Alan Ainsworth

Alan Ainsworth

Let’s start
in 1963…

My first public appearance was at the “Washouse” Folk Club, run by Pete Magovern and Billy Moore.

I played two Dylan songs, but they didn’t go down well; they were a bit too contemporary for this mainly traditional audience.
Still, we all have to start somewhere…

Let’s start in
1963

My first public appearance was at the “Washouse” Folk Club, run by Pete Magovern and Billy Moore.

I played two Dylan songs, but they didn’t go down well; they were a bit too contemporary for this mainly traditional audience.
Still, we all have to start somewhere…

My stop was the “Green Moose”;this was more like it.

The place was full of writers, singers, anarchists and communists. My being a serving member of the RAF was not held against me; in fact, it made me the exotic “Nutcase”, outsider, a target for conversion by the commies and anarchists. My Dylan, Cohen, and, yes, even Donovan songs went down well. Eventually, the Washouse folkies accepted me as a singer/songwriter, and Pete actually gave me some good advice. He said, “Listen, Al, stop trying to be Dylan, one of him is enough. You write your own songs, so sing them in your own way,” so I did.          

I upset Billy Moore; he asked why I hadn’t gone to any of the other clubs during the week. When I told him I spent the working week fixing Vulcan V Bombers, he stopped talking to me. Thanks to my time in the RAF, I moved around a lot, and as a result, I had the opportunity to run Folk Clubs on several RAF bases and play at numerous civilian clubs nationwide. The downside was never being anywhere long enough to make an impression. So, here we are more than sixty years later, still writing and playing, still enjoying live music. This will be the only thing AI won’t be able to take away from us. I hope you find some of the songs of interest.

TTFN.

Alan Ainsworth

                                                             

I have known Alan Ainsworth for the better part of 50 years, sharing not only a lasting friendship but also countless collaborations over the decades.

However, in recent years, we’ve probably spent more quality time together than ever before, thanks to our regular Friday Morning get-togethers. What began as Friday round at Roger Parker’s has since moved to the Bernie Thomas man cave, where Bernie, Roger, Ralph Fitzpatrick, Alan, and I gather to share laughs, swap stories and ailments, and enjoy some truly memorable jam sessions.

These Fridays have become a treasured ritual – a space for old jokes we never dared use on stage, honest conversation, and, most importantly, music. It’s here that Alan often introduces his latest songs, many of which have become part of what we now fondly call our Friday Morning Greatest Hits! Over time, our appreciation for Alan’s songwriting has only deepened. He writes with sincerity, from a place of lived experience, and his music spans a wide range of styles – from thoughtful social commentary to a heartfelt country ballad.

Regardless of genre, his songs always resonate, and we all agree: they deserve a much wider audience.

It’s been both a privilege and a great pleasure to work alongside Alan in the studio over the past few months to bring this Acoustic Collection to life. These recordings are a testament to his talent and authenticity as a songwriter, and I hope listeners everywhere will enjoy them as much as we do.

Brian Jones

THE ACOUSTIC COLLECTION NOTES


Alan spent 50 of his 80 years involved with, or serving in, “The Military”. The song “Mercenary” was written to highlight the darker side of military service. Let me add that it is not directly autobiographical.


“A penny for your memories” was written as a side swipe at politics and politicians, Alan tried to keep it “Short and sour”.


“Change” is an observation of our collective desperate attempts to avoid the effects of ageing. Entropy will have its way.


“Devil in a bottle” was written as an observation of Alan’s childhood; his father was a drinker and, he suspected, a sociopath.


“Barely getting by” is another swipe at politicians and their collective indifference towards the conditions many people are living in.


“Hanging on the cross” is an observation about  King’s Cross Station and the people who frequent it on a regular basis. During Alan’s time in the RAF,  he spent quite a few hours stuck at King’s Cross waiting for a connection to his next posting.


“Old Bones” is an attempt at humour and Jazz Blues. Yes, Alan said he knows it fails on both counts, but it’s also another attempt to dodge the inevitability of “Entropy”.


“Wanted” is Alan’s attempt to write a song in the style of Don Williams. he doesn’t like the use of the word “Fan”, but will admit to holding him in high regard as a Singer/songwriter. Alan once sent him a song when he performed at the Liverpool Empire, but got no response. Alan thinks he may not have actually got the tape.
“A do nothing kind of a day” is an attempt to write a song in the style of Willie Nelson, another Singer/songwriter Alan holds in high regard. He thinks he got pretty close with this one: all constructive/destructive comments welcome.

Read John Owen’s insightful review of Alan’s album.

Brian Jones sits down with Alan Ainsworth, a songwriter who’s been quietly crafting songs for over 60 years. From awkward beginnings at the Washouse Folk Club in 1963 to finding kinship among anarchists and poets at the Green Moose, Alan tells a story of persistence, politics, and the power of song. Once seen as the exotic “Nutcase” in a sea of traditionalists, he shares a witty, moving look at the folk scenes that shaped him – and the songs that stayed hidden far too long.

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