A chat with John Coles - A Coventry Music Photographer and More

A chat with John Coles - A Coventry Music Photographer and More.

by Pete Clemons

John Coles started out as technician with the influential Coventry Silk Disco in late 60's to the 70's and then flourished as a Two Tone and music photographer and more.....

John Coles

http://www.johncolesphotography.com/

In life, you come across folk who claim to have done it all, yet in reality, have done very little. And then you come across those who have indeed done it all, yet say very little about it.

For me, and in terms of gig going, photographer John Coles certainly falls into that latter category. Admittedly, he hasn’t done everything, but there is little doubt that he has been to more gigs and music related events, over the last 50 years, than most.

John always mentions on social media, where he is going and what he is going to be doing. And we all love to see the resulting images.

But I have been aware of John for over 40 years now. I remember him from his days

working in Virgin Records. And I certainly remember seeing him at gigs I attended during that time.

In lieu of some kind of book of his work, which he really needs to do at some point, I figured that John has a lot of important memories that needs to be documented. So he kindly sat down with me while I attempted to tap into some of them.

I began by asking a non-question really……………

I won’t even ask you how many gigs you attended but it must be thousands: - to which John answered ‘yes’.

But then I started to probe a little……………

What was the first ever gig you attended and what year would this have been?: - ‘The Overlanders at the Royal Show 1962/63. I was only 8 or 9 and I remember that they played Michelle’.

What was the first ever gig you photographed at and what year would this have been?: - ‘Black Sabbath at Coventry Theatre June 1974 with a Zenith E camera’.

Do you have a favourite music photograph?: - ‘That would be from the AC/DC lock up your Daughter tour at Bedworth Civic Hall 1976’.

Of the thousands of gigs you attended which one, locally, sticks in your mind the most?: - ‘Queen Coventry Theatre 1975. My favourite ever gig would be Coldplay at Wembley’.

What other memorable gigs did you photograph at?: - ‘Dr Feelgood at Coventry Theatre, punk and new wave bands like The Clash, London, The Jam, The Stranglers, Sham 69, The Damned all Tiffany’s. In fact at The Clash gig at Tiffs it was during the sound check in a totally empty room……Thin Lizzy at Mr Georges, Status Quo at Coventry Theatre, The Groundhogs at the Lanch, The Selecter at the Lanch. Also I remember The Selecter at a venue I cannot remember the name of but characters like Buster Bloodvessel were up on the stage dancing. The Funboy 3 at the Lanch. When Queen appeared at Coventry Theatre I photographed them in black and white during their first visit and colour the second time they played there. The Who at Charlton Football Ground’, and so the list went on.

John used to work at Virgin Record between 1976 and 1982. I remember him and Brad behind the counter where I would buy records and gig tickets. During our chat John revealed that he used to take the ticket money from Virgin to the venue for whatever gig Virgin were selling tickets on behalf of.

Working at Virgin, and through his photography, obviously gave John access to memorabilia. Again I asked a bit of a non-question. I won’t even ask you how much memorabilia you have but it must be tons: - ‘Yes tons’. 

John Coles was with Silk Disco in the late 60's and 70's featured on this new book about Coventry

What is your favourite piece of memorabilia?: - ‘A Sex Pistols signed poster from Mr Georges’.

You also worked with a few bands selling merchandise etc. Who was this for and when?: - ‘Thin Lizzy and Sham 69 spring to mind. I cannot remember the exact years but I do remember that you had to get yourself to Earls Court in London in order to collect the merchandise. My first official tour with a band as photographer was the 2 tone tour of 1979. I also worked with The Selecter on their first photo shoot. This took place under the ring road and was just 4 days before their first tour’.

Even today you are as keen as ever to capture bands in action?: - ‘Yes more recently I have photographed The Specials at the Ricoh in 2009 and also at Cheltenham Racecourse. And again, when The Specials played the Alexandra Palace where I was just one of 50 photographers all vying for space. And then there is the Godiva Festival which I really enjoy doing’.

From the 1970s and 80s your photography seems to have extended to weddings and functions. How did that happen?: - ‘The first wedding I covered was in 1993 as a favour. It is quite an undertaking and carries a great deal of responsibility!. The functions, particularly the Rugby events come from a company called Under the Posts who specialise in sporting and celebrity dinners and lunches and also charity events. These too, come with responsibility’. 

John Coles with John Bradury of the Specials with the Coventry Virgin Records plaque.

Finally I concluded the questions with a couple of quick fire one………

Do you have a favourite ever photograph: to which John answered: - ‘To hard’.

What motivates you John?. You always seem to be on the go, you never seem to stop: - ‘I just love taking photographs’.

I must say that I really enjoyed my chat with John. I know from personal experience, just how difficult it is to remember events from so long ago. So it wouldn’t surprise me in the slightest if new memories come to light. I feel I just managed to scrape the surface. I will finish with one of the last questions I asked. And that was, are you ever going to retire?: - ‘When the time comes’ was John’s excellent reply. 

Above and below - two fabulous photos taken by John Coles from his website - Selecter and the Specials live.

More can be seen on his website.

http://www.johncolesphotography.com/

Steven Wilson – Warwick Arts Centre

Steven Wilson – Warwick Arts Centre

by Pete Clemons

The last time Steven Wilson appeared live in Coventry was with his band Porcupine Tree. This was during April 1995 when they played at the General Wolfe pub. Prior to that there only other visit was to the Tic Toc (or Antics, as it had by then known) in December 1993. The Antics gig, came just a week after Porcupine Tree’s highly impressive debut, at the Nags Head, High Wycombe.

And my how things have changed over the intervening 20 odd years. Porcupine Tree has been on hiatus for several years now. Yet despite that Steven has just gone from strength to strength.

Today he is more than capable of selling out venues like the Royal Albert Hall as were the Porcupine Tree on their final tour. But, believe me when I say, that it has not always been like that. To get to this position was far from an overnight success story. This has been the accumulation of 30 years of incredibly hard graft and self-sacrifice.

Tonight, Steven is showcasing his critically acclaimed 5th album release, ‘To the Bone’, at the Warwick Arts Centre, but that album does not wholly dominate. And he is received by a good cross section of people. It was heartening to see a lot of relative youngsters in the house.

A brief introduction of 1920/30s music accompanied by a film that kind of played mind games with you, opens up the proceedings. This in itself is quite thought provoking and designed to tap into the senses and to ‘gauge reaction’.

Enter the band that appear to be relaxed, confident and yet determined as, seamlessly, they slip into ‘Nowhere Now’ followed by the haunting yet beautiful ‘Pariah’. These first few songs were combined with some impressive use of technology. We are then reminded as to how good Steven’s last album, Hand.Cannot.Erase. really is.

Throughout the two sets and getting on for three hours on stage the extensive Porcupine Tree back catalogue is not forgotten. Tracks like ‘Arriving Somewhere but not Here’ and ‘Sleep Together’ create a wall of the most glorious sound you will ever hear.

Steven came across, to me at least, that he was in a good place right now. But he is still prone to reacting to what people think about his music. Permanating, for example, was preceded by a lesson in pop music. Now I find Steven to be very articulate and very interesting to hear and read. And it was actually a very informative chat about pop music and what the magic of it all means to him.

Despite that, however, I have never been convinced that the live stage is the right place to do it. Apart from the odd voiced ‘get on with it’ I do think that folk accept, nowadays, that Steven will not sit on his laurels, he will challenge himself as well as his audience. And that he genuinely enjoys exploring every aspect and corner of the music world regardless of the results. And if people don’t get that by now then they never will. Steven, in my opinion, does not need to explain himself.

Throughout the gig, and by stealth, Steven paces around the stage appearing, at times, to support and encourage the various musicians to go beyond where they have been before. Without doubt, whatever band Steven puts together, and you need to be at the top of your game to be considered in the first place, he just seems to motivate them to go the extra mile. Some of their soloing is just exquisite and from the musician’s point of view, it must be equally satisfying to be able to be able to perform at such a high standard.

It certainly paid dividends from where I was sat as this really is was an aural experience that the Butterworth Hall, I am guessing, has rarely hosted. It was an extraordinary gig that, at times, left you breathless.

The Beverley Martyn Story

The Beverley Martyn Story

Pete Clemons

But first a little Intro...

Beverley Martyn (born Beverley Kutner on 24 March 1947), singer, songwriter and
guitarist. Beverley was born near Coventry and fronted The Levee Breakers, a jug band who played the folk circuit in south east England. At the age of 16 she recorded her first single. "Babe I'm Leaving You", released on Parlophone 1965. Martyn was then signed as a solo artist to Deram. In 1966 she released a single, "Happy New Year" (b-side "Where The Good Times Are"), written by Randy Newman, on which she was accompanied by Jimmy Page, John Paul Jones, Nicky Hopkins and Andy White. "Happy New Year" was chosen, together with "I Love My Dog" by Cat Stevens, to launch Deram as the progressive branch of Decca Records. She also recorded an unreleased single in the same year, "Picking Up The Sunshine" / "Gin House Blues". These last two tracks also featured John Renbourn and Mike Lease. During this period she was taught the guitar by the folk guitarist Bert Jansch who also encouraged her songwriting. Her follow-up single "Museum", written by Donovan was released in 1967, produced by Denny Cordell.

Closely involved with the folk scene, she met Paul Simon who invited her to New York where she contributed to the track "Fakin' It" on the Simon & Garfunkel album Bookends on which she says in the middle of the song: "Good morning, Mr Leitch, have you had a busy day." She later appeared at the Monterey Pop Festival on 16 June 1967, as did Simon & Garfunkel.

Of course, by 1971 she was the wife and musical collaborator of John Martyn....The Beverley Martyn Story - by Pete Clemons

https://www.amazon.co.uk/Sweet-Honesty-Beverley-Martyn-Story-ebook/dp/B007HT1CAY

When you read a book, and I am referring more to bio’s and autobio’s, your mind tends to form opinions about those involved. And those opinions can go in a number of directions depending on, I guess, any preconceived notions you had in your mind, about those involved, in the first place.

You need to keep in mind that you don’t actually know the people involved and, as such, so you don’t get totally skewed by any preconceptions. It can be, understandably very difficult, to keep an open mind. So try your best to take these things at face value.

And this little ramble came about as I began to write a few words about a book I recently read, ‘Sweet Honesty’ - The Beverley Martyn Story ... as told to Jaki da Costa.

The first full chapter covers Beverley’s recollections of her early life up until she leaves Coventry, for London, in 1962 to begin a new life.

Beverley’s musical career in London began promisingly enough. She initially fronted the three piece band called The Levee Breakers. She would then sign to Deram Records as a solo artist - in fact her single ‘Happy New Year’ has the distinction of being the first single release on that label. 

Then, in 1967, Beverley would perform at the Monterey Pop Festival. During this period Beverley became associated with some of the greatest singer songwriters of that era. And all of this is covered in the book.

1968 saw Beverley meet, and less than a year later, marry John Martyn. They went to America, rented a house in Woodstock and even met Bob Dylan. Together the pair made some wonderful music. But then John’s solo career took over. 

It is quite sad, and at times rather shocking, to read Beverley’s revelations as to how, after such a romantic beginning, things quickly began to turn sour. I think it is fair to say that it was a tempestuous relationship. Their 10 years or so together certainly scarred Beverley for years to come. ‘It stripped me of everything, from my self-confidence to my career’.

Beverley does however acknowledge that it was a two way thing and that drink and drugs were at the heart of it all. But, as much as you don’t want to read it, the book does arouse suspicions that John was envious of Beverley’s early success and that he possibly used her as a springboard to launch his own career. With a divorce that dragged on for a further 10 years life, even after John, appears to be a continued struggle for Beverley.

Trying to get find some kind of balance, I looked up a reputable John Martyn autobiography. All those who knew John during those early years were quoted, all apart from Beverley.

However an alleged close family member disputes some parts of the story. In particular, the area that covers Beverley’s early years while still in Coventry. That person goes on to say that maybe the book should be retitled ‘Bitter Sweet Delusional Lies and Fantasies’.

As such Beverley’s life has been indeed contentious. It is full of emotion and, at times, pulls no punches. So it could also be that Beverley was simply lashing out. After all she is, largely, an unfulfilled talent. Having said that though, 2014 did see Beverley return to the music scene, with her excellent release titled ‘The Phoenix and the Turtle’.

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

From her book Sweet Honesty "I remember one  day I was playing around with a song about the ocean when Paul came into the room. Shortly after he wrote ‘Bridge Over troubled Water’. Did I inspire him? I hope so."

"Oh let the sea my troubles mend Let the sea
Let the sea
Let the sea my troubles mend."

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More about Beverley Martyn on the Hobo Coventry Folk Club Scene website here -

http://coventryfolkclubs.blogspot.co.uk/2014/06/beverley-martyn.html

Article by the Pete Chambers below....

Martyn Connection Comes full Circle at Arts Centre.

IT'S not a well-documented fact but Beverley Martyn, the folksinging former wife of the legendary John Martyn, was actually from Coventry.

She was born Beverley Kutner and she attended Broad Heath School. She went on to the Corona Academy of Theatre, where she became the front person for the jug band The Levee Breakers. At the age of 16 she released her first single on Parlophone, Babe I'm Leaving You. But eventually signed for Decca's progressive label Deram in 1966.

Known then simply as Beverley, her first Decca single was Happy New Year, followed in 1967 by a cover version of the Donovan song Museum; both are now very collectable.

She was taught to play guitar by the guitar supremo Bert Jansch. She would go on to perform at the famous Monterey Pop festival, being introduced by none other than Paul Simon.

She was a good friend of the shorter half of Simon and Garfunkel, indeed her voice can be heard saying "Good morning Mr Leitch, have you had a busy day?" on the track Fakin' It from Simon and Garfunkel's Bookends LP, (the comment incidentally is reputedly a diatribe aimed at folk singer Donovan Leitch). 

Beverley had been working for Joe Boyd's Witchseason production company, as had John Martyn. She met hubby-to-be John when he became her backing guitarist. John and Beverley married in 1969.

They signed to Warner Brothers in America, and Island Records in the UK, releasing the album Stormbringer in November 1970. It featured the drumming of Levon Helm from The Band and it was recorded in Woodstock.

The opening track, Go Out and Get, it featured on the legendary Island compilation LP Bumpers. Beverley wrote three of the 10 original songs including Sweet Honesty, a track that in 1970 a jobbing Elton John sang as a publishers' demo for the DJM catalogue. Many years later it was released as a bootleg as part of the Elton John CD, Songs of Nick Drake, the DJM Sessions Album.

The couple recorded one more album together, the jazz-influenced Road to Ruin in 1970. From then on Beverly gave up music to spend time to bring up the couple's children, although she did make the occasional appearance on John's albums. The couple separated in 1978. She toured Europe with the quirky Loudon Wainwright III, but it wasn't until 2001 that Beverley released her first solo album No Frills.

Despite a lack of commercial success it was well received, showcasing her pure and distinctive voice, (her son Spencer also features on it). Meanwhile the quite brilliant John Martyn continues to knock out classic records despite the setbacks of drink and drug dependency, marriage breakdowns and recently losing a leg.

That leads me to the concert at Warwick Arts Centre on May 19, of the man himself. John may be wheelchair-bound these days, and look nothing like his 1980s version. But he can still light up the stage with his presence. His voice remains unmistakable. Full of raw emotion, like tortured velvet, his unique voice and introspective songs combine to make a musical intensity like no other.

We were treated to many of his classic songs, handpicked from a body of work that stems back some 30 years. May You Never, Over the Hill, Bless the Weather and of course Solid Air were all present and correct.

John Smith, the support act, should also be mentioned, Devon-born John has a voice not unlike John Martyn, his guitar (and banjo) playing is of the maestro level. Playing the instrument at one point (during the song Winter) on his lap, tapping out a percussive beat on the body, while playing the strings dulcimer style.

He's certainly one to watch. Can I also say a big thank you to Arly Grove and to the crew at the Warwick Arts Centre who looked after me so well.

Pop Trivia - BEVERLY MARTYN

ON the song Happy New Year she was accompanied by half of what would become Led Zeppelin - Jimmy Page and John Paul Jones - and Stones part-time keyboardist Nicky Hopkins.

SHE appeared on the album cover of Bert Jansch's 1965 album It Don't Bother Me where she can be seen lounging in the background.

BEVERLEY has worked with names including Levon Helm, Dave Pegg, Davy Graham, Nick Drake, John Renbourn, Ralph McTell, Sandy Denny and Richard Thompson.

Pete Chambers 2007 from the Coventry Telegraph

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The Old Grey Whistle Test

The Old Grey Whistle Test

By Pete Clemons

Nowadays, music channels seem to be all over the place but going back to the early 1970s there were very few music programmes on TV to watch. Top of the Pops was an obvious exception, along with the odd late night arts programme. To watch music live you needed to go out and not sit in front of a screen. Nobody was catering for the growing progressive elements of the music business.

Then slipping in during 1971, almost unnoticed, came a TV programme called The Old Grey Whistle Test. Initially it was presented by Richard Williams, who had been a journalist for Melody Maker and who was keen to promote the importance of the serious music out there at that time.

From 1972, and at the invitation of Richard Williams, fellow journalist and radio presenter Bob Harris took over the show and, with his laid back style and nature, made it his own.

The Old Grey Whistle Test was ground breaking and experimental. It was also an educating programme for serious fans of music that had enquiring minds. The show played a wide variety of eclectic music, so diverse that it was rare when, I for one, fully enjoyed a whole episode. Artists such as Billy Joel and Bob Marley were given early exposure by the programme.

For the bands that played on the OGWT, they got the freedom to play live in an empty studio with no audience. And played back it was a simple, yet effective, visual style. None of the flashing lights or the crazy angle shots of Top of the Pops. Bands that played also received a ‘starkicker’ badge that they, almost all, wore proudly.

Not everyone played on the programme. You rarely saw the ‘major bands’ of the time. To promote, for example, the Led Zeppelin release of the Physical Graffiti album during 1975 you were treated to an obscure black and white dance sequence synced to the music of ‘Trampled Underfoot’ instead.

As the popularity of the OGWT grew it did have the odd special where they would devote a whole episode to a live gig in front of a studio audience. In addition, Bob Harris also took the show on the road for a few tours.

The mid 1970s explosion in the music scene that was known as ‘punk rock’ was initially

ignored by the OGWT, as it was by a lot of the media. And for that, the punk fraternity hated the OGWT. This hatred culminated on the day that the Sex Pistols signed for A+M records. Afterwards the band went to the Speakeasy Club where Bob Harris also happened to be. Bob was approached by the band and asked when he was going to have the Pistols on the OGWT. It was reported that Sid Vicious took a swing at Bob and that broken bottles had been involved. Apparently it was only for the intervention of the Procol Harum road crew that prevented the incident from getting any worse.

Soon after this incident Bob Harris stepped away from the OGWT and Annie Nightingale took over where she remained till 1982. Bob had been honest in his opinions but this fresh presenter suddenly brought the OGWT into line with what was really happening in the music world.

Suddenly the show had attitude and more classic performances followed but now by ands like The Adverts and Ramones. Famously, The Damned played ‘Smash it Up’ and did just that. Lots of the bands that had arrived with punk got exposure through the show such as Squeeze and The Police.

Annie Nightingale took the show into 1980s until she left to be replaced by David Hepworth and Mark Ellen.

New music shows like The Tube, and of course MTV, had begun to appear and the OGWT struggled to compete. Even a change of name to simply the Whistle Test failed to revive it. The show had lost its magic. Despite several changes of presenters the show was axed towards the end of the 1980s.

The legacy of the OGWT is legendary. It was original and, to this day, remains remembered with fondness. Although not complete its library of archive footage remains priceless. And it is the go to place when browsing for classic performances.