Pop goes to Warwick University

 

Pop goes to Warwick University

by Pete Clemons

The student side of Warwick University has had, for almost 60 years, a positive reputation regarding the entertainments it has put on. Dances, for example, were arranged around term times but also events such as the Presidents Ball, Freshers week and Valentines were also celebrated annually.

But it seems it wasn't quite so easy establishing those entertainments and getting them off the ground. Going by some recent articles I discovered, the mid 1960s appears to be when the university decided to expand its horizons, create an entertainments budget and encourage the growing beat culture to its campus.

The following are extracts of university papers, from 1965, that indicate how Warwick went about creating such an event.

UNIVERSITY DANCES: In order that the students themselves should be able to play an active part in the selection of groups for University dances we include the following selections. Please indicate your preference and return the slip to the entertainments committee office as soon as possible: The Animals, Georgie Fame and. the Blue Flames, Manfred Mann, Dave Berry and the Cruisers, The Hollies, Peter Jay and the Jaywalkers, Moody Blues, Merseybeats, Pretty Things, Yardbirds, Zombies, Spencer Davis Group, Downliners Sect, Long John Baldry, Graham Bond Organisation, Alexis Korner, The Who - suggestions also welcome.

THE DANCE: The First Warwick dance (the advertisers -apparently forgetting there was a dance here) was unfortunately not too well favoured by the University students, however, The Falling Leaves and The Chads gave a very reasonable performance. The vast majority of the people who came along were from other colleges, or were of undetermined origins and it was these who enabled the organisers to make a profit of thirty pounds. After the dance, students from one of the other colleges in town made off with our "university of Warwick" sign, and yesterday, after many enquiries, the union received a message from Lanchester saying that they would return the sign as soon as possible.

The poor representation of Warwick University students at the dance sponsored by the Liberal Society, shows that something is drastically wrong with the social life of the University at weekends. The ratio of students from the neighbouring colleges to Warwick students must have been ten to one. Unless more of our university students take an interest in dances sponsored by the University, and other social functions at weekends, the social life here is going to be abysmally dull from now till the end of the year. If everyone take a negative attitude, this is not going to help matters much. So why not come in future and mix with your fellow students from the University as well as from the other Coventry Colleges.

As well as fascinating I found these notes about the early events to be quite amusing. Interesting to note also that it was Oxford's The Falling Leaves, who had a minor hit with 'She Loves to be Loved', and not one of those suggested groups, who appeared at that early dance. Of course Warwick University dances went on to become bigger and better, ultimately becoming a huge success and attracting some huge names.

A superior Beat/Mod 45 from Oxford's Falling Leaves who made this one single for Parlophone in 1965 before cutting 'Beggar's Parade' on Decca the following year. They were Rod Stephens (vocals),Will Patrick(Guitar),Mal West(bass),Neil Stanley(organ) and Larry Nedel (Drums).

Don Fardon

 

Don Fardon

by Pete Clemons

Continuing a theme for old record reviews, here are a few I came across for Don Fardon. These are from when he began, and, during his time as a solo artist.

I cannot find a review, as such, for his very first release. However I did come across some information, from March 1968, regarding a licensing deal for Don's, then, new record:


1968 (The Lament of the Cherokee) Indian Reservation / Dreaming Room:

Gene Norman, president of GNP Crescendo Records, has made arrangements with Deutsche Vogue to release the product of their label's English producer Miki Dallon in the U.S. and Canada. Deal was concluded at the recent Midem Convention. The first two of these recordings are being released this week – 'Coming on Strong/Could You Really Live Without Her' by Tony Ritchie and '(The Lament of the Cherokee) Indian Reservation/Dreaming Room' by Don Fardon.

Don kept plugging away with further releases. Here are the reviews for two of them:

1969 I'm Alive / Keep on Loving Me:

Don virtually explodes through I'm Alive. An exciting yelling sound, with unusual vocal tones from Mr Fardon who also had a hit with Indian Reservations.

The next release was on the up and coming Young Blood label:

1970 Belfast Boy / Echoes of the Cheers:

Young Blood label has released a single of two tracks from the recent TV documentary on Manchester United soccer star George Best. Sung by Don Fardon, the numbers are 'Georgie the Belfast Boy' and 'Echoes' – the latter a ballad. Both titles were written by Johnny Harris. Don is the Coventry born singer who was originally with The Sorrows. On going solo his 'Indian Reservation' was a big hit last year in America and Canada, and reached the top twenty in Germany and France, but did not make a big impact in Britain. The new release has a number of plugs lined up including Top of the Pops.


August 1970, a year after the Young Blood label are formed a party was held to celebrate that milestone. During that event a quote from Dave Lee Travis was read out 'I reckon your birthday present for 1970 will be a success and a monster from the overdue Don Fardon, so to everyone a little prediction – if you want to make sure of a room, make your reservation now'. Sure enough, by October 1970 Indian Reservation had been re-released. But the only review I can find for it was not to kind:

1970 Indian Reservation / Hudson Bay:

This re-release be-moans the sad fact that us naughty Westerners schlammed the good old Indians off their peace-loving reservations and filled their beautiful country with gas stations and rail-roads. Trouble is, the protests too late and the tune is too boring.

Indian Reservation became a huge hit and, by 1971, Don was now getting long overdue recognition:

1971 Girl/Sandiago:

Be fair, Don has a very distinctive and expressive voice. It was very unfair that he had to wait so long for 'Indian Reservation' to put a bit of extra weight to his reputation. Don at his most, let's say throaty, early on – and in the chorus, he's joined by a high flying group. Fine use of piano and excellent percussion. Almost a join-in-hand gospel feel as it builds. Though it's not always 'on' to predict a follow-up in these cases, this is both commercial and extremely well sung. A lot of credit goes to producer Miki Dallon, but in the end it's all up to the towering Mr Fardon.

After his time as a hit record maker Don went into and, made a success of, the leisure industry where he ran several pubs and hostelries.

The Sorrows 1965

 

The Sorrows 1965

by Pete Clemons

I love reading old record reviews. The phrases and the use of words back then does brig a smile to the face. I recently found a few relating to The Sorrows. They cover the first three singles the band released during 1965. The first two records barely dented the UK singles chart. But the third, 'Take a Heart', achieved a degree of success which got the band more nationally known.

1965 was clearly an important year for The Sorrows. The first review, which is more of an overview, introduced the band to the wider listening public. It explains who is who and who plays what. Along with a little bit of background information.

'Send The Sorrows to Coventry and they wont mind at all. It's actually their home town. And incidentally, the five lads have nothing to be sorrowful about, following their debut disc, 'I Don't Wanna Be Free', on Pye Piccadilly. Big sound. Big beat. The quintet have been together only since March 1964. But they were individually with other groups earlier. The mates line up: Philip 'Pip' Whitcher, 21, motor racing fan and future restaurant owner: Philip Packham, bass, 19, young gent who started at 13 with a group, The Vampires: Bruce Finley, drummer, 20, member of a pipe band at 15, former bus conductor: Wez Price, rhythm guitarist, 19, started on banjo at 11, one time aircraft factory worker: Don Maughn, singer, 23, formerly a group manager who stood in one night for the vocalist.....and founder member with Pip of The Sorrows. Don, by the way, say's he'd like to own a 36 bedroomed house with a swimming pool. Agent Drew Harvey really hauled them out of a bad spot in their career, sent them to Germany for a month......then got them their Pye record contract on their return. They swing. Nothing sad about The Sorrows'.


Baby / Teenage Letter:

'A very jerky item, which seems to take ages to get off the ground – at first hearing anyway. But the tempo picks up after about eight bars and routines into a steady beater. At least it's different!. Nice backing'.

Baby......

Teenage Letter.....

I Don't Wanna Be Free / Come With Me

'Good husky lead vocal on a minor rave up. Guitar, strangulated in sound, dominant bass figures, and answering phrases. This is a saleable commodity, though it could get lost in the rush. OK for a fast dance up'.

Take A Heart / We Should Get Along Fine:

'Coventry's Sorrows have come up with a moody, sinister piece dominated by bass guitar and drum figures. The excitement builds and, given the right plugs, this could make it'.


Another review for 'Take a Heart' said........


'The Sorrows inject a compulsive beat into 'Take a Heart'. Drums and bass guitar support the quietly throbbing opening, then in come the twangs. The boys also wrote the forceful unison-vocal, beat-ballad 'We Should Get Along Fine'.


By mid 1966 both Don and Phil had left The Sorrows. The band re-grouped, re-shuffled, brought in Roger Lomas, and headed off to Italy for stadium tours.

I Don't wanna Be Free....

Come With Me....

Take a Heart ...

We Should get Along Fine...

The Pink Floyd 1966

 

The Pink Floyd 1966

by Pete Clemons

The music media world has been gradually gearing up for Dark Side of the Moon's 50th birthday. Released in 1973 it is a wonderful record that has stood the test of time. Some may remember that this momentous album, albeit in it's then working format, was performed in Coventry a year or so before it's official release. Having written a blog on that event, several years ago, I decided to mark 'Dark Sides' half century by putting a few words together as to how The Pink Floyd first had their break.

First, you need to go back to 1965 when an office called the London free school was formed. It focused on changing society. I guess it was more an ideology. It was a middle class attempt to help the working class. Helping people with benefits and rights, that kind of thing. It was a mix of individuals and the school was based in Notting Hill area. Those individuals included Pete Jenner, who later became Pink Floyd's manager, record producer Joe Boyd and John Hopkins, a visionary.

In order to survive the free school needed money. To get money the school organised events, such as carnivals, in order to bring in much needed cash. Some of those events were sometimes known as UFO's. One fund raising event to be held in a church hall during 1966, and requiring a band, became an early gig for The Pink Floyd.

The Pink Floyd were Syd Barrett guitar and principle song writer, Roger Waters on bass, Richard Wright on keyboards and Nick Mason on drums. Syd and Roger had developed ideas as 13/14 year old's. An even earlier friend, David Gilmour, had taught Syd the basics of guitar playing at an even younger age.

Syd was particularly was creative. He was enchanting, good looking and had an aura about him that left you never truly understanding where or what was in his mind. Syd went down to London and hooked up with his friends who were, by now, there for study and had also flirted with other bands.

Syd had a bounce in his step. Walked on his toes. And he brought that bounce to way he lived. He was 'very Tigger like' according to Roger Waters. Roger also mentioned that Syd 'knew who the band 'Love' were, whereas I couldn't give a shit. He was a rock n roll student'.

Nick Mason, who had hooked up with Roger and Rick at art school, said 'Syd was nice guy. He did all the creative work. He was easy to work with. He provided the songs. But he was not a director. Everyone else did what they thought was right for the beat'.

Rick Wright articulated it all. Nick and Roger, helped create a rhythmic thing, but also had a good time and seemingly enjoyed the rock 'n' roll lifestyle.

Pete Jenner had seen The Pink Floyd play, at an afternoon gig, at the Marquee club sometime during mid 1966. At that time the band were basically playing jams to very primitive lights shows. Syd Barrett and Rick Wright led the wall of sound. The Pink Floyd also played with lots of reverb, repeat echo.

Late 1966 saw the UFO club become a permanent UFO establishment. Based on Tottenham Court Road, London, it quickly became the centre of the underground scene. The light shows were being improving as the innovators had now moved on to oils on glass. The psychedelic thing had not yet reached the general public. And few attendees left the club before sun came up.

The Pink Floyd were established as the house band. A typical gig involved lights projected onto the band so they became difficult to see. They were anonymous makers of sound.

According to Roger Water, who is more succinct about it all, they were essentially 'a blues band with a weird noise behind them. Rather than 3 minute songs they stretched things out to 7 minutes. They played simple riffs. A riff twice at beginning, don't change chords, then play free form over minor chord, then 2 riffs at the end. It was all very improvisational'.

As a song writer Syd Barrett was original and wonderful. He was avant garde but also had a rock 'n' roll edge. He would detune his guitar. Syd had the sensibility of that time.

Roger Waters has said that he 'cannot really remember the underground scene. I certainly do not remember anything fundamentally revolutionary. I am very blasé about it. We had a management that promoted us. The Pink Floyd were there and were available'.

The Pink Floyd recorded their first single, 'Arnold Layne' with Joe Boyd. It was released in 1967. Of their material, it was one of the more suitable. For the purposes of air play the single had to be a more radio friendly 3 minute song. Giving what the band were becoming more well known for Nick Mason mentioned it as 'a real surprise when single was released'.

Another fundraising event which featured The Pink Floyd was the 14 Hour Technicolour Dream event held at London's Alexandra Palace. This was organised by Barry Miles and put together to raise funds for his International Times (IT) magazine. Pink Floyd's now legendary performance began as new dawn was coming up.

The stage was built 6 feet high so all crowd could see all the acts. An eye witness said it was astonishing and very powerful as the early morning light glanced onto Syd's silver guitar. Once more the band played a series of long improvisations. Roger Waters thinks that the band had played in Holland previous evening and went straight to the Ally Pally from the airport.

What, for many, was a legendary, almost spiritual event was again played down by Roger Waters. 'We entertained the crowd by twiddling knobs on a beat frequency oscillator. A tone generator'. Incidentally, the technicolour dream event was bookended by gigs in Rugby and Coventry.

It was at this time, though, that Syd Barrett was beginning to struggle. Before 1967 was out The Pink Floyd were beginning to fall apart. But recover they did and, several years later, they created the timeless Dark Side of the Moon.