Saturday, March 24, 2018

Welcome to Peter Clemon's Coventry Music Articles

This Post Remains on top as an introduction to the site. Scroll below for the latest posts.

This Blogspot is part of the Hobo (Coventry Music and Arts Magazine) archive run by Trev Teasdel.

Hobo was a Coventry music magazine c 1973 - 75 and the archives of the magazine and Hobo workshop and the general music scene of the 70's was originally on Vox blogs c 2007 until recently. Vox closed and the site is being redeveloped and rearranged here - it's still in progress so bear with us.

Photos of the Coventry Music Museum run by Pete Chambers
Do visit the museum if you are in Coventry - website

This Blog
This Hobo blogspot in particular  is for Peter Clemons Coventry music Scene articles for the Coventry Telegraph and beyond. Pete Clemons has a huge database of hundreds of gigs in Coventry from the 60's to the present. Both professional acts and local bands. He has had over 100 articles published in the Coventry Telegraph which, on his request, we've collated here and  have linked them with further material from the Hobo magazine archives.

NEW - Coventry Book Launch Documenting the Music and Entertainment Scene of 1970's by Ruth Cherrington. The Dirty Stop Outs Guide 1970's Coventry.
Available in Coventry from Waterstones and HMV or from Amazon UK here 

Hobo magazine and Workshop are well featured in the book as are many of the photos from the Hobo Archive pages here.Both Pete Chambers and Pete Clemons make a good contribution to the book as well.

  • Early posts on here - if you scroll right down - are Pete's Rock of Ages Posts - gigs in Cov through the ages since the early 60's to present.
  • Later posts are about important music venues in the city and their history.
  • Other posts are about Coventry bands from the 60's onwards.

Pete Clemons and Trev Teasdel at  BBC Radio Coventry and Warwickshire January 2016

Links to the other Hobo Coventry Music Archive sites 
Coventry Music Scene from Hobo - This is the Hub to all the sites below

Hobo - Coventry Music Archives This is the main Blogspot for the Coventry Music Archives from Hobo Magazine with archive material from HoboMagazine and other Coventry music magazines, feature articles and other documentation. This site is still in development.

Coventry Arts Umbrella Club
The archives of the Coventry Arts Umbrella Club which was opened in 1955 by the Goons and where some of the Two Tone musicians started out and literary figures like Phillip Larkin and much more. many Coventry bands played the Umbrella in the late 60's and early 70's. It also housed Coventry's first Folk Club.

Coventry Folk Club Scene 1970's  
This is the Hobo site for Coventry's longstanding and thriving Folk and Acoustic scene. It covers both folk archives from the 70's and features on some of the contemporary singer songwriters out there now along with Pete Willow's history of Coventry Folk Scene and pdf versions of  his 70's Folks Magazine 1979 / 80. Top names like Rod Felton, Dave Bennett, Kristy Gallacher, Pauline (Vickers) Black, Roger Williamson, Sean Cannon and many more.

Coventry Gigs 1960 to Present (This blogspot in fact!).

Coventry Discos, Venues, Music shops and Agencies / Studios etc.
A steadily progressing blog for a variety of other aspects of Coventry's music scene - the DJ's, Discos, Venues, Arts fests, record shops, studios, music agencies etc etc..

Coventry Musicians Who's Who 
This blog has an A to Z of Coventry musicians. It's not yet complete (if ever!) but there are many names and their bands on already. I will come back to it when the A to Z of bands is complete and add in names not on. Meanwhile if you are not on it - and you should be - or your friends and their bands or if your info is incorrect - do let us know at

Hobo A to Z of Coventry Bands and Artists
Meanwhile a huge A to Z of Coventry bands and artists can be found (again in development) here

Steven Wilson – Warwick Arts Centre

Steven Wilson – Warwick Arts Centre
by Pete Clemons

The last time Steven Wilson appeared live in Coventry was with his band Porcupine Tree. This was during April 1995 when they played at the General Wolfe pub. Prior to that there only other visit was to the Tic Toc (or Antics, as it had by then known) in December 1993. The Antics gig, came just a week after Porcupine Tree’s highly impressive debut, at the Nags Head, High Wycombe.

And my how things have changed over the intervening 20 odd years. Porcupine Tree has been on hiatus for several years now. Yet despite that Steven has just gone from strength to strength.

Today he is more than capable of selling out venues like the Royal Albert Hall as were the Porcupine Tree on their final tour. But, believe me when I say, that it has not always been like that. To get to this position was far from an overnight success story. This has been the accumulation of 30 years of incredibly hard graft and self-sacrifice.

Tonight, Steven is showcasing his critically acclaimed 5th album release, ‘To the Bone’, at the Warwick Arts Centre, but that album does not wholly dominate. And he is received by a good cross section of people. It was heartening to see a lot of relative youngsters in the house.

A brief introduction of 1920/30s music accompanied by a film that kind of played mind games with you, opens up the proceedings. This in itself is quite thought provoking and designed to tap into the senses and to ‘gauge reaction’.

Enter the band that appear to be relaxed, confident and yet determined as, seamlessly, they slip into ‘Nowhere Now’ followed by the haunting yet beautiful ‘Pariah’. These first few songs were combined with some impressive use of technology. We are then reminded as to how good Steven’s last album, Hand.Cannot.Erase. really is.

Throughout the two sets and getting on for three hours on stage the extensive Porcupine Tree back catalogue is not forgotten. Tracks like ‘Arriving Somewhere but not Here’ and ‘Sleep Together’ create a wall of the most glorious sound you will ever hear.

Steven came across, to me at least, that he was in a good place right now. But he is still prone to reacting to what people think about his music. Permanating, for example, was preceded by a lesson in pop music. Now I find Steven to be very articulate and very interesting to hear and read. And it was actually a very informative chat about pop music and what the magic of it all means to him.

Despite that, however, I have never been convinced that the live stage is the right place to do it. Apart from the odd voiced ‘get on with it’ I do think that folk accept, nowadays, that Steven will not sit on his laurels, he will challenge himself as well as his audience. And that he genuinely enjoys exploring every aspect and corner of the music world regardless of the results. And if people don’t get that by now then they never will. Steven, in my opinion, does not need to explain himself.

Throughout the gig, and by stealth, Steven paces around the stage appearing, at times, to support and encourage the various musicians to go beyond where they have been before. Without doubt, whatever band Steven puts together, and you need to be at the top of your game to be considered in the first place, he just seems to motivate them to go the extra mile. Some of their soloing is just exquisite and from the musician’s point of view, it must be equally satisfying to be able to be able to perform at such a high standard.

It certainly paid dividends from where I was sat as this really is was an aural experience that the Butterworth Hall, I am guessing, has rarely hosted. It was an extraordinary gig that, at times, left you breathless.

Wednesday, March 14, 2018

The Beverley Martyn Story

The Beverley Martyn Story
Pete Clemons

But first a little Intro...
Beverley Martyn (born Beverley Kutner on 24 March 1947), singer, songwriter and
guitarist. Beverley was born near Coventry and fronted The Levee Breakers, a jug band who played the folk circuit in south east England. At the age of 16 she recorded her first single. "Babe I'm Leaving You", released on Parlophone 1965. Martyn was then signed as a solo artist to Deram. In 1966 she released a single, "Happy New Year" (b-side "Where The Good Times Are"), written by Randy Newman, on which she was accompanied by Jimmy Page, John Paul Jones, Nicky Hopkins and Andy White. "Happy New Year" was chosen, together with "I Love My Dog" by Cat Stevens, to launch Deram as the progressive branch of Decca Records. She also recorded an unreleased single in the same year, "Picking Up The Sunshine" / "Gin House Blues". These last two tracks also featured John Renbourn and Mike Lease. During this period she was taught the guitar by the folk guitarist Bert Jansch who also encouraged her songwriting. Her follow-up single "Museum", written by Donovan was released in 1967, produced by Denny Cordell.

Closely involved with the folk scene, she met Paul Simon who invited her to New York where she contributed to the track "Fakin' It" on the Simon & Garfunkel album Bookends on which she says in the middle of the song: "Good morning, Mr Leitch, have you had a busy day." She later appeared at the Monterey Pop Festival on 16 June 1967, as did Simon & Garfunkel.

Of course, by 1971 she was the wife and musical collaborator of John Martyn....The Beverley Martyn Story - by Pete Clemons

When you read a book, and I am referring more to bio’s and autobio’s, your mind tends to form opinions about those involved. And those opinions can go in a number of directions depending on, I guess, any preconceived notions you had in your mind, about those involved, in the first place.

You need to keep in mind that you don’t actually know the people involved and, as such, so you don’t get totally skewed by any preconceptions. It can be, understandably very difficult, to keep an open mind. So try your best to take these things at face value.

And this little ramble came about as I began to write a few words about a book I recently read, ‘Sweet Honesty’ - The Beverley Martyn Story ... as told to Jaki da Costa.

The first full chapter covers Beverley’s recollections of her early life up until she leaves Coventry, for London, in 1962 to begin a new life.

Beverley’s musical career in London began promisingly enough. She initially fronted the three piece band called The Levee Breakers. She would then sign to Deram Records as a solo artist - in fact her single ‘Happy New Year’ has the distinction of being the first single release on that label. 

Then, in 1967, Beverley would perform at the Monterey Pop Festival. During this period Beverley became associated with some of the greatest singer songwriters of that era. And all of this is covered in the book.

1968 saw Beverley meet, and less than a year later, marry John Martyn. They went to America, rented a house in Woodstock and even met Bob Dylan. Together the pair made some wonderful music. But then John’s solo career took over. 

It is quite sad, and at times rather shocking, to read Beverley’s revelations as to how, after such a romantic beginning, things quickly began to turn sour. I think it is fair to say that it was a tempestuous relationship. Their 10 years or so together certainly scarred Beverley for years to come. ‘It stripped me of everything, from my self-confidence to my career’.

Beverley does however acknowledge that it was a two way thing and that drink and drugs were at the heart of it all. But, as much as you don’t want to read it, the book does arouse suspicions that John was envious of Beverley’s early success and that he possibly used her as a springboard to launch his own career. With a divorce that dragged on for a further 10 years life, even after John, appears to be a continued struggle for Beverley.

Trying to get find some kind of balance, I looked up a reputable John Martyn autobiography. All those who knew John during those early years were quoted, all apart from Beverley.

However an alleged close family member disputes some parts of the story. In particular, the area that covers Beverley’s early years while still in Coventry. That person goes on to say that maybe the book should be retitled ‘Bitter Sweet Delusional Lies and Fantasies’.

As such Beverley’s life has been indeed contentious. It is full of emotion and, at times, pulls no punches. So it could also be that Beverley was simply lashing out. After all she is, largely, an unfulfilled talent. Having said that though, 2014 did see Beverley return to the music scene, with her excellent release titled ‘The Phoenix and the Turtle’.

From her book Sweet Honesty "I remember one  day I was playing around with a song about the ocean when Paul came into the room. Shortly after he wrote ‘Bridge Over troubled Water’. Did I inspire him? I hope so."

"Oh let the sea my troubles mend Let the sea
Let the sea
Let the sea my troubles mend.

More about Beverley Martyn on the Hobo Coventry Folk Club Scene website here -

Article by the Pete Chambers below....

Martyn Connection Comes full Circle at Arts Centre.

IT'S not a well-documented fact but Beverley Martyn, the folksinging former wife of the legendary John Martyn, was actually from Coventry.

She was born Beverley Kutner and she attended Broad Heath School. She went on to the Corona Academy of Theatre, where she became the front person for the jug band The Levee Breakers. At the age of 16 she released her first single on Parlophone, Babe I'm Leaving You. But eventually signed for Decca's progressive label Deram in 1966.

Known then simply as Beverley, her first Decca single was Happy New Year, followed in 1967 by a cover version of the Donovan song Museum; both are now very collectable.

She was taught to play guitar by the guitar supremo Bert Jansch. She would go on to perform at the famous Monterey Pop festival, being introduced by none other than Paul Simon.

She was a good friend of the shorter half of Simon and Garfunkel, indeed her voice can be heard saying "Good morning Mr Leitch, have you had a busy day?" on the track Fakin' It from Simon and Garfunkel's Bookends LP, (the comment incidentally is reputedly a diatribe aimed at folk singer Donovan Leitch). 

Beverley had been working for Joe Boyd's Witchseason production company, as had John Martyn. She met hubby-to-be John when he became her backing guitarist. John and Beverley married in 1969.

They signed to Warner Brothers in America, and Island Records in the UK, releasing the album Stormbringer in November 1970. It featured the drumming of Levon Helm from The Band and it was recorded in Woodstock.

The opening track, Go Out and Get, it featured on the legendary Island compilation LP Bumpers. Beverley wrote three of the 10 original songs including Sweet Honesty, a track that in 1970 a jobbing Elton John sang as a publishers' demo for the DJM catalogue. Many years later it was released as a bootleg as part of the Elton John CD, Songs of Nick Drake, the DJM Sessions Album.

The couple recorded one more album together, the jazz-influenced Road to Ruin in 1970. From then on Beverly gave up music to spend time to bring up the couple's children, although she did make the occasional appearance on John's albums. The couple separated in 1978. She toured Europe with the quirky Loudon Wainwright III, but it wasn't until 2001 that Beverley released her first solo album No Frills.

Despite a lack of commercial success it was well received, showcasing her pure and distinctive voice, (her son Spencer also features on it). Meanwhile the quite brilliant John Martyn continues to knock out classic records despite the setbacks of drink and drug dependency, marriage breakdowns and recently losing a leg.

That leads me to the concert at Warwick Arts Centre on May 19, of the man himself. John may be wheelchair-bound these days, and look nothing like his 1980s version. But he can still light up the stage with his presence. His voice remains unmistakable. Full of raw emotion, like tortured velvet, his unique voice and introspective songs combine to make a musical intensity like no other.

We were treated to many of his classic songs, handpicked from a body of work that stems back some 30 years. May You Never, Over the Hill, Bless the Weather and of course Solid Air were all present and correct.

John Smith, the support act, should also be mentioned, Devon-born John has a voice not unlike John Martyn, his guitar (and banjo) playing is of the maestro level. Playing the instrument at one point (during the song Winter) on his lap, tapping out a percussive beat on the body, while playing the strings dulcimer style.

He's certainly one to watch. Can I also say a big thank you to Arly Grove and to the crew at the Warwick Arts Centre who looked after me so well.


ON the song Happy New Year she was accompanied by half of what would become Led Zeppelin - Jimmy Page and John Paul Jones - and Stones part-time keyboardist Nicky Hopkins.

SHE appeared on the album cover of Bert Jansch's 1965 album It Don't Bother Me where she can be seen lounging in the background.

BEVERLEY has worked with names including Levon Helm, Dave Pegg, Davy Graham, Nick Drake, John Renbourn, Ralph McTell, Sandy Denny and Richard Thompson.

Pete Chambers 2007 from the Coventry Telegraph

Saturday, March 10, 2018

The Old Grey Whistle Test

The Old Grey Whistle Test
By Pete Clemons

Nowadays, music channels seem to be all over the place but going back to the early 1970s there were very few music programmes on TV to watch. Top of the Pops was an obvious exception, along with the odd late night arts programme. To watch music live you needed to go out and not sit in front of a screen. Nobody was catering for the growing progressive elements of the music business.

Then slipping in during 1971, almost unnoticed, came a TV programme called The Old Grey Whistle Test. Initially it was presented by Richard Williams, who had been a journalist for Melody Maker and who was keen to promote the importance of the serious music out there at that time.

From 1972, and at the invitation of Richard Williams, fellow journalist and radio presenter Bob Harris took over the show and, with his laid back style and nature, made it his own.

The Old Grey Whistle Test was ground breaking and experimental. It was also an educating programme for serious fans of music that had enquiring minds. The show played a wide variety of eclectic music, so diverse that it was rare when, I for one, fully enjoyed a whole episode. Artists such as Billy Joel and Bob Marley were given early exposure by the programme.

For the bands that played on the OGWT, they got the freedom to play live in an empty studio with no audience. And played back it was a simple, yet effective, visual style. None of the flashing lights or the crazy angle shots of Top of the Pops. Bands that played also received a ‘starkicker’ badge that they, almost all, wore proudly.

Not everyone played on the programme. You rarely saw the ‘major bands’ of the time. To promote, for example, the Led Zeppelin release of the Physical Graffiti album during 1975 you were treated to an obscure black and white dance sequence synced to the music of ‘Trampled Underfoot’ instead.

As the popularity of the OGWT grew it did have the odd special where they would devote a whole episode to a live gig in front of a studio audience. In addition, Bob Harris also took the show on the road for a few tours.

The mid 1970s explosion in the music scene that was known as ‘punk rock’ was initially
ignored by the OGWT, as it was by a lot of the media. And for that, the punk fraternity hated the OGWT. This hatred culminated on the day that the Sex Pistols signed for A+M records. Afterwards the band went to the Speakeasy Club where Bob Harris also happened to be. Bob was approached by the band and asked when he was going to have the Pistols on the OGWT. It was reported that Sid Vicious took a swing at Bob and that broken bottles had been involved. Apparently it was only for the intervention of the Procol Harum road crew that prevented the incident from getting any worse.

Soon after this incident Bob Harris stepped away from the OGWT and Annie Nightingale took over where she remained till 1982. Bob had been honest in his opinions but this fresh presenter suddenly brought the OGWT into line with what was really happening in the music world.

Suddenly the show had attitude and more classic performances followed but now by ands like The Adverts and Ramones. Famously, The Damned played ‘Smash it Up’ and did just that. Lots of the bands that had arrived with punk got exposure through the show such as Squeeze and The Police.

Annie Nightingale took the show into 1980s until she left to be replaced by David Hepworth and Mark Ellen.

New music shows like The Tube, and of course MTV, had begun to appear and the OGWT struggled to compete. Even a change of name to simply the Whistle Test failed to revive it. The show had lost its magic. Despite several changes of presenters the show was axed towards the end of the 1980s.

The legacy of the OGWT is legendary. It was original and, to this day, remains remembered with fondness. Although not complete its library of archive footage remains priceless. And it is the go to place when browsing for classic performances.

Wednesday, February 28, 2018

Shannon Cooper-Garland

Shannon Cooper-Garland

By Pete Clemons

Facebook can be the most strange of places and, at the same time, the most incredible of places. Where else can you hook up with someone you have never met before and yet can share a small amount of commonality?

I recently became ‘friends’ with a lady called Jackie who has lived the vast majority of her life in New Zealand. But Jackie had actually, been previously, within 100 yards of where I was born in Hipswell Highway. It is a certainty that we were close neighbours for a short while.

My knowledge of New Zealand’s music scene is extremely limited. I remember the obvious Split Enz and more recently Hayley Westenra. And I am aware of Dame Kiri Te Kanawa who once famously sang in Coventry Cathedral. But, other than that, I know little more.

Jackie thought she had left Coventry in 1963. However during a chat about The Rolling Stones - Jackie clearly remembered seeing them play at Coventry Theatre with The Ronettes as support - we established that it must have been during the early part of 1964.

And as it happened, one of the first bands Jackie saw in her newly adopted country was, once again, The Rolling Stones. And this love for The Rolling Stones and music in general,

appears to have paid a pivotal role in how Jackie’s live developed in New Zealand.

After settling in New Zealand Jackie became part of a band called Rodgers Dodgers who, as 13 year old’s, won a local talent quest playing mostly Beatles covers.

Bass player Roger Mclachlan was the founding member and he would join Little River Band as well as develop an impressive worldwide CV working with the likes of Cliff Richard and Shirley Bassey. Jackie would also carry on singing and worked with many other bands in New Zealand.

Rodgers Dodgers reformed for a reunion during 2008. The first time they had performed together in 40 years. And this love for music was certainly in the genes because joining Rodgers Dodgers onstage was Jackie’s daughter.

Shannon Cooper-Garland has been singing since she was 6 years old. She started with Kapa Haka, a Maori culture group, and as she got older moved on to a local covers group called C-Red and then a jazz band called Swing Street.

For several years Shannon was part of a duo with local musician Jason Schmidt. Together they were known as Jaysha who reached the finals of a New Zealand talent show in 1994.

Another band Shannon became associated with for several years were known as Pipeworkz. This highly original pipe band played pop covers and original music but drew it’s inspirations from the individual musicians diverse backgrounds. The result being a blend of Scottish, Maori and Pacific Islands sounds. Not only that but this band got to take their music to Australia, Papua New Guinea, Canada and Germany.

Since gaining international recognition Shannon has become hot property. To demonstrate
this versatility she currently fronts several line up’s. One of these being Studio 54, a 4 piece intimate band who can also transform themselves into an 8 piece if you fancy the full works inclusive of a brass section.

Another band who has just welcomed Shannon aboard is Danger Baby from Christchurch. The announcement on a news flash opened with the words ‘Kia ora koutou!’ which means ‘have life, be healthy’ went on to say ‘I kid you not when I say that this very talented wahine has got some serious pipes to go with her beautiful wairua and stage presence’.

During this extraordinary journey Shannon has taught herself to play Saxophone, lead guitar, bass guitar and keyboard. Occasionally she has got herself behind a drum kit. Not bad for a vocalist whose roots stretch right the way back to Wyken, Coventry.

Monday, February 19, 2018

Roger Lomas - From The Sorrows to Award Winning Producer

Another piece from the prolific pen of  Pete Clemons - published in The Coventry Telegraph in 2013.

The story of Coventry's only Grammy winning musician and record producer - Roger Lomas

Best known for his work with Two Tone but there's a lot more to Roger Lomas - read on...

Stage and Studio Days of a Hit Man
by Pete Clemons
(Typed version of the above article)

WHEN you talk to someone who has won a Grammy award, particularly when you are
talking to the only person from your city to do so, and who has produced more than 50 albums along with 18 hit singles you expect a little brashness or swagger.

But I never saw a hint of it. Yes there is a steely side and immense pride when he talks about his craft but that aside this is a warm, come in, have a cup of tea, make yourself comfortable sort of person.

Roger Lomas will always remain synonymous as a producer for his work with bands like The Selecter and Bad Manners which several gold and silver discs bear testament to. But before all of that he had been a guitarist and songwriter.

Roger was born in Foleshill in 1948. His introduction to music was when a friend of his elder brother Nigel called in on the way to a trip to the tip. He was getting rid of an old acoustic guitar with only two strings. Roger salvaged it, bought a new set of strings, and went about learning chords.

When Roger sets his mind to do something he does it to the best of his abilities. As he rightly says, if you have the will, and are prepared to work hard, then you can make your own luck in life - there lies the benchmark to his success.

Teenage life revolved around his guitar and by 1963/64, and encouraged by his father, he joined his first band George and the Dragons. Alongside Roger were Brian Wilkins on guitar, Rick Bradford on bass and Tom Russell on drums. The band played Foleshill Social and other local pubs.

By early 1966 Roger had joined The Clouds along with his brother Nigel on drums and Tony Lucas (aka Tony Martin and ex of The Echo Four) on bass. An early success included a support slot to The Zombies in Coalville. The Clouds were also very popular on the local pub circuit.

However, June 1966 saw lead singer Don Fardon and bass guitarist Phil Packham leave The Sorrows. 

The remaining band members, rhythm guitarist Wez Price, lead guitarist Pip Whitcher and drummer Bruce Finley had been offered work in Italy and urgently required another guitarist. Roger was drafted into the band on lead guitar while Wez switched to bass and Pip took over on lead vocals.

The 'work' was the 5th Cantagiro tour, a massive affair that involved touring Italian stadiums with a dozen or so other bands. Promotion for the tour was huge. Having only known the hit single 'Take a Heart', Roger had to quickly learn the rest of the band's repertoire.

While in Italy The Sorrows had considerable success. Take a Heart was actually re-recorded for the Italian market as 'Mi Si Spezza il Cuore' and reached number eight in their charts. Due to immense demand The Sorrows relocated from the UK to Italy, touring extensively, and such was their popularity other singles such as Pink, Purple, Yellow, & Red also had Italian versions cut - 'Verde, Rosso, Giallo, e Blu'. In fact the popularity of The Sorrows continues to this day in Italy and other areas of Europe.

The following year saw The Sorrows back again alongside bands like The Rokes (hugely successful in Italy yet rarely heard of in the UK) for the 6th Cantagiro tour. By now Roger was making full use of an added Bigsby tremolo arm and had introduced feedback into his playing, which was featured in several feature film sound-tracks working alongside Ennio Morricone.

But, in September 1967, Roger left the band and returned home.

When settled Roger teamed up again with Pip Whitcher, who had already returned to the
Roger and Pip
UK a little earlier, and the pair struck up a song writing team. Over the next few years Rog & Pip recorded several songs including, 'From a Window' c/w 'Warlord' which eventually saw a formal release in 1971. In 1968 and in parallel to his song writing activities with Pip, Roger formed The Eggy along with bass player Bill Campbell, Bill Bates on vocals and brother Nigel on drums. This band would be active up until 1969 gigging when commitments allowed. The Eggy would bear the fruits of those earlier Rog and Pip sessions as the single 'Your Still Mine c/w Hookey' was released during 1969 on the Spark label.

Due to session work commitments with Southern Music Roger also spent several months in London.

While there he built up good contacts like producer Peter Sullivan and opportunities began to open, for example, having access to Air studios and its state-of-theart 24-track recording studio. Also, while in London he teamed up with Virginia Williams (the estranged wife of Danny Williams) who recorded one of Roger's songs 'Loving and Forgiving' c/w 'Never Let Me Go' which was released under the name of Renegade on the Parlophone label in 1973.

After a re-shuffle of band personnel, Renegade saw Roger link up once again with Pip. Mick Eastbury provided bass and again brother Nigel sat in the drummer's seat. And yet again songs would surface from those Rog and Pip sessions. And a second single 'A Little Rock 'n' Roll c/w My Revolution' followed in 1974 which was released on the Dawn label.

The formation of Zips in 1974 saw Rog and Pip in a band that had slimmed down to a three-piece and with Paul Hooper, ex-Indian Summer, on drums. A single was released 'Bye Bye Love' c/w 'Evil Hearted Woman' on Mickey Most's RAK Records. During their short life Zips also released a wonderful version of The Beach Boys song 'You're So Good to Me' c/w 'Gonna Leave the Door Wide Open'. Both singles were produced by Adrian Baker and also featured the vocals of Paul Davinci.

The Dodgers had been formed by Bob Jackson, Tommy Evans (from Badfinger) and John Wilson during 1975. Over a couple of years they had lost several members and first Paul Hooper and then later Roger were drafted into the band. During his period with them several singles and in 1978 an album 'Love on the Rebound' were released on the Polydor label. Both Zips and The Dodgers received considerable airplay on national radio stations.

1977 also saw Roger set up his first recording studio. Almost immediately Neol Davies came to him with a tune. Although not active in the ska or reggae scene in the past Roger instinctively realised that the track 'The Selecter' had a certain magic and so set about recording it. Following a deal while with The Dodgers, he was able to improve on his recording studio by using advance finance from a deal with The Dodgers' management.

February 2003 saw Roger win his Grammy award at the 45th Grammy ceremony held at

New York's Madison Square Garden for his major part in producing and creating what was nominated as the best reggae album of the year. The creation of the album Jamaican ET by Lee 'Scratch' Perry released in 2002 is actually a story in itself. But needless to say that the award was a massive accolade and testament to the fact that Roger has that rare ability of being able to put a band together that will produce a certain sound.

The subsequent years have seen Roger working with his son Kevin, bass player of popular Coventry covers band The Subterraneans. In fact The Subs have been recording their own songs under the name The Subsonixx, including the excellent track 'What If I'.

2013 is also sure to be a memorable year with the re-release of many of those Rog and Pip songs on the Rise Above Record label. Rise Above Records, as some will know, is run by Coventry-born Lee Dorrian who himself fronts bands like Napalm Death and Cathedral.



Here are some samples but more can be found on Roger's website -

Roger Lomas The Producer.
His work includes - The Selecter, Specials, Modettes, Body Snatchers, Echo and the
Bunnymen, Bert Jansch, Hazel O'Connor, Bad Manners, Lee Scratch Perry, Roy Wood, Reluctant Stereotypes, Desmond Dekkar, Toots and the Maytals, The Tubes, 3 Red Colours, Elkie Brooks, The Country Joe Band, The Men They Couldn't Hang, Ashley Hutchings, The Wildhearts, Jeremy Spencer, The Ripps, China Crisis,  The Subterraneans, Happy Mondays, Terrorvison, The Stawbs and more....

Related Roger Lomas Posts on this site - 

Rog and Pip New Heavy Album

 The Sorrows -

At the foot of this page, after the videos, is a very interesting interview that Pauline Black did with Roger Lomas for her column - The Black Room - in the Coventry Telegraph 1999. Worth scrolling down for!!

Some of the Classic Tracks Produced by or related to Roger Lomas.

The Sorrows Live - You've Got What I Want - No No No No - Take A Heart - Let Me In

Celebrate the Bullet -A Classic Selecter track from their second album written by Neol Davies and produced by Roger Lomas.

The track that launched the Selecter in the singles chart 1979.

The Specials - Too Much Too Young

The song that started it all - The Selecter - (AKA The Kingston Affair) (B side of Gangsters) but written by Neol Davies, played by Neol Davies with John Bradbury on drums and recorded on a 4 track portastudio by Roger Lomas as early as 1977.

Echo and the Bunnymen - Me, I'm all smiles album

Desmond Dekker

Bert Jansch Fresh as a Sweet Sunday Morning

Bad Manners - Lorraine

The Moo-Dettes - Paint it Black

Hazel O'Connor

The Reluctant Stereotypes

The Selecter Bristol Miami

The Sorrows

The Dodgers - Formed in 1975 by Bob Jackson and Tom Evans after the tragic suicide of Badfinger's Pete Ham.

Roger and Pip - under-rated heavy heavy track!

Roger and Pip

Another Roger Lomas outfit - Renegade as musician - Revolution by Renegrade

In May 1999 Pauline Black of The Selecter did an interview with Roger Lomas for the Coventry Telegraph, from her column - 

The Story So Far… Roger Lomas

I decided that I’d had enough of interviewing pop-stars for a while. So I decided to take a
look at the un-sung heroes of pop; those people who sit behind the mixing desk and try to inject that extra something into a song; the elusive ingredient that makes it a hit. Roger Lomas is such a man. A brilliant producer, live engineer and ex-popstar. He has been recording music and making hits along the way for twenty years or more.
The interview took place in Roger’s 24 track custom-built studio at the bottom of his garden in Styvechale. Roger is a classic local maverick. He doesn’t give a damn about what people think of him, liberally uses the word crap to describe things he doesn’t like, and greets most people with a thumbs up sign and a jauntily hurled: ‘hello boy’. He’s hilarious.
I love his mercurial personality, but beneath his bluff exterior, lurks a serious and very shrewd businessman. He’s refreshing in the world of the music business. He has no credibility hang-ups, he’s no poseur and is as at home in his local the Open Arms on Daventry Road, as he would be taking tea with the Queen.

Q Where and when were you born?
I was born on 8 October 1948 in Keresley Hospital.

Q Where did you grow up?
I come from a working class background and grew up in Foleshill. I went to Edgwick Junior School and Broadheath Secondary Modern.

Q When did you first become interested in music?
I had no particular interest in music until one day my brother’s best friend called round the house. He was on his way to the local tip and had a battered acoustic guitar with just two strings on it, which he was going to throw away, but he asked if we wanted it. So we took it off him. I must have been about 14 at the time. I thought why not learn to play it. I went to a music shop bought a set of strings and a chord book and a little set of pitch pipes and started learning the chords. In a matter of weeks I could play it. Before that I never even realized that I was the slightest bit musical. It was one of those lucky things. Some people have dreams, but I didn’t. I had no dreams about music as a life, no other interests outside of fishing or stamp-collecting.

My brother was a drummer in a band. Occasionally I went with him on gigs, but I never thought I wanted to be in a band. After I learnt to play the guitar, I caught the bug and totally lost interest in everything at school. Until then I’d been good at school, but I went downhill, once I found I could play the guitar.

Q When did you first think about making a career out of music?

I’m one of these people who has always wanted the best of everything. So I didn’t want a crappy old acoustic anymore. It had to be a good guitar. After I bought myself a better guitar, it just went on from there. I formed my first band at school, just before I left at 15. I left school at the earliest opportunity and started playing lead guitar professionally in a local band. It was called St George and the Dragons. I played my first gig in public at the Foleshill Social Club. We mostly did pubs, so I’d have to hide out the back till we went on stage, because I was underage.

We did 60’s Beatles songs. People didn’t write their own songs in those days. Even the Beatles didn’t write their own songs in the very early days. We were a covers band. The Beatles were our main influence. It fizzled out after a year.

I had no real intention of working, because in those days wages were so low, that you could easily earn as much being in a band working a couple of nights a week as you could working all week in a regular job from 9-5.

I had a job for a year and 5 months to pay off the HP installment on my musical equipment. I also worked in various other bands. The last proper job I ever had was at Courtaulds as a lab technician for £6 a week. Then there was this job going for £7 a week in an engineering factory across the road, which I took, but I hated it after a week. So I clocked in one Monday morning, thought this is crap and clocked out again. From that day to this, I’ve never worked in a proper job. I’ve just been self-employed.

I was struggling after I stopped working, what with all the HP payments, but I’ve always been enterprising and I was adamant that I wasn’t going to work for anybody. So I would make coffee tables and sell them just to keep my head above water.

Q How did you get your first professional musical break?

I always stood out from the other musicians in town, because I was like a spoiled kid, I had all the best gear. I was 17 when I bought a Gibson guitar and the biggest amp you could buy in the world. It was a Vox amp, designed especially for the Beatles when they played the Shea Stadium gig in America. They used to call them Vox Beatle Cabinets. It was on a big swivel stand. There was a local band in Coventry called The Sorrows, who had had a fairly big hit in England, called ‘Take a Heart’. I think it got to No 19 in the charts. In those days if you had hits abroad it wasn’t instantaneous like now. You tended to get a hit abroad about a year after it was a hit in England. The Sorrows were on the verge of splitting up, there was only three members left out of the original 5. They were only staying together because of contracts for a couple of future gigs. Then out of the blue, they were contacted by RCA in Italy, because the record had gone to No 1 there. RCA wanted to release the track recorded in Italian. The band had to go out and promote it. Their manager was looking for another member.

I put a lot of the things that happen in my life down to fate. I got the job with The Sorrows because I had exactly the same guitar equipment as they had. As far as they were concerned, that’s what clinched the deal. Initially I was asked to join the band just for the tour.

We flew over to Italy and the tour was phenomenal. The Italian version of the record went to No 8 and the work flooded in. We ended up living in Rome for 2 years. We were treated like real pop-stars. However, by June 1966 Italy was flooded by English bands and our edge was eroded. So the band gradually fell apart.

Q What did you do after The Sorrows split up?

I came back to Coventry and set myself up as a session musician. I started dabbling in song writing. I wouldn’t class myself as a natural songwriter, but I’m good at recognizing a good song that somebody else has written.

I joined The Dodgers, a local band that had a deal with Island Records. At the time the original bass player in the band was the bassist from Badfinger. He left and I took over on bass, which I shared with the other guitarist, because I didn’t want to be playing bass all the time. Some of the members were from Coventry and the other half from London. We did an album for Polydor and had a few singles out, but the timing was bad. The band was a cross between the Beatles and Bad Company, which was unfortunate because punk was big then. We recorded another album, but the record company rejected it.

Q When did you decide to start recording other bands?

By 1977, I was more into the recording side of the business. I built a 4 track studio in the garden of my house in Broad Street, Foleshill. Then one day Neol Davies knocked on the door. He said: ‘I’ve got this great song I’ve written and I want to make a demo’. Neol at that time was known as a rock musician around town, so I was surprised to find that it sounded like old ska. But I have a commercial ear, which is necessary if you want to be a successful producer. I recognized that he’d written something good, even though it was not my kind of thing.

We made a proper track and spent a week on it, which was unheard of in those days. It was just an instrumental track featuring a trombone solo, which I put through a flanger and used long delay echoes on it. Everybody was pleased with the results.

I did the rounds with it, because I had a lot of contacts in the music business, but nobody was interested it. I think it was too soon for that sound. It was 18 months before The Specials recorded ‘Gangsters’. I didn’t know The Specials then, because I wasn’t into the punk thing. I knew this song was good though. Eventually it ended up on the B side of The Special’s single ‘Gangsters’. By that time our track was called The Selecter. Initially 2000 pressings were done through Rough Trade. Then of course, 2-Tone happened.

Q How did you start recording at Horizon Studios in Coventry?

Originally Horizon Studios was an 8 track. Barry Thomas, a local businessman had put a lot of money into it after his car number plate business got into difficulties. I got my foot in the door, because he didn’t have any contacts in the music industry and I did. This was in 1976-77. It was 2-Tone that put Horizon Studios on the map. In 1979 the studio upgraded to 16 track and it was a convenient place to record for the emerging 2-Tone bands.

I used it to record Bad Manners, The Selecter and The Modettes. I also recorded The Bodysnatchers single for 2-Tone, ‘Let’s Do Rocksteady/Ruder Than You', but we did it in London.

Q What is your best memory of that time?
In 1979, I was definitely flavour of the month, as far as producers were concerned. At one stage I had three singles in the Top 30 and all three bands on Top of the Pops the same night. I was very busy. That was a once in a lifetime thing.

Q Did you enjoy being the producer instead of the pop star?
It was very frustrating actually. I was earning lots of money, but I wasn’t in a band anymore. I was just cooped up in a studio all the time. It got to the stage where the money didn’t mean anything anymore. I just had to get out of the studio. So I got into live engineering. I loved being out on the road again, even though I was still behind a mixing desk.

Q How did you get involved with Bad Manners?
Magnet Records approached me in 1980 to produce them. They invited me down to a record company Christmas party to have a meeting with them. I met the band and we had such a good time, that I didn’t bother to listen to their demo tapes. Buster Bloodvessel was brilliant. He was larger than life. I knew that the band couldn’t fail, because he had so much charisma.

Q How many hits did you have with Bad Manners?
We had a couple of No 3’s with ‘Can Can’ and ‘Special Brew’. We had a total of 14 hits.

Q What’s your best memory of working with Bad Manners?
My favourite memory was the story behind recording ‘Can Can’. Buster wanted to do it, but the rest of the band thought it was a crap idea. Buster knew he could sell it and I knew he could sell it. He’d already convinced me. We were booked into the studio for a week, but after 3 days, Bad Manners ran out of things to record. So I suggested trying to record a demo of Can Can. In the absence of anything else, the band eventually agreed to do it. When we played it to the record company, they were knocked out by it. Even the band thought it was good.

The following week we did a proper recording session. Can Can is a classical music piece, which would normally be played by a 50 piece orchestra, so it was a difficult recording task. I had to make the song sound as big as an orchestral piece. I ended up using 40 or 50 tracks on a 24 track tape machine, so I had to bounce lots of tracks together. It took me a day and half to mix it. The day I finished it, I just knew it was going to be a massive hit. Sometimes, you just know. It was perfect Bad Manners.

Q Why were you more attracted as a producer to Bad Manners, than the other 2-Tone bands?

They suited my personality much better than 2 Tone. They were non-serious. I have a serious side, but I don’t let it get in the way of my job. I liked all the rough edges on their albums. It was the imperfections on a Bad Manners record that sold them. Sometimes, if things were too good, I had to make them sound worse. On the second album, Buster had to play a trombone solo, but it was sounding too good in the studio, even though he’d never played a trombone before. So I had to make it sound worse. That track was ‘Fatty Fatty’.

Q What caused your break-up with Bad Manners?
I did their last record in 1982. After the fourth album Bad Manners got very serious. They thought their fourth album was the best, but I think it’s the worst, because the character we got in the first album was lost by then. Suddenly they wanted to be taken seriously, because they were fed up with being seen as the 2-Tone joke band. My attitude was to ignore the comments of the other people in those bands. Why worry about the credibility angle, when the public loved them as they were. After all, it was the public who bought the records and they weren’t bothered. That’s always been my attitude. I don’t care what reviewers think. All my worst reviewed records have all been hits and big sellers. Bad Manners weren’t convinced though, so they died a natural death, along with the rest of 2 tone.

Q What did you do after that?Then I built a studio. Being a producer of that kind of music, is like being a Soap star, you get typecast. It made it difficult for me. I didn’t approach anybody, because they used to approach me. I probably turned down too much stuff. I was offered the Undertones by EMI but I passed on it. I was offered the Q tips, with Paul Young, but I couldn’t do it. Look what happened with both those bands. But you do what you think is right at the time.

But production was quite new to me then and I was literally going from one project to another. I wasn’t pacing myself properly. I had no time off at all. I decided that the only way I’d do anything outside of 2-tone would be to stop altogether.

I built a small studio at Horizon for a while with an 8 track set up. I gave studio time away to record local bands, as long as I had an option on their recordings. Some of the bands were rubbish and I got a bit of a reputation for telling bands to split up at that time. Well, why beat about the bush!

Q What are you up to at the moment?

I don’t make plans. I live one day to the next. I don’t operate like a commercial studio. I don’t invest money in studios to get the money back. I want a studio for making good records.

Roy Wood has been a good friend of mine since my days in The Dodgers. We met when we were both recording in the same studio. This was long before Wizard. I mix his live sound, book his gigs and co-produce his recordings with him. I’ve diversified over the years. I’ve toyed with the idea of being a booking agent. I’ve never liked agents at all, but now there is a new breed of younger agent, who’ve been in bands themselves, who know the score. I’ve only been an agent for the past year.

I’ve got my fingers in lots of pies, so who knows what might happen!