Chuck Berry - Coventry Theatre 1975

 

Chuck Berry - Coventry Theatre 1975.

by Pete Clemons

Few music lovers in Coventry are unaware that Chuck Berry recorded his infamous hit at the Locarno. But that wasn't Chuck's only visit to the city. He also appeared at the theatre during 1975. Chuck's band that night was John Spurling on bass, from Max Merritt and the Meteors - Lance Dixon on keyboards and Gilson Lavis on drums who later joined Squeeze and is still drummer for Jools Holland. The compere for the evening was Bob Stewart of Radio Luxembourg.

Outside of America, Chuck never toured with his own band. He once mentioned that, apart from his guitar, he took no other luggage with him. 'Just a comb and a toothbrush' he once said. His wife added that he enjoyed the freedom of doing what he wanted to do. He didn't rehearse for a tour. He expected the musicians to have listened to his songs and learnt them.

Additionally, while touring, Chuck never asked for much. But what he did ask for was insisted upon. And, on later tours, one of those demands was that he played for cash only. This coming about after being ripped off too many times in the past. Again, another phrase Chuck often used was 'Money goes in the guitar case for the guitar to come out of it'. Chuck certainly did things his way.

Chuck Berry's life story is a whole other tale. But through sheer talent, drive, determination and bloody mindedness he certainly contributed to helping change the world. And those factors made Chuck Berry come across as temperamental that's for sure.

And during his 1975 UK tour Chuck walked off stage several times during, what appeared to be, mid-set. And the Coventry Theatre gig was no exception as there were chants of money back. Scuffles also broke out as fans were refunded to leave the theatre. Truth was however that Chuck had already left the building.

At one gig on the tour he did actually return to the stage to explain that 'I'm already 15 minutes over' – meaning the minimum scheduled appearance time – and told the audience that he had been insulted by two of the fans amongst a group who had been invited up on stage to join him. Then wearing his coat he left to the cries of 'more' and 'refund our money'.

My own memory of that Coventry Theatre gig was that, as short as it was, Chuck Berry was a real treat. He ripped through 'Sweet Little Sixteen', 'Go Johnny Go' and 'Memphis Tennessee' along with many other hits. Despite comments by folk who had seen him regularly over ten years or so, saying that he was getting worse, Chuck Berry came across the supreme professional.

One news outlet commented on the gig as follows: 'Given a really hot band, Berry would surely be unbeatable. As it was he led a rousing version of Ding-a-Ling and played guitar like only he can. Probably because of the poor back up band, Chuck got increasingly better on his old red Gibson. His style is steeped in old chorded blues and has probably been copied by every major guitarist at some time or another. Fittingly he finished with a free for all on stage, where Teds in full drapes, fluorescent day glow socks and beetle crushers, jived around him. Vintage stuff!'.

Chuck Berry's music is many things but is literally out of this world. In 1977, a recording of Chuck Berry's 1958 hit 'Johnny B. Goode' was included on a golden disc sent to space with each of the Voyager missions. Astronomer Carl Sagan oversaw the collection, which included greetings in 55 languages, the sound of a mother kissing a child and Stravinsky's 'Rite of Spring'. The missions still continue today. Both Voyagers long left our own solar system and are currently in deep space. If contact with other beings is made I'm sure the first message from them will be 'send more Chuck Berry'.

How Rock 'n' Roll Grew in Coventry During 1950s

 How Rock 'n' Roll Grew in Coventry During 1950s

by Pete Clemons

We all know that Rock 'n' Roll had its beginnings in America. But its impact in the UK was equally as profound. So much so that BBC radio would not initially play rock n roll. Instead you had to go searching around stations like Radio Luxembourg to hear it.

Artists such as Chuck Berry, Ray Charles, Bill Haley, Elvis Presley, Little Richard, Jerry Lee Lewis, Gene Vincent, Eddie Cochran and many others all came to prominence during this period and had a tremendous influence over here in the UK.

So much so that this influence inspired home grown acts such as The Shadows, Tommy Steele, Lonnie Donegan, Billy Fury and Cliff Richard and a whole host of others who produced their own versions of this new music.

It all began in the UK, I guess, with the Bill Haley and the Comets single 'Shake Rattle and Roll' which hit the top 10 during January 1955. The follow up, ' Rock Around the Clock', failed to impress initially but after it was featured on the Blackboard Jungle film on release that all changed as the song hit No1 during December 1955.

Elvis Presley, who had been releasing records in America since 1954, first came to prominence in the UK with 'Heartbreak Hotel' released during Jan/Feb 1956 on the previously ‘respectable’ HMV record label.

As for Coventry, the earliest reference that I can find for any rock n roll references, dates back to mid to late 1956. The cutting I found advertised the film ‘Rock Around the Clock’ that was being shown at the now demolished Plaza cinema in Spon End. And this featured the music of Bill Haley and the Comets.

Around the same time a double bill of James Dean films was being shown at The Empire in Hertford Street. These events may well have possibly given rise to the birth of the teenager as we know them today.

It is also worth noting that at Coventry Theatre a yearly variety show, also known as the birthday show, tipped it's hat toward rock 'n' roll in October 1956. The opening number of the show, which normally had a topical theme, involved a group of youngsters dancing to ‘Rock Around the Clock’. Topping the bill on that particular birthday show was Jimmy Jewel and Tommy Cooper.

Next up came the film ‘Shake Rattle and Roll’. This first appeared in Coventry cinema’s during January 1957. Ironically the storyline for this film is around the banning of rock 'n' roll. January 1957 also saw the UK release of the follow up film to ‘Shake Rattle and Roll’. And this was titled ‘Don’t Knock the Rock’. Again it featured the music of Bill Haley.

These films led to teenage commotion in the cinemas up and down the country. A prediction was that the forthcoming visit to the UK by Bill Haley and the Comets could provoke even more rock 'n' roll related trouble.

Bill Haley and the Comets were actually formed during the early 1950s as a country band. As time passed and influences grew they developed the rock 'n' roll sound. And Bill Haley would tour the UK during February 1957. And that tour would take in Coventry with 2 shows sold out shows at the Gaumont in Jordan Well later known as the Odeon. And judging by the thousands who were outside the Gaumont at the time of the concerts, could have sold out many times over.

Such was the anticipation around Bill Haley’s visit that a week before the concerts at the Gaumont a band called the Sid Phillips Orchestra had played at Coventry Theatre. Trumpeter Kenny Ball, who was at that time a member of the band before finding fame with his own band, broke into a rendition of 'Rock Around The Clock' to frenzied applause from the audience. This kind of thing was, by all accounts, unheard of at concerts of this nature.

A year after the Bill Haley visit media reports suggested that rock 'n' roll was on it's way out. However I did find a report in a Coventry newspaper that very much disputed this claim

1956 had also the year that coffee bars began to spring up in abundance. Initially, they had opened in London some years earlier, but this new phenomena was also spreading nationally to city’s such as Coventry.

Coffee Bars were mainly independent which gave them that individual and unique touch. They were furnished with the cheapest Formica or plastic products available. And these coffee bars began to give the teenagers of that time, who had grown out of youth clubs, an outlet and a meeting place. They had exotic names like The Sorrento, El Cabarna and La Tropicale.

Some of these coffee bars like The Milano on Radford road, The Domino on Gosford Street and The Drumbeat on Holbrook Lane were also doubling up as music venues playing a mix of recorded music on the juke box and live music in the coffee bar itself.

And it was at the Drumbeat Club on Lockhurst Lane railway bridge that one of the earliest rock n roll bands formed in Coventry. They were called The Zodiacs and they first came together during 1959. They were formed by drummer Nigel Lomas and singer Maurice Redhead. The pair had first met at the Drumbeat in 1958.

The Drumbeat was actually a cellar club beneath the coffee bar, Nigel used to get up and sing there and have an occasional go on the drums. Also in the Zodiacs in those early days were Terry Wyatt and Graham Peace. Other people Nigel remembers from that time, and who were associated with the Zodiacs, were singer Mick Van de Stay and guitarist Jim Smith.

1959 also saw the formation of another Coventry rock n roll group. Called The Vampires they were fronted by none other than the legendary Vince Martin who later moved to Friars Promotions in Whitefriars Street and formed his own VM rock bands company from Earlsdon.

NME singles chart January 1955 - Bill Haley charts with Shake Rattle and Roll and a brief first appearance of Rock around the Clock.

NME commentary on Bill Haley January 1955

NME Chart November 1955 as Rock Around the Clock is featured in the film Blackboard Jungle and hits the top of the chart.

Post lock-down Coventry

 Post lock-down Coventry

by Pete Clemons

The easing of lockdown restrictions has seen the very welcome return of live music to the city. And gigs have returned to Coventry incredibly rapidly and with quite a bang. After such a long time away it has felt really good to be able to get out and about once more.

The last time I was in the building, now known as The Empire in Hertford Street, was when it was the ABC theatre back in the late 1970s. Amongst other films I remember seeing the Led Zeppelin documentary 'The Song Remains the Same' and 'Saturday Night Fever' in there. To gain entrance you climbed an outdoor staircase up to where the balcony is now.

Today however, you gain entry via an escalator. Entering the venue you are faced with two stages. Which is quite impressive because, if you have several bands on, it makes changeover between bands a lot slicker and quicker.

Then we have the pop up Assembly Gardens venue. A multi purpose area for socialising and entertainment. The Gardens also boasts a couple of stages. One undercover within a tent and another outdoors.

The magnificent settings of Coventry Cathedral, within both the new and the old ruins, have played host to live music and chat. Being mindful of those who feel that entertainment should not be within these settings it is still a spectacular place to hold such events.

The bands themselves seem to be on fire as well. Rather than sometimes feel as though they are simply going through the motions they do appear to be genuinely enjoying the new found freedom of being able to perform again. It is like they have been straining at the leash and have finally been set free.

Each of the bands I have seen play have come across of really enjoying the experience again. For the musicians involved, at times you could almost feel their joy at being able to do what they love once again.

As appreciative it was for the venues to organise seated and socially distanced gigs in between lock-downs. Special mention must go to places like The Arches Club in Spon End, The Gatehouse Tavern and The Queens Hall in Nuneaton.

Each of those places, along with a few others, managed to keep live music going when they were allowed to between restrictions. Overcoming every obstacle thrown at them. It will be a long time before, those that attended any of the gigs, forget the distantly spaced tables and temperature guns. That said, and despite their valiant efforts in keeping things going, I really hope that all of that is finally behind us.

Finally, CV folk club at the Albany Theatre and both Nuneaton and Bedworth folk clubs are now up and running again after the long lay off.

Tarragon

 Tarragon

by Pete Clemons

The last time I saw Callum Pickard play live was at the Old Grammer School. It was during 2018 and he was fronting his band The Third Look. It was a really excellent gig and if a band was ever on its way, it was them. I really thought they were on the cusp of something special. They were tight, they were inventive and they just seemed to bring something different.

Then to my complete and utter surprise The Third Look split. Despite the reasons being very understandable it was still a shock.

Since then Callum has been working on a project he has called Tarragon. And Callum has put every ounce of his being into this venture. From working all the hours he can get to fund it, to the writing of the songs and playing all the instruments on it.

'I’ve been working on new music for the past four years, funded myself through being a Deliveroo cyclist in my home town. I’ve ended up working with some of my heroes in the process and I’m so proud and excited for people to hear it!' mentioned Callum on a social media post.

March 25 2021 saw the release of his first single, 'Follow the Sign'. It has since been added to the 'Fresh Finds' indie playlist.

About the single Callum mentioned: 'I’m over the moon to share my debut single, 'Follow the Sign'.

Thanks a million to all the people that were a part of this and all those that were involved. Thanks so much to my hero and now friend, John Helliwell from the band Supertramp who laid down some gorgeous Saxophones for the track'.

He continued 'It’s an incredibly sensitive song about my sister and her physical illness and how she’s overcome the obstacles in her life since her diagnosis and shown so much determination to never give up, she’s an absolute trooper and inspiration to me and many others. I can’t wait to see what the future holds with this project. Take a listen and follow your heart to the finish line'.

A second Tarragon single 'Our Meaning', a song that Callum began writing in his teens, was released 29 July. An album has also been completed and is now awaiting release.

On the live front Callum, along with Loz Pettite, have been busy preparing for them. In fact Tarragon made an impressive debut recently at the Jephson Gardens in Leamington Spa. Tunes aired included: Barkey, Follow the Sign, Our Meaning, Autumnal Natalia, Catching Full On (solo), Sudden Whispers, Time Lies, Hail Hollow (solo), Hoard the Pieces (solo).

Callum and Loz complimented each other wonderfully. On a rain threatened afternoon, which thankfully held off, it was a satisfying kind of gig where you are convinced that the band is going to take off and you are getting the privilege of seeing them at close quarters. A decent crowd had gathered who appeared to really appreciate what was happening on stage. Further gigs for Tarragon are booked for Birmingham, Glasgow, Leeds and Manchester. Check out their facebook page for details and news.

https://www.facebook.com/Tarragonuk

Spandau Ballet – Coventry Theatre

 

Spandau Ballet – Coventry Theatre

By Pete Clemons

It was during 1980 when Spandau Ballet were introduced onto TV for the first time and brought to the attention of a greater public. They were introduced, by a young Danny Baker, onto the current affairs series Twentieth Century Box . Unbeknown to them at the time they were ushering in a whole new era.

Up until that TV appearance Spandau Ballet had appeared live only 5 times – and even those were to an invited audience - before they had this break at Scala Cinema in London.

During interviews for the programme drummer John Keeble felt that there was no band around that they could relate too. Tony Hadley said that the band were not about creating a standard gig but more of a show. He continued that 'the music business was a scruffy affair and Spandau are not just another band, we are more fashion conscious, and more about elegance and romance'. Gary Kemp 'We want the band to be, at all times, the most contemporary statement that we can make about modern London'.

The band quickly built up a steady following. A following of correctly dressed audience. Spandau Ballet, the name spotted on a toilet wall in Berlin, were hotly pursued by record companies who saw the potential.

Spandau Ballet's second album 'Diamond' was a turning point for the band. It was split into two distinct parts. The first part opened up with 'Chant No.1' and continued in the funky dance style that the band were, up until then, more familiar for. The next part of the album felt more experimental. It was more soulful and was certainly intended to be listened to rather than danced to.

This then led to the release of an album which, to this day, is subtlety drip fed to us by way of TV advertising and other forms of media. And that album was 'True'. Recorded during Autumn 1982 in the Bahamas, 'True' yielded a succession of hit singles. It also appeared to combine, and enhance, all the elements from the previous album.

Spring 1983 saw Spandau Ballet fix up an extensive tour of UK theatres. One date being at Coventry Theatre where they performed to a sold out audience. After their softly softly approach to playing live, Spandau Ballet had now successfully developed their stage personas to match their technical skills. Now, they play as good as they looked and it was oh so smooth, relaxed and glowing.

This is how the gig was reported: 'Spandau Ballet cruised through most of their excellent 'True' repertoire, Martin Kemp and Tony Hadley receiving most of the attention, the latter displaying the full glory of his newly expanded vocal vocabulary and really performing for the first time. It was smiles and sways all the way through.

Particularly neat were the newly recruited backing singers Sam Brown and Sonia Jones, soulfully highlighting the Kemp melodies, plus the irrepressible bongoing of Steve Norman. No wonder they looked so happy – they've come through a rough patch with flying colours, a hardcore of fans and a diamond performance'.

The next tour saw Spandau Ballet performing at venues like the NEC at Birmingham, where they played for several nights, before setting off for more prestigious venues abroad. Still today, the individuals who made up the band, are as popular as they ever were.