Medicine Head

Medicine Head

by Pete Clemons

 Medicine Head were one of the most unique and individual bands of the late 1960s and early 1970s. 

Primarily a duo, they were Peter Hope-Evans, who played the Blues Harp and Jews Harp and vocalist, guitarist and bass drum player John Fiddler. Between them they released half a dozen albums and a dozen or so singles of which four reached the top 20.

During November 1969, and after playing heavily around the Midlands, Medicine Head signed their first ever recording contract with John Peel's Dandelion Records label. Legend has it that they met Peel after blagging their way into one of his events pretending to be the main act.

The band found themselves alongside the likes of Bridget St. John, Beau, Supersister, Stackwaddy, Bill Oddie and Gene Vincent.

Medicine Head's debut single 'His Guiding Hand' remains the favourite of, and in Peter Hope-Evans opinion, their most important song. Such was his love for it, the single was also kept within John Peel's 'most treasured' collection.

The pair released six singles and three albums on Dandelion with '(And The) Pictures in the Sky', released 1971, being the only real chart success for the label as it reached number 22. Soon after the release of 'Pictures', and for whatever reason, Peter Hope-Evans left.

During February 1971 at a Henry's Blues house club night, held at the Mercers Arms, Medicine Head were headlining. One time Yardbird, Keith Relf, was in attendance. Keith had produced some of the bands material and had now stepped into the band along with drummer John Davies.

Trev Teasdel was in the audience. During the evening the band called out, in hope, for a Jews Harp player and Trev's services were volunteered. Trev still has fond memories of his contribution to the band that night.

In the words of John Fiddler 'Without John Peel, Medicine Head may never have continued. They had already been turned down by Mike Vernon at his Blue Horizon label'.

John continues 'I think Mike Vernon did us a great service, John Peel was a true force of nature, and helped us so much'.

Hard to believe also that Medicine Head famously released an album called 'Dark Side of the Moon' a year or so before it was eclipsed by Pink Floyd's monster of the same name. But this album was recorded without Hope-Evans.

Medicine Head then signed for Polydor Records and Peter Hope-Evans returned to the fold. It was during the Polydor years that the hit singles returned. 'One and One is One' being the most successful as it peaked at number 3 during 1973. Other chart hits for Polydor were 'Rising Sun' which peaked at number 11 and 'Slip and Slide' which hit number 22.

Medicine Head became quite a name during their time but sadly and, like all good things, it was not to last. Their time together was short but very sweet.

Today, both Peter and John are still very much active. Peter with the Robbie McIntosh Band and John building a solo career.

.........

Comment from Trev Teasdel "Yes indeed Pete, I carried a small Jaws harp with me. I was writing lyrics and it was before I played guitar, so I used it on the 3 mile walk home from the Coventry Arts Umbrella Club, at 3am. I used it to help remember the rhythm and lyrics that I wrote on the way home. I'd never been on the stage at that point - it was my first time. Peter Hope-Evans was off ill at that gig and my female friends volunteered me so I had to get up! The roadie opened a box of huge Jew's Harps - talk about 'good vibrations', and told me to share the bass player's mic. Yes it was Keith Relf, I was a huge fan of the Yardbirds at school but he hadn't been announced and he looked different - beard and long hair rather than the yardbird moptop, so I had no idea. I got to watch him play bass up front as i twanged the harp. My mouth was getting dry so Keith let me drink some of his beer! We did a few numbers and then I think Keith changed over to harmonica. The roadie let me keep the harp and said "do you know who you shared a mic with?" Keith was producing them at that stage I think and starting out Renaissance. 

A month or so before I wrote a song with Pete Waterman (long before he was famous) and the week the medicine head gig, I did my first poetry reading at the Warwick University Arts Festival to a packed hall of students, so it was an interesting time for me! I did try to book Medicine Head for the Umbrella Club but the roadie said we wouldn't be able to afford them! He was right, it was only a small town house venue with meagre funds from the arts council.!"

The Abracadabra / Club (Mercers Arms)

The Abracadabra/Yardbird Club 

(Mercers Arms)

by Pete Clemons

An article about The Mercers Arms pub, close to the old Highfield Road stadium, was recently released onto a Coventry Facebook site. It appeared to attract quite a bit of interest. Repeatedly though, comments were appearing about The Yardbird Club.

I can recall The Yardbird Club as being held at the Mercers during the mid to late 1970s but some of the comments seemed to suggest that the club existed during an even earlier time. And, as it turns out, they were correct.

It appears that The Abracadabra/Yardbird Club  first opened its doors, some sixty years ago, during early 1959. It began as a jazz club, held on Sunday evenings, in the concert room at the rear of the pub. The opening night showed the clubs ambitions as the guests that evening were Ronnie Scott and Tubby Hayes.

It was a certain Harry Flick who used to organise the events. And I say 'a certain' as I recognised Harry's name from a recent book about drummer Ginger Baker. It turns out that Harry had promoted one of Gingers old bands, The Graham Bond Organisation. He even put on their second ever gig at The Yardbird Club. The bands debut had been at Klooks Kleek in West Hampstead.

The book says 'Our very next gig was in Coventry for the promoter Harry Flick. He was a big jovial bloke who got us loads of gigs in the Midlands and was rather fond of a joint. He would take a long hard toke and say 'where's it all gonna end fellas? Where's it all gonna end?' before he exhaled'.

It is clear that Harry had connections. For example, if the Johnny Dankworth Orchestra were in the area then members of that group would guest at the club. Such as Danny Moss sextet or The Dankworth Four.

Also guesting during the clubs opening year were the likes of Ronnie Ross and Allan Ganley who, during September 1959, also appeared at the Newport Jazz festival.

It does appear that, from its opening night, the club was a huge success. And this had me wondering if Harry had been an influence on Ronnie Scott when he first opened his club in London towards the end of 1959.

Other key figures such as Jamaican born jazz musician and a pioneer of free form, Joe Harriott, also starred. This meant that, almost certainly, legendary drummers the calibre of Phil Seamen would have appeared on stage as he had been in Joe's band.

It looks as though all formats of jazz, trad through to rag time, were covered as, in later years, guests included the likes of Pete King (Ronnie Scotts partner at the London club), Terry Lightfoot, Mick Mulligan, Eric Allandale, Harold McNair, Ken Colyer, Mike Cotton, Georgie Fame and a whole host of others.

The Abracadabra Club, in its initial format, ran until around 1964. After this it became known as The Yardbird Club. This was until activities appear to have concentrated more on the already established Leofric Hotel Jazz Club. Also, as I understand, organised by Harry Flick. The Yardbird Club as I remember, was it seems, a revival of the name.

It certainly appears that I cannot overstate the importance of The Abracadabra/Yardbird Club. Sixty years ago it must have easily been one of the most important outside of London.

John Lee Hooker

John Lee Hooker

by Pete Clemons

He passed away a generation ago but the music of John Lee Hooker still lives on through commercials, TV shows and dozens of films.

It is said that John Lee Hooker was born in 1917 although this ranges from 1912 to 1923. The truth is that 1917 was only an estimation. No one actually knew. But regardless of that, he had a hard and difficult upbringing.

During that time John Lee developed a guitar style, influenced by the playing of his step father, of playing a series of notes around one chord.

On the face of it, it sounds easy enough. But after speaking with several guitar players, I soon learned that not to be the case. John Lee Hooker made what is a very difficult and intricate skill look simple. And that style became known as 'boogie'.

John Lee had written countless tunes but his powerful, exciting and relentless style took until 1948 to be recorded. And that recording was a tune called 'Boogie Chillin'. It sold a million but sadly earned him nothing of note. And a year later he became a full time musician.

The lesson learned from 'Boogie Chillin' was that, from then on, John Lee only recorded for cash up front. And this included the recording of another hit during 1956, 'Dimples'.

Towards the end of the 1950s, and in order to reach wider audiences, John Lee Hooker began to play the new and up and coming folk festivals. These were springing up across America and proved to be a great success as he now found a public who were willing to listen and appreciate.

As the 1960s broke John Lee's popularity grew as his records became more accessible. And those records began to make their way to the UK by way of shipping. A new generation of musicians were now being inspired by his foot tapping rhythms.

The early 1960s also saw two of John Lee's most influential songs, 'Baby Please Don't Go' and 'Boom Boom' recorded. And these were soon being discovered and reworked by British artists Van Morrison and Eric Burdon respectively.

That growing interest saw John Lee Hooker visit the UK for the first time during 1962. He was touring Europe and played one gig in Manchester as part as that tour.

He returned to the UK in 1964, famously backed by The Groundhogs, and again in 1966. John Lee Hooker loved the UK for respecting his music as well as respecting him as a person. Similar to the later Stax tour of 1967.

In fact during the 1966 UK tour, John Lee Hooker played the Nuneaton Co-op Hall as part of a short visit that also included the famous Marquee Club in London.

What is termed as the British Invasion of the US was effectively UK bands taking the blues and boogie music, such as that created by John Lee Hooker, back to the US and giving it far greater exposure.

A consequence was that an even wider American audience now sat up and took notice of their export via bands such as The Rolling Stones, The Animals, The Yardbirds and Them. America was given a whole new perspective of their music and sat up and took notice of it.

Now enter American boogie band Canned Heat famed for songs like 'On the Road Again', 'Lets Work Together' and 'Going up Country'. By their own admission Canned Heat songs were embellished with rehashed John Lee Hooker chords.

Canned Heat respected John Lee to the max. They had already termed their music 'Boogie Music' and collaborated on an album by way of the 1971 release 'Hooker n Heat'. The album was created with no overdubs - John Lee hated doing those - and no second takes.

Canned Heat even created a wooden platform in the studio for John Lee to stamp his foot during the sessions. John Lee's foot was effectively his rhythm section. The album was created over two nights and included a glorious version of 'Boogie Chillin'. And became the first John Lee Hooker album to chart in the US top 100.

John Lee's next major album began during 1988 when, after constantly working in lots of small clubs, was paid a visit at one of his gigs by Carlos Santana. Carlos immediately had the idea of album with John Lee and guests and called up producer Mike Kappus and Roy Rogers.

It was not an easy project. The album took a couple of years to produce and was rejected by several major labels. But eventually it was released and did see light of day it albeit on a small label, Chameleon. Titled 'The Healer' it was a sensational album. It received major airplay and sold incredibly well.

Throughout his lifetime John Lee Hooker never compromised, staying true to his unique boogie style throughout his career until that life extinguished during June 2001.

Roddy 'Radiation' Byers

Roddy 'Radiation' Byers

By Pete Clemons

I recently attended an interesting, insightful and incredibly honest question and answer session, at the Coventry Music Museum, involving former Specials guitarist Roddy 'Radiation' Byers.

Clearly Roddy is not the most comfortable public speaker, few of us are. Roddy's talents are in other areas, such as writing songs and playing guitar. So well done to host Pete Chambers for keeping the session flowing.

With songs such as 'Concrete Jungle', 'Hey Little Rich Girl' and 'Rat Race' in his armoury Roddy has written and created a succession of quality songs over the years. And, he is second only to Jerry Dammers in the amount of original material he wrote for The Specials during their classic years.

At first impression Roddy comes across as a battle scarred warrior. However, scratch the surface and as I had long suspected, you find a genuinely good guy.

The question and answer session began with Roddy revealing his early musical interests growing up in his Keresley home. Roddy explained how his Father played trumpet in local bands and how he himself briefly took up brass instruments. But then came The Monkees and their madcap, yet wonderful, TV series. The influences continued and emanated from the more edgier bands such as The Kinks and The Rolling Stones.

Roddy's first proper group were The Wild Boys a band influenced by the early 70s New York rock scene. By 1975 that same scene was proclaiming that 'Punk is Coming'.

I asked Roddy how he got into the UK punk rock scene so early. When I say early, I am

Roadent - aka Scon Steve Conelly

talking about late 1975/early 76, when punk had not yet broken out of London. It turned out that Coventry bohemian, Steve Connelly aka 'Roadent', had been based in London at that time. He contacted Roddy letting him know about the scene that was still in its embryonic stage, and how, he might enjoy it. Next thing Roddy is in London watching the Sex Pistols in front of 40 people.

Roddy also shared with us how he first became involved with The Coventry Automatics, later to become known as The Specials, and how Jerry Dammers had approached him in the Domino club. The Domino had always been known as a notorious late night drinking den, based in the lower precinct.

Roddy was worse for drink when he agreed to sign up. He was duly woken early next day by both Jerry and Pete Waterman, who then whisked him off down to London for recording sessions that resulted in the demos that were later hawked, unsuccessfully, around the capital.

Jerry Dammers created The Specials by hand picking, and poaching, what he saw as the cream of Coventry's finest musicians. And that led to the biggest disclosure of this discussion - to me at least. Roddy revealed that, as such, there were no true friendships forged within the band. None, at least, in the same way that are created when a band is formed by a bunch of mates. With no real bonding, they all remained as individuals.

With that lack of true camaraderie in the camp the days of touring became long and arduous and the band became fractious. Things were not helped when, during those early days, the band were living in the back of a van with little money and food coming in. Additionally, continually being slapped down, and not being given full freedom to express, or not be allowed to be heard, will always boil over into pure frustration.

The Clash guitarist Joe Strummer, who The Specials once toured with, insisted on the band getting a pay rise on hearing of their plight and the horrendous conditions that The Specials were having to put up with.

Another contentious issue happened when Roddy wrote his song 'Rat Race'. Roddy mentioned that, in no way was it aimed at any of the band members. Roddy remains adamant it came about after overhearing a conversation in a university bar about jobs that students had already had lined up for them by their parents.

After the demise of The Specials Roddy became involved with his own bands The Bonediggers and The Tearjerkers. And then a reunion of sorts, known as The Specials Mk 2.

Amusingly Roddy remembered back to when Amy Winehouse jumped on stage with the reformed Specials during the summer of 2009. They performed several songs together. Afterwards Amy mentioned to Roddy that her friend wanted to marry him. Of course, as flattering as it was, Roddy let her know that he was already spoken for.

Roddy is an incredibly talented person. His songwriting and legacy will far outlive him. But he is also a principled man and, as I touched on from the outset of this article, a man who struggles to express himself other than within song. As such he is, as his social media avatar suggests, a tortured soul. Devoutly, he 'is not a rich persons lackey and money is not his main motivation.

Interestingly, what Roddy had hoped for, at the outset of The Specials, was for a Jagger/Richards type writing partnership with Jerry Dammers. It had me thinking, imagine the interest, even in today's times, if both managed to get a few songs together. A kind of electronic come punk rock mix springs to mind. Either way, with the power of the internet and its potential to create music nowadays. Never say never.

Nowadays, Roddy can be found fronting The Skabilly Rebels, a band who have been around for several years now. But more recently the Skabillys have been incredibly active on the live scene.

Yes, Roddy may well be back playing in pubs and small clubs. But he does seem more content with life. 'Better to fade away like an old soldier than to burn out' – John Lennon.


Find out more about The Skabilly Rebels here....... https://www.facebook.com/skabillyrebels/ and here http://www.roddyradiation.com/

Bruce Soord – All This Will Be Yours

Bruce Soord – All This Will Be Yours

By Pete Clemons

Coming face to face with your own mortality is not something I would recommend. Thankfully the skill of a surgeon and hospital staff turned the tide for me and, recently, gave me a second chance of life.

Fairly soon after that episode and I find myself listening to the latest solo album, 'All this Will Be Yours' by Bruce Soord, singer songwriter for The Pineapple Thief.

And within its obvious beauty it certainly packs a powerful and emotive punch below it's surface. The brutal honesty of life that I certainly wasn't expecting in a song.

It is clear exactly who the songs are aimed at, but sometimes, you cant help but hear lyrics from your own personal angle. It has to be said that I discovered this album while a fragile state of mind existed. One that I never realised I had.

And because lyrics do become, almost, personal stories you try to deconstruction them in order to suit yourself. You try to get inside them. To try to see the song and feel it.

Across the whole of this album I found an honesty in the lyrics that is just so painful in the most exquisite way. The music, as beautifully crafted as it is, is almost incidental.

There is also a clever ambiguity to the songs. On one level they carry a simple message but on another there is something more complex coming through.

The reality though, is that this selection of songs is for Bruce's growing family. It is advance notice to the complex trials and tribulations they face ahead of them. This, and Bruce's first solo album, feel as though they are very much linked. A guide to life if you like.

Bruce's debut album was very much from the standpoint as a father. Certainly in places at least. And as his family has grown then so did this path of songwriting.

It does sound very much like a part 2, to that debut, if you like. Could this be a part of a future trilogy?. Who knows but I think that this is potentially how it could all pan out.

Maybe it was the health scare I recently experienced but, for me, these lyrics did seem to relate back to that period. The last track particularly, 'One Day I Will Leave you', really has resonated. And Bruce kindly provided me with a word or two about it:

Bruce said 'I did think twice when I sat down to write the closer. Could I really sing what I had written?? It was quite difficult to get through that track, or play it back!'

Performing the song live, I must admit that I hadn't even thought of it from that angle. Its one thing listening to it. But recording it and singing it in public must be something else altogether.

Bruce continued: 'I'm really happy you like it. I must confess I spent a LONG time on the words. They may be quite sparse compared to other artists but I would often spend hours labouring over a line. I hope others like it as much as you do!'

This album is thoughtfully written. It has depth and substance. And like a murmuration of birds the whole thing ebbs and flows in intricate and yet very precise directions. The honesty within it is astonishing. It is intense and incredibly thought provoking with a heart wrenching, yet truthful, finale.

'All This Will Be Yours' was the first new album I had heard during my bonus years. And it was well worth hanging around for. But please Bruce don't attempt this album live.........you will get me all ends up.

Life is a journey and you get drunk on it when you are young, according to the lyric of another well known songwriter. But it doesn't last forever. Life is not infinite. And this album pulls no punches in reminding you of that.

Footnote: this album release comes almost 50 years to the date after a fatal car accident in Hipswell Highway, Coventry during October 1969. It was outside the shops, close to where I grew up. And I had been in one of those shops when it happened. I have never forgotten that accident, or the person who lost their life that day, who had been at a similar age to me at that time. Life is so precious yet, at the same time, so fragile. And I just wanted that person to know that, despite the passage of time, they had not been forgotten.