Peter Green - A Tribute

Peter Green - A Tribute

By Pete Clemons

One of the most difficult musical careers to map must be that of John Mayall. It is an almost impossible jigsaw puzzle to complete. Its easy enough to create a family tree of who was in his various band line ups. Thats cast in stone as his album sleeves tell you who played what. But John Mayall's work load, particularly during the 1960s and 1970s was incredibly hectic. And occasionally some of the permanent band members would not be able to make a gig and, as such, a replacement would need to be drafted in. And this is how guitarist Peter Green first hooked up with John Mayall, filling the huge shoes of Eric Clapton when needed.

And when Eric Clapton served notice on the Bluesbreakers the quietly spoken Peter Green was the natural replacement. While the majority of the country was cheering England's football team on in the World Cup tournament, Peter Green was playing his first gig as an official member of the Bluesbreakers, during July 1966, at a date in Nottingham. Peter Green's playing was incisive and incendiary. And according to John Mayall, during the recording of the 'A Hard Road' album released February 1967, 'Peter was every bit as good in the studio as he was on the road'.

During 1967 John Mayall's band were touring as just John Mayall on organ, Mick Fleetwood on drums, John McVie bass and Peter Green on guitar. For 20 odd gigs over a three month period, those who witnessed this line up, confirmed that this particular line up was as good as anything the Bluesbreakers did with Eric Clapton. A couple of long known about bootlegs have recently been cleaned up and given official release. Sound wise they are far from perfect. But once over the initial, sharp intake of breath, stick with them as they are rather good and suck you in. Additionally, this line up paved the way for what became Fleetwood Mac.

June 1967 and John Mayall’s Bluesbreakers are playing in Birmingham supported by the Levi Set who included slide guitarist Jeremy Spencer. It was clear that Peter's heart wasn't in the Bluesbreakers any more and wanted change. Both Peter and Jeremy discovered they each had an appreciation of Elmore James and B.B. King. After the gig the pair chatted more with Peter Green apparently saying to Jeremy 'It’s not the amount of notes you play. It’s what goes into the notes.' Days later Peter had quit the Bluesbreakers. Soon after, so had drummer Mick Fleetwood.

On the 14 August 1967 a new band named Fleetwood Mac made their debut at the National Jazz and Blues Festival, Windsor. (incidentally, future Indian Summer guitarist, Colin Williams, witnessed this gig). Along with Fleetwood and Green was Jeremy Spencer and bass player Bob Brunning. Despite the inclusion of Bob Brunning, behind the scenes, Peter Green was encouraging John McVie to join. By the end of August John was in, making his debut at a gig at The Marquee.

According to the band members those early day of the band were incredibly enjoyable. During gigs, yes mistakes were made, but Peter had this wonderful way of pulling the band back together again.

Early November 1967 saw the first single release by Peter Green’s Fleetwood Mac, 'I Believe My Time Ain’t Long'. And very soon after that came the bands first gig in the Coventry and Warwickshire area when Fleetwood Mac played the Benn Hall Rugby.

February 1968 saw the release of the first Peter Green’s Fleetwood Mac album on the Blue Horizon label. It stayed in the UK charts for 37 weeks peaking at number 4. the album inspired a generation. Further visits to Coventry included gigs at the Lanchester Polytechnic that featured an impromptu performance with Jimmy Tarbuck, who was starring nearby in the annual pantomime at Coventry theatre, The Leofric Jazz Club and The Mercers Arms.

August 1968 saw the band extend itself by bringing in rhythm guitarist Danny Kirwan. And it was this line up that returned to the area toward the end of the year for a date at the Chesford Grange.

To my knowledge, the last visit to the area by Fleetwood Mac came toward the end of 1970 when the band visited Coventry Teachers Training College at Canley. However, by then Peter Green had left the band for well publicised reasons.

During his comeback years, between 1997 and 2010, Peter Green returned to perform in Birmingham several times. One particular memory I have was an unforgettable evening with one of Peter's own icon's, B.B. King at the NIA. But it was during May 2000, when the unbelievable pairing of John Mayall's band and Peter Green's Splinter Group appeared at Warwick Arts Centre, thrilled a sold out audience with a wonderful and unforgettable evening of nostalgia.

Peter Green's star shined for a relatively short period of time. Although what he left us will, I suspect, remain with us for a long time to come. Famously Peter was more interested in expressing emotion in his songs and not at all showing an audience how fast he could play. And that is certainly highlighted in his legacy.

Jimmy Tarbuck was performing at the Coventry Theatre when Fleetwood Mac played Coventry.

John Mayall's Bluesbreakers (feat. Peter Green) ~ Live In 1967 ( Full Album )

The Supernatural

Oh Well Live

Albatross -Splinter Group

Black Magic Woman

Coventry Ring Road A4053 - And the Music

Coventry Ring Road A4053 - And the Music.

By Pete Clemons

Early construction wok of Coventry's infamous ring road began during the very late 1950s. With the first phase of it being completed during 1962. After that it was full steam ahead until the ring road completion during September 1974.

At the time of the ring roads official opening ceremony, on September 18 1974, there was a collective sigh of relief as, after years of pressure on the city centre, was at long last coming to an end. And here is how it was reported:

'The 15 year siege of Coventry was over. At last, the city is being relieved. For a decade and a half the city centre has been attacked on all sides by road works, diversions, one way systems and traffic lights. The weapons have been the most modern that the construction industry could muster. Earth movers, bulldozers, cranes and concrete mixers.

The arrows of ever changing direction signs have rained in on the city centre from all angles. The formal lifting of the siege will come tomorrow when the Lord Mayor, Councillor Dennis Berry, cuts the tape to open the final stage of the city's £14.4 million Inner Ring Road.

The two and three quarter mile highway encircles the city and should effectively seal it off from the thunder of through traffic. At least that's the principle. Whether it achieves that objective remains to be seen.....All the experts involved seem to think it will.

Superintendent Tom Meffin, deputy head of Coventry police said: 'if this final stage of the ring road works as well as the rest has, it will bring nothing but benefit to the motorist. The traffic flow is going to be improved a good deal now that the ring is complete. It will mean that traffic coming from the south of the city and wanting to go north need no longer use the city centre at all. The narrow, easily congested city centre roads which have been used up until now will no longer need to be used. The same will apply to traffic coming from east to west or from any direction'.

The ring roads completion will also mean that traffic policing headaches, caused during the construction period, will vanish. Superintendent Meffin said he did not expect any traffic problems and the completed road would be policed in the same way as the ring road always had been'.

But what else was going on at that time the ring road opened?. I’m sure there are others who could easily revive memories as to what was being shown on the TV and cinema back then, along with other events. But I thought I would revisit, and try to capture, the music scene both locally and nationally.

At Mr Georges Club, on the evening of the ring road's opening, you could have seen Sarah Gordon sing. She was backed by Little Free Rock who were a band that have a story of their own to tell. The following evening Jimmy Powell and the Dimensions were starring. Over in Leamington at the Spa Centre you could have seen rock trio Trapeze who were made up of Glenn Hughes, Mel Galley and Dave Holland.

Nationally, again during the week of the ring road's opening, the UK singles chart for looked like this:

1. Kung Fu Fighting – Carl Douglas

2. Love Me For a Reason – The Osmonds

3. Annie's Song – John Denver

Mike Oldfield was dominating the album charts in the UK at the time of cutting of the ring road's ribbon. Both Hergest Ridge at number 1 and Tubular Bells at number 2 were eclipsing Band on the Run by Paul McCartney and Wings which had to settle for number 3.

After over 45 years of constant use, the ring road has, just lately, had a facelift on some of its sections. Plus, more recently, the exit section for the railway station has been changed considerably. And, despite not being able to drive it correctly, I still continue to use it regularly.

...

Over to Trev Teasdel for a little bit of Coventry music information -

Quite close to the Ring Road in Lower Holyhead Road was the Holyhead Youth Centre where on a Monday night Hobo (Coventry Music and Arts Magazine) ran the Hobo Workshop gigs with support from the Coventry Voluntary Council Service. In the main hall we put on bands some of whose members came to fame or semi fame later on Analog had their first gig there - most of the members,through a series of bands formed The Reluctant Stereotypes - a less known Two Tone band combining of jazz rock and ska with Paul King on vocals - Paul left to form the hit group King. Well Analog played their first ever gig at the Hobo Workshop and did a repeat gig there 5 days after the opening of the Ring Road on Monday 23rd September. Midnight Circus also played their first ever gig there in October. Midnight Circus was led by Hazel O'connor's elder brother Neil and his band changed their name to the Flys c 1979 and released a series of singles including Molotov Cocktail. The Flys performed on the Old Grey Whistle test and John Peel and Neil himself became a guitarists with Hazel O'Connors tour band, Mega Hype.

Meanwhile down in the basement of the Holyhead Youth Centre at this time, Charley Anderson was rehearsing with Desmond Brown and other early musicians who were later part of The Selecter, and Neol Davies who came along to organise a jam session at the Midnight Circus gig - Neol went down stairs to encourage Charley's musicians to join the upstairs jam but stayed down their learning to skank. This was probably the first time home grown ska was heard in Coventry - as early as 1974 and only those of us upstairs at the Hobo Workshop heard it rising from the basement. 

At the Hand in Heart on the Tuesday of the opening, Rod Felton was running the Rude Bear Folk Club with some top folk guests and floor spots from Dave Coburn and Dave Bennett.

Band who played the Hobo Workshop September / October 1974

Analog playing the Hobo Workshop - Holyhead Youth Centre 1974 - most of the band joined the Reluctant Stereotypes later. left,by the ampos is Bob Rhodes - detached youth worker with Coventry Voluntary Services who facilitated us. Back row, centre with long blond hair - Trev Teasdel, main organiser and next to him in stripy shirt Phil Knapper - singer songwriter whose brother Stu Knapper after formed the punk band Riot Act.

The Flys - formerly Midnight Circus) with Molotov Cocktail single c 1979 with Neil O'Connor.

Analog  the jazz rock suite they performed at the Hobo Workshop1974

JARGON · Analog {Coventry Band 1974} feat. Paul Brook [Drums]

Ready Steady Go – Aug 1963 to Dec 1966

Ready Steady Go – Aug 1963 to Dec 1966

By Pete Clemons

If you remember the Coventry Standard newspaper you may well recall that Cathy McGowan, during the mid 1960s, had a music and entertainment column within it. Cathy would give us news, reviews, inside gossip and tips for the top. Additionally she would let us know what she had done the previous week, where she had been, and to let us know of any new bands she had been made aware of.

Cathy McGowan, of course, came to fame on the Ready Steady Go. As a music programme Ready Steady Go defined the early 1960s. It was incredibly innovative. It was fun and it was edgy. It broke all the rules of how a TV programme was made at that time.

The show was presented by Keith Fordyce who came across as a really nice guy. And, by all accounts, Keith was but, in all honesty, he would have been more suited to reading the news.

After a while Keith was joined by Cathy McGowan as co-host. Cathy was a bit dizzy but she added massively to the show. Cathy was a mod and had that certain look which just seemed to fit perfectly with the times.

Head of Rediffusion TV, Elkan Allan, was certainly on the ball when it came to the early 1960s beat scene. And Elkan wanted to capture the times on a groundbreaking television series. He was well aware of The Beatles, and the fact that their popularity was growing by the day, and wanted them to star on the opening programme during 1963. And, it didn't stop there, as Elkan's eye for up and coming bands was equally keen as bands like The Animals, The Kinks and The Who all gained early exposure by way of an appearance on the show.

The programme was initially recorded in the basement of the Rediffusion TV building on the corner of London Kingsway and Holborn. It was a small studio where The Five O'clock Club with Ollie the Owl, for example, would be recorded during the day. And the format of the show was quite simple really. A song was mimed in front of an audience who were within touching distance of the band members. Even the cameras would be seen mingling with the audience.

The uniqueness of the show continued and, by 1964, American artists such as The Beach Boys and Rufus Thomas were now beginning to appear. The production team had recognised that American music had been a major influence on that of the UK scene so it needed to be included within the format.

Part of that recognition had come by way of Dusty Springfield who, not only appeared on the show, but whose experience from her early American tours was being transferred to the show. For example, while in America, Dusty became aware of and loved Martha Reeves and the Vandellas. And it was Dusty who encouraged them onto the show.

Appearing on Ready Steady Go became essential as, with no radio 1 at that time, it was a major way of getting all important exposure and sales. And during 1965 the show moved to bigger studios in Wembley. It also went live for the first time. The whole format of the show seemed to shift as it introduced new types of camera work. The camera became a part of the music. There were close ups, there was flashing and shaking images that were designed to fit more with the music.

One of most remarkable achievements of Ready Steady Go came during April 1965. A Tamla Motown revue came to the UK. Promoted by Arthur Howes the shows were failing to sell tickets. Georgie Fame was added to the bill in order to improve things but still poor sales persisted.

Dusty Springfield pushed for the tour to be given a Ready Steady Go special. Her idea came to fruition and Dusty ended up presenting and also duetting on the show. The Supremes, Stevie Wonder, Smokey Robinson, Martha Reeves and Earl Van Dyke were included on the show. The show, as ever, pulled in some amazing audience figures which meant that, after this invaluable exposure, the rest of the Motown Revue tour had hugely improved ticket sales.

Such was the success further specials were put together. These featured Otis Redding and James Brown along with guests such as Eric Burdon and Chris Farlowe who shared the stage with these major artists.

Ready Steady Go did try to mix things up and to not stand still. For example it introduced a section where a new dance was featured. But the birth of Top of the Pops began to mark the end of Ready Steady Go as it tended to concentrate on the singles charts. So, as such, tended more to follow the trends as beat music was edged out.

23 December 1966 was the date of the last Ready Steady Go. Ratings had dropped dramatically throughout its last year. By the producers own admission, it had become too self indulgent and, rather than follow trends, it had followed its own path. But the viewing audience had not gone along with it. Having said that Ready Steady Go is still remembered with much affection. 

Judy Dyble - Tribute

Judy Dyble - Tribute

by Pete Clemons

'Isnt life strange, a turn of the page' once lamented The Moody Blues. On Friday I was excitedly ordering a copy of the forthcoming Dyble Longdon album from Burning Shed. On Sunday morning it was announced that Judy Dyble had passed away.

Her end must have happened quite quickly because, only a week before, Judy had mentioned a tattoo she'd acquired and how it was no bigger than a freckle. I realised immediately what this was for as my wife still wears her pin dot sized inking. Judy was also joking about the radio waves to come. But sadly, I guess, it was not to be.

During the late 1960s and early 1970s there is no doubt that Judy hung out with the good and the great from the music world. Additionally, she was involved in some iconic albums from that period.

But for me it will be Judy's more recent output that will resonate as equally as her more illustrious past glories. You only have to listen to 'Harpsong' to fully understand Judy's joy of rediscovering music once again. That particular epic was an outpouring of emotion which reflected a potted history of her life.

Being a Mother never ends. But the day to day tasks tend to ease up. And this extra time had Judy searching for her voice once more. She attended a couple of Fairport Convention celebrations and came away on a high.

Judy then hooked up with Astralasia's Marc Swordfish who provided her with a way back into the music scene. Marc, whose background was dance and trance, would lay down the backing music that Judy initially found strange. But after much thought and inspiration managed to provide the lyrics to. This collaboration produced three albums.

Next up was a musical partnership with Alistair Murphy that proved pivotal to the next step of Judy's journey to completely re-discovering her voice. I suspected that the link up came about via Tim Bowness. So I asked Tim how that came about who kindly provided me with the following information.

'Yes, Alistair came to Judy via me. In 2009, Judy got in touch with me asking to produce an album for her. She liked No-Man, but she really liked California, Norfolk an album I’d made with Peter Chilvers. At that point I was working a lot with Alistair and he was a big fan of Judy’s voice, so I got him involved. From the off, I had a strong idea of how I wanted the album to sound (basically, the mature JD revisiting the musical soundscapes of her late 1960s beginnings) and the process of making the album was an enjoyable one'.

Not only did Alistair Murphy co-write most of Judy's future music that included the albums 'Talking with Strangers' – which saw Judy work again with Ian Macdonald and Robert Fripp - 'Flow and Change' and 'Earth is Sleeping' he also oversaw two live releases. Additionally, Alistair put together the Band of Perfect Strangers, a group of extraordinarily good musicians who put Judy on the road again and who, skilfully, gave Judy the space to be herself.

The Band of Perfect Strangers, whose core members included Mark Fletcher, Jeremy Salmon, Phil Toms, Steve Bingham, were just the most sympathetic fit for Judy and performed together at over 30 gigs.

In between all of this time Judy also found time to record and perform live with Andy Lewis, Summer Dancing 2017, and Sand Snowman, Severn Sisters Seven Seas 2018. I am not entirely certain but a gig I saw at Union Chapel, in support of Summer Dancing, may well have been the debut outing for that particular band. Judy also found time to work with Jackie McAuley and reform Trader Horne for a couple of sensational gigs.

Sand Snowman aka Will Kearney remembers Judy as being 'kind and supportive and delightfully witty to. I remember us both panicking in the backstage of the 100 club and debating as to who was the more reluctant performer'. I mentioned to Sand that, to me, Judy never came across as confident despite her gigs being wonderful affairs. Sand replied 'The interesting thing is that her innate sensitivity was communicated perfectly by that quality, and it really exposed her spirit and that of the song in a way that a more confident or performance conscious artist would probably miss. Her gigs were an absolute delight'.

My sincere condolences to her family and friends who, I have no doubt, will greatly miss Judy very much. And, of course, her passing will also be felt keenly by her musical family. But, judging by the outpouring of tributes, Judy will also be missed by her fans in listener land.

I am certain that the forthcoming Dyble Longdon album titled, 'Between a Breath and a Breath', will add greatly to her legacy. And I for one, look forward to its release. I guessed an album may be a possibility when I once noticed David at one of Judy's gigs. But that was a few years ago now. And as time went on I feared an album may never happen. David Longton has already alluded to challenging moments in its creation. I can only imagine. As such, huge credit must therefore go to David for the albums completion.

Mud - Canley College March 1974

Mud - Canley College March 1974

By Pete Clemons

Continuing on from the article about Roy Wood's Wizzard who, by the way, would perform several more times in Coventry, I recently discovered another report from an end of term event at the Canley based teaching college.

The venue had played host to locals like Dando Shaft, Asgard and Wandering John when it first began to put on these gigs. But as the colleges name grew, so did those who appeared there as visits by the likes of Fleetwood Mac, Wishbone Ash and Genesis followed.

The colleges entertainments team also appeared to take advantage of the then growing Glam Rock era that coincided with the venues hey day, and included a variety of bands, as the following account reported:

'High flying Mud surprised the cynics with an appearance at the Coventry College of Education showing they were more than just another machine turning out highly commercial Chapman and Chinn hits.

The group put themselves in a category way above the likes of The Sweet with an hour plus session in which they proved themselves highly talented both musically and vocally.

True, top three hits like 'Tiger feet' and 'Dynamite' were well pushed in the act, singer Les Grey admitted that they were a bit short of material and both numbers were repeated during the encore, but how well the group came over on close harmony numbers like 'Blue Moon' in which all four members sang spot on.

The musicianship was good, the balance right and the act had the essential ingredient of audience communication and humour so often lacking when groups take the stage'.

Mud had initially formed during the mid 1960s but it was during the glam rock era that saw the band hit a peak when they signed up for Mickie Most on his RAK records label.

The line up that night included lead vocalist Les Gray, Rob Davis on lead guitar, Dave Mount on drums and Ray Stiles on bass, and this gig took place before the band had their two massive number one hits.

The three piece all girl harmony group, The Flirtations, opened the live entertainment at this end of term ball with a highly polished act of Philly and Tamla sounds. The Flirtations, also popular on the Northern Soul scene, had had a hit with 'Nothing but a Heartache' during 1968 but brought with them material from their re-emerging acclaim.

There is little doubt that the entertainment committee from that era of the colleges were indeed very switched on to the then current music scene. They certainly had vision and instinct for current trends.

Coventry's Dando Shaft

Coventry's Wandering John

Wizzard - Canley College June 1973

Wizzard - Canley College June 1973

by Pete Clemons

Now absorbed into Warwick University the city of Coventry Teacher Training College was based at, what is now, the universities Westwood Campus on Kirby Corner Road.

But for several years, during the late 1960s through to the mid 1970s, this college had its own incredibly vibrant entertainments scene. A great deal of local, along with more nationally known bands, played the venue.

The teaching college wasn't on the regular gig circuit as such, this venue was stand alone from its near neighbour the Warwick University. And these events were normally organised at end of term balls and dances.

One such gig happened during 1973 and here is how it was reported at the time:

'Foresight, or good fortune, on the part of the Coventry College of Education Entertainments Committee provided them with one of the most talked about groups of the moment for their going down ball last Friday.

Wizzard were booked last year, long before they shot to prominence thanks to the genius of Roy Wood.

Despite appearing without the colourful make up Wizzard were nevertheless an entertaining sight with Roy Wood's antics very much to the forefront.

Wizzard included 'See My Baby Jive' and 'Ball Park Incident' in their set but the inclusion of some of the heavy, and more experimental, tracks from the band debut album, 'Wizzards Brew', might have been more appropriate at a concert rather than an end of term ball'.

In addition to the bands regular line up, that included former Move bass player Rick Price, Wizzard also introduced the audience to the talents of Ayshea who spent most of the evening watching Wood's performance from behind her keyboard'.

At the time of this gig Wizzard had only been in existence for eighteen months. Roy Wood had formed the band soon after he left the Electric Light Orchestra during late 1971.The band had made their live debut during August 1972. And, of course, this gig would have happened before the band had recorded their now infamous Xmas hit recorded later that year.

Desmond Dekker and Joe Brown's Home Brew were the supporting acts. Dekker gave a very lively programme, that included a string of familiar tunes, his career having been recently revived due to the film 'The Harder They Come' which featured his '007 Shanty Town'. The film also included the acting talents and music of Jimmy Cliff.

Next up were Home Brew who, to be honest, was more one for the ear than the dance floor. The band included Joe Brown's wife, Vicki, and singer songwriter Joe Fagin. They performed an eclectic set of songs and styles. The set also, which including new formats of Joe's past hits, set the scene as the basis of Joe brown's live performance ever since.

Creating music during the pandemic

Creating Music During the Pandemic.

by Pete Clemons

When it is released later this year, the new album by The Pineapple Thief, will be significant for being possibly one of the first to be released in this new world we now find ourselves in. Its creation could well become a benchmark for how music, with a band, is arrived at in the future.

The songwriting process is now nothing like it was when The Pineapple Thief first began more then twenty years ago. Started. Nowadays it is a whole band effort. You need to get yourself a Bruce Soord solo album if you want to hear something akin to how it was during those early days.

The forthcoming album titled 'Versions of the Truth' began to evolve back in October / November 2018. Bruce Soord came up with the initial ideas. They were sent to drummer Gavin Harrison who then adds his parts. And this back and forth process continues until both keyboard player Steve Kitch and bassist Jon Sykes have both done their thing.

But unlike traditional band albums the whole creation of an album can nowadays, by way of skilled use of computer programmes and the internet, be completed remotely. None of the band members need never meet up face to face until a tour commences. For this particular project it seemed too work easy. By the time of the pandemic the band were getting to the end of process. And by the time of lockdown, and with nothing else to focus on, the album was easy to complete. Which came as a relief to record company, K.Scope, who had been promised a completed record by the end of January 2020 but that promise date went out to May.

As for the albums concept, well the title says everything really. It is a series of songs about versions of truths and is open to interpretation. It can be taken at so many levels but the overriding theme is distorting the truth for your own personal gain. Saying whatever you want, lies or not, so long as it fits your agenda. And this is applied through whole album. And these twisted truths apply to love and betrayal. Even friendships. Themes that seem to travel through most TPT songs. But at the root of it all is personal experiences and people.

Ultimately though, the songs can only come from what Bruce Soord has seen and heard. What makes him react and what drives him into picking up the guitar and writing words and a riff. And that format is not likely to change.

At this time there is a great camaraderie within the band and, as a collaborative, they know when the ideas are right and in what direction they want to go. They are in agreement that, compared to the last album, they always want to feel that the listener is moving in different directions and in a direction they all like. And they feel like they have accomplished that with this new album. But, of course, it is difficult to quantify that until it is unleashed.

The new direction is an organic move rather than a planned one. And if it feels to close to what they have done before then they will shift position deliberately. The band are happy with the albums overall final production. But they are also, well aware of how the listener will hear it. It may be a technically perfect record but, that counts for nothing, if it is not good enough for the listener. And the band knows when the album is complete. And this is when the record is being tweaked and it is not getting any better. It just sounds different.

The albums sleeve and associated artwork has taken on a story of its own. It was all created by Gavin's father in law, the late Michael Schoenholtz, a renowned sculpture. Gavin came across etchings belonging to Michael, and without the band knowing of their origin so as not to sway any decisions, presented around a dozen images, that were then narrowed down to the final choice.

Gavin didn't want to put the band to under any emotional pressure about who had created the images. He just wanted the truth about them. As such the albums art came together quicker than any previous TPT album.

K.Scope have also, it appears, beaten the pandemic by confidently releasing the albums release date of September 4. Somehow, during this most incredibly difficult time, they have managed to circumvent all the potential obstacles in the manufacturing and printing processes. Despite this being the most awful of times, the virus it seems, will not completely disrupt the creation of new music.

The Umbrella Club – a 10 year celebration January 1966

The Umbrella Club – a 10 year celebration January 1966

by Pete Clemons

Introduction by Trev Teasdel

This is a great find by Pete Clemons - taken from an article in The Coventry Standard

January 1966. It's a good sketch of the Umbrella in those days when the Umbrella pioneered an early folk club in the city leading a brilliant folk scene in the 60's. Music was dominated by Classical recitals and Jazz and poetry was always big.

In October 1969, when I first went the Coventry arts Umbrella club, Jo Petter, the Drama organiser, created a game changing mini festival for the Umbrella called the Transcendental Cauldron, a three day all night festival that emulated the kind of events happening at places like Drury Lane Arts Lab where Bowie started out. It was my introduction to the Coventry music scene but had alternative films, art exhibitions etc. The programme can be seen in the flyer posted here and included last fair deal, Asgard and Dando Shaft.

It was followed a month later by the Music Marathon and after which Al Docker and I put on regular Friday band nights for a year and half featuring the cream of local or regional bands. There was a shift away from jazz at this stage but this article is a good representation of the Umbrella in 1966 and shows it be a place where people could get involved and organise their own events, as both I and Al Docker did in 1970 / 72.

The next stage of the Umbrella had Neol Davies, Kevin Harrison, Indian Summer, Asgard playing there.

The Umbrella Club – a 10 year celebration January 1966 

Where in Coventry could a theatre, coffee bar, exhibition room, studio, photographic dark room and music room all be found under one roof – or rather, under one umbrella?. The answer is, at the Umbrella club, Coventry's Art Centre located in a small terraced house in Queen Victoria Road.

Behind its modest exterior something lies that lovers of the arts find valuable. They discover companionship and enjoyment in appreciating with others the many cultural topics which the club embraces. Some have already discovered their worth, while others renew it.

Here is a unique club. It is a meeting place where all classes and all races can enjoy one another's company and share common leisure interests.

It has been said by the ill informed that it is a club of misfits. These surely are to be found in all walks of society but no more so at the Umbrella Club.

A member will say that it is up to the individual to cultivate friendships and to show enthusiasm for a form of art that he would like to appreciate – whether it is classical music, jazz, art, drama or any other.

It was ten years ago last month that Harry Secombe unfurled a large black umbrella and proclaimed 'The Umbrella, long may it reign' at the clubs official opening.
In a small Victorian house in Little Park Street the club steadily grew and began to make an impact in the city. The turning point came in 1961, only six years after its formation, when the headquarters became due for demolition.

After much fruitless searching, a terraced house at Queen Victoria Road was made available by the council. But it was in a shocking condition. Members worked day and night to prepare it for the opening.

Since that day, the Umbrella Club has flourished and despite many financial set backs has achieved, and is still achieving, it aims.......

(a) To provide a friendly meeting place for those people interested in the arts

(b) To arrange exhibitions, recitals and general discussions

And most important of all, for the club to be a source of encouragement and enjoyment of the arts.

All this has come to fruition within a span of ten years but only due to endless hard work and enthusiasm of its members. Without enthusiasm this club could, like an umbrella, have folded. But it kept going without financial support, apart from a small grant from the arts council.

The club is unlike any other in Coventry. It is neither a youth club nor a community centre. It is also not a club devoted to professional people. It is an arts centre for everyone, irrespective of their profession, their colour or their creed.

There are no restrictions, but instead, complete freedom of choice for each member to choose how his time will be spent there. The beauty of such freedom is the ability one gains to 'discover' oneself.

Talents, hitherto hidden deep, will rise to the surface as shyness or nervousness disappear in friendly conversation or over a game of bridge. You may find that you cup of tea is in the drama line, perhaps acting, or even helping to produce. On the other hand, there is a film group, which not only shows films regularly but has begun to make them.

Debates and discussions take place on a variety of topics including religion, politics, poetry, theatre, television, travel. The range is almost limitless.

Exhibitions are an accepted part of club life. Many members are keen artists who submit pictures for local exhibitions (the last one was a members display at the Herbert Art Gallery). Nancy Upshall and John Budgett, to name but two, are well known Coventry artists who have exhibited at the club.

And what of music? The works of the great composers are regularly played and discussed. Operas, Continental, Flamenco, or music from far away lands is enjoyed and appreciated by many.

If you are a jazz enthusiast there is plenty of enjoyment for you. On Wednesday's this circle gather round to listen to records. Occasionally the Umbrella Club Jazz Band gives a performance.

The visual arts group provides members with some very interesting subjects for discussion. Recently an exhibition boards was given. The cosy music room often holds the motoring enthusiasts or those who want to play their favourite recordings.

As leader of the club, Terry Watson, who is a teacher at King Henry VIII School, said 'Those who come here seem to 'find' themselves and something for which they were perhaps looking'.

He went on 'This club is for everyone who would like to enjoy the arts. We are all amateurs and believe that what would kill it most of all would be the existence of professionalism. We want to keep the atmosphere the way it is even if we one day have another and better building. The building is not really the important thing, it is the people who matter'

Much more on the Coventry Arts Umbrella Club on the archive site here
https://coventryartsumbrella.blogspot.com/