Black Sabbath – The End

 

Black Sabbath – The End

by Pete Clemons

Black Sabbath's self-titled debut album, released in 1970, is today widely considered a landmark in the history of heavy metal, despite initial mixed reviews. While some critics found it conventional blues rock with a 'bad boy' sound.

And with news that Black Sabbath were to play a final epic gig at Villa Park has naturally surfaced the memories of former band members of Coventry's Indian Summer who, along with Earth/Black Sabbath were, back in 1969, both under the wing of Birmingham's music mogul, the legendary Jim Simpson.

Indian Summer keyboard player Bob Jackson recalled 'The news that Black Sabbath are playing their last gig in Birmingham today prompted some happy memories.
Got to know the guys pretty well way back in the last 60's, when I was in my first recording band, 'Indian Summer' - before their name change from 'Earth'. We were signed to the same management and record team too. But, as history will attest, Sabbath went mega whilst Indian Summer lasted only one album. That's Show -Business!! Have a brilliant show, guys. Mission very much accomplished'!!

That led drummer Paul Hooper to respond 'Yes Bob..i remember those days well..especially carrying your Hammond up the stairs at Henry's Blues House..On occasion we let them use our gear before they hit the big time. However, I think the big difference between them going mega and we falling at the first hurdle was Don Arden.

I did ask Bob for any other outstanding memories 'We played on the same bill with them many times, and as Paul H. reminded me, they even used our gear in the early Earth stage. They were all easy to get on with. I remember chatting with Ozzie several times, including once at the Marquee before the show. We went round to Ozzie's terraced house, in the early days and discussed whether Jim Simpson was the right guy for us to sign with. Based on that conversation we signed. But soon after, found that Sabbath were leaving Simpson for Don Arden. That move to heavy management certainly worked for them'.

Back to that first Black Sabbath album which has been praised for its powerful riffs, inventive basslines, and Ozzy Osbourne's unique vocals, creating a distinctive and influential sound. The album's dark themes and heavy, blues-infused rock laid the foundation for a new genre.

In fact the only quotes or reviews I can find find at the time of its release gave it short thrift. 'Aggressive doomy music from a very popular Birmingham based band who are well into black magic. Heavy going'.

Music Now said: 'we strongly advise those of a nervous disposition NOT, repeat NOT to listen alone.

Due to the fact that Black Sabbath had jumped straight into the charts at number 23, it was only a matter of weeks that the largely ignored record was soon attracting the attention of the more well known music papers of the day.

One noted: Black Sabbath, four unknown rock musicians from Birmingham have emerged from obscurity with what is probably the first true underground success since the days of Pink Floyd and the UFO.

Without mass media exposure the Birmingham band now find themselves with a best selling first album, sold on the strength of their hard rock sound which has built them a fanatical following in isolated areas.

As Black Sabbath the group have worked steadily in Britain and on the continent building up an increased following wherever they appear. At Birmingham's Henry's Blues House recently they broke Jethro Tull's attendance record which had lasted for over a year.

It's in Birmingham that the group are the biggest draw. Their reputation has spread from there through their live appearances and a solitary Top Gear session they did before Christmas 69 and the release of their Vertigo album which is still making progress in the chart.

The album is an accurate reflection of their music, hard, driving and blues based with lyrics that have been influenced by black magic, a subject they have become interested in since changing their name from Earth.

Just a few months later during 1970 and Black Sabbath had released their next album, Paranoid, where further chart success was gained. From then on the band were almost unstoppable.

The Groovy Garden

 

The Groovy Garden

by Pete Clemons

Someone wiser than I am once said 'a night out in Coventry? Easy. A good night out in Coventry? A bit more difficult' - but it could be done, whatever your tastes in music, decor or clientele.

A recently advertised Groovy Garden reunion at the Kasbah had myself and, I suspect plenty of others, casting their minds back to many a chilled out Sunday evening simply taking in a variety of new and old sounds.

The Groovy Garden was a popular club night in Coventry. It began during the 1980's started as a Sunday night club at the Dog & Trumpet (D&T). The club night later relocated to the Tic Toc Club during the early 1990s. More recently, Groovy Garden nights have been revived at the Colosseum and Kasbah Nightclubs. In warmer weather, the Groovy Garden events have been held outdoors in the Kasbah's garden area.

That said Clive Parker-Skelhon and Steve Edgson hosted the inaugural Groovy Garden at Corks Wine Bar, where Clive was introduced to groups like 'Sounds Orchestral' and other cool music.

Arguably however The Groovy Garden was best known for its 90s music, particularly indie, Britpop, and guitar-led classics, creating a feel-good, nostalgic atmosphere. The night often featured themed events, like 'Groovy Garden vs Green Onions vs Kinky Afro Reunion'.

Giraffes guitarist, Nigel Williams, took over doing the Groovy Garden from Paul Sampson who, in turn, had joined Steve Edgson at the Dog & Trumpet. Paul had been getting more recording work by then and Nigel carried on doing it with Steve at Tic Toc, Silvers, The Alhambra and briefly at the 3 tuns. Nigel recalled 'it was lucky The Giraffes rarely had a gig on a Sunday'.

A lot of folk were disappointed when the Tic Toc closed up. They held some cracking nights there in between university terms. One student quote was 'best night was the Groovy Garden and the LBG night/Sunday afternoon. Always a good atmosphere and no trouble. The Colly was a decent replacement though'.

The Tic Toc also held a Friday night cabaret evening, as well as hosting jazz bands, innovative theatre and, of course, the Sunday night Groovy Garden 60s/70s disco, which was free. Bar times are till 2 am on Thursday, Friday and Saturday, 1 am on other weekdays, with normal times on Sundays, although the disco always continued till midnight.

The first Groovy Garden at the Kasbah which, by then had moved to a Saturday night, was an extra special event as it hosted ets from Lethal Bizzle, Skinnyman, Marvin The Martian and 91db.

The Groovy Garden events are characterized by a strong sense of nostalgia, with a focus on 90s music, including indie, britpop, and other guitar-led classics and was generally considered as 'a fine night to round off the weekend'.

Jigsaw – Sky High

Jigsaw – Sky High

by Pete Clemons

It was November 1975 and it was only Olivia Newton John and Elton John who were selling more British singles in the United States than Jigsaw were. Yet Jigsaw were still under the radar in most of the UK.

Despite their single Sky High climbing most of the world's music charts it was largely ignored by the British music press. A fate, the band said at the time, that had been happening to them for the past seven years.

Admittedly it had taken a monster, all action, Kung Fu film to put things right.

'The Man From Hong Kong' had given this four man Midland group the recognition that they had been after for so long.

'It's quite a story how we came to record the theme music' said Clive Scott the band's then 25 year old keyboard player and co-writer.

'The film had been completed but the distributors had wanted a pop single to go with the picture to help publicise it and MCA didn't think the existing theme music was strong enough'.

'Both David Essex and The Four Tops were approached but due to contractual difficulties they couldn't do it and it was nearing the time for the films release'.

'We were asked to write and record the music and we had only three days to get it all together. We made demos of two songs and the next day recorded Sky High' he added.

But this isn't Clive's first success as a songwriter. With partner Des Dyer, who was Jigsaw's drummer and lead vocalist they were responsible for Candlewick Greens hit 'Who do you Think you are' which also made waves in the American top ten by way of Bo Donaldson and the Haywoods.

'Though we just finished our fifth album and have been together since 1968 you would be surprised what one hit single can do' said Dyer.

Jigsaw had quite a following in Coventry and Warwickshire area and often played Mr Georges Club in the city centre. However during one gig, and with increasing interest in the band, by 1975, the doors were closing early as the venue quickly reached full capacity. With that particular gig being midweek this was an uncommon event.
Des Dyer continued 'it doesn't matter how long you have been around without getting that illusive hit you've never made it. Whereas we thought everyone in our home town had heard of us it appeared there were thousands that hadn't'

Lead guitarist Tony Campbell took up the story. 'We're obviously being offered bigger and better concert gigs now that we have had a hit record. We are fully booked up until Christmas and we plan to play all those dates and not let any drop'.

'Though we were clever enough to have a rider in the contract that if the disc was a hit and we had to go over to America to promote it then we would' adds the bands remaining member, bass player, Barrie Bernard. 'Of course, when we get back we will honour any outstanding gigs'.

That American visit was due at the end of November. Though Jigsaw will be doing two major concerts a tour has not yet been set up. It'll be a short promotional visit to help Sky High get nearer to that number 1 spot.

And then during December it's off to Australia where the record has got to that covered top spot already.

'Something I've always wanted to do is spend Christmas Day on Bondi Beach and now we will be doing it' says Tony.

So after seven years since Jigsaw were put together have the group achieved what they set out to get?

'Far from it', interjected Tony. 'Those seven years were only an apprenticeship and it doesn't matter how successful this record is we are very ambitious and want any future discs to be even more successful. And we are optimistic that we can do it'.

'You see, we have an original sound' continued Clive. 'Its certainly not rock like say Led Zeppelin but neither is it pure pop. We are hoping people will judge us in the same category as the likes of Bread'.

'Seven years together has its advantages' adds Des. We already have a very visual stage act worked out which includes exploding cabinets and......

At that point Barrie hushed him up in case he gave too much away.

Coventry Theatre - One Week in 1974

 Coventry Theatre - One Week in 1974

by Pete Clemons

It seems mind blowing when thought about nowadays but it really did happen. Just over 50 years ago, during November 1974 two, then future iconic bands, Queen and Sparks, visited the city over consecutive weekends. Neither band could claim to be the behemoths that they became but, nevertheless, these groups were still top drawer attractions. But here they were at Coventry Theatre as part of a series of Sunday evening attractions.

As time went on both bands broadened their horizons, moving away from a more conventional rock and roll base to creating more quirky anthemic and a sophisticated style of music that attracted a wide range of fans. Rock music with a twist if you like. Both bands were never content to sit on their laurels. They were incredibly forward thinkers.

According to a review that accompanied the Sheer Heart Attack LP that they were touring, 'Queen were now one of the most popular bands around. With this LP they prove their maturity with a melodic ever changing album that runs the whole gamut of pop'.

And it was true as Queen brought with them an energy and a very rich and powerful performance. They were lauded at the time for their high-quality audio and visuals, particularly by early Queen fans, and this highlighted their early hits and heavy guitar rock style.

The concert includes iconic tracks like 'Keep Yourself Alive', 'Now I'm Here', 'Killer Queen', and 'Seven Seas of Rhye'. The gig showcasing their early sound. There was fire and passion by way of Freddie Mercury's vocals and Brian May's guitar solos shining and, of course, a dynamic rhythm section.

Speaking after the tour Brian May mentioned, 'we knew songs like Killer Queen would be a hit because its got going on in it. Freddie is very fond of cabaret so we all got into that on Killer Queen. But I don't think that's the way the band is going. We are going in lots of different directions at once'.

Sparks' live performances in 1974 were a unique blend of musical innovation and theatrical flair, characterized by their quirky stage presence and distinctive sound. The band, led by the Mael brothers, Ron and Russell, gained significant popularity with the release of their album Kimono My House released earlier during 1974, and their live shows reflected this shift towards a more mainstream audience.

Ron and Russell Mael, particularly, stood out with their distinctive appearances. Ron's Chaplinesque moustache and serious demeanour, while Russell's energetic bouncing and androgynous style, created a striking contrast that captivated audiences.

Sparks' music, though influenced by glam rock, incorporated elements of art rock, pop, and even disco, setting them apart from many of their contemporaries.

Their breakthrough hit 'This Town Ain't Big Enough for Both of Us' and the album 'Kimono My House' propelled them into the UK charts, leading to a surge in popularity and larger live venues.

Propaganda album had just been released to glowing reviews. 'If you liked Sparks last album [Kimono my House] then you will certainly go a bundle on Propaganda because where Kimono lacked depth, grace and musical fluency, Propaganda flows, reels and rolls with all the daring audacity of a Moulin Rouge stripper' said one.

Both albums mentioned offers a valuable glimpse into Sparks' live sound in their mid-70s prime, especially given the band's influential status

Finally, and for completeness and balance, the remainder of those November's Sunday concerts at Coventry Theatre was completed by Ray Conniff, The Syd Lawrence Orchestra and Jack Jones.

Coventry Area Folk Clubs 1969

 

Coventry Area Folk Clubs 1969

by Pete Clemons

I recently came across a newsletter for freshers to Coventry from 1969. Within it was an article about the various folk clubs around the region at that time. Hopefully it will bring back a few memories.................

Over the last two years the Sunday night Folk Concerts have become one of the most popular institutions in the university sector.

With this in mind, three acts have been booked for the 'Freshers' weekend concert at Warwick Uni on Sunday night. The Strawbs will already be well known to many of their audience. They have performed here more than once and are becoming very well known throughout the country, through their performances, radio programmes and their very successful LP. The three original members have recently been joined by a girl cellist, so it should be interesting to hear the group in its new form.

Car drivers, Londoners or Strawbs addicts may be interested to know that the group now run a club in Hounslow every second Tuesday, with a wide variety of artistes

Tea and Symphony are a less well known group who have also been heard a lot on radio recently and have issued an LP. and two singles. Between them they play a vast range of instruments and have been described as something like a cross between the Incredible String Band and a jug band.

Finally for the beer drinkers and chorus singers, there is Ray Fisher, a long established traditional singer from Newcastle.

Those with a serious interest in Folk Music will no doubt want to visit some of the clubs in the surrounding area and real addicts will be able to find something on every night of the week.

On Monday there is the 'Village Pump' Folk Dance and Song Club (at the Bulls Head, Binley Road, Coventry). This is a definite must for folk dance fans but not for those who like a sit-down-and-listen type of club.

The Boggery Folk Club in Lugtrout Lane, Birmingham, meets several nights a week and is one of the smokey, beery, chorus-song type of clubs. On Tuesdays, 'Tuesdays People’ meet at 'The Factory', in Gas Street, Birmingham. It has a cabaret atmosphere and is slightly pretentious, with big-name artists. It's residents are the Heart of England and the Couriers and it is run by Mike Lloyd of A.T.V. John Betmead, a performer there summed it up by commenting, "Last time I sang there it was a folk club''.

The Cedars Folk Club meets on Wednesdays in Barker Butts Road, Radford, Coventry, and is Irish. The 'Rooster' club meets on Thursdays in the Biggin Hall, Binley Road, and is fairly new with enough backing to book big names like Derek Brimstone, Jerry Cochran, Magna Carta. Contemporary fans, especially should visit it.

The Red Lion in Stratford is closely connected with the Heart of England group. On Friday's there is the Mercer's Arms, Swan Lane, Coventry (near the football ground). It has some of the best guests but is a bit noisy.

The Fox and Vivian, in Leamington, has as its resident the one and only, your friend, Ron Healey and if you don't yet know him you soon will. It is shabby but cosy, crowded and has a great atmosphere.

The Coventry Folk Club, Gosford Park Hotel, meets on Saturdays and relies mainly on local talent. The Denbigh Arms, Monks Kirby, is 15 miles out in the wilds so it is as well to find out who is on before going. It usually has a well-known guest and its residents, The Gaels, are one of the best local groups.

If you get pissed off with the University club on Sundays, try the City Arms, Earlsdon but check who's on first and get there early. Apart from 'The Factory' which costs 10/6d, to join then 10/6 each evening, most of the clubs charge less than 5/- member- ship and even cheaper entrance. They generally advertise, in the Coventry Evening Telegraph or Birmingham Evening Mail, on the day of performance.

The University Folk Club hopes to be able to provide some kind of information service about the clubs and their guests.

Pink Floyd at Pompeii – Coventry Theatre 1974

 

Pink Floyd at Pompeii – Coventry Theatre 1974

by Pete Clemons

2025 has seen the return of the groundbreaking 1972 film Pink Floyd at Pompeii. Although now titled Pink Floyd at Pompeii – MCMLXXII.

This new version has been digitally re-mastered in 4K from the original 35mm footage with enhanced audio.

Those who remember the film will be familiar with its setting in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy.

The film captures Pink Floyd performing an intimate concert without an audience filmed over four days during October 1971. There they performed unforgettable tracks such as “Echoes,” “A Saucerful of Secrets,” and “One of These Days.”

The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance, creating a unique and immersive experience. Additional footage filmed in a Paris television studio the following December was added for the original 1972 release.

The film was scheduled for a special premiere at London's Rainbow Theatre, on 25 November 1972. It was cancelled at the last minute by the theatre's owner as they didn't have a certificate from the British Board of Film Censors and the theatre could be seen to be in competition with established cinemas

After that stalled release the film was eventually premiered on 10 November 1973, at the Alouette Theatre in Montreal. General release and screening took place in the US during April 74

It was then re-released into the UK slightly later in 1974. By this time it had been furnished with additional behind-the-scenes glimpses of the band working on the then forthcoming and iconic 'The Dark Side of the Moon' album. If that wasn't enough interviews captured at Abbey Road Studios, London also enhanced it's eventual release.

As I remember it, demand for the film was huge. So big, in fact, that normal cinemas within the Coventry area were not able to cope. Coventry Theatre stepped in where the film sold out for a week during July 1974. Remarkably, further demand created a necessity to add a follow on second week at the theatre.

This meticulous restoration delivers stunning image and sound quality, featuring a theatrical and home entertainment mix from Steven Wilson in 5.1 and Dolby Atmos. These upgrades enhance the film's depth and clarity while preserving the authenticity and spirit of the original 1972 release.

Inspired by the golden warmth of Pompeii’s iconic setting, the remaster transforms this timeless piece into a masterpiece of sight and sound.

Watching the enhanced version recently had memories of different times flooding back. The music is still magical. The film is not on the big screen for long. Not to worry it will be readily available for home entertainment set ups. Experience Pink Floyd like never before through this pioneering audio-visual remaster!

The Primitives Interview 1991 - at a Freshers’ Ball in Coventry

 

The Primitives interview 1991 - at a Freshers’ Ball in Coventry

by Pete Clemons

Since reforming during 2009, The Primitives have performed in Europe, made several visits to the US and Japan as well as touring the UK multiple times.

November will see The Primitives return to Coventry to play 2 gigs at the Tin on the canal basin. These dates, and the preceding tour, underlines a remarkable 40 years in existence for the band.

And that fact kind of upends the assertion made in the following interview from 1991 that The Primitives were a one hit wonder type band. That said, as you will read, it wasn't a bad interview.

Although they have had a number of hit singles and appeared on Top of the Pops three times the major success of Crash has pretty much left The Primitives in the category of one hit wonders.

They took time out after their sound check on Thursday afternoon to talk to me about the past, the present and the future.

“They only say one hit wonders ’cos it stayed in the top ten for around six weeks — two of our other singles have also got in the top thirty”, P.J. Court, vocalist and guitarist, quickly defends The Primitives’ right to long term status. In fact the band has been together now for six years.

So, how did they first meet? “The usual thing: someone wants a guitarist and I got asked to join — I knew about two chords. The singer left and Tracy joined through an advert,” P.J. explains.

The record deal came later when they hit the top of the Indie charts, as Tracy told me: “We were doing the usual gigs in London where A&R men scout and we had interest from three or four record companies. Obviously you go with the better deal.”

What about the comparisons that have been made with Velvet Underground and Transvision Vamp? “As for the Velvets, it is a bit over-exaggerated when people say I steal all their rifts — there is only one that I actually used, "admits Court," it’s just a matter of influence coming through.”

And so for Wendy James, or “the poor man’s Barbara Windsor ”so P.J. put it, Tracy had this to say, “I think you only have to listen to their records to see that the only comparison you can make is that we’ve both got blond hair. There’s more to us than one of those bands that just has a girl lead singer.”

After major tours in America and Japan, what comes next? “We’re going to be stronger and faster than ever in 1992" promises Tracy. “We’ll be doing a substantial tour and we’ve got a new album coming out in January /February time.” There’s a new chord on this one, confirms P.J., and it’s not from the Velvets.

And what’s going to give them staying power? “We’re believable. When you hear the album there’s really good songs on it. It probably will get in the charts, but we’re not looking for the sort of success we had with Crash - to us that was a bit of a fluke. You’ve got to be true to yourself.”

What about advise for aspiring new musicians at Warwick? “Have loads of money. Decide what you want to be like and have a definite plan. We didn’t really have one and it was all a bit thrown together looking back.”

My overall impression of The Primitives was that they are unwilling to reconcile musical integrity with commercial success, hence, unlike contemporaries such as Transvision Vamp, they have no intention of selling out. Good luck to them.

During 1992, and as indicated during the chat, The Primitives fourth album 'Galore' was indeed released. It was met with positivity.

Coventry’s own Primitives have managed to clean up their live sound without losing the energy of their music. The steady but not lavish drum beat and typical bass lines are swollen under some decent guitar playing. Vocal Harmonies are set above the instruments, producing a sound that’s not so much unique as simply clever. Gems include Lead Me Astray Cold Enough to Kill and the ultimate number The Little Black Eggs. Penultimately Smile reminisces to the days of Velvet Underground. The eye-catching, poppy strewn outer sleeve is fantastic, but the liner notes are conspicuously lacking. The visual quality is there, but it leaves you with nothing to do while taking that all important first listen. This album may be classified by some as Indie - Dance. Although the Indie feel is there, the album, released on RCA, doesn’t quite lend itself to the rave / disco scene. All in all, Galore is a worthwhile record and a worthy successor to the band’s last release, Ravish.