Kraftwerk in Coventry and Birmingham

 Kraftwerk in Coventry and Birmingham.

by Pete Clemons

A few years ago I noticed that German rock band, Kraftwerk, were appearing at Symphony Hall Birmingham. Having never seen them play live since 1976 I really fancied it until, that was, when I enquired about tickets. Not only did I discover that the event had sold out, I also found out that the ticket prices had been an extortionate price. Which all kind of surprised me as I hadn't realised that they were so popular. And yes, I admit, the fact I hadn't really taken much notice of them for over 40 years meant I was completely out of touch.

But when I did think it through maybe I should not have been surprised by their popularity. After all back in the early 1980s Kraftwerk had been a major influence on the new romantic scene that burst out of London clubs such as Billy's and Blitz.

Technologically, I am certain that Kraftwerk would have moved on from when I had last paid any real notice of them. After all, they were never the kind of band to sit on one idea for too long.

Even during the mid 1970s, apart from a keyboard, Kraftwerk had removed the last recognisable instrument from when they began several years earlier. That instrument had been a violin and they replaced it with synthetic drums.

Each drum disc gave a different sound, such as bongo's and snares, by completing the contact with the spring steel batons they held. The hope then was to get rid of keyboards and create jackets with lapels that could be played by touch.

When Kraftwerk released their forth album, Autobahn, during late 1974 the band themselves called it 'Machine Music'. The sounds were created in a studio in Dusseldorf, programmed then recreated on stage with the minimum of fuss. Autobahn was based on the rhythm of cars, trucks and bridges all heard while driving through Germany.

Autobahn's title track took up one side of an LP and lasted for just over 22 minutes. A 3 minute 5 second edited version was released as a single in the UK during 1975 and proved to be an unexpected hit for the band. Just failing to crack the top 10.

And during 1975 Kraftwerk completed a UK tour appearing at the nearby Birmingham Town Hall. For that tour the band introduced new recruit Karl Bartos. Until then, and up till the recording of the Autobahn album, the band had been Ralf Hutter, Florian Schneider, Wolfgang Flur and violinist Klaus Roeder who was with Kraftwerk during 1974. long enough though to work on the Autobahn album but had left before its release. In fact, for the bands earlier releases, Kraftwerk were, ostensibly, just Ralf and Florian.

For that Birmingham concert the bands first three albums were represented by way of performing Kling Klang, Ruckzuck and Tanzmusik. But of course their latest release was being promoted and music such as Kometenmelodie 1 and 2 and of course Autobahn featured heavily.

And it was the quartet of Hutter, Schneider, Flur and Bartos that went on to record the follow up album Radio-Activity as well as returning to the UK during 1976 to tour the album. It was the Radio-Activity album released during 1975 which apparently influenced David Bowie for his Station to Station album.

This time Coventry was a part of the tour and the band visited the 'Lanch' during October 1976. Kometenmelodie and Autobahn remained in the set but new music such as Radioactivity, Airwaves, The Voice of Energy and Ohm Sweet Ohm were also on offer.

After Autobahn, Kraftwerk never really bothered the UK charts again. Until, that was, around the time of new millennium. But that never seemed to stop their popularity and cult rising it seems.

The Model

Radioactivity

Robots

Autobahn

Christopher Sidwell 2021

 Christopher Sidwell 2021

by Pete Clemons

There's a belief in our society that bad things always happen in three's. From natural disasters to household mishaps, if it's happened twice, it's definitely going to happen a third time. Particularly when it comes to death.

The source of the superstition appears to be that if three soldiers lit their cigarettes from the same match, one of the three would be killed or that the man who was third on the match would be shot. Since then, it has been considered bad luck for three people to share a light from the same match. Maybe best to give up smoking altogether.

But it doesn't have to be that way. Because in this case its all good news. And all three occurrences involve local artist and musician Christopher Sidwell.

Specialist record company Ace Records, who excel in re-issues, have been in touch with Christopher. It appears that they are interested in a track he wrote for a previous band from forty years ago, The Digital Dinosaurs called 'The Sideways Man'.

They want to include the track on a new compilation album called 'Winter of Discontent' compilation which the St. Etienne guys are putting together for release in the autumn. St. Etienne's Bob Stanley is a consultant for Ace, along with other record companies. Together with other band members they compile collections of obscure songs. St. Etienne fans are already aware of this and hugely appreciate Bob's discerning musical taste.

The album also includes bands such as Scritti Pollitti, The Television Personalities, The Raincoats, The Melons, Danny and the Dressmakers, The Homosexuals. Also included on the album is another track with a Coventry connection. 'The Window's Broken' by Human Cabbages, a tune recorded in 1980 from the Boys And Girls Come Out To Play EP also finds itself being given a fresh lease of life.

Say's Christopher 'They have sent a contract and are paying me ! The album comes out on CD and vinyl - very excited ! It is not my best material but it was as good as I could do at the time'.

The second piece of good news involves a series of programs documenting what people did during the Lockdown last year. Tentatively titled 'The Lockdown Diaries' the associated stories were built up during 2020 as Christopher completed, and posted up songs, from his Hoi Polloi album with notes about the songs. This formed the basis of a submission Christopher has made to a national radio station. Along with four songs being changed for ones he wrote and recorded at home last year.

Graham Fellows aka Jilted John / John Shuttleworth, and no stranger to Coventry following work at the Belgrade Theatre with Bob Eaton, is mentioned in one of those songs. We both wrote a song using the lines, 'I remember that you came in the period that remained after Christmas but before the new year in the days that have no name'. The project with Graham is completely different - it is a song we wrote a while back together which was called 'Love in the Afternoon' originally. It is now being used in Graham's new film titled 'Father Earth'.

The final piece of news involves a tune Christopher wrote for the Trees, 'Here Come the Trees' album. A version also exists on the Hoi Polloi album by Crokodile Tears. Says Christopher: 'The song was originally titled, 'Save that tree (Melanie)' and is a song about my wonderful friend Melanie Moon. Melanie is trying with others to prevent the HS2 devastation of ancient woodland in Warwickshire. She has the courage to stand up to a project that I and many other of the 'Hoi Polloi' believe to be wrong'. The song, it seems is becoming an anthem with the environmentalists who are against HS2.

Good luck goes to Christopher in his ventures. Maybe the biblical quote that begins with 'For everything there is a season' is a more appropriate for his recent turn of events. A time to plant and a time to harvest.

The Sideways Man - Digital Dinosaurs

Huh - Digital Dinosaurs

Tom Long and Tony Clarke's memories of Pinkerton's Assorted Colours

 Tom Long and Tony Clarke's memories of Pinkerton's Assorted Colours.

by Pete Clemons

Its always good to hear back on anything I write. It is especially good to hear from someone who personally knew, or had dealings with, the band or whoever I was writing about. So to receive feedback from Tom Long was especially pleasing.

It came after a recent thing I put together about record producer Tony Clarke. Tom was the guitar player for 1960s band, Pinkerton's Assorted Colours, who had hits in the 1960s with 'Mirror Mirror' and 'Magic Rockin' Horse'. And, of course, Tony produced those records. I also remember Tom from my days at GEC where Tom had much knowledge, and awareness, in the early days of home computers.

Tom mentioned: 'I just recently found the piece you wrote about Tony Clarke. Nice piece, he was a good and very talented guy. A few comments to add. The first and only time I recall seeing him playing was at the Rugby Granada with Buddy Britten and the Regents. He left for Decca Records quite early. I didn't know that 'Mirror Mirror' was his first single though I knew he hadn't been doing A&R long and was desperately keen to succeed'.

'Tony had done a wide range of odd jobs. He was proud of the fact that when they sent the Elvis masters over to the UK in mono, they created a second backing track to make them stereo and he played bass. He had met and worked with many greats even in that short time. He was competitive and very keen to compete with his main rival Gus Dudgeon'.

'And then I remember Tony playing us a number he wrote, called 'Five in the Morning'. I don't know if it ever got recorded though'.

'He most definitely added a lot of input to the 'Moodies'. Their records were full of his 'isms'. 'There you go man' was one of Tony's stock phrases, and, spoken on the record, exactly as he often did. I can also guarantee that there was a lot of laughter when Tony completed it with 'Face the trials of piles with smiles!'. Again, I know he would have said that, that was also his stamp'.

'But Tony had another side. He could be a bit sarcastic at times. That said full marks to Reg Calvert that he recognised Tony's abilities and gave him the chance'.

'The stock studio engineer, at Decca Records, at the start was Terry Johnson. He epitomised the old saying, What's the difference between God and a sound engineer? - God doesn't think he's a sound engineer. Terry commanded respect and was a bit of a prima dona. He also enjoyed a drink and I think it possibly led to his demise'.

'Recording engineer, Derek Varnals, was chief lackey cum probationary sound engineer. He did the odd 'B' side for us but he was good. He too, was keen to get on, but did it quietly and diligently. I am not at all surprised that Tony Clarke used him over Terry Johnson. Wise choice. Terry, if nothing else, would have taken twice the studio hours. That is, if he got it to sound as good anyway. Possibly not'.

'Tony Clarke's big nemesis was, of course, Dick Rowe who was still very staid and had learned nothing from having turned down The Beatles. Tony has mentioned that when they had finished 'Nights in White Satin' he was walking on air. He played it to Dick Rowe and Dick just didn't get it. I'm sure Tony was laughing his socks off inside. This was the turning point which got him away from the clutches of Dick Rowe. I'm sure he was on cloud 9'.

'I watched a YouTube video of the 'Moodies' at the Albert Hall. The orchestra were out of this world and their music really lends itself to that treatment, I'm sure the band seriously enjoyed that gig. The conductor looked extremely happy. I just wish Tony Clarke could have been there. Happy memories of Tony!'

My thanks to Tom Long for sharing his thoughts and memories.

Johnny Goodison and The Quotations - March 1966

 Johnny Goodison and The Quotations - March 1966.

by Pete Clemons

Strange how an article I put together a few weeks ago, about Big John's Rock 'n' Roll Circus, led to a chat that gave me enough information to put a few more words together another about the subject matter.

It seems that Johnny Goodison left his home town of Coventry, during mid 1964, in the hope of finding fame and fortune in the great city of London. John Goodison?. To help you a bit he used the somewhat more compelling name on stage, that of Johnny B Great. In London John became leader of a band called The Quotations. And, while in The Quotations, he was the front man of The Walker Brothers backing group.

In a short space of time John had progressed from organist and vocalist to the groups leader, arranger, organist and vocalist. It took a great deal of talent but, by all accounts, Johnny had the lot.

Sound wise it was said that The Quotations had probably the best line up, for that type of vocal group in the country, at that time. During 1966 they were an eight piece, organ, drums, guitar, bass, tenor sax, baritone sax, trumpet and trombone, and Johnny had hopes that the group might be even go on to bigger things. Which of course they did.

Johnny Goodison was interviewed on the opening night of the Roy Orbison / Walker Brothers tour of the UK which began during March 1966. And I found his views very interesting.

'We have completely different acts for ballrooms and clubs' he said. 'Six members of the group can sing, so we use a great deal of vocal harmony stuff for the clubs, and keep the more commercial hits for ballrooms. Obviously we owe a lot to the Walkers but we weren't doing too badly before they came along. There was plenty of work in the clubs and occasional gig with people like The Drifters. It was in one of the clubs that the Walkers first saw us'.

'None of the original Quotations are left now, but our sound seems to be improving all the time. This could be why we haven't had a record released until now but, personally, I think its because I freeze every time I get into a recording studio. I don't know why this is, but I've only just got over it. Anyway our first disc is out now titled 'Going Where the Loving Is', and was A&R'd by Scott Engel and John Stewart his business partner'.

On their current tour The Quotations have added strings for backing The Walkers but say this wont be a permanent arrangement. In their own act they perform such items as 'Don't Fight It', 'I Got You', and a very jazz flavoured 'Summertime' which features fantastic solo's from the baritone of Barry Martin and the trumpet of Tony Allen.

Don't The Quotations feel that they will always be in the shadow of the Walker Brothers?. Says Johnny 'The Walkers sing the type of material that we like, and lets face it, the money's much better, so we've got no complaints. If the Walkers go back to the States for six months we'll go out on our own and see what happens then. The main thing is, we're happy'.

The Quotations continued to tour with The Walker Brothers for several years acting as their backing band for many of their live performances. The group also backed Carl Perkins in 1964 and, later in the 1960s, supported Cat Stevens and several others.

...........

Other articles by Pete Clemons on Johnny Goodison or Johnny B Great.

1 Big John's Rock n n Roll Circus

https://coventrygigs.blogspot.com/2021/02/big-johns-rock-n-roll-circus.html

2 Johnny B Great (Johnny Goodison)
https://coventrygigs.blogspot.com/2013/07/johnny-b-great-johnny-goodison.html

"The Quotations toured along with The Walker Brothers during 1965/66 and also acted as their backing band for many of their live performances. The Quotations also backed Carl Perkins in 1964 and supported Cat Stevens. Later, when Gary Leeds aka Gary Walker released his single "You Don't Love Me' in 1966 it was The Quotations who were the backing band. Two members of this line-up went on to much bigger things; John Goodison and Johnny Gustafson.
Members: Johnny Goodison on keyboards, Pete ‘Greg’ McGregor and Barry Martin on sax, Graham Alexander on bass guitar, Tony Mabbett on trumpet, Graham Dee on guitar and Jimmy Buchard on drums." https://www.discogs.com/artist/3057121-The-Quotations-3

I Need You - The Walker Brothers with the Quotations