Sunday, April 5, 2020

Welcome to Peter Clemon's Coventry Music Articles

This Post Remains on top as an introduction to the site. Scroll below for the latest posts.

This Blogspot is part of the Hobo (Coventry Music and Arts Magazine) archive run by Trev Teasdel.

Hobo was a Coventry music magazine c 1973 - 75 and the archives of the magazine and Hobo workshop and the general music scene of the 70's was originally on Vox blogs c 2007 until recently. Vox closed and the site is being redeveloped and rearranged here - it's still in progress so bear with us.

Photos of the Coventry Music Museum run by Pete Chambers
Do visit the museum if you are in Coventry - website

This Blog
This Hobo blogspot in particular  is for Peter Clemons Coventry music Scene articles for the Coventry Telegraph and beyond. Pete Clemons has a huge database of hundreds of gigs in Coventry from the 60's to the present. Both professional acts and local bands. He has had over 100 articles published in the Coventry Telegraph which, on his request, we've collated here and  have linked them with further material from the Hobo magazine archives.

NEW - Coventry Book Launch Documenting the Music and Entertainment Scene of 1970's by Ruth Cherrington. The Dirty Stop Outs Guide 1970's Coventry.
Available in Coventry from Waterstones and HMV or from Amazon UK here 

Hobo magazine and Workshop are well featured in the book as are many of the photos from the Hobo Archive pages here.Both Pete Chambers and Pete Clemons make a good contribution to the book as well.

  • Early posts on here - if you scroll right down - are Pete's Rock of Ages Posts - gigs in Cov through the ages since the early 60's to present.
  • Later posts are about important music venues in the city and their history.
  • Other posts are about Coventry bands from the 60's onwards.

Pete Clemons and Trev Teasdel at  BBC Radio Coventry and Warwickshire January 2016

Links to the other Hobo Coventry Music Archive sites 
Coventry Music Scene from Hobo - This is the Hub to all the sites below

Hobo - Coventry Music Archives This is the main Blogspot for the Coventry Music Archives from Hobo Magazine with archive material from HoboMagazine and other Coventry music magazines, feature articles and other documentation. This site is still in development.

Coventry Arts Umbrella Club
The archives of the Coventry Arts Umbrella Club which was opened in 1955 by the Goons and where some of the Two Tone musicians started out and literary figures like Phillip Larkin and much more. many Coventry bands played the Umbrella in the late 60's and early 70's. It also housed Coventry's first Folk Club.

Coventry Folk Club Scene 1970's  
This is the Hobo site for Coventry's longstanding and thriving Folk and Acoustic scene. It covers both folk archives from the 70's and features on some of the contemporary singer songwriters out there now along with Pete Willow's history of Coventry Folk Scene and pdf versions of  his 70's Folks Magazine 1979 / 80. Top names like Rod Felton, Dave Bennett, Kristy Gallacher, Pauline (Vickers) Black, Roger Williamson, Sean Cannon and many more.

Coventry Gigs 1960 to Present (This blogspot in fact!).

Coventry Discos, Venues, Music shops and Agencies / Studios etc.
A steadily progressing blog for a variety of other aspects of Coventry's music scene - the DJ's, Discos, Venues, Arts fests, record shops, studios, music agencies etc etc..

Coventry Musicians Who's Who 
This blog has an A to Z of Coventry musicians. It's not yet complete (if ever!) but there are many names and their bands on already. I will come back to it when the A to Z of bands is complete and add in names not on. Meanwhile if you are not on it - and you should be - or your friends and their bands or if your info is incorrect - do let us know at

Hobo A to Z of Coventry Bands and Artists
Meanwhile a huge A to Z of Coventry bands and artists can be found (again in development) here

Gene Vincent – How he was introduced to Coventry 1960

Gene Vincent – 
How he was introduced to Coventry 1960
By Pete Clemons

Beginning in January 1960, both Eddie Cochran and Gene Vincent were part of a tour of the UK that ended in tragedy. Eddie Cochran was killed and Gene Vincent seriously injured after a high speed car accident in Chippenham.

Coventry was the second gig on the tour schedule. The first being in Ipswich on the 24th January. And, after the Ipswich gig, there were three days of rehearsals at a studio in Gerrard Street, London, before the tour resumed on the 28th.

Much has been written about Eddie Cochran, in regard to the tour. But, I always felt that Gene Vincent had been a little neglected. So I was delighted to come across a news report, from Coventry that, prior to the gig, introduced the city to him.

A young man whose name has held a consistently high position in the popularity polls and best sellers charts, both here and in America, is 21 years old Gene Vincent.

'The first singing success for the likeable young man came when he was serving as a boiler tender in the US Navy. He was 17 at the time, and he spent most of his evenings with his guitar on the deck of the tanker, singing for his shipmates.

On his demobilisation he returned to his home town of Norfolk, Virginia, more determined than ever to make singing his career. He was not to wait long, he auditioned for a local radio show,and quickly became the star of that show.

This was followed within a few weeks by another important audition, this time with Capitol Records, and again Gene won through, this time being chosen from nearly 200 rock 'n' roll singers. Since then, backed with his own group the 'Blue Caps' he has recorded countless singles, EP's and LP's, many of which have had the distinctive style that he has developed from his love of country music'.

After the gig there then appeared to be a mixed review of it all. It suggested that the audience inside enjoyed the gig, but they were not going to set the greater world alight. But at that time the country was still wary of rock 'n' roll and saw it as a threat.

'Gene Vincent the American singing star who added to his scores of successes on his present tour of Britain with a tumultuous reception at the Gaumont on Thursday.

There were no frantic scenes when the latest ration of rock 'n' roll reached Coventry last night. The two American and several British performers who made two appearances at the Gaumont on the same day drew shrieks inside the theatre, but seemed in little danger of losing their shirts outside'.

The fact is though that rock 'n' roll was here to stay. And, 60 years on, is still being heard today.

Wednesday, April 1, 2020

Dud Clews Jazz Orchestra

Dud Clews Jazz Orchestra
by Pete Clemons

The Dud Clews Jazz Orchestra will forever be associated with Club Harlem. A regular jazz night, held weekly at the Mercers Arms, for almost ten years. Right from the off, and over time, the band steadily improved and were noted for the way they performed in a relaxed professional way. And during there time together there were very few changes in musical policy. The band's repertoire enlarged enormously but always came from the same musical sources. And they were the same famous bands whose recordings first inspired Dud Clews to form the orchestra back in 1962 and was still the source of most of the material when the band finally folded. The band even managed to record an album for local label 'Midland Sound Recordings' during 1968.

Sax player Mac Randle wrote the following tribute 'The young Coventry jazz trumpeter Dud Clews was determined to revive the exciting sounds of the 'big bands' of the twenties, like King Oliver and the Dixie Syncopators, Luis Russell, Fletcher Henderson and Duke Ellington that bridged the gap between the New Orleans & Chicago jazz bands and the later swing bands of the early thirties.

In 1963, after a long period of preparation and rehearsal, he opened the Club Harlem with the Dud Clews Jazz Orchestra. The band quickly progressed in repertoire and popularity but suddenly Dud was fatally injured in a motor accident. This was a terrible shock but almost spontaneously it was decided that the band must continue as best it could and Dud's parents were in agreement with the keeping of his name at the head of the venture, so the Dud Clews Jazz Orchestra continued.

Dud's fine Oliver-styled trumpet was greatly missed but the band recovered its composure and picked up again under the leadership of Derek Habberjam who at the time was switching from second trombone to superb tuba.

What typifies this band, capable handling of the material and retention of the idiom being taken as read, is the enthusiasm and good humour which is brilliantly captured in these recordings and which has never been surpassed by other bands since. Most of the arrangements were created and copied out by members of the orchestra plus the highly valued supporter and excellent arranger Peter Bright. The original few printed arrangements from the early days were still kept and played'.

During 1971 the orchestra held a special session at the Mercers Arms to celebrate the eight anniversary of the opening of Club Harlem. The Coventry Telegraph reported at the time 'One could not help wondering what factors had provided the continuity to convert what could have been a nine-day wonder into an eight year phenomenon'.

The Telegraph continued 'It is as difficult as it ever was to define the kind of people who comprise the audience. There is a hard core of jazz fans but the majority of people of every age group, occupation and degree of interest in the music, who come along every week because they like the atmosphere of Club Harlem'.

Of the band themselves only two members, who were present at the first rehearsal in 1962, and four who played at the first club session in November 1963, were still members of the band during 1971. Yet through all the changes in personnel and revolutions in popular music, the dated sounds of early Duke Ellington, Fletcher Henderson and Luis Russel still made those weekly audiences incredibly happy. And as far as Derek Habberjam and the Orchestra were concerned 'that alone justifies the hard work'.

The 1970s saw the bands reputation spread and so did their popularity. This brought them bookings and appearances outside of Coventry. But like all bands the inevitable happened, and The Dud Clews Jazz Orchestra finally folded. This was during 1981 when, unfortunately, Derek Habberjam upped sticks and left the area.

During the bands 18 years tenure, many band members came and went. It would be great to eventually fill this page with all names but a 1976 line up that played The Burnt Post contained the following personnel:

Brian Bates - Trumpet (Tpt)
Brian Wathen (Watty) - Trumpet (Tpt)
Terry Perry - Alto Sax (Alt)
Mac Randle - Tenor Sax (Ten), Clarinet (Clt), Soprano Sax (Sop), Alto Sax (Alt)
Ollie Dow - Tenor Sax (Ten), Clarinet (Clt)
Cliff Williams - Baritone Sax (Bari), Alto Sax (Alt)
Paul Munnery - Trombone (Tmb)
Fred Brownson - Piano
George Beach - Banjo
Derek Habberjam - Leader, Tuba
John Astle - Drums 

Isle of Wight, UK - August 26-30, 1970

Isle of Wight, UK - August 26-30, 1970
by Pete Clemons

August will mark 50 years since the staging of, what is still referred to as, 'the last great rock music festival'. The 1970 Isle of Wight festival, the third of its kind on the island was organised by local residents the Foulk brothers. It was a five day event and was a magnet for where the younger generation set off for a weekend in pursuit of love, peace and understanding. It all fell a bit flat though.

I didn't attend this event but I can still picture my brother, along with several others from Coventry, setting off for that long weekend. Complete with tents and rucksacks full of camping utensils I assume they were ticketed. And I can still see my brother returning tired and bedraggled. So who knows what happened to them during those few days. As such I have based this article on some memories and anecdotes I picked up on at the time.

Initially, the festival began really well. Compère Rikki Farr suggested it was a very fine audience, and in the main it was, but that mood and atmosphere was soon to change. Money began to rear its head and, in the end, almost killed the festival.

It seems as though the festival wasn't so much badly organised, it was more that an unprecedented number of people turned up without tickets. And an element of those without tickets were hell bent on getting into the festival without paying. Unwittingly, it seems, the festival had been staged at a time when there was a diverse mix of ideals. Some felt everything in life, especially music festivals, should be for free. It appeared at times as though some attendees were naive about the costs involved to the musicians and organisers.

The 5-day event also caused the obvious logistical problems, such as the obvious one that almost all the attendees had to be ferried across from the mainland. It was estimated that, at its peak, 600,000 people - maybe upwards of 700,000 - attended the event.

But the festival required at least 170,000 paying customers to make the whole thing break even. Repeated requests were made for those without tickets to 'please leave the arena'.

Perhaps sensing the on-setting chaos some of the artists wanted to be paid in cash. And the musicians appeared to be caught between a rock and a hard place as the atmosphere within the audience suggested a riot could well have erupted if bands failed to appear. There then began an atmosphere of conflict between artist and audience. It was not going down very well when it appeared as though the artists were guilty of only playing for the money.

At one point artists were seen mingling with audience members trying to justify why they couldn't do it for free. Although at the same time they somehow sympathized with the audience. It was also reported that Jethro Tull requested for people to leave the arena in order for them to complete a sound check. However, on his arrival to the stage, Ian Anderson categorically denied this.

By the third day of the festival things really were getting out of hand. And amidst the ensuing chaos of what's been called 'Britain's Woodstock' anger flared up when many revellers reached the fences. Suddenly many of those youthful ideals were lost as perimeter fences were broken down and free entry gained.

It wasn't long until the festival descended into a shambles and utter chaos. Rikki Farr's earlier optimism had altered. On stage he began his infamous rant, that include him screaming down the microphone that the festival had taken a year to prepare for and he began calling those involved in the violence 'pigs'. Rikki then admitted to the audience that the organisers had lost everything and told security to 'just open the gates'. Either come in or go, its your choice. Rikki continued that it had been the music what it had only ever all been about. And now he faced up to the prospect of having to face to face meeting with the creditors. Despite being visibly upset, Rikki's concluding message to the audience was to go home in peace. Good intentions but naive in its execution. Violence had ruined the whole event both financially and also the taste of it. To cap it all, an electrical fault set a section of the stage and its roof on fire.

Musically it was an utterly brilliant weekend with totally enthralling sets by The Doors, Sly and the Family Stone, The Who, Free, The Moody Blues, Chicago and Miles Davis along with many others. Outside the main arena a separate stage had been erected that featured bands such as Hawkwind. Rumours of Cream reuniting failed to materialise.

Emerson, Lake and Palmer concluded their set to a fanfare of cannons, Supertramp appeared just a month after recording their debut album. Sadly the festival was also notable for being the last ever performance by Jimi Hendrix. In general, however, the music throughout stands as a test of time as it recalls the sheer freedom of performance and musicianship.

During an interview, many years later, Ian Anderson and Pete Townshend both admitted that their respective bands, Jethro Tull and The Who, failed to get paid. It turned out that only 50/60,000 of the attendees had purchased tickets. But in hindsight they admitted that the exposure did them no harm.

Ian went on to say that Jimi Hendrix had wanted to go on before Jethro Tull. But the stage hands had got the Tull's equipment set up first. So they went on. That left Jimi to close the event at around 2am-3am on the morning of the 31st which he wasn't particularly happy about. Some reports have suggested Hendrix's performance was lackluster, others described it as beautiful.

The Isle of Wight festival 1970 was a lesson in how wrong things can go badly wrong. It even involved parliament passing the Isle of Wight Act during 1971 which prevented gatherings of more than 5000 people on the island without a special license.It turned out, however, to be the end of an era as things turned sour.

In its aftermath Rikki Farr defended a generation but admitted that a minority had blew it. After everyone had left the arena resembled a battlefield. After the festival the organisation team recovered and set about rebuilding their lives. Rikki Farr created a successful music business. Ron Foulk became a furniture dealer and Ray Foulk went on to become a renowned architect.

If any lessons were learned in the aftermath of this festival it simply highlighted that you need to get it right at all levels. These things can not run on goodwill and love and peace alone. And to be fair, festivals nowadays, are run like clockwork. If anything, a bit too clinical. This particular Isle of Wight festival turned out to be so much more than just another music festival.

The Rolling Stones - Coventry Theatre 1964

The Rolling Stones - Coventry Theatre 1964
by Pete Clemons

Rolling Stones Coventry Theatre 1971

With all the things I read nowadays at people chatting at gigs, overuse of mobile phones etc I couldn't help but wonder if it was an inherent problem. The below is a fascinating account, I stumbled across, of when The Rolling Stones first played Coventry Theatre during 1964.

Two frenzied performances by the Rolling Stones pop group sent their hoards of loyal fans streaming away from the Coventry Theatre in a happy mood last night – and left one independent observer very puzzled.

Just why, I wondered, do people pay good money – in some cases, having queued all night for tickets – to see a particular group and then apparently do their utmost to drown away any noises their idols are making?.

I had attended one of the performances with an open mind, prepared to give The Rolling Stones a fair hearing.

'Hearing' is a somewhat ironic word to choose. All I did hear were piercing incessant screams from all around me, that multiplied into a great cacophony of sound and quite erased any attempts by the five young men on stage to compete.

The total effect was of a continuous siren blast, with each little jig in the air or shake of the head by one of the performers bringing extra loud squeals of appreciation.

The answer, one can only suppose, is that this type of entertainment is more visual than aural. The fans can only actually listen to their idols on records, while live performances are occasions for showing their appreciation in the only way they appear to know.

Of the Rolling Stones themselves, it would be unfair to comment on last nights evidence except to say that their reputation as the 'scruffiest group in the business' is well earned and is being faithfully maintained.

Not all of the show was lost to the ear. The fans were thankfully quiet during the performance of the Caravelles, the two attractive girls noted for their whispering style of singing, who included, of course, their record success 'You Don't Have to be a Baby to Cry'.

The big surprise of the night, however, was the performance of a group called The Barron Knights, led by Duke D'Mond, who showed themselves to be as much comedians as musicians and vocalists. Their idols having their legs pulled a bit.

The bill was completed by the Overlanders, The Chimes, Julie Grant and David John and The Mood with Tony Marsh the compere.

The Rolling Stones in Concert 1964

The Stones in Coventry 1971 - photos

Porcupine Tree Bandcamp

Porcupine Tree Bandcamp
By Pete Clemons

For these unprecedented times, Porcupine Tree have launched a Bandcamp page where you can download full resolution recordings of rare and unreleased rarities from across the 20 years or so it the band were in existence. The page, and the opportunities to download this music, will be around indefinitely and the band aim to add more titles to it over the coming months.

Included within its many and varied content is an almost complete recording of the first ever live performance of Porcupine Tree. After the newly assembled band line-up had rehearsed for one week, they played 4 times in quick succession. This nervous but spirited show at a sold-out Nag's Head club in High Wycombe was the first, followed by a BBC radio session, and modestly attended shows in London and Coventry.

The recording was made directly to DAT from the mixing board, so as with any board tape the balance is not perfect, but the quality is excellent. Radioactive Toy, Up the Downstair (extract), and Not Beautiful Anymore were previously included on a limited cassette/vinyl album Spiral Circus, which also contained music from the BBC session and London shows.

The track listing for the download of the Nags Head gig is 1. Voyage 34, 2. Always Never, 3. The Nostalgia Factory, 4. Burning Shed, 5. Radioactive Toy, 6. Up the Downstair and 7. Not Beautiful Anymore.

And the band line up that night was Richard Barbieri - Synthesisers, Keyboards, Colin Edwin - Bass guitar, Chris Maitland – Drums and Steven Wilson - Guitar, Vocals.

'Fadeaway' was also performed at the show, between 'Radioactive Toy' and 'Up the Downstair', but due to issues with the source tape could not be included here. I do know that it took a great deal of effort went into getting this gig download out there. The trouble is that DAT tapes, the original source, do not keep well unlike their analogue equivalents.

Steven Wilson said 'I had a to edit around some glitches on the DAT, and remove one track completely, but it's about 90% there'.

Coincidentally March 2020 sees one of Porcupine Tree's landmark albums, Stupid Dream, celebrate its 21st birthday. For me, at that time, Stupid Dream felt such a departure from what had gone before. I wasn't keen on it at all. And, back in 1999 I quizzed Steven Wilson about it. He said 'Anyway, the new album. I think it's the best and it certainly has my favourite songs on it. As to whether it has been a shift in direction?, Of Course !!. Hasn't every album been different to all those that came before?, I hope so – that was my goal. The sign of a good album is I think one that you're not sure of the first time you hear it – that's certainly the way with me anyway. The new one is about written now and is different again'. And he wasn't joking !!

I remember those words of Steven's as being quite profound to me and certainly changed a lot of how I approached listening to new music going forward. As for the Stupid Dream album, it became one of the most listened to Porcupine Tree albums in my collection.

I appreciate that this is a very difficult time for everyone at the moment, including musicians and their families. Bandcamp offers a huge variety of ways where you can keep these musicians, a lot of who have no other form of income, artistically active. Not just for Porcupine Tree but for a whole host of other artists.

Thursday, March 26, 2020

Colin Armstrong - Coventry Singer Songwriter

Colin Armstrong - 
Coventry Singer Songwriter.
By Pete Clemons

Colin Armstrong was one of the Top Coventry singer songwriters, visual artist and bookshop proprietor to come out of Coventry. He was a member of the folk group Music Box with Coventry luthian Rob Armstrong (no relation) who made guitars for Bert Jansch and George Harrison and together they made an album called Songs of Sunshine in 1971.

Remember Armstrong's book shop in Earlsdon, close to the library?. It was a fascinating place. But, of course, it closed several years ago now, due to the then growth of the internet.

Colin Armstrong playing guitar in his Earlsdon bookshop.

A few years ago I had a chat with its proprietor Colin Armstrong. He mentioned that before the shop he had been involved in the construction of the ring road. He worked, for a while, as a shuttering joiner for Gallifords on the section between Pool Meadow and London Road.

Away from work Colin would go to the Holyhead youth centre where he would sing and play his guitar along with Trev and Bob and other musicians. He would sing his own songs also.

Trev Teasdel has thrown some light on that - 
" I used to see Colin play when he was in Music Box. He got in contact in 1973 when we started Hobo and I covered his musical activities in the magazine (see below). Colin performed as a solo artist for the Hobo Workshop gigs, at the Holyhead Youth Centre. Colin was a great advocate for Hobo and Bob and I started jamming with him and attempted to form a trio. Bob Rhodes was the Youth Worker for Coventry Voluntary Services, and had helped us get the Holyhead for Hobo gigs. Charley Anderson and elements of what became Selecter, used the basement at that time along with Neol Davies. Bob and I played guitar but we were no match for Colin! Nonetheless we did some of Colin's song, a few of mine and some rock and pop covers, at the Holyhead and in a warehouse at the Canal Basin,  ultimately the idea of a trio didn't get off the ground!"

He lived, for a while, in a bedsit on Earlsdon Avenue North from the late 1960s into the 1970s. So he had easy access to and played regularly at the City Arms Folk Club. He would do solo slots with his own songs as well as sing and play in various rock and folk bands.

While at the City Arms he clearly remembered seeing Jasper Carrott appear there. He also remembered when Dave Bennett had just starting playing there. 'After one session, there were a few of us in the downstairs bar having a drink and Dave asked us 'Do you think I should carry on playing, am I good enough'. We all gave him a resounding – absolutely, yes indeed!!. And, as we all know, Dave went on to become a stalwart of the Coventry folk scene'.

Colin, who describes his music as 'funky folk', used to play in the Music Box group until they folded during 1972. This band, of course, included Rob Armstrong (no relation).

He then went down to London to try and get some sort of recording contract and sell some of his songs, without any success.

It's fair to say that Colin's musical career was steady but had not been progressing in the way he had hoped. But then during 1973, at the age of 25, there was a whiff of success and a hope that his big break would be coming at last. The top prize was a recording contract with EMI.

The national competition was organised by the Association of Musical Rument Industries and sponsored by the Melody Maker. As well as the EMI recording contract the prize also includes new instruments and equipment.

Colin found himself as the winner of a Midlands area heat of a national folk rock contest. 'Each musician had a 10 minute spot in the heat and I did three of my own songs – 'Country Boy, Country Bound', 'Blues for Glenda' and Heaven and Hell' – all vocals and acoustic guitar' he said. And he was judged the best soloist from acts all over the West Midlands, and he was the only one from his heat to be chosen to go through to the semi finals in May 1973.

As he progressed into the semi finals he said at the time, 'I'm hoping to do really well in the competition and get another chance. It could also bring in a bit more work for me from the local pubs and clubs'. But it wasn't to be as Colin fell at the final hurdle.

Later on, and before the shop, Colin, went to work for an Earlsdon Engineering firm. Another side line was that Colin was also an abstract painter of some note. He had exhibitions in the Minster Gallery in Hearsall Lane, the Kongoni Coffee Bar and a couple of things in the 'reject art exhibition' at the Methodist Central Hall. It was on Colin's suggestion that Trev did an interview with the Minster Gallery for the first edition of Hobo magazine.

From the Coventry Telegraph c 73 / 74

 From Hobo Magazine

From Hobo issue 1 June 1973) -
"Congrats to Colin Armstrong in reaching the Semi-finals in the Melody Maker National Rock/Folk contest and also to Just Jake, Willow, Naked Light, Just Before Dawn, Bumble and all the other Coventry bands / artists that took part. More on them if poss - later." 

From Hobo Issue 4 (Unpublished version)
"Coventry singer - songwriter COLIN ARMSTRONG, who reached the semi-final in the Melody Maker contest last year, is to enter again this year...Lotza luck Colin..."

Other blogs related to Colin Armstrong 
Hobo - Coventry Folk Scene blog - Colin Armstrong

Hobo - Coventry Folk Scene - Rob Armstrong - No relation but they both played in Music Box. Rob made guitars and also played with Rod Felton in the New Modern Idiot Grunt Band.

Hobo  - Coventry Folk Scene - Music Box

Music Box

Rob Armstrong recalled the days of Music Box in the Coventry Telegraph -

"We called ourselves Music Box, and found quite a following among local folk-music lovers. Songs of Sunshine was our first disc. One of the pieces was composed by Colin and entitled Seaside Sunshine, I had written the title song and there were Scottish songs and a Bob Dylan number. We recorded it on a Saturday afternoon at a house in Cheadle Hulme (Greater Manchester). Rob and Colin, owner of Armstrong's Collectables, in Earlsdon, played as Music Box on the local folk circuit for nearly two years, performing at the Belgrade Studio and Lanchester Arts Festival, as well as several pubs."


To hear more of the Music Box album - follow this link to a page about Music Box...