Incredible Kidda Band
by Pete Clemons
With 2020 and now 2021 being a bit of a rollercoaster amid the ongoing coronavirus pandemic and we still continue to navigate the country's situation. It has not been ideal, it has been unsettling for many. But however you have approached it, for many it has been a productive time as they have strived to keep boredom at bay.
I personally have completed several of those projects I had been putting off. And with more time on my hands from being unable to go out and hear live music I have listened to a substantial amount of music I had not heard for years. And that has re-introduced me to several bands I had long forgotten about.
And one of those bands was the Kidda Band or The Incredible Kidda Band as they were also known. The re-introduction with them came after a listening to a couple of box sets titled 'Power Pop' and '1978', both released by Cherry Red Records, and a chance conversation with someone who had reminded me about them.
The Kidda Band were from the Nuneaton / Tamworth area and I remember seeing them play a couple of times, around 1978, at the long gone Ryton Bridge Hotel. They also played a lot around Nuneaton and clubs like Mr Georges in Coventry City centre. They were a very exciting band but never seemed to get anywhere apart from one time when they were advertising a 'fans' coach down to London where they were playing a prestigious gig.
New Wave was a term I began to hear in 1977 to describe a clutch of new artists whose music shared much of the energy of punk, but boasted a more sophisticated level of musicianship and a heavier reliance on traditional pop melodies. And, despite the Kidda Band being around slightly earlier, for me, that was where they sat. in fact, Nick Lowe used the phrase 'pure pop for now people' to describe his approach to the music at that time.
That chance conversation led to a quick search of the internet and the purchase of two CD's by the band. 'Too Much, Too Little, Too Late' a double CD release and 'Made in England'. It is worth noting that, as far as I can make out, none of the original singles the band released are on these discs. They are made up of demo's of those singles and other out takes. That said they are still incredibly good releases full of the energy that the band displayed on stage.
I always remember a review of their debut single, Everybody Knows on the Psycho label, that appeared in one of the music magazines. It read 'Their optimism is unfounded, this single is horrible. Record producer Tony Visconti, famous for working with David Bowie, T-Rex as well as Thin Lizzy had different ideas. He wrote: 'Great !!. A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered.'
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Line up
The Incredible Kidda Band (aka The Kidda Band) were a British power pop band formed in Nuneaton on 10 February 1976 - Alan Hammonds (guitar/) vocals),
Graham “Kidder” Hammonds (percussion/ backing vocals),
John Rollason (guitar/ backing vocals),
Les Rollason (bass),
Graham “Dick” Millington (drums).
Later members of the band were
Mark “Tarky” Bates (drums/ backing vocals),
Keith Taylor (bass),
Mick Rollason (guitar/ backing vocals) and
Paul Gardener (drums).
Get off the Telephone
"Everybody Knows/No Nerve" (1978) - Psycho P2608
"Fighting My Way Back/Asleep at the Wheel" (1979) - Carrere CAR119
"Get off the telephone/Big boys don’t cry" (1980) - Carrere CAR138
"If looks could kill/Don’t she look F-A-B" (1981) - Blue Chip/Cygnet BC102
"Hold your head up high/I wouldn't treat a dog" (1983) - Vinyl Cuts Records VC002
"Everybody Knows/No Nerve" (2002) – 1977 Records S045
"Fighting My Way Back/Asleep at the Wheel" (2002) - 1977 Records S046
"Get off the telephone/Big boys don’t cry" (2002) - 1977 Records S047
"If looks could kill/Don’t she look F-A-B" (2002) - 1977 Records S048
"Too Much Too Little Too Late" (2000) Detour Records DRCD 023
"Too Much Too Little Too Late" (Reissue) (2007) Detour Records DRCD 023
2nd album (planned 2010)
Live album (planned 2010 or 2011)
The single was reviewed in Melody Maker on 15 July 1978 by the producer Tony Visconti, famous for working with David Bowie, Marc Bolan and T-Rex as well as Thin Lizzy, and he wrote "Great!! A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered." Other positive reviews appeared in Sounds on 5 August 1978 (By Geoff Barton) and in Record Mirror on 9 August 1978 (By Rosalind Russell).
Despite the favourable reviews, the single failed to sell in large numbers upon its release, however it was destined to become a collector’s item over 20 years later.
On 31 August 1978, the band was signed to Carrere Records by "Peter Hinton", later to become the Producer of Wheels of Steel released in 1980 by heavy metal label mates Saxon. At the same time as the move of record company, the name was shortened to the Kidda Band.
The Kidda Band’s first live performance in London took place at The Rock Garden in Covent Garden on 1 September 1978 and five coaches of fans travelled from Nuneaton to support them.
The band was already a very well regarded live act across the UK and in late 1978 they were signed to Birmingham based OAK music booking agency run by John Mostyn. "John Mostyn" later became the manager of many successful UK acts, such as The Beat, Fine Young Cannibals and Ocean Colour Scene.
The band were always a favourite choice at Radio 1 live events, and they shared the stage with Peter Powell, Paul Gambaccini and David "Kid" Jensen in their career.
The debut single release for Carrere was released on 29 June 1979 and was a double A-sided single featuring "Fighting my way back" and "Saturday Night Fever". The latter was written as a direct attack on the motion picture Saturday Night Fever which starred John Travolta and featured the music of the Bee Gees and which heavily influenced the UK music charts and live music venues at that time.
Both songs were recorded at Radio Luxembourg Studios on the 14 and 15 December 1978 and both songs were once again written by "Alan Hammonds". The sessions were engineered by Peter Hughes and co-produced by "Graham “Kidder” Hammonds". The same team were to remix both tracks at the same studio on 1st May 1979.
During 1979, the Kidda Band were to support a number of established and emerging bands such as The Troggs, The Pirates, the Radio Stars and The Beat as their reputation for powerful live performances continued to grow.
On 11th September 1979, the band signed to talent management company "March Music/Fast Western Productions", founded and run by former Ten Years After drummer Ric Lee, prior to the release of their second Carrere single.
Muriel Young invited the band to appear on Get it together to promote the debut single. Muriel, the shows Producer, was a strong supporter of the band and she was to use the band again later that same series to promote their second single. The band entered Granada TV Recording studios on 13 November to record the soundtrack before filming both sides of the new single the following day.
The bands TV debut was broadcast on Granada Television 4 December 1979. They were to appear regularly on the show thereafter until their demise.
The bands third single was recorded on 14 January 1980 at Chas Chandler’s Portland Recording Studios, previously a member of The Animals, and manager of Jimi Hendrix, Slade and Nick Drake, and home to Barn Records. The session was engineered by Andy Miller and produced by "Mark Robbins".
At the time, Portland Recording Studios was also home to George "Porky" Peckham’s cutting rooms, whose master discs, and the records produced from them, were known as "Porky Prime Cuts". George was previously cutting engineer at Apple Records for The Beatles. Both sides of the single were subsequently cut by George, and the run-out groove on both sides of the single has his classic motto, "A Porky Prime Cut", etched into it.
Once again, on the 29th January 1980, the band entered Granada Television’s recording studio to re-record the single ready for their second Get it together appearance. The show itself was filmed on 30 January and broadcast on 19 February 1980.
On the 31st January 1980, the band were offered the support slot on The Skids 1980 Tour and the prospect of wider recognition were heightened.
The 4th February 1980 saw the release of the bands third single, and their second on Carrere Records, featuring "Get off the telephone" and backed with "Big boys don’t cry". Once again both songs were written by "Alan Hammonds".
On the 13th February the support slot on tour with "The Skids" was cancelled as Carrere Records decided not to support it and relations with the label suffered as a result.
On 3 March 1980, "Mark “Tarky” Bates" replaced "Paul Gardener" on drums. The band continued to tour the UK extensively and on 17 May 1980 a live review appeared in the first volume/second edition of the independent rock weekly New Music News in which writer Paul Bearer extolled the virtues of their live performance and song writing prowess. "One day some musicologist is going to light up "Alan Hammonds'" songbook and it'll be rather like the discovery of the Dead Sea Scrolls because nestling in those pages are some of the best pop songs to have been written over the past few years. Direct, melodic, a rough hewn commerciality wrapped around incisive and sharp lyrics with more than a touch of cheek thrown in for good measure: those are the qualities of the compositions. The Kidda Band play with punch and panache, putting more media- mirrored bands such as The Jags and the appalling The Knack, well and truly in the shade."
On the 9th September 1980, they made their debut at London’s The Venue alongside Jess Roden.
On 1 October 1980, the Kidda Band left Carrere Records, with the alleged lack of record label support and investment being cited as the chief reason. Despite label mates Saxon gaining support slots on tour with more established bands such as Motorhead, no such tours were secured for the power pop band and their relationship with the record label rapidly deteriorated. The lack of plans for a debut album was also alleged to be a major contributory factor.
Just two weeks later, on 15 October 1980, the band were signed by Blue Chip/Cygnet Records, the new label run by record producer Rodger Bain, who had previously produced the single Paranoid for Black Sabbath which entered the UK Singles Chart in July 1970 at Number 2.
Just two weeks later, on 15 October 1980, the band were signed by Blue Chip/Cygnet Records, the new label run by record producer Rodger Bain, who had previously produced the single Paranoid for Black Sabbath which entered the UK Singles Chart in July 1970 at Number 2.
1981 also saw the release of the bands fourth single, "If looks could kill" and "Don’t she look F-A-B" produced by "Spencer Shiroda". The single was cut at Strawberry Mastering which was owned by members of 10cc at that time. Despite healthy airplay, the sales of the single were once again disappointing poor and the band left Blue Chip Records on 28 April 1981.
Later that year the band played Avery Hill College, which was incorporated into the University of Greenwich in 1985, and the show was recorded for a possible live album release, but to date this recording has never surfaced.
In September 1982 the band entered Alaska Studios with engineer "Pat Collier", previously of The Vibrators to record several new tracks including "I want You".
The band continued to perform live and made regular studio visits, including to Denmark Street Studios on 22 January 1984 to record several live favourites such as "Hold my head up high".
On the 10th November 1984 the band performed live at University of Essex in support of Orange Juice featuring Edwyn Collins.
Having played regularly at The Bridgehouse in Canning Town, the band hooked up with the owner/promoter "Terry Murphy’s" own Vinyl Cuts Record label in order to release their fifth single, "Hold your head up high" and "I wouldn’t treat a dog (Like you treat me) ", in June 1985. Murphy was also manager of Wasted Youth and father to boxer turned TV actor Glen Murphy.
The single was recorded at Village Recorders on 19 March 1985 with the session being produced by their own "Graham “Kidder” Hammonds" and engineered by "Gary Edwards". Both sides of the single were once again cut by George "Porky" Peckham and the run-out groove on both sides of the single have his classic motto, "A Porky Prime Cut", etched into them.
The band experienced several name changes, beginning with the shortening of the name to the Kidda Band before changing name completely to "The Kicks" on 7 November 1979 and finally to "We’re Only Human" on 1 July 1981.
On 23 September 1985, the contract with March Music expired with neither Ric Lee nor the band taking up the option to continue working together.
In 1987 guitarist John Rollason took time out from the band to record the Dirty Strangers album with the Dirty Strangers and he was joined in the studio by Paul Fox, formerly of The Ruts, Keith Richards and Ronnie Wood. The album was produced by Prince Stanislas "Stash" Kosslowski de Rola.
The Kidda Band finally disbanded in 1989.
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