Pink Floyd Venice July 1989

Pink Floyd Venice July 1989

by Pete Clemons

Pink Floyd had looked all but finished after Roger Waters had left them during 1985. However, less than a year later, the remaining 2 members, David Gilmour and Nick Mason, had reconvened along with the previously sacked keyboard player Richard Wright. This then sparked a court case over the band name with Waters claiming that Pink Floyd were ‘a spent force creatively’.

David Gilmour responded by saying that ‘the strength of Pink Floyd lay in the talents of all four members. Naturally, we will miss Roger’s artistic input. However, we will continue to work together as in the past. We are surprised at recent claims that Roger believes the band to be, ‘a spent force, creatively’, as he had had no-involvement with the current project. The three of us are very excited by the new material and would prefer to be judged by the public on the strength of the forthcoming Pink Floyd album’.

And with that, during 1986, Pink Floyd went back into the studio to begin work on what would an album titled ‘A Momentary Lapse of Reason’. ‘The last time we made a record it was during a pretty awful time. The Wall was more of a static show but now, they wanted to take ‘A Momentary Lapse of Reason’ out onto the road’, Said David Gilmour at the time.

Asked, at the time if he and Roger Waters were talking, David Gilmour responded that they were ‘not at all friendly at that moment’ and how it was ‘hard to stay friendly when someone who is trying to completely fuck you up’.

The court proceedings had even spilled into the rights to famous stage effects. And this was hampering tour preparations. The inflatable pig, for example, was fought over until it was discovered that the original order for the porker had been for a sow. So, to get around that issue, the band ordered in their own version. It was a boar that had massive testicles fitted to it.

Gilmour and Mason also found it hard to raise the cash to fund the tour. So, they had to invest in it themselves. This involved the selling off, of various personal items.

However, by September 1987 off they embarked on the first of three tours that took them through to July 1989. They had completed just shy of 200 shows. The last but one of these being a televised extravaganza held on a floating pontoon in, a hundred metres or so off St Mark’s Square, in Venice.

Initially the show had due to have been staged on the square itself. But the fact that it clashed with a celebration called the Feast of the Redeemer, along with fears that vibrations from the PA could possible damage ancient architecture, meant that the gig had to be moved.

All in all, the show became quite a scandal in Italy with demands for resignations at the local council. But that didn’t deter an estimated audience of up to 150,000 locals turning up along with the estimated 100 million that watched the spectacle on TV from 20 or so different countries.

David Gilmour remembers it all as follows: ‘The Venice show was great fun, but it was very tense and nerve-wracking. We had a specific length of show to do. The satellite broadcasting meant we had to get it absolutely precise. We had the list of songs, and we'd shortened them, which we'd never done before. I had a big clock with a red digital read-out on the floor in front of me, and, had the start time of each number on a piece of paper. If we were coming near the start time of the next number, I just had to wrap up the one we were on. We had a really good time, but the city authorities who had agreed to provide the services of security, toilets, food, completely reneged on everything they were supposed to do, and then tried to blame all the subsequent problems on us’.

Matt Cattell – The Bedroom Demos

Matt Cattell – The Bedroom Demos

by Pete Clemons

Matt Cattell's youtube channel You can find many of his tracks on this channel.

https://www.youtube.com/user/INNOVATIONOFSOUND1

I am not sure if it was intentional or not but Matt Cattell’s new album ‘The Bedroom Demos’, which has been a work in progress for a considerable amount of time, was released at end of Mental Health Awareness Week. Mental awareness being quite significant to this project.

You see, by his own admission, Matt has had more than his fair share of issues. And this album has all the hallmarks of those demons being faced head on and placed into song. And now those songs have been released and to be heard by the greater public.

The first thing to say is that Matt’s lyrics undoubtedly draw you in. They are powerful and feel as though Matt has cleansed his very soul. But that’s not to say that they are all born out of frustration. As to be expected the album is reflective. But that is balanced by positivity. It even throws open the prospect of looking to the future. From a listener’s perspective, it does all hang together to great effect.

Forgetting the subject matter of the lyrics for a while, the music is eye openly good. With all things being equal, the potential here is for a couple of major anthems. If these songs, can permeate into the greater publics psyche, who knows where this project could go. With each listen to this album I really do get an image of several of these songs being sung by the masses in some huge field somewhere.

Matt is an ardent and very hard-working performer on the open mic circuit. He played, in excess, of 75 gigs alone during 2018 growing his support. And hearing Matt on a recent radio interview he explained how he practices his songs every day, so he never lets himself down while on stage.

When asked if he gets nervous before a performance Matt’s response was a confident ‘never’. Matt seems to thrive on the whole performing thing, never getting fazed putting himself out there. The adrenaline it all creates gives him an amazing buzz.

Even funnier was hearing Matt explain how he gets himself ‘into the zone’. And while in that place of concentration, and despite being on stage in full flow, how people still try to talk to him or even pull on his microphone.

‘The Bedroom Demos’ contain two discs and you get 26 songs in total. 13 recorded plugged and the same 13 unplugged. Whatever way your mood takes you. Included is the single, ‘Trouble’, released toward the end of 2018 along with an accompanying video.

As the album title suggests, the songs were written and produced in Matt’s bedroom studio where he performed, arranged, mixed and mastered the entire project.

Thankfully, Matt appears to be on a good footing now and is facing the prospect of a more optimistic future. The foundations have been laid for his music. So long as the momentum is continued then I can only predict good things for Matt.

Should any physical albums still be available, and I hear it sold rather well, then they can be purchased on eBay. Alternatively, the album is downloadable via iTunes, Spotify, Amazon, Google Play and YouTube.

Tim Bowness – Flowers at the Scene

Tim Bowness – Flowers at the Scene

by Pete Clemons

I have heard it mentioned many times before that rock and roll is a young man’s game. Bucking that trend right now is singer songwriter Tim Bowness. Since turning 50, Tim has produced a series of albums under his own name that has given him an identity and a recognition of his own. Age it seems, is no longer a barrier.

For me however, whatever Tim Bowness was going release as a follow up to the incredible ‘Lost in the Ghostlight’, was going to be received with a very critical ear. Not daring to compare the two musically, but in my mind, this was a similar moment to how I remember Pink Floyd following up their master piece ‘Dark Side of the Wall’.

Of course, ‘Wish you were Here’ was rightfully applauded as the great album that it has since become. But not before it had run the gauntlet of being the difficult follow up to its legendary predecessor.

And I admit to maybe not wanting to enjoy Tim’s latest release ‘Flowers at the Scene’ because it just happened to be the follow up to one of my favourite albums of the last decade or so. And after one play I simply dismissed it.

After realising I was being totally unreasonable, I went back to the album. And, after a few tracks in, I found myself drawn in, by, of all things, a lyric that went ‘Spaghetti on the floor’. It did make me smile and set visions off in my mind.

The line introduces you to the heartbreakingly beautiful tune titled ‘Not Married Anymore’. It really got to me, and I was in. And, I can honestly say, that I cannot remember hearing the word ‘spaghetti’ being used in a lyric before.

Unlike Tim’s other releases there does not appear to be an overriding theme. It is a collection of situational and very moving songs. Some of the songs have been revived into life from the past while some are new to this project. But all the songs are ‘thinkers’ in as much that, typical of Tim’s writing, they evoke a keen sense of sadness and regret. But at the same time, recognising that life also moves forward.

Apart from fully detailed lyrics, the sleeve notes are sparse. They kind of hide the fact that there is a stellar cast of musicians contributing to this album. That said, Tim’s unique delivery of song is still very evident.

Interestingly though, the production has been credited to No-man. This appears to mean that Steven Wilson has had major involvement in the album. As an aside, and on a tweet released earlier in the year, Steven mentions that the pair (he and Tim) are ‘gradually edging towards releasing some new no-man music at some time in the not too distant future’. Couple that with an interview from 2018 where Tim mentions that, while making ‘Flowers’, a recording session did take place, but it is unlike anything they have released previously – does make for a tantalising prospect.

Until then though, I am rightfully giving ‘Flowers at the Scene’ the kind of respect that this wonderful album fully deserves.

Apollo 11 Moon Landings July 1969

Apollo 11 Moon Landings July 1969

by Pete Clemons

For those with long memories, I am guessing you can remember exactly where you were, when man first landed on the moon during July 1969. I personally, can remember being transfixed by this incredible voyage of exploration made by Neil Armstrong, Buzz Aldrin and Michael Collins. The entire mission lasted just over eight days from its launch date of 16th July to when it splashed down on the 24th.

Of course, not everyone was convinced that the moon landings were for real. I can still hear my Mum telling us how it was all fake and being staged in a desert somewhere. And of course, soon after, there was a film with a similar storyline.

But what else was going on at that time? I’m sure there will be others reviving memories as to what was being shown on the TV and cinema back then, along with other events. But thought I would revisit, and try to capture, the music scene both locally and nationally.

On the evening of the blast off you could find Derek Brimstone performing at the Drumbeat Club held at the Globe Hotel in Warwick.

The following day, the 17th July, saw Magna Carta at The Biggin Hall Folk Club on the Binley Road. And Friday 18th there was a visit of Jackie and Bridie (Jacqueline McDonald and Bridie O’Donnell) to the Mercers Arms.

The highlight of the Saturday evening, as far as my research took me, was a band called Life who were appearing at The Sportsman’s Arms. However, on the evening of the landing, Sunday 20th July, you had a choice of seeing either Roger Williamson at the City Arms Folk Club in Earlsdon or Black Velvet at The Mercers Arms.

Monday 21st gave you the opportunity of seeing The Mike Cotton Sound who were on at the Chesford Grange. This was followed by 60s-star Tommy Bruce who was appearing, in city centre on Tuesday 22nd, at the 40 Thieves, later known as Busters.

It was back down to the Drumbeat Club, Warwick on the 23rd for a visit by Colin Scott. And finally, splashing down at the Biggin Hall Folk Club on the 24th July was Gerry Loughran.

Nationally, the UK singles chart for 16th July looked like this:

1. Something in the Air – Thunderclap Newman

2. In the Ghetto – Elvis Presley

3. Honky Tonk Women – The Rolling Stones

The chart altered slightly for the week of 23rd July when ‘Give Peace a Chance’ by the Plastic Ono Band appeared at number 2 and Thunderclap Newman and The Rolling Stones swapped positions. Top album in the UK during this entire duration of the Apollo 11 mission was Jim Reeves with ‘According to my Heart’. It was eventually dislodged by Jethro Tull during early August. Perhaps influenced by events, the soundtrack to ‘2001 a Space Odyssey’ began to make a rapid re-entry to the chart during this time.

Other prominent singles that were getting airplay on the radio, and youth clubs, included The Beatles with ‘The Ballad of John and Yoko’, ‘Time is Tight’ by Booker T and the MGs, ‘Gimme Gimme Good Lovin’’ by Crazy Elephant and ‘It Mek’ by Desmond Dekker.

Over in America it was the original soundtrack to ‘Hair’ that had peaked in the album charts. While topping the billboard singles charts throughout the entire moon landing period was ‘In the Year 2525’ by Zager and Evans.

Released to coincide with the Apollo 11 mission was David Bowie’s ‘Space Oddity’. Released during July 1969 it took a little time to climb the chart but by September it had touched down at number 5. The single was far more successful on its re-release during 1975 when it hit number 1.

While most of us were glued to the screen for the return of the Command Module as it made its splashdown into the Pacific, Pink Floyd were actually jamming to it during an interlude for a live, late night broadcast, on the BBC. The tune, never released but is widely available on youtube. Titled ‘Moonhead’, it is a remarkably atmospheric bluesy piece by a band just on the up after a period in the doldrums.

Coventry's Roger Williamson