Thursday, February 25, 2021

Welcome to Peter Clemon's Coventry Music Articles


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 (one of a few) was created by Trev Teasdel (former co-editor of Hobo magazine) who admins the site. This particular was created for Peter Clemons (aka Fred Bison) for his Coventry music Scene articles originally written for the Coventry Telegraph. 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 Hobo Magazine 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 hobozine@googlemail.com.

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 https://sites.google.com/site/bandsfromcoventry/


Big John's Rock ‘n’ Roll Circus

 

Big John's Rock ‘n’ Roll Circus.
by Pete Clemons



During the beginning to mid 1975, Coventry born John Goodison, had co written and co-produced The Bay City Rollers second number 1 'Give a Little Love' along with Phil Wainman. By the end of that year he was preparing to set out on tour for a rock and roll project that would ultimately last for the best part of 20 years.

The project called 'Big John's Rock and Roll Circus' actually began during 1974 with the release of an album of the same name. By the end of 1975, Act 2 was released and we were being invited to 'thrill to the sound of the only audio circus ever to have been captured on bits of the black stuff. Enjoy this unique experience in the comfort of your own home. You can actually smell the Elephant House. Starring: Laslo - the high dive artiste, Norman - the amorous archer and Carlo - the human cannonball'.

The Circus as a live band started a little uncertainly in July of 1975. It was the brainchild of Johnny (Big John, known to his band mates as B.J.) Goodison who had risen to prominence with The Brotherhood of Man, and written hits for Mud and The Bay City Rollers. He had selected six musicians to help form the band, all of whom were previously known to him with the exception of drummer Ian Murray.

John Tebb, from Lincoln had left The Casuals to pursue a solo singer-songwriter career and had spent a lot of time in the studio with Big John recording jingles and voice-overs for other bands. Guitarist Gordon Smith, known from Day One as 'Flash', from Edinburgh had been in London since the mid sixties and worked for several bands including a venture with a young Phil Collins in a group called Flaming Youth. Howie Casey from Liverpool was already a veteran sax player and a member of the ‘A’ list musicians on the London studio circuit. Bassist Mike Gregory from Liverpool had helped form the 60’s group The Escorts and then joined the Swinging Blue Jeans before working for Big John on the original Circus concept album in 1974. Geoff Workman, also from Liverpool was Big John's resident studio engineer as well as being an accomplished pianist.

The Circus very much reflected Big John's sense of humour. Apparently the laughs they had during the two week rehearsal to put the show together persisted right to the end, almost fifteen years later, and his high standards of musicianship. Basically, it was a cabaret-review of Rock & Roll from Elvis to the Beach Boys packed into two one-hour shows complete with fireworks, smoke bombs and 'dancing girls’.



The uncertainty, mentioned earlier, was caused by the last-minute cancellation of a six-week tour of South Africa which was actually the raison d’etre of putting the whole thing together. However, Johnny contacted the Bailey's Night Club organisation and secured a series of one-week-residencies around the UK starting at Baileys in Leicester. The band brought the house down on their first night, almost literally it seems as a firework gag went dangerously wrong, and had a standing ovation from an audience that on the final Saturday night, included the members of Showaddywaddy who came in to see the show and 'stole' half the repertoire.

Although the albums were very different to the live shows it was still a very unique concept at the time. And one that continued for years to come. But this was how the first album was greeted, by one reviewer at the time of release, during 1974 - 'Heard some crazy concept albums before but this must go down as the zaniest for some time. Basically it's been put together by 'Big' John Goodison, DJM's in house producer and Phil Wainman, The Sweets producer. Other musicians involved are Gordon Frechter, Mike Gregory and Pip Williams. The album incorporates some of the old Barnum and Bailey's circus acts, Laslo the trapeze artiste, who climbs to a fateful ending and as he crashes down from above the quintet move into a song, appropriately titled 'Long Time No See'. Goodison and Wainman do a fair production job on it all but with the circus atmosphere dominating the song intervals, it's hard to judge rock and roll circus on any great musical level except to say that it's competently put together by experienced session men. The single taken from the album, 'Lady (Put the Light on Me)', is probably the best and most commercial song'.












Saturday, February 20, 2021

Trev Teasdel - Jazz Town - A new Bandcamp Album

 Trev Teasdel - Jazz Town - 

(A New  Bandcamp Album).

Review by Pete Clemons.


"This is Jazz Town. The melody of the rain, Trumpets of improvised images rain down. Maple Leaf or make believe, could reality be this absurd! Lovers bathe in Malay Specials, pineapples, bananas, and the grapes of wrath; pipers pipe in the Tartan highlands, absurdist politicians walk the catwalk with Pablo Picasso painted policies.."

Jazz Town is a new spoken word and music album by poet / lyricist and Coventry archiver Trev Teasdel, out on Bandcamp. Listen free via the Bandcamp app on here and read the words via the PDf below. 

For more of Trev's books and music visit here https://trevteasdelpoet.blogspot.com/2021/01/books-by-trev-teasdel.html

Trev Teasdel - Jazz Town - A New Album

 Review by Pete Clemons

It quite often seems that, the image of a poet in modern day Britain, is seen as being

condemned to the sidelines and the outer reaches of expression.

The fact is though that Trev Teasdel has been writing poetry for years and has long been engaged in a war of his own, against the rich and powerful elements in our society, and against all that threaten our freedoms and expressions.

Trev's poetic style is very much abstract and oblique. He doesn't seem to favour neatly structured four liners and rhyme. His writing is more complicated that that. His work is challenging, cryptic and witty. Trev's poems tend to carry the insistence that life is to be lived and that two fingers can  be given to the establishment as and when you feel.

This album appears to cover a wide range of topics from the fears and pleasures of complete freedom to the intellectual morose of the masses. And, yes, a lot of words are of a more idealistic nature. But it has been released at a time when, at more than any other time in our lives, many of our ideals are becoming eroded or even derided.

The music that accompanies the words is minimal. There is a lot of bass guitar. But, at the same time the accompaniment is intense and frenetic. Yet strangely, it seems to compliment the words perfectly.

I guess the words take you where you want them to. I personally found it all very much old wave. And that is meant in the sense that you are thrown back a few decades to the bars that lingered with smoke and filled with the mellow sounds that keep you company in the ambience. Difficult nowadays to imagine that that  places like those once existed.

At the same time however, there are also occasional feelings of the current. Which, lets face it, is not the most inspirational of places right now. I suppose though that the clue is in the albums title – 'Jazz Town'.

 In a world where human beings have become so extraordinarily aggressive and violent, not only in their own personal relationships but also in their relationships with both the world and with each other then this album is the complete antitheses.

 Thoughts can create all kinds of situations. Complete freedom to think gives you work like this. You could certainly do so much worse than to lose yourself within this album for the time it lasts.

....................

Jazz Town - The Album - Listen to the 10 track home recorded album here on this player for free. Poetry and music by Trev with 3 blues instrumentals. Read the words below in the PDF book Jazz Town.


Jazz Town by Trev Teasdel the PDF book - scroll down to read or click the arrow to enlarge and read / download on Google drive for free.



Sunday, February 14, 2021

The Rock ‘n’ Roll Years – Coventry 1960-1963

 

The Rock ‘n’ Roll Years – Coventry 1960-1963.

by Pete Clemons


The recent of activity of Coventry rock ‘n’ roll band Rock-It and now The Sorrows 2011 had me wondering about the early days of this particular genre within Coventry and some of it’s home grown talent. Pete Chambers, in his books and articles, has done some fantastic and interesting work in this area. However I wanted to try and delve a little deeper and find out more about the bands involved and the venues that they played in along with anything else I could dig up.

I tried the obvious places like the Telegraph and the Coventry Standard but between the years 1960 and 1963 there was very little to find. I did find regular columns that contained the then current Jill Hanson record shop top 10, a column for teenagers that covered all the chart favorites along with who was visiting the city. But until columnist Andy Anderson got involved toward the end of 1962 very little has been written on the musical scene within and around Coventry.

You need to remember that all this was happening during the late 1950’s and early 1960’s and my own assumptions, and the suspicions of others, regarding this lack of information is that these guys were maybe classed as a bit rebellious and were actually involved with playing the music of the devil. And maybe if the media and press ignored it then it would all go away.

So after much digging and annoying the likes of Vince Holliday (Martin), Phil Packham and Nigel Lomas I have tried to add as much as their memories allow.

The early rock ‘n’ roll scene in Coventry at that time seemed, in the main, to be centered mainly around 7 bands. These were The Vampires, The Zodiacs, Johnny Ransom and the Rebels, Ray Kelly and the Freemen, The Atlantics, The Buckaneers and Jason and the Canonites.

The VAMPIRES formed during 1959 and existed till 1965. The band’s initial line up was Vince Martin, Geoff Baker, Phil Packham and Barry Bernard. However depending on who you talk to that initial line up also included Keith Parsons. Several line up changes occurred during the bands existence although, yet again, I have several differing lists of who was with them and at what stage they were in. Although they differ though the names remain constant and Johnny Washington, Johnny Buggins, Robin Bailey, Alan Palmer and Ronnie Cooke all passed through the bands ranks. The venues they played included: The Bantam Pub Hen Lane, The Milano Coffee Bar Radford Road, The Transport and General Workers Union HQ and The Police Ballroom. They also had a residency at the Lutterworth Working Men's Club for 12-18 months on a Wednesday evening.







The ZODIACS were also formed in 1959 by singer Maurice Redhead and Nigel Lomas. Also in the band were Terry Wyatt and Graham Peace. Maurice and Nigel had met at a rock n roll club during 1958 called The DRUMBEAT CLUB on Lockhurst Lane railway bridge on the Holbrooks side. It was a cellar club beneath a coffee bar. Nigel would get up and sing there and have an occasional go on the drums. ‘The only people I remember who also performed there were Mick Van de Stay a singer and guitarist Jim Smith’. At this time there were only a few coffee bars that had music. The MILANO on Radford Road and, The DOMINO Gosford Street were 2 of them. In 1960 When Eddie Cochran appeared at the Gaumont Cinema during Jan 1960, he actually called in at the MILANO after the show. The Zodiacs, incredibly, still perform today.

                                                        Zodiacs 1964 Memorial Hall 


Johnny Ranson and the Rebels were formed during 1960. The band included Rick Lee on vocals, John Miles and the Kerrigan Brothers Joe and Andy. Sadly Rick recently passed away. The Rebels played venues such as The Co-op club located at the Forum on Walsgrave Road and the GEC ballroom.

The Atlantics were also formed during the very early 60’s and this band included Johnny Martin on vocals, Don Kerr, Mick Calcott, Eddie Milton and Tony Chambers. Also future members of The Sorrows Phil Packham, who had by now left The Vampires, and Pip Witcher performed at some point with The Atlantics.

The Atlantics


Nigel Lomas takes up the story: I played drums for the ZODIACS from 1959-1962. The venues we played included; Collycroft Club Bedworth most Thursdays, Newdigate club Bedworth most Tuesdays, St Georges Hall Nuneaton most Saturdays, the Ritz cinema Longford on the odd Friday night or Sunday afternoon, the Stag and Pheasant Lockhurst Lane Sunday Lunchtimes for about one year, maybe more I cannot remember.

Other groups sharing the bill during these times were: Vince Martin and The Vampires, The Atlantics, who played at the DOMINO coffee bar Gosford Street, Johnny and the Rebels, Max Holliman and the Guitarnos who were from Nuneaton.

I left the ZODIACS in 1962 and was replaced by a very good drummer called Ron Cooke. Within one week I had replaced him in his group The FREEMEN who, at that time, were the highest paid Coventry group due to being the resident house band at the GENERAL WOLFE HOTEL and by playing four nights a week their.

The FREEMEN were Ray Kelly: piano, Johnny Goodison: vocals, Dick Morden: lead guitar, Mick Calcott: bass and Nigel on drums. Sadly Johnny and Dick have both passed away. Mick Calcott was replaced by Colin (Olly) Warner in 1962. Nigel and Olly had both been together in The Zodiacs. (Olly had replaced Graham Peace)

By April 1963 the then manager of the Orchid Ballroom (now the KASBAH) Larry Page had spotted the band. He arranged a recording test for us and as a result we became the FIRST Coventry group to have a record released titled "SCHOOL IS IN" on the DECCA label 6th Sept 1963. On the 13th Sept 1963 we had another release but this time backing the three girl Coventry harmony group THE ORCHIDS. Their record being titled ‘’GONNA MAKE HIM MINE’’ and this was also on the DECCA label.

During July 1963 The Freemen had changed their name to JOHNNY B GREAT AND THE GOODMEN and added three sax players to their line up. They became the resident house band at Nottingham Locarno and were employed by the MECCA group. However they were told that if they did not stop the release of their records then they could not be on contract to them. So they then left the Locarno sacked two of the sax players and did a series of one night stands covering most of the North of England often meeting up with the Rolling Stones and the like. This lasted with one or two line up changes until the end of 1964 when Johnny Goodison (B Great) decided to go solo and try his luck in London, which was to prove to be a very successful move for him.

As I mentioned, by the end of 1962 the activities of the Coventry music scene was now being given greater coverage by Andy Anderson alongside the music scene at a national level. 1963 saw record releases by likes of Beverley Jones and Johnny Washington and these were being given ample promotion and the Twang Dance era had already got underway with regular gigs at place like The Orchid.

But hopefully I have gone someway at adding a bit more meat to the bone with regard to a small but very important area in Coventry’s music history.

Pete Clemons

26 August 2011

issue 2 – 30 August 2011

Tuesday, February 2, 2021

Ike and Tina Turner - Coventry

 

Ike and Tina Turner - Coventry
by Pete Clemons



Toward the end of 1966 The Rolling Stones set out on a UK concert tour. The opening acts were The Yardbirds, Peter Jay and the Jaywalkers and, on their first British tour, the Ike and Tina Turner Revue complete with the Kings of Rhythm Orchestra and The Ike-ettes. They were described at the time as, one of the most exciting rock and roll shows ever to hit Britain.

It was The Rolling Stones themselves who had offered Ike and Tina Turner the chance to be one of their opening acts, having seen the Revue while touring in the States. It also gave the pair the opportunity to book additional concert appearances and tours all over the UK, Europe and Australia where they attracted large audiences.

To coincide with their British tour London records released the Phil Spector produced 'River Deep-Mountain High'. Recorded late 1965, and later released during mid 1966 in the UK, 'River Deep-Mountain High' failed to become a hit in the United States. However, in Europe it was a totally different story as it became a massive hit, reaching the top 3 in the UK.

It was quite a coup for The Rolling Stones as the arrival of Ike and Tina Turner made the front pages of the music magazines. Their agent, Tito Burns, confirmed the tour during July 1966. At that time the pair were riding high in the charts with their single 'River Deep-Mountain High'. He mentioned that, in addition to the concert tour, the Revue would also be completing several other personal and TV appearances while they were here.

And one of those additional concerts, scheduled during free time from The Rolling Stones tour was at the Locarno in Coventry. As far as I can determine the set list included 'River Deep-Mountain High', 'Shake', 'A Fool In Love', 'It's Gonna Work Out Fine', 'Please, Please, Please', 'Goodbye', 'So Long', 'Land of 1000 Dances', 'Tell the Truth', 'I Know (You Don't Want Me No More)', 'Something Got a Hold On Me', 'You Are My Sunshine'.

The fact is that despite their popularity in Europe Ike and Tina Turner had been making quality music for at least six years with no success back home. According to Ike Turner, they had been trying to get across to the UK for a couple of years but was not comfortable to until he was sure he could bring the whole Revue.

During an interview while in the UK Ike Turner mentioned: 'I wouldn't have come till I was sure that I could bring along all of the act. It would have been no good just Tina and me coming here. I didn't want to be a let-down act, I don't even know how we all managed to get here, but here we are'. Ike also confessed that the Revue did not rehearse very much. Yet, despite that, he mentioned that they still managed to sound close to the record while on stage.

The audiences appreciation of the bands sound stunned Ike and Tina Turner. And, following the visit, the band returned to the United States in high demand despite never having had a hit record there. Of course, that all changed, as the pair went on to win a Grammy Award as well as being inducted into the rock n roll hall of fame during 1991.



Wednesday, January 27, 2021

An Empty Box

 

An Empty Box

by Pete Clemons



The build up to the release of this album seems to have taken an age. Although, to be fair, 'The Future Bites' was written and completed long before Covid 19 took hold. Through no fault of Steven Wilson, it has been the pandemic that has played its part in the albums long delay. But it is now almost upon us and the reviews of the album, so far, have been very encouraging and incredibly positive.

The theme for 'The Future Bites' questions commerciality, and I found myself ordering the box set. But the longer the delay ensued and the release date was put back I found myself recalling a very early Porcupine Tree tune called 'An Empty Box'. No idea why. I maybe guessed that Steven was being mischievous and maybe, in some way, he was going to have the last laugh on us. Those with long memories may remember the spoken sequence, a fictitious interview, at the beginning of the track:...............

'You did mention recently in an interview with the New Musical Express that you were considering issuing a box. Unreleased demo's, psychedelic jams that kind of thing.

Well the thing is, at the moment and the way that the money is going, I think that the box is as far as we get – an empty box. Which seems fairly unwise at the moment'.

As it turns out, the box set is far from empty. Musically there are plenty of surprises in it. I'm not sure if there are many left. If you want one to listen to, and not just to own, do not regret missing out on the chance to buy it.

In addition to commercialism, 'The Future Bites' has also investigated what the internet has done to us as consumers. Inadvertently, this album, via the internet and social media, has drawn out of us, some of the funniest and strangest reactions that I have ever come across.

An angst and a furor, rarely heard or seen since Bob Dylan and T. Rex went electric or The Beatles and Abba split up, has built up on the various social media sites during the period that the album was on hold. Steven Wilson has got it absolutely right when it comes to the album's subject matter. From being a closed, and rather private society, we now appear to be more than happy to reveal our most personal of details and our innermost nature.

During the 'To the Bone' tour, which lasted 14 months, the touring band racked up 145 concerts taking in over 30 countries and over 100 cities around the world. In hindsight, the more electronic nature of this album was hinted at during that last tour. And recently, Steven Wilson is quoted as saying that, 'for the first time in my life I actually wrote something topical to our current climate'.

Another twist is that Steven has even managed to recruit Elton John to guest on the album. Elton was involved on the track Personal Shopper. He does the monologue towards the end of the track. And it is true what Steven says, in that we sometimes tend to buy stuff for the ownership of it rather than for what it is intended for. Such how the algorithms have seeped into us.

Steven Wilson has been doing what he does within his world of music for majority of his life. Additionally he has been recording, releasing and touring music for the last 30 of those years. He is astute and clearly thinks about the wider business. In terms of career length he has far surpassed many of his contemporaries. And, despite that, he still wants to release music of value and worth. So it is only fair that if he says that he has done all he can with guitar based music, and wants to explore other avenues, then we need to respect that.






Wednesday, January 20, 2021

When Mothers Club Came to Coventry

 

When Mothers Club Came to Coventry
by Pete Clemons




Mothers Club in Erdington was one of the first of its kind outside of London that really meant anything to the music fan. When it opened as the Carlton during 1963 its aim was 'to provide live music and regular dances for the burgeoning teenage population'. And that policy continued when it was renamed Mothers during 1968. Occasionally dances would move to places like the Town Hall in Birmingham. A Mothers themed night was added to the Lanchester Arts Festival of 1970.

King Crimson were supposed to have headlined the evening and, even during mid January 1970 within a fortnight or so of the event, they were still being advertised in the national music papers and local press. But instead, and at very short notice, they were replaced on the bill by Danny and the Heart-throbs. The rest of the bill was completed by Free, Yes, Mott the Hoople, Atomic Rooster.

For that downstairs main hall gig social secretary, Bob Jones, did a lot of hyping for Danny and his Heart-throbs in 'Lanch' bulletins with a backstory saying they had come over from the USA. And it seemed that many bought it. But in reality it turned out that several local bands combined to put together Danny and the Heart-throbs. And they lasted for just two gigs.

The idea for Danny and the Heart-throbs came from future Indian Summer bass player Malcolm Harker. He drafted in band mates Brian Whittle on sax and Paul Moreton from Ultra Sound. Completing the band were sax player Tim James, guitarist Steve Cottrel, Bob Jackson on keyboards and Paul Hooper on drums. Paul Morton took on lead vocals as Danny. There was also a great boogie woogie piano player and a brass section. To give the band an image Malc had them all dress in drape coats, bootlace ties and brothel creeper shoes.

The first gig was at the 'Lanch' in a top floor room, for a Freshers party, where, as a result of this gig, further live music was banned. The crowd were so enthusiastic jumping around to the rock n roll - which was pretty much a novel genre at the time - that they cracked the floor/ceiling so no bands were allowed to play upstairs after that. That aside, the band were invited back again because they had gone down so well. The second, and final gig, was as part of the main Lanchester Arts Festival and Danny and the Heart-throbs went down an absolute storm with a set made up of tunes like 'Rock Around the Clock', 'Heartbreak Hotel', 'At the Hop', 'Summertime Blues', 'Shakin All Over' and 'Lucille' to name a few.

The event was reviewed in a national music paper as follows: An odd sort of evening at Mothers, the Birmingham 'heavy' club, as Friday's contribution to the Lanchester Arts Festival.

No really popular groups, and last act of the evening, so presumably top of the bill, was a last minute addition, local group Danny and the Heart-throbs. Unheard of outside Birmingham, Danny and his boys do a rock 'n' roll set which is a send up of the whole scene, black leather greasy hair and all, although the music is a straight laying down the line of what rock is all about.

Free were on before Danny's mob and played a predictable set including the popular 'Woman'. The crowd loved them and gave them the accolade of being the only group of the evening to be asked to do an encore. Much better live than on record, Free had the audience on its feet with a mind blowing ear splitting set.

Yes, possibly one of the finest live acts in the country, seemed a little out of their depth and got something of a cool reception until they moved from their sweet music on to some more pounding material.

I asked Paul Hooper for his memories of the gig: We did it as a spoof joke but in fact, had we kept it together, there may well have been potential for real success as was proved a little later on by Showaddywaddy amongst others..but we didn't take it seriously. Because we'd done a gig shortly before upstairs in the Lanch, and bought the house down, I do recall Chris Welch giving us rave review in Melody Maker. Perhaps we should have stuck with it eh?

Bob Jackson agreed: We went down a storm. I was in drag along with Paul Hooper. So it was a wild night!! It was packed in there and I got pulled off the stage by my ankle onto the floor. I had a shift dress on but that was all. You've never seen anyone move so fast to get back on stage. It was a winning formula.

Thanks to Bob Jackson and Paul Hooper for their help with this article.

PS Pete Clemons adds "the Danny gig was at the point where Malc Harker got to join Indian Summer. Steve Cottrel was still guitarist and he left shortly after, making way for Colin Williams as lead guitar in Indian Summer.

Indian Summer above  Colin Williams, Malc Harker, Paul Hooper, Bob Jackson