Held By Trees with Martin Smith

 

Held By Trees with Martin Smith

by Pete Clemons

What happens when you mix a band who, by there own admission are influenced by Talk Talk, and musicians from a Christian rock and modern worship band?

Essentially what you have is a new release by Held by Trees. What is Held by Trees? Through a by product of the chemical reaction process called photosynthesis oxygen is produced and released into the atmosphere by the tree. Just about everything you need to sustain life.

And that is what appears to be captured in this CD. It is sheer beauty from beginning to end. I have rarely heard so few lyrics put to such maximum effect.

Would I, had I known this level of detail beforehand, have overlooked this release. Quite possibly, who knows. But so glad I went into listening to this release blind.

The first thing I noticed was inside the sleeve where I read the words 'friendship is divine'. Just seeing that blew me away. And this collaboration and friendship is certainly made in heaven.

After several really excellent instrumental releases, Solace (2022) and Eventide – Live at Real World (2023), Held By Trees release their first music with a vocalist, Martin Smith.

The seven tracks on this release comprise of two 12-minute songs, 'You Deserve' and 'Lay Your Troubles Down' along with a third shorter one 'Oh My Love'.

The release also includes similar length instrumental mixes of all three tracks and an ambient version of 'Lay Your Troubles Down' by Hong Kong based ambient duo, Salt of the Sound who contribute a peaceful ambient feeling. Add Anita Tatlow’s ethereal vocals to the mix and it brings a whole new dimension to the song.

Given the nature of Held by Trees previous releases, how did this wonderful collaboration and release come about?.

As told by the band: 'Having established themselves with the highly acclaimed instrumental releases, an obvious question for the project has been ‘what would it be like with vocals?’

The answer to this question came when Held By Trees frontman, David Joseph, asked his friend Martin Smith to come and play a short opening set for their gig in Martin’s home town of Brighton.

Martin, a world-renowned singer-songwriter, on hearing Held By Trees set, found his imagination set on fire by the possibility of a collaboration. Over a phone call a few days Martin and David began to hatch a plan to get together at Real World Studios and record new music.

'Lay Your Troubles Down' was the first release from the resulting session, which also features Martin’s long-time friend and former Delirious bandmate, Stuart Garrard on guitar. It immediately garnered a Spotify editorial playlist, despite running to nearly 13 minutes.

Held by Trees will be joined by Martin Smith on a few live dates during November. And Friday 15th November see's the band play The Tin Arts Centre at the canal basin in Coventry. This could well be one of those genuinely 'I was there' moments.

Andy Nixon: The Waterline

 

Andy Nixon: The Waterline

by Pete Clemons

The coast, particularly for people from the Midlands, is a special place. I myself still get excited by the prospect about going to the seaside.

Originally from Sunderland Andy Nixon, guitarist from Freedom to Glide (see footnote below), by his own admission took the sea for granted. Since moving to Coventry, like us, he realises that the coast is not so accessible and understands our affection for the sea. Andy has recently completed his debut solo album he titled, The Waterline. And what a joy it is.

The Waterline is, of course, the point where a boat floats. You can see what is above the waterline but not so much below. And, using The Waterline as an analogy, the same applies to people. You take them at face value but you never really know exactly how they are under the surface.

Similarly, Icebergs can also be a good metaphor for authenticity. The majority of what we really feel and what is really going on for us is down below the waterline (both consciously and unconsciously) – below the tip of the iceberg.

The book Jonathan Livingstone Seagull by Richard Bach offers a thought-provoking allegory about the importance of breaking free from societal limitations and pursuing your passions. The book emphasizes the importance of pushing boundaries and striving for excellence. It encourages readers to chase their dreams fearlessly.

Added together then it was a mix of those factors – what lies below the waterline, icebergs and chasing the dream – that proved inspirational for Andy's album. And he hopes that his efforts in the making of The Waterline will produce an album that strikes a balance somewhere between.

Musically, The Waterline, has not been written with any particular genre in mind. The songs were penned with a 'whatever seemed to fit' type attitude. The subject matter was, I think, the important element.

Andy's solo project began weeks before the pandemic, and for a while it ran in parallel with the last F2G album 'The Chronicle of Stolen Souls'. It was all ready to go by the end of 2023. But then Andy felt an intro was needed and that final piece of the puzzle was written Jan 2024.

In buying this release what you will come home with what I can only describe as a decidedly attractive sleeve. The cover picture was taken by Andy. All CD booklet pictures were taken in various locations such as Kos, Roker beach and Eyemouth in Scotland. And, you will notice a nod of the head towards Richard Bach's book, as Seagulls are noticeable too.

Andy Nixon's personality pervades this album, English, distinctive and occasionally sublime. His voice is unique, his guitar-playing subtle and rhythmic and his lyrics - well, his lyrics ... take the track 'Still' for example. Here Andy describes his thoughts:

So, we're going back to 2020 and looking at how it all unfolded, especially in the UK where we had a Health Service on it's knees and health professionals put through hell. The time was also marked by the PPE scandals, the late reactions to the pandemic, leaders breaking their own laws, the blatant lying, the incompetence, etc etc. (For the record I lean way more to the left than the right - enough said). The song is built around the phases of the moon, it's a more poetic way of time-lining the year than doing a Barbara Dixon January, February etc etc (look that up if you're under 50)..... Wolf Moon, Snow Moon, Strawberry Moon..... way more interesting!

I needed characters for the protagonist and the antagonist (NHS vs Govt) so it's very loosely based on the opening scene of The Tempest. (I'm not at all well-read on Shakespeare but it's a famous scene and it makes a great analogy). Johnson is the "Captain" and the entire NHS are the "Bosun".

I wanted the guitar solo to feel like a ship on a stormy sea so there are a lot of ascending and descending scales and arpeggios going on! I think it works?

Last but by no means least I want to thank my dear friend the amazing Louise Wilson of Kafkadiva who is responsible for the beautifully layered harmonies that build throughout the song "Still" would not have worked without her incredible vocal and her perfect improvisations. Thanks Lou x

So, to sum up, "Still" is a commentary on a world pandemic whilst journeying through the phases of the moon against the setting of The Tempest by William Shakespeare. Pretentious? Moi?

Response to The Waterline has, so far, exceeded expectations. It has actually been quite amazing . And, naturally, Andy is absolutely delighted with it all.

Footnote: Freedom to Glide (F2G) is a coming together of the talents Pete Riley and Andy Nixon. Both played together in the Pink Floyd tribute Dark Side of the Wall. F2G weren't so much a product of the 'modern boundary stretching/ambitious rock' type boom which gave us the likes of Porcupine Tree, The Pineapple Thief, Anathema and many others. That said, their music has always been accomplished, always melodic and always, but always, very listenable.

The Rabid Rat Punk Club / Now Society

 

The Rabid Rat Punk Club/Now Society

by Pete Clemons

It is fair to say that Warwick University was no different in struggling with the emerging punk rock scene. As indeed did many universities. Initially the whole punk rock scene was given a rough time. In the case of Warwick though, and in order to meet demand and attract punk bands, an alternative social scene began to run in parallel with the more customary social scene. It was known as The Rabid Rat Punk Club.

One of their first gigs was held during 1977 where they invited a band called School Meals to play. As was the case an over exuberant crowd spilled over to disorder.

The organisers received the following warning: 'Rabid Rat, the campus society which caters for new wave enthusiasts, has been formally told of the imposition of a ban, which followed incidents at two new wave concerts that took place earlier this term'.

The first concert, given by the band School Meals, was a private booking by the Disco Room, arranged through normal Arts Federation channels. According to an Arts Federation source: "They made a mess of the stewarding - only one man was at the door". After the concert abusive slogans were daubed in prominent areas of the union building. At least half of the audience came from outside the university, and it is they rather than the students at the concert who are believed to have done the daubing.

The second of those gigs, and a week after the School Meals concert, Rabid Rat organised a concert featuring the VIPs. The VIPs were mainly a university based band. On this occasion the Arts Federation installed its own stewards in the Disco Room, but again ugly incidents occurred.

"It was like the inside of a powder keg in there", an Arts Federation source said, "the only way to handle gigs like that is with professional bouncers". Again, the common denominator it seemed, was that half the audience was non-student.

The Arts Federation's chief steward confirmed that he and his staff were unable to keep order. The students' union executive supported a proposal to impose what was later described as "an unofficial ban' on New Wave groups. But of course that ban was soon lifted.

The Now Society began during January 1978. It was an offshoot of the then fashionable Rabid Rat Punk Club. At the time of its inception the arts federation (in the words of the club) was incapable of putting on any bands of any interest at a time when the British music scene was at its most vibrant.

As an alternative Paul Shurey (drummer of the VIPs) and Mike Dembinski instigated the Now Society.

Music, fun and spontaneity were the original watchwords. The first events were planned on a massive scale; fun dates were based around some small but hip bands: Whirlwind, The Boyfriends, Rocca Hula and the Waikiki Wipeouts. The nights came with discos, food & drink, competitions and fancy-dress.

This made a direct change from the 'normal boring old sit down university gigs'. Students flocked along, as publicity was good and the gigs were attractive. After about 5 fun dates organised by Shurey and Dembinski, based around power pop/beat/rock'n'roll acts, a new regime took over, which led to a new phase of 'Nowism', right in tune with the fast approaching 80s, and the emergence of Coventry as the cultural theatre of the universe.

1978 also saw a light-hearted musical intervention as a member of top campus pop group, the VIPs, was almost drowned by hecklers. Very quick on the uptake, ahead of the game so to speak, the Now Society had spotted the up and coming local talent and had vowed to have them at Warwick.

'You will have the opportunity to view the most promising talent that the City of Coventry has produced' affirmed the society. 'Over the last year or so Coventry, and the surrounding area, have produced a few good bands'. Of course they were referring to The Coventry Automatics and all that came with it.

Adam and the Ants – Tiffanys

 

Adam and the Ants – Tiffany's

by Pete Clemons

Adam and the Ants were a phenomenon although somewhat short lived. Here is a review of a visit, by them, to Coventry which recalls all the action.......

Adam is an excellent showman. He plays the crowd well. On a Tuesday evening at Tiffanys he produced a catalogue of old showbiz tricks. Judging by the performance of the Ants, they certainly needed them.

There is precious little to back up their recent popularity/fashion-ability after several years of obscurity and unfashion-ability.

Surprisingly, Tiffs did not seem too full, despite stories of trouble from locked out fans at earlier gigs. The majority of the crowd did not look much like the hordes of dressed up people that usually follow Adam.

Support band Gods Toys continue to improve. Despite a slightly dodgy sound they played very well, "Package Tours to Heaven" sounding particularly good.

Gods Toys were so good that Adam decided to pull the mikes out and switch the lights off during their last song, their theme "Gods Toys". This slightly annoyed sections of the audience, myself included.

The ant Disco provided entertainment between bands. This consisted of trendy old records by currently popular influences, e.g. the Sweet, Cockney Rebel etc. etc. jovial The Ants took the stage to the 1812 Overture.

The Ants were very well dressed though much the same as they appear on the cover of their latest glossy product. The two drummers began to pound away producing their customary tribal sound, a nice thumping, danceable beat. This got rather dull after several songs and the drums tended to dominate proceedings to the detriment of the songs.

The bass was inaudible but the bass player produced some pleasant tribal whoops to compensate for this. Marco Pirroni played guitar in his usual cutting manner, producing a sound similar to a chainsaw. He verges towards heavy metal at times, when his judgement temporarily deserts him, which on Tuesday was unfortunately rather frequent.

There was a definite lack of good tunes, although "Antmusic", "Jolly Roger", "Press Darlings" and "Car Trouble" were exceptions. The rest of the songs were unmemorable - in one ear and out the other.

The band take themselves very seriously despite the jovial nature of their songs, Adam's stage movements are somewhat macho. He appears just like a hairless Freddie Mercury. He is also putting on weight. His shirt came off, although he managed to keep it on until the encore. "Kings of the Wild Frontier" was left for this, somewhat predictably.

"Kings" was played very badly as was "You're So Physical", which followed. One more encore and a patronising comment to the audience from Adam – "Coventry, you're a sexy town" - and that was that.

I enjoyed seeing Adam getting hit in the gut by a bag of flour thrown by the Gods Toys keyboard player. It was annoying to see the audience forget so easily what had been done to the local heroes and lap all of the Antmusic up. Still, c'est la vie. They will probably be unfashionable again next week.

And Coventry band God's Toys.

THE CLASH - TIFFANYS 1980

 

THE CLASH - TIFFANYS 1980

by Pete Clemons

By 1980, and after several previous visits, The Clash had, by now, built up a sizeable following and returned to Coventry. The following review of that gig recalls how a section of the audience still thought it was 1977........

Its somewhere around 10.30 pm as the disco fades and the lights dim; and the audience ripples in anticipatory applause.

A roadie's flickering Ever Ready signals the impending blitz, and the Clash take the stage in customary darkness.

Seconds pass, lights blaze, and we're all "Rock, Rock, Clash City Rocking" to the one-time heartdrops.

From the mists of distinctively Clash guitar, Joe Strummer's voice rasps over the fate of war torn Spain and "Guys in the bar leaning over too far", as the London Calling set is despatched with an ease and skill that could all too easily be reserved for the "77 anthems.

"Safe European Home", "Jimmy Jazz", "Protex Blue", "Brand New Cadillac"... all are treated with art equal panache as definitive rock and roll receives ultimate presentation.

But all is not well. Time has hardened the Clash collective against the hail of saliva that accompanies every performance. "You've gobbed at us a million times", Strummer harangued, holding aloof his glistening guitar fret in evidence.

Joe then went on to say that the next person who gobs at me will get filled in. But warnings weren't enough. Cue more disgusting scenes. Joe then dived into the crowd and proceeded to fill this bloke in. He was swiftly followed by Topper Headon who had leapt in from behind his drum kit and along with some members of the crew began fighting with the audience.

Paul Simonon and Mick Jones looked on as a conglomerate of roadies and stewards struggled to re- install Joe onto the stage. When he did finally re-emerge, shirt torn and left eye injured, the audience appeared to recognise that there must endeth the gobbing. Strummer had fought Coventry's Joe Public, and I think, on balance, Strummer won.

The set stretched into a lengthy hour and forty minutes, during which I danced and sweated, and came to appreciate some of the reasons why the Clash are still with us, despite the decline of whatever happened in 1977.

They're still angry, and they still care, but their reach extends beyond punk- purism. Sophistication - if that's the right word - has led The Clash in new directions and the passion has found diversity and lasting appeal in the mixture of reggae and R & B that is the new album. And after all that, won't you give them a smile?

John Mayall at Warwick University

 

John Mayall at Warwick University

by Pete Clemons

John Mayall and his various bands visited Warwick University several times playing consecutive years between 1965 and 1968. From an organisational point of view those visits had varying degrees of success. Mainly around the numbers attending and the financial side of things. The entertainments department had its own budget to work around. Additionally, I am guessing that blues music was maybe still niche at that time.

During 1967 it was announced that The Coventry Colleges Rag Week was to be held during April. It would feature a dance headlined by John Mayall. All proceeds would go mainly to the 'Save the children fund', with lesser donations to other charities. The problem was the dance lost money and the charities never did get the promised funds.

An inquest afterwards stated that - 'In the first year that the university put on events dances (I assume this t mean 1965), it seemed, made a profit with a greater percentage of the students attending; anyone who has spoken to a third-year 'raver' will be told this, but I'm sorry it's true. Every dance in the first year, according to the scanty treasurer's files made a profit. The artistes ranged through, John Mayall, Alex Harvey, the old Steam Packet, Mike Cotton, Gino Washington and the Alan Price Set. The dances were packed they were all successes'.

The report continued 'But in the second year the situation changed. following in the steps of the first year boom, a number of good groups were booked, Mike Cotton, Mayall again, the Move, the Cream, the Family and Alan Bown to name but a few. But only few of the dances broke even, most made a loss, and the question was why, they had followed the same formulae as the first year dances, so why did they fail' ?

Various reasons and ideas were then submitted on how to improve things. Something must have worked because after John Mayall's next visit during 1968 it was joyfully announced: 'Mayall makes money with a record attendance'

That particular report continued 'Last Friday evening saw the most popular and profitable dance of the year. Over 750 listened and danced to the exciting music of John Mayall, Elmer Gantry's Velvet Opera and the Green Marble Mind. The atmosphere sometimes destroyed by the A.T.V. floodlights, was tremendous. It seems unreasonable that people, having paid a comparatively large amount of money for the dance should have had their enjoyment spoiled by the brightness of these lights which not only dazzled them but made it uncomfortably hot, especially for dancing'.

'Indeed it was very noticeable that fewer people were dancing than normal. Throughout his one and a half hour set, which included only a short break, John Mayall played us music which demonstrated his true worth as Britain's top blues player. Backed by six members of his Bluesbreakers, Mayall played brilliantly through many of his L.P. tracks, lengthening and adapting them to the mood of the dance'.

'With his ragged beard and casual attire, he needed no gimmicks to hold the attention of his massive audience. Altogether superb music from some very talented musicians but what else could you expect from a group that has in its time included such people as Aynsley Dunbar, Pete Green and Eric Clapton yet further indication of the prowess of the great John Mayall'.

This dance, it seems, was the culmination of a period of reform of the structure of the Ents. Committee, last term and its success both financially and socially was a triumph for the new format. In conclusion, it was mentioned - 'this dance has proved that the university was not all apathetic and that it is up to all of us to help continue the enthusiasm that was aroused on Friday night'.

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW.

BY Pete Clemons

YOU CAN VIEW, LISTEN AND PURCHASE THE DIRT ROAD BAND'S LATEST ALBUM HERE ON BANDCAMP https://dirtroadband.bandcamp.com/album/righteous

I can't imagine that when Steve Walwyn, Ted Duggan and Horace Panter were young, they would be thinking that 'When I am nudging my eighth decade, I’d still like to be playing fast high energy music with that slightly aggressive attitude'. Yet that is exactly what they are doing right now surly?

Here are three men who, at their stage of life - and having had the careers they have had, would be forgiven for taking things a little bit easier.

But no, in the autumn of life they appear to be have gotten a welcome renaissance. And this rejuvenation, cohesion and camaraderie is there for all to hear. The Dirt Road Band's debut album 'Righteous' is absolute proof of that.

Righteous is a highly polished, exciting and truly excellent listen. This trio are certainly not going quietly. There are no huge anthems but at the same time this album is the complete antithesis of mediocrity and crushing tedium.

Apart from the atmosphere created by Righteous the album also creates a power and energy. At times you can't get the volume high enough. Years ago I guess this album would possibly have qualified for the heavy music label.

The tunes included are all original and as memorable for their stunning instrumental breaks. But there is a marriage of several contrasting styles - the one sharp-edged and shrill, the other calm and reflective - it is a treat not to be missed.

Perhaps the most striking departure on the album is the track called 'Been So Long' which features a lavish organ arrangement, and captures exactly the right shade of doomy foreboding, which is characteristic of the album.

Another key to the success of Righteous is that despite the musicians maturity and familiarity they seem to have approached the music with a radical freshness.

The Dirt Road Band are essentially happy war horses, at their absolute best in the short, sharp shock format of 'Cutting Room Floor' or the excellent 'Worry No More'. Its comforting to know that their are always some people you can rely on for a dirty night in.

All that said, and this is not a criticism - just an observation, I am getting a different kind of excitement to that of a Dirt Road Band live gig. As good as Righteous is, it does not - for me, capture the rawness of the Dirt Road Band live. This is an altogether different experience. To me the Dirt Road Band have now developed two facets. The live version of the band and the studio version. A live album is without doubt an idea to ponder. I really think there is room for one

However critics, even amateurs, are rarely the people to pay attention to and I urge anyone who has not heard this album to give it a listen. A powerful and worthwhile release.