2020 - An Overview

 

2020 - An Overview

by Pete Clemons

People do not need me reminding them that 2020 has had its extraordinary difficulties. And live music was especially hard hit. Clubs closed and tours cancelled. Will life ever go back to the way it was. I am not convinced. The virus is certainly here to stay. So we will need to adapt in order to live with it. But I am certain we will. That said it has not all been doom and gloom. Remarkably, and despite the problems it has encountered, the music world has still managed to give us many positives. Listed below are a selection of the positives I have come across. Of course, this is a very narrow view and, with music being such a vast ocean, there will have, I'm sure, been many positives in other areas of music. Massive thanks to all for keeping our spirits high..............

 Albums

 

Gazpacho – Fireworker: each Gazpacho album takes you on some kind of a journey. And this release is no exception. With Fireworker you are taken on an immersive exploration to the depths of your mind as they question why we react the way we do in certain situations and why we think the way we do.

 

Colin Edwin and Robert Peck – Infinite Regress: Infinite regress, as I understand, is a statement that needs to be supported by another, and so on. So in that sense these ten songs support each other. Heavy bass and lyrics based around how memories hold up over time.

 

The Pineapple Thief – Versions of the Truth: the growth of the internet has been both a benefit and a curse. Here Bruce Soord delves into how the magnification of the digital age has enabled truth to have been twisted to suit certain agendas and aims.

 

Lunatic Soul – Through Shaded Woods: This is the seventh album from multi instrumentalist Mariusz Duda. Here, Mariusz found his inspiration for the album from his childhood home, an area of Poland known for its forests and lakes. Musical soundscapes guide you through the local folklore.

 

Dyble Longdon – Between a Breath and a Breath: An accompanying postcard, that came with the album, and signed in one corner by David Longdon just spoke volumes. There seemed to be this large gaping void that was yearning for another name. Of course, it was that of Judy Dyble who is no longer with us. But what a way to bow out.

 

Sanguine Hum – A Trace of Memory: Sanguine Hum have been going about their musical business for 20 years now. Quietly releasing a series of really good albums. And still they have the capability of turning one out as engaging as this one.

 

Iamthemorning EP – Counting the Ghosts: As if to prove that the pandemic was indeed worldwide, this Russian pair vented their frustrations. 'All I wanted lately was to scream aimlessly into space but instead I recorded a Christmas song'.

 

Tim Bowness – Late Night Laments: Very much an album to be heard under the headphones. This a very inward looking and a self examination of an album. Brooding and, at times, quite dark.

 

Jack Hues – Primitif: it was the Syd Arthur connection that drew me toward this album. Before then, to my knowledge, I hadn't been aware of Jack Hues. Yet here he is at the age of 60, with time on his hands, writing a set of wonderful songs of reflections and relationships spread across a double CD release.

 

Steven Wilson EP's – Eminent Sleaze & 12 Things I Forgot: Steven's latest album has been ready to go for a number of months. But the pandemic, along with the chaos it has caused, has resulted in its delay to the wider world. But the intervening time has seen Steven release a series of tasters in the form of EP's.

 

Nektar – The Other Side: This was a very pleasant surprise. Following the passing of Roye Albrighton in 2016 the new Nektar began work on a new album. As I understand some of the songs on this release were based on ideas from 1978. Those ideas were reworked on and readapted to produce this beauty.

 

Judy Dyble and the Band of Perfect Strangers - Weavings of a Silver Magic: Recorded live at St Barnabus Church, Cambridge complete with full band and strings. I am proud of the CD and want to blush a bit with joy – Judy Dyble.

 

Airbag – A Day at the Beach: Their music is smooth and sophisticated. It is rich and creates atmosphere's. At times though I do struggle with the rawness of the lyrics. But it is with the music where this band excel.

Locally released music

 

Voodoo Kings – Rollin: this dynamic rockabilly trio completed their album just prior to lockdown. Released during October 'Rollin' contains a mix of highly original and imaginative reinventions of standards and classic foot tapping tunes.

 

The Session: as ridiculous as it sounds, The Session could quite rightly claim that 2020 was the most successful in their two decade history. Tunes like 'Denver Hill', 'The Fear' and 'Ravages of Time' have ensured that the accompanying videos have received thousands of hits and visits.

 

Crokodile Tears – Hoi Polloi: in the continuing tradition of any Croks release this album is piled high with musical quirks and is choc full of joy.

 

Fresh Maggots – Waiting For the Sun: Almost fifty years after the release of their first studio album, during October 1971, Fresh Maggots released a new album. But do not expect a follow up to that debut. Equally as enjoyable, this album represents the duo today.

 

Barnabus – Beginning to Unwind:all good things come to those who wait. And this album, that sat in the vaults for years, at last saw the light of day. Rise Above Records/Relics, led by Coventry born Lee Dorrian, pulled out all the stops in giving this record the most tasteful of releases.

 

Alternative Sounds – Compilation: Volume 4 of an ongoing series that showcases the best of what Coventry offers.

 https://alternativesounds.bandcamp.com/album/alternative-sounds-volume-iii

Re-issued albums

 

Medicine Head – Old Bottles, New Medicine: Fiftieth anniversary release of Medicine Head's debut album. Comes with unreleased tunes and live material recorded at the Marquee Club.

Brian Davidson – Every Which Way: A vastly under promoted album when first released. Now available on CD this is an excellent album by a band that received little recognition at the time.

Crystalline – Axe Music: One of those long lost albums revamped and produced onto CD-Rs by Steve Giles of Dark.

The Classic 1970 Album - fully endorsed by Steve Gordon, drummer from AXE - which is now available again.

 

Live music

 

Sadly live music for 2020 was decimated by the pandemic so not much to report on. What there was of it though, particularly during the lockdown and restricted times, was a huge tonic. Grateful thanks to those who led the way in pioneering these gigs and who had to jump many hurdles, following the ever changing rules, to ensure they were all run safely.

 

Pre Lockdown Gigs

 

Glen Matlock and Earl Slick – Robin 2, Bilston

Kafkadiva / Andy Nixon – Duffy's Bar, Leicester

 

Post Lockdown Socially Distanced Gigs

 

Voodoo Kings – Gatehouse Tavern

Roddy Radiation - Arches

Blues2Go - Arches

Stone Foundation – Queens Hall, Nuneaton

 

On Line Gigs

 

Bruce Soord – 5 sessions

Soft Machine – 2 sessions

 

Losses during 2020 included amongst many others..........

 

Neil Peart

Kenny Rogers

Bill Rieflin

Neil Landon

Bill Withers

Little Richard

Florian Schneider

Dave Greenfield

Phil May

Judy Dyble

Peter Green

Wayne Fontana

Pete Way

Lee Kerslake

Johnny Nash

Brian Locking

Dave Munden

Spencer Davis

Charlie Pride

Eddie Van Halen

Leslie West

 

There are moments in all lives when the world turns slightly on its axis, a death, a birth, a shocking of the soul coming from nowhere to change the reality of the days . And there is no going back. There is no returning to how it used to be.

So we go forward into the unknown future, with no real understanding of how or why. But knowing that the universe has turned and changed forever – quote borrowed from Judy Dyble

 

Alternative Sounds

 Alternative Sounds

by Pete Clemons

Alternative Sounds is back with a brand new compilation and, given the year we have all had, it is indeed a remarkable feat. The statistics around this series of releases are equally impressive. 4 CDs released over the last three to four years, containing 84 tracks by 82 different acts. And incredibly work is continuing on further releases that include a fifth volume along with one dedicated to Ska and reggae.

The original idea for the Alternative Sounds fanzines was the brainchild of Martin Bowes who has himself, over the last 40 years, regularly released records with his own Attrition project. And the spirit of that fanzine has been revived and faithfully restored in the modern digital age. In fact AS4, and the previous release AS3, came complete with a souped up version of the AS fanzine last seen during the very early 1980s.

Together, the Alternative Sounds team, have collected some exclusive tracks from their favourite artists and talent that Coventry and Warwickshire is well known for nurturing.

The CDs are instantly recognisable by their distinctive sleeves that feature full colour images of different music venues around the city.  And the contents are totally dedicated to what the county and city has to offer past and present. For me, AS4 had a couple of big hitters to draw you in, but those tracks were only a pre curser to what follows. And, as you move through the album, you cannot fail to be impressed by the talent and skill of these artists.

It doesn't take long before all of the tracks make themselves known. And despite the different styles and genres there are no fillers, and no intervals. So this whole compilation is perfectly designed to keep your interest throughout.

Alternative Sounds is without doubt a series of releases that continues to push the distinctive sound that has made the Coventry and Warwickshire music scene what it is today. It also reflects the huge steps that the team, who have clearly worked so hard to keep the releases coming, have taken over the years. AS4 follows the philosophy of previous releases in that it gives new talent a platform, alongside some of the more established names.

Over four glorious packed to the brim CDs, several now fully sold out, Alternative Sounds investigates the sounds of Coventry and Warwickshire. Whether it be rock, punk, acoustic or even electro along with a plethora of sub-genres. Its all here.

This limited run of releases is available from the 2 tone village, Vinyl Destination in the market and other outlets.

 

Hoi Polloi - Crokodile Tears

 Hoi Polloi - Crokodile Tears

by Pete Clemons

Hoi Polloi is a term that, apparently, originated in Greece and was used to refer to the masses or the people. Over here, in the UK, the phrase was claimed by the elitist and used as a reference towards the commoners in a negative way.

And now, here in Coventry, the term Hoi Polloi has been turned completely on it's head. It has been applied in a positive way and has been used to showcase the latest series of songs by fabled troubadour Christopher Sidwell. And along with the freewheelin' Jerry Richards and the free spirited Alf Hardy, collectively known as Crokodile Tears, those songs have been turned into an album.

Titled Hoi Polloi, the album celebrates the ordinary folk as several songs within it have been written for some of the people in, principle songwriter, Christopher Sidwell's life. Of course this is nothing new. Real life subjects have been immortalised in song before. Included amongst them include Suzanne, a girlfriend of Leonard Cohen, 'Layla' a song written by Eric Clapton for similar reasons and Bob Dylan who was captured in song by David Bowie amongst many others.

The parodies are not taking aim at anyone in a nasty way, they are not a mockery. They are simply a social commentary. They are creative and articulate. The songs are funny but poignant, silly but, at the same time, deep. Where parodies can quite often be a sense of ridicule or criticism these are light and humorous.

The album itself contains sixteen songs and runs in at just under forty minutes. It is bookended by the Croks latest hit Momus Boulevard and, in terms of recording and production, is clearly a team effort.

Finally, Hoi Polloi is dedicated to Kosmic Ken Ingram who was a leading light of the festival scene and who sadly passed away earlier in this most dreadful of years.

Everyone deserves a bit of sunshine right now and this album has been created in order to add a bit of light to this most dark of years. And things will pick up, that I am certain about. 

Porcupine Tree in Coventry 1993

 Porcupine Tree in Coventry 1993

by Pete Clemons

The latest Future Bites session, by Steven Wilson, saw him revive one of his earliest solo recordings. This being a version of Voyage 34. Despite it being a solo effort, Voyage 34 was released first released under the name Porcupine Tree way back in 1992, and was one of the longest singles ever released clocking in at over 30 minutes long.

This particular session was released onto the internet on December 11 2020 and, while on my daily walk that day, a series of coincidences began to occur to me. It suddenly struck me that Porcupine Tree had played in Coventry on December 11, but 27 years earlier, in 1993. Even more coincidental was that Voyage 34 had played a major part of that gig.

The first half of December 1993 had been a busy time for the recently formed Porcupine Tree as a live unit. There had been a weeks rehearsals followed by their first gig, at the Nags Head High Wycombe, on the 4th. A trip to Manchester for a session on the Mark Radcliffe show followed on the 6th. Another gig on the 7th, at the Borderline in London, and then onto Coventry on the 11th to round the year off.

The Coventry gig was held at Antics nightclub formerly known as the Tic Toc. More recently this popular venue was known as The Colly and most recently Kasbah. It was not the first time Steven Wilson had played the venue. He had performed there around 18 months earlier with his other band No-man. But what was significant about this gig was that it was the only time Porcupine Tree, during its existence, performed as a trio. Keyboard player Richard Barbieri was unavailable for this date due, as I understand, to a previously arranged engagement.

Steve Ashwell, one of the organisers of the event, remembers it well: 'I know that when we first received and loved the initial recordings, Steven had no live band, because we spoke to him about gigging him here. I hope therefore that we played a small part in him getting one together! '

At that time Saturday evenings at Antics/Tic Toc were normally reserved for blues nights but dance/trance nights, as opposed to a band, were beginning to prove to be popular. Ultramarine had appeared there a few weeks earlier and that had been very well received. So this was the perfect foil for the three piece who were heavily reliant on Richard's keyboards that, for this gig, had apparently been pre-recorded.

A more truncated version of Voyage 34 had been performed a week earlier at the Nags Head. But this particular audience was treated to the full version, possibly more, as I honestly cannot remember anything else being performed during the entire night. And the attendees, who had also been provided with a DJ who had been providing music without a traditional verse/chorus structure, lapped it all up.

With trance being mostly a layered instrumental music, characterised by a repetitive melodic beat, that includes peaks and drops and Voyage 34 fitted the bill perfectly. In all honesty nobody, at that time, had really heard of Porcupine Tree and fewer still would even realise Richard Babieri was absent.

The event had coincided with the build up toward the Christmas period and the atmosphere was 'joyous' to say the least. The evening which on the face of it, had the potential to be an absolute disaster, actually proved to be an total success if measured in terms of a happy and receptive crowd. A perfect combination in fact.

Pete Townshend, Traffic and the Coventry Theatre 1967

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

 THE SHADOWS

By Pete Clemons

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

Geronimo Final tour version 2003

The Orphan Clyde

 

The Orphan Clyde

by Pete Clemons

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.

The Jones's

 

The Jones's

by Pete Clemons

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.

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.