Steve Walwyn – The Lockdown days

 

Steve Walwyn – The Lockdown days

By Pete Clemons

Let there be Life

Cover of Sandy Nelson's 'Let There Be Drums' to say thank you to the NHS

Times are tough right now. Many are coping with it all ok. Some, I have been told on several occasions, were born for lockdown. But there is no denying that everything feels slightly uncertain. And there is no doubt that this worldwide pandemic has had far-ranging and devastating effects on people's lives. And this will continue to do so for years to come.

In some ways physical distancing is bringing us closer together. And little by little we are learning to adapt to new ways, such as working from home, not a new phenomenon but one which has seen a huge take up in recent weeks.

It seems that working from home has also begun to apply to musicians who are coming up with their own unique way's of continuing what they love and enjoy. And, of course at the same time, spreading much joy to others.

I began to notice it during April when a video began to circulate of a cover of the Sandy Nelson classic 'Let There Be Drums'. Its purpose, as I understand, was to show solidarity with the NHS for all the brave and outstanding work they were doing back then, and continue to do today.

Retitled 'Let There Be Life', this cover featured a cast of many that included a host of local musicians including Steve Walwyn, Ted Duggan, Horace Panter and Pete Riley. It really was an uplifting listen.

Other home movies watched with anticipation were those produced by guitarist Steve Walwyn. During late Spring and on into Summer Steve introduced the viewer to eight of his own favourite artists. Those who had helped form and shape his own musical tastes. On a different guitar for each artist represented, and in a different location throughout his house, Steve walked us through the music that has stayed with him for life. Of course, each story came with an accompanying soundtrack and anecdotes. A recurring expression Steve used was 'this blew me away'. And as an avid viewer that expression was kind of how I felt. For those interested Steve's choices were:


1 I Say a Little Prayer – Aretha Franklin

2 Don't Waste My time – Status Quo

3 Black Coffee – Humble Pie

4 Laundromat – Rory Gallagher

5 Black Dog – Led Zeppelin

6 Jessica – Allman Brothers

7 Oh Well – Peter Green

8 Like a Rolling Stone – Bob Dylan

9, had there been a number 9, may well have been Blind Faith and 'Cant Find My Way Home' as Steve mentioned it had just failed to make the cut. As a postscript Steve concluded the series with some slide guitar.

Along with the magnificent Holly Hewitt and bass player Craig Rhind, early August saw Steve complete a trio performing a barnstorming set from his back garden. With a background of light drizzle the set included Voodoo Mama, Little by Little, My Chauffeur Blues, Fool, I Got My Mojo Working and is well worth a watch.

The working from home theme continued into September as another of Steve's bands, The Dirt Road Blues Band, another trio and featuring Horace Panter on bass and Ted Duggan on drums, reconvened after a year apart. Again the setting was Steve's back yard.

These boys aloud, as neighbours have seemingly re-christened the band, performed four tunes. 'See That Grave is Kept Clean, Second Hand Man, Tulane and Laundromat. Again, accompanying the videos, you can find some background information and anecdotal information.

I can't imagine the frustration being felt right now by musicians. But these lockdown sessions have been an absolute delight for us listeners. And well worth getting on to youtube to check it all out. It can do absolutely no harm. In fact it can bring on many positive effects. Thanks.

Finally, Robert Plant, if you happen to be reading this – you still owe Steve Walwyn and the DT's a support slot.

The Pineapple Thief – Versions of the Truth

 

The Pineapple Thief – Versions of the Truth

By Pete Clemons

Kids eh, who'd have em?

I don't know. You meet a partner, fall in love, maybe marry them and, quite often, raise a family. And then you spend the rest of your time worrying about that family. Their well being, their security and, in general, the world you have brought them into.

The last few albums that have been released by Bruce Soord, either solo or with his band The Pineapple Thief have, I think, tended to reflect these issues.

During 2018 the band released 'Dissolution' which looked at the issues around social media and the internet. Then came Bruce's solo album 'All This Will Be Yours', released during 2019. This is where, as a father, Bruce is almost guilt ridden for bringing children into this world.

And now his latest release 'Versions of the Truth' addresses the manipulation of truth and getting a narrative to fit your own agenda.

To be fair Bruce Soord has always written about matter of the heart. But it could be argued I guess that this particular theme, where Bruce appears to have delved deeper with a more incisive examination, began with his first solo album. That was a huge personal statement about how his life had changed and what had become of the corner of the world where he lives.

Within that album is a pair of bookended songs where, initially, a child is being spoken to by his parent. The next tune sees that child now having their own family and, in turn, speaking to their own children. These are truly touching songs.

Musically, 'Versions of the Truth', is as Bruce has already mentioned, a complete band effort. It is quietly dynamic with a highly polished and, to be quite honest, a flawless production level. The thing now is not to expect a new release to be comparable to the last.

Each of the musicians having been given a chance to reveal more of their own talents. Gavin Harrison's unmistakeable rhythms clearly cut through a good portion of the album. But listen closely to the bass and keyboards and you will hear some wonderful and incredibly complex elements. Bruce Soord's driving guitar has taken more of a back seat but has been replaced with more delicate subtleties. The album is choc full of complex and intricate rhythms that compliment the lyrics yet, at the same time, made to feel effortless.

So far I have found that this album is most enjoyable under headphones and the volume quite high. By detaching yourself you kind of become more of a part of the album. The atmospherics are more revealing and dynamic.

All parents suffer similar concerns and worries to greater or lesser degrees. I certainly have done. But things do change. Life does get easier as time goes on. With all its imperfections, your family does adapt to the world they have been brought into. They are tougher than you imagine. Quite often they become stronger than you ever expected. And, as time goes on and they have responsibilities of their own, the boot can gradually move to the other foot as much that they begin to worry about you. But deep down, they are still your family and the worrying never quite comes to an end.

Cov Aid 1985 - Colourfield

 Cov Aid 1985 - Colourfield

by Pete Clemons

Just over 35 years ago, on Saturday 13 July 1985, the Live Aid project became a reality. It had been the brainchild of Bob Geldof and Midge Ure. They put together a huge benefit concert to raise funds for the Ethiopian famine. The main televised venues were Wembley and Philadelphia although many other events happened elsewhere in the world.

And later that same year Coventry played its part in providing much needed funds for the stricken country as vocalist Paul Smith and guitarist Tony Smyth, of Coventry rock band The Heat, along with Lanchester Polytechnic social secretary Dave Howarth began putting together Cov Aid.

The all day concert was set to be held at Mercia Sporting Club on Saturday September 7th. However the organisers were soon swamped with enquiries from other musicians who were wanting to take part in this bid to help the starving of Africa.

And, early on during the planning period, confirmed bands for the line up included the likes of Major 5, European Sun, Still Life, Sheer Pride, Terminal Tears, After Tonite, Intimate Obsessions and Red on Red.

The ambitious organisers of Coventry's Live Aid concert did make efforts to get Bob Geldof to come to their show – but that never materialised. Regardless, this was still the biggest musical project the city had seen in years and the hope was to sign up several major headline acts.

And then came the real scoop when The Colourfield agreed to play. And this would be the Coventry debut for the Terry Hall led trio. Getting The Colourfield was a real coup and a spokesman for the group said 'The band really want to play. And they want to make it a special one off concert by playing new numbers which will fit the event'. It kind of proved that, despite what he had said about his city, Terry Hall would support it when absolutely necessary.

This also meant that a bigger venue needed to be found. And the gig was moved to October 19th at the Lanchester Polytechnic. Local athletes David Moorcroft and Lorraine Baker agreed to take part as did former Coventry model Debee Ashby who also agreed to get a group of her fellow page 3 colleagues to grace the event.

In the end though it was Ian McCulloch who stole the show when he made a surprise appearance. Ian also defended Terry Hall from the 'fickle fans' who heckled him. The front man with Echo and the Bunnymen said 'I thought Terry and the band played very well. This was not the time or place for anyone to have a go at him. I know what it is like when you play in your hometown. There are some people in Liverpool who don't like me that much'.

But the Bunnyman proved a popular choice when he went on stage for the Colourfield's encore to sing a Door's cover with Terry Hall.

Ian had been rehearsing the number in the groups dressing room throughout the evening and it proved to be a perfect finale. The surprise spot had only been planned a few days before the poly gig. Ian said that the two groups had admired each other's music for some time and that he had been delighted to take part.

After the charity show Terry Hall, in typically belligerent fashion, simply dismissed the hecklers – who, to be fair, had got as good as they gave – by saying that he had really enjoyed their performance. The following day The Colourfield jetted off to America for a ten day promotional visit.

The real stars of the Cov aid show, however, were the backstage crew. To put on fifteen groups in under seven hours was no mean feat. With each band performing, across two stages, for around 20 minutes each. And to their absolute credit the night ran like absolute clockwork were scheduled running times never more than three minutes out. The objective was to raise £3000. And with an audience estimated to be around 800, that was more than achieved.

Voodoo Kings – The Gatehouse Pub – 30 August 2020

 

Voodoo Kings – The Gatehouse Pub – 30 August 2020

by Pete Clemons

                                                https://www.voodookings.co.uk/

This was my second post lockdown gig. And, yet again, it was to see The Voodoo Kings at The Gatehouse Tavern. And, in a sense, it was a case of deja vu.

Clearly the first gig I attended on 2 August went off without a hitch as I am still here to tell the tale. And so, I noticed, were several of the audience members. To be fair, I have not been phased. Distancing has been taken seriously as has the track and trace system. And, the audience has remained seated throughout, apart from when replenishing drinks.

One of the great things about these gigs is that they feel like a step back to normality again. For me, and I am guessing for many others, nothing beats the live experience of music. And again, like many, I have been desperate for the return of it.

Once more the Kings pulled in a sell out 'pre booked - table only' crowd and again, despite the odd threatening cloud, they also managed to pull in a decent bit of sunshine for this bank holiday weekend shindig.

Musically, and after a few technical issues, the guys burst into Mystery Train. This was exactly the same start we had a couple of weeks previously. But The Voodoo Kings are a joy. And their attempts to take you back in time with their skiffle cum rockabilly style is a delight to hear.

Dimples, from their latest album release, was next up. But this time, rather than perform the new album almost verbatim, the audience were treated to it spread across the bands two sets. As well as a wide selection of the bands wider repertoire thrown in.

Unfortunately the future of live music in the UK remains in the balance. The music industry is on its knees right now and needs to find ways to adapt to the current restrictions. One promoter in Newcastle has come up with the idea of podiums to ensure social distances are maintained. And I notice that particular venue is now being used on a regular basis.

I have also read that it is a race against time as to what goes first. The live music scene imploding or emerging technologies stepping in and taking over. For me, I dearly hope the situation we find ourselves in, is only temporary. But for now, I am enjoying what we are being offered.

Voodoo Kings – The Gatehouse Pub - 2 August 2020


It doesn't need me to remind everyone of the problems this pandemic has brought. Each and everyone of us has been affected by it one way or other.

But as lockdown eases the restrictions, one sector still struggling with no real sign of let up, is that of music and entertainment.

How people, like musicians – who just want to get out there and entertain - feel right now, I just cannot imagine. It must be so frustrating for them. So it was just wonderful to see the return of live music in Coventry. For some of them, it is their only source of income.

And the band to dip their collective toe into these uncharted waters were the Voodoo Kings when they appeared in the garden area of The Gatehouse Tavern. And fortune favours the brave as the weather was just perfect for the occasion. Strict rules were in place such as the pre-booking of tables, in order to reserve your spot and table service for the purchasing of drinks was advertised as readily available. But I didn't see much of that.

There was also a test and trace facility running. And rather than sign an open piece of paper, you filled in a slip and put that into a box for added privacy.

From Siouxsie and the Banshees to The Cramps tee shirts, it was clear that a good few of Coventry's rockabilly family had gathered to honour these 1950s revivalists. Pompadour, swept back hair, and kerchiefs were the order of the day at this rear garden oasis that, you tend to forget, sits right on the edge the ring road.

A line up of Dave West (guitar, vocals), Sam Smith (bass, vocals) and Terry Downes (cajon box, vocals) are not only celebrating the fact they are being allowed to cut loose again but also that they have their new album ready to go.

Before a note was played a few ground rules were issued including 'was there anyone here from Leicester' which did make me smile.

Mystery Train opened the proceedings followed by the title track of the last Voodoo Kings album, Systems Green. After a few more tunes, along with a bit of tweaking of equipment, the band appeared to have hit their stride.

Dave West then announces that the Voodoo Kings were now going to perform, in its entirety, their new album 'Rollin'. It appears that getting this record out seems to have brought its own problems having been in production for the greater part of this most difficult of years.

The album, a mix of original and cover versions, opens with Davy Jones and continues with tunes such as I'm Not Blind, A Picture of You, Rollin, Delta Storm and Streamline Train which wraps up the first set. It really was a wonderful hour or so. Although the next few days will confirm otherwise, all was comfortable and we came away thinking the event had run very well.

Make no mistake, these were only tiny steps and there is still a mountain to climb in order to get live music back to pre pandemic levels. This is possibly the best it will get for a while to come. But this was a very welcome start.

Just this weekend it was announced that we may be at the limits of the easing of lockdown. But, I won't pretend, it felt great to see and hear live music once again, albeit in a more controlled environment. And, as importantly, it must have been equally as good, if not better, for the musicians involved to be flexing those fingers again.

Incredibly this Voodoo Kings gig was a free event. So at the very least, if you are able to, please support guys like these by checking out their merchandise and maybe purchasing a tee shirt or a CD.