The Future Bites – Steven Wilson

 

The Future Bites – Steven Wilson

by Pete Clemons

It could be argued that the highest achieving musical artists live by a different set of rules. There are so many common trappings and artists, who refuse to fall victim to them, find it key to those achievements. They also refuse to be known as a one trick pony. Additionally, true artists do not let others define their success. They do what they feel is right for them.

Like David Bowie, Kate Bush, Prince and others, Steven Wilson has created his own musical genre. And during his 30 year plus professional career Steven has continued to pull in all kinds of fans, at different times, from across the entire spectrum of music. Additionally, his reach has gone worldwide. And, as such, each of Steven's album releases tends to come with endless controversy and debate.

With each change in direction – which to be fair, Steven has done throughout his career, this is certainly not a new phenomena – has brought with it more than its fair share of destain and criticism.

With all that said, his latest release, 'The Future Bites', has seen Steven Wilson, in a sense, going full circle?. After all his first venture as a professional musician was with the more pop art oriented No-Man. And, of the tracks that have been drip fed so far, kind of suggests he is back in that field again albeit with the use of state of the art technology.

Steven has recently invested in a lot of different keyboards. And, for this project, Steven has moved away from the guitar. During a recent interview Steven admitted to getting bored with the guitar sound and, with his abilities, having taken the instrument as far as he could. And he is right. Most guitar based rock music is a variation of a previous theme. Its all been done before. That's not to take away the fact that some of it is still very good.

Influences have tended to dominate Steven Wilson releases. Just look at his playlists prior to an up and coming release. The last few years has also seen Steven being more impressed by individual songs and not so much from albums.

And these are the latest influences Steven seems to have taken on board for his latest release which is an exploration of the brain in the internet era. Why do people, for example, put stuff in their shopping basket but not pay for them?. And how has the algorithm been subtly allowed to control our thinking - more so than our political leaders?. 'The Future Bites', according to Steven, has been designed to create a mood and not a story.

The recent single 'Eminent Sleaze', is very electronic with programming and processed vocals. As is another drip fed track 'King Ghost'. But you need to hear the dropped out tracks within the context of the full album, to get the full effect, as they definitely grow on you after multiple listens. So for 'The Future Bites' Steven has drawn from the music of the now and not the past. It is less rock and more contemporary electronic. And, despite an abundance of bonus tracks the basic album is back to the good old fashioned forty minute format.

'The Future Bites' also has a more punchy sound. In part as it has been mixed by producer David Kosten who is well known for his work with the likes of Bat For Lashes, Everything Everything and Guillemots along with his own project Faultline

Recently, more contentious tracks, such as Perfect Life, Lazarus and Permanating have proved to have had the highest number of streams. But then come the one track critics. Maybe it is deliberate, maybe in this digital age, this is how music is promoted. But I do think that the time for drip feeding tracks should end. It would be good if artists, like Steven Wilson, just released an album unannounced. No slow burn or build up or releasing of individual tracks, no prior promotion.

'The Future Bites' is being released in Dolby Atmos. Put simply, this is the next step up from 5.1 surround sound. Dolby Atmos is 7.1.4 with the 4 being the number of speakers above your head. And, this album is one of the first of its kind. Trouble is though is that smartphones do not have access to multiple speaker placements. And that medium is how a lot of folk listen nowadays.

Touring his last album 'To the Bone' lasted the best part of eighteen months. It lasted for 145 concerts, taking in over 30 countries and over 100 cities around the world. It also saw Steven appears to be more comfortable in being the centre of attention. His reluctance to do so in the past was down to the fact that his early influences were bands like Pink Floyd who, as individuals, tended to shun the limelight. Going forward, and when the pandemic allows, Steven intends to play fewer shows but in larger venues.

Steven Wilson stresses he does not want to offend anyone by the style of music the album takes. But at the same time the listener needs to respect Steven's right to evolve in a way he sees fit to. That is his right as an artist. Your choice as a listener is to whether to buy or not. The Future Bites, which seems to have been around for an age now, eventually sees day of light during January 2021.

Crokodile Tears – Momus Boulevard

 

Crokodile Tears – Momus Boulevard

by Pete Clemons

Starting on Momus Boulevard and then turning into Bromleigh Drive then onto Sapphire Gate, Briars Close, Wyver Crescent, Anthony Way, some more of Momus, then across the Binley Road, Copsewood Terrace (another stretch of parallel road), Brindle Avenue, Bourne Road, First Avenue, Second Avenue, GEC Grange, GEC Lodge and then back across to Owens Newsagents on the junction of Momus, Swinburne and Lord Lytton Avenue. The route, detailed, has just accounted for my newspaper round of fifty odd years ago.

With regard to that delivery round a lot has changed, in terms of the geography, over time. This being, in the main, when it comes to the old GEC/GPT/Marconi factory site. That area has since become a housing estate. As such the landscape of the old manufacturing area has changed considerably. Apart from that, the majority remains incredibly similar. Particularly the strangely named Momus Boulevard.

And Momus Boulevard has recently become immortalised in song by Coventry band Crokodile Tears. Apparently, it seems, it rains hard in Momus Boulevard but the weather is more pleasant, just around the corner in Wyver Crescent. The song, which is available as a single and will be included on the bands forthcoming album 'Hoi Polloi', contains a lot of writer Christopher Sidwell's trademark wit and humour.

But hearing the song had me wondering where this strangely named road, called Momus Boulevard, actually got its name from. Something I had never really thought about during all the times I once cycled up, down and around it delivering newspapers.

So I asked my elder brother who is so much more knowledgeable than I am when it comes to local history. He replied 'I have a book of Coventry road names which I hoped would give the answer to the meaning of Momus Boulevard, but no it wasn’t included. My best guess would be ‘The Avenue of a Greek God’, but it’s only a guess'. And, as it turns out, on further investigation, he wasn't that far out.

Momus, as it happens, was a figure mentioned in Greek Mythology. Apparently, and quite fitting when it comes to Christopher's music, Momus is the personification of satire and mockery. Apparently Momus was a sharp tongued critic. And, as such, he was used by scribes as a mouthpiece for the criticism of tyranny and contemporary society. But generally he became the figure of harmless fun.

When Momus's fame, or infamy, had spread to Europe his personality had been softened. He had become more light hearted. The equivalent of a French Harlequin. He became the patron of humorous satire, similar to the figures of comedy and tragedy. Through the use of humour, Momus had effectively become as recognisable as 'The Fool' in packs of playing cards.

In truth, though, I have no idea how Momus Boulevard came to arrive at its name. But I cant help but think that this oddly named stretch of housing, that runs parallel to the Binley Road, was named by a councillor, with an enormous sense of humour, and who was responsible for assigning these things.

Crokodile Tears latest single, that also includes a non album track called 'Indian Summer' – another song with potential lyrics carrying a double entendre, is available now.

Blues2Go – Arches Music Venue October 2020

 

Blues2Go – Arches Music Venue October 2020

by Pete Clemons

It really is great to see indoor live music making a comeback in Coventry. And leading the way for the return of these events is the Arches Music Venue based in Spon End.

I am truly pleased, not least, for the musicians who must be incredibly relieved that the restrictions have finally been lifted slightly enough to get, some of them, out there again. It has been an incredibly frustrating period of inactivity for them.

Musicians, I guess, just want to be in a band and perform live. Just being able to play with some mates again. For some it is a full time job accepting any kind of work in order to pay the bills. I guess, at this time also, is when the realities of being a musician kick in and, suddenly, those initial dreams take a change of direction. There is always, however, a desire to really try and understand the tools for improvisation and composition, and the ongoing personal challenge for improvement as a musician. So do not be under any illusions, being a musician can be a tough life.

The current rules are far from ideal. And dedicated music venues have been given slightly different guidance to that of pubs, bars, social clubs and restaurants which now have the strict 10pm closure times. A band can carry on till 10:15pm/10:30pm then everyone has to leave. Last orders from the bar is around 9.30pm.

As such, in order to allow for support acts and to comply with the requirements, recent headliners Blues2Go had to cut down slightly on the number of songs played during a 2 set schedule. But that's not to say it impaired on the enjoyment level. Not in the slightest. This was a tremendous gig. It was as if the band had never been away. It all ran well and, as an added bonus, it completely sold out. It is certainly what the music loving public want and are more than prepared to tolerate.

Be warned though, buying advance tickets could be essential. As mentioned, it was a sold out event and several people were left disappointed at not being able to gain entry at the door. The audience was relatively small but well behaved and totally into what was happening.

The gig itself featured the quartet of vocalist Al Maynard, bass player Horace Panter, drummer Rick Medlock and lead guitarist Pete Gardner. Between them they re-energise the music of Cream, Jimi Hendrix, Etta James, BB King, Elmore James and many more. And it was certainly evident that they had missed their time away from the stage. That special feeling of magic that permeated through the crowd. It was clear that these guys were back doing what they love and, indeed, what motivates them.

Post gig comments certainly confirmed the joy of being back...........

'Doin'it for the first time in a long time last night in soggy Coventry. Big thanks to everyone who turned out. The good times definitely rolled!'

'Fantastic gig and absolutely fantastic to play live again'

'First indoor live gig I’ve been to in...er...I can’t remember how long'

'Social distancing or not, it was great to see these awesome guys doing their thing to the appreciative “sell out” crowd. Hopefully a longer set next time'.

Small steps I appreciate but lets hope it keeps going. Its what the musicians want and its what an audience requires and its what Coventry needs.

Stone Foundation - Queens Hall, Nuneaton 18 Sept 2020

 

Stone Foundation - Queens Hall, Nuneaton 18 Sept 2020

by Pete Clemons

There is an often used expression along the lines of 'you don’t know what you’ve got until it's gone'. And this, I think, has applied to the music scene. In all truth, you knew what you had, you just never thought you’d lose it. We take things for granted on a daily basis, always with the assumption that whenever we need something, it will be there. But this pandemic had all but killed live music.

So when I heard that Stone Foundation were playing a series of indoor gigs at the Queens Hall in Nuneaton I was quick off the mark in securing tickets. It was certainly my first indoor gig since lockdown began. In fact this, as I understand, was one of the first in the country. A lot of stops were pulled out by venue in order to just put these gigs on. For example, tables were laid out with sufficient distancing and everyone entering had temperature taken. And, to be fair, it has to be said that the vast majority of the audience respected the rules. Having said that, since these gigs, the rules have been tweaked again.

The first night of these three special gigs was excellent. It was quite clear from early on that this eight, occasionally nine, piece band had missed live performance. As had the audience of course. Stone Foundation, who had not played since March, gave us a continuous set split into different sections. The first section saw the band perform the whole of their new album 'Is Love Enough'. This was immediately followed by a 'favourites' section that included 'The Limits of a Man', 'Back in the Game', 'Season of Change', 'Simplify the Situation' and a host of other great songs. And, finally, there were several encores that included a couple of crowd warming covers.

For many and varied reasons Paul Weller is not an artist who needs to offer his services in collaborating with just any group. In fact it all began when Paul Weller approached the band to add their talents to one of his tunes. And now, as he was on the bands previous release, 'Street Rituals', here is Paul once again featuring and collaborating on Stone Foundation's latest release, and where the band pose the question, 'Is Love Enough?'.

Additionally, Stone Foundation have also managed to secure the services of the likes of Mick Talbot, Steve White and a host others. Such is their ever growing reputation. 'Is Love Enough?' continues their fruitful collaboration with Paul Weller who produced 2017's 'Street Rituals' and played on 2018's 'Everybody Anyone'.

'Is Love Enough?' is the band's sixth studio album and was recorded at Paul's Black Barn Studios. This time however it has been produced by Stone Foundation's founding members Neil Jones and Neil Sheasby.

To give a fuller picture and to leave the reader under no illusions, in order to make the gigs work, they were rolled out over three nights with a reduced capacity. Ticket prices also had to be increased from where they would normally be. The band, as I understand, earned over the course of these three night, what they would normally have done in a single night. Such are the strange times we are currently in.

Dyble Longdon

 

Dyble Longdon

by Pete Clemons

The accompanying postcard, that was bundled together with the album, and signed in one corner by David Longdon just spoke volumes. It was a lovely item to be included but there just seemed to be this large gaping void that was yearning for another name.

Of course Judy Dyble is no longer with us, or is she?, but what a way to bow out. What an incredible legacy she has left us with. Along with David Longdon they have created this magnificent release. This is far more than just a beautiful album musically, it contains some incredibly personal and haunting lyrics. It really is a wonderful meeting of minds.

During the albums making a tumour was taking away Judy's breath and, in a blog by friend, author and artist Jackie Morris, it is mentioned that the pair would discuss the breath of life and the spaces in between. They became fascinated by the phrase 'Between a breath and a breath'. And for Judy, as far as this album is concerned, it seems that between a breath and a breath was where her magic lay.

David Longdon has mentioned that the album had its challenges. And now, understanding a little more about how the title was arrived at, certainly gives you a greater insight as to how demanding it really must have been. I cant help thinking it all involved a great deal of patience.

The album kicks off with Judy questioning the astrologers, in reference to love, she uses phrases like 'Oh stop it now' and 'That is a cruel joke to play'. Given the love and praise being heaped on this album then maybe the astrologers were right after all.

But, for me, it is the song 'Tidying away the pieces' that stops you in your tracks and really makes you focus on the lyrics. It is devastatingly honest and frank. The words created by Judy really do lay it all out there. She is somehow putting things in order and, at the same time, covering up any frustrations. The album signs itself off with Judy questioning 'For what will be the next adventure, should there be such a thing'.

In one of those bitter sweet phrases David Longdon describes, when he listens to the record, to an episode of Randell and Hopkirk deceased where David is the surviving one. He feels Judy's presence. I really cant imagine how difficult it must have been for David to put together this album. It must have taken an incredible amount of resolve and effort.

Sadly this project is now all over before it has really begun. It is only ever going to be a one off project but what a special one it has been. The pair, by all accounts, met in 2015 after Big Big Train gig at Kings Place after being introduced by violinist Rachel Hall.

Even the albums sleeve has paid particular attention to Judy's life. The beautiful front cover painting is of things special to her. And then the gatefold sleeve reveals the pair sat by a fireplace illuminated by a Tiffany lamp. On the mantelpiece is a coat of arms and a grey photo of the Marx Brothers. So it is a kind of pastiche towards the Fairport Convention album that Judy appeared on.

Leaving the final words to David, during a Q+A, he alluded to things he had learned from Judy. These included to always have fun, not to take things too seriously, always make time for silliness, don't worry about the things you cant change and to learn that, one day, we have to let go of life and the things we love. Judy Dyble was a very pragmatic and amazing lady.

It is only right, as I delved into Jackie Morris's blog for understanding the albums title, that I mention her recent book where it was derived, 'The Unwinding'. Again, I have borrowed phrases within it. It is a book for dreamers. It is an unwinding of the soul, when the pressures of work were too much. The aim of the words and pictures is to set the reader's mind adrift from the troubles of our times, into peaceful harbours where imagination can stretch, where quiet reflection can bring peace.

Nuneaton During the 1960s

 

Nuneaton During the 1960s

by Pete Clemons

Its difficult to imagine that there was a time when most towns and cities produced some really good bands. This was during the late 1950s and throughout the 1960s.In part, this was thanks to when radio was king and rock 'rock'n'roll was filtering through the airwaves. Not all the bands were household names but those with long memories, and who live in the North Warwickshire area, will certainly remember names such as The Reason, The Puncture Outfit and The Jones's to name but three.

In fact all those bands mentioned were from Nuneaton and one of the musicians central to the scene back then was guitarist Keith Bates. And Keith, as best as his memory serves, has provided me with a wealth of fascinating information about these bands.

As a touring musician Keith Bates played all over the Midlands, at a lot of top venues, with the various bands he was involved with. These included The Co-op Hall Nuneaton which was once, a major Midlands venue, and which Keith played dozens of times. He also appeared at venues like Kettering Town Hall, The Makadown, Crown and Cushion, The Lyndon Tree, The Rum Runner, Smethwick Baths and Handsworth Baths all in Birmingham.

Nearer to Coventry Keith's bands played The Pilot in Radford, The Navigation on Stoney Stanton Road, The Griffin Inn in Foleshill, The Parkstone Club and The Banba Irish Club (Treetops) both on the Foleshill Road and many more.

Keith's earliest days on the circuit involved his first band was The Critics 1963/64. The Critics featuring Dave Dyed on Drums Len Bailey on Bass , Alan Wright on Rhythm (replaced by George Beardmore) Keith Bates lead guitar, and Johnny Thompson on Sax

The Critics evolved into The Chuckles around 1965. This band were almost as above. Dave Dyed, George Beardmore, Len Bailey along with Barry Spruce on keyboards formed The Chuckles who, for a while, became the late Gene Vincent's backing band when he toured the UK.

Next up for Keith Bates was The Agents 1964/65, aka Dave Burns and The Agents. This line up was made up from Keith Bates lead guitar,Terry Hamilton on vocals, Clive Ellams drums, Colin Bonsor bass, Alan Hankinson rhythm guitar. When The Agents broke up, the late Alan Hankinson along with the late Dave "Spud" Simpson on drums, accompanied by Rob Price on vocals, the late Roger Prince lead guitar and bass player Mick Broadhurst formed The Jones's during 1965.

At the same another Nuneaton band,The Puncture Outfit – formed around 1965 – began playing the circuit. The Puncture Outfit line up was Roy Bartram vocals, Johnny Gibson lead guitar, Johnny Varden rhythm guitar and vocals, Fred Burrows bass and Alan Jones on drums.

Around this time the music was changing from beat to more r 'n' b and a 'Mod' scene was taking off. Nuneaton pubs such as The Nags Head, The Weddington, The Corner house and The Holly Bush were quick to hold 'Mod' dances.

This change in direction meant a change for The Puncture Outfit and they became The Reasons. This was when Keith Bates joined replacing the late Johnny Gibson. 'The line up was the same, said Keith' but prior to Johnny Gibson there was a guy called Mel Sheasby on lead guitar and that is as much as I remember of that band'.

The Reasons existed between 1966 and 1968. When Keith joined them the line up was Roy Bartram vocals, Keith Bates lead guitar, Johnny Varden rhythm guitar and vocals, Fred Burrows bass, Alan Jones drums. And, for a while, The Reasons, worked for Dot Calvert out of Clifton Hall, Rugby who provided the band with gigs.

When Keith left The Reasons, he went on to do some session work. He was replaced in the band by a guy called Pete Kirkham. And then drummer Alan Jones left the band and he was replaced by a drummer called Pete Simpson who has since sadly passed away.

For a while Keith Bates also played with Roye Albrighton when an early band of Roye's, The Hells Angels, first took off during 1965. Hells Angels existed till around 1967 and, although never a full time member of the band, Keith remembers Roye with much affection. 'He was such a lovely guy' says Keith.

In addition to Roye The Hells Angels included Frank O'Sullivan on vocals Robert Hodgkins rhythm guitar, Roger Hodgkins on bass and drummer Barry Llewellyn. Coventry's Bev Jones joined Hells Angels early 1967 for a while.

Nowadays Keith Bates has a small studio where 'I emulate Hank Marvin, and give lessons to a couple of Hank Marvin nuts'. Keith is also related, through his Grandmother, to Mike Malyon who was a sports reporter with the Coventry Telegraph and who has written extensively about Larry Grayson. Mike's grandmother was Keith's grandmother's sister.

Many thanks Keith for all of this valuable information and for sharing his memories !.