Arthur (Modie) Albrighton

Arthur (Modie) Albrighton

By Pete Clemons

Arthur (Modie) Albrighton was born in Bell Green, Coventry on September 3 1940. He is the eldest son of Arthur (Senior) and Anne Albrighton. His Father was an engineer in the defence industry and was also a pianist.

Brought up in a musical environment it was not long before Modie began performing. During the weekends Arthur (senior) would entertain at working men’s clubs and by the age of 5 young Arthur would accompany his father on harmonica. During this time he also got to meet and perform with the legendary Larry Adler.

At 16 Arthur began to study radio and television technology. Initially he trained as an electrical engineer by first of all attending courses at Coventry Technical College (The Butts). Then in 1961 he began an advanced apprenticeship which he completed in 1962.

Modie’s gigging career began as far back as 1956 when he began playing with bands like The Solpanos and The Firebirds while, at the same time, introducing his brother Roye to the guitar. Roye of course found worldwide success with progressive rock band Nektar.

It was also at that point that Arthur began to be known as ‘Modie’. The name derives from the word moody, because says Arthur, ‘if things did not go right when we used to practice, I was getting real moody’. To this very day the name has stuck.

After a spell with the Ricky Thompson Dance Band, who were based at the Grand Ballroom, Coalville, the early to mid 1960’s saw Modie join the short lived bands Makeshift and The Plague. 1968 saw those last two groups evolve into the first formation of Peppermint Kreem.

Paul Kennelly remembers 'As far as I recall, when Modie first linked up with me, he had been living in Ibstock and had been playing bass in the Ricky Thompson band, hence his conventional hair cut ! By the time we met, he had moved into 188 Barkers Butts Lane, the ground floor flat, that became the Plague / Peppermint Kreem H.Q. and where the likes of Roye Albrighton and Journey of a Lifetime would gather and chill out.

Peppermint Kreem toured extensively and worked incredibly hard during 1968. They appeared regularly at venues like The Navigation and The Walsgrave. Their line-up was made up of vocalist Paul Kennelly, Ray Haywood on lead guitar, Dave Fairclough on keyboards, Tom Ryan on drums and Modie on bass guitar.

Due to long term commitment issues Peppermint Kreem folded and Modie moved on to bands such as Heaven Sent and New City Sounds. New City Sounds had, by then, become regulars at the West End Club amongst other venues around the city. He was not, though, a part of the line up who would appear on TV talent show Opportunity Knocks.

1972/73 then saw Modie founding his own company that specialised in radio, TV and jukebox repairs. That same period also saw the reformation of Peppermint Kreem who went onto to achieve more good things. This time around Modie had switched to lead guitar with the rest of the band being vocalist Paul Kennelly, Keith James on bass, Bob "Spindler" Hopkins on keyboards and finally Pete Davoil on drums.

Modie began to make contacts in Germany and in 1976 he went over to there to tour with a band called Sabina. He must have taken to life in Germany because by the end of 1977 he had emigrated there. Initially, and through to the 1980’s he toured the German circuit with many different bands including Bullfrog and Trysapter.

But at the same time he needed to put down roots and establish himself. So to make ends meet he worked for the US army in Fulda, a town near Frankfurt, and took on any other work that he could get in order to get by.

But, over time, he did settle down and, through his music, he was able to make new acquaintances along the way. Here are some words written about Modie by the highly respected German artist and musician Paul Eddie Pfisterer:

‘I received a phone call from Modie Albrighton. He was interested in getting a group together. At that time Modie was playing guitar in several groups in Germany. In around 1978 I played with him in a band called ‘Trysapter’. This was short lived and I lost contact with him for many years. So it was a great shock when I got this phone call again. All the memories of the old times of real rock music came back. We managed to get a very good bass player called Michael Gawlik. This was crazy, as we never had a practice and yet it all came together as if we had played together for years. We made three CD´s, that, even today, I constantly listen to. Modie is an extraordinary guitarist, talented in a way that never exists in present time. He is a multitalented, playing guitar as well as Blues-Harmonica, Bass, Keyboards, Singer, Show and all the things a real professional musician is expected, including the unexpected things. Michael was a very young hot blooded Bass player with an immense energy, which was needed for ‘Nuts and Bolts’ as it was only a three piece band’.

During 1986 Modie built and founded Falcon Studios in the town of Bad Salzschlirf. As well as being a recording and production house, the aim of Falcon Studios, has been to encourage talented singers and musicians. And this he has done for well for many years now.

In addition to his various studio based projects Modie has successfully released many solo albums whilst in Germany. These include 'My Style' and 'Out of the Blue', Relax, Feelings, Roof Top Blues and Modie rocks the universe volumes 1, 2 and 3.

Until recently, and as far as I know ongoing, the studio continues to flourish with Modie putting together a dedicated team all working for the best possible recording and production results.

Thanks to Paul Michael Kennelly for his input around the Peppermint Kreem history and also for the images..

More of Modies videos on youtube  https://www.youtube.com/user/modie47/videos

The Flys – Coventry Pioneers

The Flys – Coventry Pioneers

by Pete Clemons

Get the album here

https://www.cherryred.co.uk/product/the-flys-today-belongs-to-me-the-complete-recordings-1977-1980-2cd/

The four piece Flys burst onto the power pop and new wave battlefield during mid 1977. The boom in Power Pop and New Wave followed the Punk Rock explosion and The Flys were one of the pioneers of that field.

The Flys were Dave Freeman - lead guitar, Joe Hughes – bass, Pete King – drums and Neil O'Connor – rhythm guitar and vocals. Their musicianship was melodic and imaginative and, with a regular slot at La Chaumiere in the Burges during August and September 1977, their future looked assured. Especially after an early break for them when they hooked up for a support slot alongside Buzzcocks at Mr Georges club during October 1977.

That particular night was meant to be a one off but it went so well that the Buzzcocks invited The Flys to do most of the remaining tour dates. Especially those around the Midlands. So the band ended up doing around six more dates with them.

Before that Buzzcocks gig The Flys had laid down the tracks that made up their self financed debut, the 'Bunch of Five' EP on Zama Records. And all this early activity had alerted EMI who promptly signed them up. Zama Records was also the home for Black Parrot Seaside and their epic EP release.

With so many talented bands around, at that time, you needed that little extra boost like a session on the John Peel show. And there was no shortage of opportunity. The Flys appeared on his show at least three times. The first being during March 1978 when they performed 'New Hearts', 'Fun City', 'We Dont Mind the Rave' and 'Living in the Sticks'.

Further Peel Sessions were recorded during November 1978 when they performed 'Love and a Molotov Cocktail', 'Name Dropping', 'I Don't Know' and 'Waikiki Beach Refugees'. And once more during September 1979 when, by then, drummer Pete King had left and Graham Deakin had replaced him. For that session the band aired 'Lets Drive', 'Energy Boy', 'Frenzy is 23' and 'I'll Survive'.

And almost all those tunes, along with many others, – the complete studio recordings 1977 to 1980 in fact – can be found on a wonderful release titled 'Today Belongs to Me'. Additionally this release contains seven previously unheard songs.

In hindsight, the punk rock and new wave era was an incredibly short window of time. As such, timing was crucial. By the end of 1978 people were already saying that punk and new wave was dead. It just seemed to have run its course.

Power pop was mainly applied to UK bands and had no real legs overseas. So it was limited in its appeal. Having said that the likes of Elvis Costello and Squeeze faired well. But by and large the new wave soon became the old wave.

A lack of real commercial success led to internal bickering. And, despite a valiant effort, it was always a struggle. The Flys called it a day during the spring of 1980. But, and as this new release proves, what a legacy they left us. Listening to these songs 40 years on they still sound so fresh and not at all dated. And this double CD package comes with a wonderfully informative booklet.

Post Flys, Neil O'Connor joined his sister Hazel's band. Bass player Joe Hughes and guitarist Dave Freeman would team up again in The Lover Speaks. They also penned the ballad 'No More I Love You's' for Annie Lennox and took her into the charts during 1985. Pete King joined After the Fire but sadly passed away during 1987 aged just 26.

TRACK LISTING 

DISC ONE

1. WE DON’T MIND THE RAVE
2. BEVERLEY
3. LOOKING FOR NEW HEARTS
4. SHE’S THE ONE
5. MONSOON SKY
6. FUN CITY
7. DON’T MOONLIGHT ON ME
8. SOME KIND OF GIRL
9. I DON’T KNOW
10. WAIKIKI BEACH REFUGEES
11. SATURDAY SUNRISE
12. DARK NIGHTS
13. LOVE AND A MOLOTOV COCKTAIL
14. CAN I CRASH HERE?
15. ME AND MY BUDDIES
16. JUST FOR YOUR SEX
17. CIVILIZATION
18. FUN CITY (single version)
19. E.C.4.
20. WAIKIKI BEACH REFUGEES (single version)
21. BEVERLEY (edited single version)
22. NAME DROPPING
23. FLY V. FLY
24. ADRIAN (DON’T CALL ME JIMMY)
25. I’LL SURVIVE
26. LIVING IN THE STICKS (first demo version)

1-12 The album Waikiki Beach Refugees, EMI EMC 3249,
released October 1978
13-14, 17 Single, EMI 2747, released January 1978
15-16 From the EP Bunch Of Five, Zama ZA 10, released
December 1977
18-19 Single, EMI 2795, released May 1978
20 Single, EMI 2867, released October 1978
21 Single, EMI 2907, released January 1979
22-23 Single, EMI 2936, released April 1979
24-26 Previously unreleased

DISC TWO

1. LET’S DRIVE
2. ENERGY BOY
3. FASCINATE ME
4. TALKING TO THE WALL
5. 16 DOWN
6. FORTUNES
7. NIGHT CREATURES
8. WHEN 2 AND 5 MAKE 9
9. UNDERCOVER AGENT ZERO
10. CHEAP DAYS
11. WALKING THE STREETS
12. THROUGH THE WINDSCREEN
13. FREEZING
14. FRENZY IS 23
15. WE ARE THE LUCKY ONES
16. LIVING IN THE STICKS
17. NIGHT CREATURES (single version)
18. LOIS LANE
19. TODAY BELONGS TO ME
20. WHAT WILL MOTHER SAY?
21. UNDERCOVER AGENT ZERO (single version)
22. COME ON STUPID
23. PROGRAM
24. DOWN YOUR END OF THE PHONE
25. HANG ON
26. I SAY
27. LIVING IN THE STICKS (second demo version)

1-14 The album Own, EMI EMC 3316, released
October 1979
15-16 Single, EMI 2979, released July 1979
17-19 From the EP Four From The Square,
Parlophone R 6030, released February 1980
20-21 Single, Parlophone R 6036, released May 1980
22-27 Previously unreleased

Girl Power

Girl Power

by Pete Clemons

Incredibly, music first released during the same week John F Kennedy was assassinated, still resonates today. Especially at this wintery seasonal time of year. Yet, at the time, and possibly due to the sad events back then, the album was a relative failure.

The album 'A Christmas Gift For You from Philles Records' – named after the Philles label but was later re-titled 'from Phil Spector' - was recorded during the back end of 1963. It contained 13 tracks and was, predominantly, an all girl album in terms of vocals. It came from Phil Spector's production skills that became known as the Wall of Sound.

Girls began to put together popular music groups as early as late 1950s in New York. And a good number of significant ones were formed between the rock n roll years and the beat bands era.

The Bobbettes were one one of the earliest. They released a number of singles over the years but none surpassed 'Mr Lee' released in 1957 and sold over 2 million copies in America.

The Chantels were next up. They were a do-wop harmony group inspired by Frankie Avalon and scored a hit with 'Maybe' in 1958.

In the Manhattan area of New York – Gerry Goffin, Carole King, Neil Sedaka, Jeff Barry, Barry Mannis, Ellie Greenwich all teenagers at the time, according to Neil Sedaka 'writing songs in cubicles' within the Brill Building. Collectively they became known as the 'Brill building Set'.

All those song writers had their fair share of major success but it was Goffin and King who were the first to write a hit for an all female group. The Shirelles covered their song 'Will You Love Me Tomorrow' in 1960. It was a massive success but the lyrics were controversial. Lyrics covering the subject - will you still respect me tomorrow or is this a one night stand – were not the norm back then.

Inadvertently, the sound of the girl group was expanded by Jerry Leiber and Mike Stoller, who had written several hits for Elvis Presley a few years earlier. They had added elaborate orchestral sounds and strings to the 1959 Ben E King song 'There Goes my Baby'. And that, in turn, had inspired Phil Spector, who was also based in the Brill building, and he studied the methods used.

One of Ben E King's next hits, 'Spanish Harlem' was co-written by Spector, produced by Leiber and Stoller and contained more of their lavish production.

Phil Spector's imagination ran wild. But his downfall was vanity as life revolved just around him. The records he produced were his records. The artists who sung on them became just a conduit.

'He's a Rebel' by The Crystals became Spector's second number one during 1962. Although not a member of the band, vocalist Darlene Love lip synced the lead vocal as Phil Spector began to manufacture the hits. The Crystals follow up hit similar 'He's Sure the Boy I Love' was given similar treatment. The Crystals did tour the UK during 1964. Alongside Manfred Mann, they appeared at Coventry Theatre.

But then came Darlene Love's greatest moment and it is her voice we hear year after year, by way of TV adverts, with her version of 'Christmas (Baby please come home)' and this was just one of the songs from the album 'A Christmas Gift For You from Philles Records'.

Originally dancers from the Peppermint Lounge in New York, The Ronettes joined the growing list of girl groups. After a couple of minor hits, Phil Spector auditioned and signed them to the Philles Label.

The Ronettes were the final piece in the jigsaw as Phil found 'the sound he had been looking for'. That sound became known as 'Wall of Sound productions' - Symphonies for the kids that created a rich and powerful sound.

During mid 1963, 'Be my Baby' became the first, of what became massive hits for the Ronettes. Phil later married lead vocalist Ronnie Bennett but, as with his music skills, he took total control. The Ronettes supported The Rolling Stones on their UK tour of 1964 as well as appearing at the Co-op hall in Nuneaton.

But it wasn't all about Phil Spector. Another band from New York, The Shangri La's, became the next big all girl group. The Shangri La's came with an image of all black clothing. 1964 saw hits such as 'Remember (Walking in the Sand)' and 'Leader of the Pack'. These songs brought another view of how women could behave. The lyrics were moody dramas and plays.

The explosion of girl groups had not been confined to New York either. It soon spread to Detroit. The Marvellettes were a five piece formed during the early 1960s. Soon after he auditioned them, The Marvellettes gave Berry Gordy his first number 1 for his Tamla Motown label with their song 'Please Mr Postman' during 1961.

The music of the girl groups, created between the later part of the 1950s, through till the mid 1960s, has certainly endured the test of time. It has never been far from our pshyche for almost 60 years now and shows no sign of letting up.

Mr Lee - The Bobbettes

Gene Clark – No Other

Gene Clark – No Other

by Pete Clemons

What makes a great record?. Many reasons I guess. It's all very subjective. But one thing life has taught me is that it is nothing to do with how many copies it sold or weeks on chart.

I do think, however, it is all about time and whether or not an album still has the capacity to move you over time.

And exactly that seems to have happened to a relatively unknown album first released September 1974. Many, who have heard it, will testify as to how wonderful it is and how it moves them.

That album is titled 'No Other' and was released by Gene Clark. Recently, it has been given the deluxe treatment. It has been re-appraised and re-released in various formats with additional versions and out takes of the songs.

After a spell with the New Christy Minstrels, Gene Clark moved to Los Angeles during 1964.

There Gene met Jim (Roger) McGuinn at the Troubadour. Jim was adding Beatles influences to his own songs. He was sat in a room of the Troubadour, called folk down, writing songs. At some point soon after, David Crosby happened to turn up with his guitar. David joined in and magic was formed.

Deciding that they had the potential for a band and, to achieve it, they required a bass player and drummer, they recruited Chris Hillman and Michael Clark. The Byrds were formed. And Gene Clark was a prolific songwriter and he was the creative glue of The Byrds.

Each of the individuals within The Byrds were completely different characters, according to Crosby. For example, Gene Clark was a totally honest guy. The band would pay bills by using bad cheques to get by. After 'Mr Tambourine Man' broke, bringing in much needed funds, Gene went back to honour those bills.

But according to other sources Gene could not handle the pressure that came with success. At one point The Beatles, Bob Dylan and The Byrds were all spoken of in same breath. Gene's issues were further compounded by a fear of flying.

On 27th February 1966 while on a plane, Gene broke out into a cold sweat. Jim McGuinn thought Gene was picking up on something – a vision of disaster maybe. Gene simply got up and walked off plane. It was the beginning of the end as Gene officially left The Byrds during April 1966 to begin a solo career.

Gene did rejoin The Byrds briefly but, during 1974, he admitted it had been a mistake leaving the band in the first place.

After spells with The Dillards and yet another Byrds reunion 'No Other' was released on Asylum Records which, at the time, was run by David Geffen who instantly recognised Gene Clark's talent.

David Geffen spoke to producer Thomas Jefferson Kaye and offered him Jackson Browne or Gene Clark for there up coming projects. Gene had been away for year and had written a bunch of songs. It had been a spiritual time for Gene and lot of soul searching had been done. It was felt that Gene needed a producer and sole mate.

Chris Hillman mentioned that 'Gene came up with divinely inspired lyrics'. 'He went somewhere in that writing experience'.

The completed 'No Other' was designed to take you places and apply it to your own life. It was a joy for the musicians involved in it as it was open to interpretation. And they really went for it. It truly is a unique and magnificent album.

David Geffen was apparently disappointed with 'No Other' as it only contained 8 songs. As such the album didn't receive finance to tour and to support it. It also, didn't help I guess, when Gene Clark punched David Geffen. Frustratingly, Gene had rightly felt totally let down. 'No Other', today, really is considered as a lost classic.

A follow up album 'Two Sides to Every Story' came a little later after which Gene took a break from music. As mentioned many times by friends and acquaintances, 'Gene continually missed ships leaving the harbour'. Having said that, a brief comeback with Carla Olsen was seen as something of a success in Americana circles as their two voices blended together delightfully.

Gene Clark passed away on 24th May 1991. However, he lived just long enough to see The Byrds inducted to the rock and roll hall of fame. They played together one last time 16th January 1991.

The Trees - 'Here Come the Trees'

The Trees - 'Here Come the Trees'

by Pete Clemons

Trees. Great lumbering things. Behomoths. What's the point of them?. What purpose do they serve?.

Well firstly, they store carbon dioxide taken in from the air, along with water from the ground. And in the process of converting that mix into wood they release oxygen back into the air for us to breathe.

Due to the amount of water they drink, they are a natural flood defence.

There are theories that they are able to communicate through their network of roots. Or even send chemical hormones to each other. Or, that they send pheromones to each other via the air.

But it is not only us humans they support. They are pivotal to the ecosystem and sustaining other animal and insect life due to the fruits they provide.

Amongst other things, they also provide us with construction materials and that is a partial reason for the vast deforestations happening around the world right now. It really is a fine balance. Maybe one that we are not getting right at the moment.

And these issues have been tackled by a host of local musicians in the form of an album titled 'Here Come the Trees'.

The concept for the album came from Christopher Sidwell, soon after the release of the last Crokodile Tears album, 'Old Skool'. Christopher also provided lyrics for the project along with poet Morphelia Ansell and Melanie Moon.

For this release Christopher enlisted the musical and recording skills of Keith Fabrique and Mick Walker.

And the storyline: in Christopher's words 'Well it’s generally about man vs. nature, or man vs. man (in the case of Conservationists vs. Big corporations) and explores the idea of ‘Heroes’. The lonely poet was looking for a man to save her but realised that she can save herself (as he’s not going to do it!) People expect Moon Girl to come and save them and their trees but she comes too late to save the trees. An ordinary person, her alter ego, Melanie Moon speaks out about the trees being cut down and Jack’s brother Zack gives up his job as a lumberjack as he starts to love trees and so rebels against his bosses at the lumber company'.

Strip back the bark and underneath you have a really decent album that has many fine musical moments. A host of musicians have been drafted in for this project and they have all excelled themselves. 'Here Come the Trees' is an absolute delight to listen to.

Talking to those behind it, 'Here Come the Trees' was clearly a lot of fun to put together. It was a relatively smooth production and there was an obvious mutual respect for each other.

Although there is a serious side to the album it is also a light hearted affair with plenty of humour, at a superficial level, within it. It also contains many metaphors. The heroes, that Christopher mentions, could well be the youth of today and their stance for the environment.

The project also has the potential for a theatre production as opposed to a gig. But that is one for the future.

One thing is for sure though, and that is 'Here Come the Trees' is a one off. Those behind it are not wanting to exhaust the theme and, as such, will not be following it up. It is a stand alone album and will not be an elder.

There is a lovely dedication at the bottom of the sleeve notes. It is to all you little acorns out there. Together, you can be big enough.to make a difference.

Hawkwind at 50

Hawkwind at 50

By Pete Clemons

When I realised that Hawkwind were touring to celebrate 50 years of the band, my first thought was, wow, where did that go. After all, I and countless others, have followed the band for a good proportion of that time.

Hawkwind, of course, were pioneers of giving you more than just performing a set of songs. They brought drama and lights. Stage dancing and stage creations.

But it has not been an easy ride for Hawkwind. Despite charting albums and well attended gigs they seemed to lumber from one financial crisis to another. Some of it their fault, like wasted money. Some of it not like the time they lost a load of uninsured kit, leaving the band equipment less.

The gig itself, teleported to The Empire – the old Paris cinema - after the demise of the Leamington Assembly (which, I am glad to report, has now reopened), was career defining and evoked some wonderful memories, as Hawkwind found time for many old crowd favourites.

They opened with 'Motorway City'. I remember seeing Hawkwind perform that one at Tiffany's when Ginger Baker was in the drum seat.

'Silver Machine' was also given an outing. As was 'Born to Go'. This was originally a part of the Space Ritual set that kind of broke the band to a whole new level back in 1972.

Following an incredibly busy touring, schedule that included a couple of gruelling tours of the US, the band returned to the UK to tour Hall of the Mountain Grill album during 1974. This included a visit to Coventry Theatre and I remember there being a lot of interest in the gig. So much so that I spent a night outside the box office, in a sleeping bag, in search of tickets.

'Spirit of the Age' was another old fave. This time however, I popped across to Birmingham to see that particular supporting tour. I can still see Bob Calvert providing the vocal to this incredible piece of Hawkwind history.

'Assault and Battery/The Golden Void' from the Warriors on the Edge of Time album wrapped up the set before the band returned to the stage for their encores.

These included 'Hurry on Sundown', from Hawkwind's very first album release and 'Master of the Universe'. 'Hurry on Sundown' was one tune which I, personally, cannot recall ever hearing live before.

All Hawkwind tours have a concept, and this one is no different. Gone are the lavish stage productions of old but the lighting and backdrops were still quite impressive throughout. The theme and visuals for this particular one is based around extinction. And in-between the above mentioned classics is a good selection of songs from the recent chart entering album 'All Aboard the Skylark'.

A totally enjoyable evening for many reasons. And, given the healthy audience size, Hawkwind proved that they can still create a lot of interest. Thanks for the memories and here's to the next 50 years.

No-Man – Love You to Bits, Tim Bowness and Steven Wilson

No-man – Love You to Bits.

Tim Bowness and Steven Wilson

By Pete Clemons

On first listen I was immediately cast back to a time in the mid 1970s when, I was listening to styles of music, I would not admit to to some of my friends and peers. Although I suspect they knew.

Despite my love for progressive/underground music I did have a penchant for Chic, Donna Summer and others. And, on occasion, I didn't mind a visit to the disco.

'Love to you to Bits' was a totally surprising listen. But should it have been?. Via a video, promoting the album, Steven Wilson revealed that the roots of this release had been conceived some 25 years earlier.

This would have been around the time of the 'Flowermouth' album released during 1994. I was curious as to whether this was before or after 'Flowermouth'. So I took the liberty of asking vocalist, Tim Bowness, direct. He said:

'From memory, LYTB (the opening song section) was written in 1994 after the release of Flowermouth. At around the same time, we also wrote the beginning of what became Lighthouse. Both songs developed and changed over the years and the album of LYTB features a great deal that was written over the last year'.

Around a year after 'Flowermouth', and before the more hard edged 'Wild Opera', the band released a cassette (later a CD) called 'Flowermix'. This was a more dance/ambient oriented release. So the seeds of LYTB kind of fits to that time.

Moving away from the over-riding beat I was also curious to learn more about the lyrics. To me they seemed to be about some kind of romantic tragedy. But given the style of music I was also getting a vibe that the lyric might be about the death of disco itself. Tim also kindly enlightened me:

'Lyrically, the idea is to cover the aftermath of a relationship from the perspectives of both participants as well as the third perspective, which is the one they share (but can’t discuss with one another because communication has broken down). On the physical formats, the lyrics are colour coded so you know which voice is talking. My other hope was that I could capture the optimistic beginnings (thereby giving the piece more of a sense of light and shade). If it has a metaphorical aspect, in some ways it could also be read as a depiction of the creative death of a band,

Weirdly I did write a song about the death of disco called The Death Of Disco Dottie with Centrozoon in the early 2000s'.

Again, and away from the main theme, there are many incredible solo moments woven into it all including a particular delicate few minutes from a brass band. It all works together wonderfully well.

no-man are a pop art band. With no real boundaries. Expect the unexpected from them. Personally, I must say that this record is like a breath of fresh air. The story line is particularly engaging. I love it to bits.


With thanks to Tim and Steven.

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.

Billy Fury - Songwriter

Billy Fury - Songwriter

by Pete Clemons

In a recent, and much enjoyed visit to Liverpool, I found time to visit the Billy Fury statue on the Albert Dock.

On the base of it were two plaques. One letting you know that the statue had been unveiled on the 19th April 2003 by the legendary Jack Good and councillor Eddie Clein.

Of course, Billy Fury wasn’t his real name. That was bestowed upon him by his manager Larry Parnes. The second plaque gives you Billy’s actual birth name which was Ronald Wycherley. And along with his name it also gives Billy’s birth date and the day we lost him.

It went on to read that Billy had been a legendary British rock ‘n’ roll star and a major UK chart artist, live performer and songwriter. And that Billy had, primarily, been a songwriter.

And being a singer as well as a songwriter was an unusual thing during the time that Billy began performing in the late 1950s.

So unusual in fact that Billy wrote some of his own songs under the pseudonym of Wilber Wilberforce. Whether that was due to his modesty, or if he just didn’t want the greater public to know, is open to debate.

But Billy, without doubt, went on to create a milestone album in British popular music.

The 'Sound of Fury' was a 10” album release. 10 tracks in total 5 on each side. It was recorded at Percy Phillips studio 38 Kensington in Liverpool. Numerous artists from Liverpool, including the very early manifestations of The Beatles, recorded there. The whole album was recorded in a day and, when released, cost 22 shillings to buy.

Joe Brown played on the album and commented how he initially thought the songs had been written by a R’n’ R / Country player. Not a guy from Liverpool.

Unusually, by the standards of and era, you find that 2 basses appear on the LP. One electric and one slapped.

During the albums production Jack Good was trying to recreate and capture the Sun sessions days of the 1950s. At the same time Jack didn't put his own spin on the album. He retained Billy's original thoughts of the songs. The way that Billy wanted them to sound.

After the 'Sound of Fury', Billy moved away from rock ’n’ roll to crooning and had huge hits such as 'Halfway to Paradise' which, in all honesty, became a style of singing he was more famous for.

The early part of the 1960s had seen Billy appear on the huge package tours that passed through the theatres of Coventry.

However, after the hits dried up, Billy Fury found himself, like many, on cabaret circuit and appearing at clubs such as Mr Georges in the lower precinct.

The working men clubs circuit also beckoned Billy Fury as he also appeared locally at venues like the Walsgrave WMC and the Wyken club.

Sadly, this was to be the fate of many from that era.