Freedom to Glide

Freedom to Glide

by Pete Clemons

Performing in a band that plays the music of Pink Floyd must be a daunting challenge. After all the fans of Floyd are no mugs and they wouldn’t forgive you if you did the band a disservice. But, to great credit, that’s exactly what Andy Nixon and Pete Riley did together for over ten years. They were both members of tribute band Dark Side of the Wall. In fact, Pete still is.

No doubting then, both Pete and Andy’s credentials as musicians. But more than that, between them, Pete and Andy have forged an even greater alliance. They formed a partnership known as Freedom to Glide and this enterprising pair are now on the verge of releasing the final album of what has grown into a trilogy.

Freedom to Glide took off during 2010. While waiting for the start of a Dark Side of the Wall gig both Pete and Andy chatted about the possibility of recording. And it kind of grew from there. Pete had a tune along with an idea for writing something based on World War 1. These embryonic ideas were formed around the concept of ‘Soldiers falling like rain on the battle field’. This instantly had Andy hooked and so sessions began immediately. Within a week or so acoustic guitar, drums and vocals had been added to Pete’s original musical theme. Not only that but Andy had further contributed with complete lyrics inspired by the ‘soldiers falling like rain’ quote from Pete. Further content was produced, and an album titled ‘Rain’ followed. Rain pt1 began as Pete’s instrumental demo. Andy then molded the arrangement into the song that it became. And that’s pretty much how the songs, that Freedom to Glide do collaborate on, are formed. They also write individually, for Andy more so as time has gone on, but still very much a team in terms of the final product.

Rain, released during 2013, was almost 3 years in the making. The album references World War 1 as well as showcasing a lot of their own talents and, given that the pair were performing in a Pink Floyd tribute, that influence is very evident.

The sessions for ‘Rain’ proved to be very bountiful with more than enough tunes written for its release. So, some of the tracks were shelved. It wasn’t as though the pair disliked any of the music produced. It just felt that some of the tunes were better placed than others to take their place on the first album.

Four songs that became surplus were used and developed for a second album release. And it was around this time when the idea developed that, in fact, this project could become a trilogy. So, rather than being planned, the whole concept evolved. A second album, ‘Fall’, was released during 2016. The reference point, this time, was a full century of war from 1914 to present day. The album itself is more song based and the pair felt freer to progress and to show more of themselves.

As far as distribution of the music was concerned, independent on-line record label ‘Burning Shed’ have been incredibly supportive. Fellow band member Ted Duggan, from Andy’s other band Badfinger, had also been drummer for Banco de Gaia. Banco leader Toby Marks knew Tim Bowness at Burning Shed. Impressed with Freedom to Glide results, Tim was more than happy to help. Both albums have sold very successfully around the world, helped immensely by the internet.

As mentioned, both Pete and Andy contribute with music and lyrics although I think it is fair to say that Andy, since leaving Dark Side of the Wall, has had more time on his hands and as such has more time to prepare the third album.

The final track on ‘Fall’ is titled ‘October’ and its lyric contains the phrase ‘Seeds are Sown’ several times. By coincidence, the third album in the trilogy is due to be called ‘Seed’. Were these albums beginning to contain codes and messages throughout, that reference back to other albums within the series?

‘Seed’ is due for release early 2019. And several themes are present within the album. The whole album is focused on the last year of World War 1. It concentrates on one man and his life between January and November 1918. During that time, he is granted leave to return home. While there it occurs to him that, after returning to the battle, this may be the last time he is seeing his home and his family. The futility of war begins to become clearer to him. There is also a little bit of Andy’s grandfather within the album. And Pete’s grandad is not forgotten either. During the war, he was carried into British lines and back to the safety of the British trenches by a German doctor. The German doctor saying that ‘I am here to save lives not to take them’.

Andy mentioned that the outbreak of World War 1 was remembered greatly during 2014 but the ending of it, which for him was particularly more poignant, did not get a similar response. Which is kind of strange as, if you take a minute, it suggests that war is remembered more than the peace.

As far as Andy was concerned, ‘Seed’ was a complete joy for him to write and record – and, when talking about it all, it shows. A taster track from ‘Seed’, titled ‘Broken Road’, is already out there on the internet to whet the appetite, along with a video shot by the band themselves in The Yorkshire Dales. (Pete is a pro designer with high level videography/photography skills) The soldier in the video is the drummer Andy Mapp (Katrina & The Waves) with whom Andy has worked in the past.

With three albums now in the bag I asked Andy what future held for Freedom to Glide. Essentially, decisions are to be made. Do they remain a studio-based band or do they take the band on the more ambitious route of gigging? Gigging, of course, would involve more musicians and many hours of practice. Andy mentioned that he would love to do some gigs but realises that with an audience spread around the world, it would be very difficult to get them all into one venue. And then there are the logistics between the pair, Andy is based in Coventry and Pete in Derby.

So maybe a good starting point, should the band take that route, would be to do some support slots for an established band. The internet is a double-edged sword. It is incredibly powerful for connecting people and getting the word out there. But if those people are in different countries and territories then there is an added challenge when it comes to playing live. Despite these challenges, however, Freedom to Glide fully intend to take the project out live, even with the difficulties mentioned and that, as well as support slots, they will, definitely, present their own shows, albeit a small number initially.

Finally, I asked Andy how the name ‘Freedom to Glide’ came about. He said: ‘From what I remember the FTG name came from a texting conversation between Pete & me. We liked the idea of "free" or "freedom" being in the name and it just popped up. What really nailed it was when we realised it could be abbreviated to f2g. In this world of abbreviations and text language it just seemed perfect. Ironic really, I'm a stickler for spelling, punctuation and grammar.’

An interesting spin off to this whole f2g project is told by Andy: ‘We were contacted by an English teacher around 2014 after 'Rain' had been released who was teaching English in The Netherlands at the time. She was a fan of our music and very keen on the war poets like Wilfred Owen, Seigfried Sassoon, Laurence Binyon, Edmund Blunden etc... (I refer to all those war poets for inspiration in my lyric writing by the way). Well, I was knocked out when she asked if she could use 4 of our songs' lyrics, (Rain pts 1,2,3 & 4) to introduce WW1 themed poetry to her class. She asked her students to annotate each "poem" (the song lyrics) and the feedback was just incredible! She didn't tell them who'd written these four 'poems' until they'd presented their annotations. They all presumed they were written by some 'mystery' war poet. What a huge honour that was and an amazing compliment for an English teacher and her students to hold my lyrics in such high regard. We take great care to respect the subject matter and it's all very heart-warming to hear you've done it justice in some way’.

Fine words indeed and, I for one, am looking forward to whatever the future brings for f2g. 

Huge thanks to Andy Nixon for his time, checking over this article and the cup of coffee.

King Crimson

King Crimson

by Pete Clemons

Robert Fripp has said that King Crimson is, not so much a band, more of a way of doing things. And January 2019 saw the anniversary of the 50th year since King Crimson came into being and began to do things.

During its 50 years in existence, King Crimson has experienced various phases of change. When it comes to trying to define the music of King Crimson, such is the bands complicated history that includes leaving the past behind and reinventing the way they sound, then I don’t even try to bother.

Each phase on the bands journey has come some incredibly challenging and yet strangely stimulating music, more so to the musicians (of which there has been in excess of 20) I am guessing, but also to the listener.

To get the best out of the listening experience of a King Crimson album, and other bands of this ilk, I find that for me personally, I need to switch off and take myself away from this fast-paced world for an hour or so, and totally commit your complete aural senses. The rewards can be just incredible.

By 2012 Robert Fripp, the bands leader and the one remaining constant throughout the bands 50-year history, appeared to be as detached from making music as he had been at any point in his life. While his contemporaries revisit their past on the reunion circuit, Robert Fripp appeared to be ignoring it all and not getting caught up in the nostalgia.

However, by September 2013 it was all change when, seemingly, out of the blue a message emerged announcing the resurrection of King Crimson. Further, the band would be revisiting the past. But things were not as straight forward as simply putting a band together and going through the motions. Any touching of early King Crimson music was going to be on Robert Fripps terms and conditions.

And so, it was, that for the first time since 1974 the world got to hear, albeit, reconstructed versions of songs from albums such as ‘In the court of the Crimson King’, ‘Red’ and ‘Larks Tongue in Aspic’. Except of course, if you were lucky enough to have seen a gig by the short lived 21st Century Schizoid Band. The 21st CSB had essentially been a large part of the musicians who made up the original King Crimson, less the main man himself, but with his full blessing.

Along with guitarist Fripp, the lineup for this new incarnation of the band included Tony Levin (bass and vocals), Mel Collins (Sax, flute), Jakko Jakszyk (guitar, vocals), Gavin Harrison (drums), Bill Rieflin (drums) and Pat Mastelotto (drums). Yes, three drummers. It was a sight and sound to behold.

Previous comments I have read about it all cover the event well. But it was just one of those gigs where you could read all the words in the world about it and yet it still wouldn’t be able to capture the whole of the magic.

But just being sat there in the hall, being subjected to a set that revolved around such classic music was just stunning. Watching the 3 drummers was at times hypnotic. In fact, there were countless musical moments that had us mere menials simply scratching our heads in wonderment at the genius being displayed.

The lighting was limited as it virtually remained the same throughout until they played ‘Starless’ when it changed to a red hue that filled the stage. All very dramatic.

King Crimson are several life time’s away from the band that evolved and revolved around the lyrical mysticism of Pete Sinfield but are still able capable to hold the attention of an audience for several hours. The whole thing was simply spell binding.

Pete Clemons - 2018 Musical Highlights

Pete Clemons - 2018 Musical Highlights

Once again 2018 provided me with a wealth of memories. Some of which will remain with me longer than others. As always, a lot more was bound to have happened than ever crossed my path. 

That said, this is not so much a best of, just a view of what passed my way. And I will try to keep events in some sort of chronological order.

The gig going year, began for me, with a visit to Leicester for a gig by the Dirt Road Blues Band. It was a fantastic night and a pity that these guys don’t get together more often. But maybe the fact they don’t, makes the gig that bit more special.

It continued with a trip to London to see Judy Dyble perform at the Union Chapel. Again, Judy’s gigs are few and far between but well worth catching if possible. Judy returned later in the year with another album of beautiful and evocative tunes titled ‘Earth is Sleeping’.

March saw Steven Wilson visit the Warwick Arts Centre in support of his ‘To the Bone’ album release. Honestly, I was just not prepared for how good this gig was going to be. It was an immense spectacle.

Bedworth band Luna Kiss released their long-awaited album ‘Following Shadows’ during

April. And very impressive it was too in particular the very powerful single ‘You Are’. This was followed up in July by the albums official launch gig at which, each of the bands performing, Luna Kiss, The Ellipses and Free Galaxy did themselves proud. The heatwave meant the venue felt like you were in a pressure cooker and, given these very difficult conditions, each band excelled.

Norwegian band, Gazpacho released their tenth album in May. Titled ‘Soyuz’, this unique band reminding us, by putting to music, the notion that beautiful moments in time cannot be captured and simply saved for the future. May also saw The Fierce and the Dead release their acclaimed instrumental album ‘The Euphoric’. Ethereal, compelling and highly recommended.

Synthcurious, in conjunction with the Tin Arts Centre used the magnificent setting of St John’s Church, Spon Street, to great effect during May. The venue played host to White Noise legend David Vorhaus, who gave a dazzling display of wizardry on his Kaleidophon during May.

A seemingly endless summer saw me take in a couple of memorable outdoor gigs. The Rolling Stones at the Ricoh and Elvis Costello at Blenheim palace. Both gigs have been extensively covered elsewhere but both were extremely memorable.

A memory that has become ingrained in me and will stay with me for life was that of virtually a whole audience singing along to ‘Shoom’ a track by Public Image Ltd and performed as an encore at their gig at the Copper Rooms. If you are familiar with the track you will get the picture. It was something else.

Legends Canned Heat arrived at the Leamington Assembly during July and gave the audience a night to remember as their brand of boogie music had the whole of a seated audience on their feet. It really was great to see and hear.

August and the release of ‘Dissolution’ by The Pineapple Thief. A very different album and not instantly gratifying. But well worth sticking with. With a subtlety deep within it this album certainly grows and continues to give. Later in the year I saw the band play live in Sheffield. With drummer Gavin Harrison now settled in The Pineapple Thief have certainly arrived.

July saw Callum Pickard and the Third Look simply blow me away at the Old Grammar School. Soon afterwards I was shocked by the news that they were splitting up. I appreciate that these things happen, but I can’t help but think that they were on the cusp of something special. However, thanks for the memories guys.

Kristy Gallacher returned to the live stage during August after, what seemed like, a long period away. Not as though I needed it, but I was reminded as to what a talent Kristy is. Her set at Nuneaton Folk Club was immense.

September was a very busy month. Soft Machine released their ‘Hidden Details’ album. And very good it is too. It is a nod to the past and I enjoy listening to it immensely. The loss of guitarist, Piotr Grudziński, cast a huge shadow of the future of Riverside. Certainly, judging by the reaction to their album, ‘Wasteland’, any fears were quickly dispelled. Wasteland is clearly a departure from past and Riverside have clearly embarked on a whole new path. September was also when Two Whole Quails left me mesmerised at The Nursery Tavern with their unique interplay between audio and visual. A real highlight. Finally, for the month of September, Crokodile Tears gave us ‘Old Skool’ a pleasant album of songs reminding us of times gone by.

Acclaimed Russian duo, Iamthemorning, returned with a new album titled ‘Ocean Sounds’. A melancholic release that vocalist, Marjana Semkina, freely admits that they do conjures up visions of desperate and dramatic situations. Their music is certainly complex and compelling.

From the Jam brought the house down, firstly during October at The Empire and then a few weeks later at The Assembly in Leamington as they celebrated 40 years since the release of the iconic album released by The Jam, ‘All Mod Cons’.

Sanguine Hum are another band who never seem to fail in their pursuit of a catchy tune. Latest album ‘Now We Have the Power’, released during October, is sheer delight. Great rhythms combined with lyrics that feel at times as if conversations are taking place within the song. As with previously mentioned releases - complex and worth persevering with.

My final gig of the year was one during December by Roddy Radiation and his Skabilly

Rebels. Promoting his EP release ‘Losing Control’ the Rebels were on sparkling form performing a great cross section of songs from his days as a Bonedigger back to that as a Special. What a way to sign off.

A CD bought for me at Xmas is proving to be a real delight. Released by American band Ace of Cups, this really is a remarkable story and a genuinely fine album. Ace of Cups are from the West Coast who, during the mid-1960s, performed at the same festivals as the likes of Jimi Hendrix. They split releasing only a single. Now the Ace of Cups, complete with stellar backing musicians, have put everything right. The album is a nugget of, fifty-year-old songs, recorded in today’s digital age. Well worth investigation.

Of course, the world of music suffered losses. These included that of Eddie Clarke – the last remaining member of Motorhead. Aretha Franklin, such was her popularity, her passing appeared to have been mourned world-wide. Pete Shelley of The Buzzcocks, who, given the number of tributes, appears to have touched more people than, I am guessing, he would ever have expected. And finally, closer to home, Phil Packham, bass player or The Sorrows.

All in all, it was another tremendously memorable year and no doubt I missed something. Apologies to those that I did.

Billy Connolly

Billy Connolly

by Pete Clemons

There have recently been a few programmes on TV involving Billy Connolly. They have been reminding us of Billy’s past achievements. And Billy, himself, has been reminiscing along with us. Sadly, Billy was diagnosed with Parkinson's - a neurological condition that impacts movement and speech – several years ago. But apart from physically, he doesn’t appear to have lost his spark.

Billy Connolly left the shipyards of Glasgow during the mid-1960s. He particularly remembers a conversation with fellow welder Willie McGuiness. The words: ‘You don’t want to be sitting here, an old man, who wanted to be a folk singer. If you are keen on it then do it now’ were ringing in his ear and he acted upon that advise.

As still happens today, those who think differently, tend to find each other and gravitate toward each other. Back then though, these people were more identifiable by the way let their hair grow long. Together these types of people did anything other than the ordinary. Tam Harvey and John Byrne were two of the artists who befriended Billy. (50 years on and John Byrne has recently had an exhibition at the National Portrait gallery in Edinburgh).

During 1965 Billy and Tam Harvey formed The Humblebums, a name derived from a play on the word Hobo. Billy playing banjo an instrument that he had discovered a few years earlier and practised at every moment he could.

At gigs, Billy introduced them both to the audience by saying, ‘My name's Billy Connolly, and I'm humble. This is Tam Harvey, he's a bum’.

Gerry Rafferty met Billy during 1968 while sharing a bus in Paisley. The pair recognised in each other, things others didn’t. Gerry, who already knew John Byrne, mentioned to John that he had just met the funniest man he had ever come across. John would animate Billy throughout his career. Gerry joined The Humblebums, expanding the band to a trio, but it then became a duo again after Tam Harvey left.

Gerry Rafferty was writing some strong songs and was dedicated to ‘making it’ and this, in turn, influenced Billy. As The Humblebums, Billy told stories while Gerry played the songs. But it seems that the stories were becoming longer and were overtaking the concerts. A strain developed between the pair and, in all places, at Queen Street Station, Glasgow, they made the decision to split. Apparently, it was all very amicable. The Humblebums had given Billy the desire to be more than just a comic.

Billy was also becoming known for his colourful and outrageous clothes as well as causing some controversy with his observational brand of humour. One famous example of this was a sketch called The Crucifixion. Apparently, the whole sketch had begun years earlier in the Saracens Head pub on Gallowgate, Glasgow.

Billy and Tam Harvey frequented the pub regularly. Tam told Billy a story that, over time, Billy added to and expanded upon. Essentially the story picked up on an alleged spelling mistake in the bible and that the last supper had really taken place in Gallowgate, and not Galilee. And this, I understand, is how The Crucifixion sketch began.

Billy Connolly shot to fame after several appearances on the Michael Parkinson chat show. He starred in his own comedy shows and tours and then moved into the world of humorous travelogues, where again, he created many popular prime time TV series. His career took another dramatic turn when he featured in several blockbuster films.

Billy appeared in Coventry several times at the theatre. And there was even on appearance at the start of his solo career which took place at The Bear Inn folk club that once stood on the High Street. I am also, fairly-certain, that The Humblebums once appeared at the Elastic Inn folk club. But I need to find evidence to prove that one.

The one thing Billy has unknowingly given me is the ability to laugh at myself and to not take life too seriously.

The Humblebums

Wham!

Wham!

by Pete Clemons

Nowadays, you can’t help but notice the number of 1980s music events that have sprang up. As with the 60s and 70s it is as though those, who were teenagers during the 80s, are suddenly staring to get that second wind. You know the feeling. You have seen your children grow up and now they are beginning to fly the nest. You have more time on your hands and you are now setting about having a few years to yourselves again. And fair play to you all.

And of all those 80s bands and artists whose names you will see touring on these package tours, for some of you, there will be one glaring omission. Or at least I rarely seem to see them mentioned. And that band is Wham!. And for a while, the music that Wham! created, was totally inescapable.

Wham!, namely George Michael and Andrew Ridgeley, epitomised and embellished the 1980s. Essentially a duo, Wham! was formed during 1981 after the break-up of a Ska band George and Andrew both featured in.

George Michael and Andrew Ridgeley would also perform with backing singers Dee C. Lee and Shirlie Holliman. After Dee C. Lee left the band to join, and later marry, Paul Weller of the Style Council, Shirlie was joined by Helen ‘Pepsi’ DeMacque during 1983. They first appeared together on the video of ‘Wake me up before you Go-Go’.

After the split, which was apparently very amicable, both George and Michael went their separate ways, career wise, to varying degrees of success.

Seeing this new wave of electronic funk on the horizon, on entrepreneur began a new series of promotions at the Stables nightclub, at the Chesford Grange in Kenilworth during 1982. They began on, of all nights, a Monday night and one of their earliest promotions was that of a personal appearance by Wham!, ‘an exciting new funk group’. They were promoted as follows……..

Wham! are a duo – vocalist George Michael and guitarist Andy Ridgeley – who hail from Watford. They specialise in electronic funk, something like ABC, but much better.

Their aim (apart from being successful) is to become spokesmen for Britain’s youth – George is just 17 and Andy 18 – hence their slogan: Youth is precious. Don’t waste it, enjoy it. - (By my calculations the pair would have each been 19 at the time of the gig, but hey – what do I know about how these things work).

Since they signed to CBS early this year, they have had one single out – Wham! Rap – which was critically acclaimed, but failed to make the charts.

Now they have a new single ‘Young Guns (Go For It)’ which they will be promoting at the Stables.

Soon after this appearance ‘Young Guns’ reached number three in the UK charts and, then during 1983, Wham! achieved further success with ‘Bad Boys’ and ‘Club Tropicana’.

They went on to achieve further huge smash hits with the above mentioned ‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’, ‘I'm Your Man’, ‘Last Christmas’, ‘Careless Whisper’ and ‘Freedom’.

Wham!, had developed their style of funk and soul music and went on to become one of the most successful pop acts of the 1980s selling an estimated 30 million records worldwide between 1982 and 1986.

George Michael was indeed an incredibly special person. Throughout his turbulent and well documented solo career he, seemingly and generously, donated and provided his time to Cancer, HIV, IVF and many other worthy causes. Additionally he gave royalties from the re-releases of the ‘Last Christmas’ single to Band Aid. And all this was done, apparently, under strict ‘no publicity’ conditions.