Nektar

 

Nektar

by Pete Clemons

I have written several articles about Coventry born and Nektar lead guitarist Roye Albrighton but never much about his band.

Nektar are such a wonderful band to listen too. For me they had a perfect blend of qualities like musical virtuosity, genre-bending innovation, profound emotional depth, captivating stage presence, universal appeal, and timeless relevance.

I first got into them around the time that their second album, 'Tab in the Ocean', was released. They instantly became one of those bands I just bought whatever they released - nowadays I think they call it autobuy.

Looking back on their career as best I can, unlike other bands, Nektar never really seemed to get the media attention lauded on others. There is actually very little I can find in the way of album reviews, articles and interviews. That said I did find this review, in French, of 'Tab' that I let Google translate work its magic on.

'Slowly but surely, Germany seems to be waking up from a long-standing lethargy in pop production. Yet, musicians are unable, or with difficulty, to free themselves from Anglo-Saxon influences. Nektar illustrates this problem perfectly: their scores, while commendable, remain lacking a great deal of personal inspiration. Here, the style is floating, with the prolonged chords of an emphatic organ. There, it undergoes a twist, a long-matured surge, to approach a more overt and concrete expression. The tone lands in reality. It should be noted, however, that to the group's disadvantage, some unexpected modulations are a bit forced and find no justification. But the general harmony and the curve of the work do not lack beauty and melodic lyricality, if we admit above that there is a commercial synthesis from a mix and, without any ulterior motive, to hear in eye to eye with Genesis or King Crimson'

By the time Nektar's 4th album 'Remember the Future' was released, the first album recorded in their native Britain, headway had been made and America had called.. Remember the Future is one continuous piece of music which takes up both sides of the album, covering as many moods as the band achieves during its stage show. It was said that 'Few bands had impressed as much as Nektar during 1973. Few will achieve as during the coming year'.

1974 on October 8th at 4:32pm Nektar return to Britain with 8 tons of equipment after successfully completing their first American tour. On that tour they headlined at every venue they played, sold out four concerts in St Louis playing to over 12000 people. They triumphed in New York's academy of music at a special midnight concert which was broadcast live over New York's WNEW FM radio to a quarter million listeners. Additionally thousands of fans tried to get tickets for their 2 shows in Houston. Their album Remember the Future is now in the US top 50 and moving upwards every week. The British band who live in Germany and who are very much at home in the USA.

Roye Albrighton talking of those days: 'At last, we were to embark on our first tour of the States. The excitement in the camp was at an all–time high, and just before we left, we managed to spurt out yet another album that was due for release in Germany, in the form of Down To Earth. This was Nektar's "Magical Mystery Tour" album. Everybody in those days seemed to record at least one LP that seemed to have nothing at all to do with what they were really all about. Although I thought it was a good album, it really didn't hit the mark in Germany and lots of our fans over there were starting to wonder if we were starting to lose all control. Personally, I didn't find it that bad and the idea behind it was good, but you cannot argue with your public, they always know best'.

However 'Down to Earth' could possibly have had the adverse effect. Again Roye thinks back: 'Down To Earth was not for the American market, but 'Recycled' was, and I believe to this day that had they released 'Recycled' directly after RTF and not waited a year and released Earth, then Nektar might have been in a different position today'

This view is supported to a point in a review I did find for 'Down to Earth': 'Nektar's smooth move from cosmic progression, though it was more genuinely rocky than that of past practitioners of the style, to a more straight forward rock 'n' roll sound is both a surprise and a pleasure. After all, you can only take so much of bluebirds from outer space, whereas you can never get enough of the real stuff. Down to earth indeed.

Last word with Roye: 'RTF will always have a special place in my heart as the album at the pinnacle of the Nektar years'.

Chevy – St Patricks Club, Leamington Spa

Chevy – St Patricks Club, Leamington Spa

by Pete Clemons

People tend to live in the now. With that in mind it cant be easy for a band to revisit the feelings, get back to a place they were in with a retro comeback thing.

Absolutely no disrespect to the rest of the band but I think that responsibility, in the main, lies with the vocalist. It is they who have to muster up those feelings. The singer has to bring the emotion, melody and the audience connection.

And Martin Cure managed to do that in spades as Chevy celebrated their album 'The Taker' which was released 45 years ago. Martin even touched on how Chevy had loved managers and agents back then.

But before all of that we had an hour of Dirt Road Band who, nowadays, bring with them a high energy groove.

One of Dirt Road Band's first gig, as I remember, was at St Patrick's Club in Leamington Spa. The same venue as this evenings shenanigans. This, however, was back in 2017 when Dirt Road Band were prefixed by 'The'.

As The Dirt Road Band they had a more boogie-rock, blues-focused sound. They were energetic, brought a touch of rock and brought unique vocal and harmonica styles. Today, Dirt Road Band carry a high energy rhythm and pulse. From blues to high energy frenetic blues. They are as tight as too. But this was Chevy's night. And they brought a change of direction.

Chevy found themselves as part of the burgeoning New Wave Of British Heavy Metal scene in the early 1980s, known for being one of the more melodic and thoughtful bands in the movement. The band split up shortly after the album's release, they left behind a respected album and are remembered for their talent and contribution to that era.

They were fast, raw and energetic. Their sound included, melodic hooks and, possibly above all, twin-guitar harmonies that created some fantastic lead breaks. Chevy were also a band who, as support to Tygers of Pan Tang, on a 'BBC in concert' recording session reportedly blew the main event off stage during that particular transmission. Given that, the task to recreate, was immense. There was no need to worry though, they sailed through it.

It was a remarkable evening as several of the musicians played both sets demonstrating their skill and versatility. Above all it came across as an evening of musicians completely enjoying themselves and an audience totally enjoying what they were hearing.

The evening was dominated by a hard-hitting rock style, with the album showcasing hits like the title track 'The Taker', 'You Got Me Running', and the fan-favourite 'Skybird'. Ted Duggan was a monster behind the drums. Steve Walwyn and Paul Shanahan were sublime. Their twin guitar playing coming together to create a single, cohesive, tightly locked in sound. It was a joy to hear.

Credit where due to all musicians involved but I did notice a comment from Martin the following morning where he praised Horace: 'hope your having a relaxing day Horace, after last nights revels…..many thanks for all the hard work you put in to make it happen'.

Valuable Friends

 

Valuable Friends

by Pete Clemons

The trio of Phil McWalter, Janine Levinson and Rick Medlock have been writing songs and making music for several years now. A dozen of those songs have been pulled together into a CD album titled 'Valuable Friends' – a vinyl option is also available. But wow, what an ear opener this is.

Being completely truthful Rick has been dropping me the odd track every so often, via sound-cloud, but I hav'nt really given them the time they deserve. Hearing the collective group of them on CD 'Valuable Friends' could well be this years undiscovered treasure, diamond in the rough, underappreciated release.

Phil's deep dialogues, transcendental guitar flights along with Janine's vocals all anchored by Rick's fierce, inventive drumming make 'Valuable Friends' a genre-bending journey through rock, fusion, Latin American motifs, and improvisation. Lines are blurred between speed and emotion with every note. The trio plays like one mind split in three bodies.

The album opens with 'Rent a Room' that begins with a crisp riff and strong drumming. It blends funk elements with the energy of a rock band. Following on, 'Ice Pick', brings on a completely different feel. It is here where the eclectic nature of this album begins to reveal itself. Suddenly it has a more atmospheric feel to it.

The whole album follows a similar approach, using an electro-rock aesthetic. Some of the tracks border on the soulful and could even be geared for the dance floor. It also showcases the trio's dynamic range and skilful drumming. It offers simple riffs and ambient textures, while providing a catchy, rock-infused progression.

There's an undeniable energy and long overdue unleashed potential. The desire to blend diverse influences is evident leaving the listener wanting more from this talented ensemble.

The highlight of the album, for me, is when the individual virtuosity of the members is given space to breathe, yet still contributes to a unified vision. For example, the interplay between Phil and Rick on guitar and drums shines through on tracks like 'Building Castles in This Hourglass'. Rick's drumming remains consistently impressive, forming a powerful foundation for the band's improvisational flights.

The CD album winds down with 'This Time of Year'. A track on which Janine takes complete control. Janine also created the artwork for this release.

Overall 'Valuable Friends' is a technically proficient album with moments of brilliance. A fully realised and consistently engaging work. This trio's commitment to exploration and their skill at blurring genre lines really is commendable. Listeners will certainly find things to enjoy in here.

Rick on Phil: I have known Philip McWalter for around 50yrs. Not only that but we have been making music and recording together all these years. It was Phil who introduced me to Kenny Young, this lead to many a happy hour recording with Kenny as a small part of Yellow Dog and others at his studio Lazy Moon in Brailes. Happy days....

View and hear sound bites from their album here.

https://elasticstage.com/valuablefriends/releases/valuable-friends-album

Coventry Theatre – Birthday and Spring Shows

 

Coventry Theatre – Birthday and Spring Shows.

by Pete Clemons

When it opened in 1937 the Coventry theatre was one of the most modern and best equipped theatres in the country. Many improvements were made but, certainly during the 1960s, could still make the boast of being 'Britain's finest theatre'.

It opened soon after a period of difficult conditions for theatre's in general which, in many ways, form a parallel to the present time.

The advent of talking pictures during the early 1930s had much the same effect as television in the 1950s, DVD in the 1990s and downloading/streaming today. Audiences had dwindled and theatres were closing or converted to cinemas.

However the directors of Coventry theatre had the belief that live theatre could be revived and audiences would return.

It was once mentioned by theatre managing director S.H. Newsome that the birthday show had been a popular event that began in 1931 at the previous theatre. The tradition of observance then continued in the new art deco venue. The first birthday show at the Coventry theatre was in 1938 to celebrate the first anniversary of the opening of the new theatre.

So successful was that first show that it managed to continue through the war. By all accounts, during 1940 and with bombs dropping, Evelyn Laye, Nat Jackley and the Two Leslie's were on stage !!. I'm sure there is an element of vivid local story telling in there somewhere.

Given what happened to the majority of the city centre during the bombing, Coventry theatre was almost miraculously spared from destruction. It was penetrated by several incendiary bombs and at least one high explosive bomb which failed to detonate. A small price given what happened elsewhere in the city centre. As such the theatre was able to play its part in maintaining morale in the city during those difficult days as well as raising substantial funds for various war time appeals.

Since those days the birthday celebration grew from a week long variety show to a full scale production lasting six weeks for which script writers, orchestras, choreographers etc prepared for several months in advance

At its height the birthday show figures were phenomenal. It attracted upwards of 100,000 people and saw audiences buying tickets before the announcement of a cast. The Glastonbury of its day if you like.

The Spring show was announced during 1959 and first opened Easter Monday April 18 1960 by a galaxy of stars that included Shirley Bassey and Ken Dodd. The show ran for a whole season duration between several months or even months.

The Spring show had been encouraged by the phenomenal success of the Birthday show. Audience pressure demanding similar shows of such magnitude made it an easy decision to make and thus expanding the theatre's reach.

Both the Spring show and Birthday show ran till 1976. Mr Newsome had a love for the variety production and without doubt it were those shows, along with the star studded pantomimes, that made the theatre prosperous and famous. But, in hindsight and with changing times, it could possibly have been at the beginning of the theatres downfall.

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.