Welcome to Sleep Town.....Vance Anderson

 Welcome to Sleep Town.....Vance Anderson 

By Geoff Veasey

Post supplied by Pete Clemons

......" Dream Carefully," Vance Anderson and I would sing together, during the happy days when he was the drummer and I was the singer in a Coventry based Rock combo called Black Parrot Seaside. I just heard the devastating news that Vance has now actually begun his final journey to Sleep Town, over in the USA. What a talent. What a career. What a great band member to have. RIP brother.

Vance was the first musician we recruited by interview, having parted with several of our previous percussionists. His "audition" was astonishing. We'd never seen anything like it. We wanted to go heavier: we had bought a big P.A. We were growing our hair out. We wanted a bass player and drummer who could drive our songs-many of them our own compositions-and project us into the top drawer of Rock Goddery.

That actually never happened: not even close: but for a while Dave Anderson (as he was then known) was our distinctive, flame haired talisman. He was the only one we auditioned: we didn't bother with any more. He downed half a bottle of brandy before launching into an accompaniment which immediately fitted the music. His time keeping and mastery of the kit just blew us away. Working by day driving a truck delivering tyres for Dunlop by night he would don leopard skin pants and woolly waistcoats to go ever so slightly bonkers from behind stacks of high hats and snares. In the grainy old photo below Vance is second from the right. Wearing slightly less than usual. Alas, three of this line up are now no longer with us.

I have only croaky old fuzzy recordings of Vance's fiery work on songs like "Brutus" "Sleep Town" and "Small Maladjusted and Mean," but all those years later on it remains amazing. Vance (as he soon re-christened himself) bought into the whole BPS thing. All of us had silly stage names like Ted Explosion and Orville Cosmo. We dressed up. We had stage props. And so Dave became Vance Ectomy. (See what he did there?) and joined in enthusiastically.

We performed angry, waspish, loud songs with vitriolic lyrics. We lampooned Punk, Rock, Folk, Country & Western and Reggae. We got "paid off" (i.e. asked to leave usually via a back entrance) before the end of an evening at a few gigs where we had antagonised the management or wound up the audience with what is nowadays called attitude.

All this was right on the cusp of the Punk Revolution although we were not really aware of that at the time. We were more influenced by other angry bands like Heavy Metal Kids, The Sensational Alex Harvey Band and Edgar Broughton. We also shared a great fondness for the Bonzos. In one song we staged a mock fight. It was all choreographed: a regular part of the act but one night upstairs at The Golden Cross we forgot to warn the Guv'nor beforehand. When I grabbed Vance round the neck and dragged him off his drum stool, bar staff came out from behind the bar with a baseball bat and unleashed the pub Doberman. It took a while to calm things down.

We developed a bit of a reputation. At a very early Godiva Festival some of our followers assured us that such a prestigious appearance would be enhanced by some pyrotechnics. What we didn't anticipate was a huge rocket going awol and detouring through the Police tent. Mercifully, no-one was hurt, the audience thought it was part of the act and the bobbies were very understanding as we apologised profusely.

In Cov we played pubs like The Climax, The Craven Arms in The High Street, The Dive Bar, The Campbell The Dog and Trumpet and The Smithfield. We played The Lanch (later Coventry University) and Warwick University. The students also greatly enjoyed Vance and I play fighting. A few joined in and suddenly an armchair found its way off a balcony and onto the stage. We also played a Melody Maker audition at Warwick, where for reasons I cannot remember, we destroyed a full sized mock up of a grandfather clock on stage.

We ranged further afield. Birmingham University. Nottingham University. Bogarts-a popular club right in the heart of Brum. We started getting support gigs. To Rocky Sharpe (later The Darts) at Hitchin Poly. Opening for East of Eden at another infamous gig in Nuneaton.

We were doing all right, the audiences were mostly getting our cryptic weirdness and we knew we being scouted by an agent or two. We even had some proper photos done at locations like Sutton Stop and Brandon Woods.

Throughout, Vance kept us tight. He could improvise when necessary but could also be very disciplined. We knew that we could not hang on to him for long. He was talented, ambitious and keen to progress. We could not satisfy his hunger for gigs and for performance so in a totally amicable parting, he joined another Coventry band The Flys, They were getting far more gigs than we were. We were signed up and briefly were on the same label. Vance's departure could have broken us. He was irreplaceable and so we slid gracefully into Folk. We never had another drummer: barely even mentioned percussion again.

BPS continued to slumber and awaken in various formats until 2014 when we played our last gig together and finally went our separate ways. Vance lost the "Ectomy" and became Vance Anderson. He was known as that for the rest of his life. He continued to keep in touch, taking an interest in what we were all up to. When I started doing radio he sent me promos of the bands he was discovering out in Florida and I played them on air (Still do: The Well Pennies is one example).

Abroad he thrived and achieved his ambition to work in music full time. Vance worked ( I think ) with Diana Krall, Stevie Wonder and many other well known acts. He clearly had an affinity with Tony Bennett and was distraught when he died recently. I bet they are having a gas up there together now.

The Session – 21 years

 

The Session – 21 years

by Pete Clemons

It's been said that the first 21 years defines the career of an artist. Few bands have single-handedly shaken up the local music establishment like the originality and longevity of, The Session.

Their compelling celebratory concert at the HMV Empire took you on a journey into the band's style, skills, and motivation via their family, friends and past band members who were all in attendance.

From the brooding 'When She Smiles' to the strident and exciting 'Jailbird' which effortlessly segues into 'Ohio', The Session have just reached the 21-year mark and have unapologetically carved their signature into Coventry pop culture.

During the build up to this gig i had noticed a series of, sometimes, raw and honest social media posts relating to the band from the perspective of the main protagonists. These candid conversations from both Dean, Sheryl, and others associated with the band, never shy away from their pride for The Session. And rightly so.

Those stories and anecdotes were brought to life through a selection of music that covered the entire duration of the band. Additionally, their rich back catalogue was plundered. Songs, never played live before, were aired for the first time.

The Session are a band that have become well known, within the area, for celebrating the cool and the casual, They have emerged as a surprisingly strategic and visionary outfit. Together, for over 2 decades, they have established a legacy and perfected a style that can't be denied.

An achievement to be proud of by any measure of standard.

Resonation

Video by Mick Kerrigan

Lanchester Festival 1972 – Roland Kirk

 

Lanchester Festival 1972 – Roland Kirk

by Pete Clemons

I had long thought that, when Pink Floyd appeared at the Lanchester Arts Festival 1972, that they had replaced David Bowie on the bill when they appeared at the Locarno. But it appears that this was completely incorrect. Yes, David Bowie had been scheduled to appear at that particular festival but it seems that his withdrawal was for entirely different reasons.

According to notes by festival organiser Ted Little that were released to a national music magazine it was stated that: David Bowie, a late addition to the Sunday evening concert, became a last minute withdrawal due to his management having second thoughts about his suitability for a festival topped by Rahsaan Roland Kirk.

The main interest in Kirk, who appeared at the 1972 festival but on a different evening to the Locarno gig, centred around extracts from the new material from his, then, new album 'Blacknuss' featuring compositions utilising only the 36 black notes on a piano.

Blacknuss was released by Atlantic Records and is Roland Kirk at his most visionary. As reported at the time 'Blacknuss is as deep as a soul record can be and as hot as a jazz record has the right to call itself'. Some of the arrangements are guitar heavy and the backbeats are decidedly uncouth, and that the record label probably influenced the choice of material, but that Kirk was comfortable with playing it'.

Kirk appeared in Coventry several times and was always a popular figure on the live circuit at that time. He also influenced a wide range of musicians. Many of who cited his albums as inspirational.

Track Listing for Blacknuss



1. Aint No Sunshine (Bill Withers)

2. What's Goin' On/Mercy Mercy Me - The Ecology (Marvin Gaye)

3. I Love You Yes I Do (Chris Allen, Johnny Cameron)

4. Take Me Girl, I'm Ready (Johnny Bristol)

5. My Girl (Smokey Robinson)

6. Which Way Is It Going (Rahsaan Roland Kirk)

7. One Nation (Princess Patience Burton)

8. Never Can Say Goodbye (Clifton Davis)

9. Old Rugged Cross (Traditional)

10. Make It With You (David Gates)

11. Blacknuss (Rahsaan Roland Kirk)


Incidentally and, interestingly, the set list for the closest date I can find for that cancelled David Bowie concert was as follows:



1. Fill Your Heart

2. Buzz the Fuzz

3. Space Oddity

4. Amsterdam

5. The Superman

6. Oh You Pretty Things

7. Eight Line Poem

8. Changes

9. Song For Bob Dylan

10. Andy Warhol

11. Queen Bitch

12. Looking For a Friend

13. Around and Around

14. I'm Waiting For The Man

Blacknuss

Incredible String Band - Coventry Cathedral 1970 (Cancelled)

 

Incredible String Band - Coventry Cathedral 1970 (Cancelled)

By Pete Clemons.

Cathedral intervention. Just as it seemed as though the new Coventry Cathedral was going to relax its policy of holding amplified gigs indoors.

During 1970 Coventry Cathedral authorities clamped down following complaints over The Pentangle concert and subsequently caused the cancellation of the performance in the Cathedral of the Incredible String Band during that years Rag Week.

During July permission to hold concerts in the Cathedral was obtained from the Provost. In October at a discussion with the Musical Director of the Cathedral, Mr. Lepine, the Committee were told to go ahead and book the artistes. He imposed no conditions except for the hiring charge of £25.

Last month Tony Phillips, the Rag Chairman, saw Mr. Lepine again who informed them of the problem with acoustics. Many people had walked out of the Pentangle Concert because they could not hear, and a similar complaint had also been received over the Jacques Loussier Concert last November. He also said that there had been much pressure on the Cathedral both from above and from certain sectors of the public over the Concert.

The indignation seemed to centre on the inappropriateness of a modern pop-folk musical group performing in a church. Though normally he would have been able to give the go-ahead, he felt that the changed situation needed further confirmation from the Provost. The Provost confirmed the bookings but said to contact Mr. Lepine again as time was short. Mr. Lepine then communicated a new rule of the Provost: no amplification equipment of any sort to be allowed in the Cathedral.

This was the Cathedral's solution to the echo problem created by the amplifiers - the sound carried backwards to the Altar and then rebounded, echoing down the length of the nave. The Rag Committee, however, believe it is no solution merely to bar amplifiers, but that experiments should be made with stage and speaker positions.

It would be impossible, said Tony Ward, to have the Incredible String Band and the Modern Jazz Quartet play without amplifiers, because some of their instruments are so quiet that no-one would be able to hear properly. When Tony Phillips, Tony Ward and Pete Herd saw Mr. Lepine to arrange the conducting of such tests, he said they had to use the Cathedral as it was, with no rearrangement of the seats etc. because it was a church.

He also referred them to the Provost for permission to carry out these tests. Here they met a blank wall. An interview arranged for Frank Harris and a Director from Midlands Sound Services to see the Provost was cancelled at the last minute on the grounds of there being nothing to discuss, the decision already being made.

Conversation became quite heated when Frank Harris spoke to the Provost on the phone a week later, but still no luck. Finally the Committee managed to book the Methodist Central Hall (off Hertford Street) for the Modern Jazz Quartet on Friday March 7 but it was booked-up for March 4 so the Incredible String Band had to be cancelled.

The Central Hall holds 1300 as opposed to 1800 in the Cathedral, but acoustics are infinitely much better. The net result will mean an overall profit of only around £200 for the single concert in the smaller hall, losing an extra £700 which would have been gained from the original plan.

Waterfall - Gilly Darbey Keith Donnelly, Martyn Oram

 Waterfall - Gilly Darbey, Keith Donnelly, Martyn Oram.

by Pete Clemons

I read recently that Gilly Darbey, one time student at Warwick University, one time member of folk group Waterfall and now resident of New Zealand, is returning to the UK. A concert is being organised by the good people at CV folk who operate at the Albany Theatre. Here is a little bit of history about Waterfall as written in a Warwick bulletin. It also includes a review of concert Waterfall performed at the university.......

Waterfall are an acoustic trio who originated from the Folk Clubs of Lanchester Polytechnic and Warwick University. Gilly Darbey was a regular singer at the Lanch Folk Club while she was at the college and gained a reputation for being an excellent vocalist, as well as having a thriving fan club.

Keith Donnelly and Martyn Oram, meanwhile, were gaining a following here at Warwick with their singing musicianship and songwriting although Keith's jokes were received in the same style as one too many pints of Rootes cider.

The summer of 1977 proved to be a sad term for all those involved in the university folk clubs were leaving to take their places in society. Waterfall however, decided to turn professional and attempt to make a living on the folk circuit, as they had, by this time established a growing reputation in the local folk clubs around Coventry and Leamington.

The final folk club of that term was a very moving occasion for all those present, with everyone preparing for the traditional farewell songs, when Waterfall gave their first performance at Warwick of 'And For You', a song that summed up the mood of the evening beautifully.

All those present joined in as if they had known the song for years. Although one line of the song goes: 'We used to sing for you when we were two, yet very much as one', the words seem truer now than they did then because, early in 1978, Keith and Martyn teamed up with Gilly Darbey, whose amazing voice added an entirely new dimension to the group.

Over the last two and a half years Waterfall have gone from strength to strength, gaining a reputation on the European folk circuit in Holland, Germany and Switzerland, to name hut a few and are at present on a tour of Geordieland (Keith's home country).

Waterfall have released two albums as a group; the first featured just Keith and Martyn playing most of the material they wrote at Warwick and as it was produced privately, lost a lot in the sound quality of the recording.

However, their second album, which includes Gilly, is a thoroughly professional job, and contains a variety of song styles, from the sensitive 'Swansong' and 'Three Birds' to the more up-tempo 'Smiler', This album is currently available in record shops, but for those of you who would prefer to hear a sample of the album's material before you buy, the record will be on sale at the Firkin Folk Club Christmas Party.

We are assured that a lot of what they'll play is on neither album, however, so those of you who have heard Waterfall before will have some new treats handed to you.

Website http://www.martynoram.co.uk/waterfall.htm

An article on Waterfall from the Hobo Coventry Folk Club blogger 

https://coventryfolkclubs.blogspot.com/2011/07/gilly-darbey-coventry-singers.html

NEW - PART TWO NOW ADDED 16 SEPTEMBER 2023

November 77 - Waterfall, Keith Donnelly and Martyn Oram, finally took an evening off their current jobs playing in a country band to return to where they started for a whole evening of familiar songs, jokes and farces.

However, some of the material they played was unfamiliar even to those who had seen them regularly in the past two or three years and in some ways their set suffered because of this. They seemed either very nervous or under rehearsed or both for this was the weakest Waterfall performance I have seen

There were several obvious errors: forgetting some lyrics, messing up the tune of other songs and playing a badly structured set probably because 'we've had lots and lots of requests so the second half is cancelled, sorry, mainly requests'.

For one of the encores following Martyn's excellent Troy Tempest impression they were joined by Sue Hammond for 'Mozambique' a song which highlighted their problems of the evening mentioned above. On a good night their version can at least equal the power of the original but not that night.

However don't let this stop you seeing them or buying the album for even on a night like last Wednesday, they are still at least as good as many of the other acts who have been professional for several years.

February 78 - The Warwick folk club debut of the new augmented Waterfall with Gilly Darby (Gillyfall?) showed the new Waterfall to have an even more promising future than the old.

February 79 - Firkin Bar (Warwick folk club), Warwick Universities own Waterfall - Keith and Martyn, now firmly augmented by Gilly and her fabulous voice, are currently recording their second album having been signed to the major contemporary folk agency. Wonderful players, jokers, songwriters and much more.

By 1983 folk clubs were in decline and, as such, finances were not what they were. Also, Waterfall were back to being a duo when Martyn Oram left the group during 1982. Waterfall were not keen with being tagged as a folk group. The group were now based in Leamington and the band were in financial trouble.

All this despite building up a decent following all over the world including in Germany, Cyprus Japan and, towards the end of 1982, the Falkland Islands.

Waterfall had played to the forces before they were invited to warm up those service people stationed on the islands. Keith admitted that the decision to go was not an easy one, due to the 'political implications'. They performed 18 shows in just 10 days, playing to the civilians as well as to the forces.

Sadly Waterfall never really became nationally known outside Folk circles. They did record two albums with small independent companies but both never really had a chance of being very successful.

Unhappy at being called a folk group the duo apparently struggled to find an alternative genre to fit into. A name change was hinted upon. During an interview Keith mentioned that 'Someone once described the music as adult orientated rock - I liked that' he responded.

The name change did happen. Future music was released using the name 'Nothing by Chance'. This they used for a good number of years after.

10 years of Freedom to Glide

 

10 years of Freedom to Glide

By Pete Clemons

And then one day you find ten years have got behind you.

Musicians often write in predictable ways but when it come to Freedom to Glide (F2G) that is not necessarily the case. Their style is to write epic's that include musical of attacks on war and those that wage it. On their initial albums world war 1 comes under particular scrutiny. The futility of it all, the consequences and its destruction - as well as its long lasting and damaging effects.

The lyrics are the most startling part of that trio of albums that also includes many strong musical moments and some excellently recording work. A fourth album appeared soon after the current conflict. It was a thought provoking response to events. And posed the question: 'we thought, as humans, we were well past this kind of thing'.

The initial trio of albums record weaves through several themes. These include fury at those leaders who make political gains out of conflicts. And, whatever else one might think about these albums, it’s ambitious stuff. Yet, at there heart there seems to be a sense of compassion.

I asked F2G guitarist Andy Nixon if, ten years or so ago when the project first began, it had been a conscious decision to concentrate on the subject of war?

He replied that 'it was a conscious decision to write one album (RAIN) but it kind of just kept flowing after that. Once we were on to the second album then the thought of a trilogy seemed like a good idea! I had so many ideas for lyrical angles and we had a reservoir of musical ideas that a trilogy didn’t seem at all daunting. Though the work involved was a marathon with the writing, arranging, recording, mixing, production, PR etc etc. All worth it though of course, the final result has been so well received'.

Rain, released during 2013, was almost 3 years in the making. Apart from the WW1 references World War 1 the album showcased the talents of both Andy and keyboard player Pete Riley. The pair were performing in a Pink Floyd tribute, and that influence is very evident in their work. Fall, the second album, was released on the 100th anniversary of the first day of The Battle Of The Somme during 2016. A third album, Seed, followed during 2019. Album 4, The Chronicle Of Stolen Souls, was, as mentioned, spurred on by current issues.

Fear and isolation find a role within the narrative along with a great deal of atmospheric detail that reveal a wider world and deeper grief. From both the emotional and technical perspective, there are some wonderful moments within these albums.

For all the ire and condemnation within these albums, there is also a deep undercurrent of melancholy and an understanding of the loneliness which follows. There is also a calling for human connections in the face of loss and sorrow. One can feel utterly alone yet, at the same time, surrounded by friends and family. All in all, powerful subject matter. Check out Freedom to Glide's work on their bandcamp page.

Freedom to Glide Bandcamp https://freedomtoglide.bandcamp.com/

Homepage https://freedomtoglide.com/