Two Whole Quails – Dropped in Records

 

Two Whole Quails – Dropped in Records

by Pete Clemons

Surrounded by tons of vinyl this was instrumental duo, Two Whole Quails, first live outing since 2019. They had been looking forward to it immensely. And Dropped in Records, at Fargo Village, was the unlikely setting for an hour or so of the kind of music that consisted of long, elaborate, wordless compositions that circled around a melody of sorts.

The keyboard duo that is Two Whole Quails threw up a series of sounds that mean everything or nothing depending upon the amount of imaginative work the listener is prepared to do in total search of enjoyment and appreciation.

Visual stimulation was provided by accompanying film that was flashed up onto a screen alongside the players. These consisted of film especially prepared for the compositions.

The opening suite was titled 'The Chancellor's Dinner'. It is a twenty odd minute piece against a backdrop created by Two Whole Quails but credited to a whole host of people from both the online and real worlds.

This was followed be a piece called 'Glad', which was made up from parts of an even longer track which the pair recorded during lock down.

The last one was titled 'Emily'. This was an extended version of music made for Emily Mann's' and inspired by 'COVID - 20: The Coventry Isolation Diaries 2020'. The diaries being a part of the very excellent the Coventry Sketchbook project.

Throughout the entire evening I was gripped by the way the music flew off into discursive variations on original themes.

The duo, Lee on keyboards and Chris on keys, guitar and bass explained very little to their audience during the entire course of the evening. Everything was down to those attending taking what they wanted out of the evening.

A sizeable turn out at the venue that also included the more 'dance' inspired, Field Lines Cartographer, took away with them a memorable experience.

Visit Bandcamp Two Whole Quails for more.

The Skabilly Rebels at the Arches December 2021

 The Skabilly Rebels at the Arches December 2021

by Pete Clemons

If Jerry Dammers is credited as the architect of The Specials, by way of his vision of reviving and reinventing past styles of music and fashion, then Roddy 'Radiation' Byers was the guy who brought a touch of originality to that band. Roddy also provided the edge that a band requires.

The pulsating rhythms of The Specials have since found a solid niche within popular music history and beyond. And Roddy is quite rightly recognised, by the Ska music fraternity, as one of the pioneers of that whole 2 tone movement.

Today, Roddy Radiation continues to lead an original band. The Skabilly Rebels play a blend of music repeated rarely. And after many years in the business the Skabilly Rebels have fostered and thrived on their mix of Ska and Rockabilly.

Rockabilly and vintage fashion are not only a statement but they are also a lifestyle. Rock 'n' Roll is your life and your love. It is clear, that no matter the size of gig, Roddy is meticulous in his appearance. His attention to detail is clear for all to see. For every Skabilly Rebels gig Roddy is immaculately turned out without a hair not being in place.

Roddy still has that sharpness and edge to him and through his writing he has brought us songs like Hey Little Rich Girl, Rat Race and Concrete Jungle to the proceedings. And these were performed at the recent gig at the Arches Venue. Despite an obvious cold and the fact he was struggling a little Roddy and the band who tonight are: Joe Harcourt on guitar, Connor O'Connor on bass guitar, Adie H Dee on Sax and an Australian called Jeff who is standing in for Matt Hart on drums, put in a remarkably decent shift.

The swingbeat continues with interpretations of Do Nothing, Judgement Day, Bonediggin' and many others. Overall a tremendous performance and an extremely enjoyable evening. The songs that Roddy provided are still amongst the most popular in The Specials live repertoire.

Roddy wears his heart on his sleeve and has a conviction and charisma that adds to his compelling stage presence.

Jethro Tull Coventry Cathedral Dec 2021

Jethro Tull Coventry Cathedral Dec 2021

by Pete Clemons

As far as I can research this, the first time Jethro Tull had performed in Coventry since they appeared at the Balsall Common Equestrian Centre with Amen Corner, and others, during May 1969. There are suspicions of a gig at The Lanch during late 1970. But that has yet to be confirmed. Since those days, of course, the band has changed beyond recognition both in music style and personnel.

Another Coventry connection is that of Martin Barre who, for 43 years between late 1968 and 2011, was lead guitar for the band. Martin spent three years at the Lanchester Polytechnic before he joined Tull.

This was billed as a Christmas gig. In terms of religion Ian Anderson has described himself as deist and pantheist. In other words God is not dominant in Ian's world but, at the same time, he does not rule out God's existence. 'You can find your own God by being a decent person'.

Additionally, Ian does not belittle religion. He is very respectful of it. However, at times, he does feel the need to challenge it. And his gigs within the splendour of cathedrals have become part of the norm over the last couple of decades.

The version of Jethro Tull that gathered for this particular evening included guitarist Joe Parrish, Scott Hammond on drums and percussion, John O'Hara on piano and keyboard, David Goodier on bass and the ever charismatic Ian Anderson on flute, mandolin, acoustic guitar and vocals.

The evening opened with a spirited version of 'God Rest Ye Merry Gentlemen' followed by an interpretation of 'Gaudete' where Tull were joined by the Coventry Cathedral choir.

The first guest to accompany the band was Marc Almond who sang his song 'Bedsitter'. During the second half Marc returned to the stage where he got to sing another familiar song 'Say Hello Wave Goodbye'.

The next guest was food critic and guitarist, Lloyd Grossman, who joined the fray for firstly some rock 'n' roll and then a punk number 'I ain't doing nothing'.

Several times throughout the long history of Jethro Tull, Ian Anderson has broached the subject of Christmas and is no stranger to the odd Christmas song. Even if it is to remind us that it is not all about the commercial side. And those songs were to be heard this evening.

Aqualung, Jethro Tull's first concept album, hits out at the church through its main character, of the same name, who represents the lowest common denominator in humanity. The records fold out sleeve featured three paintings specifically commissioned from American artist Burton Silverman. Andersons words, within Aqualung, are often hard hitting and pull no punches.

During 1971 it was said about the album 'Our music has to be on a simple pop rock 'n' roll musical level. But if you can introduce little subtleties, eventually they'll become the important things in your music. We're playing worthwhile music now, but we don't over estimate what we're doing'.

The album was recorded under the working title of 'My God' a track which became a sub-title within the album. And the big hitters from the Aqualung album 'My God', 'Locomotive Breath', and the albums title track, wrapped up the offerings in magnificent style.

No wild eyed cavorting or grandiose gestures from Ian Anderson tonight, but there was still the odd manic pirouette, that gave us a hint of his old self. More than a hint though was how good the music of Jethro Tull is, that he has given us. As if the faithful needed to be reminded. This was a memorable evening within a remarkable setting.

Coventry Cathedral 2021

God Rest You Merry Gentlemen

The Boll Weevils / The Bo-Weevils / The Soul Sect / 3AM Blues Band

The Boll Weevils / The Bo-Weevils / The Soul Sect / 3AM Blues Band.

by Pete Clemons

Some time ago I wrote an article about Coventry group The Boll Weevils. The article was more of an overview of the band. With the help of some notes made by the late Tim James I have added some more meat to that article also including Tim's musical path up until the end of 1967.

The Boll Weevils were formed during 1963 as an R n B outfit. They featured Tim James on harp and vocals, Steve Bentham on guitar and vocals, Barry Smale on bass and Joe Craner on Drums. This was Tim's first band with numbers being arranged by himself and Steve Bentham. Apparently this was done while walking home from parties at about 2 in the morning in the inevitable early morning rain.

The band had an older guy, about 30 years old, called Roy working for them. Roy would wade through a spaghetti like mess of wires and cables to get his 30 watt PA system working. After Roy left Tim borrowed fifty pounds from his father and bought his own PA. Neither did we make it, but played original music with balls in the process of failing.

The bands name was changed name to The Bo-Weevils during 1964 in order to avoid confusion with a London group. Kev Dempsey, later the guitarist for Dando Shaft, replaced Joe Craner on drums. With Fred Liggins being added on Tenor Sax. The Bo-Weevils gravitated towards the more soul orientated sounds of Otis Redding, Wilson Pickett and James Brown as public tastes changed.
By 1965 and with the addition of Greg Taylor on tenor sax, Gordon Wood on baritone sax, Lenny Barratt on guitar, Frank Lazarus on bass, who introduced 'Lenny' to the band a jazzier influence had arrived. This coincided with interest from Pye records.
Tim James remembered 'I can't deny that we were very popular and played well - but we simply covered, rather than re-interpret and re-arrange, the current soul and R&B hits. We were no longer unique, we were just another band rolling along with the commercial flow. The essential component for a record deal was writing our own songs, which were absolutely awful and, to me, embarrassing. To me this was the essential reason for getting out'.

During 1966, and till 1967, Tim moved to The Soul Sect on vocals and blues harp. Completing the band were Reg Sparkes on bass, his brother Rick on drums, Tony Warner on rhythm guitar and Colin Williams on Gibson stereo guitar. After Tim left the band carried on as 'Into the Sun', and, in Tim's words 'played better music at better gigs now featuring the blistering Williams guitar'.

The 3AM Blues Band had formed during 1966 and were heavily influenced by John Mayall and Cream. They were managed by Rodney Joyce, who also played congas, and also comprised of Derek 'Beck' Wilson on Fender Telecaster guitar, Nick Hawkeswell on Gretch bass and Jim Longworth on drums.

Tim James joined 3AM on harmonica & vocals during 1967. He remembers that the band had 'No van but travelled in Rodney's enormous Pontiac saloon, which was just as good ... when it worked'. 'The group are strongly opposed to the current soul music trend' said manager Rodney Joyce in early 1967. Derek Wilson left 3AM during February 1967 replaced by Joe Beale. Eventually 3AM moved to London and finally split in late 1967.

Boll Weevils. Bill Campbell was also a bass player with the band. later with the Eggy and Coconut Mat.

Three AM  - below

Tim James with Ra Ho Tep - avant garde jazz c 1967 - 70 - alto-sax, tenor-sax, clarinet, electric-piano, harp and vocals 
Joe Craner - drums, trumpet and vibes
Phil Porter - bass-guitar, string-bass and acoustic-guitar

Mouldy Old Music

 

Mouldy Old Music

by Pete Clemons

Muriel Young was both a radio and television presenter having worked for commercial television since its inception during 1955. And during the 1960s and 70s she worked behind the scenes on many of the more influential pop music programmes.

And it was Muriel, who originated from the north east, that saw the potential in Coventry band Stavely Makepeace during 1970. After several singles Stavely Makepeace, with the addition of pianist Hilda Woodward, became know as Lieutenant Pigeon, and went on to have a hit with 'Mouldy Old Dough' during 1972. The note below, from Muriel, is taken from the reverse of the Lieutenant Pigeon album, 'Mouldy Old Music' released February 1973,

'It's three years ago since a couple of round faced lads, Rob and Nigel, came into my office with a disc. Stavely Makepeace was the name and I was knocked out with the sound, partly because it was different – fresh and sort of kerpow !!. Also because I was intrigued that the discs had been made in Rob's front sitting room. This had been handed over to him willingly by his Ma and fitted out as a sound studio. 'What a super Ma', I said to myself, and what a super Ma she turned out to be when I met her in Lieutenant Pigeon. Along with Rob and Nigel (not so round faced three years later) and Steve, Mrs Woodward at piano, added another fun dimension to the sound which to me is still different, fresh and loaded with kerpow !! Thank you Lieutenant Pigeon.'

A review of the album, released on the Decca label SKL5154, has been reproduced below.

'This will do. Despite the awesome threats that it was all a one hit wonder gimmick and destined for an early grave, the gallant Lieutenant's music has gone on to do well in the charts. Nigel Fletcher, Rob Woodward, Steve and 'Ma' open here with Mouldy Old Dough, then into a fairground sound on Jumping Jack and, on side two Desperate Dan makes a predictable appearance. They plunge into the martial beat on Opus 300, and its organ cranking stuff on The Monkey Song. There's the odd break for piano, and the odd extra curricular bit of vocalising – in short don't expect no musical miracles and you'll enjoy the exercise. It's happy go lucky, enthusiastic stuff, and the group has done well to get so many variations of style and sound especially considering the smallness of the personnel. On the sleeve note, Muriel Young opines: its a fun dimension to the sound which to me is still different, fresh and loaded with KEPOW!. Perhaps that's the word for which we've been searching.......'different'.

'Unusual stuff not without its charms from a band who were rather difficult to pigeon hole. Its not an obvious style of music from any era and at times it appears to hark back to the old days of the music hall although the piano is largely dominant'.

Sadly the Lieutenant Pigeon album never fared as well as the single. But one thing is for sure, almost 50 years on, and Lieutenant Pigeon left us with one of the most recognisable tunes ever released.......To a certain generation at least.

Rob Woodwood of Lieutenant Pigeon as Shel Naylor at 17 on the Decca label with a song written by Kinks member Dave Davies in 1964. Jimmy Page on guitar.