The Milano Coffee Bar – The Midlands 2 I's.......

 

The Milano Coffee Bar – The Midlands 2 I's.......

By Pete Clemons

A follow on from an earlier article by Pete Clemons here

https://coventrygigs.blogspot.com/2013/07/coventrys-rock-n-roll-cafes.html

Certainly located on the Radford Road and on, I believe, the site now occupied by the Zorbas Greek restaurant was once the Milano Coffee Bar.

This unassuming building was, for a short while, a hub for teenage music fans. 'Calling all pop fans' it once cried out 'We have pleasure in announcing the formation of a rock club where you can meet all your favourite pop stars'.

The Milano even billed itself as The Midlands 2 I's. It used to advertise itself regularly as 'the cafe bar with a difference'. The place even had a house group named after it, 'The Milano Rockers'.

The Milano certainly had a very lively music scene with regular live appearances by bands like Ronnie Wilde and the Wildcats, Clive Lea and the Phantoms, The Zodiacs, The Vampires and The High Cards.

But where this café would really excel was when, for example, a name artist was visiting the city. The Milano would get them to appear at their venue during that afternoon prior to the main gig that they had been in the city to play.

This happened, for example, when Georgie Fame was due to play an evening show at The Rialto and when Johnny Gentle played at The Banba Club. I understand that this happened on several other occasions. Others who visited the venue included Lance Fortune, Paul Raven and Johnny Kidd and the Pirates.

Possibly though, the venues greatest coup was when, during January 1960, Eddie Cochran called in at The Milano after a show. Along with Gene Vincent, Vince Eager and others Eddie had appeared at The Gaumont, (now known as the Ellen Terry building) earlier on.

Coventry drummer Nigel Lomas, who has such a sharp and accurate memory, was in attendance at The Milano that night and had mentioned this extraordinary tale to me on more than one occasion.

Not that I ever doubted him, but Nigel’s story, has been emphatically endorsed by an interview with, the then, Vikings lead singer Terry Wallace in the excellent ‘Brum Rocked’ book. Terry and the band were playing in the Milano that very same night.

During the interview Terry spoke very specifically about when The Vikings had been playing in a Coventry coffee bar the day that Eddie and Gene were in the city. Coincidentally, Terry mentions, that The Vikings had just performed a Cochran song, ‘Twenty Flight Rock’. During the song Terry had become aware of a guy just staring at him.

At the end of the song the same guy cheered loudly. Terry then recognised him as being Eddie Cochran and with him was both Gene Vincent and guitarist Big Jim Sullivan.

The Vikings were just one of several Birmingham bands that played the Milano during 1960 and 1961. Also making their way down the A45 came El Riot and the Rebels and Danny King and the Royals. Both of these groups found their way onto the German circuit with each performing at the Top Ten Club in Hamburg.

Danny King, despite his own personal lack of a major success, has always been held in high esteem in the Birmingham area. Members of his bands always had the chance to nurture themselves and several did go on to greater things such as Trevor Burton and Clint Warwick.

For the El Riot and the Rebels gig, I am almost certain in saying that future Moody Blues members, Ray Thomas and John Lodge, were members of El Riot at that time and would also have graced the Milano.

King Size Kings 1964 / 65

King Size Kings 1964 / 65

by Pete Clemons

Around ten years ago I went to a fascinating chat with local soul singing legend Ray King. During the talk he mentioned how, before his own Soul Band, he had linked up with a band called Suzi and The King Size Kings. At that time he was still known by his birth name of Vibert Cornwall.

Suzi left the King Size Kings and, at the same time, Vibert became known by his stage name of Ray King. The King Size Kings changed their name to the Ray King Soul Band. This would have been toward the end of 1965 and early 1966.

At face value I took it that The King Size Kings were named so because of Ray King's involvement. But that does not appear to be the case. In fact, if anything, Vibert possibly gained the Ray King name through being with the band.

It seemed as though The King Size Kings were formed and had a life of their own before Ray King ever became involved with them.

An article I came across from October 1964 mentioned: – 'A Coventry group who have been playing together for only four months won the first heat of a beat music contest. The group will now appear in the semi finals of the competition along with The Barry James Four, another Coventry group, who finished in second place. The heat was staged at the Police Ballroom, Coventry'.

The article went on to name the band members: 'The five member of King Size Kings, Tony Ashton (lead singer), Barry Toal (drummer), Rick Bradford (bass guitar), Paul Price (lead guitar) and Bob Neal (rhythm guitar) hope that the contest will lead to a recording contract and, perhaps, a professional career'. No mention of Ray King - or Suzi for that matter.

Fast forward to July 1965 and the King Size Kings had just taken third place at their quarter final heat at the Wimbledon Palais with six original numbers including one composed by all members of the group titled, 'I've Been Wrong'.

It was reported that: 'The five members of a Coventry group, the King Size Kings – in it's present form, only came together two months ago, but the group has won its way through to the semi finals of the 'Melody Maker' national beat contest'.

The article continued that 'The Kings will take part in a semi final on August 1st and, if successful, in the finals on August 15th. Paul Price (17) is lead guitarist of the group, which has existed for about eighteen months but the present members, all from Coventry, only recently came together. They practice and perform most nights in the week. Mr E.W. Price, Paul's father and manager of the group, told the Coventry telegraph that they enjoy it. 'Any other life would be boring' he said'.

Sadly the Kings were unsuccessful in the contest. They were beaten at the semi final stage held, once more, in Wimbledon. However they were voted top group in the Midlands popularity poll of 1965.

Incidentally, as for the outcome of this most prestigious of competitions: 550 groups had initially entered the various heats. Prizes for the winners of the national contest include a Decca recording contract. A new Hammond organ worth (at that time) £525. An appearance on ABC-TV's 'Thank Your Lucky Stars'. And a set of stage clothes from the tailors Cecil Gee (later to become a chain). For the runners up a Vox PA system worth £180 and third place won a Premier drum kit worth £140.

The final, yet again at the Wimbledon Palais, was judged by, among others, Graham Nash of the Hollies, TV producer Muriel Young and DJ Kenny Everett. The panel voted a group called St Louis Union as the overall winners. St. Louis Union went on to have one top twenty record, when they covered the Beatles song 'Girl' in 1966. King Size Kings need not have been disappointed in being beaten at the semi final stage. They were in good company. Amboy Dukes, the UK band (not the US version) also fell at the semi final hurdle As did another band who achieved real fame and fortune. And they were called The Pink Floyd.

Not knowing the exact time Ray King joined The King Size Kings means it is difficult to establish if he was involved with the Melody Maker national beat contest of 1965.

Overall all though, despite the King Size Kings being short lived, they quickly established themselves. They became incredibly busy and very popular in a short space of time.

Also it is not clear how many, if any of King Size Kings followed Ray King into his Soul Band. So some mysteries still remain.

Shel Naylor

 

Shel Naylor

by Pete Clemons

Shel Naylor was a Coventry born singer who, under the management of Larry Page recorded two singles for Decca records. But if the name Shel Naylor is unfamiliar to you then that of Rob Woodward may be more recognisable.

Rob was a member of Lieutenant Pigeon who had the iconic, yet unlikely hit single, Mouldy Old Dough. And Rob and Shel are one the same. Lieutenant Pigeon were flying high 50 years ago. Shel Naylor was around almost 10 years previous to that.

Maybe inspired by pop impresario Larry Parnes, who renamed his string of acts, Larry Page would do similar. Drummer Nigel Lomas confirmed: Larry used our record producer Shel Talmy as the first name. Do not know where the 'Naylor' part of the name came from though.

By September 1963 Shel Naylor was amongst a string of Coventry artists, managed by Larry Page, who were challenging for the charts. A showcase of them was held at the Orchid Ballroom Coventry. Billed as a twang party night. Johnny B Great and the Goodmen, The Avengers, The Chimes, The Orchids and Shel Naylor. Five shillings a ticket, in advance, from Jill Hanson and other outlets.

November 1963 saw Shel release the first of two singles. 'How Deep is the Ocean'/'La Bamba'. The single was described in the music press as 'New boy with a violent vocal style who veritably attacks the oldie'. It seemed the critics were unanimous in there condemnation of the way Irving Berlin songs should be treated. Plus, I guess, being released at the same time as The Beatles 'I Want to Hold Your Hand' maybe didn't help.

Larry Page, apart from his Coventry acts, was also involved with the fledgling Kinks. Early 1964 saw Larry actively promoting the songwriting of the Davies brothers. Shel Talmy was still working with Larry's Coventry based acts. And a further two singles appeared in quick succession. Shel Naylor recorded 'One Fine Day' (Dave Davies) backed with 'It's Gonna Happen Soon'. The Orchids covered 'Ive Got That Feeling' (Ray Davies) backed with 'Larry'. Both single failed t set the charts alight. Dave Davies admitted that 'One Fine Day' was 'just a chord really'. 'It has the same chords in the verse as it does the chorus'. The music critics were a little kinder though. Describing the record as 'Fast beat which moves along at a brisk danceable pace'.

March 1964 saw Shel Naylor play a dinner dance at The Craven Arms on the High Street. Star of the night was Winston Foxwell who featured in the film 'Jugglers and Acrobats'. The film had been made to accompany the cinema distribution of the first Beatles film 'A Hard Days Night'. It shows some of the last jugglers and acrobats from the Variety Circuit. A form of popular entertainment which was dying out. Jugglers and Acrobats also featured Winston's son Paul Fox.

The Stage magazine reported during April 1964: Coventry's answer to 'Sunday Night at the London Palladium' could well be 'Sunday Night at the Bell Green Club' where variety, at its very best, is presented in one of the finest concert halls in the country. Appearing on Sunday last were Les Lynes comedian, now recovered from his injuries received in a car accident some time ago, Gavin Prime the nineteen year old singing guitarist and Shel Naylor formerly Robert Woodward who recently turned professional with his musical and vocal act.

The final significant work by Shel Naylor was a summer season of Sunday night shows during July and August 1964. This was where Shel appeared at the Royal Aquarium Theatre, Great Yarmouth. Billy Fury was heading the main show of the summer season for six nights a week. During those seasons, and in order to give the headline acts some restpite, Sunday featured one off concerts. For these Sunday shows, a series of 13 concerts headlined by Brian Poole and The Searchers, on alternate Sundays, were scheduled. These shows also featuring Shel, Johnny B Great and The Orchids. Although i'm not certain if The Orchids fulfilled all, if any, of those dates.

The Ray King Soul Band - Live at the Playboy Club 1968

 

The Ray King Soul Band - Live at the Playboy Club 1968.

by Pete Clemons

I noticed recently a commercial on TV advertising a programme called 'Secrets of the Playboy'. The television show claimed to explore the truth behind the Playboy empire famous for its gaming and bunny girl croupiers. Seeing that documentary advertised made me wonder if Coventry group, The Ray King Soul Band - who once recorded an LP at that very venue, would be featured.

After playing dozens of gigs in Coventry and surrounding areas the reputation of The Ray King Soul Band quickly spread. Gigs were arranged way beyond the Coventry boundaries. In fact The Ray King Soul Band performed an estimated 250 to 300 gigs between 1966 through to 1970. Possibly many more. These gigs were held in many parts of the country and included at least one trip to France. And these figures do not include Ray's gigs with his previous band The King Size Kings.

A gig by Ray and the band could last as long as two and a half hours to three hours. Quite a feat back then. News of The Ray King Soul Band reached London and, after many gigs in the capitol, the band were asked by the famous Playboy Club to perform there. During 1968 The Soul Band were offered a weekend residency. And from that residency an LP was released on the Direction label a subsidiary of CBS records.

Booking agent Victor Sutcliffe was, by then, dealing with Ray's gigs. And Victor added the sleeve notes to the album. He wrote 'Ray King Soul Band live session ingredients, one Ray King voice, one Tim Whelan tenor sax (with a dash of baritone), a large helping of Malc the Jenks drums, add Paul Williams guitar, Tony Lucas bass, mix with generous portion of Malc Aldridge type Hammond organ and leave to play for three hours in the London Playboy Club. Result, high quality, high fidelity long playing 12 inch album with an audience who for a few brief hours forgot that they had to go to work the following morning. Seldom on record does a live session give the same feeling as one would actually get from being there, but, this is as close as damn it. Already one of the three most popular bands in the London clubs the Ray King Soul Band is destined for the really big time, so when the opportunity is there, take it, become one of the many lovers of the Ray King Soul Band sound'.

And Victor, who headed the Tangerine Agency in London, wasn't wrong. DJ Johnnie Walker, who once wrote a soul column for a major music magazine, was flooded with readers letters recommending the band. In his column Johnnie once said: 'Thanks very much for your many letters re The Ray King Soul Band. They have just returned from a tour of France and are currently doing a week both on the 'David Symonds Show' and at the Playboy Club. This is a return gig for the band who, when there last, recorded there show for a new LP just available on the Direction label. 'Live at the Playboy' includes 'Mercy', 'Respect', 'Save Me', 'Knock on Wood', 'Malita' (a Ray King original), 'Funky Broadway', 'Hold on I'm Comin' etc etc. Haven't heard it yet but it should be very good'.

However album reviews were not exactly as enthusiastic. They were mixed, favourable and not hugely critical of the LP. Any issues were mainly around the sound: 'Nothing new here but its soul with a healthy sound and big beat. Nicely played too, but songs like 'Respect', 'Knock on Wood' and 'I'm a Man' are nearing retirement, for a while at least. The recording is occasionally a little muzzy and off balance but they do build a fair degree of excitement'.

'Featuring songs such as 'Respect' and 'Knock on Wood' this is really a discotheque sound, with audience participation plus announcements, some live soul singing from Ray and a compact sound behind featuring mostly organ and tenor sax. These boys really go – not distinctive but exciting'.

By the time of the record's release the music scene was rapidly changing. That said The Ray King Soul Band continued success in London was not just a flavour of the month. It lasted for another couple of years till the band broke up during 1970. Even after that Ray was in demand. But what a legacy they left us with.

An earlier article on Ray King by Pete Clemons on this blog

https://coventrygigs.blogspot.com/2012/05/ray-king-coventry-music-legend.html

I'm a Man

Gimmie a Little Sign

Soon You'll be Gone

Knock on Wood

Jordan River

Kansas Smitty's – Drapers Hall

 

Kansas Smitty's – Drapers Hall

by Pete Clemons

Built in 1832 Drapers Hall sits on the junction of Bayley Lane and Priory Street just across from the old cathedral.

Extensive restoration work saw the building open as a music venue just over a year ago. An incredible project that has given Drapers Hall with the most elegant of interiors. The top of a curved staircase eventually leads you to a magnificent music room.

And to mark that year as an active concert room Drapers Hall recently invited London based jazz outfit, The Kansas Smitty's to help celebrate the event. The Kansas Smitty's, on this occasion, were a septet headed by American-Italian alto-saxophonist and clarinettist Giacomo Smith.

Covering traditional and modern jazz this was a band containing many facets. That said the tunes covered, as far as I understand, were all originals. It was an exceptional experience. Ensemble passages were effectively played with real artistry and the solos, often quite brilliant in themselves, fitted supremely into the performance.

In the distant past, and when, the music had a solo section, the soloist had to make their way to the optimum position to enable him or herself to be heard. The Smitty's, either came with or, were treated with an excellent sound system enabling the soloist to perform without the routine of stepping up front.

There was also a time when jazz traditionalists and the modernists confronted each other artistically.

The trads would label the modernists as 'the more extremist elements of the younger jazz generation'. They were accused of hogging the limelight. However a number of musicians committed to neither the trads or the avant garde worked away assiduously at developing a form which embraced the best elements of the past, present and the future.

More than fifty years on from those largely forgotten times and jazz bands nowadays seem to continue to do what they what. And that's what I heard from the Kansas Smitty's. Music without boundaries yet capturing elements of all jazz styles.

Waves of nostalgia washed over us during this gig. At least for me they did. The gig came just as I had completed a series of Coventry related jazz articles. Researching those articles got me very absorbed in the whole romance of the genre. And now here we were being entertained by some of the most classiest exponents that particular music scene has around today. In short, excellent and timeless music in the Ellington manner.

The Kansas Smitty's are also a house band. A quote from folk far more eloquent than me 'Music this good needs a place to live. That’s why the band run their own bar on Broadway Market, London, where they meet to record, play, drink, and entertain audiences'.

Support for the evening came from Duke Keats and his bands unique take on creating more than just a gig. Costume, feedback, artistry, it appeared to have it all.

ShadowCV

 

ShadowCV

by Pete Clemons

What does a guy, who is in his mid 60s, know about Rap Music and Grime?. Well, in the case of this one, absolutely nothing. Dont get me wrong, I was not completely unaware of those genre's. I have heard them performed. But I couldn't tell you anything about the who's, why's and wherefore's along with other fundamentals.

However, like many, I enjoy a positive and uplifting story and that was the reason which drew me towards this particular news item and to try and delve a tad more into rap and grime.

In order to give me a bit more insight, and for the purposes of this article, I did try to research the subject a little. In all honesty I hardly scratched the surface. However I found the following description of rap: 'an insistent, recurring beat pattern that provides a background and counterpoint for rapid, slangy, and often boastful rhyming patter intoned by a vocalist or vocalists'. As for Grime, I then discovered that it, is a form of electronic music.

I also stumbled across the name ShadowCV who is an up and coming exponent of these forms of art. Furthermore ShadowCV is, it seems, one of two Coventry based artists involved in creating a music video called 'Depzman – Life Cut Short'.

'Depzman' has been created as part of an anti knife crime campaign. As such, the positivity I mentioned - and which attracted my attention initially, has been created out of incredibly tragic circumstances.

A little background to it all. Joshua Ribera Aka Depzman was a rapper and grime artist from Birmingham. His art was well known in his city and his work had already began to spread across the country. Tragically Joshua was robbed of a bright future after being stabbed to death in 2013. Since that time Joshua's mother, Alison Cope, has visited various fraternities such as schools, colleges denouncing the senselessness of knife crime and all that surrounds it.

Shadow CV, had already been making a name for himself by way of his own art. His work also touches on the subject of knife crime. And his endeavours includes 'Pray For Peace' a piece designed to spread awareness of the issue and broadcast a message of peace, hope, positivity and unity across the whole country. And 'Pray For Peace' has attracted an awful lot of attention.

There was a certain inevitability, I guess, that ShadowCV was approached about a video idea for the Joshua Ribera foundation. Shadow CVs' involvement in the 'Depzman' project was a natural fit.

McCann London, who bring stories to life and tell them to the world in a way that impacts culture, had been in talks with Alison Cope about a video idea for the Joshua Ribera foundation - 'to bring Depzman back to life using deepfake A.I technology'. ShadowCV agreed to write the lyrics for the song. And those lyrics were performed by Birmingham rapper T.Roads in order to sound as close to Depzman's voice as possible. The work was produced by Phaze FX. The goal of the project is to keep Depzman’s memory alive while, at the same time, delivering a powerful anti knife crime message at a time where it is needed more than ever.

The video was released on 24th October. Since then it has received millions of views across multiple platforms with news of its release being covered by ITV news, BBC News and many more outlets.

The video has also been shared by U.K. artists such as Skepta, Jaykae and is currently in the pipeline to be featured on national TV programmes like BBC The One show and ITVs Loose Women.

Using and condensing ShadowCV's own words: 'I was born and raised in Coventry City, the city of peace and reconciliation. My plan is deliver projects like this all over the country to spread maximum awareness and inspire as many people as possible'.

The scourge of knife crime has become endemic in many areas. It is far reaching and impacts on so much more than the obvious effects. I say, good luck to the lad, the project and all they do. Positiveness is power.

https://www.instagram.com/shadowcv/?hl=en

https://www.facebook.com/ShadowCV6/

Asgard in London

 

Asgard in London

by Pete Clemons

Prologue by Trev Teasdel (Editor)

Back in 1969, Asgard used to rehearse midweek in the little wooden theatre at the back of the Coventry Arts Umbrella Club in Queen Victoria Road. I used to sit in and watch them. Sometimes Neol Davies (later of the Selecter) would join them on acoustic or sitar! The kind of music this three piece would play was firstly largely their own material in the style of the Nice and early Pink Floyd. They play most of the local venues including the Lanch Poly and Warwick University but I was not aware of their wider activity until I created a piece on the recent A to Z of Coventry bands when Richard Kilbride  - the bass player and their road manager Bob Mansfield sent me a lot of information. Their manager Paul Padun was a friend of John Peel and through Peel they got to play Mothers in Birmingham and festivals and with Principal Edwards Magic Theatre in Cornwall, the Roundhouse in London, Torbay Blues Festival and Victoria Park. More information this will be on the new Coventry bands 1960's to Now. There is a cutting of John Peel's column for Disc and Music Echo mentioning Asgard on here. The line up was Bill Walker Organ, Terry Westwood drums and Richard Kilbride on bass and sometimes vocals. Only Richard is still with us sadly. The band made some acetates for John Peel's Dandelion label but sadly the band split up before they got to make an album. Yu can here the acetates below. The reason for this new article is that Pete Clemons found some adverts in melody Maker and International Times and Richard Kilbride has provided some new information about the some of the bands London gigs 1968 - 1970. Over to Pete Clemons.

NOTE - this is not the same progressive band that recorded on The Moody Blues label.

Pete Clemons
I was always aware of a connection between Coventry band Asgard and John Peel. But I hadn't realised how deep that relationship went. Until, that is, till I stumbled across an advert in an old national music magazine. It mentioned Asgard were playing a venue in London. That developed into discovering several engagements. After contacting Richard Kilbride it turned out to be the tip of the iceberg.

Richard explained 'Our manager Paul Padun got us in with an agency. Can't remember who. I think his relationship with John Peel opened several doors too. We did a few gigs with him. Victoria park CND rally and the Torbay jazz and blues festival to name two'.

The gig I stumbled across, which turned out to be a lengthy residency, was at the Railway Tavern, Angel Lane, Stratford (Friday) E15. As far as I can make out these nights began in 1968. Asgard hosted the evening and guests included bands like Mandrake Paddle Steamer and another Coventry band, Tim James's Ra Ho-Tep.

The event continued into 1969. By now the event was known as the Asgard Arts Lab which included Gromit Light Show. Mandrake Paddle Steamer were still regular visitors but bands like the Strawbs, Third Ear Band, Jody Grind, Hard Meat and Audience were also putting in guest appearances.

Then Richard dropped Blaises Club into the conversation and how Asgard had also done a residency there.

Now demolished, Blaises was located in the Kensington area of West London. To be precise, it was in the basement of the Imperial Hotel at 121 Queen’s Gate. It was also an important meeting place for musicians, agents, managers and writers.

'Blaises', Richard explained, 'that would have been 69/70. It was before we had our Long Wheel Base transit van, I know that as we used to go down in an old Bedford. I think it was Wednesday nights but can't be sure. I will ask Bob Mansfield, our roadie. He remembers everything. I know we also did the Roundhouse. A sort of all weekend festival. Kevin Ayres borrowed one of our mikes and tried to keep it. We also did Eel Pie Island in the week. It was virtually empty. Just about 50 turned up. Things looked up a bit after Peel took an interest in us. Did gigs with Principal Edwards Magic theatre a few times etc'.

I mentioned to Richard that it must have been a fantastic time but also an absolute nightmare with all the travelling. He replied: 'It was. In the Bedford we travelled in the back with the gear. Sitting on it and a couple of stools being thrown about and slipping off. It was luxury when we got the transit with aircraft seats in the back'.

I then asked Richard what a typical night at Blaises consisted of. He responded: 'it was a DJ for half an hour then us for half an hour until 2 am. There was a fetid damp dressing room the size of a bathroom we had to sit in while the DJ was on. It was purgatory. I hated that gig. I think we got out of it by saying we weren't going to turn up if it carried on. We did covers, mainly instrumentals. There were a couple of ours we kept in. The less psychedelic of course. 'Green Onions' was one I remember, a couple of Nice numbers. Small Faces. Julie Driscoll, 'This Wheels on Fire'. etc. Then drive back to Coventry. They used to drop me off at Canley where I worked mowing for the council. We had a hut opposite the shops and I had a key, so would grab a couple of hours kip before the days work'.

Next year Richard has vowed to contact roadie Bob Mansfield and tax his brain. 'He had to stay sober so remembers so much more'.

I for one look forward to the results. As I mentioned above, I really feel I have only touched the tip of the iceberg here.

Asgard - Sunrise / Month

There are clicks and noises on the tracks owing to a spillage of soldar on the acetate - but you can hear the music still.

0:41 / 6:39

Trivialities by Asgard 1971

Railway Tavern

Neol Davies playing sitar.c 1969

From International Times

Just For You - 1964 Sam Costa Film - Coventry Connections

 Just For You - 1964 Sam Costa Film - Coventry Connections.

by Pete Clemons

Born 1910, Sam Costa began his working life as a singer for big bands. Sam was also one of my Mum's favourites. As such I remember him for presenting 'Housewives Choice' on Radio 2 from 1967. He also appeared of 'Juke Box Jury' and David Frost's 'Frost on Sunday programme.

 During 1964 Sam Costa appeared in a film with several connections to Coventry within it. The plot to the film is almost non existent really. Well, to be honest, there isn't one at all. It's more a programme that showcases singing stars from the hit parade of the day complete with Sam Costa's interludes.

 Throughout the movie DJ/agent Sam lies in his other worldly computer operated bed. If there is a message then it is that he is demonstrating all the trappings of success. The bed provides him with all his needs. 'This is the life' he says. 'All the wonders of modern science at my beck and call, anything I want at the touch of a button'.

 Another scene has Sam ranting 'I'm not paying through the nose for all this guff for nothing you know'. 'Its amazing what you can do in bed. This bed does everything'. Between songs he has this continual conversation with the computer which is trying to stir him into life.

 From his berth Costa introduces: Faye Craig: "Bongo Baby" and "Voodoo." The Applejacks: "Tell Me When." Al Saxon: "Mine All Mine." Band Of Angels: "Hide & Seek." The Orchids: "Mr. Scrooge." The Bachelors: "The Fox" and "Low In The Valley."

Freddie & The Dreamers: "You Were Made For Me" and "Just For You." Doug Sheldon: "Night Time." Caroline Lee, Roy Stone and Judy Jason: "Teenage Valentino." Peter and Gordon: "Leave Me Alone" and "Soft As The Dawn." Millie Small: "Sugar Dandy." Jackie and the Raindrops: "Loco-Motion."

The Warriors: "Don't Make Me Blue." Mark Wynter: "I Wish You Everything." Johnny B. Great: "If I Had A Hammer." Louise Cordet: "It's So Hard To Be Good." The Merseybeats: "Milkman."

 From that list you might just have spotted the Coventry associations. These of course are The Orchids and Johnny Goodison. After The Orchids performance Sam quips 'The rumours that The Orchids helped me with my 11+ are totally untrue'

 For the American market, several of the UK musical performances were cut from the film. Added however was new footage of US artists – including The Chiffons, The Vagrants and The Rockin’ Ramrods. It was then released Stateside as 'Disk-O-Tek Holiday'.

 Just For you is a feature completely of it's time. It is excellent quality, widescreen and in colour. At the same time it is a incredibly priceless resource in as much that you get rare footage of several not so well known crooners of the day.

 It is futuristic in that the film features a TV remote control as well as a huge wall mounted screen.

Lots of groovin, ravers and go go dancing. Sam Costa did eventually get dressed but still lived life in bed. The line of show was, for me, 'have you got your weekend joint yet'? - Not sure those days had arrived at that time but it really made me smile.

The Orchids

Johnny B Great

"Just for You": Out on DVD 21/7/2014 with Johnny B Great from Coventry

The Orchids - Mr. Scrooge (Just for You, 1964)

Applejacks – “Tell Me When” (film) (UK Decca) 1964