The Pineapple Thief – Far and Wide

 

The Pineapple Thief – Far and Wide

By Pete Clemons

The Pineapple Thief's sixteenth studio album, Far and Wide, released on October 9, 2026, through InsideOut Music, Sixteen albums really is a remarkable feat and keeping each album distinct, fresh and without repetition, a challenge.

And that challenge was met head on. Far and Wide gained praise with its tighter rock energy and live-oriented focus while noting a more streamlined and concise structure

Each era for The Pineapple Thief has brought a new beginning. And in a couple of ways this latest album brings with it new horizons.

The first new vista for The Pineapple Thief was a change in record label. Far and Wide is the first release for InsideOut Music. Founded in Germany in 1993, InsideOut Music is one of the world's premier record labels specializing exclusively in progressive rock and progressive metal. Now owned by Sony Music and operating out of Berlin, the label handles several of the genre's largest acts

Next up and a first for The Pineapple Thief, frontman Bruce Soord completely omitted acoustic guitars from the record. The album instead tends to rely on electric guitar parts, atmosphere, synths and keyboards, and rhythmic spaces.

And ever since drummer Gavin Harrison joined the band full time during 2016 it completely transformed the bands live versatility. Live shows heavily favour the bands tighter more groove oriented style over the more loose and experimental.

The 47-minute, 9-track record – 10 track CD - leans into a more streamlined, patient, and atmospheric progressive post-rock/art-rock approach. It strips back excessive layers in favour of tighter song structures, space, and strong live-band dynamics.

Lyrical content covers personal reflection and mortality after loss, alongside broader commentary on modern societal anxiety. Overall it has received generally positive comments but there were some mixed reviews.

Many critics praise the album as a cohesive, front-to-back listening experience rather than a collection of disjointed radio singles. Reviewers highlight Gavin Harrison’s intricate, tasteful drumming, Bruce Soord's emotive vocals and guitar work (such as the solo on "No Exceptions"), and a balanced, crisp production style that avoids self-indulgence.

Some reviewers felt the stripped-back, direct approach lacked the explosive spark or expansive complexity of their earlier high-water marks, with a few finding certain mellow tracks a bit slow to build or wishing for a more adventurous scope

If you are looking for an instant high then this record may disappoint. However, in this fast paced world, if you still have the capacity to kick back and devote 50 odd minutes, if you still enjoy music that washes over you and develops with each listen then this could possibly be the bands best release yet by this line up.

This album is subtly sublime and cannot fail to grow........

Joe Colombi – Sink or Swim Promotions

 

Joe Colombi – Sink or Swim Promotions

by Pete Clemons

Sink or Swim Promotions, led by Joe Colombi in Coventry, recently marked its 5-year anniversary in autumn 2026 by booking a special lineup of gigs across local independent venues like The Tin Music and Arts and Just Dropped In Records. But then this is what Joe has put his heart and soul into doing during those 5 years, putting on independent live music, avant-garde, and experimental gigs in the city.

It all began, although I hadn't twigged till Joe mentioned it recently, with a visit to Just Dropped In Records by Warrington-Runcorn New Town Development Plan who played in Coventry on Saturday, 16 October 2021. This 2021 Milestone was to promote the release of the album 'People & Industry' during the previous September.

Just getting into, and enjoying the Warrington-Runcorn project music, then seeing the gig advertised in the record shop, had me purchasing a ticket. I inadvertently attended without realising the gigs significance.

Warrington-Runcorn New Town Development Plan is an acclaimed electronic music project created by producer Gordon Chapman-Fox. Albums are released under the independent label Castles in Space, the project is a concept-driven exploration of 1970s and 1980s British civic planning, modernist architecture, and haunt-ology.

The music is characterized by cinematic, analog-heavy synth layers, shimmering arpeggios, and an aesthetic heavily influenced by retro-futurism and public information films of the late 20th century.

After the debut release 'Interim Report, March 1979', during early 2021, which set the scene in establishing its distinct focus on the post-war "New Town" boom came the second album 'People & Industry released during September 2021. This release continued the narrative of northern communities being restructured around modern manufacturing corridors.

The Warrington-Runcorn project goes beyond audio, packaging itself with a strict graphic identity that mirrors official bureaucratic documentation, urban blueprints, and regional development brochures from the mid-to-late 1970s. Songs are frequently named after specific locations, transit links, and industrial hubs across the Cheshire landscape.

But the Warrington-Runcorn project gig was just one that Joe has promoted. While the exact cumulative total of every single gig promoted over its entire 5-year history isn't tallied as a single static number, Joe Colombi has staged hundreds of independent live music, experimental, and avant-garde shows across Coventry since launching.

I just wanted to add my voice to the chorus of well-deserved praise you have been receiving. Your exceptional hard work, clearly unwavering dedication, and commitment to the Coventry music scene should not go unnoticed. Thank you for always giving it your all over these last 5 years.

And also due respect for Just Dropped In record store in FarGo Village and The Tin venue at the Canal Basin for providing the space for the promotions. Long may it all continue.

Vince Taylor and his Playboys

 

Vince Taylor and his Playboys

By Pete Clemons

I was recently reading an article about a song called 'Brand New Cadillac'. Joe Strummer famously noted that 'Vince Taylor was the beginning of British rock'n'roll. Before him there was nothing.' The Clash went on to immortalise the song globally by covering it on their seminal 1979 album London Calling.

The Vince Taylor in question was leader of Vince Taylor and his Playboys. A band from the late 1950s led by the leather-clad Vince Taylor (born Brian Maurice Holden). This influential 1950s/1960s rock and roll group is immortalized for the classic track 'Brand New Cadillac' released during April 1959. Additionally this band served as a major inspiration for David Bowie’s Ziggy Stardust persona.

While technically a B-side to 'Pledging My Love' on its original pressings, 'Brand New Cadillac' quickly became the track that defined Vince Taylor's legacy. Sadly though, at the time, the single was not a commercial success. But what failed to take off for Vince in the UK suddenly ignited in Europe a couple of years later.

Vince Taylor and his Playboys were formed in London during 1958 and featured numerous line-up changes over the years. Musicians during that time included drummer Bobbie Clarke, Brian Bennett another drummer later of The Shadows, Brian Locking ("Liquorice" Locking) on bass and again, later of The Shadows, Tony Sheridan on guitar and vocals along with many others.

During 1960 and 1961, Vince Taylor and his Playboys regularly gigged across the UK. The Co-operative Society (Co-op) owned prominent community halls that doubled as major regional music venues. During this time the band appeared at the Co-op hall in Rugby as well as the Milano Cafe on the Radford Road in Coventry. For the Coventry gig however Vince was backed by The Beat Boys.

The Beat Boys were one of the earliest backing groups assembled by music impresario Larry Parnes to support Billy Fury. They backed him during his early 1960s live performances and recordings before he transitioned to other famous backing units like The Blue Flames and The Tornados.

The most definitive line-up of the band I can find who possibly played that day consisted of the following musicians: Jim Crawford – Lead guitar and vocals, Alan George – Piano and organ, Alan Sanderson – Bass guitar and vocals, Andy McMullen – Drums, Ken Brady – Tenor saxophone and vocals, Tony Tait (Stage name Tony Damond) – Guitar, trumpet, and vocals.

Because he never quite broke into the big time Vince Taylor was left with animosity when it came to booking agents. In one interview from the continent his memories of England were tinged with bitterness. 'The kids liked me but I couldn't get across to the agents. They didn't like me'. As such he remembered the British Isles as 'A knife in my back'.

During the same interview Vince recalled his thoughts on what became known as the Great Black Leather Controversy. Responding to claims by Don Arden that it was Gene Vincent, Vince was asked 'who wore black leathers first you or Gene Vincent'?.

Vince responded 'Me!. I know that Gene and I dress alike, but I wore my outfit first. Jack Good put me in 'Wham' - (a TV series that lasted just 8 episodes) - he was aiming to make me as big as Cliff and Marty Wilde, who had just completed their own successful television series. I was given the full treatment, black leather and everything. I think it was the first time they'd been used in Britain.

But then Gene Vincent came over from America. He was a big name in Britain although he'd fallen off in America. Anyway he came and they threw in all the black leather gear. Gene had never worn that gear until then. So I was out - but I still wore the black leathers. And so did Gene.

We both appeared on the same bill once - I think it was the Granada, Tooting - dressed identically. It was very embarrassing'.

Johnny Kidd, who had read this ongoing leather debate responded by letter to a music magazine. 'I have read the recent controversy over who wore black leather first. The claims made by both Vince Taylor and Don Arden (for Gene Vincent) have been a joy. But might I add a confession, that whoever it was who wore them first.....IT WASN'T ME !. But I have written this letter sitting in a leather covered armchair'.

To back up Vince Taylor's claims and add a bit more weight, all I can find is that prior to his December 1959 British debut, Gene Vincent favored traditional 1950s rockabilly stage attire, which typically consisted of bright red and green shirts, wild patterns, and white trousers. When traveling or offstage, he apparently dressed simply and casually in slacks, suit style jacket and flat caps. Maybe Vince had a point?.

The Edgar Broughton Band

 

The Edgar Broughton Band

by Pete Clemons

Now Rob (Edgar) Broughton may not view me as an A star student but, when younger – and to a degree throughout my life - a lot of what he and others said made sense to me at an individual level. Especially when he talked about doing things your way and not being led. Or at least that was my interpretation of it.

Frontman Edgar Broughton was a fierce, uncompromising political agitator. Their raw, aggressive proto-punk style and tracks like the election-defying single "Up Yours!" aggressively challenged the social and political establishment.

The Edgar Broughton Band became notorious for chaotic free concerts, anti-establishment politics, and incidents of disorder that led several towns to ban their live shows.

Even today, as with a recent social media post I noticed from Rob, he still has an ability to make me smile 'I think the repetition of tales and anecdotes by some one of my age must be tolerated to some extent especially when a critic has nothing worth telling'.

The recent loss of Edgar's bass player and long time friend, Arthur Grant, had my mind wandering back to when the band made a leap of faith by relocating to London.

1969

If the word 'underground' still has any meaning on the music scene, then it is typified by Edgar Broughton a man who passionately believes in social change and that music is a revolutionary weapon.

On stage the Broughton band have a remarkable sinister quality, an example being what Edgar describes as their 'exorcism bit' where they get the audience to chant out their demons - the atmosphere this built up on the recent free concerts in Hyde Park and Parliament Hill Fields had to be felt to be believed.

In person Edgar turned out to be a dedicated, intelligent and obviously sensitive man who was not the least offended by the use of the word 'sinister' to describe his stage presence.

'It's not really an image we are trying to project, but it is probably what we are' he agreed. 'We do a lot of stuff that is dramatic and heavy'.

'If we do have this peculiar, unknown, sinister quality then I feel it helps us to achieve a genuine participation from audiences. This is our ambition to involve the whole of Britain in some type of positive action - get people to do things without saying what they should do. There is a tremendous void in everything at the moment, a lack of direction'.

'Music is for people, so it is people, and people are music. Obviously people identify with a trend in music which effects their day to day existence and in this way, hope to really get into them'.

'It's all subversive in a way. As a genuine underground band we are trying to subvert the old ideas and start a revolution'.

'This might sound a bit strong, but we feel strongly about the parent-child relationship. There is this parent hate of the pop figure and, partly by design and partly by accident, we seem to arouse it - even if it's only 'what can you see in a group of long haired violent people?'. The parents are worried and disturbed by it and that forces them to discuss it with their children'.

'Any sort of aggression you create between two parties has to turn into communication between them. People hate you so much they just have to ask why. It's not a question of age but of parent-child relationship because that is so important'.
'What we want is for people to look at themselves, and society, and decide if this is the way they really want to live. We feel we can help do this through our music reaching as many people as possible'.

The band came to London seven months ago after two years of what Edgar describes as 'total obscurity' in the Midlands - Warwick to be precise. Edgar had had a guitar from the age of eleven but has only been playing 'seriously' for the past three years.

'I suppose, originally, my taste was somewhere between R 'n' B and blues' he says. 'But there was something about R 'n' B I didn't like and a lot about the blues I didn't know. Now I listen to most of the underground things like Captain Beefheart and The Fugs, but also in classical music and jazz'.

He is most enthusiastic about his signing with EMI's Harvest label which releases the band's first album this week.

'I think Harvest will open things up' he said. 'We had so much freedom with the album, nobody telling us what music we should play. I had always had this feeling that the big corporations like EMI or the BBC, in the first place, oppose new things, but this certainly isn't true at EMI. Maybe things are changing'.

Footnote: and I do enjoy these anecdotes.....

Tony Cox memories - I think I've told this story before, but it bears repeating. Rockin' Chair Blues Band were good friends with the band. We were all at school with Rob, and later, Steve. When I decided I needed a new drum kit, we piled in my old Morris 1000 traveller and went down to the smoke to visit them. Steve kindly accompanied me to a music shop he used and thanks to him I got a bargain Premier kit. Back at the flat, Vic Unitt, who had joined The Pretty Things from the Broughtons, arrived and played us the newly released Pretty Things album "Parachute" which is still one of my favourite albums to this day.

Joyce Broughton their mum, drove Wandering John a few times when we needed a van to get to gigs.

Black Parrot Seaside by Geoff Veasey

 

Black Parrot Seaside by Geoff Veasey

by Pete Clemons

Coventry band Black Parrot Seaside formed in 1975 as a full electric
outfit. The original line up was Rob Lockington (drums), Tez Tehegee (guitars)
Arnold Chave (guitars) with Graham Caldicott and Geoff Veasey sharing the
vocals. Three of the original line up were ex-Caludon Castle pupils.
BPS performed a mixture of covers and self-penned material. In their first
ever gig at Wolvey Village Hall. The first song they began the set with that
night was John Lee Hooker’s “Dimples.” Barry Ousby (bass) was soon added
and Jeff Styles replaced Lockington on drums. Arnold Chave had previously
been in a band called Satin Pig with Steve Johnson, a lifelong friend of his
who went on to be an integral part of Lieutenant Pigeon. Guitarist Dave
Blundy who was in Davy and The Starliners stepped in to beef up the BPS
sound occasionally, including one fairly riotous gig at The Smithfield, opposite
Coventry Hippodrome. BPS played many of the central Coventry rock venues
including The Golden Cross, The Climax, The Colin Campbell, The Craven
Arms, the Dive Bar and The Dog and Trumpet.

In various formats they played mostly pubs and colleges in the
Warwickshire, Nottinghamshire and West Midlands area. Dave “Vance”
Anderson eventually replaced Jeff on drums, Martin Smalldon replaced
Ousby on bass and another Caludon ex pupil, Mick Harris, joined on
keyboards. Punk Rock appeared distantly on the horizon and influenced by
Edgar Broughton, Heavy Metal Kids and Alex Harvey, BPS began to lean
towards more radical, original material. Their stage act contained some
visuals and some dramatic sequences. “Brutus” “Mr. Unusual,” and “Small
Maladjusted and Mean” were popular with audiences. A stage act which by
now could be both explosive and controversial got them banned in s handful
on pubs in Birmingham and Coventry. During this time however, they also
played Nottingham, Warwick, Coventry and Birmingham Universities, where
larger and more diverse audiences liked their approach to satire and parody.
Occasionally they strayed further south, notably with a gig at Hitchin Poly
where they played support to Rocky Sharpe. ( Later The Darts).

By 1976 Graham Caldicott had drifted away. Then the group was rocked
by Vance announcing that he was quitting to join another Coventry Band, The Flys.
Vance proved impossible to replace. His brilliant musicianship and
spectacular stage presence had been invaluable in a band which by now was
doing almost exclusively their own material. It was an amicable parting.
Vance eventually relocated to the USA where his studio production and
organisational skills endeared him to a number of prestigious stars. This
included Stevie Wonder and Tony Bennett who recruited him as a Tour
Manager. BPS members kept in touch with Vance all the way to his death
in ???

BPS took the decision not to replace Vance but migrated steadily
towards a Folkier, more acoustic sound. They added Eddie Jones on fiddle
and accordion. Martin Smalldon continued to play a few gigs on acoustic
bass. Much of the older material stayed on the set list, with “I am a Vacuum
Cleaner.” still attracting a lot of attention. So much so that in 1978 Chris King
The Flys manager, impressed by the originality and outlandishness of BPS,
offered them a recording, management and publishing deal. Their mini album
“Roll It Up and Eat It,” was released that same year in vinyl, on King’s Zama
Record label, with Vacuum Cleaner promoted and packaged as the single. It
was recorded in Pathway Studios, London, and remixed at Monty Bird studios
in Warwick. Jim Pryal was drafted in on drums and bass player Arun Bhandari
also worked on the recording. Some of the Flys personnel put in some
sessions work on the tracks. The picture disc and sleeve carried the
nomenclature “Black Parrot Seaside and The Exploding Sheep.” The sheer
wackiness of “Vacuum Cleaner” continued to be popular and the single
attracted new fans like DJ John Peel who played it several times on Radio
One.

After the recording and record release, the BPS format settled as a four
piece. Martin Smalldon continued to make occasion forays on electric and
acoustic bass. By 1976 BPS were hosting The Bulls Head Folk Club in
Brinklow, running on a Friday night.

BPS added guitarist John Walker (yet another ex Caludon Coventrian)
to the line up. The band finally folded in 1982 as other commitments took
precedence.

Not quite the end of the story however as in 2007 they were invited to
reform for a one off Charity Bash in Brinklow. They had so much fun doing it
(and such a positive reaction), that they stayed together until 2014, recording
a second full length album titled “Aint It Grand?” This was produced and
engineered by Norman Wheatley. New songs and traditional covers featured
on it, including the ubiquitous “Vacuum Cleaner.” The band continued to play
Folk Clubs and Festivals, with their last ever gig being at Nuneaton Folk Club
in October 2014. During this time the band also appeared with different line-
ups and under several aliases including The Grit Tray and Macaw On Tour.
Local folk musicians often made guest appearances on such occasions.

Chevy

 

Chevy

by Pete Clemons

The recent loss of lead vocalist Martin Cure had me searching for reviews of Chevy that indicated just how good this band was and how close they were to making it big. Luck and timing is everything of course and I cant help they somehow got lost in a crowded market.


General Wolfe 1980

And the heat was on. Outside the evening was warm and pleasant but inside was hot, hot, hotter than hell. The sort of Turkish Bath conditions that melt your shirt, lubricate your trouser legs and make catching a band more a case of survival than anything else.

But Chevy, blending inspiration and perspiration to a fine degree were worth dropping the odd pound for. Simply, they were a revelation. The stage was cramped, the PA small and the crowd similar but the band rattled through an all too short set of harmony tinged US style rock, a boogie with the sort of confidence that only comes from knowing your good. And, of course, they are.

Guitarists Steve Walwyn and Paul Shanahan play with a power and finesse reminiscent of Boston at their knee trembling best, drummer Chas Chaplin and bassist Bob Poole provide an unfaltering backbeat and singer/sometime guitarist Martin Cure proves the possessor of a very healthy pair of lungs indeed. But then, coming from the spa town of Leamington (as do they all) that's just what you'd expect.

But what convinces me that the name Chevy wont provoke cries of 'who?' for very much longer is the quality of the songs. To combine raw, gutsy power with instant memorability is no easy task but this band do just that, ensuring that their John Stronach produced debut album will be worth saving the shekels for.

Particularly ear catching are 'Chevy' (their contribution to the patchy 'Metal For Muthas Vol 2'), 'The Taker', 'Rock On' and the magnificent 'Rock City' which sounds like prime singles material even to these battered ears.

In September the band will be leaving for America where, being as their music is more in synch with Zep and Bad Co. than Saxon and Maiden, their management feel they'll be more rapturously received, but hopefully a few British dates will precede their departure. So if you get a chance to check them out then do. I guarantee you'll be impressed. And, if not, well you can always send me back to Coventry - as long as Chevy are playing there.

Chevy article 1980 (rated 4 stars - precious metal)

Riding out from Coventry, this five piece strike out with a decidedly natural Transatlantic blend of effervescent melodies and primal boot boy aggression. Formed two years back the band has remained constant in their line up. Martin Cure (lead vocal/guitar), Paul Shanahan and Steve Walwyn (guitar/vocals), Andy Chapman (drums) and Bob Poole (bass/vocals), first came to the public eye via their signature tune 'Chevy' on EMI's album, 'Metal For Muthas Volume 2'. Since then they've signed with new label Avatar, owned by Alvin Lee's manager Jon Brewer, subsequently releasing their first single 'Too Much Loving' towards the end of July 1980. During the remainder of that year you did hear and read a lot about Chevy. At the start of Autumn they'll be out on tour with Alvin Lee and there's a proposed US trek in October (again with Lee), to coincide with the British release of their first album.

Gillan/Chevy

1981 seemed to be shaping up more positively. For a start the disintegration of the heavy metal bandwagon had led to greater demand for diversity and depth laying more emphasis on songwriting, structure and execution, all of which were in Chevy's favour. Their was a graceful thrustfulness about this quintet that took your breath away. A selection of quality material from the thunder of 'The Taker' through to the majesty of 'Skybird' won over an audience to whom Chevy were previously an unknown quantity. The release of 'The Taker' confirmed Chevy's natural class and potential. Towards the end of that year, this promise began to harden and take real shape when the band unleashed three new songs on the Hawkwind tour. 'Wind of Change', 'Same Old Feeling' and 'Hit and Run' were instant classics. Chevy have had a virtually stable line up since it all began in early 78. The sole change being the addition of guitarist/vocalist Steve Walwyn (in October of that year) to the quarter foundation. So, given the length of time this band has been together playing hard rock (a full 18 months BEFORE the HM media explosion), its incredible that they've been accused of bandwagon jumping.

This was based on a misconception concerning a certain cabaret act with which various members of Chevy appeared at one time - Cupid's Inspiration.

'The fact is we were getting great money for going out as Cupid's' added Bob Poole. 'Switching to hard rock has meant us taking a large drop in earnings'.

Another problem was that Chevy weren't too pleased with their debut album.

'I don't think it helped that working on 'The Taker' was the first time the band had gone into a studio properly' said Poole. 'We just kept our mouths shut and let the producer get on with the job, which was a mistake'.

Voyage 35 - The Nostalgia Collective

 

Voyage 35 - The Nostalgia Collective

By Pete Clemons

The link between Porcupine Tree and Coventry is a tenuous one but bear with me. The band played Antics club - formerly known as the Tic Toc during 1993 - on the bands very first tour. It was actually Porcupine Tree's third or fourth ever gig. Depends on if you include a Marc Radcliffe BBC radio session or not. Plus Coventry holds the distinction of being the only place where the band performed as a 3 piece.

Porcupine Tree's now 30 plus year history has taken its own story but began as a live band with Steven Wilson, Richard Barbieri, Chris Maitland - who left during 2002 and Colin Edwin - who remained with the band until they took a hiatus in 2010.

As Porcupine Tree grew more famous and took on a heavier direction, their earliest tracks were left behind. Edwin, and a dedicated team, decided to take a real risk by creating a band to play these classic songs again with a fresh approach.

Two years on from those initial thoughts and a band with the name 'Voyage 35' pays tribute to Porcupine Tree's famous 1992 ambient track, Voyage 34 and many others have just completed their debut tour. The set list focuses heavily on music from the early 1990s up to the 'In Absentia' era.

Voyage 35 does not just play the old songs al dente, they bring a full live band and authentic visual elements to every show. They even tour with the original psychedelic light show known as Fruit Salad Lights.

The Voyage 35 project started after bass player Colin Edwin reconnected with original drummer Chris Maitland and reminisced over the old mid-1990s recordings. They were reminded as to how good that early music was.

According to band co-founder Colin Edwin, Maitland remains a full-time working drummer, and his schedule lacked the required flexibility to commit to a full tour schedule. Instead, Alessandro Vagnoni, a band mate of Colin's from O.R.k. was recruited to handle full-time drum duties.

The O.R.k. Link continued when vocalist and keyboard player Lorenzo Esposito Fornasari (Lef) was drafted into the band.

Finally, former Colin Edwin approached John Wesley to join the project after they reconnected when Wesley provided guest guitar work for an O.R.k. Track. John Wesley joined Porcupine Tree as a touring guitarist and backing vocalist in 2002 during their In Absentia world tour. He stayed with the band for nearly a decade through 2010, performing in over 450 shows and contributing to albums like In Absentia and Fear of a Blank Planet.

Voyage 35 have released fresh studio takes of early gems like The Nostalgia Factory and Even Less to prepare themselves for the stage. The live set gives fans a rare chance to hear atmospheric, lesser-played tracks that have not been performed live in decades. And wow have they given them a new lease of life. Voyage 35 honoured the enduring material by interpreting classic tracks with a fresh modern energy.

Steven Wilson, who continues to push boundaries with his music, has also expressed full support for Voyage 35 project.

Just as impressive has been getting this project together in terms of geography and logistics. John Wesley is from Miami in Florida while both Alessandro and Lef reside in Italy.

In its formative years, as much as Porcupine Tree was a bedroom conception, it took the efforts of many others to springboard it into the music loving public's eyeline. And this tour was an incredible reminder just what a force Porcupine Tree had become. Booking agent Glenn Povey and his Circle Sky Agency ensured that the whole tour was an unconditional triumph and inspired thinking to actually do this.

A delighted manager, Richard Allen, and for whom the tour has far exceeded expectations mentioned after the tour 'A group effort that came together pretty much as planned. It was obviously meant to happen!'.

Richard continued 'We genuinely had no idea how it would do. We only had a hunch that there were fans out there who loved the early period of the band. I've said many times I wasn't really into what they did later although I respected it. Prog Metal was never my thing. It's good to know that those 12 years at the start are remembered because PT was a different animal back then as I'm sure those who never saw them now realise. Signify remains my favourite album and I have a soft spot for the first one not least the lyrics of the late Alan Duffy (RIP) It's a real shame Alan never got to see this tour'.

Finally, and back to the Coventry gig of 1993, I had a brief chance to say hi to Colin Edwin during the tour. His razor sharp memory remembered that particular evening. The memory brought back a wry smile and the comment 'how did we get away with that one'.