Thieving Magpies

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SCRAPBOOK is a collection of photographs of Cumbrian based band the Thieving Magpies. We made this to celebrate all the amazing opportunities we have had this year!

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Read more at >>> Thieving Magpies help raise over £50k for charity! by thievingmagpies - Issuu

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Thieving Magpies @ Johnny’s Bar, Morecambe

12 February 2022

by Steven Mulhannon published: 12 February 2022 in Gig Reviews North Lancs

The Thieving Magpies have spent much of the last few years receiving lots of attention not only in their native Cumbria but also across the Northwest region. Tonight’s gig saw him perform in the intimate but impressive surroundings of the newly opened Johnny’s Bar in Morecambe and while it may have initially felt like a random, if well-equipped juxtaposition in terms of venue, their occasional, nostalgic explorations of the music of some of the greats in music down the decade’s past allied with their “rip roaring” versions of iconic songs lent it a certain aptness in other ways. The Magpies are l a four-piece band comprising of Paul Harrison on Lead Guitar and Lead Vocal, Robbie Jay Coplen on Bass Guitar and Vocals, Alan Whitmore on Keyboards and Jake Dakin on Drums. The fascinating twist being in the second set when Harrison and Coplen swap roles to add intrigue and huge variety which makes the performance and spectacle even more fascinating and compelling.

Tonight, the opening moments draw from it, the infectious reggae beat set to Steve Miller Band’s “The Joker” leading to an array of mixed genre and cocktail of genius mixed with a hint of madness with some thoughtful ruminations and serious musical performance thrown in such as “Fever” by Peggy Lee and Beatles hits such as “Daytripper” and “Get Back”.  All of it livelier, and full of fun than you would find with many other equivalent cover bands containing very competent and serious musicians such as these. Examples of this would be found in “Jumping Jack Flash” by the Rolling Stones and another Reggae Twist to Bill Withers “Ain’t No Sunshine”

The songs that follow have a disparate, pick and mix feel to them, the band taking advantage of the opportunity to dust down some lesser played tracks from the past. Dakin adds so much illumination to the suitably energetic percussion. Which merged with Robbie Coplen strongly defined and extremely creative bass lines makes a formidable back line.

Equally impressive is experienced piano/keyboard player Alan Whitmore who adds huge dimension with Piano and Organ work both in holding the glue for the songs but also providing some soaring solos as well.

In the second set Robbie Coplen takes the lead and Paul retreats to the bass. Versions of songs such as “Love Me two times” by The Doors and songs you least expect like “Tore Down” by Freddie King are delivered with such powerful entertainment and building to an amazing finish with “Stuck in the Middle” and Tina Turner’s “Proud Mary”. Everybody really enjoyed themselves and Harrison returned to lead vocal to deliver a version of Bob Marley’s “Stir it Up” which included a fascinating Medley of known songs such as “Stop your messing around” and “The Tide is Hight” by Blondie. All in all, the gig provided an evening of “Cracking” Entertainment with a strange sense of mystery as many of songs did follow the normal pattern of a cover version. If you haven’t caught the Thieving Magpies yet, then you need to. They are fun-packed group of entertainment but blessed with immense musical talent. All four member providing solos and high-quality delivery with their instruments.

I thoroughly enjoyed both the venue and the performance.

More on Thieving Magpies Thieving Magpies - "I had sweet dreams because  of the gig last night"

Thieving Magpies at the Miner’s Arms in Ulverston Download Thieving Magpies Information Pack

W: www.thievingmagpies.co.uk    e: [email protected]    f: www.facebook.com/thievingmagpiesband     t: @cumbriamagpies

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A very different cover version of this song!!!!! at the Globe Ulverston.

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Thanks to Ron Clark at Chat and Spin Radio for the interview and for playing our live performance of "Wild Thing" by the Troggs recorded The Globe Ulverston in September last year. #thievingmagpies  https://soundcloud.com/user-15013940/interview-with-ron-clark-on-chat-and-spin-radio-jan-2021

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“Well I proper enjoyed that... Ta!!” (my reaction to watching Paul Harrison and Robbie Jay Coplen play separate acoustic sets to celebrate the 4th Birthday of their band the Thieving Magpies)   -You don’t need us to tell you that 2020 has been a weird year. With gigs as we know them unable to take place, most artists have successfully pivoted online to craft community and connection with livestreams of all shapes, sizes and successes.

However, you would imagine that full band and rock music  would not have been able to embrace this new normal so easily. The genre really doesn’t lend itself to stripped back acoustic sessions and played at full throttle, as it ought to be, most bands would blow-out any sort of home studio setup. It’s why bedroom rock has never really been a thing. Technical issues aside, heavy music is at its best when it feels physical, like that rumble in your gut when the bass kicks in or when an inadvertent flying elbow in the pit connects. Watching it through a screen or from a safe distance turns that experience into one of detachment – and hasn’t this year been isolating enough? However I recently heard two members of the band Thieving Magpies playing acoustic versions of some great songs. Paul Harrison and Robbie Jay Coplen appeared separately  from their homes - The first half Paul delivered some classic renditions of songs like Blackbird by the Beatles and I’m on Fire by Springsteen interspersed with some classic Magpie covers like Great Balls of Fire by Jerry Lee Lewis and Ain’t No Sunshine by Bill Withers - In the second half Robbie presented us with Paolo Nutini’s “New Shoes”, Dr Feelgood’s “Roxette” and Dire Strait’s “Romeo and Juliet” - Michelle O’Donnelly  (County Durham) December 2020

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Thieving Magpies at the Miners Arms in Ulverston I have been meaning to write up my notes since September and now in Christmas holidays I did it! So here goes: A beautiful late summer evening is almost perfect despite the COVID-19 Pandemic Restrictions at the Miners Arms in in a little hamlet outside Ulverston in Cumbria called Swarthmoor. We were staying with my best friends Kate and Bryan but because of work commitments they couldn’t make it. They missed it! Landlord Stuart  sat on his stool at the gate and really made me feel welcome as did his staff at the bar. I was seated in  the outside garden and stage area together with the for-mentioned bar and inside tables organised to great detail allowing plenty to attend including some children and families. Still not too sure how we were allowed to be there, but we were, and as the sun began to set, I sat with a glass of chilled white wine which set things up nicely in this melancholic mood. I was looking forward to the live music, but I honestly didn’t expect to hear fast, rhythmic, rocking but also sensitively soulful blues being delivered by popular local band the Thieving Magpies.As an all-seated gig due to the pandemic this did not hinder for one moment. Some local followers and known people to the band were sat waiting obviously excited to see their friends perform again, whilst those who are seeing them for the first time are about to become fans. Kicking off with the Steve Miller hit “The Joker” with an amazing Reggae beat I had never expected in a song like that followed by a blues song called “Help Me” which I later discovered was by an old guitarist called Sonny Boy Williamson. A contrast in style and genre kept you guessing. “Ain’t No Sunshine” by Bill Withers and then something else I never expected? A run of Jimi Hendrix songs, “All along the Watchtower” and “Little Wing” two of my absolute faves. Brilliantly delivered I might add with a switch between electric guitar and even piano solo. All this served to instantly hit home with their deep bluesy style, full of catchy riffs and quite deep dusky vocals but still full of power. On they go with their set that just lifts everyone into a totally different plain, with songs like the Lynyrd Skynyrd classic “Sweet Home Alabama”, “Daytripper” by the Beatles and even a rendition of “Sex Machine” by James Brown and this led to another twist which was an infectious funk style beat. That was hard not to dance to and certainly kept everyone feet tapping under the picnic benches and temporary tables.Interspersed amongst the songs the band clearly display their enthusiasm and its obvious they are thoroughly enjoying themselves. Despite this for a local band they delivered their set with a really high level, pedigree and source of talent. They were paly in a relaxed easy and chilled manner whilst producing a tight musical performance that can’t help but soothe the savage soul with infectious tapping rhythms and emotionally charged lyrics.This was definitely one of the most entertaining, well prepared and delivered gigs I have seen for some time and their style builds a mansion of bluesy delights that if I wasn’t so self-conscious in the age of social distancing would have caused me to gaze, mouth open in awe and wonderFor a local band gig in my opinion this was unique, inspiring, vivid and genuinely authentic musically. Honestly if you are anywhere near the north west and certainly near this band. Just go see the Thieving Magpies.  It will be one of the best decisions you will make. Review by Jasmin Jade Laing from Barnsley

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"I wrote an original quick email  after I saw you play at the Kings Arms at Kirkby Lonsdale last year but I have been back a couple of times since including again at the beginning of March just before the lock down and just wanted to expand more on what I said the first time having seen you now on more than one occasion I had sweet dreams because of the gig that night. I can't say enough about how much I enjoyed the Thieving Magpies.  Sometimes there are gigs that break from the norm - for me at least. For a long time, I have “endured” the pub band with it’s lack of variety, space, entertainment and tight unity. Drinking an odd extra pint or 5 to get ourselves through and heck, so we should:- support the local music and keep it live or even alive. We most definitely should.  However last Saturday night we didn’t need to make such sacrifice… I was lucky, well much more than lucky… Seriously fortunate to be there!  Fantastic! Everyone commented on the high calibre of the Thieving Magpies band.  When I see you play it becomes my favourite experience displacing the previous one. I can’t put my finger on the specifics: the four of you, your talent, your unique presence on the stage, your poise, your smiles, your skills. I’ve decided the “M” in Magpies stands for “Magic”. What an impressive performance, you're simply the best covers band I've seen for years".

Thanks, you all for the experience. K>H (Attending Kings Arms Kirkby Lonsdale Gig)

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The Thieving Magpies illuminate a lively bunch at Tweedies Bar in Grasmere with their Blues-rock bangers and refreshing energy

★★★★★

Live Review by Katie Danstone | 14 September 2019

I captured a review whilst on my cheeky second holiday at the back end of the holiday season which transpired to be something of quite an “Indian Summer”. My location?? The heart of the Lake District. The night was definitely still young as an eclectic crowd gathered in the beautiful setting that is Tweedies Bar and Lodge in Grasmere on a warm Saturday night to see The Thieving Magpies. Some people knew them, most didn’t, but soon discovered.

The four members of The Thieving Magpies arrive on stage with a beer and a smile: singer Paul Harrison, also on lead guitar, Robbie Jay Coplen on bass and Ben Steel on drums and Alan Whitmore on Keyboards. They open with a lively “foot tapping” re-working of “The Joker” by the Steve Miller Band with an incredible Jamaican Reggae favour. They manage to “stamp their own print” on so many songs but still managing to give each track the respect it deserves Filled to the brim with shredding guitar riffs; some for their intricate solos engaged by all the band members including the bass. All displayed with extreme enthusiasm and riotous band energy

A man of few words Harrison does enough without much of a conversation to keep the people included and welcome addressing only when necessary but with enough to display aspects of humour and explanation.

It’s delightful to watch the Magpies at work through their creative, artistic delivery. “Help Me” by Sonny Boy Williamson, Johnson’s “Sweet Home Chicago” and also covering a great deal of classic Hendrix moving from the literal raging of the whole room with “Voodoo Child” cut back to some deft and smooth delicate moments such as “Little Wing”. Moving from the most positive of track themes such as Marley’s “Stir it Up” to more darker songs, doused in shadows and heartbreak.

As they work through their set bringing a surprisingly fresh and modern appeal to these now historic older tracks, their confidence as musicians becomes increasingly apparent, as well as their dynamic closeness and coherence as a group. 

Drawing on many genres mixing Blues, Rock, Reggae, Funk and even a hint of Soul most clearly demonstrated in their rendition of Little’s Walter’s “Mellow Down” with an “out of the blue” medley adding James Brown’s “Sex Machine”.

Finishing the set is their re-working of JJ Cale’s After Midnight, which begins with an infectious guitar riff before launching into the most infectious funky floor filler.  

The Thieving Magpies are one of Cumbria’s finest local bands and the key to their success, for me, is their evident excitement at being here; without “fuss” or “ego” they make the performance all the more enjoyable. The most striking aspect is that the band are always clearly having a great time, performing with impressive energy.

In conclusion: well: crafted, genuine, spontaneous, creative, inventive, very different and always loads of fun.

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Focus on "Little Wing" a song written by Jimi Hendrix and recorded by the Jimi Hendrix Experience in 1967. It is a slower tempo, rhythm and blues-inspired ballad featuring Hendrix's vocal and guitar with recording studio effects accompanied by bass, drums, and glockenspiel. Lyrically, it is one of several of his songs that reference an idealized feminine or guardian angel-like figure. At about two and a half minutes in length, it is one of his most concise and melodically-focused pieces.

The Thieving Magpies perform Little Wing by Jimi Hendrix Live at Bootleggers Music Bar in #kendal Thanks to Andrew Towers Purple Videos Ltd for filming and production.

The origins of "Little Wing" have been traced back to the 1966 recording of "(My Girl) She's a Fox", an R&B song which features Hendrix playing Curtis Mayfield-influenced guitar accompaniment. He developed the song while performing in New York City's Greenwich Village prior to his involvement with producer Chas Chandler. After being inspired by events at the 1967 Monterey Pop Festival, Hendrix completed the song in October 1967, when it was recorded by the Experience during the sessions for their second album Axis: Bold as Love.

"Little Wing" was released with the Axis album in December 1967 in the UK and the following month in the US. As one of only two songs from the album to become part of the Experience's concert repertoire, the Experience often performed it live and recordings were issued on early Hendrix posthumous albums Hendrix in the West in 1972 and The Jimi Hendrix Concerts in 1982. More recently, demo versions have been released as well as additional live renditions. "Little Wing" is one of Hendrix's most popular songs and has become a standard, with interpretations recorded by musicians in a variety of styles. It is ranked number 366 on Rolling Stone magazine's list of the "500 Greatest Songs of All Time". https://www.youtube.com/watch?v=idnF8noj2Ps

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(THE THIEVING MAGPIES)

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(Alan Whitmore)

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Focus on Paul Harrison (Lead Vocal/Guitarist and founder of the Thieving Magpies) Paul is a well known and highly respected musician across Cumbria. As a solo acoustic performer he has played many a festival- Solfest, Kendal Calling etc, as well as innumerable bar gigs. He was in Rezzonator with well known Cumbrian bluesman Phil Saunders, the infectious reggae band The Northern Reggae Generator, eventually going on on to co-front popular roots band Room Full of Mirrors. With three original albums to their name, the Mirrors became immensely popular, sharing bills with everyone from the Peatbog Fairies to Midge Ure. The Thieving Magpies were formed in 2016 when Harrison felt compelled to return to the blues rock roots of his youth and the rest, as they say, is history....

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"Sweet Home Chicago" is a blues standard first recorded by Robert Johnson in 1936. Although he is often credited as the songwriter, several songs have been identified as precedents.[1] The song has become a popular anthem for the city of Chicago despite ambiguity in Johnson's original lyrics. Numerous artists have interpreted the song in a variety of styles. On November 23, 1936, in Room 414 of the Gunter Hotel in San Antonio, Texas, Robert Johnson recorded "Sweet Home Chicago".[12] He changed the character of the song to one of aspirational migration, replacing "back to Kokomo" with "to Chicago", and replacing "that eleven light city" with another migrational goal "that land of California".But I'm cryin' hey baby, Honey don't you want to go Back to the land of California, to my sweet home Chicago[13]Johnson sang this as the first verse and used it as the refrain. Otherwise, his verses retained the structure of Arnold's recording, with similar counting verses. Johnson succeeded in evoking an exotic modern place, far from the South, which is an amalgam of famous migration goals for African Americans leaving the South. To later singers this contradictory location held more appeal than obscure Kokomo. Tommy McClennan's "Baby Don't You Want To Go" (1939)[14] and Walter Davis's "Don't You Want To Go" (1941)[15] were both based on Johnson's chorus. Later singers used Johnson's chorus and dropped the arithmetical verses.Johnson uses a driving guitar rhythm and a high, near-falsetto vocal for the song. His guitar accompaniment does not use Kokomo Arnold's bottleneck guitar style. Instead, he adapted the boogie piano accompaniments of Roosevelt Sykes to "Honey Dripper" and by Walter Roland to "Red Cross" to guitar.[2] Leroy Carr's "Baby Don't You Love Me No More" (with Leroy Carr on piano and Scrapper Blackwell on guitar) shares the rhythmic approach and the feel of Johnson's initial two verses.[16]

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Focus on our keyboard wizard Alan Whitmore, “Alan has enjoyed travelling all over the place playing all kinds of styles and genres for over twenty years. Many different venues from the Blackpool Winter Gardens, the Sands Centre Carlisle, Birmingham Convention Centre to the Nottingham Playhouse. Numerous Festivals and performances. Alan is mostly known for his role as Benny Anderson in the international ABBA Tribute band VOULEZ VOUS. He also played briefly in the same role with acts such a SWEDE DREAMZ and THANK ABBA OR THE MUSIC. He has also performed with other national touring tribute bands such as Kate Bush tribute act “Dreaming of Kate” and the motown band “Baby I need your Lovin’”. Alan has recorded for a numbers for music projects and recordings as a session musician in places such as Great Image Studios, Stockport Old Knows Factory, Presshouse Studio, Devon, Vulcan Studios, Liverpool , Cotyso Studios Manchester and Artisan Studios, Stoke-on-Trent. In 2015 Alan appeared on Pete Shirley’s album “Sunset Katy and other stories” which has been featured several times on BBC and Digital Radio stations including North American Radio. Alan now loves the fresh challenge of playing a different style of music and genre with the Thieving Magpies. He joined in early 2017.”.

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5 posts!

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Mellow Down Easy

Now nearly 60 years old, the song has continued to capture the imaginations and inspiration of artists across the globe. It’s been covered by many celebrated blues harmonica players such as Rod Piazza and Jason Ricci, and found it’s place in many popular rock acts, including ZZ Top, Robben Ford and Little Feat. Hugh Laurie, who many best know as Dr House from the hit television show, has since began an impressive career playing blues music, and routinely works the song into his live sets with no small amount of showmanship — an act that would likely make Walter, a well known showman in his own right, proud. Though he passed away in 1968 at just 37 years old, Little Walter’s music has never stopped influencing the world.

Just over ten years after the track’s release, the legendary Paul Butterfield Blues Band released their self-titled debut album, including “Mellow” as the final song on their A-Side. Butterfield’s band, with future stars Elvin Bishop and Mike Bloomfield, included the track in their live sets, even playing it at the famed 1965 Newport Folk Festival. John Hammond, Jr, son of one of the most influential figures in popular music and a prolific (though under-appreciated) artist in his own right, has regularly performed acoustic versions of this song live, either solo or as part of a duo

Little Walter was the landmark harmonica player with a wild reputation and a pioneering harmonica sound that was as untouchable in the 1950s as it is today. The Chess Records artist made some mighty musical waves in his all-too-brief life. In 2008, he was posthumously inducted into the Rock and Roll Hall of Fame, and holds the distinctive honor of being the only artist to ever be inducted specifically for harmonica work. He had two number-one hits in the mid-1950s, “My Babe” and the only harmonica instrumental to ever reach Billboard #1, “Juke”. One song out of the blues giant’s repertoire, however, has continued to weather the test of time to inspire and influence people decades later: Checker Records number 805, “Mellow Down Easy“, written by the great Willie Dixon and recorded October 5, 1954.

https://www.youtube.com/watch?v=3QF5ZyLGNS8