'Jannock' for me marks the flowering of people, places and associations going back over thirty years. In 1961 a radical and revolutionary drama teacher by the name of Janet Beard became Head of Drama at Buttershaw Comprehensive School, Bradford. (The school you see in 'Rita, Sue and Bob too'). She formed an innovating and exciting after school theatre club, which in turn led to the even more innovative ' Shakespeare Group,' in which I had the honour of being one of the original six members. This in turn gave way to a much larger youth theatre group, 'The Barnstormers', which towards the end of the sixties was creating a stir all over West Yorkshire. In 1978 I went to college in Liverpool, where I became interested in the local folkscene, and while I was there, away from home, back in Yorkshire people and events were coming together in ways which were to have a profound effect on my future.

The Barnstormers had a folksinging group, whose leading lights were Graham Anderson and Carol Lloyd. The group put together a musical production called 'Tops and Noils'; which they took on tour round the Yorkshire Dales. During this period also Trevor Sharpe, Youth Worker at the Buttershaw Youth Club, was engaged in a Youth Project in the Dales, which was to result in a book researching the people and places mentioned in the 'Song of Upper Wharfedale'. Also during this period Undergraduate Bob Pegg was in the Dales, researching the folk-life of the area for his degree. For Bob, this was to result in the formation of folk-rock group, Mr. Fox. Which I first heard at college. At that time I had no inkling that it might have connections with people of my acquaintance.

In 1971 I was back home in Yorkshire, and re-establishing links with the Barnstormers, who were now based at a farm on the hillside above Sowerby Bridge.
Not being really interested in participating in a third production of Macbeth, I was more interested in folk projects, and this, through the Barnstormers singers, brought me into contact with Trevor Sharpe, who was running a folk club at the George at Low Moor, near Bradford. This was a formal 'folk club' and not being well supported, we sought a venue where we would be able to play in the heart of the pub, (a radical idea in those days) and get people involved. This led to the move to the Waggonners at Buttershaw, and the formation of the Waggoners folk group, which went from strength to strength throughout the seventies, and which still, despite numerous moves, still operates today. (The Gaping Goose, Wibsey.) During this period, three of us were invited to work with Bob Pegg, who, after the breakup of Mr. Fox, was promoting a musical drama at Leeds University about life and tradition in the Yorkshire Dales. This was produced at Workshop theatre, and like 'Tops and Noils' so many years before, was taken on tour in the Dales. Television and radio work followed, culminating in a large gig at the Ilkley Literature Festival. At one point I recall playing Huntsman's Chorus at a concert in Kirkgate in the York Castle museum!

Throughout the 70's,80's and 90's I was making regular forays up the Dales, with various members of the Waggonners group. I met Jacky Beresford and his wife, his daughter Rosie and son-in-law Tim Boothman, custodians of the Dales 'banding' tradition. I met Kit Calvert, Maurice Bell of the Wensleydale Hunt, and Banjo Willie. I sang and played all over the Dales and built up a good stock of fond memories.

Today Kit, Jacky and Willie have now passed on, but we played a concert in front of the rood loft in Hubberholme Church in Jack's memory.Janet Beard retired to Litton, where not too long ago the Barnstormers celebrated her 70th birthday. A Waggonners reunion is planned there for 2006. Ralph Daykin is still going strong in the Victoria at Worton, and we are overdue for another session.

But we are all getting old, and I felt I wanted to make a musical statement about these lives and times. 'Jannock!' is the result. So many people have partaken of this music down the years, but never has it been put together as a single anthology. Also I did it because suddenly it was possible. To single handedly multitrack a folk CD without the crutch of MIDI sequencing has been a formidable undertaking. Playing 'the Musician' in Halifax Playhouse's production of 'Fifteen Streets' a few years ago required me to play some 13 instruments which required me to learn new musical skills. This took me into percussion and woodwind, hitherto unknown areas for me. Armed with an old electric reed harmonium rescued from the local tip, a bodhran and a 'darabuka' hand drum from a Cretan junkshop, I was at last able to replicate the raw, distinctive sound that characterised Mr. Fox. I have been thrilled with the result, but whether I have succeeded in my object has yet to be seen. I am sure I still have more Dales memories to make, but I doubt I'll have much more to say. For me, this album says it all!