Ska'd for Life - Two Tone Mural, Pool Meadow Coventry.

Ska'd for Life - Two Tone Mural, Pool Meadow Coventry.

Photos by Pete Clemons and Pete Chambers.

The Ska'd For Life mural or mosaic (named after Horace Panter's autobiography) was commissioned by Coventry City of Culture as a 'Welcome to Coventry - Celebration of the City's Involvement in Two Tone and the decades long thriving Coventry music scene.

The artist was Carrie Reichart, a contemporary artist, who works from a studio in

Carrie Reichardt

London, A member of the Craftivism movement, Reichardt uses murals, ceramics, screen-printing and graphic design in her work. She is a dedicated advocate of the movement and curated one of the few exclusively Craftivist exhibitions in the UK. 

Craftivism is a portmonteau of the words Craft and Activism and a form of activism, typically incorporating elements of anti-capitalism, environmentalism, solidarity, or third-wave feminism, that is centered on practices of craft. Craftivism is a social process of collective empowerment, action, expression and negotiation. In craftivism, engaging in the social and critical discourse around the work is central to its production and dissemination.

The time scale was tight - four months to create and 4 days to put the display up with her team. According to the Coventry Telegraph "The artwork was created alongside two Coventry schools with 90 pupils involved. Pupils were invited to decorate their own sections of the mural, giving the community a part to play. Pupils from Frederick Bird, St. Mary and St. Benedict Catholic Primary school were each given a clay star to decorate. They decorated as they liked, then the stars were glazed and added to the feature,"

Carrie's Home!!

Carrie Reichardt trained at Kingston University and received a degree in Fine Art from Leeds Metropolitan University. You can read more about Carrie and her work on her website https://carriereichardt.com/ and on Wikipedia 

https://en.wikipedia.org/wiki/Carrie_Reichardt

Roddy Byers / Radiation and bands below the cover of Ruth Cherrington's Dirty Stop Outs of Coventry 1970's which was also a source of material. Ray King of the Ray King Soul band is in there too.

Riddy's Surplus Store where some of us got our Trench Coats in the early 70's - hippy days and Rioco and the Holyhead Youth Centre where both an early form of what was to become Selecter practiced in 1974 with Charley Anderson and co, and the Coventry Automatics, Chapter 5, Jah Baddis Sound System, Pharaoh's Kingdom,  Ray King's Nite Train and the Hobo Workshop gigs. The blue letter in the middle was from Horace Panter advertising in Trev Teasdel's magazine Hobo for a 'Happy band' in 1973.A lot more in that photo.

Vince Holliday singer with Coventry's first rock n Roll band the Vampires and creator of Friars Promotions who put on bands and discos in most of the M & B pubs in Coventry in the 60's and 70's.

This photo by Sheila Medlock

The Swinging Cats

Riot Act - Alternative Sounds

Neville and Sugary Staple.

Pete and Julie Chambers with Frank Ifield

Trev Teasdel and John Bargent (Bo) tiles - they started Hobo Coventry's own Music and arts Magazine in 1973 and the Hobo Music Workshop gigs at the Holy Head youth Centre 1974 to liven up the music scene, promote new bands and artists. Cutting from On the Scene supplement Coventry Telegraph June 1973. on the cover of Hobo is Mark Rider of Sasp'rilla now with Skawaddy.

Photo by Carrie Reichardt

A clearer view of Sasp'rilla 1973 with mark Rider and Ray Bukowski - this photo was on the cover of Hobo magazine as featured in the mural. Mark is now with Skawaddy and Ray was in Memories who played at the Hobo Coventry Precinct concert in 1974 and has been involved with Horizon studios and in various Coventry bands.

The cover of Hobo magazine as featured in the mural.

In September 1973 Horace Panter sent this ad through to Trev Teasdel advertising for a 'Happy band'. Horace had arrived in Coventry from Kettering, Northhamptonshire in autumn 1972 to do an Art degree at Coventry's Lanchester Polytech, so had been in the city about a year and just starting off on bass. The address at the bottom of Binley Road on the corner of Gulson Road is where Jerry Dammers and his girlfriend Val Webb (now Haudiquet). Val later was the second singer with the Two tone band The Swinging Cats. jerry was also at the Lanch and Pauline Black was also there doing Social studies. There was a delay owing to finances or lack of them, so Horace's ad didn't get put in until Feb 1974 but Horace had found a band by then (see his book for details).  Ironically it was published in the Two Tone blue issue of Hobo (below), two tone being a printers / art term at that stage for either black on white or as in this case dark blue ink on lighter blue paper - or whatever colour you wanted.  In this issue we featured an Op art graphic by Bridget riley who had an exhibition in Birmingham February 1974. Horace has said in a video that the black and white Two Tone squares came from Bridget Riley and he saw the exhibition in Birmingham -not sure if Horace saw the piece in hobo but he was studying art at the Lanch so may have heard of it independently but it's all a bit prescient !

This is the two tone blue issue Horace's ad was in but this cover is not featured in the mural.

A graphic by Op artist Bridget Riley that influenced his work on part of the Two Tone design later on.

A second letter by Horace to hobo after the ad was printed asking for possible places for his new band to play - I think I sent some suggestions.

The band Willow are advertised on the blue copy of Hobo - this was Joe Reynold's jazz / rock band in 1973 / 4. Joe went on to play sax on Selector's Three Minute Hero, on record and on Top of the Pops.

Close up of the Hobo Workshop flyer by Trev Teasdel in 1975 - we started off at the Holyhead Youth Centre in 1974 with Fission - a Johnny Adams band (John later paly lead with Squad after Terry Hall had left. Analog played their first gigs at the Hobo Workshop - Jazz Rock - with Steve Edgson and most of the band formed the first version The Reluctant stereotypes. Dave Pepper of Coventry punk band The X Certs had his first gig there with Phoenix and Neil O'Connor's band Midnight Circus (later known as the Flys) had their first gigs there. Neol Davies came to the Holyhead to organise a jam session for us. Charley Anderson and elements of what became Chapter 5 and then Selecter were practicing in the basement. I told Neol about them and he went down to try and get them involved with the jam session but staying in the basement where Desmond Brown taught him to skank on guitar. Neol later organised a jam session for us at the Golden Cross in 1975 with John Gravenor of Wandering John, Nikki Hawkswell of Three AM, Andy cairns, Phil Knapper (older brother of Stu Knapper, later of punk band Riot Squad. Charley and Desmond were in the audience at the Cross.

Hobo started in June 1973 and this cutting is featured in the mural. Coventry music scene was in a lull - many top bands had split up, like Indian Summer, Dando Shaft, Wandering John. The Broadgate Gnome editorial team had moved to Brighton and the Coventry Arts Umbrella club had had their premise demolished by the council! we started Hobo to liven things up and promote new bands and were interviewed by The Coventry Evening telegraph on the launch of the first Hobo.

Finally here is photographic piece from the Coventry Telegraph on the mural https://www.coventrytelegraph.net/news/coventry-news/incredible-2-tone-mosaic-unveiled-20918498?fbclid=IwAR0dpL7_Eaxyw3FZJDiLWOmW_amX5Oy8xvQRPxy-_538peGjRY9I2gIIkmI

 

The Platters Gaumont Coventry 1957

 The Platters

Gaumont Coventry 1957

by Pete Clemons

It is well known that artists such as Bill Haley, Eddie Cochran and Gene Vincent all appeared at the Gaumont Cinema, later the Odeon, on Jordan Well.

Not quite so well documented was that, The Platters and many others, played the venue too. The vocal harmony group toured Europe during 1957, appearing on the hit television show Sunday Night at the London Palladium.

Less than a year before The Platters appeared in Coventry, nobody had ever really heard of them. But they soon became one of the hottest attractions around.

The person responsible for a lot of The Platters success, at that time, was Samuel 'Buck' Ram a prominent songwriter and arranger for the likes of Benny Goodman, Duke Ellington and Count Basie.

Buck Ram wrote the hits 'The Great Pretender', 'The Magic Touch', 'Only You' and 'Heaven on Earth'. He also put together the classic version of the 'jive' group after meeting the rich voiced tenor Tony Williams.

Despite The Platters forming some years earlier, it was Buck's idea to rebuild the group around Tony, instead of sending him out as a solo artist. This was during 1955. First to join the combo was another tenor David Lynch. Next came baritone Paul Robi who had called Buck Ram's 'Personality Productions Office' for an audition.

Then came Zola Taylor who Buck had seen competing in an amateur singing contest in Los Angeles. Finally the slightly built Herbert Reed completed the quintet. In addition to having a rich bass sound Herbert was also the comic and dancer of the band.

For a while the individuals who made up The Platters could not have been happier with their good fortune which seemed to come around overnight. With Buck Ram also managing the band, he saw to it that they had their own accountant and legal adviser because, as he mentioned, he wanted them all to develop a business sense and save and prosper from the money they would earn.

At the time of the Coventry concert The Platters had just released an album for Mercury Records which bore just their name for its title. And, because of it's sales Mercury Records was already putting together a follow up album which would be called The Platters Volume 2.

The harmony within the band wasn't to last though. The 'classic' line up lasted till around 1959/60 when Tony Williams left the group. And one by one, other members resigned. Various line-ups using The Platters name have toured concurrently ever since. In later years the Platters became notorious for the number of competing groups touring the US and Europe using the name.

In addition to the Buck Ram hits mentioned above The Platters also covered songs like 'My Prayer', 'You'll Never Never Know', 'It Isn't Right' and 'I'm Sorry' during the Coventry concert. At the concert, which happened slap bang in the middle of the classic line up's existence, The Platters were supported by Jack Parnell and his Orchestra who had performed their own set during the first half of the evening.

To warm the audience up Jack Parnell and his band performed tunes such as 'Lime House Blues' and 'Rock Around the Clock'. Guest vocalist Gene Williams contributed on songs like 'Singing the Blues' and 'Heartbreak Hotel'.

The Gaumont / Odeon closed during 1999. The building was bought by Coventry University and December 2000 saw it become the Ellen Terry building.

Dando Shaft – Shadows Across the Moon

 

Dando Shaft – Shadows Across the Moon

by Pete Clemons

There was a time when folk rock was as equal in importance to the blues, country and contemporary rock music. Where traditional folk music, such as jigs and reels was almost non-rhythmic, folk rock was folk music underpinned by bass and drums or other percussive instruments.

Additionally, folk rock tended to take the simple, direct songwriting style of folk music and attempted to combine it with a rock & roll backbeat. One of the most distinctive elements of folk rock is the chiming, ringing guitar hooks, coupled with clear vocal harmonies.

And these qualities are demonstrated magnificently on a recently released live album, titled 'Shadows Across the Moon' and released by one of the leading exponents in the folk rock genre.

Dando Shaft came together during 1968. That said, the earliest gig date I have for them was during September 1969, when they played The Radford Hotel Folk Club. But I digress.

Dando Shaft were at their most active and prolific from 1969 through to the end of 1972. Unlike a lot of groups from the folk rock genre, Dando Shaft remained totally acoustic. No electric instruments were ever involved in their recordings or performances.

Even after that the band folded the musicians involved would occasionally reform as they did for a new album in 1977 and an unforgettable evening upstairs at Whitefriars Monastery during May 1993.

Before that particular reunion, however, Martin Jenkins, Kevin Dempsey, Dave Cooper, Roger Bullen, Ted Kay along with timely contributions from violinist, Chris Leslie (if Fairpost Convention) reconvened and performed magnificently for a series of gigs held in Italy during March 1989.Unlike the Whitefriars performance, the Italian venture was captured on tape, and has recently been given a fresh new CD release.

Selections for 'Shadows Across the Moon' are from across the entire Dando Shaft output. Each of their albums has been represented here.

The interplay of instruments and vocal harmonies are, at times, simply breath taking. This whole album grabs your attention from the off. There is also, to these ears at least, an added depth to the songs that you fail to hear in the original recordings.

Despite some positive reviews, Dando Shaft remained commercially unsuccessful. But they did leave us with an extensive and, still today, an impressive catalogue of music. Not only is 'Shadows Across the Moon' an outstanding release it is, in my opinion, a valuable piece of musical history.

Tracklist

1 Railway
2 Rain
3 If I Could Let Go
4 Sometimes
5 Feel Like I Want To Go Home
6 Cold Wind
7 Road Song
8 Shadows Across The Moon
9 Riverboat
10 Kingdom
11 Coming Back To Stay

Reluctant Stereotypes

 Reluctant Stereotypes

Coventry became well known for some remarkable talent during the late 1970s and early 1980s not least of which were the more 'avant garde' yet, still familiar with the then current scene, Reluctant Stereotypes.

But, as reported at the time, the Stereotypes had not been content to rely on the simply flogging the almost dead formula to death, to squeeze out the last trickles of cash, before disappearing back to their old jobs, the unemployment queue or merely hang around for the next burst of energy to drag them back out again.

The Reluctant Stereotypes were Paul Samson, guitar, Steve Edgeson, clarinet, Paul King (AKA Winston Smith), vocals, Tony Wall, bass and Colin Heanes on drums.

Steve Edgeson was more than aware of the help they've had received from the 2-Tone organisation. 'The Selector and The Specials have done a great deal for Coventry, although we don't feel part of the 2-Tone scene. The city received a lot of attention and it certainly helped us on our way initially' said Steve during 1980.

He continued 'I'm sure there are lots of bands around the country who are as good, and possibly better, than most from Coventry but they haven't had the same exposure. I don't deny the fact that we have probably been able to get this step up because we are from Coventry but I don't think its a sham or that we are relying on that fact. The talent was always there anyway and we were fortunate to have other bands bring the limelight here and enable us to show what we've got to offer aside from them'.

'People get a stereotyped image of what the band should sound like. We didn't jump on the bandwagon, we just sort of hitched a ride for a few miles and jumped off when we realised that the petrol was going to run out'.

The then line up had its roots in a jazz rock outfit called ENS who were kind of sneered at for the idea of playing 'serious music' to visuals in a live context. But then another line up, featuring Paul Samson and Steve Edgeson, managed to release a track called 'The Lull' under the name of the Reluctant Stereotypes both Paul and Steve wanted to take some of the commercial aspects of their work into a new outfit.

Steve went on 'We thought why not do something that we liked and have a chance for commercial success instead of playing to a cliquey following, and working at Talbot Cars, which gives you an obvious clue as to our motivations'.

'I feel that now we are a pop band that want to be commercially successful but my ideology is that people should try and be individuals if they can and not be influenced by the masses, your mates and what the gang may think'.

'Its like our song 'Factory Wit', the opening track on our new album 'The Label', which is an observation on the so called characters, the wits, the people who use catch phrases that they've heard on TV. Its cringing to hear those people rely on what other people say because they cannot think of their own comments. Its not condescension. We've all been through it. Tony Wall and Colin Heanes were both carpenters, Paul Samson was a tool fitter and Paul King worked for Rolls Royce'.

'I was considered a standing joke at work because I didn't conform to the role as a Parts Control Analyst. I used to wear off beat clothes and I was a weirdo who didn't have his head screwed on, according to them, but I used to feel the same about them' claimed Steve.

The Reluctant Stereotypes use both their jazz influences and the West Indian rhythms that have been adopted as the sound of the city, though they prefer to exploit the more expensive reggae rhythm while retaining the essential dance-ability.

The band were offered a one off deal with 2-Tone, that being Jerry Dammers usual ploy to give confidence to worthwhile bands while allowing them the opportunity for perusal by the larger record companies, but they refused.

'We didn't want to be part of 2-Tone because we thought that its life was going to be limited but they've proved us wrong. But we always had the confidence in ourselves and while they were a breath of fresh air, we felt we wouldn't need their organisation to get off the ground'.

Lynyrd Skynyrd

Lynyrd Skynyrd

by Pete Clemons

Anyone thinking of rock band Lynyrd Skynyrd would be forgiven for immediately remembering just two songs. Sweet Home Alabama, a response to Neil Young's Southern Man, and Freebird, possibly the most identifiable rock anthem ever. But there was so much more to Lynyrd Skynyrd.

The roots of Lynyrd Skynyrd can be traced back to 1964 when vocalist Ronnie Van Zant and guitarist Gary Rossington begin jamming together. Soon after they add drummer Bob Burns.

Next to join was Allen Collins, mainly for the reason that Ronnie had heard that he had a guitar and he was gaining a reputation for playing it. Finally bass player Larry Jungstrom signed up to a band that became known as One Per Cent.

One Per Cent had a burning energy and became a kind of close knit family as they played, practised and wrote as often as possible. But playing rock music back then, as well as having long hair, was frowned upon. As such trouble seemed to follow the band.

West Coast guitarist Ed King, who had had a hit with a band called Strawberry Alarm Clock, had moved south. He caught up with One Per Cent towards the end of the 1960s and was left incredibly impressed by them. He left his contact details with Ronnie Van Zant in case the band ever needed a replacement.

The band name of Lynyrd Skynyrd came about during 1969. Bob Burns had heard the song 'Camp Grenada' which referenced, and indeed imortalised, a sports coach called Leonard Skinner from the school that some of the band had attended. The lyrics, which were about a letter from a son to his parents, began with 'Hello Muddah, hello Faddah, Here I am at Camp Grenada'. The lyric continued with 'You remember Leonard Skinner, He got Ptomaine poisoning last night after dinner'. Leonard's name seemed to fit the bill and were manipulated to fit.

Lynyrd Skynyrd were far from an overnight success. Additionally, they were gaining an off stage reputation for their hard drinking and fist throwing. This resulted in the band being turned down by nine major record labels. They had little money, and this led to Larry Jungstrom leaving and Leon Wilkeson being drafted in.

Billy Powell who had previously been a roadie for Lynyrd Skynyrd happened to pass an opinion on a song the band had just written. It was known that Billy played piano but few were aware of just how good. Billy suggested adding piano to the beginning of this new tune giving it a bit of melody. The new song was titled Freebird. Billy, who enjoyed the likes of Yes and ELP, was fired as roadie and hired as a band member.

Ronnie Van Zant felt the need for a third guitarist and Ed King was surprised to get a call from Ronnie during 1972. Ed jumped at the chance but, being from the West Coast, always felt out of place within Skynyrd. Not so much for the music. Ed was totally committed to that. But more for the high living that the band enjoyed.

After being discovered by Al Kooper, Lynyrd Skynyrd were signed to MCA Records. Al produced their debut album released 1973. But after criticising the track 'Simple Man' Al was removed from the day to day running of the band, only being allowed to return for studio work. The next album 'Second Helping' was released during 1974.

After illness issues with Bob Burns, drummer Artimus Pyle, began playing alongside Bob Burns during 1974. But things got worse and, after January 1975, Bob began to stop showing up. Artimus became sole drummer. A few weeks after Bob's departure and, after being attacked and remonstrated with by Ronnie Van Zant for breaking a couple of strings on stage, Ed King also left the band. Despite the upheaval, it didn't dent the bands fast growing reputation. And by the end of 1975 Lynyrd Skynyrd were huge.

While visiting the UK Lynyrd Skynyrd appeared on the Old Grey Whistle Test with a backdrop of a confederate flag. This was not for any political reason. Back then, and possibly still now, the UK viewed all Americans with the generic term of 'Yanks'. Ronnie Van Zant had picked up on this and Skynyrd were fiercely proud of their southern roots.

After Ed King's departure Lynyrd Skynyrd continued with just a pair of lead guitars. During that time Ronnie added a three girls as backing vocals which he dubbed as The Honkettes. One of the Honkettes, Cassie Gaines, recommended brother Steve when she became aware that Skynyrd wanted to revert back again to a three guitarists format.

Steve Gaines joined the band during May 1976, just in time for the recording of the live album 'One More From the Road'. Steve shook the band up giving them new direction and a fresh impetus. 'He seemed to scare everybody into playing their best in years' said Van Zant.

During August 1976 Lynyrd Skynyrd were asked to support The Rolling Stones at the Knebworth festival. It was the UK debut for the new line up. The stage was created to resemble The Rolling Stones tongue logo and Lynyrd Skynyrd were given one instruction and that was to stay inside the mouth. The tongue was Mick Jagger's domain. For the finale Ronnie Van Zant took his three lead guitarists by the shoulders and led them out onto Mick’s tongue. Apparently Mick was not happy about that.

Afterwards Ronnie Van Zant was quoted as saying that that gig was a particular highlight for the band. Supporting the Stones had indeed been a real high point. Festival promoter, Freddy Bannister, said 'Skynyrd caused a real buzz backstage. When they came off stage we all wondered how anyone could follow them'. Just over a year after Knebworth 76 fate would play a cruel twist on the band.

In a familiar tale, still relevant today, Ronnie Van Zant once told the LA Times – 'The band doesn't owe anything to anybody. Most of the media, especially the press, have consistently portrayed us as either children or a bunch of rowdy drunks. That may or may not be true, but I'd much rather deal with the audiences that really put us here'.