see he was playing an Abnett guitar.  It transpired that Gordon had never met Peter.  Intending to buy a Martin Guitar he had driven from Bradford to Blackpool with the sole intention of buying a Martin.  However, whilst in the shop, he picked up the Abnett guitar for a quick saunter down the frets and was immediately transfixed by the sound and realised in his hands he had a better guitar for half the price.  Peter still lives near Rochester in Kent, and in 1972 when I first really got to know Peter, he was teaching at a local grammar school and running the Rochester Folk Club.  Peter and his wife Emma are also talented artists; and Emma kindly drew the cover for two of my compact discs issued in 1998 and 1999; "What you hear is what you get" (home made and very rare) and "Valparaiso round the Horn".  More of that in a later Rambling.




So let's get back to 1972.  Gordon Davies was a Welsh sheep farmer making a bit of a noise on the folk scene with his wife Gwen when he decided to start his own recording business.  Previously, working mainly folk clubs in and around Shropshire, West to Birmingham and North to Manchester billed simply as 'Gwen and Gordon, they were picked up by 'Folk Heritage' a small independent record label based in Cheadle Hulme.  Note in this EFDSS magazine advert below they have the delightful phone number of simply Montgomery 394; and they were charging the equally delightful sum of 12 guineas to sing at your club.  For young readers, and for those abroad, one guinea was one pound and one shilling; which means in metric they were charging twelve pounds and sixty pence, which sounds nothing like as romantic does it?




Thus having already recorded with Folk Heritage, owned by Alan Green, Gordon had branched out into the recording business himself using Alan as the engineer.  Alan had stripped his house in Cheadle Hulme bare of nearly all furniture with the walls bare of wall paper.  One bedroom, the largest, was the music room, the smaller bedroom made up the control room.  Alan slept in a sleeping bag on the sofa downstairs.  Electric wiring seemed to be running on bare walls throughout the house.  And so it was that I duly turned up with my merry band of musicians on Friday 24th March.  By the evening Sunday March 26th I had my first LP in the bag along with Dave Plane who took the opportunity of recording a solo LP himself.  Dave Lewry and the lovely Lisa Turner worked like demons.  Alan, incidentally, had built his own mixing desk and (just like the Beatles) the recording was recorded two track.  Multi track recording was still a thing of the future.  This meant that every 'take' was an original with no 'drop ins'.  All performers sung together at the same time and Alan mixed the recording onto quarter inch tape as it went down.  That's how it was in those days.  Primitive by the standards of today, but it worked and Alan Green was a wonderful recording engineer.




The album contained an eclectic mix of songs with only one of the 12 being traditional.  The song writers were Nick Richardson, Arthur Hogg, Dave Goulder, Ewan MacColl, Pete Atkin, Dwight Latham and Moe Jaffe, Jake Thackray, Bill Meek (two by him), JR Tolkien and not surprisingly Pete Seeger.  My love affair with the last three writers of verse were to resurface at various intervals throughout my recording career.  I might have been the first artiste since the 1940's to record "I am my own grandpa".  Although to be honest I cannot remember where or exactly when I learnt the song, but I heard it from a recording by Phil Harris.


In the song, the narrator marries a widow with an adult daughter and his father marries the widow's daughter. This creates a comic tangle of relationships by a mixture of blood and marriage; for example, the narrator's father is now also his stepson-in-law. The situation is complicated further when both couples have children and eventually the narrator actually becomes "his own grandpa".


It works like this......The narrator marries the older woman and this results in the woman's daughter becoming his stepdaughter.  Subsequently, the narrator's father marries the older woman's daughter.  The woman's daughter, being the new wife of the narrator's father, is now both his stepdaughter and his stepmother. Concurrently, the narrator's father, being his stepdaughter's husband, is also his own stepson-in-law. The song now continues with The narrator and his wife having a son.  This means the narrator's son immediately becomes the half-brother of his stepdaughter, as the narrator's wife is the mother of both.  Since his stepdaughter is also his stepmother, then the narrator's son is also his own step-and/or half-uncle because he is the half-brother of his step-mother.  The Narrator's son would then become a brother-in-law to the narrator's father, because he is the half-brother of the father's wife.  Now this get further complicated when the narrator's father and his wife (the narrator's stepdaughter) then have a son of their own.  The child would then become the narrator's grandson because he is the son of his step-daughter.  The son would also become the half-brother of the narrator because they both have the same father.  So finally the narrator's wife, being the mother of his stepmother, makes her both spouse and step-grandmother.  The husband of the narrator's wife would then be the narrator's step-grandfather.  Since the narrator is that person, he has managed to become his own (step-step)grandfather. The "step-step" concept applies because the step-father of your step-mother would be your step-step-grandfather, making a "double step" event possible.  All very simple really.  Anyway.  It's on the LP.




In 1973 Alan Green relocated to mid Wales and for a time and used Gordon's farm (Camp Farm) as a recording studio.  I'll tell you more about that next month.


Westwood Recordings were later to branch out solely into the Country and Western market which really took off in Britain between the mid 1970's and late 1980's.  I'm not sure what exactly happened to Gordon and despite extensive enquiries to date I've not located him.  Westwood Recordings eventually went into bankruptcy when the C+W market collapsed and Gordon became a bouncer at a night club in Newtown.  I'm not sure if he sold the farm but it appears from Google that today it has 37 houses on it with a current average value of 227,064, and that's a fair distance from 12 guineas you have to admit.


It was on the 15th July 1972 that I met Johnny Collins for the first time at the Cold Ash Riverboat Shuffle.  A good idea at the time.  We set off from Cold Ash towards Newbury I believe and stopped off for a picnic before heading back.  Note the neck scarves.  All very fashionable in 1972.  No folk singer should be seen without one !!!


Later in October 1972 I was back on TV again. This time Greenwich Cablevision!!  Not as grand as it might sound.  In those years, and for a period thereafter of another 10 years or so, there was a part of London (mainly Plumstead) that could not receive television reception from Crystal Palace.  Due mainly to Shooters Hill being in the way.  (That's the hill where Charles Dickens opened Tale of Two Cities).  As a result special dispensation was made for all homes in the Plumstead area affected by this to receive TV by cable; which was virtually unheard of in 72.  Greenwich Cablevision were allowed to have their own programme in black and white on a Sunday night between 7pm and 8pm.  Big deal huh?  I might have been watched by a dozen people; or possibly none at all!!


1972 ended with a gig at Matt Armour's club at the Whittlebury Folk Club Christmas shindig.  The list of forthcoming guests for 1973 includes a few luminaries for sure; so I feel honoured to be listed as the most popular guest to play the club.  It brings into perspective how things have changed.  Membership of the folk club was arranged yearly and the cost in 1973 was to rise to 40p for the year.



So you must admit.  1972 was quite a year




The End

Special Anniversary Issue

Volume 3


Volume 4 follows next month.



Fixture List for Kimber's Men and Joe Stead




Nov 9th (Joe) St Anne's School, Blackburn.

Nov 13th (KM) Recording New CD at Foel Studios

Nov 14th (KM) Recording New CD at Foel Studios

Nov 15th (KM) Recording New CD at Foel Studios

Nov 20th (KM) Market Theatre, Market St, Ledbury, Herefordshire HR8 2AQ

Nov 21st (KM) Rhosygilwen, Rhoshill, Cilgerran, Pembrokeshire. SA43 2TW

Nov 28th (KM) Hepworth Live, Hepworth Village Hall, Towngate, HD9 1TE.

Dec 6th (KM) The Bothy Folk Club, Park Golf Club, Park Rd West, Southport

Dec 19th (KM) The Marine Theatre, Lyme Regis.


Jan 6th (Joe) Pudsey Men's Forum - Valparaiso round the Horn

Jan 30th (KM) Beeston Methodist Church, Chilwell Rd, Beeston, Notts. NG9 1EH

Feb 1st (KM) Barnsley Folk Club, Barnsley Trades Club, Racecommon Rd.

Feb 3rd (Joe) Bolton Methodist Church, Bolton Road Bradford BD2 4LB - Valparaiso

Feb 5th (KM) West Deeping Village Hall, King St, West Deeping, Lincs PE6 9HP

Feb 6th (KM) Binbrook Village Hall, Kirmond Rd, Binbrook, Lincs PE10 0NR

Feb 12th (KM) Burton Joyce Village Hall, Trent Lane, Burton Joyce, NG14 5EY

Feb 13th (KM) Gunthorpe Village Hall, Davids Lane , Gunthorpe. NG14 7EW

Feb 19th (KM) Long Whatton Community Cente, The Green, Long Whatton.

Feb 20th (KM) Elmesthorpe Village Hall, Wilkinson Lane, Elmesthorpe. LE9 7SP

Feb 26th (KM) Morton Village Hall, High St, Morton, Lincolnshire PE10 0NR

Feb 27th (KM) Market House, Market Street, Long Sutton Spalding PE12 9DD

Mar 18th (KM) Harmston Memorial Hall, School Lane, Harmston LN5 9SN

Mar 19th (KM) Frampton Village Hall, Middlegate Rd, Frampton, Boston PE20 1AR

Apr 25th (KM) Stavros S Niarchos

Apr 26th (KM) Stavros S Niarchos

Apr 27th (KM) Stavros S Niarchos

Apr 28th (KM) Stavros S Niarchos

Apr 29th (KM) Stavros S Niarchos

May 1st (KM) Rochester Sweeps Festival

May 2nd (KM) Rochester Sweeps Festival

May 20th (KM) Either Shepley or Clennell Hall Folk Festival pending planning

May 21st (KM) Clennell Hall Folk Festival

May 22nd (KM) Either Shepley or Clennell Hall Folk Festival pending planning

May 26th (KM) Ostend at Anchor Festival, Belgium.

May 27th (KM) Ostend at Anchor Festival, Belgium.

May 28th (KM) Ostend at Anchor Festival, Belgium.

May 29th (KM) Ostend at Anchor Festival, Belgium.

Jun 17th (KM) Mylor

Jun 18th (KM) Falmouth International Sea Shanty Festival

Jun 19th (KM) Falmouth International Sea Shanty Festival

Aug 5th (KM) Broadstairs Folk Festival - Provisional

Aug 6th (KM) Broadstairs Folk Festival - Provisional

Aug 7th (KM) Broadstairs Folk Festival - Provisional

Aug 8th (KM) Broadstairs Folk Festival - Provisional

Nov 26th (KM) Shaftesbury - Provisional.


Jan 20th (KM) Sixmilebridge Festival, County Clare - Provisional

Jan 21st (KM) Sixmilebridge Festival, County Clare - Provisional

Jan 22nd (KM) Sixmilebridge Festival, County Clare - Provisional

Apr 14th (KM) Greenwich Tall Ship's Festival - Provisional

Apr 15th (KM) Greenwich Tall Ship's Festival - Provisional

Apr 16th (KM) Greenwich Tall Ship's Festival - Provisional

Aug 17th (KM) Greenwich Tall Ship's Festival - Provisional





Dear Joe,

What a delight to read all the history of the last 2 Ramblings.  I'm looking forward to the next one and you should write the book!

I've just been listening to your album Hearts on Fire. It's brilliant! That really is my favourite.

Love to you.

Rhonda Tauman




Hi Joe,

Hugely enjoyable read. Nice to see Mike Absalom’s name dropped here. “Save The Last Gherkin For Me” a memorable title and album. I saw him once, the night of the ‘69 moon landing in a quite famous disco/club in Scarborough called Samantha’s. I think they had a portable TV by the bar to show the moon footage and Mike was the live act to provide a variant from the chart and dance music and the TV. We were eclectic in those days! – and no bad thing.

Yes Mike lives and paints in Ireland now. He had an exhibition in Liverpool a year or two back.

Bestest and see you and the boys soon,

Clive Pownceby



Dear Joe,

As usual I had kept your ramblings to read when I was not busy ie when the grandchildren have gone back to school etc.

Anyway you may be slightly responsible for my husband and i getting together, a pretty good job as we are still living, talking and singing and playing together after 48 years.

At the tender age of 17 I went to City University straight from my convent, little did my very proper and protective mother realise that as it was largely full of engineers there were 20 men to every was a hard life! I met Dave at the Folk Club and our first date was to see Ewan McColl and Peggy Seeger. He went off to do his industrial period and we slightly lost touch. Then I saw a favourite of mine was on at The Dartford Folk Club, this was early 1967, probably the Easter Holidays. I didn't fancy going to the low dive of Dartford on my own so phoned Dave hoping that he would take me. He was out but his father told him that " that funny girl" had phoned. He was soon in touch and our next date was Tom Paxton! We were married in 1969 and now live happily ever after and have retired to Poole.

Saw you last year at Swanage, a brilliant set! Pity I can't stand banjos either!

Dawn Skye




Hello Joe,

Congratulations on the production of your Anniversary Issues.

Iris and I have had a good laugh at some anecdotes as we remember the times and some of the songs and jokes.

Best of all is the memory of 21st June at the Albert Hall which we went to for Iris's birthday which is 22nd June.  I believe we would have had the cheap 3/6 tickets in those days and we are not much better off now!  It was a disappointment through the poor number attending but a memorable one.

As for" Shallow Brown" being racist, what nonsense. Who is the one who is PC in your group?

Keep smiling and keep singing, hope it is not too long before you come south again.

Best wishes,

Peter Sampson.


Hi Joe
Like the drawing by Mark - it is a real likeness of when you were 40!!!
Interested in the letter from New Zealand. I well remember Mrs Skrine and her serving in the shop on the corner.  Also remember the train spotting, subuteo (Charlton always seemed to win) Monopoly and Canasta. Those were the days.
Will definitely come to one of your gigs in Lincolnshire.
Geoff Bone


Hi Joe,


In our current program, we are doing Sally Brown followed by Shallow Brown. We have always introduced Sally Brown by saying that political correctness causes 'Lady' to rhyme with 'Bigger'. I have never encountered any adverse reaction to our pointing out the shameful exploitation of black people, but our audience is usually white middle class.


Our audiences seem to generally appreciate that political correctness has bowdlerised many songs. I think that Stan Hugill writes 'the words were too filthy to record' at some point. It is a great pity that prissiness has meant that a lot of shanties have been lost in original form. It was part of maritime history ! Shame it seemed to be collected by Victorian vicars. I would love to say to an audience 'What do you want us to sing - from the white book or the blue book (a la Max Miller)'. We only do charity fundraisers - so it will never happen with the village hall crowds.


Have you seen the Oscar Brand book 'What shall we do with the Drunken Sailor'. It gives an insight to Rugby songs and their shanty heritage - pure filth :)


See you !


Rob Townshend   (Stormy Weather Boys)





About the 'racist' song.


Did you know that, when 'Money For Nothing' by Dire Straits came out, there was a large uproar about how Mark Knopfler was homophobic?


He was doing no such thing - he was simply piecing together some quotes he'd written down when he was in a Department Store of a salesman there who was commenting on the Music Industry. The song is obviously *anti* critical attitudes but it uses language that, apparently, people can't understand can be used in a positive manner against wrong ideas.


So, no matter what the song is about. Your song, I mean. It will probably be a good historical document that shows an event and a state of society way back when, at the time it was written and used. It tells us what sort of behaviour was prevalent and, because we are 'wiser' now (I hope), we learn what sort of behaviour is wrong and to be avoided.


You will obviously not be glorying in the actions in the song.


Unfortunately, society doesn't work this way. It thinks that people can't make a good choice and be warned by the errors of the past. People who think that way are destined to make the same errors in the present and future cos they have no idea what sorts of things happened and should be avoided.


Why, we'll soon remove all statements about the atrocities of the wars at the rate we're going! And there are already dark clouds on the horizon in the UK where equality has become a cloak for superiority and positive discrimination.


You will come in for criticism for singing it. I'm sure you will. You can't avoid it. But the question is whether you bow to the pressure of society and axe it or continue to faithfully reproduce something from yesteryear that can warn us about our present lifestyle.


Finally you know how you had that 'Idiot' series of observations in this month's Ramblings?

Here's one that's just happened:


I received a pamphlet from the Wine Club we're in. They're promoting the wines by saying you get a free bottle that's worth up to 100. Fair enough.


But on the flyer that's loose it says 'Some worth up to 100...'. Obviously, what they mean you to think is that 'Some' are priced approaching 100 but that's not what they've written.


So I rang the helpline and pointed out that they were all worth up to 100 not just

some of them.


'Yes,' he said, 'they could be worth only a minimum of 7.99 but some can be worth up to 100'


'But they're all worth up to 100, even the 7.99 ones...'


Nope, he didn't get it...


...not sure basic English works anymore.


Lee Smith



Very nice Joe -

But I am disappointed with the 'knock' at the pop stars - In the scheme of things all your heroes had the chance to be international stars and millionaires but no doubt chose the life of slogging the highways and bye ways and sleeping on other folks settees.  I see the Bay City Rollers are about to make a comeback - more ammo for the Folkies I suppose.


Sherpo - pop star

By the way it was noo feaces - not hop nox



Hi Joe


Most remiss of me not to thank you and the crew for such a superb night at Mansfield Folk Club last month.

Success with your recording session next month.

Look forward to catching up again when you are in the Nottingham area in the new year, and purchasing your new CD.


Quentin  Hood




World Peace through Song is a great recording Joe I have listened to it more than a

dozen times.

Great Songs and Great Voice

Thanks Again

Your Friend

Bud Manning. USA.




Date: Tue, 6 Oct 2015 05:58:04 +1030

Today we mourn the passing of a beloved old friend, Common Sense, who has been with us for many years. No one knows for sure how old he was, since his birth records were long ago lost in bureaucratic red tape. He will be remembered as having cultivated such valuable lessons as:
- Knowing when to come in out of the rain;
- Why the early bird gets the worm;
- Life isn't always fair;
- And maybe it was my fault.
Common Sense lived by simple, sound financial policies (don't spend more than you can earn) and reliable strategies (adults, not children, are in charge). His health began to deteriorate rapidly when well-intentioned but overbearing regulations were set in place. Reports of a 6-year-old boy charged with sexual harassment for kissing a classmate; teens suspended from school for using mouthwash after lunch; and a teacher fired for reprimanding an unruly student, only worsened his condition.
Common Sense lost ground when parents attacked teachers for doing the job that they themselves had failed to do in disciplining their unruly children.
It declined even further when schools were required to get parental consent to administer sun lotion or an aspirin to a student; but could not inform parents when a student became pregnant and wanted to have an abortion.
Common Sense lost the will to live as the churches became businesses; and criminals received better treatment than their victims and everything was politically correct.
Common Sense took a beating when you couldn't defend yourself from a burglar in your own home and the burglar could sue you for assault.
Common Sense finally gave up the will to live, after a woman failed to realize that a steaming cup of coffee was hot. She spilled a little in her lap, and was promptly awarded a huge settlement.
Common Sense was preceded in death,
-by his parents, Truth and Trust,
-by his wife, Discretion,
-by his daughter, Responsibility,
-and by his son, Reason.
He is survived by his 5 stepbrothers;
- I Know My Rights
- I Want It Now
- Someone Else Is To Blame
- I'm A Victim
- Pay me for Doing Nothing
Not many attended his funeral because so few realized he was gone.



A young woman walks into a supermarket. On her way round she sees the man with whom she had sex the previous evening, after they met in a pub.

He is stacking washing powder boxes on shelves.

"You lying sod!" she yells. "Last night you told me you were a stunt pilot!"

"No," he says, "I told you I was a member of the Ariel display team."






Oral Sex

5,000 men were surveyed as to why they like to receive Oral Sex.

1% liked the warmth

2% liked the sensation

3% liked the eroticism

94% just like the peace and quiet.


Crikey.  Now I'm in trouble.


Keep smiling, keep singing.


Joe Stead