Amy Winehouse

Amy Winehouse

by Pete Clemons

Born in 1983 and blessed with an amazing singing voice, that I once read described as ‘an extension of her speaking voice’, Amy Winehouse grew into an incredibly confident performer. Her style was effortless and so natural. But she was also an intense character. 

During her short life Amy absorbed many influences. Going right back to her earliest days Amy enjoyed watching Top of the Pops. By the age of six she loved listening to Kylie Minogue. At eight she had progressed to Madonna. Then, when she hit ten, Amy discovered hip hop duo Salt-n-Pepa who, in her words, ‘changed her life forever’. From then on in she came to love singers that carried a song and who used their voice as an instrument. During her teens Amy listened to R’n’B as the various influences continued.

Amy had a brother who was four years older than her. She clearly remembered, at aged fourteen, he had been listening to Ray Charles ‘Unchain my Heart’. Hearing this introduced her to a world of jazz music and more particularly, pianist, Thelonius Monk who Amy really took to. It was around this time that Amy began to write her own songs.

Then, at eighteen, Amy came to singer Sarah Vaughn. It was then that Amy began to enjoy and discover the drama and atmosphere within a song that singers like Sarah Vaughn could bring to it. This began the process of Amy developing her trademark style of putting herself into her own songs.

Amy did one gig with National Youth Jazz Orchestra during the year 2000. After this her manager got Amy signed up to Island Records for whom she recorded her first album. Amy Winehouse was just 20 when that first album, Frank, was released on 20 October 2003. Produced mainly by Salaam Remi, many of the songs within it were shaped by her love of jazz. Apart from two covers version’s, Amy co-wrote every song on that album.

Amy began to head out onto the road promoting the album. And one evening at the Warwick Arts Centre, early 2004, all those influences collided together on stage, at one of Amy’s earliest ever gigs. This was well before the more destructive influences got a grip of her.

Bob Caldwell, then the jazz correspondent at the Coventry Telegraph and a guy who knew his stuff, inadvertently alerted me to her via his weekly column. He wrote ‘Amy may be a new name to many but at the tender age of 20 she is said to sound like a fully-fledged professional who has spent 40 years on the jazz circuit. Her material reaches out to embrace soul and blue’s so her performances have something for everyone, and Amy’s current tour is hot on the heels of having achieved two recent Brit awards’. That was enough to tempt me along.

As the lights went down, and the band kicked in, Amy instantly became a seasoned performer as she swayed along to the beat. ‘Know You Now’, ‘I Heard Love is Blind’, ‘There is no Greater Love’, ‘You Sent Me Flying’ and her then latest single ‘In My Bed’ were all given an outing, along with several others tunes.

It was a totally natural performance. The type that, the person delivering it was maybe not fully aware, as to how good they actually were.

Stylusboy - Out and about again

Stylusboy - Out and About Again

by Pete Clemons

https://www.youtube.com/user/stylusboymusic

Time and money are commodities that some folk could do with a bit more of…..I guess that we could all make a case for it.

But I am thinking more of those in the music business and particularly those who are without the backing of a major label. On one hand they maybe juggling a day job, but on the other, they still carry that burning desire to create music. For those in that situation it really is a labour of love a and devotion to their art.

Coventry’s very own Stylusboy, a major and relatively untapped talent in my opinion, for me fits squarely into the above category.

Looking back, it is quite surprising when you realise that is now ten years since Stylusboy first released his self-produced debut EP, ‘Fingerprint’.

This was followed by a host of other releases that included ‘The Whole Picture’ a 6 track EP released on Lazy Acre Records during 2011 and his 10-track debut album for Wild Sound Recordings along with the Lantern EP both released during 2013

That album, ‘Hope for Happiness’ contained some exceptional tunes including ‘Hold My Hand’, ‘Eyes Form Tears’ and ‘Love’s Tale’ and was a very well-received release. And some of the songs from it have recently been re-recorded for a ‘pay what you feel’ downloadable EP.

However, since that time, things have gone relatively quiet on the recordings front. Of course, Stylusboy didn’t disappear completely. He has featured at various festivals and in some sell out gigs, particularly in London throughout that period. But, in general, Stylusboy has slowed things down and taken stock.

2016 saw the beginning of the process of writing a whole new selection of songs. But this time, rather than rush them out, Stylusboy has given them more time to develop. 2017 saw the songs, at long last, being taken into the studio. As you can tell, the new album, titled ‘Routes’ has been an ongoing project for some time now. But there is now light at the end of the tunnel and a taster track from the forthcoming album has recently been allowed to fly out on an EP.

This long awaited second album will be released on his own, appropriately named, Tortoise label. And Stylusboy wants to get the new album to the best possible position he can. September is the target month for its release and there is talk of a launch gig complete with a full band for the same month.

The opening track on the new EP titled ‘Out Upon the Ocean’ is a tune bearing the same title. And the first thing I was struck by immediately was its depth and clarity of sound. To these ears at least, this appears to be a vast improvement on previous releases.

Alongside Stylusboy has been Tim Bowes, drums and percussion and John Parker on double bass who both contributed to his previous album. I also noted, from the sleeve notes for the EP, that the glorious vocal harmony you hear is that of the very talented Holly Hewitt.

The tune includes a verse that begins with the line ‘It’s been so long’. It all seems strangely fitting somehow.

Jethro Tull

Jethro Tull

by Pete Clemons

A pair of albums that have given me immense pleasure over the years, one now over 50 years old and the other fast approaching, are ‘This Was’ and ‘Stand Up’. Both releases were by Jethro Tull and, together, they still get regular outings on my audio devices.

Jethro Tull had been regulars at the prestigious Marquee Club in London throughout 1968 and even featured at their festival, The National Jazz and Blues Festival in Sunbury during August of that year, where they proved to be a huge hit. September 1968 saw the release of the band’s first Island single ‘Song for Jeffrey’.

Prior to ‘This Was’ being recorded, associates of the band, advised Ian Anderson to forget the flute which he had only recently taken up. How wrong he was to prove them. Upon its release, John Peel enthused about it, becoming an early advocate, and gave the album huge airplay. It seemed to catch the music business by complete surprise.

‘This Was’, entered the album chart at number 23 during October 1968 peaking at number 10 mid-November, and was a more than impressive debut record. It was blues-based and featured the line-up of Ian Anderson, flute/vocals, Mick Abrahams, guitar, Glenn Cornick, bass and Clive Bunker on drums.

The final recording of ‘This Was’ was far from perfect but, in their defence, Jethro Tull had not got the weight of a label behind them during its creation. That only came later. A Melody Maker review ‘thoroughly recommended’ the album. It reached number 10 in the charts.

Jethro Tull played Coventry a couple of times during 1968 either side of the release of ‘This Was’.

Early 1969 and Mick Abrahams left Jethro Tull to form Blodwyn Pig. An uneasy alliance had grown as to the direction of the band with Mick wanting to follow the previously embarked bluesy path. Ian Anderson had other ideas however and was becoming more influenced by the more progressive sounds that were springing up at that time.

Securing the services of ex Lanchester Polytechnic student, Martin Barre, the band began their first tour of the U.S. soon afterwards. While in the States, the band quickly picked up a sizeable following.

Jethro Tull’s fourth 45 rpm single, and their first recording with Martin Barre, ‘Living in the Past’, entered the charts at number 41 during May 1969 steadily rising to number 3 over a 6 week or so period.

A second album, the quite brilliant ‘Stand Up’, entered the charts at number 1 during August 1969. At around the same time ‘This Was’ was re-entering the lower reaches.

Ian Anderson, complete with his wild eyes and one-legged stance (a position adopted from his harmonica playing days) along with various other postures and poses, was now in total control of band.

‘Stand Up’ was, I think, still a bluesy album but undoubtedly Jethro Tull were beginning to expand and find their own niche. Some great songs took the album into a host of wonderful directions. Take a listen to ‘We Used to Know’, from ‘Stand Up’ and see if it reminds you of a familiar tune from the mid to late 1970s. Incredibly both bands toured with each other during the early 70s. A further two tunes, ‘Sweet Dream’ and ‘The Witch’s Promise’ kept the band in the singles chart, reaching number 7 and 4 respectively.

The next album up was ‘Benefit’ which entered the chart at number 7 during May 1970, rising to number 3, before dropping down again quickly. ‘Benefit’ was, again, a change in style. It felt more loosely put together in feel with the introduction of piano and organ enabled this. Despite selling over a million copies the critics were not enamoured by it.

‘Benefit’ would be the last album with the Anderson / Barre / Cornick / Bunker line up. Although they still had time, complete with John Evan on keyboards, to appear at the Isle of Wight festival on 30 August 1970 Isle of Wight.

From all accounts Jethro Tull’s performance at the Isle of Wight was impressive from the outset on that final day of the festival. The band were said to have delivered a powerful and charismatic gig. The set included a version of ‘My God’ which featured on the ‘Aqualung’ album, the first album to feature Jeffrey Hammond on bass guitar and vocals.

Incidentally, Ian Anderson, Glenn Cornick and Jeffrey Hammond had been members of the John Evan Band prior to the formation of Jethro Tull. Anderson even wrote a trio of songs, across those first three albums, about Jeffrey Hammonds peculiar behaviours.

Jethro Tull went on to make many wonderful and amazing albums. And some of the lyrics found within those lyrics have a touch of genius. The band still tour today. But those early days of the Tull, along with all the new and exciting sounds being discovered, made them very special indeed.

Snowy White

Snowy White

by Pete Clemons

I first came across guitarist Snowy White at a Pink Floyd concert at Stafford Bingley Hall during 1977. Pink Floyd, had until then, normally performed as a four piece so it was intriguing to see this ‘fifth’ member of the band on stage bolstering the sound.

It turned out that Snowy had been recommended to Pink Floyd by a former manager of Kate Bush. A year or so after that gig, and after buying a copy of Richard Wright’s solo album ‘Wet Dream’ I noticed that Snowy had been a guest musician.

Snowy also appeared on the next major Pink Floyd tour where they performed The Wall. That enormous extravaganza appeared at Earls Court in the consecutive years of 1980 and 1981. Snowy was on stage for the 1980 gigs but not on the 1981 shows. Possibly because, at around the same time, Snowy had also became a member of Thin Lizzy, and the two activities maybe clashed.

1983 saw Snowy White make the top 10 of the UK singles charts with the timeless classic ‘Bird of Paradise’, which came from his own debut solo album release ‘White Flames’. I remember buying this LP particularly well as, at that time, I was taking a break in Spain and Portugal, and a record shop I popped into stocked it. The style of the ‘White Flames’ album set the scene for Snowy’s initial album releases, solid laid-back rock tunes where Snowy took up lead vocals.

The late 1980s saw a distinct change of direction for Snowy, with the formation of the Blues Agency. With the clue in the name, the emphasis, was now on the blues. During this period this band played live at the Tic Toc club Coventry (now known as the Kasbah) during 1990. In addition to Snowy on guitar, the Blues Agency included Graham Bell on vocals, Kuma Harada on bass and Jeff Allen on drums.

From then on, and for the following quarter century, there was a steady release of a dozen or more excellent and varied blues-based albums, from Snowy, under band names such as White Flames and the Blues Project. Additionally, for these albums, Snowy White had once again resumed the lead vocal as well as introduce the wider world to a Dutch -Indonesian rhythm section - Drummer Juan Van Emmerloot and bass player Walter Latupeirissa - that remained the cornerstone of most of those albums during this period.

Interspersed within these releases Snowy’s talents were still in high demand. He was invited to perform alongside Roger Waters at high profile gigs such as The Wall concert in Berlin 1990 and the Pink Floyd association continued with many prestigious tours, with Roger, between 1999 and 2013.

Throughout his entire recording career, including some sessions with Peter Green during the early 1970s, Snowy played an iconic 1957 Gibson Les Paul Goldtop guitar which he acquired during 1969. During those 45 years, the Goldtop had been played almost every day. As such the guitar was sold ‘as scene’ with no apology for its condition. The guitar was auctioned on 28 February 2015. It raised a cool $93,750 US.

I remember thinking that maybe Snowy was finished with music. His last album, prior to the sale of the guitar, was released during 2011. Titled ‘Realistic’ this album was one of my personal favourites from that year and appeared to wrap up, what I thought, to be a wonderful legacy.

How wrong I was. Snowy went and bought a new Goldtop Gibson and has since recorded a further three albums, ‘Released’, ‘Reunited’ and his most recent album ‘The Situation’ issued April 2019.

Each of these albums has seen Snowy team up once again with long time musical associates such as drummers Jeff Allen, Richard Bailey and Juan Van Emmerloot. bass players Kuma Harada and Walter Latupeirissa, piano player Max Middleton and keyboard player John ‘Rabbit’ Bundrick amongst many others.



Snowy White has built a career on near-anonymity. Deliberately it seems. ‘It is my nature,’ he explains in an interview I once read. ‘If the spotlight hits me, my inclination is to step out of it. I’m actually quite a private person.’ And this possibly explains why his own gigs in support of his own music have been few and far between. It could also be possibly due to commitments elsewhere. But if it’s some refreshing and beautiful bluesy music you are after, then check out Snowy White.

Solid Silver 60's Tour 2019

Solid Silver 60's Tour 2019

by Pete Clemons

It is always pleasing to hear about somebody who has achieved goals that they may have set themselves. So, it was particularly good to hear that Coventry drummer Rick Medlock had successfully accomplished his aim of touring as a professional drummer once again.

After years away from music, Rick’s passion returned several years ago. And since getting back behind a kit Rick went on to appear in bands such as Cupids Inspiration, SixOne20s, The Mosquitos and Honky Tonk Rose to name a few.

Rick is incredibly dedicated towards any task he sets himself. And hopes for the same in return. As such, he believed he still had it in him to complete a nationwide tour.

Rick’s break came toward the end of 2018. An invitation from guitarist, an old band mate from Smackee days, Michael Smitham, led to Rick stepping into The Fortunes to cover for Glenn Taylor. This included a three month 60s tour of the UK including a sell-out date at the Symphony Hall, Birmingham. Thankfully Glenn made a full recovery and has returned to the band.

With Rick’s other bands, such as Honky Tonk Rose, being on hold, due to bass player Horace Panter’s commitments with The Specials, the turn of the new year, musically speaking, looked bleak for Rick as he faced the prospect of no work for the foreseeable future. How quickly that all changed.

With the unavailability of Vanity Fare drummer, Graham Walker due to illness, a 30 date Solid Silver 60s Show tour beckoned. Vanity Fare had been on the previous 60s tour and knew of Rick’s capabilities so invited him to tour with them. Once again Rick was thrown in at the deep end with only three days of rehearsal. But before that, a further opportunity cropped up. And that was a few dates with the original Tremeloes. The down side was that there was no time for any rehearsal. So hastily was Rick rushed in, in fact, that while on stage lead singer Chip Hawkes kept turning around trying to figure out who the drummer was.

The Solid Silver 60s tour spanned the country. From Aberdeen to Swansea, Torquay to Southend concluding at the prestigious Liverpool Philharmonic.

The format of the show was two one-hour sets. Vanity Fare opened the show with several of their numbers followed by a set by Brian Poole whose final tour this was to be. The second half of the show began with Dave Berry and finished with Peter Noone. As to be expected, nuances and preferences came with each of the artists.

Brian Poole requested a slow tempo, not too fast. He is 77 don’t forget. Dave Berry was great fun to be around. Dave loved Rick’s drum fills and gave him a solo in his set. Peter Noone, at just 71 wanted nothing fancy. No fills, just keep the right beat except for the odd hi-hat sound to lift and move on to the next section. And Rick seemed to have impressed all round.

The artists that Rick was working with are, without doubt, all giants of the 1960s music scene. And judging by the audience sizes and venues, still draw a lot of people who are fans of the 60s music. These legends are still more than capable of attracting a huge and loyal following.

Rick returned to Coventry enthused and very impressed by the management company who organised the tour. They had provided Rick with a drum kit, a road crew and a sound engineer who also doubled as a drum tech. So, no lugging around of his own equipment. The only preference Rick had was for his own snare drum and some of his own cymbals.

A lasting and overriding memory Rick has of the tour was a deeper appreciation for the musicians who originally appeared on, and recorded, the songs played. ‘Their musicianship, particularly their timing, was immaculate’, Rick says.

With contacts now made, fingers crossed for more work to follow. Who knows what the future holds.