Danny Storm, Buddy Britten, Robby Hood

Danny Storm, Buddy Britten, Robby Hood

by Pete Clemons

In a recent article about Clifton Hall, Rugby, I mentioned the first three resident groups.

Danny Storm and the Strollers, Buddy Britten and the Regents and Robby Hood and his Merry Men.

As a 19 year old Danny Storm had packed a lot of experience into a short space of time. His talents as a ballad and rock singer earned him a growing legion of fans. The reception he would get at the Co-op hall in Nuneaton suggested he was destined to become a box office attraction. But Danny kept a cool head and always remained modest about his success. He became a big friend of Joe Brown and signed up for the Pye Piccadilly recording label that gave Joe, amongst others, his hit 'A Picture of You'. Danny himself made two big hits for the label 'Honest I Do' and 'Just You'. He also made a third cut 'I'm Thinking of You'. Danny also made several TV appearances and even featured in the film 'House That Rock Built'. Danny was backed by harmony duo The Strollers, Roger James and Tony Clarke who was a lad from Coventry and who became producer of The Moody Blues. But the Strollers were a versatile group who comprised various musicians during their existence.

Buddy Britten was once a guitarist for Billy Fury. But then he went a long way in a short space of time as he became a top billing artiste in his own right. He went from Billy's band to Vince Taylor as lead guitar. And it was while he was with Vince that he first met Reg Calvert. And it was at that point that Buddy began to star on his own as Reg saw more than a guitar player. Reg encouraged Buddy to sing. It was from there that Buddy was tested by the Decca recording company. 22 aspiring pop singers were tested that day but it was Buddy who got the nod. He was asked to make a record. The song he released was 'Dont Spread it Around'. After that test he moved to Clifton Hall where his success grew, particularly from Reg Calvert's Friday night dances. And that popularity produced a second single 'My Pride, My Joy, My little Girl'.

Robby Hood was from Bermondsey, London. He became well known for dressing up on stage as the legendary outlaw from Sherwood Forest. Several top show business personalities tipped Robby for stardom and to rival the likes of Adam Faith. For months Robby practised at Clifton Hall with his backing group, The Merrie Men, perfecting their stage presentation. Under his birth name of Mike West, six foot Robby began his career with Johnny Kidd and the Pirates where he added vocal support to their massive hit 'Shakin All Over'. It is understood that Robby gave Johnny Kidd the idea for the infamous eye patch in order to cover a squint. Robby stayed with the Pirates for over 12 months. Another break came when producer Jack good offered Robby a spot on ATV-TV's popular 'Boy Meets Girl' show that starred Marty Wilde. However, Robby turned this opportunity down in favour of a six month tour of Germany. On his return Robby took up the offer of a pantomime role in a production of Cinderella. It was a bit of an unusual career move but Robby said at the time 'you never know when the experience might come in handy'. Some of the group members of Robby's backing group The Merry Men went on to form the Fortunes.

During its time as the school of rock, Clifton Hall played host to many groups including Mike Everest and the Alpines, Tanya Day, Baby Bubbles, The Liberators who became Pinkertons Assorted Colours and a whole host of others.

The Bo Weevils

The Bo Weevils

by Pete Clemons

Coventry band The Boll Weevils (as originally called) burst on the scene in 1963 when R & B made headway on the London scene and later the charts. Their music reflected several styles, from blues, soul to jazz. A leading light in the band was Tim James - later of Ra Ho Tep and known to many on the music scene on Coventry. 

Coventry group The Boll Weevils can be traced back as far as 1963, when it is believed they were formed. It was a challenging time for a group to be forming then because trends and tastes were changing rapidly.

As such the group changed considerably, both stylistically and in personnel since the time they formed when R 'n' B first exploded onto the scene. The Bo Weevils were never an easy group to categorise, especially in those early days. They began by playing traditional R 'n' B with an unlikely front line of alto sax, harmonica-vocalist and a lead guitar.

By 1964 they had changed their name to The Bo-Weevils when Freddie Liggins joined. The group built up a solid following with frequent appearances at the Hotel Leofric Jazz Club, Birmingham's Whisky A Go Go and Manchester's Twisted Wheel clubs.

The Bo-Weevils named American rock and soul performers like Otis Redding, James Brown, Bobby Bland and Ray Charles as their chief influences while instrumental performers like blues oriented jazzmen Jimmy Smith and Jon Patten were also noted.

Not that there was anything traditional about the way they played it. The jazz influence was very marked, however, and the group, apparently, bore a marked resemblance to Alexis Korner with his Charlie Mingus oriented treatment of Muddy Waters, Howlin' Wolf and John Lee Hooker material.

The more progressive audience found their efforts raw but very interesting, while the blues puritans labelled them as rubbish.

By early 1966 things changed dramatically for the Bo-Weevils. The jazz influence was less marked, except that it had clearly increased the confidence and competence of their playing. And, crucially, the band had become Coventry's only 'soul band' and had tagged the definitive term 'Jump Band' onto the end of their name.

Only the groups leader, alto saxophonist Freddie Liggins and vocalist Tim James, who by then, rarely featured his talented harmonica blowing, remained from the original group.

And also, by then, there was a sax line behind Liggins and James who had been joined by tenor Gregg Taylor whose diminutive size bellied his big fat tone and baritone Gordon Wood had also joined the group. Another new band member was lead guitarist Len Barratt, the groups fourth attempt at finding the right man for the job. This time though, things seems to be working, and hopes were high for the group.

By February 1966 it seemed certain that the band were on the cusp of signing up with a Manchester based agent and promoter. This brought with it recording possibilities. Additionally the band had entered the 'Melody Maker National Group' contest, a very important competition as the more successful entrants usually received huge countrywide exposure.

Freddie Liggins spoke about the groups future plans. 'Obviously a record is very important, but there are problems. For a start we would have to be prepared to alter our style slightly to try for a hit. But when you are a soul group working mainly in the clubs, it is a little chancy to go too commercial. We would aim for a hit provided it didn't require us changing our accepted style too radically. For instance, The St Louis Union are a soul band but they entered the charts last week with a Beatles number 'Girl'. Nothing like their normal style and, in the long run, might do them more harm than good'.

But all the promises and expectations shown during early 1966 soon evaporated as, sadly, the band broke up during July of that year. It seems as though some of the band members were unconcerned about music as a career, and all that brought with it. They were just happy to play locally.

............................

Additional material from the Hobo Coventry A to Z of Coventry bands.

The BO WEEVILS (Boll Weevils)

circa 1963-6 R&B / Blues group

Line up: Tim James (vocals, harmonica) (also with Acme Patent Electric Band / Ra Ho Tep / Last Fair Deal), Steve Bentham (guitar, vocals), Barry Smale (bass), Joe Craner (drums).

Kev Dempsey (later guitarist with Dando Shaft / Side Effect) replaced Craner on drums. Fred Liggins on Tenor Sax

Formed around 1963 as Boll Weevils as an R&B outfit. Changed name to above in 1964 to avoid confusion with London group and Kev Dempsey replaced Craner on drums.With Fred Liggins on Tenor Sax they Eventually gravitated towards the more soul orientated sounds of Otis, Pickett, Brown etc. as public tastes changed. Jazzier influence arrived with addition of Gordon Wood and Greg Taylor on Baritone and Tenor sax respectively added in 1965, this coincided with interest from Pye records.

Tim James left early 1966 and Steve 'Tiny' Bentham took over. Eventually split July 1966. Dempsey later played guitar in Dando Shaft. 

Tim James said  " I made my first public performance with newly formed blues band, the Boll Weevils at Willenhall Youth Club. A week later we played Trinity Hall, Pool Meadow, Coventry City Centre, the big time at last. We then did the rounds and learned the ropes for a few months but our most successful regular gig was the Coventry Gauge & Tool Social Club - you may laugh but they were a hip audience and about the only crowd who didn't want us to play chart material. But we dreamed of playing the big local gigs such as the Locarno, Matrix and so on. Our opportunity came via school colleagues, Colin Towe and Dave Taylor, who took over our management, and Fred Liggins who joined the band on alto sax. Before long we were playing all of the above places plus the Leofric Jazz Club and The Birmingham Marquee, making us the only local band to get anywhere near these gigs, the rest having never got past merseybeat. Our sound was unique, featuring alto sax and harp riffs, more jazzy than most but still funky, too good to last ... and it didn't.

We were soon locally famous and touring the Northern & Midlands R&B circuit. Drummer Joe Craner was mercilessly replaced by Kev Dempsey and ,soon after, all of the originals except me had gone. We were now playing soul music, were known as the Bo-Weevils, and everyone in the band now had the ambition of being rich & famous ... except me ... all I wanted to do was play the blues ... naive idiot! So when I left school (in 1966) I left the band. I was offered a recording contract with Columbia which I turned down, because no way was I falling into the usual cesspit of singing Tony Hatch songs. I would rather get a day job to earn money and play music for enjoyment, which is exactly what I did."

"And the Boll Weevils illustrate, more aptly than anyone else in the poll, the shift in the pop music business. They are jazz-based, short haired and very mod. An alto-saxophonist, Fred Liggins, is the often frighteningly proficient lead instrumental voice. Vocalist-harmonica player, Tim James frequently throws pop music convention to the wind and begins skat-singing." From Coventry Express, Friday May 28th 1965 Citybeat by Paul Connew .

Clifton Hall – The School of Rock

Clifton Hall – The School of Rock

by Pete Clemons

The man responsible for the Fortunes, The Liberators, Pinkerton's Assorted Colours and Screaming Lord Sutch and associated with Radio London and the Coop Hall Venue in Nuneaton.

From the late 1940s and very early 1950s Reg Calvert realised that promoting teen dances would prove to be a great venture. He seemed to instinctively know that this was what would the country needed after the tough war years.

After promoting his own little shows in a Yorkshire village near Huddersfield, Reg Calvert was drafted into the army. While there he was confined to barracks for a period of time for running dances outside of the camp.

After demobilisation Reg opened a recording studio in Darlington. But it wasn't a successful move as he lost all his money in the venture. Reg, now married, moved to Southampton where he began to produce and sell popcorn. This time he found success and made enough money to open two shops. This also gave him the opportunity to start promoting shows again. This time at the Bannister Ballroom, Southampton.

And throughout those early years he knew he had to change style as the music altered. And this was particularly good judgment as the Lonnie Donegan style of skiffle and Bill Haley and his Comets arrived on the scene. So Reg Calvert started to promote rock n roll shows, but then he quickly hit on a difficulty. The best acts were not to be found in and around Southampton. And it was at this point he decided he needed to up sticks again and find somewhere in the Midlands.

He found Clifton Hall near Rugby and it was just right for what he wanted. It was big enough to house three top groups. The were Danny Storm and the Strollers, Buddy Britten and the Regents and Robby hood and his Merry Men. Additionally Clifton Hall was central enough for him to promote his shows. And from that base he was able to promote shows at places like Andover, Banbury, Cheltenham, Worcester, Evesham, Kidderminster, Burton, Atherstone and Nuneaton.

Clifton Hall gained the nickname 'The School of Rock' as it conjured up images of young pop singers practising all day for the shows to come. And that was exactly what it became. The hall had spacious gardens, recording rooms, a billiard room, a football pitch and a large and luxurious lounge that Reg would get his singers to work to make the shows he put on as perfect as possible. Songs had to be sung over again in order to get the vocal and any backing correct.

And Reg was a strict disciplinarian, his rules included no alcohol and no girls to be brought to Clifton Hall. But they also had plenty of freedom. There was no set time for bed for example. And if someone wanted to play drums in the middle of the night then there was no irate neighbours to come knocking on the door complaining. They were a world unto themselves.

And throughout the early to mid 1960s Reg Calvert's 'Teen Beat' shows were one of the most regular and popular Friday night features around. So popular that reg also insisted that his acts put on special early evening shows for a younger audience, prior to the main event later that night.

He even made recording stars of his early acts. Robby Hood cut a song called 'Whistle My love' which had been adapted from Walt Disney's song in the film 'Robin Hood'. Danny Storm recorded 'I'm Thinking of You' following up with 'Honest I Do'. While Buddy Britten released 'My Pride, My Joy, My Little Girl'. The majority of those compositions were self penned by the artists themselves. An unusual thing in those days.

Pete has written a couple of articles previously for the Coventry Telegraph which are also on this archive of his articles  - here they are - 

https://coventrygigs.blogspot.com/2012/04/reg-calvert-and-johnny-washington.html

https://coventrygigs.blogspot.com/2014/09/reg-calvert-rock-n-roll-rollercoaster.html

Hazel O'Connor 1980

Hazel O'Connor 1980

by Pete Clemons

What a year 1980 was for Coventry born singer songwriter Hazel O'Connor. Hazel, as most know, starred in the iconic film, 'Breaking Glass'. In addition to playing the lead role, Hazel wrote all the songs in the film. Yet despite all its success, Hazel received none of the expected royalties. As such, and in Hazel's own words, 'I've never known what it's like to sell hundreds and thousands of records and live off the royalties. But the good thing is I quickly learned to live off what I did, my live work'. And that's why, today, Hazel works as hard as ever touring.

A tour promoting the Breaking Glass album gave rise to the support band who had been selected by Hazel. And that band was Duran Duran who, as a result of those gigs, gained their first recording contract.

During the year in which Hazel became a household name she met up with Hugh Cornwell. Hazel and her band had supported The Stranglers on several gigs. And Hazel and Hugh became 'very good buddies for a small amount of time, maybe a week, but then he got put in prison. He has such a brilliant mind, his lyrics and music are quite amazing, as is his cynicism and dry wit'.

During March 1980 The Stranglers guitarist and songwriter, Hugh Cornwell, was given an eight week prison sentence and fined £300 at a West London court. He had admitted to five charges of possessing drugs. Hugh along with a rock promoter, who worked for Harvey Goldsmith Entertainments, were stopped at a routine roadblock at Hammersmith Broadway on November 1 1979, and drugs were found in the car.

During the passing of the sentence it was said by the magistrate that 'the pair were intellectual men of mature years who had a great influence on the lifestyle of teenagers and who should not cause damage to the morals and physical well being of those who admired them. Both had had a university education that made their involvement in the drug scene all the more contemptible'.

It was assumed at the time that the sentence could have wider implications for The Stranglers themselves. Countries like the United States and Japan were known to take a tough line with visitors who had been convicted with drug offences and this might affect any future dates.

While in prison Hugh spent 12 hours a day scrubbing floors, cleaning and washing up, earning £1.30 a day in prison wages. He also gained a stone and a half in weight during the five weeks due, in part, by the carbohydrates in the prison diet. Hugh was adamant that this involvement with the drug scene was over and also his prison career.

On his release from Pentonville prison, five weeks later, he was met at the gates by a small crowd that included his Mother, Hazel O'Connor, Stranglers drummer Jet Black and several news reporters. When asked what prison life was like he said 'Why don't you go and find out for yourself'?'. During a later interview Hugh revealed that 'it was the most inhuman , demoralising experience of my life. All the bitterness is knocked out of you in there. It's a hell, you can't imagine how bad it is in prison. I just hope I can do something about it one day. When I was sentenced they slapped handcuffs on my wrists and drove me through the centre of London. I was looking at people outside the van while I cupped my hands smoking a cigarette.'

Hazel O'Connor and Hugh Cornwell remain friends and have since toured together. But Hazel also tours regularly with Coventry band, The Subterraneans, and more recently, Toyah Willcox. Fingers crossed that a tour, originally scheduled for this time, holds up later in the year.

Gene Vincent – How he was introduced to Coventry 1960

Gene Vincent – 

How he was introduced to Coventry 1960

By Pete Clemons

Beginning in January 1960, both Eddie Cochran and Gene Vincent were part of a tour of the UK that ended in tragedy. Eddie Cochran was killed and Gene Vincent seriously injured after a high speed car accident in Chippenham.

Coventry was the second gig on the tour schedule. The first being in Ipswich on the 24th January. And, after the Ipswich gig, there were three days of rehearsals at a studio in Gerrard Street, London, before the tour resumed on the 28th.

Much has been written about Eddie Cochran, in regard to the tour. But, I always felt that Gene Vincent had been a little neglected. So I was delighted to come across a news report, from Coventry that, prior to the gig, introduced the city to him.

A young man whose name has held a consistently high position in the popularity polls and best sellers charts, both here and in America, is 21 years old Gene Vincent.

'The first singing success for the likeable young man came when he was serving as a boiler tender in the US Navy. He was 17 at the time, and he spent most of his evenings with his guitar on the deck of the tanker, singing for his shipmates.

On his demobilisation he returned to his home town of Norfolk, Virginia, more determined than ever to make singing his career. He was not to wait long, he auditioned for a local radio show,and quickly became the star of that show.

This was followed within a few weeks by another important audition, this time with Capitol Records, and again Gene won through, this time being chosen from nearly 200 rock 'n' roll singers. Since then, backed with his own group the 'Blue Caps' he has recorded countless singles, EP's and LP's, many of which have had the distinctive style that he has developed from his love of country music'.

After the gig there then appeared to be a mixed review of it all. It suggested that the audience inside enjoyed the gig, but they were not going to set the greater world alight. But at that time the country was still wary of rock 'n' roll and saw it as a threat.

'Gene Vincent the American singing star who added to his scores of successes on his present tour of Britain with a tumultuous reception at the Gaumont on Thursday.

There were no frantic scenes when the latest ration of rock 'n' roll reached Coventry last night. The two American and several British performers who made two appearances at the Gaumont on the same day drew shrieks inside the theatre, but seemed in little danger of losing their shirts outside'.

The fact is though that rock 'n' roll was here to stay. And, 60 years on, is still being heard today.

Dud Clews Jazz Orchestra

Dud Clews Jazz Orchestra

by Pete Clemons

https://www.discogs.com/artist/3665346-The-Dud-Clews-Jazz-Orchestra

The Dud Clews Jazz Orchestra will forever be associated with Club Harlem. A regular jazz night, held weekly at the Mercers Arms, for almost ten years. Right from the off, and over time, the band steadily improved and were noted for the way they performed in a relaxed professional way. And during there time together there were very few changes in musical policy. The band's repertoire enlarged enormously but always came from the same musical sources. And they were the same famous bands whose recordings first inspired Dud Clews to form the orchestra back in 1962 and was still the source of most of the material when the band finally folded. The band even managed to record an album for local label 'Midland Sound Recordings' during 1968.

Sax player Mac Randle wrote the following tribute 'The young Coventry jazz trumpeter Dud Clews was determined to revive the exciting sounds of the 'big bands' of the twenties, like King Oliver and the Dixie Syncopators, Luis Russell, Fletcher Henderson and Duke Ellington that bridged the gap between the New Orleans & Chicago jazz bands and the later swing bands of the early thirties.

In 1963, after a long period of preparation and rehearsal, he opened the Club Harlem with the Dud Clews Jazz Orchestra. The band quickly progressed in repertoire and popularity but suddenly Dud was fatally injured in a motor accident. This was a terrible shock but almost spontaneously it was decided that the band must continue as best it could and Dud's parents were in agreement with the keeping of his name at the head of the venture, so the Dud Clews Jazz Orchestra continued.

Dud's fine Oliver-styled trumpet was greatly missed but the band recovered its composure and picked up again under the leadership of Derek Habberjam who at the time was switching from second trombone to superb tuba.

What typifies this band, capable handling of the material and retention of the idiom being taken as read, is the enthusiasm and good humour which is brilliantly captured in these recordings and which has never been surpassed by other bands since. Most of the arrangements were created and copied out by members of the orchestra plus the highly valued supporter and excellent arranger Peter Bright. The original few printed arrangements from the early days were still kept and played'.

During 1971 the orchestra held a special session at the Mercers Arms to celebrate the eight anniversary of the opening of Club Harlem. The Coventry Telegraph reported at the time 'One could not help wondering what factors had provided the continuity to convert what could have been a nine-day wonder into an eight year phenomenon'.

The Telegraph continued 'It is as difficult as it ever was to define the kind of people who comprise the audience. There is a hard core of jazz fans but the majority of people of every age group, occupation and degree of interest in the music, who come along every week because they like the atmosphere of Club Harlem'.

Of the band themselves only two members, who were present at the first rehearsal in 1962, and four who played at the first club session in November 1963, were still members of the band during 1971. Yet through all the changes in personnel and revolutions in popular music, the dated sounds of early Duke Ellington, Fletcher Henderson and Luis Russel still made those weekly audiences incredibly happy. And as far as Derek Habberjam and the Orchestra were concerned 'that alone justifies the hard work'.

The 1970s saw the bands reputation spread and so did their popularity. This brought them bookings and appearances outside of Coventry. But like all bands the inevitable happened, and The Dud Clews Jazz Orchestra finally folded. This was during 1981 when, unfortunately, Derek Habberjam upped sticks and left the area.

During the bands 18 years tenure, many band members came and went. It would be great to eventually fill this page with all names but a 1976 line up that played The Burnt Post contained the following personnel:

Brian Bates - Trumpet (Tpt)
Brian Wathen (Watty) - Trumpet (Tpt)
Terry Perry - Alto Sax (Alt)
Mac Randle - Tenor Sax (Ten), Clarinet (Clt), Soprano Sax (Sop), Alto Sax (Alt)
Ollie Dow - Tenor Sax (Ten), Clarinet (Clt)
Cliff Williams - Baritone Sax (Bari), Alto Sax (Alt)
Paul Munnery - Trombone (Tmb)
Fred Brownson - Piano
George Beach - Banjo
Derek Habberjam - Leader, Tuba
John Astle - Drums 

Isle of Wight, UK - August 26-30, 1970

Isle of Wight, UK - August 26-30, 1970

by Pete Clemons

August will mark 50 years since the staging of, what is still referred to as, 'the last great rock music festival'. The 1970 Isle of Wight festival, the third of its kind on the island was organised by local residents the Foulk brothers. It was a five day event and was a magnet for where the younger generation set off for a weekend in pursuit of love, peace and understanding. It all fell a bit flat though.

I didn't attend this event but I can still picture my brother, along with several others from Coventry, setting off for that long weekend. Complete with tents and rucksacks full of camping utensils I assume they were ticketed. And I can still see my brother returning tired and bedraggled. So who knows what happened to them during those few days. As such I have based this article on some memories and anecdotes I picked up on at the time.

Initially, the festival began really well. Compère Rikki Farr suggested it was a very fine audience, and in the main it was, but that mood and atmosphere was soon to change. Money began to rear its head and, in the end, almost killed the festival.

It seems as though the festival wasn't so much badly organised, it was more that an unprecedented number of people turned up without tickets. And an element of those without tickets were hell bent on getting into the festival without paying. Unwittingly, it seems, the festival had been staged at a time when there was a diverse mix of ideals. Some felt everything in life, especially music festivals, should be for free. It appeared at times as though some attendees were naive about the costs involved to the musicians and organisers.

The 5-day event also caused the obvious logistical problems, such as the obvious one that almost all the attendees had to be ferried across from the mainland. It was estimated that, at its peak, 600,000 people - maybe upwards of 700,000 - attended the event.

But the festival required at least 170,000 paying customers to make the whole thing break even. Repeated requests were made for those without tickets to 'please leave the arena'.

Perhaps sensing the on-setting chaos some of the artists wanted to be paid in cash. And the musicians appeared to be caught between a rock and a hard place as the atmosphere within the audience suggested a riot could well have erupted if bands failed to appear. There then began an atmosphere of conflict between artist and audience. It was not going down very well when it appeared as though the artists were guilty of only playing for the money.

At one point artists were seen mingling with audience members trying to justify why they couldn't do it for free. Although at the same time they somehow sympathized with the audience. It was also reported that Jethro Tull requested for people to leave the arena in order for them to complete a sound check. However, on his arrival to the stage, Ian Anderson categorically denied this.

By the third day of the festival things really were getting out of hand. And amidst the ensuing chaos of what's been called 'Britain's Woodstock' anger flared up when many revellers reached the fences. Suddenly many of those youthful ideals were lost as perimeter fences were broken down and free entry gained.

It wasn't long until the festival descended into a shambles and utter chaos. Rikki Farr's earlier optimism had altered. On stage he began his infamous rant, that include him screaming down the microphone that the festival had taken a year to prepare for and he began calling those involved in the violence 'pigs'. Rikki then admitted to the audience that the organisers had lost everything and told security to 'just open the gates'. Either come in or go, its your choice. Rikki continued that it had been the music what it had only ever all been about. And now he faced up to the prospect of having to face to face meeting with the creditors. Despite being visibly upset, Rikki's concluding message to the audience was to go home in peace. Good intentions but naive in its execution. Violence had ruined the whole event both financially and also the taste of it. To cap it all, an electrical fault set a section of the stage and its roof on fire.

Musically it was an utterly brilliant weekend with totally enthralling sets by The Doors, Sly and the Family Stone, The Who, Free, The Moody Blues, Chicago and Miles Davis along with many others. Outside the main arena a separate stage had been erected that featured bands such as Hawkwind. Rumours of Cream reuniting failed to materialise.

Emerson, Lake and Palmer concluded their set to a fanfare of cannons, Supertramp appeared just a month after recording their debut album. Sadly the festival was also notable for being the last ever performance by Jimi Hendrix. In general, however, the music throughout stands as a test of time as it recalls the sheer freedom of performance and musicianship.

During an interview, many years later, Ian Anderson and Pete Townshend both admitted that their respective bands, Jethro Tull and The Who, failed to get paid. It turned out that only 50/60,000 of the attendees had purchased tickets. But in hindsight they admitted that the exposure did them no harm.

Ian went on to say that Jimi Hendrix had wanted to go on before Jethro Tull. But the stage hands had got the Tull's equipment set up first. So they went on. That left Jimi to close the event at around 2am-3am on the morning of the 31st which he wasn't particularly happy about. Some reports have suggested Hendrix's performance was lackluster, others described it as beautiful.

The Isle of Wight festival 1970 was a lesson in how wrong things can go badly wrong. It even involved parliament passing the Isle of Wight Act during 1971 which prevented gatherings of more than 5000 people on the island without a special license.It turned out, however, to be the end of an era as things turned sour.

In its aftermath Rikki Farr defended a generation but admitted that a minority had blew it. After everyone had left the arena resembled a battlefield. After the festival the organisation team recovered and set about rebuilding their lives. Rikki Farr created a successful music business. Ron Foulk became a furniture dealer and Ray Foulk went on to become a renowned architect.

If any lessons were learned in the aftermath of this festival it simply highlighted that you need to get it right at all levels. These things can not run on goodwill and love and peace alone. And to be fair, festivals nowadays, are run like clockwork. If anything, a bit too clinical. This particular Isle of Wight festival turned out to be so much more than just another music festival.

The Rolling Stones - Coventry Theatre 1964

The Rolling Stones - Coventry Theatre 1964

by Pete Clemons

Rolling Stones Coventry Theatre 1971

With all the things I read nowadays at people chatting at gigs, overuse of mobile phones etc I couldn't help but wonder if it was an inherent problem. The below is a fascinating account, I stumbled across, of when The Rolling Stones first played Coventry Theatre during 1964.

Two frenzied performances by the Rolling Stones pop group sent their hoards of loyal fans streaming away from the Coventry Theatre in a happy mood last night – and left one independent observer very puzzled.

Just why, I wondered, do people pay good money – in some cases, having queued all night for tickets – to see a particular group and then apparently do their utmost to drown away any noises their idols are making?.

I had attended one of the performances with an open mind, prepared to give The Rolling Stones a fair hearing.

'Hearing' is a somewhat ironic word to choose. All I did hear were piercing incessant screams from all around me, that multiplied into a great cacophony of sound and quite erased any attempts by the five young men on stage to compete.

The total effect was of a continuous siren blast, with each little jig in the air or shake of the head by one of the performers bringing extra loud squeals of appreciation.

The answer, one can only suppose, is that this type of entertainment is more visual than aural. The fans can only actually listen to their idols on records, while live performances are occasions for showing their appreciation in the only way they appear to know.

Of the Rolling Stones themselves, it would be unfair to comment on last nights evidence except to say that their reputation as the 'scruffiest group in the business' is well earned and is being faithfully maintained.

Not all of the show was lost to the ear. The fans were thankfully quiet during the performance of the Caravelles, the two attractive girls noted for their whispering style of singing, who included, of course, their record success 'You Don't Have to be a Baby to Cry'.

The big surprise of the night, however, was the performance of a group called The Barron Knights, led by Duke D'Mond, who showed themselves to be as much comedians as musicians and vocalists. Their idols having their legs pulled a bit.

The bill was completed by the Overlanders, The Chimes, Julie Grant and David John and The Mood with Tony Marsh the compere.

The Rolling Stones in Concert 1964

The Stones in Coventry 1971 - photos

Porcupine Tree Bandcamp

Porcupine Tree Bandcamp

By Pete Clemons

http://www.porcupinetree.com/

For these unprecedented times, Porcupine Tree have launched a Bandcamp page where you can download full resolution recordings of rare and unreleased rarities from across the 20 years or so it the band were in existence. The page, and the opportunities to download this music, will be around indefinitely and the band aim to add more titles to it over the coming months.

Included within its many and varied content is an almost complete recording of the first ever live performance of Porcupine Tree. After the newly assembled band line-up had rehearsed for one week, they played 4 times in quick succession. This nervous but spirited show at a sold-out Nag's Head club in High Wycombe was the first, followed by a BBC radio session, and modestly attended shows in London and Coventry.

The recording was made directly to DAT from the mixing board, so as with any board tape the balance is not perfect, but the quality is excellent. Radioactive Toy, Up the Downstair (extract), and Not Beautiful Anymore were previously included on a limited cassette/vinyl album Spiral Circus, which also contained music from the BBC session and London shows.

The track listing for the download of the Nags Head gig is 1. Voyage 34, 2. Always Never, 3. The Nostalgia Factory, 4. Burning Shed, 5. Radioactive Toy, 6. Up the Downstair and 7. Not Beautiful Anymore.

And the band line up that night was Richard Barbieri - Synthesisers, Keyboards, Colin Edwin - Bass guitar, Chris Maitland – Drums and Steven Wilson - Guitar, Vocals.

'Fadeaway' was also performed at the show, between 'Radioactive Toy' and 'Up the Downstair', but due to issues with the source tape could not be included here. I do know that it took a great deal of effort went into getting this gig download out there. The trouble is that DAT tapes, the original source, do not keep well unlike their analogue equivalents.

Steven Wilson said 'I had a to edit around some glitches on the DAT, and remove one track completely, but it's about 90% there'.

Coincidentally March 2020 sees one of Porcupine Tree's landmark albums, Stupid Dream, celebrate its 21st birthday. For me, at that time, Stupid Dream felt such a departure from what had gone before. I wasn't keen on it at all. And, back in 1999 I quizzed Steven Wilson about it. He said 'Anyway, the new album. I think it's the best and it certainly has my favourite songs on it. As to whether it has been a shift in direction?, Of Course !!. Hasn't every album been different to all those that came before?, I hope so – that was my goal. The sign of a good album is I think one that you're not sure of the first time you hear it – that's certainly the way with me anyway. The new one is about written now and is different again'. And he wasn't joking !!

I remember those words of Steven's as being quite profound to me and certainly changed a lot of how I approached listening to new music going forward. As for the Stupid Dream album, it became one of the most listened to Porcupine Tree albums in my collection.

I appreciate that this is a very difficult time for everyone at the moment, including musicians and their families. Bandcamp offers a huge variety of ways where you can keep these musicians, a lot of who have no other form of income, artistically active. Not just for Porcupine Tree but for a whole host of other artists.