tag:blogger.com,1999:blog-61703565010574956052024-03-16T01:09:27.756+00:00Coventry Music Articles by Pete ClemonsCoventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.comBlogger516125tag:blogger.com,1999:blog-6170356501057495605.post-58307826510034203872024-03-12T19:32:00.006+00:002024-03-12T19:35:12.930+00:00The Who – Warwick/Lanchester Polytechnic 1970<p> </p><span style="font-family: arial; font-size: x-large;"><div style="text-align: center;"><b>The Who – Warwick / Lanchester Polytechnic 1970</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Q9zwtI9s6angthToTmnNK_UQJlHiikuvUO_lKXEVOcB8uP29_JtIg4Owx9cjxluT55_QvIMhwQgreaqt8S6nDXuNUWnrnHQF_j9NhT7GHwXFFURBn7U_WFWQNq1kCIyajEs_kbYvW3B2Y77tmrUj9x4wlRmB4kc9e80le3gFCgVBPJt4FkSkPFM9SXWx/s267/The%20Who%20lanch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="189" data-original-width="267" height="453" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Q9zwtI9s6angthToTmnNK_UQJlHiikuvUO_lKXEVOcB8uP29_JtIg4Owx9cjxluT55_QvIMhwQgreaqt8S6nDXuNUWnrnHQF_j9NhT7GHwXFFURBn7U_WFWQNq1kCIyajEs_kbYvW3B2Y77tmrUj9x4wlRmB4kc9e80le3gFCgVBPJt4FkSkPFM9SXWx/w640-h453/The%20Who%20lanch.jpg" width="640" /></a></div><span style="text-align: left;"><div style="text-align: center;"><span style="text-align: left;"><br /></span></div>It was due to have been the biggest night in Warwick University arts history. It could have been the most notorious concert in Warwick's then short history.</span></div></span><span style="font-family: arial;"><br />On the 14th November 1970 The Who were due to play Rootes Hall on the campus. After some complex negotiations the venue has been agreed, subject to confirmation from the manager of The Who. Sadly, in the end it all fell through. <br /><br />Originally, the concert had been planned for the workroom. The Who's management had agreed to the dimensions quoted. But days later a call was received to say that the group's stage act was impossible in a room less than 30 feet high - the workroom head height was just 13 feet. <br /><br />A new venue was required. It was then planned for the glass doors of the Airport Lounge to have been removed to create one vast open space within Rootes Hall. A kind of theatre in the round if you like. In that way it should be possible to fit 1300 people in for the concert. <br /><br />The Who's contract was described as a 'most unusual document' made provision for such extras as a security man for each musician, and drinks for the group - one of whom insisted on Napoleon Brandy. <br /><br />In total the Warwick Union would have had to have to met the cost of 26 security staff plus the drink. Additionally they would have to foot the bill for any damage caused, as well as a fee of £1150 for the show, which included the supporting group. <br /><br />All this would have made the concert the biggest, the best and the most expensive ever undertaken at Warwick. But it still hung in the balance. <br /><br />The same tour saw The Who due to play the Lanch later the same month on 28 November. During the negotiations, and trying to protect their interest, the Lanch's social secretary wanted to get an exclusion clause written into their contract preventing The Who from appearing anywhere within a 40 mile radius around Coventry for a month before and a month after their appearance at the Lanchester. Basically they didn't want punters spending their cash at Warwick and not having enough left for their gig. <br /><br />By then 960 tickets, out of the total of 1300, had already been sold for the Warwick gig. When the full number of tickets had been sold, there was also the possibility of another 100 being printed.<br /> <br /> A week or so before the scheduled date it was announced that The Who would definitely not be playing at Rootes Hall. The deal was off, unless yet another new venue could be found. The tickets had already been printed and most of them sold at £1 a time. But it wasn't to be and attendees were offered a full refund.<br /> <br /> The Who's concert at Lanchester on November 28 also hung in the balance. Similarly it was threatened by the stringency of the contract. <br /><br />Although the Lanch had a suitable hall, with a suitable stage, facilities needed to be provided for the special lighting effects, safety fences and a reinforced stage which was necessary to support the antics of the group as well as the weight of equipment. <br /><br />As the Who had appeared at the Lanchester previously the union was confident that all the problems should be ironed out and the concert should take place. <br /><br />And so it did with a set almost identical to the classic Live at Leeds album released earlier in the year.</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">More on the Lanch Poly Gig 1970 with the Who here <a href="https://coventrygigs.blogspot.com/2012/10/the-lanch-lanchester-polytechnic-gigs.html"><b>https://coventrygigs.blogspot.com/2012/10/the-lanch-lanchester-polytechnic-gigs.html<br /></b></a></span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TmfQQC1bsf4" width="320" youtube-src-id="TmfQQC1bsf4"></iframe></div><br /><span style="font-family: arial;"><br /></span></div></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-7327813293844101392024-03-12T19:02:00.002+00:002024-03-12T19:02:42.700+00:00Reno<div style="text-align: center;"><b style="font-family: arial; font-size: xx-large;">Reno</b></div><div style="text-align: center;"><b style="font-family: arial;"><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b style="font-family: arial;"><span style="font-size: large;"><br /></span></b></div><div><div class="separator" style="clear: both; font-family: arial; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YZ_V3IhnNHhTcSjT4Vblgd7QMFYf4qrXanGKlrlMD3vYix1C__ziq7JKUaAnOv6Hvz9AzZ43rNGJhEC1pMiS4iKrqNLo8OBKXsoUZ-gAd_TmIeDNWSnS30loXLAC6UuARsvsxOmbfICrqw1S878tGAQxYgzJR2Ku9GTITykec84YwkC4Pyg0oYR3PBxd/s268/Reno.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="188" data-original-width="268" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YZ_V3IhnNHhTcSjT4Vblgd7QMFYf4qrXanGKlrlMD3vYix1C__ziq7JKUaAnOv6Hvz9AzZ43rNGJhEC1pMiS4iKrqNLo8OBKXsoUZ-gAd_TmIeDNWSnS30loXLAC6UuARsvsxOmbfICrqw1S878tGAQxYgzJR2Ku9GTITykec84YwkC4Pyg0oYR3PBxd/w400-h281/Reno.jpg" width="400" /></a></div><div><br /></div><span style="font-family: arial;"><b>RENO on Facebook <a href="https://www.facebook.com/profile.php?id=100049294732954">https://www.facebook.com/profile.php?id=100049294732954</a></b></span><br /><span style="font-family: arial;"><br />Reno were a Coventry/Nuneaton based group who performed around the Midlands. I particularly remember them from the crazy evenings at the Ryton Bridge Hotel which had an outdoor stage and swimming pool. Inevitably, some folk would end up in that pool. <br /><br />The band had only been formed a few weeks before they auditioned to appear on the New Faces show. Their first ever performance of their American West Coast sound certainly impressed the producer of the show, Albert Stevenson. It only took him a matter of minutes to spot the quality of the group and their audition, announcing ‘we’ll have you on the show.’ <br /><br />At the time of their audition the group were, Mick Broadhurst (bass), Don Ker (guitar), Dave Simpson (drums), Paul Price (guitar) and Pete Brazil (guitar), who were all no strangers to Coventry’s music scene. They had all played with local groups, including The Sorrows, Patsy Powell and Staveley Makepiece before forming Reno. <br /><br />Another gig was during 1977 when the group were invited to Warwick University by courtesy of the country and western society. This despite the fact that they were far from a country and western act. By the time of this gig Pete Oliver had replaced Don Ker. <br /><br />The closest that Reno came to being country and western was in their version of 'New Kid in Town' by the Eagles. Wary of being type cast for their performance for Eagles' numbers Reno tended to broaden out into a much wider field ranging from 50's rock n roll to modern day rock music. <br /><br />Reno wrote their own material and earned themselves a number of bookings across the UK for the summer of 1977 and regularly appeared at The New Phoenix, Fletchamstead Highway, Coventry throughout that year. In 1978 they were still playing live shows and were also perfecting their own original sound in a recording studio with their music was being plugged by two Radio One DJs, Dave Lee Travis and David ‘Kid’ Jensen. <br /><br />The band bought an expensive sound system, used in their live performances, from their good friends the Electric Light Orchestra, and it served them well in their new venue at the Ryton Bridge Hotel, Coventry. They had also signed a publishing deal with United Artists for their original songs, written by Paul Price and Pete Brazil, but all were reluctant to give up their full-time jobs until they had a firm chance of becoming a successful group. <br /><br />A report about the uni gig mentioned that 'Although the group played to a mere 130 people, all who were present thoroughly enjoyed a sparkling performance. Musically the group were faultless. Hopefully after the group has appeared on DLT's show and also In Concert in the spring more people will turn up to their next visit here next year'. <br /><br />It continued 'The variety of talent in Reno can be appreciated by studying a round up of the group. Mick Broadhurst bass guitar and lead vocals, Pete Brazil, lead guitar, accordion, vocals and songwriter, Paul Price, steel, acoustic and Spanish guitars, electric banjo, mandolin, violin, and backing vocals-not bad eh! Pete Oliver, acoustic guitar and backing vocals and Dave Simpson, drums, harmonica and vocals. Here is a group of tremendous versatility both vocally and musically as you can see from the variety of instruments played'. <br /><br />Reno held a reunion during 2016 and again during 2018.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">More on the <a href="https://coventrybands.blogspot.com/2021/05/reno.html"><b><span style="font-size: large;">Coventry bands 1960's to Now</span></b></a> </span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sLYVJQkhqqs" width="320" youtube-src-id="sLYVJQkhqqs"></iframe></div><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: arial;">West of Midnight - Reno</span></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CCWSgpVpWxM" width="320" youtube-src-id="CCWSgpVpWxM"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: arial;">Devil's Window Reno</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: arial;"><br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61EifR1tzaiTJv0a3d-a8pcJ1Fsf94oxwg_qRIKPVNHNwpdaxZBCX3WXnzveomYiQk7o835nmrN6N8Y_Czc9cbFD086NSh1eT44x3k6-aRNUMfysddWg_4fqOw3L5SXbZf7yF1KYkgL3Lf_WQ3n5-TWVvl0N6jYlgTWpwogtoeKdNUU49aFYQtNbYhVaA/s542/12472331_580950948721729_6171966831413263079_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="372" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61EifR1tzaiTJv0a3d-a8pcJ1Fsf94oxwg_qRIKPVNHNwpdaxZBCX3WXnzveomYiQk7o835nmrN6N8Y_Czc9cbFD086NSh1eT44x3k6-aRNUMfysddWg_4fqOw3L5SXbZf7yF1KYkgL3Lf_WQ3n5-TWVvl0N6jYlgTWpwogtoeKdNUU49aFYQtNbYhVaA/w440-h640/12472331_580950948721729_6171966831413263079_n.jpg" width="440" /></a></div><br /><span style="font-family: arial;"><br /></span></b></div><br /><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTzkCMBlbo4Gw0sbeEcay03yAg8kHBy7d84U5_s113TsmDXgZt3ios683D76PNK01rFc_3-iah_eVVNq-6oMBat0lPclOCoSCYPrwqU4cCQalIbuSMKI-JJ6RSPB6S1gw02FguhCubJyRG0qwYwqBJsc2YsxNq9MdUeAgsjZIxwIj5T8CzqUBDxL9G7k8/s959/26992136_910452399104914_2536035052760849257_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="959" data-original-width="743" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLTzkCMBlbo4Gw0sbeEcay03yAg8kHBy7d84U5_s113TsmDXgZt3ios683D76PNK01rFc_3-iah_eVVNq-6oMBat0lPclOCoSCYPrwqU4cCQalIbuSMKI-JJ6RSPB6S1gw02FguhCubJyRG0qwYwqBJsc2YsxNq9MdUeAgsjZIxwIj5T8CzqUBDxL9G7k8/w496-h640/26992136_910452399104914_2536035052760849257_n.jpg" width="496" /></a></div><br /><div><br /></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-29952020594645293872024-02-17T15:39:00.001+00:002024-02-17T15:39:37.795+00:00Bert Jansch 1966<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Bert Jansch 1966</b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzRCZrjsRPDedu-UDRJbl97Z2IpAvDLwi9jilb7EyODQUC1854hxDCQakPvivTl2OlmPjazwvIM-4sWEGJZC5sQZYujtbuvajKJv6KB7KFURTTToEce3OlL3svWcyKBLyrGwUahreDXXBc7I32m6jxAdf0PK2Wt5B_cMhDxq1J5op61WQwby5SrOWWDIw/s300/Bert%20Jansch%2066.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="300" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzRCZrjsRPDedu-UDRJbl97Z2IpAvDLwi9jilb7EyODQUC1854hxDCQakPvivTl2OlmPjazwvIM-4sWEGJZC5sQZYujtbuvajKJv6KB7KFURTTToEce3OlL3svWcyKBLyrGwUahreDXXBc7I32m6jxAdf0PK2Wt5B_cMhDxq1J5op61WQwby5SrOWWDIw/w640-h634/Bert%20Jansch%2066.jpg" width="640" /></a></div><br /></b><br /><br />March 1966 saw Bert Jansch will be playing at a local folk club in Coventry. It was described as an 'event not to be missed. If you happen to go, you will see a very nervous young man, who manages to transform his nervous energy into some of the best guitar-playing in the country. Most of the songs he sings are his own compositions'. <br /><br />They combine the good simplicity of traditional folk music, (such as that of the singing of Anne Briggs, heard at the Folk Club earlier this term), with an amazing guitar technique, which he says is wholly American. Although he is only 22, Bert Jansch has already made two L.P's, ('Bert Jansch' and 'It Don't Bother Me': issued by Transatlantic Records), and is becoming increasingly popular all over the country. <br /><br />Bert had recently given up residencies at Les Cousins and Scots Hoose in order to tour other areas. He says he will probably take up another residency: 'All my friends are in London - and I play first of all for my friends'. He also plays because he must. 'If I had no money, I'd be a bum-but playing the guitar. And money-well, I've never had any-you see money just doesn't mean anything to me. If I'd been brought up with money, then I reckon I'd need it. But I've never had any, so it just doesn't worry me'. <br /><br />His words reflected his indifference to many things. He claims the audience hardly matters 'If they're too intent, they frighten me, but I like them to be interested - I can't stand it when they're not'. <br /><br />Bert's claim to indifference was probably wishful thinking, for being so nervous, he senses atmosphere instantly. If people talk, he asks them to shut up, or cups his hand to his ear as if to listen to them! If they give no response to his work, he makes remarks like 'This song is about dreams, so the words don't mean anything - at least not to you. But then I doubt if any of the words mean anything to you'. <br /><br />The words of his songs are often missed, partly because of the brilliance of the music, which always dominates a song - "I am more a guitarist than a song-writer: the words aren't important" - and partly because his voice, although full of feeling, lacks clear diction. But the effort of listening to the words is rewarding. <br /><br />Bert's images are strange and poetical 'Your love was like a child upon a rocking-horse, the colour black, who rides through a forest of dreams, and laughs at evils that cannot be seen. Yet like the ageing of a child at play, your love is broken and fades away'. <br /><br />His songs are wistful and mostly deal with the sorrows of love, (and occasionally its pleasures), but there are also songs about social issues 'Do you hear me now?' and his instrumentals cover a wide variety of sounds. <br /><br />One of his songs, 'Needle of Death', is a great favourite around the clubs and more frequently requested than anything else, except Davy Graham's 'Angie'. It deals with the death of a drug-addict 'Your troubled young life had made you turn to the needle of death', but at times it verges on sentimentality, which probably accounts for its popularity! <br /><br />Bert gets excited, talking about various types of music. He says 'Don't try to differentiate between types of music'. <br /><br />The artists he admires are: 'John Renbourne, full stop.... After that, a long way behind, come a lot more, but too many to name'. <br /><br />On the new John Renbourne L.P., released by Transatlantic, they work together on two amazing guitar improvisations. <br /><br />He wants to be able to go on developing in the field in which he has made his name: 'I will never be a great composer, but then I can't see myself singing like Elvis Presley either!' <br /><br />His roots are deep in traditional music, and he says 'The best music is of the people, from the people, not from a few great men', but he sees the various categories into which people put music as moving closer together. 'It's my opinion that they'll invent more categories-they've already begun with 'Popular Classics' and 'Popular Folk Music'. <br /><br />Bert Jansch is one of the people playing today, who is helping to combine the forms of music. His background is that of traditional folk music, but to this he brings guitar-playing of an extremely high musical standard and a gift for using words in an exciting way.<b><span style="font-size: large;"></span></b></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">......................</span></div><div><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;">Bert Jansch formed the Bert Jansch Conundrum in the late 1970s as a touring unit for his solo performances following the breakup of the original Pentangle. </span><div><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><b>Another Coventry connection</b> is an album titled Avocet. Released in 1979, this was Bert Jansch's twelfth solo album. It was also said that it was his favourite. Avocet is instrumental, concentrating on Jansch’s celebrated guitar work, free and clear of vocals. There are six tracks, each named after a sea or wading bird. That was until an expanded 40th anniversary version was released more recently. There were three people involved in the recording, Jansch on guitar and piano, Danny Thompson on bass and Coventry's Martin Jenkins (Ex Dando Shaft) on the wonderfully named mandocello, flute and violin. And those others do a sterling job of supporting him, working together well, knowing instinctively what is required at any given moment. There is not a note out of place.</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Trev Teasdel saw the duo at the Fletch in Coventry c 1981 - he knew Martin from Dando Shaft days and said it was great to see the pair play together live - musical sparks were flying between them - their styles complimented each other.<br /></span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Angie - Bert Jansch</span></div><div><span style="font-family: arial;"> </span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qOIt7fOgeFk" width="320" youtube-src-id="qOIt7fOgeFk"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oA7npXJLQOU" width="320" youtube-src-id="oA7npXJLQOU"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/I28Ejp1GaKY" width="320" youtube-src-id="I28Ejp1GaKY"></iframe></div><br /><div style="text-align: center;"><span style="font-family: arial;">Above Bert Jansch with Martin Jenkins</span></div></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ML3XahMwJ-U" width="320" youtube-src-id="ML3XahMwJ-U"></iframe></div><br /><span style="font-family: arial;">Bittern by Martin Jenkins and Bert Jansch,</span></div></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-31883697954005286312024-02-17T14:50:00.004+00:002024-02-17T14:58:27.709+00:00Radiohead<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Radiohead</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibLbru5lXU-cF8-PggqhbkymO2zHpyd6SNW_14roWQvl-zrpvrr9a7r75Ln8O3hVnIkgxbmOUZchd7zMREMFH9IYTl8yBpCXvTU23l163nxgVlGO5HqhyphenhyphendIElll7o9VkAB1RuaTC87uBOCPOvryGdqN-NZ-1WZYuSd1IfVqseD0Z6tGyMKhb7okuQboK9S/s500/Creep.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibLbru5lXU-cF8-PggqhbkymO2zHpyd6SNW_14roWQvl-zrpvrr9a7r75Ln8O3hVnIkgxbmOUZchd7zMREMFH9IYTl8yBpCXvTU23l163nxgVlGO5HqhyphenhyphendIElll7o9VkAB1RuaTC87uBOCPOvryGdqN-NZ-1WZYuSd1IfVqseD0Z6tGyMKhb7okuQboK9S/w640-h640/Creep.jpg" width="640" /></a></div><br /></b><br /><br />One Saturday in 1992 saw a normal unsuspecting Whipround event at Warwick University. The Spasmodics from Bristol. They were described as a long haired band, that apparently make the Manic Street Preachers look like Brownies. They had hope and a lot of record company interest. <br /><br />Little did The Spasmodics know though, that when the band drove to the Uni, that they would meet their nemesis! For the support band that night had also had a lot of EMI interest and it was said that a record deal was in the offing for one of them. They were a 5 piece band from Oxford, lead by a singer with a bleach blonde mop of hair, who called themselves Radiohead!! <br /><br />It wasn't long after that gig that they had the deal and the rest is.......!! So with that disappointment the Spasmodics headed off to France for a few dates and had a memorable time on tour! This proved to be the bands swan song though, as upon return to Bristol the band slowly fell apart, with stress, money, drugs, and musical differences all being cited as reasons. All the clichés really! <br /><br />By the autumn of 1992 The Spasmodics had called it a day and gone their separate ways. The band, together since 1989, saw their various ex members getting involved in a lot of musical projects. None of those ventures have really matched the summer of 91 when a live album was recorded, and the great times they all shared together! <br /><br />On the other hand Radiohead released 'Drill' EP later followed by 'Creep' single which was, slightly later, being reissued as an EP <br /><br />The following year, 1993, and Radiohead were back. The 'Anyone can play guitar,' single had just been released and followed the acclaimed 'Creep' EP. It calmly blew away any sceptics who thought Radiohead had peaked early. <br /><br />The eponymous track was a progression of their slightly unusual sound as they prove that they’re not just another 'bland-indie band'. 'It’s definitely a hit if it can get the play it deserves' predicted local pundits. <br /><br />There are bands that like the idea of being a guitar band, the rest just like being a guitar band. What set Radiohead apart was a purpose far beyond posters and parties and making a noise with the lads. <br /><br />During 1993 Radiohead's main aim is to surpass the standard set by Creep. Then the sky’s the limit. Which of course it was with the release in 1997 of OK Computer. The only criticism back in 1993 was that their records paled besides their live sound. <br /><br />Creep had been heralded in locally with 'Radiohead worthy support of last year. Another production let-down: the guitar suffocation still hasn’t found its way onto vinyl. And another thing. The lyrics are so ingloriously morbid'. <br /><br />'Such works live, for the quiet desperation of the words were always drowned by the ferocious stringed onslaught, a strong metaphor of depression'. <br /><br />Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway certainly created some landmark records and influenced a whole generation.<b><span style="font-size: large;"></span></b></span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XFkzRNyygfk" width="320" youtube-src-id="XFkzRNyygfk"></iframe></div><br /><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1uYWYWPc9HU" width="320" youtube-src-id="1uYWYWPc9HU"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NOOxGZq3BKo" width="320" youtube-src-id="NOOxGZq3BKo"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-43682365769421565082024-02-08T15:11:00.000+00:002024-02-08T15:11:37.388+00:00Tim Bowness and The Butterfly Mind, Kidderminster<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Tim Bowness and The Butterfly Mind, Kidderminster.</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_C3VUaQpfzTgmKy7mHoxH2X_HldbH86Lg3eEcnIBPI9XavM4-brvjCYNUJvAj8FECGPkGvuknqdCoJeR5qXkZaxtV4wWZQSORQm-6JTZidlwyukXWBcTlCq75SzCZ7EfkpEytDOmntY5mAra9J969-ZPy61t37KKOTm8d62508P-QssTYxFbv52e841t/s900/No_Man_Housekeeping_TheOLIYears.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_C3VUaQpfzTgmKy7mHoxH2X_HldbH86Lg3eEcnIBPI9XavM4-brvjCYNUJvAj8FECGPkGvuknqdCoJeR5qXkZaxtV4wWZQSORQm-6JTZidlwyukXWBcTlCq75SzCZ7EfkpEytDOmntY5mAra9J969-ZPy61t37KKOTm8d62508P-QssTYxFbv52e841t/w640-h640/No_Man_Housekeeping_TheOLIYears.jpg" width="640" /></a></div><br /><br /><br />Listening to a record 20 or 30 years on from its original release creates different feelings to those gained when you first heard it. And the same, it seems, applies to those who created it. <br /><br />Founding member of the 1980s experimental pop rock band No-Man, Tim Bowness, appears to have found a fresh spring in his steps. And he has every reason to. He has recently put together a really excellent and fresh band called The Butterfly Mind. Together, Tim and the Butterfly Mind have been quietly gaining traction via several live shows that showcase, not only Tim's solo career, but also the wonderful music of No-Man. <br /><br />Add to that the release of the recent box set, 'Housekeeping – The One Little Indian years 1990-1994' and its accompanying album 'Swagger', new life has now been breathed into the whole world of No-Man. But that was then. <br /><br />After a recent gig an upbeat Tim said: 'I hope to do more gigs with the current band and we'd all be up for performing a more comprehensive tour. As it currently stands, we have two festival dates in April and July (I think!)'. <br /><br />Tim continued 'As well as my forthcoming solo album (expected Summer release), we'll be (probably!) putting out a live album this year and that would be good to support with dates. In answer to your question re: the arranging of gigs, I used to have a booking agent, but at the moment I await offers or put things on myself (Kidderminster and Hope & Anchor, for example)'. <br /><br />On this new line up Tim says 'While we want to be faithful to music it will never be note for note'. <br /><br />At Kidderminster Tim and the band were on fire. At times it felt almost theatrical. There was drama and tension as you are drawn into the songs. Tim paces the stage like a caged animal but in a conspicuous way. Tim agreed 'It worked really well live, especially with Theo Travis on there. The band has really enjoying going through the No-Man catalogue. <br /><br />A brief version of the familiar 'Another Winter' opened the Kidderminster set. This was quickly followed by 'Time Travel in Texas'. From there it was straight into the mesmerising section of 'All the Blue Changes' and 'Wherever There is Light'. <br /><br />The tempo changed gear slightly as a clutch of songs from Tim Bowness' solo albums followed. But it all cranked up ferociously as the No-Man songs took off again. <br /><br />A huge surprise of the evening was the announcement of 'Sweetheart Raw' a song not heard live in decades. The band handled it magnificently. <br /><br />Another source of excitement came during the encores when 'Mouth Was Blue' was introduced. Again it held a certain familiarity.<br /> <br /> The set was wrapped up with the final song 'A Stand-Up for the Dying' which is a song from Tim's next solo album.<br /> <br />Is this fresh impetus in No-Man shared by all its protagonists? <br /><br />On that Tim mentioned: 'Hopefully No-Man will record together again with original violinist Ben Coleman. I think we can recapture spirit and do something different with it. The Butterfly Mind was possibly a direction No-Man could have gone in. There is still lots of life in that No-Man material when played live. As such Tim feels more comfortable producing that music live now than ever. Steven Wilson is less keen on nature of touring. <br /><br />The last time we reformed no-man was that my band. They knew the music inside out and Steven could just join in with us. <br /><br />Now I have a completely different band and, musically, they are different again. This is as exciting a band I have ever been with. The music has been redirected and refashioned and I think Steven would quite enjoy it.<br /> <br />Its all very mouth watering but only time will tell.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXr3D48IJlY0OfbbswWAHFRMDyMNPmxvWpyTj8tcnKfzG2Y0z2nGQ_89Ok7KW3VAYVH1B6eR1KWcZPZkPIOnUhXR-PJimUA_Rqb618mu-rSbY4m7bPHQTcPgUygqzQ1WfqLC01wzAZx662t1VZZ9NaZfz2L5JgjhsUv_kk4p9S9j4QryKXWAlHUBxo0wXW/s3000/no-man_swagger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXr3D48IJlY0OfbbswWAHFRMDyMNPmxvWpyTj8tcnKfzG2Y0z2nGQ_89Ok7KW3VAYVH1B6eR1KWcZPZkPIOnUhXR-PJimUA_Rqb618mu-rSbY4m7bPHQTcPgUygqzQ1WfqLC01wzAZx662t1VZZ9NaZfz2L5JgjhsUv_kk4p9S9j4QryKXWAlHUBxo0wXW/w640-h640/no-man_swagger.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wH4JhzbGgXY" width="320" youtube-src-id="wH4JhzbGgXY"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com3tag:blogger.com,1999:blog-6170356501057495605.post-4114634442953170912024-02-08T14:59:00.000+00:002024-02-08T14:59:13.068+00:00Neil Kulkarni<p> </p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: x-large;">Neil Kulkarni</span><span style="font-size: 16pt;"><o:p></o:p></span></b></p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: large;">By Pete Clemons</span></b></p><p class="Standard"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_5E3DeloLrkYjFStXBFnjlxe1Qzipl7_IpKQMAGQSrLC_KyOo0Jr4m9khO0pzQjQKrrrafgH9j5SrhikgMR6krVTMbJPLYV7osqyhwB4aBt3WLf8R3pte2R8l0s19O4m0fOX3wqFNmRNFNIQLnsm-HYPFo7INhVJFl2puY9hzbAylYvfiGw3-ZttCLoG/s5664/Moon2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4248" data-original-width="5664" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_5E3DeloLrkYjFStXBFnjlxe1Qzipl7_IpKQMAGQSrLC_KyOo0Jr4m9khO0pzQjQKrrrafgH9j5SrhikgMR6krVTMbJPLYV7osqyhwB4aBt3WLf8R3pte2R8l0s19O4m0fOX3wqFNmRNFNIQLnsm-HYPFo7INhVJFl2puY9hzbAylYvfiGw3-ZttCLoG/w640-h480/Moon2.jpg" width="640" /></a></b></div><b><br /></b><span style="font-family: arial;"><br /><br />Like many, the loss of Neil Kulkarni came as a complete shock. And, as happens at times like these, there have been moments of reflection. <br /><br />The obvious being around the many music articles Neil wrote. They were some of the best I ever read. One that immediately comes to mind came after Prince had passed away. It contained thousands of words and seemingly released within hours after news of Prince's demise had been announced. It was a staggering piece of work. <br /><br />Numerous times, over the last year or so, I have heard others mention that Neil's written tribute to Terry Hall and the Specials as being 'the greatest piece of critical music writing I have ever read'. <br /><br />And while on The Specials I remember seeing a painting of Neil by Horace Panter. Given his social media reaction, Neil was really chuffed by it. As such I am fairly certain it was framed and hung up in pride of place. There was something of a message in the painting as well. <br /><br />Neil's writing was compelling and, even if you were not interested in the subject matter, the quality of the writing was worth the effort of reading. Whether you enjoyed what he had to say or not, there was no denying his brilliance as a scribe. On music, Neil would go deeper than a records content. He delved down and dissected the creator at DNA level. And it could hurt. <br /><br />In addition to his writing Neil was an extremely competent musician. And, because of that talent in this field, maybe partly explained his, sometimes, critical standpoints when it came to music. Neil was also a member of the Coventry band the Moonbears who I saw play live, and enjoyed, many times. <br /><br />The band began as a 6 piece called Rochenko. They then became The Moonbears when they when went down to a five-piece. Then around 2006 they reduced in number again. This time to a 3 piece. Moonbear#1 is Mick and he plays drums and sings. Neil was Moonbear#2 and he plays guitar and keyboards and sings. And Moonbear#5 is Jon who plays bass and won't sing. <br /><br />More recently they were completed by saxophonist, Sarah Laughton, Moonbear#0 who, I remember reading in one Moonbear message, as having 'completed the circle'. <br /><br />I must stress that I never knew Neil as such. Apart from gigs, my personal contacts with Neil were few. We seemed very different. I am very much into music nostalgia whereas Neil mainly seemed to strive for the new. But, having read a lot of his work I did hold a quiet esteem for Neil. <br /><br />My own articles are what they are. The ramblings of an enthusiast amateur. The first time Neil 'liked' an article it left me numb. Daft I know but I couldn't help my giddiness. <br /><br />Neil did contact me several times, and, they were memorable - for me at least. The first approach being completely out of the blue during May 2013......... <br /><br />Hiya Pete, Neil from the Moonbears here - just wanted to send you a song from our new album, out now on i-tunes and wondering if there's any chance the launch gig could get a mention in the Telegraph? It's at Inspires this Saturday from 8 onwards and we're on stage about 10. Our album's called 'The Wow! Signal' and will be available to buy on the night as well. Let us know if there's anyone else I should be bothering about this and once again thanks for all the support - I just think you deserve a sneaky preview of the album cos of all the brilliant support you've given us! Cheers, Neil Kulkarni (Moonbear#2). <br /><br />At that time I was writing nostalgic music articles for said newspaper. So I did what I could for them. That said I was pleasantly surprised that the band had thought to get in touch with me. Not that it happens regularly but it is an honour when an artist trusts you with their work. <br /><br />A few years on and, during November 2016, I was blind sided once more........ <br /><br />Hiya Pete - promo copy of 'Let's Get Nice' for you - would be great to get a write-up in the Telegraph if possible no worries if not! Thanks as ever for the support x <br /><br />Naturally I think, I was quite taken aback by this request. Here was a major league music critic and former journalist for the Melody Maker asking me, an enthusiastic amateur, to review a Moonbears album. <br /><br />Being honest I bottled it. I just couldn't get started. Imagine, if you like, the person writing at a desk, lots of scribbling, lots of scrubbing out, and every piece of paper is ending in the bin. That was me. <br /><br />I had never felt that way before so called in the help of the then brilliant Telegraph music reporter, Alan Poole. As always he did a fine job. <br /><br />Long before the pandemic I had an inclination that The Moonbears had been writing another album. If memory serves it began during 2017. The final track, 'Red's Theme', was completed on the night before the first lock down of 2020. It was a massive achievement and a huge labour of love. But I hadn't, yet, realised it's significance. <br /><br />May 2020 Hiya Pete - Just wanted to get the new Moonbears album to you as your support over the years has been really appreciated. It’s a double album, it’s called ‘Four Sides For Red’ and we are doing a full digital and vinyl release once lock down eases. Hope you enjoy it and have a nice Sunday mate, hope this finds you well x <br /><br />This time, and without the safety net of the Coventry Telegraph, I had to go for it. I did have a brief chat with Neil about writing and critiquing. The reply was quite uplifting but centred around – regardless of ability, as a writer, just be honest to yourself. Which, of course, is easier said than done. <br /><br />I was never entirely happy with my article, I never am, but there you have it I simply wrote what I thought. <br /><br />'Four Side For Red' was fan-fared in defiantly with a wonderful statement of resistance that accompanied news of the album: 'The pandemic was never going to beat the Moonbears but we are all excited that from three of the toughest years of our lives we had Moonbears, and we had this miraculous thing we made. Thanks for reading x' <br /><br />As already mentioned Neil's writings were immense. His mastery of the written word was simply breathtaking. Deep down I realise that the best writers are controversial, frank and to the point. For me Neil was, without doubt, up there with the very best of them. <br /> <br />At a time like this I feel that the final words must come from those closest. After sending on my condolences I had this reply from Jon Moonbear: <br /><br />Yes the Neil "headlines" tended to be comical battering's he could dish out but the real Neil was in the way he could lavish praise in a way that the rest of could only think "yeah I also love that artist, know all those words and can write in sentences but I can't understand how he can do it like that"<br /> Jon.x <br /><br />Rest in Power Neil Kulkarni</span><p></p><p class="Standard"><span style="font-family: arial;"><br /></span></p><p class="Standard"><span style="font-family: arial;"><b>The Moonbears by Pete Clemons</b></span></p><p class="Standard"><span style="font-family: arial;"><a href="https://coventrygigs.blogspot.com/2012/08/the-moonbears.html"><b>https://coventrygigs.blogspot.com/2012/08/the-moonbears.html</b></a></span></p><p class="Standard"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ES4MAqpyuB4" width="320" youtube-src-id="ES4MAqpyuB4"></iframe></div><br /><p class="Standard"><br /></p><p class="Standard"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCCtPBDC9HOi_km-cE7m274Qx9dsKCdJU7Jjv3M_vgu4NzWFW12cRCatSsmGBh2srJPaAOM0w-DAQZk-J8YO3veJb4mPoHgRQqvJ288HFUtgNfMW4vMHpnckAnTaMu8mkQ2CUuMZVdonfP__FJ__dINNcXk8H8CiY6xTxh50ImpsORKU0ZAbjAThnoAGUr/s5664/Moon1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4248" data-original-width="5664" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCCtPBDC9HOi_km-cE7m274Qx9dsKCdJU7Jjv3M_vgu4NzWFW12cRCatSsmGBh2srJPaAOM0w-DAQZk-J8YO3veJb4mPoHgRQqvJ288HFUtgNfMW4vMHpnckAnTaMu8mkQ2CUuMZVdonfP__FJ__dINNcXk8H8CiY6xTxh50ImpsORKU0ZAbjAThnoAGUr/w640-h480/Moon1.jpg" width="640" /></a></div><br /><span style="font-family: arial;"><br /></span><br /><b><span style="font-family: arial; font-size: large;"></span></b><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYmJYTMDvwCLFakx0JBh3qN6QVLvq64rlDJejgmtnGWeKYqets0PVuaMx1gxijopcHroBQOq_CyBi6mRLfCeDVI_3i_C0vbBhBhw4gVDbCoT04jZRuvHxcO1xROsTRjZ8Hjn7Ru3FKw57KN357r3Dv_8JrOgQmWYMe1dtF3kBOwAySXBU9OJW0sluFtK-8/s1080/Moon3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1069" data-original-width="1080" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYmJYTMDvwCLFakx0JBh3qN6QVLvq64rlDJejgmtnGWeKYqets0PVuaMx1gxijopcHroBQOq_CyBi6mRLfCeDVI_3i_C0vbBhBhw4gVDbCoT04jZRuvHxcO1xROsTRjZ8Hjn7Ru3FKw57KN357r3Dv_8JrOgQmWYMe1dtF3kBOwAySXBU9OJW0sluFtK-8/w640-h634/Moon3.jpg" width="640" /></a></div><br />Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-9161936343528189762024-01-24T19:17:00.000+00:002024-01-24T19:17:26.183+00:00RISKY CITY Belgrade Theatre 1981<div style="text-align: center;"><b style="font-family: arial; font-size: xx-large;">RISKY CITY Belgrade Theatre 1981</b></div><div style="text-align: center;"><b style="font-family: arial; font-size: xx-large;"><br /></b></div><div style="text-align: center;"><b style="font-family: arial;"><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><div class="separator" style="clear: both; font-family: arial; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTbg-Z_tZ6jCM0fUthgb7kVCidyfw5shjqW61ZGSPv1mm8Z_nb8Jcr0jIjOOjSgggoghUO2FKdzotvbe1nl_eA2mYhVo3LnV0iS_ud2aIFRFEgx3QSfBm3s7xqmOubl9DmTydylAh8IQ6QHkuvcRM-ZrJIcKp7gHIZBtbZ5Qzolr25NgmOKUjVsForLvr/s480/416159567_1100096247674574_7762996254024193057_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTbg-Z_tZ6jCM0fUthgb7kVCidyfw5shjqW61ZGSPv1mm8Z_nb8Jcr0jIjOOjSgggoghUO2FKdzotvbe1nl_eA2mYhVo3LnV0iS_ud2aIFRFEgx3QSfBm3s7xqmOubl9DmTydylAh8IQ6QHkuvcRM-ZrJIcKp7gHIZBtbZ5Qzolr25NgmOKUjVsForLvr/w640-h480/416159567_1100096247674574_7762996254024193057_n.jpg" width="640" /></a></div><br /></div><span style="background-color: #f0f0f0;"><span style="color: #050505; font-family: Segoe UI Historic, Segoe UI, Helvetica, Arial, sans-serif;"><span style="font-size: 15px; white-space-collapse: preserve;"><div>A couple of Wild Boys tracks from play were released on cassette - Roddy Radiations former band.</div><div><span style="background-color: #f0f0f0;"><span style="color: #050505; font-family: Segoe UI Historic, Segoe UI, Helvetica, Arial, sans-serif;"><span style="font-size: 15px; white-space-collapse: preserve;"><br /></span></span></span></div>2023 saw the passing of Michael Boyd. Michael was an artistic director for the RSC but began his career at the Belgrade Theatre. Not only did he produce the landmark play Risky City, written by Ron Hutchinson, but he also produced many of the Coventry mystery plays.
The early 1980s and Coventry was an uncomfortable place to grow up in. And the more violent side was the theme of Risky City.
It was a play of huge contradiction. On one hand it depicted disaffected youth who were, apparently, all sticking together for the common cause.
On the other those same 'friends' were kicking each other to death over a pint of lager. Such were the priorities held, and what was deemed important, within the city at that time.
In the edition of 'Something Else' that focused on Coventry, one of the saddest attitudes presented of the city was that of the local kids to the theatre - 'It's all Shakespeare innit?', and in the past the choice of plays made by the Belgrade has seemed determined to foster such an unpromising opinion.
When 'theatre' means The Wild Boys and bands in the foyer, there is then an immediate interest established, and I hope that there is to be more collaboration with the Youth Theatre in producing drama that has direct appeal to the young who normally would sneer.
More a series of scenes interspersed with music from the band than a play - it's far too rough and crudely put together for that - Risky City tells the true story of Eddy who was kicked to death in one of the city centre car parks over 'the price of a pint of piss warm, low-cal, overpriced lager' and of the CID officer on the case who discovers that one of the attackers was his own son Ellis.
Tensions between a father and steady dependable copper attitude to the city and that of his son, who represents the disenchanted youths of a boom town gone terribly wrong, rise. As Ellis puts it in a marvellous extended venomous diatribe against his birthplace, it is 'a ring-road with a dump in the middle or a dump with a ring-road round it?' .
This impression of the city is perfectly captured in a stark set of ring road and subway with a backdrop of the skyline, and it is from these epitomes or urban development that the kids come to the stage front in menacing gangs, evincing boredom, anger and frustration.
'Saturdays we have a few, have a few, kick a few heads' – they then go to the pub to watch The Wild Boys - those that don't get pushed out by the bouncers. But it was in such a club that Eddy spilled some of Dave's beer and his fate is decided when they accidentally meet in the car park.
Risky City pulled no punches about the desperate plight of Coventry at that time. A play from the heart that acted as a mirror to what had been seen by its writer Ron Hutchinson. Ron, by his own admission, wasn't a sociologist. But he wanted to deliver a message about the culture of violence in Coventry. But, as he also mentioned, it was up to others to solve the problem.</span></span></span><div><span style="color: #050505; font-family: Segoe UI Historic, Segoe UI, Helvetica, Arial, sans-serif;"><span style="font-size: 15px; white-space-collapse: preserve;"><br /></span></span></div><div><div class="separator" style="clear: both; color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3-Telgywo3k" width="320" youtube-src-id="3-Telgywo3k"></iframe></div><br /><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;"><div style="text-align: center;">Risky City - Wild Boys</div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5XUjOeymrK4" width="320" youtube-src-id="5XUjOeymrK4"></iframe></div><br /><div style="text-align: center;"><br /></div></span><br /></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-52549900394042334482024-01-23T16:48:00.005+00:002024-01-23T16:48:53.078+00:00Coventry's First Taste of the Mod Revival Era Live<p style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b> Coventry's First Taste of the Mod Revival Era Live.</b></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: large;"><b>by Pete Clemons</b></span></p><p><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFnANmTmkUMJxHFVVMxpSTspz1AmomsqeMANaAhECZmpuJhvcp5-rDwDOUBfK3i4J7uaYKxPuQDVJ9F8QrHsz4wMv90MrpPQ6eBt3yy4zyEFfy0Uarrn0h0aWOX3WSJoJ1P952wfe2dUf8hae5B2Dhc2jjOW2oLCx5EttcSPSSV6RWKXOp7PyVztMacFtE/s640/teas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFnANmTmkUMJxHFVVMxpSTspz1AmomsqeMANaAhECZmpuJhvcp5-rDwDOUBfK3i4J7uaYKxPuQDVJ9F8QrHsz4wMv90MrpPQ6eBt3yy4zyEFfy0Uarrn0h0aWOX3WSJoJ1P952wfe2dUf8hae5B2Dhc2jjOW2oLCx5EttcSPSSV6RWKXOp7PyVztMacFtE/w400-h400/teas.jpg" width="400" /></a></span></div><span style="font-family: arial; font-size: large;"><br /></span><span style="font-family: arial;"><br /><br />2024 sees the mod revival period of 1979 hit 45 years. And, as is now customary, a celebration of the music will be held in London later in the year. In fact several of the bands from that era still tour on a regular basis today. <br /><br />The Mod revival tended to trend almost in tandem with the rise of 2 tone. Both became inextricably linked. And Coventry was, once again, very quick to pick up on this up and coming scene. Around these parts however, and unlike other areas of the UK, the Mod generation, I felt, gradually became overshadowed by the whole Ska scene. <br /><br />During September 1979 The Purple Hearts, soon after a tour with The Secret Affair and Back to Zero on the 'March of the Mods' tour The Purple Hearts undertook a few headline dates of their own. The Purple Hearts themselves, you may remember, had scored something of a minor hit with their debut single 'Millions Like Us'. <br /><br />And one of those gigs was a hurriedly arranged date in Coventry. Support for that night was a relatively unknown band from Birmingham called The Beat. The gig had been a couple of months before The Beat had released their amazing debut record, an excellent version of Smokey Robinson and the Miracles 'Tear of a Clown'. <br /><br />The Beat opened the evening with a lively mixture of Reggae, Ska , Rock and Roll etc. which soon got everyone off their feet. The five piece band played a very tight set , although slightly loud out front. <br /><br />Cross cultural fusion with dual rockability guitarists Dave Wakeling and Andy Cox were both twangy and semi- acoustic. Art school bassist David Steele wearing mohair threads. Everett Morton, a powerful drummer who kept the beat like a bionic quartz watch. A squawking Ranking Roger up front on vocals with guitar. <br /><br />You may have noted that saxophonist, Saxa, whose sublime playing summed up the bands mixture of sensitivity & street roots appeal, was missing. Well this gig was either before he joined or he was simply unavailable. <br /><br />The set was a mixture of impressive covers of Prince Buster like 'Whine and Grind' and 'She's a Rough Rider', a moving 'Tears of a Clown' and many of their own originals which had the audience gyrating. The encores were, without doubt, needed to to satisfy the audience and at the risk of using a well worn cliche, The Beat were without doubt the future of British Rock and Roll. <br /><br />Purple Hearts followed half an hour later with some impressive Mod music which had all the audience up and dancing. But quite honestly didn't match up to The Beat and, as the gig was arranged at such short notice, Coventry's first mod revival gig went off relatively unnoticed.</span><p></p><p><span style="font-family: arial;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibOvSlDX8JSqehw9iJX4K1V2QqXWJXrUPngA-QwOpo4VTvwpb7TvoelWnEFJt2-gYNKfskESKuLvOji_hjAth8J9TYDw_m2X2Clu7qBVk7QK3Vn7Bxxkgeb428TD7uSzeHUttu-ebbLkpt13w4P0SiCCaA9rJ9H_-0afdg54hnvvy1WIs6yVwNtrN-rrVc/s300/PH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="296" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibOvSlDX8JSqehw9iJX4K1V2QqXWJXrUPngA-QwOpo4VTvwpb7TvoelWnEFJt2-gYNKfskESKuLvOji_hjAth8J9TYDw_m2X2Clu7qBVk7QK3Vn7Bxxkgeb428TD7uSzeHUttu-ebbLkpt13w4P0SiCCaA9rJ9H_-0afdg54hnvvy1WIs6yVwNtrN-rrVc/w395-h400/PH.jpg" width="395" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-75482053694808049052024-01-12T18:05:00.000+00:002024-01-12T18:05:42.527+00:00The Pink Umbrellas<p style="text-align: center;"> </p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: x-large;">The Pink Umbrellas</span><span style="font-size: 16pt;"><o:p></o:p></span></b></p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: large;">by Pete Clemons</span></b></p><p class="Standard" style="text-align: center;"></p><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4znhO5qci3qxFWisxxiMPzpyEWTLWgLlqPDf32tJnJzfPhIA-typ4fOf_y1Gy2IPYK2JxpmwkuMeV0pU9bnFKLIFBPkao_yWk00vZNrD_gltZKI3YDQzmAJfyvdgppcTyRDz6QuK5kTxjj96I9xmzzR9pQ2Y_zjuXr1WytqFMLPRA0eQOxxFEIAjz5hP/s640/pink%20umbrellas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4znhO5qci3qxFWisxxiMPzpyEWTLWgLlqPDf32tJnJzfPhIA-typ4fOf_y1Gy2IPYK2JxpmwkuMeV0pU9bnFKLIFBPkao_yWk00vZNrD_gltZKI3YDQzmAJfyvdgppcTyRDz6QuK5kTxjj96I9xmzzR9pQ2Y_zjuXr1WytqFMLPRA0eQOxxFEIAjz5hP/w400-h400/pink%20umbrellas.jpg" width="400" /></a></div><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><br /></div><p></p><span style="font-family: arial;"><br /><br />Coventry band, The Reluctant Stereotypes, should have gone on to better things. They were quite unique. They were Paul King - Vocals, Paul Sampson - Guitars, Steve Edgson - Clarinet, Tony Wall - Bass & Colin Heanes - drums.<br /> <br />After the demise of The Reluctant Stereotypes, Paul King, Tony Wall & Colin Heanes formed King during 1984 who, you may recall, sang 'Love & Pride'. Additionally, Paul Sampson and Steve Edgson formed The Pink Umbrellas were formed who recorded the delightful 'Raspberry Rainbow'. <br /><br />My first encounter with them was during an evening in1981. It was after a gig had finished a at Warwick University. At another campus venue two rather eccentric old hippies, called the Pink Umbrellas, were playing. They performed with the accompaniment of drum machine, guitar, clarinet and xylophone. They sang quaint songs about raspberries and odd people and I quite enjoyed what I saw of them. <br /><br />The following year, 1982, I remember the following review of them. It was a strange analogy and one that I completely disagreed with: At a time when The Jam, whose primary songwriter regarded their music as getting stale, and had just split up, it was a shame to see the Pink Umbrellas at times sounding too similar to them. They were bland without being incredibly bad and left no lasting impression. However, in their more 'psychedelic' moments', with their clarinet lamenting mournfully in isolation they deserved some of the polite applause they received. <br /><br />Another twelve months on, 1983, saw the duo on an upward trajectory. When I say duo, I mean they had now become a band and had expanded to a four piece. <br /><br />They prompted the following, and far more accurate, review: After hairstyles had flopped amongst the dudes of the Market Bar on came the Pink Umbrellas, and they were great!. Despite being 1960s influenced, but more up to date with it, they had an interesting line up with a clarinet, which added melodic feeling throughout. The occasional use of the glockenspiel added a new dimension, though I'm not quite sure what the instrument was. They had an instant appeal, coming over as a commercial pop band who were honest and unpretentious, putting their music across rather than any image. Despite being a band to listen to rather than to dance to their songs, a few verging on being ballads, contained a lot of energy and it was a pity the crowd were unreceptive until the end. However, the encore showed the band were appreciated and deservedly so. <br /><br />And it was this four piece that released the incredibly pleasant and entertaining single 'Raspberry Rainbow' single with its blackberry skies and strawberry sunshine. <br /><br />Later, Steve Edgson & Paul Sampson ran the club night, The Groovy Garden, held at various venues in Coventry. Although arguably it was on a Sunday night at the excellent, centrally located, Tic Toc club, where the 60s/70s disco/club night was at its finest. The club night lasted for several years. <br /><br />Paul was also known as a highly acclaimed producer. Sadly Steve passed away during January 2009.</span><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4d02ThCf5NE" width="320" youtube-src-id="4d02ThCf5NE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/s5gCf3e5W5k" width="320" youtube-src-id="s5gCf3e5W5k"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="Standard" style="text-align: center;"><br /><span style="font-family: arial; font-size: large; font-weight: bold;"><br /></span></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-2136964220515762432024-01-12T17:56:00.000+00:002024-01-12T17:56:21.267+00:00The Specials – Leamington Spa 1981<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>The Specials – Leamington Spa 1981</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEVc7qYm93ljaBVpUTkuPZrGut3pFn4LLKXsO29HT-Vo6uoO-YH0jJkvSELvHuHby3-6JIiX_SfdNHz0r0dMKbPM9dTXbJrr7pr_H-f7lOK0eqfBLdgb38_FtxyTDflqXUWFVFUuybQXgBfMc4Mu8AqgE8R11ztmTwiC5P6arJTbuedWAr2z2tRJ-C7_o/s316/Ghost%20Town.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEVc7qYm93ljaBVpUTkuPZrGut3pFn4LLKXsO29HT-Vo6uoO-YH0jJkvSELvHuHby3-6JIiX_SfdNHz0r0dMKbPM9dTXbJrr7pr_H-f7lOK0eqfBLdgb38_FtxyTDflqXUWFVFUuybQXgBfMc4Mu8AqgE8R11ztmTwiC5P6arJTbuedWAr2z2tRJ-C7_o/w400-h400/Ghost%20Town.jpg" width="400" /></a></div><br /><br /><br />The Specials have long had an association with Leamington Spa. Their hit single, Ghost Town, had been recorded there. And during that recording period the band played a concert there. <br /><br />This deliberately low-key gig sold out weeks in advance and many youngsters had to be turned away at the door. This date had been seen as something of a 'come-back' for the Specials, and obviously as important to them as to their fans. It had been sparsely advertised the organisers preferring to rely, successfully, on word of mouth to ensure that only local kids could get tickets. There were even celebrity door men. <br /><br />As a band The Specials had always appeared determined to progress, and reject the media imposed limitations of their brand of 2-Tone Ska. Their music now was more fluid, and, the overall impression, was happier and more optimistic. For this particular gig, gone were the black and white suits, shirts and ties in favour of an image less look which didn’t predefine their sound. <br /><br />At the Spa Centre they played a long, varied set including obvious first album material - Too much, Too Young, Monkey Man, Gangsters, and most of 'More Specials'. <br /><br />Three 'new' songs were all slipped in, all of which appeared on their then forthcoming single. The A-side being 'Ghost Town' a memorable tune which could well be about Coventry. 'Why' and 'Friday Night/Saturday Morning' both of which were equally commercially and viable. <br /><br />A question asked at the time was 'it remains to be seen whether the Specials can recapture the nation's affection' with this singles release. It certainly seemed to work. <br /><br />Violence, of course, was almost unavoidable during those days, and the Specials twice stopped playing when fights broke out between excitable youngsters. Sadly, due to previous incidents, the band found themselves in a difficult position of being unable to say much for fear of incurring the further wroth of Her Majesty's finest. <br /><br />As if already predicting outbreaks, The Specials had already warned that if another fight starts, they'd go. It did, and so they did. In fairness, the majority of the audience made it plain that they go and fight elsewhere. <br /><br />The Specials returned to the stage and reached a climax with the authentic jingle 'Enjoy Yourself'. They lost it slightly with the last number, 'Niteclub', but the encores of 'Monkey Man' and 'Too Much, Too Young', raised the pulse in readiness for a second and final post midnight encore of the suddenly meaningful and visionary 'Maggie's Farm'. <br /><br />Terry Hall on congas, Neville on tom-toms and an unusual vocal interpretation, but the message was clear. And when Terry sang 'I try my best/ to be just like I am/but everybody wants you/to be just like them' it was obviously the Special's special message to you.... reject your stereotype and assert your individuality. <br /><br />Hot Snacks and 21 Guns had provided the initial entertainment. Hot Snacks, in particular, had a sizeable, noisy and dedicated following. <br /><br />21 Guns played with huge confidence. Their sound reminiscent of later Clash. A danceable, bouncy reggae beat, energetic vocals, and self-assurance born of not inconsiderable talent. Both bands weren't anxious to convey an anti-racist message by trite polemic, but rather by attitude and musical content. <br /><br />The whole event had been a worthy message - a worthy occasion.</span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-6170356501057495605.post-46785808223438547612023-12-15T18:40:00.000+00:002023-12-15T18:40:00.954+00:00Warwick University Xmas Party 1977<p> </p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: x-large;">Warwick University Xmas
Party 1977</span><span style="font-size: 16pt;"><o:p></o:p></span></b></p><p class="Standard" style="text-align: center;"><b><span style="font-family: arial; font-size: large;">by Pete Clemons</span></b></p><p class="Standard"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWBPmcIVDsOc9lfOkUEttYmW3ACp1iAP8ds6zqcdQAYprXB1NJ-VWhESy3Ak1zVK7UiHmIIl2h32FwhsjRcbSUxcAhnaTTJrSZQQB-EgOdNkhtoOyx40pOQ8-tSChl5j93Z92jMJsm2m4CyB8yJdNcVeCRCR5pdr90iT_-2R-pZjPZACs-ec6RmJVJLFbg/s600/Bethnal%20Dangerous%20times.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWBPmcIVDsOc9lfOkUEttYmW3ACp1iAP8ds6zqcdQAYprXB1NJ-VWhESy3Ak1zVK7UiHmIIl2h32FwhsjRcbSUxcAhnaTTJrSZQQB-EgOdNkhtoOyx40pOQ8-tSChl5j93Z92jMJsm2m4CyB8yJdNcVeCRCR5pdr90iT_-2R-pZjPZACs-ec6RmJVJLFbg/w640-h640/Bethnal%20Dangerous%20times.jpg" width="640" /></a></b></div><b><br /></b><span style="font-family: arial;"><br /><br />It was the year that punk rock was tearing up the UK. The Sex Pistols to down play Warwick. Yes, Warwick Uni Ents Society were offered the band for their Xmas Party provided the gig was unannounced. It was a major scoop but then the problems started. <br /><br />The tour dates were rearranged by a week, the students would have returned home. This meant scrapping the arrangements put in place at Warwick. It was decided to switch to Mr. George's club in Coventry city centre. However, Warwick Uni did have it on good authority that if Ents team were offered the Pistols again they would accept them if conditions are met. <br /><br />The Warwick Xmas Party was not scuppered though. It did go ahead and, replacing the Pistols, were the excellent Bethnal. Bethnal had recently completed their first album and very good it was too. On the night they brought the crowds to their feet. <br /><br />Bethnal were not exactly a regulation issue new wave band. To be more precise, Bethnal were a four piece band who sang about life in '77. They were formed by Nick Michaels (lead guitar & vocals) and Pete Dowling (drums), while they were at school in Wood Green, London. They were later joined by Everton Williams (bass) and George Csapo (lead vocals, keyboards, & violins) both also from the same school. <br /><br />Parallels, although very apparent were drawn to The Who. In the main because they chose to produce a version of the classic 'Baba O'Reilly' which Pete Townsend claims to prefer to his own. But it was, I thought, an unfair comparison. The other song on the album which drew attention was the single 'We've gotta get out of this place' - an old Animal's number. <br /><br />There was so much excellent material of their own on that album. Their songs were undeniably political as titles like 'Soldier Boy' and 'Where do we Stand' professed. But unlike many of the 'new wave' bands that had sprung up, this does not lead them into an angry mindless tirade against society. Their lyrics are considered, as is their music, and the result is a well structured album which is both provocative and melodic. <br /><br />Over at Canley College, their own Ents team had put on a second fun date. This time with Ricky Cool and the Icebergs the popular 1950s revival rockabilly band. Ricky Cool (real name Richard Coolham) brought with him a natural born wit. His between numbers banter was as funny as any comedy routine around at that time. <br /><br />Ricky was backed by six excellent musicians, including the famous 'Tennessee Stud' on pedal steel guitar, the notorious EI Rancido. The ‘Doctor on keyboards, Kenny Megre, Johnny Iceberg on drums and Alec the bassist. Ricky play : blues harp (mouth organ to you) and the rare Fender Codgicaster (only two ever made apparently). <br /><br />It was advertised that for the Canley party there would be a 'Highest Stiletto Contest', 'Free Style Jitterbug competition' and an 'Ice Cream Soda Bar'. Additionally there would be a disco and the evening would a 1950's US forces style with G.I.. Uniforms were warmly welcomed. Music would be heard to be playing loudly till 3.00a.m. <br /><br />A happy new year to anyone who cares to read this.</span><b><span style="font-family: arial; font-size: large;"></span></b><p></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-78418859768969437682023-12-15T18:34:00.000+00:002023-12-15T18:34:42.168+00:00The Belgrade Venue<p> </p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b> <span style="text-align: left;">The Belgrade Venue</span></b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"><b><span style="text-align: left;">by Pete Clemons</span></b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"><b><span style="text-align: left;"><br /></span></b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; font-size: x-large; font-weight: bold; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XewGOdQoM6SPdXWpeNMK91hBConSiUxTGmMaj_t5W3AQPqwdEarzaSsolPDRLtxKARwD6pJ0it8Ks4AsMKy5jo7DTg38dmo9JMAkeTd88ekI8XrQ1pVkNPqRW6IW2xsz_Bwa3XFZ5RO_I6g6S19VLXIb75Idcs6oj6NxbC0AqYm4cmN-BgcNFwPP5usx/s1080/Wild%20Boys.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="1080" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XewGOdQoM6SPdXWpeNMK91hBConSiUxTGmMaj_t5W3AQPqwdEarzaSsolPDRLtxKARwD6pJ0it8Ks4AsMKy5jo7DTg38dmo9JMAkeTd88ekI8XrQ1pVkNPqRW6IW2xsz_Bwa3XFZ5RO_I6g6S19VLXIb75Idcs6oj6NxbC0AqYm4cmN-BgcNFwPP5usx/w640-h360/Wild%20Boys.jpg" width="640" /></a></span></div><span style="font-family: arial;"><br /><span style="text-align: left;">Wild Boys</span></span><div><span style="font-family: arial; text-align: center;"><br /></span></div><div><span style="font-family: arial; text-align: center;">The Belgrade Theatre opened their new intimate live music and theatre space, 'The Venue', later renamed to The Depot, during early October 1980.</span><span style="font-family: arial;"><span style="text-align: left;"><br /></span></span><span style="font-family: arial;"><br />This innocuous looking building that sat on a, then, car park across the road at the rear of the Belgrade Theatre had, I understand, previously stored props and costumes. <br /><br />The first presentation it staged was with a production of 'Sorry' by Vaclav Havel, a play about a dissident writer in Czechoslovakia. Vaclav Havel was, at that time, been Czechoslovakia's greatest living playwright. During that occasion Vaclav was currently serving a 4 and a half year prison sentence for his involvement in the dissident Charter 77 and related Human Rights groups. His plays had been banned throughout Eastern Europe during a period of time when things were very different. <br /><br />It was also promised that The Venue would be presenting live music by Coventry bands each Monday Night. And so it happened. Later on during that month saw the Reluctant Stereotypes opened a series of Monday night gigs. <br /><br />The venue was given high praise. It was described as very accessible, had a great atmosphere and some really good bands signed up to it. Plus, the gigs were an affordable £1.00 to get in. <br /><br />The hype sheet for the Stereotypes read as follows: 'They have been together in their present form for about ten months. Founder-member and Big Daddy of the band, Steve Edgson, remarked, I've been playing in bands for eight or nine years, and more has happened in the last few months with the Stereotypes than in all that time with other bands. The writing talent is down to the two Paul's - Paul King, vocals (ex-Coventry Drama School) and Paul Samson, lead guitar and vocals (ex-apprentice fitter!). Steve Edgson on clarinet, a rather earnest nice-guy, brings together a consistent, individual sound in the band's music. Base guitarist Tony Wall and drummer Colin Heanes, complete the 5 man set-up. No labels for the music but touches (?) of jazz, rock, ska, reggae... The band is a band; the vocalist is something else: very stylish, very beautiful, he incorporates formal mime in his presentation, and makes Kate Bush look like a learner in the process. <br /><br />The venue attracted the likes of The Swinging Cats, God's Toys, Urge, The Mix and Attrition. <br /> <br /> The next production at The Venue was titled 'Have a Nice Day'. It ran during November 1980 and it was performed by the Belgrade Theatre in Education Team. Again ticket prices were held at £1.00. <br /><br />The following year saw productions such as 'Dangerous Girls' and the acclaimed 'Risky City' written by local playwright Ron Hutchinson. Risky City alluded in particular to Coventry. Additionally the play incorporated music by the 'up and coming Wild Boys'. Most of the action was set in a Night Club. The plays director, Michael Boyd, believed that 'the group s music had the right balance of aggression and containment', for a play dealing chiefly with the harsh realities and violence from the contemporary clash between youth and society. It was well worth seeing. And maybe demands to be revisited. <br /><br /> <br /><a href="https://www.macearchive.org/films/atv-today-15061981-play-risky-city"><b>https://www.macearchive.org/films/atv-today-15061981-play-risky-city</b></a></span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTH-dKHk0OZfoWEHXKDS1w-B3q4ZNNxzzptfF5nnFnjRH79C2ocFKn4vxz29cnQwZD036W4vs_cRDF8cJOlcu-lLX6VKhjQ2fEvu9j1PPyjeARI7YeicD-u_8xmT1atsTYq9naEHBj1toaXnDCNu0fmRLUvw8heihEvz0aqlo6-OXy4nk9DhYv80Vge14T/s1080/Mark%20Byers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="1080" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTH-dKHk0OZfoWEHXKDS1w-B3q4ZNNxzzptfF5nnFnjRH79C2ocFKn4vxz29cnQwZD036W4vs_cRDF8cJOlcu-lLX6VKhjQ2fEvu9j1PPyjeARI7YeicD-u_8xmT1atsTYq9naEHBj1toaXnDCNu0fmRLUvw8heihEvz0aqlo6-OXy4nk9DhYv80Vge14T/w640-h362/Mark%20Byers.jpg" width="640" /></a></div><br /><div style="text-align: center;"><span style="font-family: arial;">Mark Byers (Roddy Radiation's Brother from The Wild Boys</span></div><div style="text-align: center;"><span style="font-family: arial;"><a href="https://coventrybands.blogspot.com/2018/08/the-wild-boys.html">https://coventrybands.blogspot.com/2018/08/the-wild-boys.html</a></span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWV6zTmwehNO4O4T0MjrMS_ZcXEliuBS_8MYhDMLSQH9-uIq_ZyjSo6iAQjB8WA8ApfOMXK9-O01ss0ykaY30x-Mc-8h_uPojtNby6BsoKKJe8p_wkrTaT_gIdciWSLCyHayrwxLXXxSWyDjJge000MPQKrVW70GQv-aWCa7XiT311oXKnbKd5PaU0f5D/s1080/Producer%20Risky%20City.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="1080" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWV6zTmwehNO4O4T0MjrMS_ZcXEliuBS_8MYhDMLSQH9-uIq_ZyjSo6iAQjB8WA8ApfOMXK9-O01ss0ykaY30x-Mc-8h_uPojtNby6BsoKKJe8p_wkrTaT_gIdciWSLCyHayrwxLXXxSWyDjJge000MPQKrVW70GQv-aWCa7XiT311oXKnbKd5PaU0f5D/w640-h374/Producer%20Risky%20City.jpg" width="640" /></a></div><span style="font-family: arial;">Producer Risky City</span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-6170356501057495605.post-49623166599677792602023-12-15T18:04:00.003+00:002023-12-15T18:04:38.241+00:00Squad and Gus Chambers<p> </p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>Squad and Gus Chambers</b></span><span style="font-size: 16pt; font-weight: bold;"><o:p></o:p></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"><b>by Pete Clemons</b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNhzLIYFBEACLH5wOgpJ1Vejy9KyNtGHyrIrE9ly3JziYsbpW6qGEmWrYfdRWK7yKrgfSUYbirwG6NDhi-G8mkj0pLjXY3V6UP2h-26nLKJedg9n9_PuDD5qWGHGr_kzCaBiCcdn4ZqTeVrpVOvXak5ZMeWp8uD8Rz80-qCTh-f4yGmRMPz1bFkC2IbOQg/s640/Squad%20pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="640" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNhzLIYFBEACLH5wOgpJ1Vejy9KyNtGHyrIrE9ly3JziYsbpW6qGEmWrYfdRWK7yKrgfSUYbirwG6NDhi-G8mkj0pLjXY3V6UP2h-26nLKJedg9n9_PuDD5qWGHGr_kzCaBiCcdn4ZqTeVrpVOvXak5ZMeWp8uD8Rz80-qCTh-f4yGmRMPz1bFkC2IbOQg/w640-h444/Squad%20pic.jpg" width="640" /></a></span></div><span style="font-family: arial; font-size: large;"><br /></span><p class="Standard" style="text-align: left;"><span style="font-family: arial;">The importance of Coventry punk rock band, Squad, cannot be
understated when it comes to local music history. Formed during November 1977
and struggling on through till around 1980 they played many gigs locally in a
variety of venues. Often on the same bill as The Automatics.<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Lead singer Gaz 'Gus' Chambers appeared to have a love/hate
relationship with Coventry where they thought that they were seen as a joke.
And that assertion couldn't have been further from the truth. Reviews of Squad
outside of Coventry were more than favourable.</span></p><p class="Standard"><span style="font-family: arial;"></span></p><div style="text-align: left;"><span style="font-family: arial;">Gus once commented, via Alternative Sounds, about a scene he wanted to build up
in the city. But then he railed against the 'tits' that turn up to each gig and
spoil it for everyone. 'Fans' were also accused of being more interested in
what was happening in the audience rather than in the music.</span></div><span style="font-family: arial;">
<div style="text-align: left;"><br /></div><div style="text-align: left;">Money was also an issue too. During the same interview Gus mentioned how Squad
couldn't possibly progress as a band when half the audience were getting into
gigs for nothing. Like a lot of bands back then they were ripped off by their
own fans who would enter venues without paying.</div><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Gaz began at Warwick university 1974/75. He was an incredibly
principled guy. Quite quickly he began to stamp his mark on the campus. Several
times he stood, for the broad left, in Coventry Area Student Council (CASC)
elections. Tuition fees were a particularly bug bear. Time and again Gaz railed
against them.</span></p><p class="Standard" style="text-align: left;"><span style="font-family: arial;">1977, and after running the election favourites closer than expected, it was
reported that a celebration event by the eventual winners was marred by an
eventful appearance by Gaz. 'The representative of the Coventry Area Students'
Council, was not invited to the gathering, as he is not a member of the
executive'.</span></p><p class="Standard"><span style="font-family: arial;">
</span></p><div style="text-align: left;"><span style="font-family: arial;">The report continued 'Chambers was seen, quite late in the proceedings, to
enter the room surreptitiously and help himself to liberal quantities of food
and wine. The union president discreetly informed Chambers that he was not
invited and asked him to leave. Chambers took the hint, but picked up an
unopened bottle of wine as he made for the door. When asked to leave the bottle
behind, Chambers, in a fit of pique, tossed his loaded plate onto the floor,
tipped his pint glass of wine over a table, dropped the glass onto the floor,
and departed'.</span></div><span style="font-family: arial;"><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Gaz did become CASC general secretary towards the end of his
time at Warwick.</span></p><p class="Standard"><span style="font-family: arial;"></span></p><div style="text-align: left;"><span style="font-family: arial;">On leaving uni Gus returned to the Warwick campus soon after as his band,
Squad, were support to The Specials during February 1979. Squad (I have assumed
line up 3) were described as a 'high quality, high energy punk band'.</span></div><span style="font-family: arial;"><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">'The drummer, bassist and rhythm guitarist provided a very
high beat upon which the singer super imposed his distinctive voice. The best
song in their set was an adapted form of 'The Bells are Ringing for Me and my
Gal'. 'Millionaire' proved that the band's rhythm held together even at high
speed, not a characteristic of many punk bands. Other songs included 'The
Flasher' which was the trigger for an outbreak of rowdiness'.</span></p><p class="Standard"><span style="font-family: arial;"></span></p><div style="text-align: left;"><span style="font-family: arial;">It appears that scuffles escalated during Squad's last number, when a minor
disturbance broke out among thirty or so fans. This continued for some time
until stewards formed a wall in front of the audience to prevent them from
leaping onto the stage. An eye witness, re-marked "The stewards showed
remarkable restraint under extreme provocation."</span></div><span style="font-family: arial;"><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">However the Arts Fed house manager claimed another side to
the events. 'Two of our stewards refused to wear Anti-Nazi League t-shirts. He
also accused</span><span style="font-family: arial;"> </span><span style="font-family: arial;">Gus Chambers, as being
responsible for some of the charges towards the stage.</span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitarist Ade Dix let me have a few notes from post Squad
days: 'I didn't see Gus for years after the punk thing moving forward to the
early 80's but I remember seeing him down the Dog and Trumpet and he said that
he had been working in a Siberian salt mine, I don't know how true that was but
I wouldn't put it past him as he was some character!. I know that he went on to
play with albeit briefly with another band ( I'm thinking they were some sort
of Napalm Death type metal band) as I recall seeing an article and photo
somewhere, I think that they had a record deal, could be wrong?</span></p><p class="Standard"><span style="font-family: arial;"></span></p><div style="text-align: left;"><span style="font-family: arial;">Sadly the next thing I heard was that he had passed away, he must've only been
in his thirties, he was about our age as we're all the original Punks'.</span></div><span style="font-family: arial;"><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad were an incredibly fluid band. Using pieces of
information from different sources I have attempted to document the evolving
line up's of the band during its lifetime. They are not meant to be a
definitive. It is open for debate. I am fairly certain other line up's
represented the band. But I do think it is a decent start.</span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p><span style="font-family: arial;">Squad 1</span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Billy Little<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Scully<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Terry Hall (left to join Specials Dec 1977)<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 2<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: John Hobley<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Ade Dix<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 3<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Rob Hill<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Scully<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 4<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Rob Hill<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 5<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Marc Hatwood<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Recorded Red Alert (McNulty)/8 Pounds a Week (written by
Chambers/Ade Dix – uncredited) 1978. It cost £440 to make 2000 copies. Despite selling
out the band made nothing.<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 6<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Rob Hill<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Recorded Mi££ionaire/Brockhill Boys (written by Chambers)
1979<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 7<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Steve Young<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Sam McNulty<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 8<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Steve Young<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Nick Edwards<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Danny Cunningham<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><o:p><span style="font-family: arial;"> </span></o:p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Squad 9<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Drums: Steve Young<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Bass: Nigel Mulvey<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Guitar: Johnny Adams<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Vocals: Gus Chambers<o:p></o:p></span></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">Finally, returning to Gaz's days at Warwick university,
another incident was reported as follows: 'I hear that certain members of the
"Broad Left" let it "all hang out" at a recent gathering in
a Tocil Flat (pronounced Tock Hill). Other occupants of the flat, curious as to
what was going on, were confronted by Gaz Chambers wearing only a smile
........ A peep inside the door would have revealed other .... er 'members' in
a similar state of undress'.</span></p><p class="Standard"><span style="font-family: arial;"></span></p><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;">
<div style="text-align: left;">An inspiration for the Squads song 'The Flasher'?</div><o:p></o:p></span><p></p>
<p class="Standard" style="text-align: left;"><span style="font-family: arial;">My thanks to Ade Dix, Danny Cunningham and Steve Meehan in
helping me compile this article.</span></p><p class="Standard" style="text-align: left;"><span style="font-family: arial;">More here </span><span style="text-align: center;"><span style="font-family: arial;"><a href="https://coventrybands.blogspot.com/2021/07/squad.html"><b>https://coventrybands.blogspot.com/2021/07/squad.html</b></a></span></span></p><p class="Standard" style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzZwuCDj8Un6_38X8PTucm3206vOxAgnpAV_V3OmXaWLf3nJTuXnlZuOEWN8nJUY3oohavLOfT4A8ye-UzDdp4QmJJEeN76q2NQeZJTU6VPowiUGYaNnVUgV5yUDT2MBHegBzBLk1Yf-w8iY4sXU9nBxxp23HDxez-EsjHqGWtGoeonzAigKp-mLENXDG6/s181/Gus%2019762.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="181" data-original-width="151" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzZwuCDj8Un6_38X8PTucm3206vOxAgnpAV_V3OmXaWLf3nJTuXnlZuOEWN8nJUY3oohavLOfT4A8ye-UzDdp4QmJJEeN76q2NQeZJTU6VPowiUGYaNnVUgV5yUDT2MBHegBzBLk1Yf-w8iY4sXU9nBxxp23HDxez-EsjHqGWtGoeonzAigKp-mLENXDG6/w534-h640/Gus%2019762.jpg" width="534" /></a></div><br /><div style="text-align: center;"><span style="font-family: arial;">Gus Chambers</span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit70kqxoW_5nXlfMc3Ds2ZHA0LN7NuXOxKJeRHGP3U01sgL5DeRBs-KTChzkk9xKvU6KMQdzXBclmrmSebS2tbaquut4Sdvr0-gV5pywtu7rc74chdIeTHhyphenhyphenVFrBnfWFgEZ-d-8DcuHMw3AAee14UzbLWuIN4SruUSsWqO1u2xnShpZyu3YVmHLF57R0Uu/s600/R-2235601-1542172779-9378.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit70kqxoW_5nXlfMc3Ds2ZHA0LN7NuXOxKJeRHGP3U01sgL5DeRBs-KTChzkk9xKvU6KMQdzXBclmrmSebS2tbaquut4Sdvr0-gV5pywtu7rc74chdIeTHhyphenhyphenVFrBnfWFgEZ-d-8DcuHMw3AAee14UzbLWuIN4SruUSsWqO1u2xnShpZyu3YVmHLF57R0Uu/w640-h640/R-2235601-1542172779-9378.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBETELuiFLVblBZQgw6IWCcWsQUP-RkNYGrYpAeK08xKUSzLjPNnWVbJgkEvzZlNqJs4ruspF1D7-OEh0D207hyphenhyphenKVSoY85vEkpdxO2jklW5N3o4phaG-aRx2NCjzK2J60pIB6il-7FwUZNcuzIZA8NIwY5UT1DeZ_BRVswD5XJmwQq_NcfxQjdEsfVMqNU/s615/squad-group.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="409" data-original-width="615" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBETELuiFLVblBZQgw6IWCcWsQUP-RkNYGrYpAeK08xKUSzLjPNnWVbJgkEvzZlNqJs4ruspF1D7-OEh0D207hyphenhyphenKVSoY85vEkpdxO2jklW5N3o4phaG-aRx2NCjzK2J60pIB6il-7FwUZNcuzIZA8NIwY5UT1DeZ_BRVswD5XJmwQq_NcfxQjdEsfVMqNU/w640-h426/squad-group.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NVhv9DLeFww" width="320" youtube-src-id="NVhv9DLeFww"></iframe></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Squad Red Alert</span></div><p class="Standard" style="text-align: left;"><br /></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wtcLzzM8f-w" width="320" youtube-src-id="wtcLzzM8f-w"></iframe></div><br /><p class="Standard" style="text-align: left;"><o:p></o:p></p><span style="font-family: arial; font-size: large;"><b></b></span><p></p><p class="Standard" style="text-align: center;"><span style="font-family: arial;">Eight Pound a Week - Squad</span></p><p class="Standard" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3QR4JYMRt4k" width="320" youtube-src-id="3QR4JYMRt4k"></iframe></div><br /><span style="font-family: arial;">Millionaire Squad</span><p></p><p class="Standard" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5mjDmV7KJfA" width="320" youtube-src-id="5mjDmV7KJfA"></iframe></div><br /><span style="font-family: arial;">Brockhill Boys Squad</span><p></p><p class="Standard" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/opxX4nCTBVw" width="320" youtube-src-id="opxX4nCTBVw"></iframe></div><br /><span style="font-family: arial;"><br /></span><p></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-6170356501057495605.post-35903860157826504092023-12-15T17:28:00.001+00:002023-12-15T17:36:02.203+00:00Gilly Darbey – The Albany Theatre<p> </p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>Gilly Darbey – The Albany
Theatre</b></span><span style="font-size: 16pt; font-weight: bold;"><o:p></o:p></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"><b>by Pete Clemons</b></span></p><p class="Standard" style="text-align: left;"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1nyh7VHAmPdTpb0-ZEASvPE3p7jj8it9Ltp4rmOuzRL3MnzknSwmC6ZnSkP4E-vkdn1b_g_FMWSwUWoMhWSTe7NzDambIGXhlG6_f5-S_6Hh4bHR1YDmurWIyMDoVEHvH53XihRilRXOgqMCJprJFPxATivXVBwqpGK3Au83v8BFjEbHFjSxCYWKiJNOl/s2560/20231119_15441dd0.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2083" data-original-width="2560" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1nyh7VHAmPdTpb0-ZEASvPE3p7jj8it9Ltp4rmOuzRL3MnzknSwmC6ZnSkP4E-vkdn1b_g_FMWSwUWoMhWSTe7NzDambIGXhlG6_f5-S_6Hh4bHR1YDmurWIyMDoVEHvH53XihRilRXOgqMCJprJFPxATivXVBwqpGK3Au83v8BFjEbHFjSxCYWKiJNOl/w640-h520/20231119_15441dd0.jpg" width="640" /></a></span></div><span style="font-family: arial; font-size: large;"><br /></span><p class="Standard"><span style="font-family: arial;">Despite returning to her home city of Coventry Gilly Darbey
explained how, having lived there for several years now, she now becomes
homesick for her adopted New Zealand and not so much the UK. Understandable I
guess.<o:p></o:p></span></p>
<p class="Standard"><span style="font-family: arial;">Gilly was back in Coventry to visit family and took the time,
via borrowed kit, to play a couple of gigs. In this instance the foyer of the
Albany Theatre was treated to a pulsating and incredibly entertaining
afternoon.</span></p>
<p class="Standard"><span style="font-family: arial;">This unique and engaging character brought with her a range
of stories about New Zealand</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-E6f9LyH5Zc3DsHvjyQfCWniiyV2RyC8bDtLMOMX7MVU9_UVI9Im-jn2BS-yFCEW3XzG1K75rwBqvLG-M-uMo5YN2IEIg3iIlBHYU_bQP_iLgkoU33ss46JwcYcuf2oWfRsJOH9gotQAOBUB7bw60RcQGM2vgzy1rjqYbetQ9_kKKnOwCEB-GPe49bAQ/s600/A-2385028-1445609034-5221.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib-E6f9LyH5Zc3DsHvjyQfCWniiyV2RyC8bDtLMOMX7MVU9_UVI9Im-jn2BS-yFCEW3XzG1K75rwBqvLG-M-uMo5YN2IEIg3iIlBHYU_bQP_iLgkoU33ss46JwcYcuf2oWfRsJOH9gotQAOBUB7bw60RcQGM2vgzy1rjqYbetQ9_kKKnOwCEB-GPe49bAQ/s320/A-2385028-1445609034-5221.jpg" width="320" /></a></div><br /> and others aspects of her life. Gilly captivated
the audience as she breathed new life into the songs yet, at the same time,
remained graceful and full of a natural energy. Humour was never far away
either. At times she was very funny.<p></p>
<p class="Standard"><span style="font-family: arial;">Gilly's voice had range and control which enabled her to improvise where
necessary. Her choice of songs also varied. They spanned between her own
through to those written by Bob Dylan and Charlie Chaplin.<o:p></o:p></span></p>
<p class="Standard"><span style="font-family: arial;">During the proceedings Gilly excitedly explained how, over in
her adopted country, she has teamed up with another familiar name who has moved
out there. Vicki Clayton. Together they perform as 'We Wayward women' or 'We
Wayward Divas'. For those interested, and with the power of the internet making
the world that bit smaller, I am sure YouTube can provide more about this
duo.</span><span style="font-family: arial;"> </span></p>
<p class="Standard"><span style="font-family: arial;">This free spirited lady was not, it appears, for turning back. I noticed Keith
Donnelly in attendance so I admit to having this romantic notion that there
maybe some kind of brief Waterfall or Nothing by Chance reunion. But it was not
to be.<br />
<br />
1.Blow Me Home <br />
2.Hurricane <br />
3. Rockabilly<br />
4. I Miss My Son<br />
5. I Got You Horse (about a cavalcade in New Zealand)<br />
6. Isolation Blues (Covid Song)<br />
7. To Make You Feel My Love (Bob Dylan made famous by Adelle)<br />
8. Oil in the Generator (About a partner who rejected her. Kept his feelings in
a box)<br />
9. Bailey<br />
10. Lets Just Breathe (Willie Nelson)<br />
11. Big Yellow Taxi (Joni Mitchell)<br />
Encore<br />
12. Smile (Charlie Chaplin)<o:p></o:p></span></p>
<p class="Standard"><span style="font-family: arial;">The set list above is by and large correct. I may have
misheard a couple of song titles so I improvised. Either way it was an absolute
joy to see Gilly. And hopefully she enjoyed it all too.</span></p><p class="Standard"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jE_i4dUBARg" width="320" youtube-src-id="jE_i4dUBARg"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWzjkp8wGAxJ9nuS-cm7SE0fo0aJfNCfd4ltLyFw0VcE1IVJ8fK1-GBftWLEBSNxePCSrjVZJSndb7Dw5kePcWaRGs38X9x-e9-yaOAIIgGGeIB__Oy-z4S0DeF8X538Fe1gJSNdD-u42pMF1JvxZ7Wxyi7Mj8C9lynbqG9hlxmMcYpW21kS4I2EINBI0/s5664/20231119_154410.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5664" data-original-width="4248" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWzjkp8wGAxJ9nuS-cm7SE0fo0aJfNCfd4ltLyFw0VcE1IVJ8fK1-GBftWLEBSNxePCSrjVZJSndb7Dw5kePcWaRGs38X9x-e9-yaOAIIgGGeIB__Oy-z4S0DeF8X538Fe1gJSNdD-u42pMF1JvxZ7Wxyi7Mj8C9lynbqG9hlxmMcYpW21kS4I2EINBI0/w480-h640/20231119_154410.jpg" width="480" /></a></div><br /><div style="text-align: center;"><span style="font-family: arial;">Photo by Pete Clemons</span></div><p></p><p class="Standard"><o:p></o:p></p><span style="font-family: arial; font-size: large;"><b></b></span><p></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-2890485276784756652023-11-03T17:07:00.001+00:002023-11-03T17:07:12.964+00:00Silk Disco – The Venues, Part 2<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Silk Disco – The Venues, Part 2</b></div><div style="text-align: center;"><b><span style="font-size: large;">By Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPc96ot97ymRStWGu35dVtUuQ3KfdmbE1hPok6ZvnLSUp0x8vIWrBQ4nvB95vGZZKvGzDEfSgH5hfhzLkb1xHbR9Hsb2Jb6Qr-PVVFdjLb6Dpueou01uJb-JAqFRtKhzeElGzqohebAHFcmwajzhQIguQ8tfRAmh1WkhYH4LeSS5fa-6-PhBSV_2kxpUPX/s4017/20230914_111506.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2626" data-original-width="4017" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPc96ot97ymRStWGu35dVtUuQ3KfdmbE1hPok6ZvnLSUp0x8vIWrBQ4nvB95vGZZKvGzDEfSgH5hfhzLkb1xHbR9Hsb2Jb6Qr-PVVFdjLb6Dpueou01uJb-JAqFRtKhzeElGzqohebAHFcmwajzhQIguQ8tfRAmh1WkhYH4LeSS5fa-6-PhBSV_2kxpUPX/w400-h261/20230914_111506.jpg" width="400" /></a></div><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><br /></div><div class="separator" style="clear: both; font-weight: bold; text-align: left;"><br /></div><br /><br /><b><span style="font-size: medium;">Baginton Oak - 13 December 1974 </span></b><br /><br />Last night should have been a happy occasion for the Silk Disco, a mobile discotheque that tours the Coventry area, because they were celebrating their 5th birthday. <br /><br />A very special party for all their fans had been laid on at the Baginton Oak Hotel but the happiness soon turned sour when it was found that half of the disco's singles collection – valued at more than £1000 – had been stolen. <br /><br />Today the two young men who run the disco, Mr Jim Twynham and Mr Graham Wood, are desperately trying to trace their stolen records and planning a new programme for a disco date tonight. <br /><br />Both men decided to give a fifth birthday party for their fans some time ago and in order to make certain that everything would go off smoothly they left their equipment, including two large suitcases full of singles records at the Baginton Oak on Thursday night. <br /><br />When they went back to the hotel last night to begin the party they discovered that one of the suitcases with records catalogued from H to Z had been stolen. <br /><br />The pair are offering a £50 reward for information leading to the recovery of their records <br /><br />The records were never recovered but they were actually stolen from the Baginton Oak when we were daft enough to leave them there overnight, having set up there the night before our 5th birthday party! <br /><br /> <br /><b>Chesford 1812/stables November 1976 to November 1982</b><br /> <br /> Having worked for the new owner of the Chesford Grange previously (via the Hylands Hotel) we were asked to re-open the nightclub when it became known as the 1812.<br /> <br /> Chesford Grange situated between Kenilworth and Leamington Spa had long enjoyed its reputation for its hotel facilities that included a massive ballroom (Once host to the Kinetic Circus which once was a venue for many well known bands) and its own nightclub. By the mid 70s it was not trading and put up for sale. <br /> <br /> Without any redecorating, or cleaning the 1812 reopened in November 1976 and Silk provided DJ services and equipment several nights a week as well as providing disco's in other parts of the hotel.<br /> <br /> The nightclub was then refurbished, twice, and a resident band, sound system and professional lighting installed. The club name then became known as Stables. At this point we sold our Transit Van and some of our lighting equipment. <br /> <br /> Life at the Chesford was never dull and a book could be written covering all the 'stuff' that took place!. Great memories and happy times but when the owner did not want to give us a pay rise we said goodbye!. <br /><br /> <br /><b>3 Tuns Bull Yard, Coventry, Sunday's, Wednesday's and Saturday Lunchtimes June 1980 to October 1984 </b><br /><br />Through Jim's friendship with landlord Martin, Silk were invited to present a disco a the 3 tuns (No dancing and no lights). This took place on Sunday and Wednesday evenings plus Saturday lunchtimes. <br /><br />Always a good crowd who were probably on a pub and club crawl through the city centre. We could keep the sound centre there and it was never a late night. <br /><br /> <br /><b>Ryton Sports Connexion 80s – Friday's April 1988 to August 1991 </b><br /><br /> <br />Around the early 80s we were asked to play for many private parties at the Sky Blue Connexion and became their 'go to' disco if one was requested. <br /><br />In 1988 we started a weekly Friday evening residency which became a late night disco for the older age group who wanted a late night drink and dance. <br /><br />Whilst the residency 'lost its appeal' in 1991 we continued to play for private parties until October 2003, our penultimate gig. <br /><br /><b>Not forgetting – short residencies and dates </b><br /><br /><b>Apollo Disco, Railway Hotel 1970</b> – Played 2 gigs here during January 1970 and had to purchase a couple of reggae greatest hits in order to satisfy the requirements of the organiser. It was not really our thing. <br /><b><br />Walsgrave Pub 1970</b> – Friars promotions decided to put on progressive nights and we played there on a few occasions. However the in house DJ gear was awful and the management poor. We had a growing reputation to consider. <br /><br /><b>Dive 1971</b> – The underground Dive Bar started to promote rock disco nights and Silk played there during November/December 1971 on Saturday nights. Unfortunately we were very busy elsewhere and not prepared to work for the very modest fee on offer. <br /><br /><b>Circles, Builders club</b> (sacked for a mess) moved to West End WMC (Thursday's) 71/72 <br /><br /><b>Locarno 1973 </b>– Hawkwind supported by Barnabas. Also featured Stacia who performed her dance routine for only the second time. As a result of this a certain Coventry apprentice found himself mentioned in the Sunday People. <br /><br /><b>London</b> - Silk never did a 'gig' in London but during the early 1970’s Jim and Graham were invited down by Colin Huntley, who was Hackensack’s manager at the time. He took the pair to Island records and a gig at the Cooks Ferry Inn. <br /><br /><b>Posh Annie's above Colin Campbell October 1981/March 1982</b> – Previously home to the Village Heavy Rock Club in 1970/71. Posh Annie's was in the upstairs room and we had a short Friday night residency playing rock and progressive music on an in house DJ set up. <br /><br /><b>Chuffers – The Engine Inn, Hampton in Arden</b> June to September 1983 – Ex 3tuns landlord took over the pub and wanted a Thursday evening disco. So we helped launch the venue but were too busy elsewhere so gave the gig to another disco.<br /> Memory Lane (Park Lane) 84/85 <br /><br /><b>Eastern Green Village Hall</b> – Silk's last gig <br /><br />Silk's mobile disco's continued through till 2003. Their last gig was Saturday 29 November 2003 at the Eastern Green Village Hall for the 21st Coventry Scout Group. It wasn't there first time at this venue. It had always been a great crowd, always up for some fun and, as it was the last gig, we did several encores. <br /><br /><b>Fun Quiz's June 1991 Dec 2017 </b><br /><br />Concurrently, and for around quarter of a century, Graham Wood and Jim Twynham moved into the world of organising pub quiz nights. These were held, in no particular order, at the following venues: The Maudsley, The Old Clarence, The Haven, The Chestnut Tree, The Bell Inn, The Phoenix and the Fletch. <br /><br />Today, Graham looks back on his part in local entertainment history with a certain pride. And rightly so. He also mentioned that, occasionally, he still misses it. Such was the impact on his life I guess. <br /><br /><br /> <br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ91v7VerM3CNlhH0tkwQOKtuT7pX4Rh05QQin0gfhTLQb-VHjThCn4Mx-eCdLlScBFCa2Vnrjnq9lehtu0r3-VBQsA-eF2cB8Xsnn55PSd1bV0M32Zm95g8wTrclHksVMB_jEn7ZT2QyF9FOwp5UU1POfyDleoHjuwhZxY7b1kSoyfFS9CKzhrzU-ftpU/s1458/img870.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="1458" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ91v7VerM3CNlhH0tkwQOKtuT7pX4Rh05QQin0gfhTLQb-VHjThCn4Mx-eCdLlScBFCa2Vnrjnq9lehtu0r3-VBQsA-eF2cB8Xsnn55PSd1bV0M32Zm95g8wTrclHksVMB_jEn7ZT2QyF9FOwp5UU1POfyDleoHjuwhZxY7b1kSoyfFS9CKzhrzU-ftpU/w640-h442/img870.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Photo by Sue Long</span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhTCO36ENVdPNdfNbxAflbLQB7AZii7ICfkz6JYJqVJ4c8AK4670isYUcQ9rN_C799GDkusLQhzpTTLmVItHpop1EKdK3W6ldZ6mO4Mi2D9vz2QLukff1Fq9jr54BZh0U3_8btpr6OJh07cHHQv477QJ1LBkpuUI_7Od_lZ0ZsJAeb6I2fIhMOgKXjfep4/s3347/20231005_102929.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="3347" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhTCO36ENVdPNdfNbxAflbLQB7AZii7ICfkz6JYJqVJ4c8AK4670isYUcQ9rN_C799GDkusLQhzpTTLmVItHpop1EKdK3W6ldZ6mO4Mi2D9vz2QLukff1Fq9jr54BZh0U3_8btpr6OJh07cHHQv477QJ1LBkpuUI_7Od_lZ0ZsJAeb6I2fIhMOgKXjfep4/w640-h160/20231005_102929.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuX3p4GXHZd7Bfnaj3L5r9tFQkuE7jIoTsfUzQXhQPoTMzUH5lFadkVSnmYpwwi_Z0b7u-2f97MvarV3XdsFWtVjNA0emumIipXEWiXp70MqfGqhu84_hV6Yyyb-gjkov8m54hx4iqeNil5RXuHsmTss6GDj9kaovGkRjU1C4FfYEkj_I8uyYH3f0ZPZX2/s1452/20231005_103047.jpg" imageanchor="1" style="margin-left: 1em; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Silk letter header as sent to Trev's Hobo Magazine for an advert in the magazine 1974</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFXQgUfOn88LE5wca5lBnyOSy1ytHgzzSPoZzpqKEG19LrJdkLwbNq8JRNI1kp9iuR5vxOHzDGSsyqXeFLCrcRqrbOCprfDSIGG2AubW0Nz7woGU7kScuiz8mN11monMh2Gm_KzkD7eoqyrRKdDxNtu3-yP3vjMdAiVfQuX_PxhmVgITdiT6t1aqbrLQL/s720/250872_2033964058882_8154602_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="720" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFXQgUfOn88LE5wca5lBnyOSy1ytHgzzSPoZzpqKEG19LrJdkLwbNq8JRNI1kp9iuR5vxOHzDGSsyqXeFLCrcRqrbOCprfDSIGG2AubW0Nz7woGU7kScuiz8mN11monMh2Gm_KzkD7eoqyrRKdDxNtu3-yP3vjMdAiVfQuX_PxhmVgITdiT6t1aqbrLQL/w640-h522/250872_2033964058882_8154602_n.jpg" width="640" /></a></div><br /><span style="font-family: arial;"><br /></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyD4Jv4ZKzGVkewE5sK18r4gw4bO49u9WETl5RSRFtB_V3es3EgndFes1BjI7Ka5fvhL4MFj9MkpQlCPaY_NIDVpVer2qPF8amMxmbgdBxfn_qkpfltVNzU316uNr1ZmZv5g5AgTUTELbbS8Ru1Yrwk3bynHjzKzsJYUwi9TI1auO0BlbYqbRrKli4l8j/s720/250872_2033963898878_5469560_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="320" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyD4Jv4ZKzGVkewE5sK18r4gw4bO49u9WETl5RSRFtB_V3es3EgndFes1BjI7Ka5fvhL4MFj9MkpQlCPaY_NIDVpVer2qPF8amMxmbgdBxfn_qkpfltVNzU316uNr1ZmZv5g5AgTUTELbbS8Ru1Yrwk3bynHjzKzsJYUwi9TI1auO0BlbYqbRrKli4l8j/w284-h640/250872_2033963898878_5469560_n.jpg" width="284" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Jim Twynham of Silk Disco</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FqIgUv6-j6GVSV4yGTqLp9uFIXbD2mzW6FR8AtJr6wBIh4RHS8Yb5V_lKIvi-XS-ghzqaN29wZH_U1jxJ0Rbd-sAwEHF3IsPLJe9Sv9sa_EMB-qvfqqLIQrqf2aQA-zzzFYjvCOE3FFpbfbdENJNtorY-1XOsSB_ivJLqK6rEw0Qho5Y57JN8Pxs61hj/s496/252017_2033970219036_246144_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="496" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FqIgUv6-j6GVSV4yGTqLp9uFIXbD2mzW6FR8AtJr6wBIh4RHS8Yb5V_lKIvi-XS-ghzqaN29wZH_U1jxJ0Rbd-sAwEHF3IsPLJe9Sv9sa_EMB-qvfqqLIQrqf2aQA-zzzFYjvCOE3FFpbfbdENJNtorY-1XOsSB_ivJLqK6rEw0Qho5Y57JN8Pxs61hj/w640-h388/252017_2033970219036_246144_n.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSMVyZSnV06O5ImTl7N6sIT-H3mRuKvkGWrAqTSYy0eF5KSPbmzPwD4fHo3ejkOhx98WD2mGorJfuEnhfuAJJ05w3Y-5LDv4qj-ZaBJt9m69doNAJeCojWq36PDotWshe-umNtzOVkw-g_6eCTzB0brh5T44IhQU1CfQgpZzvcab9DWiQ1wst4sAPIQ6uu/s720/254341_2033952458592_4578064_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="640" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSMVyZSnV06O5ImTl7N6sIT-H3mRuKvkGWrAqTSYy0eF5KSPbmzPwD4fHo3ejkOhx98WD2mGorJfuEnhfuAJJ05w3Y-5LDv4qj-ZaBJt9m69doNAJeCojWq36PDotWshe-umNtzOVkw-g_6eCTzB0brh5T44IhQU1CfQgpZzvcab9DWiQ1wst4sAPIQ6uu/w568-h640/254341_2033952458592_4578064_n.jpg" width="568" /></a></div><br /><span style="font-family: arial;"><br /></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhIcXRgOHy8Gss8uc7MF2RJrvvJS-YrW9lT00YBZjCFdceE0Ec8_c9687vfcjYntkSkKn3OTBKDIHNugY9umhXuyHDq8STgcfXm54CK4vM1Kms6m_9DibKyd7yCrL5qfRj7NdiMb_5-NHpqOq1U6cfhp7qWb5UK6hVipp67wLihYyHAuzbF6IIPDfHKKu/s300/254341_2033952258587_6033220_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="206" data-original-width="300" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVhIcXRgOHy8Gss8uc7MF2RJrvvJS-YrW9lT00YBZjCFdceE0Ec8_c9687vfcjYntkSkKn3OTBKDIHNugY9umhXuyHDq8STgcfXm54CK4vM1Kms6m_9DibKyd7yCrL5qfRj7NdiMb_5-NHpqOq1U6cfhp7qWb5UK6hVipp67wLihYyHAuzbF6IIPDfHKKu/s1600/254341_2033952258587_6033220_n.jpg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-6170356501057495605.post-72270939769279701412023-11-03T16:30:00.003+00:002023-11-03T17:09:51.899+00:00Silk Disco – The Venues, Part 1<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Silk Disco – The Venues, Part 1</b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjbnymQXbLNtYfHfNVmnAq72lae7f2begTBMc8LsaV-BW79d2MsBqhe9xmw1_l7MDbZeoO3rEZDF32uneNFuUsfPigNynsF4djg9vuzrVh5-qrXGw7sGoc5nMV-Y6a_-nyCeO30ZMKPmyThWBz_pkbiOkAfYD5DhGYWmDubahPtTHuzbNbZSiutCOK3Yv/s1294/Silk%20Badge2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1269" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjbnymQXbLNtYfHfNVmnAq72lae7f2begTBMc8LsaV-BW79d2MsBqhe9xmw1_l7MDbZeoO3rEZDF32uneNFuUsfPigNynsF4djg9vuzrVh5-qrXGw7sGoc5nMV-Y6a_-nyCeO30ZMKPmyThWBz_pkbiOkAfYD5DhGYWmDubahPtTHuzbNbZSiutCOK3Yv/s320/Silk%20Badge2.jpg" width="314" /></a></div><br /><br /><br />Punters just turn up and go home. Behind the scenes there has been a lot of organising, humping of equipment, paperwork, travel and phone calls. <br /><br />And someone who organised, humped and spent a lot of time on the phone was Graham Wood of Silk promotions. I cajoled Graham into plundering the depths of his memories as I felt it was important to attempt to document his and Jim Twynham's achievements with regard to Silk disco. Thanks Graham for your patience. <br /><br />1969 – Through meeting at the Coventry City fan club Graham Wood, Jim Twynham and Steve Miles decided to 'emulate' Pete Waterman and form Silk Discotheque. <br /><br />Each partner stumped up £50 in order to purchase: 2 x Garrard SP25 decks, an amplifier, 2 EMI Speakers and a microphone. <br /><br />Silk's first gig was 20th December 1969 – a Christmas Dinner Dance at Coventry and North Warwick Cricket Club on the Binley Road. <br /><br />During their heyday work was so plentiful that, at times, venues overlapped. Not only did Silk cover residencies and public dances, they also provided disco's for private celebrations. Weddings, end of season football dances and other events. <br /><br />Without detailing every event Graham has put together a list and some accompanying notes of the main ventures Silk were involved in. This has been put together as chronologically as possible.<br /> <br /><b> The Plough, London Road - club night February 1970 to January 1972</b></span></div><div><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOiWJkvtHQ_EOuGZIF9-WFNUE1mVIxo0l6GdbwSPsXRllX0cxi6TlU1Ft_SWA-2mdKp5kUc7a0VT_rc_E8cCSdpL2Lt9DEna_j_bn6HWuvmVYkF-j-zIEt7KFfxhXgKlG3ZwwGZE-DNSkgI3EvH50_E11TfwdIR6BLMc29tv1wQc3loMsXnLlDcNvn5uk/s291/6a0133f436b043970b0133f436e1a3970b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="82" data-original-width="291" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOiWJkvtHQ_EOuGZIF9-WFNUE1mVIxo0l6GdbwSPsXRllX0cxi6TlU1Ft_SWA-2mdKp5kUc7a0VT_rc_E8cCSdpL2Lt9DEna_j_bn6HWuvmVYkF-j-zIEt7KFfxhXgKlG3ZwwGZE-DNSkgI3EvH50_E11TfwdIR6BLMc29tv1wQc3loMsXnLlDcNvn5uk/s1600/6a0133f436b043970b0133f436e1a3970b.jpg" width="291" /></a></div><br /><b><br /></b>Whilst Silk was a mobile disco we wanted a venue where we could play our own tastes in music – from folk/blues to rock/progressive rock. <br /><br />The Plough on London Road, situated opposite a Salvation Army Hostel was not the most salubrious of venues but it had an unused back room and a landlord, Norman Rennison, who was happy for us to install a small stage and decorate to create an intimate space. <br /><br />Over 2 years we established a regular crowd and developed a stereo sound system, complimented by a light show, including films and cartoons!. We were also allowed the opportunity to present/promote many local Midlands bands. <br /><br />Sadly the brewery eventually decided to refurbish the pub and Silk were on the move. <br /><br />In December 1970 Steve Miles left Silk to set up his own disco, 'Smiley' - Now that's a play on words. The split was amicable. Soon after Jim and Graham were joined by illustrator Paul Taylor. <br /><br />Live at the Plough: Hemisphere, Wandering John, Trad B Jefferson, Asgard, Indian Summer, Tobias Heat, Whistler, April, Children, Rogation Sunday, Dando Shaft, Elf, Mead, Flying Hat Band, Gentle, Lucretia Borgia, Milestones, Modern Idiot Grunt Band, Hackensack, Fang, Barnabas, Vita Brevis, Music Box, Dave Turner, Salamander, Pluto <br /><br /><b>Circles – July 1971 to December 1972 </b><br /><br />We had really enjoyed promoting bands at the Plough but had been restricted due to the size of our venues. We soon realised it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970. So we looked for somewhere larger and close to the city centre. <br /><br /><b>Circles started at the Building Trades Club in July 1971</b> planning the first four weeks with local bands and then moving on to 'national' bands. In week 5 Stray were our first name band and the club was packed. Unfortunately 350 people leave behind some spilt beer and a few broken glasses. Stray also helped the mess with their exploding dustbin showering confetti everywhere. <br /><br />The cleaners complained and the committee asked us to leave. <br /><br />Fortunately the West End Club understood our plight and we were able to resume gigs the following week followed by many more through 1971 and 1972. <br /><br /><b>Humber hotel, Arthur's 1972 </b><br /><br /><b>Jan 72 – July 72 Arthurs</b>: Silk moved to the Humber Hotel immediately following 'our eviction' from The Plough and although it was further out of town it was an immediate success. <br /><br />Possibly a better back room than The Plough. We did not decorate it or attempt to promote any bands as we were soon on the move again. <br /><br /><b>Chums, Bear Inn 1972 to 1974 (Thursday's) </b><br /><br />1972 to September 1974 Chums: Whist Arthurs had been incredibly successful the opportunity to open a venue in the city centre was not to be missed <br /><br />The upstairs back room was certainly not the largest but the atmosphere was exciting and 'Chums' took off immediately with full houses most Thursday's. <br /><br />Silk was becoming increasingly busier and resources were being stretched so it was, with regret, that we moved from The Bear in September 1974. <br /><br />At this time Paul Taylor left Silk due to various commitments. Again, all was amicable. Paul was a graphic artist and was responsible for Arthurs/Chums/Circles logos and associated artwork. <br /><br />Thursdays, back to Plough this time the Lounge – late 1974 to June 1976 <br /><br />The Plough had always remained a Watering Hole and a chance to meet up with some of our friends who lived locally. But, of course, now the pub had been refurbished. <br /><br />We were asked if we would like to provide a disco on a Thursday evening and the best way to describe it was like a free and easy disco night. No lights, no backing and we played selective tunes, album tracks and we encouraged people to bring along their own vinyl. <br /><br />It became a very pleasant, hassle free evening. <br /><br /><b>Trocadero, Bulkinton June 1972 - April 1976 (Monday and Tuesday) </b><br /><br />Silk had been previously hired by a local agency for various functions and one of their clients was the Weston Hall Hotel who wanted to hold disco's in their nightclub. <br /><br />The club began in 1972 and was very successful considering it was held on Sundays, Monday and Tuesdays. We used our full range of disco and PA equipment and an extensive light show. We did however have to play mainly disco, soul and pop stuff which had been taboo at earlier venues. <br /><br />We ended our 3 and a half year residency when the agency chose to continue with a more local and cheaper disco, but that was fine!. <br /><br />Note: During 1975 the name of the disco evening was known as 'Waves Discotheque Club'. <br /><br /> <br /><br /> </span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj46hNuxyPat95AUK6w79EL984_o90mTbr3fcQL3TqQ0ZWsgCj2mANIZyFo6uihHHKA0jiMHzFx4lXudHdVl8hLutjgy66eRnN9OXkqyciX_hqx6urV6zwRnIPTBUPHJnBbQSB1HyvMZPlnoUrK_DPQyDI69WQqeBdQ0xpxQYWjqwKMWbUELlzvDPyxnTwp/s1975/29.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1975" data-original-width="1638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj46hNuxyPat95AUK6w79EL984_o90mTbr3fcQL3TqQ0ZWsgCj2mANIZyFo6uihHHKA0jiMHzFx4lXudHdVl8hLutjgy66eRnN9OXkqyciX_hqx6urV6zwRnIPTBUPHJnBbQSB1HyvMZPlnoUrK_DPQyDI69WQqeBdQ0xpxQYWjqwKMWbUELlzvDPyxnTwp/w530-h640/29.jpg" width="530" /></a></div><br /></div><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="1544" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguNXj3N3Fj0Skf1kTM1wTKM5DNrwqfXoM8ku6FcH14_t_5tPi7E-TW4qsdWp7YyPbV_LOYjHchFh9Sfy7RgV8QQTRZRT0ikQoVWZbDj4fRvzApk6K9SjNk6XCxuc9a4e0Sawny8MENpVGsWv4n-qaHm1z1Itqjh2EU-527jbtABYn5wedMIIWIgdfWPZzw/w640-h428/20.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBCYBZfsLYhDl_D9hiSDjlUEP6uR89RRsrJciEiRvPMupS_upvT0xlL5YmykuYCtVyu4J6CcWkr3ciLiq8NUCCjeVOA3MBDRUHuyG-zBbkvbT9m2mIQRdJUVI672jTi3lNXHJ9HBQtaJV3EjHVe_iHJPRBigo16gVw6wo-PIh1OuT0LxJuGomwBuFl3Xe/s496/252017_2033970219036_246144_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="496" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBCYBZfsLYhDl_D9hiSDjlUEP6uR89RRsrJciEiRvPMupS_upvT0xlL5YmykuYCtVyu4J6CcWkr3ciLiq8NUCCjeVOA3MBDRUHuyG-zBbkvbT9m2mIQRdJUVI672jTi3lNXHJ9HBQtaJV3EjHVe_iHJPRBigo16gVw6wo-PIh1OuT0LxJuGomwBuFl3Xe/w640-h388/252017_2033970219036_246144_n.jpg" width="640" /></a></div><br /><div><br /></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-62757072142063231032023-11-01T23:20:00.000+00:002023-11-01T23:20:07.736+00:00The Selecter at The Lanch 3rd October 1979 - Support: The X-Certs<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>The Selecter at The Lanch 3rd October 1979 - Support: The X-Certs.</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">By Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div><div style="text-align: center;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYvGzR2zHz2XW3eXD0O7djk0aZN3lBSXk35KR6gwptOdA68K6rP1bME6tiAqIl-KUUUnOFkd9sAH5RFjyYAJpQHVKZU_ZDP9oSahER6Hucev3ffJLdvC_3lx6AsGfMDhb2GeE02dp9bg8v4oNateq7PjY329K5nGuRJg0i_JaSWWCjTpi65u8YupZ5aRz/s573/Selecter%20on%20my%20radio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="573" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYvGzR2zHz2XW3eXD0O7djk0aZN3lBSXk35KR6gwptOdA68K6rP1bME6tiAqIl-KUUUnOFkd9sAH5RFjyYAJpQHVKZU_ZDP9oSahER6Hucev3ffJLdvC_3lx6AsGfMDhb2GeE02dp9bg8v4oNateq7PjY329K5nGuRJg0i_JaSWWCjTpi65u8YupZ5aRz/w640-h640/Selecter%20on%20my%20radio.jpg" width="640" /></a></div><br /><span style="font-size: large;"><br /></span></b></div></span>
<p class="Standard"><o:p> </o:p><span style="font-family: arial;">A virtually unmoving queue, four or five across, consisting of students, chequered badges, and pork- pie hats, slumps awkwardly from the entrance of the 950 capacity basement hall, up the stairs, past the bar, and to the end of the corridor.</span></p><span style="font-family: arial;">The X-Certs are most of the way through their lively enough sounding set, and people are beginning to wonder if they will get in. When I finally do catch the last two minutes of this support act, there are still many more behind me. <br /><br />Backstage, I am greeted with distrustful looks from some. 'I'm the roadie's brother' from another. Finally, a couple of badges and a handshake from Charlie Anderson, the bassist, who seems quite relaxed about coming and chatting, although others twitch and flit about or sit motionless. The Selecter, I am told, are, or at least partly, from Jamaica.<br /> <br />Have they been into ska and pre- reggae for long ? Yes, they grew up with it. No sign of any band waggon jumping here, obviously. The band, it seems, whatever the trend, will always be a dance band. <br /><br />Slavishly following musical fashion may be lucrative at some point or other, but as soon as the trend is over, bands have to fall back on their real value. I am to understand that The Selecter will last on this value, which sets them (and a few others) apart from most of the rest. <br /><br />Over confident, cocky perhaps, but it still remains to be seen. I grin and agree smarmily that anyone can stand up and shout 'This is the time...' in a tonic suit, but the beat is sloppy, and the band are, yes - so contrived. <br /><br />At the moment, The Selecter are without a manager, which does not bother them - look what Bernie Rhodes did for the Coventry Specials - nor do they mind that they reaped very little financial reward for their Gangsters B-side. <br /><br />This is OK by the band - not everyone is shot straight into the public eye with something that will make people say 'who are they' ?, 'where do they come from' ? and 'when are they touring' ? etc. etc. At least that's how the band see it, and now they've had a lot of big recording offers, while still being happy to release 'On My Radio' on the 2-Tone label. <br /><br />Handshakes again, 'Cheers', but a little tension as the band makes ready for the gig. I chat to keyboard player Desmond on his way to the Gents, but there's not really much more to ask. Silly grins, flashes from the camera, and I walk away. Back in the hall there's no disco, and soon, it's 'Ladies and gentlemen, the Selecter...' who jogged on stage amid some dreadlocks and tremendous applause. <br /><br />Pauline, the vocalist, demands we enjoy ourselves, and straight into the first tune. Staccato drums, quirky beat, and the gig is immediately a success - most of the hall is up and swaying, screaming applause on the penultimate chord, and being thrust into a punchy, stompy cover of 'Murder'. <br /><br />With gleeful dancing, onstage as well as off, the gig bustled on speedily, and even though I heard 'let's slow things down a little' at least once, The Selecter proved themselves right by being competent and danceable. Ska - but with much other influence - jagged, Clash like chords appeared often and momentarily, coupled with intricate dub rhythms, giving a great 'best of both-worlds', sometimes even making rock music seem an adolescent pose, and reggae effete and religiously indulgent. <br /><br />The new single 'On My Radio' went down particularly well, as did an excellent cover of the old ska tune 'Carry Go Bring Home', and the band deserved the two encores they got, people not even being satisfied with dancing on the stage to '007'. <br /><br />So, fair enough, it'll be instant popularity and success in the wake of The Specials, and Madness. After all they are playing to a converted audience, but their success won't be undeserved - being a very tight and competent band. I love the single, which is on my radio as I write this, and I feel like taking back anything snide I've said.</span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mLamF-hNX3w" width="320" youtube-src-id="mLamF-hNX3w"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-80112607327131839382023-11-01T22:58:00.001+00:002023-11-01T22:58:31.783+00:00Bruce Soord Trio – Nells, London<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Bruce Soord Trio – Nells, London</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-size: large;"><br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfNI7wQ3jIcpynWPLOIR1YmcMXs1GLRyakT-ERVmjmFPwbScu9psVZZ0nDnPSQHBRsjTqcw-Axk4nIhcnZC5w8L4B_vnhdliXGNzxu_rxEXCSPFXnvkWzNRJZEygcU_mrVov7Htu4OIsHJg5gXJmjD0yoEHI_IvrwFLZOiKWv61uvw-MAj6iwFYoKcvcy/s700/Bruce%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSfNI7wQ3jIcpynWPLOIR1YmcMXs1GLRyakT-ERVmjmFPwbScu9psVZZ0nDnPSQHBRsjTqcw-Axk4nIhcnZC5w8L4B_vnhdliXGNzxu_rxEXCSPFXnvkWzNRJZEygcU_mrVov7Htu4OIsHJg5gXJmjD0yoEHI_IvrwFLZOiKWv61uvw-MAj6iwFYoKcvcy/w640-h640/Bruce%201.jpg" width="640" /></a></div><br /><br /><br />I appreciate that Bruce Soord plays electric guitar and rocks out a bit but, ever since I saw him do an acoustic set in Yeovil September 2009, I had always hoped to see him do a similar thing again. Delighted to say it recently happened. Although not purely acoustic, it was just as wonderful as I hoped it would be. <br /><br />Even from his early days, I always felt that singer and songwriter, Bruce Soord, was always destined for a degree of success. Even in this, the difficult business of the music making industry. For me Bruce Soord is an outstanding lyric writer. His words tend to touch your very core as they appear to come from a position of things that concern him most. <br /><br />Bruce's songs are far from random and appear to come from specific circumstances. They seem to come, predominantly, from matters of the heart. That makes them very relatable but, at the same time, without losing sight of their meaning. They also have the ability to floor you 'there is nowhere we will go, without you, you know'. And that can make them quite emotionally charged. <br /><br />When those lyrics are applied to either electric or acoustic guitar, they take on a whole new life. And Bruce doesn't just strum his guitars in familiar patterns either. He heavily uses a technique called open tuning which, on the face of it sounds a bit lazy. <br /><br />Far from it, open tuning on a guitar can transform and vastly expand the possibilities of the instrument. While standard tuning remains flexible enough for most guitarists open tuning allows you to explore new chord shapes. It has been said that it can metamorphose the instrument into a whole new piece of kit. <br /><br />Add looper pedals to the mix and that gives Bruce the opportunity to indulge by way of adding guitar solo's. He can go where he fancies really. Here he adds improvisation and depth to the songs in an alluring way. <br /><br />The songs are then taken to the next level when accompanying musicians add their parts. But always, at the heart of them all, is love, compassion and harmony. They are a reminder that, actually, this is all you really need. <br /><br />Bruce recently completed his first solo tour. When I say solo it was actually a trio made up of Jon Sykes, Bruce's very long time musical friend, and confidante, on bass and drummer Tash Buxton-Lewis. The tour was in support of his latest album Luminescence. <br /><br />I caught a show at Nell's, a modest sized Jazz and Blues club in West Kensington, London. With so much improvisation, the use of open tuning and loopers, arguably, made this a unique show. So it all felt absolutely fitting in such a venue. <br /><br />The club was blessed with new songs such as Dear Life, Day of All Days, Lie Flat and Nestle In. They merged snugly with the more seasoned Buried Here, Field Day and Cut the Flowers. <br /><br />In Luminescence, Bruce Soord has yet again produced something very special. The power in this release is completely palpable. If the high emotions generated by this record could be converted to energy then the current power crisis would be over. <br /><br />But it isn't just about the lyrics. Its the accompanying peripheral sounds that are so completely in sync. Bruce has a rare ability to get deep into the soul. Albums like this should come with a warning label. <br /><br />Yes, there will always be The Pineapple Thief, Bruce's main outlet, but I really hope time allows for more of this.</span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ93sZzlBtLrrCsNza3DVGlu3xdrpL1H_29XIzE4eSQD2TxgGZnaFHmC-L_q133-orOfY7yQZvB_dJ5c7uszNnJarriT4g8CPgfTPHgIl57Y1z0vMefCsw_THioblH_eR4QvZrk_dhnVSTiZ7wvYWI0NiL6sqGaVtFC1K-Z-K4y9yoY3QPEpxRXqEqcDO8/s1920/Bruce%202.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ93sZzlBtLrrCsNza3DVGlu3xdrpL1H_29XIzE4eSQD2TxgGZnaFHmC-L_q133-orOfY7yQZvB_dJ5c7uszNnJarriT4g8CPgfTPHgIl57Y1z0vMefCsw_THioblH_eR4QvZrk_dhnVSTiZ7wvYWI0NiL6sqGaVtFC1K-Z-K4y9yoY3QPEpxRXqEqcDO8/w360-h640/Bruce%202.png" width="360" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wMa_Wg_9FUo" width="320" youtube-src-id="wMa_Wg_9FUo"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-91623169824129869022023-10-13T18:58:00.000+01:002023-10-13T18:58:54.393+01:00Circles Club – Coventry - A History (Silk Disco)<p style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b> Circles Club – Coventry - A History (Silk Disco)</b></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: large;"><b>by Pete Clemons</b></span></p><p><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQ6gVLCKX6BtBhBY_b4iDJ5OGhF0Z1CEP-aN5ajatgkwHErws9pd7BYNiserFDQGnLf9Zow-8BnrPmYwWBZUFa_vjqn7KS-bubs-_WCtVyFfApR8k0FLjmCKXsiZ-utMUn0he5reNd4cNGa00XjiyAKCVrBw6WBaXTUPEKh5jPnVxuZ23NH_f23V_q227/s720/252017_2033970059032_3101865_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="468" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcQ6gVLCKX6BtBhBY_b4iDJ5OGhF0Z1CEP-aN5ajatgkwHErws9pd7BYNiserFDQGnLf9Zow-8BnrPmYwWBZUFa_vjqn7KS-bubs-_WCtVyFfApR8k0FLjmCKXsiZ-utMUn0he5reNd4cNGa00XjiyAKCVrBw6WBaXTUPEKh5jPnVxuZ23NH_f23V_q227/w416-h640/252017_2033970059032_3101865_n.jpg" width="416" /></a></span></div><span style="font-family: arial; font-size: large;"><br /></span><span style="font-family: arial;"><br /><br />Silk Disco didn't just provide disco nights. They also began to put on bands. And a band would be incorporated with a disco evening. This type of event began almost immediately. <br /><br />Graham Wood of Silk disco remembers: 'When we (Jim Twyneham and myself) started promoting bands at the Plough we soon knew it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970'. <br /><br />Circles worked within small budgets and, quite correctly, felt they were up against larger outfits like the 'Lanch' who could sustain any greater losses.<br /> <br /> Graham's genuine love and enjoyment of the newly developing progressive rock scene provided the temptation to move into the world of band promotion.<br /> <br /> 'Promotion of bands began at The Plough. But we soon knew it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970'.<br /> <br /> Building Trades Club, Whitefriars Street – (the numbers are attendance figures)<br /> 8 July 1971 Boots and Liberation 154<br /> 15 July 1971 Phineas Hog and Fresh Maggots 140<br /> 22 July 1971 Fang and Good Habit 130<br /> 29 July 1971 Hackensack and Lucrezia Borgia 118<br /> 5 August 1971 Stray 350<br /> <br /> Circles tenure at the Builders (Building) Trades Club was short lived. As Graham remembers 'They sacked us after 5 weeks due to the mess left after the Stray gig on 5 August. The place was rammed with, approx 350 people. And yes they did spill a bit of beer. Also a few glasses were smashed. All this was not helped by Stray's exploding dustbin that showered confetti all over the floor'.<br /> <br /> Graham conceded that the place did look a mess but the club probably took more money in beer sales that night, than they had in a complete month. A 15 strong committee summoned Silk representatives, Graham and Jim Twyneham, to a meeting the following Sunday and we 'were out'.<br /> <br /> It left us 5 days to find a new venue !!. And that new venue was The West End Club just off the ring road at the Spon End junction.<br /> <br /> West End Club – (the numbers are attendance figures)<br /> 12 August 1971 Hookfoot 284<br /> 19 August 1971 Mick Abrahams 311<br /> 26 August 1971 Dando Shaft (Palladin - Cancelled) 280<br /> 2 September 1971 Bronco 287<br /> 9 September 1971 Paul Brett's Sage 138<br /> 16 September 1971 Stackridge 163<br /> 23 September 1971 Quiver 90<br /> 30 September 1971 Ginger (Bell and Arc - Cancelled) 85<br /> 7 October 1971 Supertramp 104<br /> 14 October 1971 Caravan (Toby - Cancelled) 304<br /> 20 October 1971 Palladin 90<br /> 28 October 1971 Hackensack 156<br /> 11 November 1971 Stray 203<br /> 18 November1971 Writing on the Wall (Brett Marvin and the Thunderbolts - Cancelled) 146<br /> 9 December 1971 Hookfoot<br /> 16 December 1971 Man 138<br /> 20 December 1971 Hookfoot 95<br /> 23 December 1971 Hackensack and Butch 163<br /> 30 December 1971 Van der Graff Generator 355<br /> 27 January 1972 Duster Bennett 102<br /> 24 February 1972 Mick Abrahams Band 115<br /> 30 March 1972 Hackensack and Jizzel 223 <br /><br /><br /> Locarno – (the numbers are attendance figures)<br /> 13 April 1972 Hawkwind and Barnabus 678 <br /><br />27 April 1972 Arthur Brown's Kingdom Come, The Pretty Things and Pugma Ho (Words promotion) <br /><br />11 May 1972 Argent and Vinegar Joe (Words promotion)<br /> 18 May 1972 Emperor Rosko Show and Hackensack 320<br /> 21 December 1972 Hackensack 225 <br /><br />2 Locarno gigs, Arthur Brown's Kingdom Come and Argent) were promoted by Words, a southern based promoter, who asked Silk to provide the disco and light show. Both good nights but not great attendances.<br /> <br /> When Silk promoted Hawkwind and Emperor Rosko they only chose the Locarno because of its larger capacity and it was a kind of swansong and was never going to be a regular promotion like Circles. <br /><br />In truth Graham cannot remember why Silk never continued booking bands for Circles beyond mid 1972, with the exception being Hackensack at the tail end of 1972, 'which I guess was our Circles finale'. <br /><br />John Coles attended and, still clearly remembers, the vast majority of the above gig nights. He was just 16 in 1971. John had been challenged about his age during a Silk night at The Plough in 1970. Of course he had to think on his feet and distort the truth in order to get in.<br /> <br />If Graham Wood has one slight regret then that was that he and Jim didn't gamble more on bigger bands, the likes of Mott the Hoople for example. <br /><br />With no disrespect for the bands they did promote Graham thinks the problem was a mixture of; competing with the Lanch and Warwick Uni and trying to get the right bands at the right price. And, of course, there was all the other admin stuff which all took time!<br /> <br /> But, in my opinion, Graham Wood and Jim Twyneham had real bottle to go for it. And there is absolutely no need for regret. The legacy that this pair have left us, with their Silk and Circles ventures, is really quite amazing. They even made a national newspaper. But that story is to come. <br /><br />My sincere thanks to Graham for all his time and insights.</span><span style="font-family: arial; font-size: large;"><b></b></span><p></p><p><span style="font-family: arial;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfGvHHcNk7NcCGkq8D7nYNm21Bey4V_hSqPSjwq-kI676vpCjwgaPjYOI_ZzBg1ZaomtAaCzws3DlAEuchE4bFruI2mgGmbwKebWO2X_TnHdC4mHwc-dYQtPv53nDX6AiXW-jfJgIvQKaJm_vx0M0cJf6RfCHpdboeLszSyk8FeVlNzgYaeX9xtIKGB_62/s720/252017_2033970099033_7222924_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="461" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfGvHHcNk7NcCGkq8D7nYNm21Bey4V_hSqPSjwq-kI676vpCjwgaPjYOI_ZzBg1ZaomtAaCzws3DlAEuchE4bFruI2mgGmbwKebWO2X_TnHdC4mHwc-dYQtPv53nDX6AiXW-jfJgIvQKaJm_vx0M0cJf6RfCHpdboeLszSyk8FeVlNzgYaeX9xtIKGB_62/w410-h640/252017_2033970099033_7222924_n.jpg" width="410" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4b_UhUAZx8mUMSkeal4XVAlHIEXWcWt8EOVXR0jtbf9ZZXCtP5qrASbolb87z8QXYUdcGM1VnPsRcnibAzBbjbZlDOLHbxzOsvl6TiVICI6e5Rak5Bqv3oYz0qtUQ0UCDOJKUPEiSnMlgVoCyJqDMJB1Nf-TnFEYiPO_hNGP4a_28eWkKi2VrTb74RTl/s2037/Circles%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2037" data-original-width="1111" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4b_UhUAZx8mUMSkeal4XVAlHIEXWcWt8EOVXR0jtbf9ZZXCtP5qrASbolb87z8QXYUdcGM1VnPsRcnibAzBbjbZlDOLHbxzOsvl6TiVICI6e5Rak5Bqv3oYz0qtUQ0UCDOJKUPEiSnMlgVoCyJqDMJB1Nf-TnFEYiPO_hNGP4a_28eWkKi2VrTb74RTl/w350-h640/Circles%201.jpg" width="350" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6UJUOd4f0VYIWePV8Pee9YXK11xb9YIv5J6Bfla12R8Gbxpv1qQqxCw7zgJ3a2pBUo9HWKPBDwIzjM-EMQqqQ0m8wqU908FabXFiB1F1C-KGhLQk1hPBr2ZBg-0Ugl0relxtKS_bCC1KQsr0Rw9Be-cuJDEfGlBrbiNqNWYyvZJ64JSEaEWZhwhywUcWM/s989/Circles%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="989" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6UJUOd4f0VYIWePV8Pee9YXK11xb9YIv5J6Bfla12R8Gbxpv1qQqxCw7zgJ3a2pBUo9HWKPBDwIzjM-EMQqqQ0m8wqU908FabXFiB1F1C-KGhLQk1hPBr2ZBg-0Ugl0relxtKS_bCC1KQsr0Rw9Be-cuJDEfGlBrbiNqNWYyvZJ64JSEaEWZhwhywUcWM/w640-h380/Circles%202.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5g007rKxqMf4BL0TkT1lZGOuoGWejIIVDmZ32lJ73cPH2NwUPspV33Zp7l0vUrVGB4E7eUZWniOhlM0ZmUteScGeyvuAB-gAr8za9EUUIAtS-nuljZUHsb0aShbteTf2JA_U31Xjd-jBP_mA5ytUaUH-frY2OdlKEa-VfHJkPMaSlOU1sBOwqrzlju7gd/s5606/Circles%203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5606" data-original-width="3683" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5g007rKxqMf4BL0TkT1lZGOuoGWejIIVDmZ32lJ73cPH2NwUPspV33Zp7l0vUrVGB4E7eUZWniOhlM0ZmUteScGeyvuAB-gAr8za9EUUIAtS-nuljZUHsb0aShbteTf2JA_U31Xjd-jBP_mA5ytUaUH-frY2OdlKEa-VfHJkPMaSlOU1sBOwqrzlju7gd/w420-h640/Circles%203.jpg" width="420" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiboHicJSREK4in4nhIrqfpEvbb97Ug9eBbOnehUWK9fkVX5Iz93tgiqqYM7FFveyqeiUbxmnXUkG5PzZbrBhxxXWGDh-lSCe3Jy2if7lxdhBCdAQ0jwCK9SQTat6jaNxe8dgDBzV8i_vnm_D9qyuM0UpFR9ic3-mVeL6axCtRd0UQNVwhv49D6asxbPUL/s1160/Circles%204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="1160" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiboHicJSREK4in4nhIrqfpEvbb97Ug9eBbOnehUWK9fkVX5Iz93tgiqqYM7FFveyqeiUbxmnXUkG5PzZbrBhxxXWGDh-lSCe3Jy2if7lxdhBCdAQ0jwCK9SQTat6jaNxe8dgDBzV8i_vnm_D9qyuM0UpFR9ic3-mVeL6axCtRd0UQNVwhv49D6asxbPUL/w640-h302/Circles%204.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: arial;"><br /></span><p></p>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-4878619982789191842023-10-13T18:15:00.001+01:002023-10-13T18:15:52.823+01:00Hawkwind - The Sunday People April 1972 - Why I Danced in the Nude – by pop girl. <p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Hawkwind - The Sunday People April 1972 - Why I Danced in the Nude – by pop girl.</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">By Pete Clemons</span></b></div><div style="text-align: center;"><b><span style="font-size: large;"><br /></span></b></div></span><div><span style="font-family: arial;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFvTOC1maWzaTKJUHHAgqho_xJTh_Yv7kAJH8BVG2mQu7V1QVo5d7n4Xdf3f_Td-tApP1ns44kXAybUsiIOxmfuP0cfdIQXsniJhzdsudzF1eeAJiPflOoOK9YkVDb_hK41uq67g7Tu6G2-wrTNiedx9rl-nruzrZ0mYTXhI_F9bQ8c-3RX_3qAZm7Rcz/s300/91CdELwv1OL.__AC_SY300_SX300_QL70_ML2_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="294" data-original-width="300" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFvTOC1maWzaTKJUHHAgqho_xJTh_Yv7kAJH8BVG2mQu7V1QVo5d7n4Xdf3f_Td-tApP1ns44kXAybUsiIOxmfuP0cfdIQXsniJhzdsudzF1eeAJiPflOoOK9YkVDb_hK41uq67g7Tu6G2-wrTNiedx9rl-nruzrZ0mYTXhI_F9bQ8c-3RX_3qAZm7Rcz/w400-h392/91CdELwv1OL.__AC_SY300_SX300_QL70_ML2_.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></b><br /><br /><br />She joined Hawkwind and began dancing for the group during 1971. But the legend of Stacia, actually started right here in Coventry when she made the national newspapers. <br /><br />A month or so after the Coventry concert, mentioned below, Hawkwind released their single 'Silver Machine' a tune recorded earlier in the year. It reached number 3 in the charts and remains the bands biggest selling hit. <br /><br />An article that appeared in the Sunday People is below. And I have left the newspapers spelling of the name Stacia as it was printed........... <br /><br />People who thought the Hawkwind pop group was all male got a surprise when a naked girl danced to their music at a concert. <br /><br />And, as an investigation into the act got underway last week, 19 year old dancer Statia – 'that's my only name' – made it quite clear that she did not strip on the stage of the Locarno in the Lady Godiva city of Coventry. <br /><br />She said that during her 25 minute spot she first danced in a costume then went off the stage to strip and returned to dance naked. <br /><br />'It sounds much more daring than it is' she said. 'We use a lot of lights flashing on and off and the dance and nudity is only an expression of the music'. <br /><br />'It is music about freedom – and I feel free with nothing on'. <br /><br />'A lot of the audience never even realise I'm in the nude because of the lights and the type of music the band plays'. <br /><br />The act was part of a gig at the Mecca owned ballroom organised by Graham Wood a 20 year old commercial apprentice. <br /><br />Said Mr. Wood: 'we would never book any group of artists or musicians if nudity comes into the act. Hawkwind is supposed to be an all male group. Investigations are going on. <br /><br />The ballrooms relief manager Mr Ronald Williams said he did not see the group, but was finding out from staff members what had happened. <br /><br />He added 'on this occasion the hall was hired out as a private booking to Mr. Wood'. <br /><br />The group's manager Mr Doug Smith said: 'Statia isn't what you think of as your normal stripper – she's a big girl'. <br /><br />In the short time after the Coventry gig Stacia became incredibly well known on the rock music circuit. <br /><br />Later on in 1972 the incredibly busy Hawkwind had several concerts recorded and released the next year titled The Space Ritual. That reached number 9 in the album charts and dented the billboard top 200 in America. The Space Ritual album was an attempt to capture the music but also try to convey the whole audio visual experience of the show by way of the album sleeve. The outer fold-out part of the record's sleeve features an illustration of Stacia flanked by the hounds of the king set over stage shots of the band. <br /><br />Was that gig in Coventry, or at least the reporting of it, responsible for the sudden rise in Hawkwind's popularity. Who knows but it did coincide with, arguably, one of the most successful periods for the band.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNJWNYpZvCUEbii2S5SqTYMiPH3F7IHIVKXBcTn-hdIxRQGIzw-4UiAy8_W3xc8UJT2jg-1VqoKSp-j8MKqhLANmV4mIzOY9wXhFTxdndW0lEPYLqkAwy-7ttlQi5UN0T-rrSo_nAvFJyYgDQHSipd53bcFbNqbSvH-DB5QVA2Bf0xMKwsVchk55a7x4ix/s1834/Hawkwind%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1656" data-original-width="1834" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNJWNYpZvCUEbii2S5SqTYMiPH3F7IHIVKXBcTn-hdIxRQGIzw-4UiAy8_W3xc8UJT2jg-1VqoKSp-j8MKqhLANmV4mIzOY9wXhFTxdndW0lEPYLqkAwy-7ttlQi5UN0T-rrSo_nAvFJyYgDQHSipd53bcFbNqbSvH-DB5QVA2Bf0xMKwsVchk55a7x4ix/s320/Hawkwind%201.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFPDshiunWowY_pLBeO0lO9yqOlENJVvR6FnUpoFoarLX5-pbLYmvKstzQlAqTOvYXzAJHXC2fK9uWRt8oo3RUNF1sClABybNCvTSJBRjfIydWUpOquFKB-E3QrkudAdH04w-jaH0Rc4KjrCjAsKCuWF_3e0yDWIrtZl_U88gBMbcoaxjnKuS15CMESi4/s956/Hawkwind%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="956" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFPDshiunWowY_pLBeO0lO9yqOlENJVvR6FnUpoFoarLX5-pbLYmvKstzQlAqTOvYXzAJHXC2fK9uWRt8oo3RUNF1sClABybNCvTSJBRjfIydWUpOquFKB-E3QrkudAdH04w-jaH0Rc4KjrCjAsKCuWF_3e0yDWIrtZl_U88gBMbcoaxjnKuS15CMESi4/w640-h626/Hawkwind%202.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/HdTFeW8FCto" width="320" youtube-src-id="HdTFeW8FCto"></iframe></div><br /><div><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;">Local band <b>Barnabus</b> from Leamington Spa, namely John Storer on guitar, Tony Cox drums<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-aUOnfobLIT37Ap30HoDJNTjNfJpPxdoig9kmBTnuGTkWaAhGkdDiEj83QGedpnef1KYes5WvChL3L7kW8OvWtvjoWMY9b4ExJGXIDc-F67gfTOLjCPKBl23_saITu6q8Kdy_E5HEIfedzPhS8xuYS7uqMoAuhps1zxfiBJuCzbhnO0L9AHCOnTQBuhb/s604/1928273_1024102892135_4952684_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="604" data-original-width="453" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-aUOnfobLIT37Ap30HoDJNTjNfJpPxdoig9kmBTnuGTkWaAhGkdDiEj83QGedpnef1KYes5WvChL3L7kW8OvWtvjoWMY9b4ExJGXIDc-F67gfTOLjCPKBl23_saITu6q8Kdy_E5HEIfedzPhS8xuYS7uqMoAuhps1zxfiBJuCzbhnO0L9AHCOnTQBuhb/s320/1928273_1024102892135_4952684_n.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Barnabus<br /><br /><br /><div style="text-align: left;"><br /></div></td></tr></tbody></table><br /> and bass player Keith Hancock, provided support on the</span><div><span style="font-family: arial;"> night. <b><a href="https://www.facebook.com/barnabus.rock">https://www.facebook.com/barnabus.rock</a></b></span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-7782301028488595822023-10-13T17:46:00.000+01:002023-10-13T17:46:01.992+01:00Sex Pistols and The Clash Lanch 1976<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Sex Pistols and The Clash Lanch 1976</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><span style="font-size: large;"><b>By Pete Clemons</b></span></div><div style="text-align: center;"><span style="font-size: large;"><b><br /></b></span></div></span><div><span style="font-family: arial;"><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqyH4w0I0onVz30pDCdAkBUGj2tcAGDF-O-03I3JJdVd6Cjtun4olgxeaKQV27cFdj4aPGbB4ZFrB-msNUSayv3yAH7fHofNesoE-xdseePDWxr9rHIOSXKUCyH4Jl7hbQuMWCL4YD_Sw8kVC_jRcvE7TLcsDNBNtPB4ADLIeiGOiNF4qYU_qG_B_Mpivx/s1492/Sex%20Pistols%20Mr%20Georges.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1492" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqyH4w0I0onVz30pDCdAkBUGj2tcAGDF-O-03I3JJdVd6Cjtun4olgxeaKQV27cFdj4aPGbB4ZFrB-msNUSayv3yAH7fHofNesoE-xdseePDWxr9rHIOSXKUCyH4Jl7hbQuMWCL4YD_Sw8kVC_jRcvE7TLcsDNBNtPB4ADLIeiGOiNF4qYU_qG_B_Mpivx/w464-h640/Sex%20Pistols%20Mr%20Georges.jpg" width="464" /></a></div><br /><br /><br />Punk rock and, arguably more so the punk rockers, were despised when the genre initially broke through in the UK during 1976. The bands and their music were condemned before anyone had barely heard them. Initial front page headlines from the red tops didn't help either. But gradually the scene was accepted to the point where, today, it has almost legendary status. <br /><br />Saturday 17th December 1977 saw The Sex Pistols, by then described as 'the most controversial rock band of recent years, play Mr. George's nightclub. <br /><br />It was the second time in a year that the band had played the city. Just 12 months earlier Lanchester Polytechnic had hosted their appearance as part of the 1976 Arts Festival. The Pistols had been supported by The Clash and had been booed off the stage, declared racist and fascist and paid a mere £50. <br /><br />In complete contrast the 1977 visit saw the group have an entirely different welcome. The Pistols played for just under an hour and a packed house went bananas over Anarchy, Pretty Vacant, EMI and other goodies presented. <br /><br />Going back to November 1976 and punk rock artists the Sex Pistols left their entertainments fixture at Lanchester Polytechnic without full payment after an impromptu meeting of union officers at the concert heard complaints about the group's stage act. <br /><br />Lanchester followed the NUS (National Union of Students), then, national policy which recommended colleges not to invite people with racist or fascist views onto campuses, and it was decided that the Sex Pistols act had included racist and fascist references. <br /><br />The Sex Pistols and supporting punk rock outfit, The Clash, had been booked for £475 but were actually paid £50. Lanchester union officials then sought legal advice about their rights on further payment, and are to inform the NUS entertainments office in London about the group and the type of act they presented. <br /><br />Attendees of the concert reported to union officials that it had been 'fairly obscene'. At one point the audience booed Sex Pistols after their version of 'Substitute', which the group's lead singer countered with familiar Anglo-Saxon invective, <br /><br />To balance the views it was also reported that nobody saw anything 'blatant'. It is simply, and widely accepted that the band were fascist. Reasons like 'I came away with the impression that they were because they were so populist'. <br /><br />Further reasoning within the unions report included that - It comes out of the experience of unemployment, bad housing, sleeping rough and being anti-establishment. They are not working class, more drop-outs. But their support is working class. They see themselves as mediums of these frustrations, they see their role as a political role, using the channel of popular music because other channels are being closed. <br /><br />It went on – the support band, The Clash, started off the concert with a song the lyrics of which could be seen as inflammatory. The Clash were also described as 'Incoherent, inarticulate and not inter-viewable' while Sex Pistols were 'more eloquent and forthcoming'. The bass guitarist of Sex Pistols, in reply to the suggestion that the group could use their power over young people to do something about racism, replied: "Yeah, I agree with you. I'm not racist'. <br /><br />However, George Melly, author, ex-film critic of the Observer and 1950s blues singer attended the concert, and asserted that: 'They are fascist'. <br /><br />Meanwhile, during 1977 at Warwick University, a headline in a campus missal declared 'Yes it could have been true!. The Sex Pistols could have played here. The entertainments team were offered the band for the Xmas Party provided the gig was unannounced. After accepting those conditions the band were booked. <br /><br />A major scoop indeed but then problems started. For reasons unknown all the bands tour dates were put forward a week which scuppered arrangements at Warwick. <br /><br />It was then that the decision was made to switch to Mr. George in Coventry city centre. So near yet so far. <br /><br />Warwick did, however, have it on good authority that if the entertainments team were offered The Sex Pistols again they will accept them if conditions are acceptable. Of course, that never came to fruition. <br /><br />Hype or not The Sex Pistols still continue to excite and that's why they're the band they are and why they continue to enjoy legendary status.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/q31WY0Aobro" width="320" youtube-src-id="q31WY0Aobro"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-55469729122670196812023-10-03T12:00:00.001+01:002023-10-03T12:00:17.317+01:00Yesterday and today. No-man Coventry 1992, The Pineapple Thief now<p> </p><span style="font-family: arial;"><div style="font-size: xx-large; text-align: center;"><b>Yesterday and Today. No-man Coventry 1992, The Pineapple Thief Now.</b></div><div style="font-size: xx-large; text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><span style="font-size: large;">by Pete Clemons</span></b></div></span><div><span style="font-family: arial;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ_Ij6C2XYFk-tM-7v2qqy4Bccqfb6HFfiz_ooQWUGlYW9sz9T49StyZHI-35RVRd_n9z2coPzbXHpG2N8kQafpqLM56OwWs-EFLzLhjm1cft2wZFbYx89wpwelhRErjKcPXCjNwhyh_1vDISTb7ugQjAiDR3VNZzGCLBeRd68_OYlz93w8Z3OITfrzoE/s1000/cover_132141092016_r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ_Ij6C2XYFk-tM-7v2qqy4Bccqfb6HFfiz_ooQWUGlYW9sz9T49StyZHI-35RVRd_n9z2coPzbXHpG2N8kQafpqLM56OwWs-EFLzLhjm1cft2wZFbYx89wpwelhRErjKcPXCjNwhyh_1vDISTb7ugQjAiDR3VNZzGCLBeRd68_OYlz93w8Z3OITfrzoE/w640-h640/cover_132141092016_r.jpg" width="640" /></a></div><br /></b><br /><br />Here is a short story that involves several of my favourite bands and artists from the last 30 years. I wouldn't normally disclose private conversations. And I haven't fully with this one. But I just felt that this needed to be out there as it shows real compassion and proves how we all change through life's strange journey. Its also a bit of a 'he said, she said' piece. <br /><br />It began when I was reading, and really enjoying, a couple of recently written articles on Bruce Soord, and The Pineapple Thief's latest early career spanning box set, 'How Did We Find Our Way' had me researching the name of the author. Something I very rarely do. <br /><br />I myself do a lot of writing, its just something I enjoy, and reading others always leaves me with that 'I wish I could write like that' feeling.<br /> <br /> When I did discover the authors website I came across, within it, an overview of his career. I was staggered. It was a real 'well f**k me !!' moment. <br /><br />This same guy, who I had genuinely enjoyed reading, was the very same guy who, during 1992 and under a completely different name, had slaughtered one of my favourite bands back then. No-man featuring Steven Wilson and Tim Bowness. He had been studying at nearby Warwick Uni and this had happened after no-man had appeared at the Tic Toc club in Coventry with past members of Japan. His review was printed in one of the national music papers of the time. NME perhaps?. I was completely thrown by what I had come across and the feelings it all brought back. <br /> <br /> I wouldn't go as far as to say I challenged the author. Far from it. But I did email him to see, just out of curiosity, if he remembered that No-man gig. Incredibly I had a reply...........<br /> <br /> 'Hi Pete, Yes, I remember reviewing them, and what can I say? Cloth ears! I was pretty quick to jump to a bullish opinion back then, and didn't have a lot of patience in appreciating more complex music. I've really liked the stuff both of them have done since and I liked the sporadic output in recent years (Love You To Bits and Schoolyard Ghosts). Thanks for reminding me of my youthful follies anyway'...<br /> <br />Soon afterwards I excitedly messaged Tim Bowness with news of what I had uncovered. His reply was even more revealing as Tim had had actually dealt with this writer since.......<br /> <br /> Tim: 'I remember the Coventry review well and the writer. He's been really supportive over the last few years and interviewed me for Prog magazine a few years back. It was very pleasant and I didn't bring up the 1992 gig. He was really nice (and open) during the interview I did with him. I enjoyed it'......... <br /><br />This response had me writing back to the article author who responded: 'Oh god, now I just feel even more guilty. Oh well, youthful indiscretions and all that'...<br /> <br /> Tim, as gracious as ever, and possibly sounding a little warning against that I might have been 'having a go' at the article writer (yes I admit to being a loyal fan) followed up with: 'as long as there's no bad feeling (on either side), all is fine'.<br /> <br /> I assured Tim 'absolutely not. I actually heaped praise on the writer for his recently completed Pineapple Thief articles. Additionally, I have since read your Prog magazine interview with him. He is actually a really good writer and I have since become a bit of a fan'. <br /><br />Where there was once an angry defiance is now a middle aged guy trying to do his best. And very good it is too. How could I get angry about the past. We have all been there. Google recent articles about the bands and artists hinted at above – I enjoyed them, see what you think.<b><span style="font-size: large;"></span></b></span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCEkNaQjEqPZP-TzKlE8ScA3_K4haVXAvYpa7855ukpsci3X4D_US_mpu98xs6kexPJtOHZ2RXlkdZPJ_oRszjnorTGLS7pXr93qcffrjAFysC5Mt8dJJoS8UyPTBFbfJua4o_AEpG3XOukVo7EBTkSBm5miM471OZ6F1pGf8S8ZfRyG-j3VgmUCT-9z0W/s996/No.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="996" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCEkNaQjEqPZP-TzKlE8ScA3_K4haVXAvYpa7855ukpsci3X4D_US_mpu98xs6kexPJtOHZ2RXlkdZPJ_oRszjnorTGLS7pXr93qcffrjAFysC5Mt8dJJoS8UyPTBFbfJua4o_AEpG3XOukVo7EBTkSBm5miM471OZ6F1pGf8S8ZfRyG-j3VgmUCT-9z0W/w640-h322/No.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDmVxBD5vsPmhhYKDfsxulqwj1zusl_QovYN0WhCF3m3Z2PDUXO33-T-5DUr5T_I2FlfxeOPrgxsP9biUKjNGbtL7HxjJXGq6_icM6aR-uzSEQB8B6nwYLKuvFdqO1E32IPt-v4ORfrEWpL8x1r2VDjwLTsOJaMLSqiCaw-rbP7WMyIirwcaFNVFKVenv/s300/No_Man.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDmVxBD5vsPmhhYKDfsxulqwj1zusl_QovYN0WhCF3m3Z2PDUXO33-T-5DUr5T_I2FlfxeOPrgxsP9biUKjNGbtL7HxjJXGq6_icM6aR-uzSEQB8B6nwYLKuvFdqO1E32IPt-v4ORfrEWpL8x1r2VDjwLTsOJaMLSqiCaw-rbP7WMyIirwcaFNVFKVenv/w640-h640/No_Man.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuWLCCwtuWgOSKt2qU5-KnejkZ2yk1pMYBFnjgtU9EHmKtDF2AK3xJSUhwbSdtssdzZr2HLOPLIQHKgLnkLv7A5OtxXTyRE0XQYfIz7JMwirFF44ROXBOlXZeq162wzNXve9horRKCNWHBhhaZAQegkuAMTu_4RD-B-QiD0UFkNQ_juq7YaknyDxa_-tL/s2288/No-man%20at%20Tic%20Toc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2288" data-original-width="1966" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuWLCCwtuWgOSKt2qU5-KnejkZ2yk1pMYBFnjgtU9EHmKtDF2AK3xJSUhwbSdtssdzZr2HLOPLIQHKgLnkLv7A5OtxXTyRE0XQYfIz7JMwirFF44ROXBOlXZeq162wzNXve9horRKCNWHBhhaZAQegkuAMTu_4RD-B-QiD0UFkNQ_juq7YaknyDxa_-tL/w550-h640/No-man%20at%20Tic%20Toc.jpg" width="550" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XK57KYw8ym0" width="320" youtube-src-id="XK57KYw8ym0"></iframe></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-6170356501057495605.post-81839481164285823972023-09-30T19:42:00.002+01:002023-09-30T19:42:35.766+01:00Welcome to Sleep Town.....Vance Anderson <p style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b> Welcome to Sleep Town.....Vance Anderson </b></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>By Geoff Veasey</b></span></p><p style="text-align: center;"><span style="font-family: arial;">Post supplied by Pet</span><span style="font-family: arial;">e Clemons</span></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbOVZ9nJUVlzrJwxz0gtpwbkRI-EgHhZb30YQ7DVIqedN1vd_aEplfaMoupSQgdcFJP8yuUl-Mjh9P683XsSnTk0BppZBw31jTb7eRyS2ZpTpi2fVKa27S6S3wpHRc2gn7gEHAP9MWxUHkrhlUnyi5s7E2ZHxGe-OKxoM5WZYCRwCdsjKkwbFjhmm_HXjT/s3728/IMG_5%20(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2846" data-original-width="3728" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbOVZ9nJUVlzrJwxz0gtpwbkRI-EgHhZb30YQ7DVIqedN1vd_aEplfaMoupSQgdcFJP8yuUl-Mjh9P683XsSnTk0BppZBw31jTb7eRyS2ZpTpi2fVKa27S6S3wpHRc2gn7gEHAP9MWxUHkrhlUnyi5s7E2ZHxGe-OKxoM5WZYCRwCdsjKkwbFjhmm_HXjT/w640-h488/IMG_5%20(1).jpg" width="640" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p><span style="font-family: arial;">......" Dream Carefully," Vance Anderson and I would sing together, during the happy days when he was the drummer and I was the singer in a Coventry based Rock combo called Black Parrot Seaside. I just heard the devastating news that Vance has now actually begun his final journey to Sleep Town, over in the USA. What a talent. What a career. What a great band member to have. RIP brother. <br /><br />Vance was the first musician we recruited by interview, having parted with several of our previous percussionists. His "audition" was astonishing. We'd never seen anything like it. We wanted to go heavier: we had bought a big P.A. We were growing our hair out. We wanted a bass player and drummer who could drive our songs-many of them our own compositions-and project us into the top drawer of Rock Goddery. <br /><br />That actually never happened: not even close: but for a while Dave Anderson (as he was then known) was our distinctive, flame haired talisman. He was the only one we auditioned: we didn't bother with any more. He downed half a bottle of brandy before launching into an accompaniment which immediately fitted the music. His time keeping and mastery of the kit just blew us away. Working by day driving a truck delivering tyres for Dunlop by night he would don leopard skin pants and woolly waistcoats to go ever so slightly bonkers from behind stacks of high hats and snares. In the grainy old photo below Vance is second from the right. Wearing slightly less than usual. Alas, three of this line up are now no longer with us. <br /><br />I have only croaky old fuzzy recordings of Vance's fiery work on songs like "Brutus" "Sleep Town" and "Small Maladjusted and Mean," but all those years later on it remains amazing. Vance (as he soon re-christened himself) bought into the whole BPS thing. All of us had silly stage names like Ted Explosion and Orville Cosmo. We dressed up. We had stage props. And so Dave became Vance Ectomy. (See what he did there?) and joined in enthusiastically. <br /><br />We performed angry, waspish, loud songs with vitriolic lyrics. We lampooned Punk, Rock, Folk, Country & Western and Reggae. We got "paid off" (i.e. asked to leave usually via a back entrance) before the end of an evening at a few gigs where we had antagonised the management or wound up the audience with what is nowadays called attitude. <br /><br />All this was right on the cusp of the Punk Revolution although we were not really aware of that at the time. We were more influenced by other angry bands like Heavy Metal Kids, The Sensational Alex Harvey Band and Edgar Broughton. We also shared a great fondness for the Bonzos. In one song we staged a mock fight. It was all choreographed: a regular part of the act but one night upstairs at The Golden Cross we forgot to warn the Guv'nor beforehand. When I grabbed Vance round the neck and dragged him off his drum stool, bar staff came out from behind the bar with a baseball bat and unleashed the pub Doberman. It took a while to calm things down.<br /><br />We developed a bit of a reputation. At a very early Godiva Festival some of our followers assured us that such a prestigious appearance would be enhanced by some pyrotechnics. What we didn't anticipate was a huge rocket going awol and detouring through the Police tent. Mercifully, no-one was hurt, the audience thought it was part of the act and the bobbies were very understanding as we apologised profusely. <br /><br />In Cov we played pubs like The Climax, The Craven Arms in The High Street, The Dive Bar, The Campbell The Dog and Trumpet and The Smithfield. We played The Lanch (later Coventry University) and Warwick University. The students also greatly enjoyed Vance and I play fighting. A few joined in and suddenly an armchair found its way off a balcony and onto the stage. We also played a Melody Maker audition at Warwick, where for reasons I cannot remember, we destroyed a full sized mock up of a grandfather clock on stage.<br /><br />We ranged further afield. Birmingham University. Nottingham University. Bogarts-a popular club right in the heart of Brum. We started getting support gigs. To Rocky Sharpe (later The Darts) at Hitchin Poly. Opening for East of Eden at another infamous gig in Nuneaton.</span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfQbKZZ_G7gp_GpXmcs97QE-q4quWybdPdvIkgt7YBklTdA-BbQJ5uBqPCWUogOZMEqO1nT0rYWdpLtZaHuPioSBiWVnwN6AbEvpLvzmanbezfD5DIcLlh6J5zq0EQYtvwkMsAyagD_1G6yUHKS9ea0hbH4HlVseZ52UPkKAlHtwJD0nl6CdKqCG74uK6/s2548/Hitchin%20Poster.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2548" data-original-width="1745" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfQbKZZ_G7gp_GpXmcs97QE-q4quWybdPdvIkgt7YBklTdA-BbQJ5uBqPCWUogOZMEqO1nT0rYWdpLtZaHuPioSBiWVnwN6AbEvpLvzmanbezfD5DIcLlh6J5zq0EQYtvwkMsAyagD_1G6yUHKS9ea0hbH4HlVseZ52UPkKAlHtwJD0nl6CdKqCG74uK6/w438-h640/Hitchin%20Poster.JPG" width="438" /></a></div><br /><span style="font-family: arial;"><br /></span><div><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;">We were doing all right, the audiences were mostly getting our cryptic weirdness and we knew we being scouted by an agent or two. We even had some proper photos done at locations like Sutton Stop and Brandon Woods.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vvMwiDRNbRxcN753V_Glz9nMKTwEodB3mQHKrV0DH9T9sG-kyidi9NfWaoWgShyTHXN-OxupMPQGsmieZNBd9pf3DEwZNZSx1_HSRJbhRaVceXQqyj1dQJzlQPCWR_YsfMXxtuqlTEnEI6EM5D9mLF4VXiyxXba6F1t66hbwhPKB3YGPKZbx0qELjkcS/s971/hawkesbury.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="971" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vvMwiDRNbRxcN753V_Glz9nMKTwEodB3mQHKrV0DH9T9sG-kyidi9NfWaoWgShyTHXN-OxupMPQGsmieZNBd9pf3DEwZNZSx1_HSRJbhRaVceXQqyj1dQJzlQPCWR_YsfMXxtuqlTEnEI6EM5D9mLF4VXiyxXba6F1t66hbwhPKB3YGPKZbx0qELjkcS/w640-h416/hawkesbury.jpg" width="640" /></a></div><br /><span style="font-family: arial;"><br /><br />Throughout, Vance kept us tight. He could improvise when necessary but could also be very disciplined. We knew that we could not hang on to him for long. He was talented, ambitious and keen to progress. We could not satisfy his hunger for gigs and for performance so in a totally amicable parting, he joined another Coventry band The Flys, They were getting far more gigs than we were. We were signed up and briefly were on the same label. Vance's departure could have broken us. He was irreplaceable and so we slid gracefully into Folk. We never had another drummer: barely even mentioned percussion again.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKs5qlZLLP6lqIo5IO_3w7Pp60xPax3t1xJsi4dKOMRxHzP96o2iAu3d1aqFPGYGmfRs0RNkaamIiFyPn19GarYibK4nRxER4cYTdSYduRycy6wBsJShn3MOI2Rix30xTAIZtbGC7s_7KKqhlovlnMzPZJ52m3R5HFBQFDlqtRNoifAzQTCcnMxyIxyQv/s2719/Cuttings%203247.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2082" data-original-width="2719" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrKs5qlZLLP6lqIo5IO_3w7Pp60xPax3t1xJsi4dKOMRxHzP96o2iAu3d1aqFPGYGmfRs0RNkaamIiFyPn19GarYibK4nRxER4cYTdSYduRycy6wBsJShn3MOI2Rix30xTAIZtbGC7s_7KKqhlovlnMzPZJ52m3R5HFBQFDlqtRNoifAzQTCcnMxyIxyQv/w640-h490/Cuttings%203247.jpg" width="640" /></a></div><br /><span style="font-family: arial;"><br /><br />BPS continued to slumber and awaken in various formats until 2014 when we played our last gig together and finally went our separate ways. Vance lost the "Ectomy" and became Vance Anderson. He was known as that for the rest of his life. He continued to keep in touch, taking an interest in what we were all up to. When I started doing radio he sent me promos of the bands he was discovering out in Florida and I played them on air (Still do: The Well Pennies is one example).</span><div><span style="font-family: arial;"><br /> Abroad he thrived and achieved his ambition to work in music full time. Vance worked ( I think ) with Diana Krall, Stevie Wonder and many other well known acts. He clearly had an affinity with Tony Bennett and was distraught when he died recently. I bet they are having a gas up there together now.</span></div></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq8bOi10c5H5rvZ6ARpwxsXbXKA1jB8wGMw4Ae1tPZid8B8sSTyQk1cTna7q-EvuntBtZIWVnUV0-_k9gWpbfQV59YHU3iOD3CQpcB72Fj4qK5Q8np84H4JrGnbcuy8tyZGSweBNrqsqNSz_1tGDXNow4mxONydKmbnVyFbTuIreSO_VaaIUFhJ8L1QUv3/s2048/383847768_10159832571923543_2771747312208667750_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1418" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq8bOi10c5H5rvZ6ARpwxsXbXKA1jB8wGMw4Ae1tPZid8B8sSTyQk1cTna7q-EvuntBtZIWVnUV0-_k9gWpbfQV59YHU3iOD3CQpcB72Fj4qK5Q8np84H4JrGnbcuy8tyZGSweBNrqsqNSz_1tGDXNow4mxONydKmbnVyFbTuIreSO_VaaIUFhJ8L1QUv3/w444-h640/383847768_10159832571923543_2771747312208667750_n.jpg" width="444" /></a></div><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-75536925441558156142023-09-26T17:35:00.005+01:002023-09-26T17:35:36.711+01:00The Session – 21 years<p> </p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>The Session – 21 years</b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>by Pete Clemons</b></span></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaXsH5df7Z6R4hThjwDZu2Umz_XulyTeR4NhHM00hDODScnSrNUwrO-am7Gf0i9mxM2W_YXrHwAAloiczDz7htH1uyFNwFYYB8oQOinflDzjs_QWGn8Agg5hbB2Tt5BuJ_k9CbzOyehmLoNRFELhckkbJFDhGj9ryvT0HTLApO0rH7FGeKhrVhd5bMmlgw/s5664/20230916_223023.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4248" data-original-width="5664" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaXsH5df7Z6R4hThjwDZu2Umz_XulyTeR4NhHM00hDODScnSrNUwrO-am7Gf0i9mxM2W_YXrHwAAloiczDz7htH1uyFNwFYYB8oQOinflDzjs_QWGn8Agg5hbB2Tt5BuJ_k9CbzOyehmLoNRFELhckkbJFDhGj9ryvT0HTLApO0rH7FGeKhrVhd5bMmlgw/w640-h480/20230916_223023.jpg" width="640" /></a></span></div><span style="font-family: arial; font-size: x-large;"><br /></span><p></p><span style="font-family: arial;">It's been said that the first 21 years defines the career of an artist. Few bands have single-handedly shaken up the local music establishment like the originality and longevity of, The Session.<br /><br />Their compelling celebratory concert at the HMV Empire took you on a journey into the band's style, skills, and motivation via their family, friends and past band members who were all in attendance.<br /><br />From the brooding 'When She Smiles' to the strident and exciting 'Jailbird' which effortlessly segues into 'Ohio', The Session have just reached the 21-year mark and have unapologetically carved their signature into Coventry pop culture.<br /><br />During the build up to this gig i had noticed a series of, sometimes, raw and honest social media posts relating to the band from the perspective of the main protagonists. These candid conversations from both Dean, Sheryl, and others associated with the band, never shy away from their pride for The Session. And rightly so.<br /><br />Those stories and anecdotes were brought to life through a selection of music that covered the entire duration of the band. Additionally, their rich back catalogue was plundered. Songs, never played live before, were aired for the first time.<br /><br />The Session are a band that have become well known, within the area, for celebrating the cool and the casual, They have emerged as a surprisingly strategic and visionary outfit. Together, for over 2 decades, they have established a legacy and perfected a style that can't be denied.<br /><br />An achievement to be proud of by any measure of standard.</span><br /><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cc1sCMoCAX1YHbzN-kPF6JxKslUyvI5hEsWuSH4rAhLL-qZJFy0CA2w2qfI_lMen5XrvQQbSbskXWK8fgXZUtH_S5lCqLJdRYOIk7z7ZUOIxI_ZOLU1mqGHbOiqvzzQNne5UgA31uLOGbXvRPUGuY_-g4ZIoD7GESdqUO8TZOWQrABok40_oZIDuaWUP/s1505/Screenshot_20230923-111943_Gallery%20(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1505" data-original-width="1079" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cc1sCMoCAX1YHbzN-kPF6JxKslUyvI5hEsWuSH4rAhLL-qZJFy0CA2w2qfI_lMen5XrvQQbSbskXWK8fgXZUtH_S5lCqLJdRYOIk7z7ZUOIxI_ZOLU1mqGHbOiqvzzQNne5UgA31uLOGbXvRPUGuY_-g4ZIoD7GESdqUO8TZOWQrABok40_oZIDuaWUP/w458-h640/Screenshot_20230923-111943_Gallery%20(2).jpg" width="458" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZHemK0gPy_8" width="320" youtube-src-id="ZHemK0gPy_8"></iframe></div><br /><div style="text-align: center;"><span style="font-family: arial;">Resonation</span></div></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3oi6ysvyH2w" width="320" youtube-src-id="3oi6ysvyH2w"></iframe></div><span style="font-family: arial;">Video by Mick Kerrigan</span><br /><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-6170356501057495605.post-45618110282715482902023-09-26T17:14:00.000+01:002023-09-26T17:14:38.430+01:00Lanchester Festival 1972 – Roland Kirk<p> </p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: x-large;"><b>Lanchester Festival 1972 –
Roland Kirk</b></span><b style="font-size: 14pt;"><o:p></o:p></b></p><p class="Standard" style="text-align: center;"><span style="font-family: arial; font-size: large;"><b>by Pete Clemons</b></span></p><p class="Standard"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjUCs-XZ9rspLekLnbIvAq2BEzmmgix5W2tncDOZs05ZB_KDsdsL-7gOy5hIc4PtTWU2f-0Ojrfw0u8tr1QOw4ytipIHMbowppL_VXtIjgy8Ypu9Koe3-1vnGV5RFvEN25u4mJU-OhC-jUO6bJfA8eK934CGSVlHtguYwAO1JEzvu5FcBz7I06ER1wMohG/s1565/Blacknuss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="1565" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjUCs-XZ9rspLekLnbIvAq2BEzmmgix5W2tncDOZs05ZB_KDsdsL-7gOy5hIc4PtTWU2f-0Ojrfw0u8tr1QOw4ytipIHMbowppL_VXtIjgy8Ypu9Koe3-1vnGV5RFvEN25u4mJU-OhC-jUO6bJfA8eK934CGSVlHtguYwAO1JEzvu5FcBz7I06ER1wMohG/w640-h466/Blacknuss.jpg" width="640" /></a></span></div><span style="font-family: arial;"><br /><br />I had long thought that, when Pink Floyd appeared at the Lanchester Arts Festival 1972, that they had replaced David Bowie on the bill when they appeared at the Locarno. But it appears that this was completely incorrect. Yes, David Bowie had been scheduled to appear at that particular festival but it seems that his withdrawal was for entirely different reasons.<br /> <br />According to notes by festival organiser Ted Little that were released to a national music magazine it was stated that: David Bowie, a late addition to the Sunday evening concert, became a last minute withdrawal due to his management having second thoughts about his suitability for a festival topped by Rahsaan Roland Kirk.<br /><br />The main interest in Kirk, who appeared at the 1972 festival but on a different evening to the Locarno gig, centred around extracts from the new material from his, then, new album 'Blacknuss' featuring compositions utilising only the 36 black notes on a piano.<br /><br />Blacknuss was released by Atlantic Records and is Roland Kirk at his most visionary. As reported at the time 'Blacknuss is as deep as a soul record can be and as hot as a jazz record has the right to call itself'. Some of the arrangements are guitar heavy and the backbeats are decidedly uncouth, and that the record label probably influenced the choice of material, but that Kirk was comfortable with playing it'.<br /><br />Kirk appeared in Coventry several times and was always a popular figure on the live circuit at that time. He also influenced a wide range of musicians. Many of who cited his albums as inspirational.<br /><br />Track Listing for Blacknuss<br /><br /> <br /><br />1. Aint No Sunshine (Bill Withers)<br /><br />2. What's Goin' On/Mercy Mercy Me - The Ecology (Marvin Gaye)<br /><br />3. I Love You Yes I Do (Chris Allen, Johnny Cameron)<br /><br />4. Take Me Girl, I'm Ready (Johnny Bristol)<br /><br />5. My Girl (Smokey Robinson)<br /><br />6. Which Way Is It Going (Rahsaan Roland Kirk)<br /><br />7. One Nation (Princess Patience Burton)<br /><br />8. Never Can Say Goodbye (Clifton Davis)<br /><br />9. Old Rugged Cross (Traditional)<br /><br />10. Make It With You (David Gates)<br /><br />11. Blacknuss (Rahsaan Roland Kirk)<br /><br /> <br />Incidentally and, interestingly, the set list for the closest date I can find for that cancelled David Bowie concert was as follows:<br /><br /> <br /><br />1. Fill Your Heart<br /><br />2. Buzz the Fuzz<br /><br />3. Space Oddity<br /><br />4. Amsterdam<br /><br />5. The Superman<br /><br />6. Oh You Pretty Things<br /><br />7. Eight Line Poem<br /><br />8. Changes<br /><br />9. Song For Bob Dylan<br /><br />10. Andy Warhol<br /><br />11. Queen Bitch<br /><br />12. Looking For a Friend<br /><br />13. Around and Around<br /><br />14. I'm Waiting For The Man<br /><br /> <br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYTdpYpR1e8a4l0efJLuNm9HWMVjRgdkmbhyUj90rO8TuGVHC0LKoN-Fz4GgYimFf4ckwBdisukY8U5SSiW5wA7bFZUC0eshPZkWysUWqyVgtWECCAA61SJb8p-pbddKUeIk6kBfsOHceqdVreLGh4s7m8awy_0i_rRlKI2jksDyWu5c0B4O60IalSXma/s640/b024fd0868a83572790f9b2afefd3245.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="328" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYTdpYpR1e8a4l0efJLuNm9HWMVjRgdkmbhyUj90rO8TuGVHC0LKoN-Fz4GgYimFf4ckwBdisukY8U5SSiW5wA7bFZUC0eshPZkWysUWqyVgtWECCAA61SJb8p-pbddKUeIk6kBfsOHceqdVreLGh4s7m8awy_0i_rRlKI2jksDyWu5c0B4O60IalSXma/w328-h640/b024fd0868a83572790f9b2afefd3245.jpg" width="328" /></a></div><br /><br /><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RamhRMETpaU" width="320" youtube-src-id="RamhRMETpaU"></iframe></div><br /><div style="text-align: center;"><span style="font-family: arial;">Blacknuss</span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0