Adam and the Ants – Tiffanys

 

Adam and the Ants – Tiffany's

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

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

And Coventry band God's Toys.

THE CLASH - TIFFANYS 1980

 

THE CLASH - TIFFANYS 1980

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

John Mayall at Warwick University

 

John Mayall at Warwick University

by Pete Clemons

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

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

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

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

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

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

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

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

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

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW.

BY Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

The Dirt Road Band at the Arches. Midsummer Madness (fun in the sun)

The Dirt Road Band at the Arches. Midsummer madness (fun in the sun)

by Pete Clemons

https://dirtroadband.bandcamp.com/ Listen to their music here 

Line up

STEVE WALWYN (Guitar/Voc)

Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red

HORACE PANTER (Bass)

The Specials - Number One Hit `Ghost Town`

TED DUGGAN (Drums) Banco De Gaia,

Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.

This is not so much a review of the gig. I have done that on previous articles and do not want to simply repeat that process. This time I have just focussed on a few of the amazing songs they played.

The blues is both a musical form and genre. It gets its name from its original association with melancholic subjects and sounds. For example when we have the blues we are, in general, feeling sad. However the blues, as a genre, has developed to addressed other subjects and emotions. It has also adopting a wider purpose of chasing away those blues away using music as the tonic.

Historically, as the blues developed, it encouraged a series of sub genres to develop including blues rock and country blues. Further, the blues can be defined by their development in certain a place such as Chicago Blues and Delta Blues.

In their quest to develop a rarefied set list all these areas appear to have been explored. The obvious example is the song where the Dirt Road Band get their band name from. Charlie Patton and his Down the Dirt Road Blues. DRB have taken this song, sprinkled their unique ingredients, and given it, and many others, a complete overhaul. Delivering them in a fashion that boosts, enhances electrifies and with a touch of venom.

Goodness knows when Down the Dirt Road Blues was written but according to the archives it was recorded during sessions during June 1929. It is a really interesting track as it contains fascinating use of different rhythms. You do wonder, given the tools available during the 1920s just how Charlie got to beat his guitar and play it at the same time. The lyrics on the original tune are difficult to decipher. But someone has had a stab at it and those appear to be the ones adopted.

Farther on up the Road or Further on up the Road was believed to have been written by Joe Veasey. It was sold to Duke Records whose owner took a share of the song writing credits. But it was during 1957 when first recorded by Bobby Bland. Covered by many artists it features guitar playing that represents the transition from 1940s blues playing to the heavier blues rock style of the 1960s. Personally I absolutely love the Roy Buchanan version.

Laundromat was the opening track from Rory Gallagher's self titled debut album. It quickly became a firm favourite and a staple of his live shows. The song also appeared on a number of live albums. Laundromat was written during the period between Gallagher leaving his band Taste and going solo - so to speak. It was inspired, by all accounts, by a public laundromat in Earls Court close to a bedsit he was in at the time.

Credit to for support band the James Oliver Band. Growing up I remember we had a sideboard sized gramophone. A lot of their set contained tunes from those days. As such they stirred the soul several times bringing back many happy memories. Accelerated versions of Wipe Out, Roxette, Walk Don't Run, Misirlou were dispatched rapid fashion.

Dua Lipa from Glastonbury or The Dirt Road Band at the Arches. A tough but on reflection no  competition.

STEVE WALWYN (Guitar/Voc)

Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red

HORACE PANTER (Bass)

The Specials - Number One Hit `Ghost Town`

TED DUGGAN (Drums) Banco De Gaia,

Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.

about

Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

THE SUPERNATURALS

Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

By Pete Clemons

June 1985 – The story went that a band named 'Two People', actually there were five of them, pulled out with flu. Fortunately at the same time Pauline Black, ex-Selecter, happened to wander into the union office, and her then current band, The Supernaturals, were booked.

Pauline Black’s rock steady vocals have now given way to an abrasive upfront, sometimes obsessive, sometimes monotonous rant. The impression created was of an experimental band putting itself through its paces, while searching for an identity.

At times the band appeared almost mentally detached from the audience. Admiration of the dynamics of the Whipround being reduced to an appreciation of the technical professionalism of the musicianship as opposed to danceable excitement.

The Supernaturals' might have expected more from the onlookers, the bands fault? Or the typical reaction of statuesque student audiences? Answer was probably both.

Inspiring enthusiasm is not Pauline Black's forte, the audiences contribution in what should be a two way relationship was also minimal.

Early 1986 - Pauline Black is back with her new band The Supernaturals. She has long since left behind the ska beat of The Selecter and her rock steady vocals have evolved into an abrasive upfront rant. The Supernaturals, at Warwick Uni last year, were described as 'an experimental band, putting itself through the paces, while searching for an identity.'

It is to be repeated that, at times, the band appeared detached from their uninspired Whipround audience. Their music as technically perfect but little excitement was generated. It is expected after some time out, the band will have found their identity and enthusiasm. Curiosity alone will probably draw some of you to the Belgrade on the 12th, which is no bad thing. In the words of Mr. Elvis Costello ‘Curiosity didn't kill the cat, it was some poisoned milk.'

Pauline Black - Vocals

Everett Morton – Drums

Zip – Bass

Tony White - Guitar

Dave Gedney - Guitar



Pauline Black - Vocals

Rob Hill – Drums

Ray – Bass

John Shipley - Guitar

John Greenhow - Guitar

A rare live audience recording of The Supernaturals; a band from Coventry with strong 2 Tone connections, featuring both Pauline Black (ex- The Selecter) and John Shipley (ex- Swinging Cats and The Special AKA) in their line up. This is track 6 from their gig in Aylesbury in 1986. An excellent article on John Shipley's career can be found on the link below which also includes further information on The Supernaturals.

Away - cover of Swinging Cats number.

Fish Gotta Swim

The End

More youtube by the band on this channel

https://www.youtube.com/@mangeire

The Supernaturals 1985 -86

BACK TO THE BAND INDEX

Pauline Black – Vocals

Everett Morton (The Beat’s old drummer) – Drums replaced by Rob Hill

Zip The Bassman – Bass replaced by Ray, a bass player from Rugby

Tony White – Guitar

Dave Gedney (“That boy gets everywhere!” – Tony)

John Shipley – Guitar (2nd Line-up)

John Greenhow (2nd Line-up)

Memories from Tony White via Rex Brough

“The first line-up supported Joe Boxers on tour. The second line up really rocked. NME described us as playing ‘Guitar-based underwater spy-movie music’ I really enjoyed this band – we supported The Communards on their UK tour in 1986 and played some great gigs around the country.

There was a lot of Press and record company interest in The Supernaturals at that time – closest that I personally ever got to ‘making it’ but it wasn’t to be. John Shipley and Pauline fell out, everybody took sides and it got a tad nasty. God I really hate all that political nonsense. Upshot of it was that a new band emerged from the ashes called The Great Escape – Val (Ex swinging cats) was drafted in as lead singer and Barry (Rob Hill’s old partner in rhythm from The Mix) replaced Ray on Bass. The new line up was now Val, Myself, John Shipley, John Greenhow, Rob Hill and Barry.

The Great Escape actually played some corking gigs in Cov in early ’87 but finally split with myself Rob and Barry going over to the French Riviera where we played the English Campsite bars as Ted Zeppelin and the Marina Maniacs !!

I have to say that this was amazing fun, and actually earnt more dosh than any of us had ever seen from music before ! https://www.artsrainbow.com/coventrybands/2019/03/28/the-supernaturals/

ENS to Reluctant Stereotypes

 

ENS to Reluctant Stereotypes

by Pete Clemons

Pete Clemons - Any research on Coventry band The Reluctant Stereotypes may well result in you seeing the note 'morphed out of ENS' or similar. Rarely is it expanded on.

But who or what was ENS?. To begin with, musicians including Paul Sampson, Steve Edgson, Peter Bosworth, Paul Brook, Steve Haddon and Chris Dunne were involved at some point. But that list is not exhaustive and others may well have passed through the band.

Trev Teasdel Hobo site editor - Stop right there. I think I can fill in here! Let's expand - (we'll come back to Pete's article)

Steve Haddon wrote "Ens was formed by Pete Bosworth (guitar - brilliant John McLaughlin look/sound-alike) and myself (Steve Haddon). 

The original bass player didn't turn up for our first gig (at The Golden Cross) so he was ditched! Our first drummer was Johan (can't remember surname) who played the working men's clubs in a drums/keyboards duo. Johan's commitments made it difficult for us to fit in gigs, so he was replaced by Paul Brook. Paul came to our first audition but was still playing in another Coventry band (Analog) along with Steve Edgson & Mick Hartley, so despite him being brilliant, he couldn't join because of this commitment. When Paul Brook joined, we also gained Mick Hartley (Bass) and Steve Edgson (Clarinet) - actually Steve Edgson may have joined before the other two! Paul Brook still found it difficult to give us 100% of his time and, eventually, this led to us replacing him with Chris Dunne - our 3rd brilliant drummer in a row.  Sadly Pete Boswell died and was replaced by Paul Sampson. Pete Bosworth made a huge contribution to Ens and it really wasn't the same without him - so the name was changed to the Reluctant Stereotypes mark 1 before Paul King replaced Paul Sampson."

Trev Teasdel " Yes Steve Haddon is right the core of ENS came out of Analog but who were Analog? I can help here - summer 1974 I was producing Hobo Coventry Music and Arts Magazine and got a letter from guitarist John Rushton telling the magazine about Analog - the letter began -

"Hi Trev, I thought you might like some details of a new and truly original Coventry rock band to include in your mag - Hobo." 

And yes we did include the band and their details in Hobo summer 1974 issue and then gave them their first gig at the Hobo Workshop Holyhead Road Youth Centre in Coventry in the July and and another in September 1974. Bear in mind at this time Charley Anderson etal and Neol Davies were practicing their reggae licks in the basement downstairs some years before the Specials formed there.

Analog's line up was Mick Hartley - bass, Steve Edgson guitar / clarinet / Paul Brook drums (double kit) and vocals  / John Rushton lead guitar and backing vocals. They band were a jazz / Rock band influenced by bands like Colosseum. Paul Brook had written a 40 min suite called Custer's Last Stand which they recorded at Bird Sound Studio, Snitterfield. You can listen to these suburb tracks here - and bear in mind three of Analog went into Ens and later the early Reluctant Stereotypes.

JARGON · Analog {Coventry Band 1974} feat. Paul Brooke [Drums] ARCHIVE

https://soundcloud.com/jargon-1/sets/analog-coventry-band-1974-feat?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Analog at the Hobo Workshop Holyhead Road Youth Centre September 1974 from the Coventry Journal.

John Rushton's letter to Hobo Magazine July 1974

So now, back to Pete Clemons and ENS

Pete Clemons - I for one would like to know what the acronym ENS stood for. But, I think, it would not be unfair to describe ENS as something of an experimental art rock band. They were certainly avant-garde and had a style of their own.

In fact ENS once won the Melody Maker folk/rock area finals competition. In hindsight, the problem for them was that they won this contest and flourished during 1977. A time when the country was not quite in the right frame of mind for innovative and forward thinking music.

During 1975, as far back as I can trace any of their history, ENS were described as a 'bona fide university band' and 'worth a glimpse' as they were announced as support to Savoy Brown who had guitarist extraordinaire Kim Simmonds in their ranks. Also on that bill was Jet who were described as 'an up and coming Sparks/Queen outfit'.

However I am guessing that ENS were maybe more at ease when, during 1977 they supported Henry Cow, a band who were trying to break free of all possible barriers to their music.

In, just short of 2 hours, five pieces of music of music was performed by Henry Cow. The shortest of them was the Lindsay Cooper tune 'No More Songs' which was dedicated to Phil Ochs. They played four long pieces, two of which were called 'Beautiful As An Army With Banners' and 'Living in The Heart Of The Beast'. The other two pieces were simply unannounced.

The gig had certainly been an evening of drama. Henry Cow had attempted to step outside of all that had been considered 'the norm' and simply experiment. With an audience that had a sympathetic ear, ENS had , without question, been received extremely well. But if ENS had felt like they were on a high, sadly it was not last.

Early 1978 saw Warwick University put on free entertainment in the Union Building. As it turned out it was an unfortunate example of student misbehaviour as ENS came in for criticism by those who considered them to be a 'bad band who could not satisfy their unruly inclinations'.

To be fair it was a sign of the time as it merely showed that some gig goers of the day lacked musical appreciation as well as etiquette.

Audiences had lost there way and had quickly forgotten that there was still music outside the realms of heavy rock and sniff rock. And ENS were more than competent to play their type of music.

It was unfortunate that those who were interested in listening to quality music had had their enjoyment spoiled by those who felt that they should voice their disapproval of the whole event.

Afterwards it was mentioned that 'One thing was certain, ENS won't play at Warwick University again unless we pay them 'danger money!'

Thankfully we have changed and, today, we seem to be more open and receptive to many different styles of music.

....

No audio of ENS but this is the early Reluctant Stereotypes with Paul Sampson on vocals before Paul King took over on vocals.