Pete Townshend, Traffic and the Coventry Theatre 1967.
by Pete Clemons
When they appeared in Coventry during 1967 The Who had already gained a reputation. Also on the bill and not so well known were Traffic. Formed a few months earlier, during this incredibly important year for music, Traffic were the surprise act, on this their second major tour having just completed one with Tomorrow and The Flowerpot Men.
Some of the notes below are from a first hand account of the Coventry gig: A pop star smashed footlights, spotlights and his guitar when the final curtain came down in mid act at the Coventry theatre and God Save the Queen was being played. He was 22 year old Pete Townshend of the bill topping group, The Who. He and lead singer, Roger Daltrey, were left standing in front of the curtain when it was lowered.
Townshend shouted for the curtain to be raised, threw his guitar to the stage and kicked angrily at the footlights. Then he picked up a footlight and used it to hammer the floats (shielded lights). Finally he swung at the lights with a microphone stand.
He said afterwards 'If I did any damage I will have to pay for it. But I do feel it was justified. Our act was cut to two numbers in Sheffield the night before, and bringing the curtain down on us tonight was just too much. The show was over running but we wanted to give the kids their money's worth'.
The curtain was lowered on the instructions of the touring show's manager when the show – delayed by much amplifier trouble – over ran by 20 minutes and there were only 10 minutes to go before the second house was due to start.
It was a violent climax to a star studded two hours that included The Marmalade, , The Herd, Traffic and The Tremeloes. Despite being cut short The Who played most of their hits and threw in some exciting revivals of rock 'n' roll numbers like 'Summertime Blues' – though the late Eddie Cochran would hardly have recognised it. It was thrilling, violent music even without the light smashing episode.
The musicianly Tremeloes vied with them for audience reaction. But the surprise highlight of the evening were Traffic. Four first rate musicians who, having disposed of their hit 'Hole in my Shoe' launched into a superb 15 minute pop/jazz/blues number of changing moods.
Traffic came together during April 1967 when organist Stevie Winwood, still with the Spencer Davis Group, decided he wanted to step outside the confines of that particular band. Dave Mason worked as a roadie for the Spencer Davis Group. Guitarist Dave, along with drummer, Jim Capaldi, were also members of the Worcester based 'The Hellions'. Art student and flute/saxophone player Chris Wood knew Stevie through his sister who designed clothes for the Spencer Davis Group.
The quartet jammed together at a popular club with Birmingham musicians called The Elbow Room. And it was there where the idea for Traffic was formed. Steve Winwood recalled; 'We all used to go to this drinking/gambling club where Jim used to play, and like we used to get up and play with him and jam. And we just got together'.
With Dave Mason and Jim Capaldi eager to form a new band with Steve Winwood, Chris Wood also agreed to join the partnership. Dave Mason later admitted; 'Everyone realised that we were going to get a certain amount of success because Steve was in the band'.
In fact, with several hit singles, a critically acclaimed debut album and high profile radio sessions 1967, in many ways, belonged to Traffic.
Back to the concert and the chartbusting Herd acquitted themselves well as did the up and coming Marmalade whose smoking amplifier turned out to be, not another psychedelic effect, but an electrical fault and the catalyst to the events at the end of the second house.
The Shadows were, primarily, an instrumental group whose sound would influence a generation. Not only through their guitar sound but they introduced pop music to serious instrumental music. The band formed during 1958 as The Drifters and as a backing group for Cliff Richard. But then, during 1959, they emerged from Cliff's shadow and, ultimately, set the template for British guitar groups. But, by 1964, The Shadows kind of got swept aside.
2020 has seen The Shadows distinctive and much loved single, Apache, pass 60 years since being recorded. It also saw the loss of one time local resident and one time Shadows bass player Brian 'Licorice' Locking.
It was 1956 and Hank Marvin (born Brian Rankin) and Bruce Welch (born Bruce Cripps) were still at school in Newcastle upon Tyne. Like a lot of teenagers back then the pair had been influenced by rock n roll. A group had formed at that school and that was where Bruce and Hank came together.
The group they had formed played skiffle and were called The Railroaders. The Railroaders entered a national skiffle contest during 1958. They managed to get to the finals in London, held during April of that year, where they really began to fancy their chances of winning. It wasn't to be, as they came third.
But Hank and Bruce felt that they had dream to fulfil and the pair stayed in London while the rest of The Railroaders went home. The final had been on a Sunday night and by now it was 9pm and the pair had nowhere to stay. They had tried to sleep in the theatre but the theatre manager rang a friend, coincidentally a Geordie lady who rang a guest house. She put the pair up for night. But that one night turned into 6 months.
The pair were 16 years old and Hank and Bruce paid their way in London by playing in coffee bars particularly the 2i's in Soho. Also playing there at that time were drummers Brian Bennett and Tony Meehan and bass players Brian 'Licorice' Locking and Jet Harris. Together they would get up and jam instrumental music without realising what was about to happen and what the near future had in store.
In 1958 Cliff Richard was man of moment having reached number 2 with his hit record 'Move It'. A tour was about to start and Cliffs manager, Johnny Foster, wanted a band, in particular guitar players. Such was its reputation that the 2i's was the obvious place to visit. Hank was first to be recruited but he then recommended Bruce who was also signed up. Almost immediately the pair were off to a tailors in Dean Street, London to be fitted for suits. And then it was off to rehearsals at Cliff's parents living room. From the start, according to Cliff, they all got on really well.
Hank and Bruce officially joined up during October 1958 and together with guitarist Ian Samwell and drummer Terry Smart hit the road as The Drifters on a 21 night tour where they slept in theatres and the tour van. It was during this tour that Hank and Bruce would return to Newcastle for the first time since leaving for that skiffle final. They played the cities famous City Hall. I cannot find any evidence of Cliff and the Drifters appearing in Coventry during this first tour but they certainly did during 1959.
After their second tour the band returned to London and Samwell and Smart left The Drifters. So it was back to the 2i's where, this time, Jet Harris and Tony Meehan were recruited toward the end of January 1959.
Cliff Richard was something of a perfectionist and wanted the best in equipment for himself and the band. During March 1959 Cliff bought what is believed to be first Fender Stratocaster guitar into the country. The guitar cost 140 guineas and was red because they knew Buddy Holly had played an exact same model. Nowadays that guitar is in the possession of Bruce Welch. But it gave Hank Marvin the opportunity to experiment on it, and learn what would become, some cutting edge sounds. The guitars 'whammy bar' played a big part in these newly discovered methods of playing.
'Living Doll' was the next single scheduled for Cliff Richard. It was originally intended as an orchestral production but Hank and Bruce had other ideas and added its rock and roll feel.
Cliff Richard, recognising the talent within The Drifters, talked his management into giving his backing group their own contract. A couple of the early Drifters records contained vocals and fell a bit flat. They also tried to release a record in the USA until it was stopped by legal action taken out by the American vocal group of the same name.
So The Drifters had to come up with new name. It was Jet Harris who apparently came up with The Shadows in reference to always being in Cliff's shadow. So by July 1959, and now with their new name, the band reverted back to instrumentals. Inspired by Jerry Lordan who introduced them to part of the sound The Shadows recorded 'Apache' at studio 2 in Abbey Road. At the time of its recording the tune didn't have an intro so, when they found one, Cliff Richard stepped in to play it on Chinese drum.
Cliff Richard's own release, 'Please Don't Tease' was at number 1 when 'Apache' was released during July 1960. 'Apache' entered the chart at 19 and famously knocked 'Please Don't Tease' off its top spot. 'Apache' stayed at number 1 for 5 weeks. It was a huge moment as it influenced a generation. It was also the start of The Shadows unleashing a string of hits.
In the words of many guitar greats, 'Apache' was a simple enough tune to play, but they quickly concede that, no one else had done it up to that point. So it really was cutting edge stuff. And even today, 60 years on, 'Apache' still hits the spot.
The Shadows shared more of Cliffs hits as well as having their own. The band were extremely busy and much in demand appearing in Coventry on many occasions. The Shadows even had their own style in that they wore suits rather than the more favoured leather. They also introduced dance moves into their hits as they felt they had to make instrumental music more interesting.
The Shadows toured worldwide. But while in South Africa they suffered their first disagreement. Tony Meehan was becoming more and more unreliable. Both Hank and Bruce were strict disciplinarians and felt that their producers could not be messed around. They wanted to keep the band going for as long as possible. During October 1961 the band were in the middle of UK tour when Tony turned up late for a show. It was the final straw and Bruce, apparently, went mad at him. So, also, did Hank. Tony said 'get yourself another drummer'. So they did and in came Brian Bennett who they knew from those 2i's days and who had been playing, at the time, with Tommy Steele.
Along with Cliff Richard, The Shadows then began to get into films. Between them they appeared together in five. More than that, The Shadows became more all round entertainers as they also got opportunity to write scores for those films. Pantomimes followed as the band starred in Aladdin at the Palladium in London. But further disagreements led to Jet Harris leaving The Shadows during April 1962 making way for Brian 'Licorice' Locking. Brian remained with the band till October 1963 when he left, in turn, being replaced by John Rostill.
Cliff Richard once mentioned, tongue in cheek, that he and Shadows had it all sown up in Britain. As such The Beatles had to go to Hamburg. A remark that many Beatles fans would never forgive him for, particularly when the band were at their height.
Footapper was last number 1 for The Shadows, without Cliff Richard, during 1963. Pop music was a rapidly changing fashion and with The Beatles suddenly in vogue. Being blunt, The Shadows had had their day.
As if to rub salt into the fact, the 1964 New Musical Express pop awards, held at the Empire Pool Wembley, provided an extraordinary moment and a snap shot of what was happening at that time. Despite The Shadows picking up award the major prize of the evening went to The Beatles. It was like a changing of the guard.
The Shadows struggled on until 1968 when they played their final show at the London Palladium. The band members were still only in their 20s and needed to try new things. So they agreed to go their separate ways.
A year or so later both Bruce Welch and Hank Marvin teamed up with Australian songwriter John Farrar who was majorly influenced by Crosby Stills and Nash and Joni Mitchell. Between them they produced two decent albums. All the musicians were pushed beyond their comfort zones but, sadly, timing was an issue as they were released at the wrong time. Requests for 'Apache' at gigs made them realise they were stuck with a millstone.
But as most bands discover, having a legacy is not a bad thing. 1973 and it became cool to be a 'Shads' fan once again as the band reformed every bit as good as previously remembered. Subsequent success included the band being chosen to represent the UK in the 1975 Eurovision Song Contest. Despite ending up as runner up with 'Let Me Be the One' this was the start of the second coming for the band. Incidentally, the Dutch won the 1975 Eurovision Song Contest with 'Ding a Dong'.
Even more incredible 1977 saw the UK in middle of the punk rock explosion. But at the same time a huge, slightly older audience, was now yearning for their youth. And Saville Artists were acutely aware of this. Despite it being a huge risk they organised the comeback, 20 golden dates tour, that including a date at Coventry Theatre.
Even the band thought it was all destined to fail. For the first time, TV adverts were put out on prime time television for 20 the golden greats LP. The tour that followed was an incredible success. The greatest hits album hit number 1 within 48 hours of release and its method of advertising became a benchmark for future releases. This new found success encouraged Hank and The Shadows to re record instrumentals of the most popular hits of the time. They suddenly found themselves back in the big time.
After 1990 the continuing history of The Shadows slowed up once more. But every decade of their existence, right up until their 50th anniversary, they would perform together, along with Cliff Richard, to put on a huge series of gigs where the full band would perform a set and the Shadows would have their slot.
Cliff and the Shadows 1960 version of Move It.
Apache by the Shadows 1960
Apache with Cliff on lead guitar!
Please Don't Tease Cliff and the Shadows 1960.
Wonderful Land The Shadows
Throw Down a Line written by the Shadows with them on backing vocals c1969
It's amazing where an article can lead you. I recently wrote a piece on Nuneaton bands and have since been provided with further valuable information. So I have tried to collate it all.
Max Hollyman needs little introduction to those who have followed the local music scene. For at least five decades Max, from Nuneaton, had either performed or promoted music.
One of Max's earliest bands were the Demons but this piece, first written during May 1967, documents another, The Orphan Clyde:
Note the name, The Orphan Clyde. For this Nuneaton pop group, made up of five local lads, is certainly going places. On Monday the Clyde, barely five months old, set off on what they hope will be the road to success.
For the ambitious five are turning professional and going to try their luck on the West German club circuit, which has been the foundation of many of Britain's top pop groups – including The Beatles.
The Orphan Clyde consists of Max Hollyman – vocalist, Barry Spruce – the organist, drummer Kevin Smith, lead guitarist – Dave Walbyoff and Mick Harris who is bass guitarist.
And already this bunch of young men have their sights focused on fame and glory. But who can blame them? For just look at what they have lined up in front of them.
Possibilities of television appearances and a recording session while they are in Germany.
• Holiday bookings in Skegness when they return home.
• They had a song written for them and are going to make a demonstration disc in Jack Jackson's studios, London, to send to the record companies.
• High hopes of a return visit to the German scene
The night when things really began to happen in a big way for the Orphan Clyde was two months ago when they played an audition for Darvill Entertainments of Nantwich, Cheshire. The agents liked what they saw and immediately booked them for the continent.
Since then the Nuneaton lads have never looked back. They have a manager, Alan Hale, 'who', says Barry Spruce, 'has been a tremendous help in organising the tour'. Hale used to be in charge of The Chuckles pop group and adds Spruce 'His experience has been invaluable'.
In fact Hale has been working very hard over the past few weeks to put the Clyde on their feet to success and has already been over to Germany to check and finalise arrangements and also fix up a return trip for the group.
When they leave on Monday the Clyde will be spending a month in Europe. They have fortnightly dates in both Berlin and Kiel. 'This is more or less the same circuit that The Jones's another, Nuneaton group, did a few months ago' said Max Hollyman. 'But they did Hamburg instead of Berlin'.
Since that night in Nantwich, everything has looked up for the Clyde. Their bookings have increased and also moved into a higher class.
'We do a lot of work around Birmingham and Leicester' said Hollyman. 'And a few weeks ago we played on the same bill as Dave Dee at the Plaza Ballroom, Handsworth'.
Hollyman continued 'We have also a good following from the Stockingford and Arley areas. About a month ago we did a show in Cheshire and their were a couple of dozen Nuneaton people there who had travelled especially to see us. And then we played Rugeley and again there were a number of our own followers in the hall'.
Only one member of the group, Mick Harris, has not had previous experience in the pop world. Hollyman has been vocalist with The Travellers, who went to Frankfurt three years ago, and The Demons and he have also recorded a single for EMI which was the English cover version of Elvis Presley's 'His Latest Flame'. But it was never actually released.
The Orphan Clyde existed between 1966 and 1968. They started out playing venues like The Arley Miners Welfare Club and The Nags Head in Nuneaton. One of the last dates I have recorded was at The Sportsmans Arms up on the Birmingham Road.
1967 has often been called the best year in pop music. It was the year of the concept album and, additionally, so many fantastic singles were released. It was also a big year for Nuneaton band The Jones's.
The Jones's success story, in their then format, had began exactly a year before during early 1966. Mick Broadhurst, Dave Simpson and Alan Hankinson wanted to form a group and joined up with Bob Price and Roger Prince of the former Jones's. Previous members had included Norman Parkes and Roger Price.
Mick's brother Barry joined them as road manager and they played in and around Nuneaton. Particularly at venues like the Holly Bush and the Nags Head on Queens Road. They became popular in Warwick and, just recently, have been making their name in Coventry and now even London.
The Jones's had a dress sense and a sound to match the ambitious times. And their popularity has taken them all by surprise and they are now looking forward to a successful tour and a good number to record when they come home.
The following is an account of how they secured a tour to Germany and how it was told by the local press during January 1967:
'Keeping up with the Jones's is becoming increasingly difficult these days. In fact, fans of the Jones's – the local pop group – will be left far behind next month, for the five lads are off on a tour of Germany. This weekend they will pack their bags, board their van and make tracks for the south coast. A short boat trip across the channel, and a journey across the continent will get them to Kiel in Germany in time for their first booking on February 1st
But their faithful fans who have followed them all over the Midlands will be happy to know that they will be returning to England in March and will be planning to cut a record.
The five are Dave Simpson - drummer, Alan Hankinson - guitar and vocals, Bob Price – vocals, Mick Broadhurst – bass guitar and vocals and Roger Prince – guitar and vocals.
The group have now al turned professional and are managed by Bob Wilkinson of BMA productions, Bedworth. After being spotted they were immediately booked for the tour of Germany.
For the occasion they have brand new equipment and new stage clothes. They play in white regency suits with dark shirts.
When they arrive in Germany they will live in at the first club and will probably stay there for the first week before moving on. All their bookings are being arranged by their agents'.
After returning to the UK The Jones's appeared to play more often in Coventry than Nuneaton. They regularly visited venues such as The General Wolfe, The Newlands, The Plough and The Cheylesmore. Yet despite securing support slots for band such as The Who and The Kinks, The Jones's kind of disappeared at toward the end of 1967.
