It was the year that punk rock was tearing up the UK. The Sex Pistols to down play Warwick. Yes, Warwick Uni Ents Society were offered the band for their Xmas Party provided the gig was unannounced. It was a major scoop but then the problems started.
The tour dates were rearranged by a week, the students would have returned home. This meant scrapping the arrangements put in place at Warwick. It was decided to switch to Mr. George's club in Coventry city centre. However, Warwick Uni did have it on good authority that if Ents team were offered the Pistols again they would accept them if conditions are met.
The Warwick Xmas Party was not scuppered though. It did go ahead and, replacing the Pistols, were the excellent Bethnal. Bethnal had recently completed their first album and very good it was too. On the night they brought the crowds to their feet.
Bethnal were not exactly a regulation issue new wave band. To be more precise, Bethnal were a four piece band who sang about life in '77. They were formed by Nick Michaels (lead guitar & vocals) and Pete Dowling (drums), while they were at school in Wood Green, London. They were later joined by Everton Williams (bass) and George Csapo (lead vocals, keyboards, & violins) both also from the same school.
Parallels, although very apparent were drawn to The Who. In the main because they chose to produce a version of the classic 'Baba O'Reilly' which Pete Townsend claims to prefer to his own. But it was, I thought, an unfair comparison. The other song on the album which drew attention was the single 'We've gotta get out of this place' - an old Animal's number.
There was so much excellent material of their own on that album. Their songs were undeniably political as titles like 'Soldier Boy' and 'Where do we Stand' professed. But unlike many of the 'new wave' bands that had sprung up, this does not lead them into an angry mindless tirade against society. Their lyrics are considered, as is their music, and the result is a well structured album which is both provocative and melodic.
Over at Canley College, their own Ents team had put on a second fun date. This time with Ricky Cool and the Icebergs the popular 1950s revival rockabilly band. Ricky Cool (real name Richard Coolham) brought with him a natural born wit. His between numbers banter was as funny as any comedy routine around at that time.
Ricky was backed by six excellent musicians, including the famous 'Tennessee Stud' on pedal steel guitar, the notorious EI Rancido. The ‘Doctor on keyboards, Kenny Megre, Johnny Iceberg on drums and Alec the bassist. Ricky play : blues harp (mouth organ to you) and the rare Fender Codgicaster (only two ever made apparently).
It was advertised that for the Canley party there would be a 'Highest Stiletto Contest', 'Free Style Jitterbug competition' and an 'Ice Cream Soda Bar'. Additionally there would be a disco and the evening would a 1950's US forces style with G.I.. Uniforms were warmly welcomed. Music would be heard to be playing loudly till 3.00a.m.
A happy new year to anyone who cares to read this.
The Belgrade Theatre opened their new intimate live music and theatre space, 'The Venue', later renamed to The Depot, during early October 1980. This innocuous looking building that sat on a, then, car park across the road at the rear of the Belgrade Theatre had, I understand, previously stored props and costumes.
The first presentation it staged was with a production of 'Sorry' by Vaclav Havel, a play about a dissident writer in Czechoslovakia. Vaclav Havel was, at that time, been Czechoslovakia's greatest living playwright. During that occasion Vaclav was currently serving a 4 and a half year prison sentence for his involvement in the dissident Charter 77 and related Human Rights groups. His plays had been banned throughout Eastern Europe during a period of time when things were very different.
It was also promised that The Venue would be presenting live music by Coventry bands each Monday Night. And so it happened. Later on during that month saw the Reluctant Stereotypes opened a series of Monday night gigs.
The venue was given high praise. It was described as very accessible, had a great atmosphere and some really good bands signed up to it. Plus, the gigs were an affordable £1.00 to get in.
The hype sheet for the Stereotypes read as follows: 'They have been together in their present form for about ten months. Founder-member and Big Daddy of the band, Steve Edgson, remarked, I've been playing in bands for eight or nine years, and more has happened in the last few months with the Stereotypes than in all that time with other bands. The writing talent is down to the two Paul's - Paul King, vocals (ex-Coventry Drama School) and Paul Samson, lead guitar and vocals (ex-apprentice fitter!). Steve Edgson on clarinet, a rather earnest nice-guy, brings together a consistent, individual sound in the band's music. Base guitarist Tony Wall and drummer Colin Heanes, complete the 5 man set-up. No labels for the music but touches (?) of jazz, rock, ska, reggae... The band is a band; the vocalist is something else: very stylish, very beautiful, he incorporates formal mime in his presentation, and makes Kate Bush look like a learner in the process.
The venue attracted the likes of The Swinging Cats, God's Toys, Urge, The Mix and Attrition.
The next production at The Venue was titled 'Have a Nice Day'. It ran during November 1980 and it was performed by the Belgrade Theatre in Education Team. Again ticket prices were held at £1.00.
The following year saw productions such as 'Dangerous Girls' and the acclaimed 'Risky City' written by local playwright Ron Hutchinson. Risky City alluded in particular to Coventry. Additionally the play incorporated music by the 'up and coming Wild Boys'. Most of the action was set in a Night Club. The plays director, Michael Boyd, believed that 'the group s music had the right balance of aggression and containment', for a play dealing chiefly with the harsh realities and violence from the contemporary clash between youth and society. It was well worth seeing. And maybe demands to be revisited.
The importance of Coventry punk rock band, Squad, cannot be
understated when it comes to local music history. Formed during November 1977
and struggling on through till around 1980 they played many gigs locally in a
variety of venues. Often on the same bill as The Automatics.
Lead singer Gaz 'Gus' Chambers appeared to have a love/hate
relationship with Coventry where they thought that they were seen as a joke.
And that assertion couldn't have been further from the truth. Reviews of Squad
outside of Coventry were more than favourable.
Gus once commented, via Alternative Sounds, about a scene he wanted to build up
in the city. But then he railed against the 'tits' that turn up to each gig and
spoil it for everyone. 'Fans' were also accused of being more interested in
what was happening in the audience rather than in the music.
Money was also an issue too. During the same interview Gus mentioned how Squad
couldn't possibly progress as a band when half the audience were getting into
gigs for nothing. Like a lot of bands back then they were ripped off by their
own fans who would enter venues without paying.
Gaz began at Warwick university 1974/75. He was an incredibly
principled guy. Quite quickly he began to stamp his mark on the campus. Several
times he stood, for the broad left, in Coventry Area Student Council (CASC)
elections. Tuition fees were a particularly bug bear. Time and again Gaz railed
against them.
1977, and after running the election favourites closer than expected, it was
reported that a celebration event by the eventual winners was marred by an
eventful appearance by Gaz. 'The representative of the Coventry Area Students'
Council, was not invited to the gathering, as he is not a member of the
executive'.
The report continued 'Chambers was seen, quite late in the proceedings, to
enter the room surreptitiously and help himself to liberal quantities of food
and wine. The union president discreetly informed Chambers that he was not
invited and asked him to leave. Chambers took the hint, but picked up an
unopened bottle of wine as he made for the door. When asked to leave the bottle
behind, Chambers, in a fit of pique, tossed his loaded plate onto the floor,
tipped his pint glass of wine over a table, dropped the glass onto the floor,
and departed'.
Gaz did become CASC general secretary towards the end of his
time at Warwick.
On leaving uni Gus returned to the Warwick campus soon after as his band,
Squad, were support to The Specials during February 1979. Squad (I have assumed
line up 3) were described as a 'high quality, high energy punk band'.
'The drummer, bassist and rhythm guitarist provided a very
high beat upon which the singer super imposed his distinctive voice. The best
song in their set was an adapted form of 'The Bells are Ringing for Me and my
Gal'. 'Millionaire' proved that the band's rhythm held together even at high
speed, not a characteristic of many punk bands. Other songs included 'The
Flasher' which was the trigger for an outbreak of rowdiness'.
It appears that scuffles escalated during Squad's last number, when a minor
disturbance broke out among thirty or so fans. This continued for some time
until stewards formed a wall in front of the audience to prevent them from
leaping onto the stage. An eye witness, re-marked "The stewards showed
remarkable restraint under extreme provocation."
However the Arts Fed house manager claimed another side to
the events. 'Two of our stewards refused to wear Anti-Nazi League t-shirts. He
also accusedGus Chambers, as being
responsible for some of the charges towards the stage.
Guitarist Ade Dix let me have a few notes from post Squad
days: 'I didn't see Gus for years after the punk thing moving forward to the
early 80's but I remember seeing him down the Dog and Trumpet and he said that
he had been working in a Siberian salt mine, I don't know how true that was but
I wouldn't put it past him as he was some character!. I know that he went on to
play with albeit briefly with another band ( I'm thinking they were some sort
of Napalm Death type metal band) as I recall seeing an article and photo
somewhere, I think that they had a record deal, could be wrong?
Sadly the next thing I heard was that he had passed away, he must've only been
in his thirties, he was about our age as we're all the original Punks'.
Squad were an incredibly fluid band. Using pieces of
information from different sources I have attempted to document the evolving
line up's of the band during its lifetime. They are not meant to be a
definitive. It is open for debate. I am fairly certain other line up's
represented the band. But I do think it is a decent start.
Squad 1
Drums: Billy Little
Bass: Sam McNulty
Guitar: Scully
Vocals: Terry Hall (left to join Specials Dec 1977)
Squad 2
Drums: John Hobley
Bass: Sam McNulty
Guitar: Ade Dix
Vocals: Gus Chambers
Squad 3
Drums: Rob Hill
Bass: Sam McNulty
Guitar: Danny Cunningham
Guitar: Scully
Vocals: Gus Chambers
Squad 4
Drums: Rob Hill
Bass: Sam McNulty
Guitar: Danny Cunningham
Vocals: Gus Chambers
Squad 5
Drums: Marc Hatwood
Bass: Sam McNulty
Guitar: Danny Cunningham
Vocals: Gus Chambers
Recorded Red Alert (McNulty)/8 Pounds a Week (written by
Chambers/Ade Dix – uncredited) 1978. It cost £440 to make 2000 copies. Despite selling
out the band made nothing.
Squad 6
Drums: Rob Hill
Bass: Sam McNulty
Guitar: Danny Cunningham
Vocals: Gus Chambers
Recorded Mi££ionaire/Brockhill Boys (written by Chambers)
1979
Squad 7
Drums: Steve Young
Bass: Sam McNulty
Guitar: Danny Cunningham
Vocals: Gus Chambers
Squad 8
Drums: Steve Young
Bass: Nick Edwards
Guitar: Danny Cunningham
Vocals: Gus Chambers
Squad 9
Drums: Steve Young
Bass: Nigel Mulvey
Guitar: Johnny Adams
Vocals: Gus Chambers
Finally, returning to Gaz's days at Warwick university,
another incident was reported as follows: 'I hear that certain members of the
"Broad Left" let it "all hang out" at a recent gathering in
a Tocil Flat (pronounced Tock Hill). Other occupants of the flat, curious as to
what was going on, were confronted by Gaz Chambers wearing only a smile
........ A peep inside the door would have revealed other .... er 'members' in
a similar state of undress'.
An inspiration for the Squads song 'The Flasher'?
My thanks to Ade Dix, Danny Cunningham and Steve Meehan in
helping me compile this article.
Despite returning to her home city of Coventry Gilly Darbey
explained how, having lived there for several years now, she now becomes
homesick for her adopted New Zealand and not so much the UK. Understandable I
guess.
Gilly was back in Coventry to visit family and took the time,
via borrowed kit, to play a couple of gigs. In this instance the foyer of the
Albany Theatre was treated to a pulsating and incredibly entertaining
afternoon.
This unique and engaging character brought with her a range
of stories about New Zealand
and others aspects of her life. Gilly captivated
the audience as she breathed new life into the songs yet, at the same time,
remained graceful and full of a natural energy. Humour was never far away
either. At times she was very funny.
Gilly's voice had range and control which enabled her to improvise where
necessary. Her choice of songs also varied. They spanned between her own
through to those written by Bob Dylan and Charlie Chaplin.
During the proceedings Gilly excitedly explained how, over in
her adopted country, she has teamed up with another familiar name who has moved
out there. Vicki Clayton. Together they perform as 'We Wayward women' or 'We
Wayward Divas'. For those interested, and with the power of the internet making
the world that bit smaller, I am sure YouTube can provide more about this
duo.
This free spirited lady was not, it appears, for turning back. I noticed Keith
Donnelly in attendance so I admit to having this romantic notion that there
maybe some kind of brief Waterfall or Nothing by Chance reunion. But it was not
to be.
1.Blow Me Home
2.Hurricane
3. Rockabilly
4. I Miss My Son
5. I Got You Horse (about a cavalcade in New Zealand)
6. Isolation Blues (Covid Song)
7. To Make You Feel My Love (Bob Dylan made famous by Adelle)
8. Oil in the Generator (About a partner who rejected her. Kept his feelings in
a box)
9. Bailey
10. Lets Just Breathe (Willie Nelson)
11. Big Yellow Taxi (Joni Mitchell)
Encore
12. Smile (Charlie Chaplin)
The set list above is by and large correct. I may have
misheard a couple of song titles so I improvised. Either way it was an absolute
joy to see Gilly. And hopefully she enjoyed it all too.
Last night should have been a happy occasion for the Silk Disco, a mobile discotheque that tours the Coventry area, because they were celebrating their 5th birthday.
A very special party for all their fans had been laid on at the Baginton Oak Hotel but the happiness soon turned sour when it was found that half of the disco's singles collection – valued at more than £1000 – had been stolen.
Today the two young men who run the disco, Mr Jim Twynham and Mr Graham Wood, are desperately trying to trace their stolen records and planning a new programme for a disco date tonight.
Both men decided to give a fifth birthday party for their fans some time ago and in order to make certain that everything would go off smoothly they left their equipment, including two large suitcases full of singles records at the Baginton Oak on Thursday night.
When they went back to the hotel last night to begin the party they discovered that one of the suitcases with records catalogued from H to Z had been stolen.
The pair are offering a £50 reward for information leading to the recovery of their records
The records were never recovered but they were actually stolen from the Baginton Oak when we were daft enough to leave them there overnight, having set up there the night before our 5th birthday party!
Chesford 1812/stables November 1976 to November 1982
Having worked for the new owner of the Chesford Grange previously (via the Hylands Hotel) we were asked to re-open the nightclub when it became known as the 1812.
Chesford Grange situated between Kenilworth and Leamington Spa had long enjoyed its reputation for its hotel facilities that included a massive ballroom (Once host to the Kinetic Circus which once was a venue for many well known bands) and its own nightclub. By the mid 70s it was not trading and put up for sale.
Without any redecorating, or cleaning the 1812 reopened in November 1976 and Silk provided DJ services and equipment several nights a week as well as providing disco's in other parts of the hotel.
The nightclub was then refurbished, twice, and a resident band, sound system and professional lighting installed. The club name then became known as Stables. At this point we sold our Transit Van and some of our lighting equipment.
Life at the Chesford was never dull and a book could be written covering all the 'stuff' that took place!. Great memories and happy times but when the owner did not want to give us a pay rise we said goodbye!.
3 Tuns Bull Yard, Coventry, Sunday's, Wednesday's and Saturday Lunchtimes June 1980 to October 1984
Through Jim's friendship with landlord Martin, Silk were invited to present a disco a the 3 tuns (No dancing and no lights). This took place on Sunday and Wednesday evenings plus Saturday lunchtimes.
Always a good crowd who were probably on a pub and club crawl through the city centre. We could keep the sound centre there and it was never a late night.
Ryton Sports Connexion 80s – Friday's April 1988 to August 1991
Around the early 80s we were asked to play for many private parties at the Sky Blue Connexion and became their 'go to' disco if one was requested.
In 1988 we started a weekly Friday evening residency which became a late night disco for the older age group who wanted a late night drink and dance.
Whilst the residency 'lost its appeal' in 1991 we continued to play for private parties until October 2003, our penultimate gig.
Not forgetting – short residencies and dates
Apollo Disco, Railway Hotel 1970 – Played 2 gigs here during January 1970 and had to purchase a couple of reggae greatest hits in order to satisfy the requirements of the organiser. It was not really our thing. Walsgrave Pub 1970 – Friars promotions decided to put on progressive nights and we played there on a few occasions. However the in house DJ gear was awful and the management poor. We had a growing reputation to consider.
Dive 1971 – The underground Dive Bar started to promote rock disco nights and Silk played there during November/December 1971 on Saturday nights. Unfortunately we were very busy elsewhere and not prepared to work for the very modest fee on offer.
Circles, Builders club (sacked for a mess) moved to West End WMC (Thursday's) 71/72
Locarno 1973 – Hawkwind supported by Barnabas. Also featured Stacia who performed her dance routine for only the second time. As a result of this a certain Coventry apprentice found himself mentioned in the Sunday People.
London - Silk never did a 'gig' in London but during the early 1970’s Jim and Graham were invited down by Colin Huntley, who was Hackensack’s manager at the time. He took the pair to Island records and a gig at the Cooks Ferry Inn.
Posh Annie's above Colin Campbell October 1981/March 1982 – Previously home to the Village Heavy Rock Club in 1970/71. Posh Annie's was in the upstairs room and we had a short Friday night residency playing rock and progressive music on an in house DJ set up.
Chuffers – The Engine Inn, Hampton in Arden June to September 1983 – Ex 3tuns landlord took over the pub and wanted a Thursday evening disco. So we helped launch the venue but were too busy elsewhere so gave the gig to another disco. Memory Lane (Park Lane) 84/85
Eastern Green Village Hall – Silk's last gig
Silk's mobile disco's continued through till 2003. Their last gig was Saturday 29 November 2003 at the Eastern Green Village Hall for the 21st Coventry Scout Group. It wasn't there first time at this venue. It had always been a great crowd, always up for some fun and, as it was the last gig, we did several encores.
Fun Quiz's June 1991 Dec 2017
Concurrently, and for around quarter of a century, Graham Wood and Jim Twynham moved into the world of organising pub quiz nights. These were held, in no particular order, at the following venues: The Maudsley, The Old Clarence, The Haven, The Chestnut Tree, The Bell Inn, The Phoenix and the Fletch.
Today, Graham looks back on his part in local entertainment history with a certain pride. And rightly so. He also mentioned that, occasionally, he still misses it. Such was the impact on his life I guess.
Photo by Sue Long
Silk letter header as sent to Trev's Hobo Magazine for an advert in the magazine 1974
Punters just turn up and go home. Behind the scenes there has been a lot of organising, humping of equipment, paperwork, travel and phone calls.
And someone who organised, humped and spent a lot of time on the phone was Graham Wood of Silk promotions. I cajoled Graham into plundering the depths of his memories as I felt it was important to attempt to document his and Jim Twynham's achievements with regard to Silk disco. Thanks Graham for your patience.
1969 – Through meeting at the Coventry City fan club Graham Wood, Jim Twynham and Steve Miles decided to 'emulate' Pete Waterman and form Silk Discotheque.
Each partner stumped up £50 in order to purchase: 2 x Garrard SP25 decks, an amplifier, 2 EMI Speakers and a microphone.
Silk's first gig was 20th December 1969 – a Christmas Dinner Dance at Coventry and North Warwick Cricket Club on the Binley Road.
During their heyday work was so plentiful that, at times, venues overlapped. Not only did Silk cover residencies and public dances, they also provided disco's for private celebrations. Weddings, end of season football dances and other events.
Without detailing every event Graham has put together a list and some accompanying notes of the main ventures Silk were involved in. This has been put together as chronologically as possible.
The Plough, London Road - club night February 1970 to January 1972
Whilst Silk was a mobile disco we wanted a venue where we could play our own tastes in music – from folk/blues to rock/progressive rock.
The Plough on London Road, situated opposite a Salvation Army Hostel was not the most salubrious of venues but it had an unused back room and a landlord, Norman Rennison, who was happy for us to install a small stage and decorate to create an intimate space.
Over 2 years we established a regular crowd and developed a stereo sound system, complimented by a light show, including films and cartoons!. We were also allowed the opportunity to present/promote many local Midlands bands.
Sadly the brewery eventually decided to refurbish the pub and Silk were on the move.
In December 1970 Steve Miles left Silk to set up his own disco, 'Smiley' - Now that's a play on words. The split was amicable. Soon after Jim and Graham were joined by illustrator Paul Taylor.
Live at the Plough: Hemisphere, Wandering John, Trad B Jefferson, Asgard, Indian Summer, Tobias Heat, Whistler, April, Children, Rogation Sunday, Dando Shaft, Elf, Mead, Flying Hat Band, Gentle, Lucretia Borgia, Milestones, Modern Idiot Grunt Band, Hackensack, Fang, Barnabas, Vita Brevis, Music Box, Dave Turner, Salamander, Pluto
Circles – July 1971 to December 1972
We had really enjoyed promoting bands at the Plough but had been restricted due to the size of our venues. We soon realised it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970. So we looked for somewhere larger and close to the city centre.
Circles started at the Building Trades Club in July 1971 planning the first four weeks with local bands and then moving on to 'national' bands. In week 5 Stray were our first name band and the club was packed. Unfortunately 350 people leave behind some spilt beer and a few broken glasses. Stray also helped the mess with their exploding dustbin showering confetti everywhere.
The cleaners complained and the committee asked us to leave.
Fortunately the West End Club understood our plight and we were able to resume gigs the following week followed by many more through 1971 and 1972.
Humber hotel, Arthur's 1972
Jan 72 – July 72 Arthurs: Silk moved to the Humber Hotel immediately following 'our eviction' from The Plough and although it was further out of town it was an immediate success.
Possibly a better back room than The Plough. We did not decorate it or attempt to promote any bands as we were soon on the move again.
Chums, Bear Inn 1972 to 1974 (Thursday's)
1972 to September 1974 Chums: Whist Arthurs had been incredibly successful the opportunity to open a venue in the city centre was not to be missed
The upstairs back room was certainly not the largest but the atmosphere was exciting and 'Chums' took off immediately with full houses most Thursday's.
Silk was becoming increasingly busier and resources were being stretched so it was, with regret, that we moved from The Bear in September 1974.
At this time Paul Taylor left Silk due to various commitments. Again, all was amicable. Paul was a graphic artist and was responsible for Arthurs/Chums/Circles logos and associated artwork.
Thursdays, back to Plough this time the Lounge – late 1974 to June 1976
The Plough had always remained a Watering Hole and a chance to meet up with some of our friends who lived locally. But, of course, now the pub had been refurbished.
We were asked if we would like to provide a disco on a Thursday evening and the best way to describe it was like a free and easy disco night. No lights, no backing and we played selective tunes, album tracks and we encouraged people to bring along their own vinyl.
It became a very pleasant, hassle free evening.
Trocadero, Bulkinton June 1972 - April 1976 (Monday and Tuesday)
Silk had been previously hired by a local agency for various functions and one of their clients was the Weston Hall Hotel who wanted to hold disco's in their nightclub.
The club began in 1972 and was very successful considering it was held on Sundays, Monday and Tuesdays. We used our full range of disco and PA equipment and an extensive light show. We did however have to play mainly disco, soul and pop stuff which had been taboo at earlier venues.
We ended our 3 and a half year residency when the agency chose to continue with a more local and cheaper disco, but that was fine!.
Note: During 1975 the name of the disco evening was known as 'Waves Discotheque Club'.
The Selecter at The Lanch 3rd October 1979 - Support: The X-Certs.
By Pete Clemons
A virtually unmoving queue, four or five across, consisting of students, chequered badges, and pork- pie hats, slumps awkwardly from the entrance of the 950 capacity basement hall, up the stairs, past the bar, and to the end of the corridor.
The X-Certs are most of the way through their lively enough sounding set, and people are beginning to wonder if they will get in. When I finally do catch the last two minutes of this support act, there are still many more behind me.
Backstage, I am greeted with distrustful looks from some. 'I'm the roadie's brother' from another. Finally, a couple of badges and a handshake from Charlie Anderson, the bassist, who seems quite relaxed about coming and chatting, although others twitch and flit about or sit motionless. The Selecter, I am told, are, or at least partly, from Jamaica.
Have they been into ska and pre- reggae for long ? Yes, they grew up with it. No sign of any band waggon jumping here, obviously. The band, it seems, whatever the trend, will always be a dance band.
Slavishly following musical fashion may be lucrative at some point or other, but as soon as the trend is over, bands have to fall back on their real value. I am to understand that The Selecter will last on this value, which sets them (and a few others) apart from most of the rest.
Over confident, cocky perhaps, but it still remains to be seen. I grin and agree smarmily that anyone can stand up and shout 'This is the time...' in a tonic suit, but the beat is sloppy, and the band are, yes - so contrived.
At the moment, The Selecter are without a manager, which does not bother them - look what Bernie Rhodes did for the Coventry Specials - nor do they mind that they reaped very little financial reward for their Gangsters B-side.
This is OK by the band - not everyone is shot straight into the public eye with something that will make people say 'who are they' ?, 'where do they come from' ? and 'when are they touring' ? etc. etc. At least that's how the band see it, and now they've had a lot of big recording offers, while still being happy to release 'On My Radio' on the 2-Tone label.
Handshakes again, 'Cheers', but a little tension as the band makes ready for the gig. I chat to keyboard player Desmond on his way to the Gents, but there's not really much more to ask. Silly grins, flashes from the camera, and I walk away. Back in the hall there's no disco, and soon, it's 'Ladies and gentlemen, the Selecter...' who jogged on stage amid some dreadlocks and tremendous applause.
Pauline, the vocalist, demands we enjoy ourselves, and straight into the first tune. Staccato drums, quirky beat, and the gig is immediately a success - most of the hall is up and swaying, screaming applause on the penultimate chord, and being thrust into a punchy, stompy cover of 'Murder'.
With gleeful dancing, onstage as well as off, the gig bustled on speedily, and even though I heard 'let's slow things down a little' at least once, The Selecter proved themselves right by being competent and danceable. Ska - but with much other influence - jagged, Clash like chords appeared often and momentarily, coupled with intricate dub rhythms, giving a great 'best of both-worlds', sometimes even making rock music seem an adolescent pose, and reggae effete and religiously indulgent.
The new single 'On My Radio' went down particularly well, as did an excellent cover of the old ska tune 'Carry Go Bring Home', and the band deserved the two encores they got, people not even being satisfied with dancing on the stage to '007'.
So, fair enough, it'll be instant popularity and success in the wake of The Specials, and Madness. After all they are playing to a converted audience, but their success won't be undeserved - being a very tight and competent band. I love the single, which is on my radio as I write this, and I feel like taking back anything snide I've said.
I appreciate that Bruce Soord plays electric guitar and rocks out a bit but, ever since I saw him do an acoustic set in Yeovil September 2009, I had always hoped to see him do a similar thing again. Delighted to say it recently happened. Although not purely acoustic, it was just as wonderful as I hoped it would be.
Even from his early days, I always felt that singer and songwriter, Bruce Soord, was always destined for a degree of success. Even in this, the difficult business of the music making industry. For me Bruce Soord is an outstanding lyric writer. His words tend to touch your very core as they appear to come from a position of things that concern him most.
Bruce's songs are far from random and appear to come from specific circumstances. They seem to come, predominantly, from matters of the heart. That makes them very relatable but, at the same time, without losing sight of their meaning. They also have the ability to floor you 'there is nowhere we will go, without you, you know'. And that can make them quite emotionally charged.
When those lyrics are applied to either electric or acoustic guitar, they take on a whole new life. And Bruce doesn't just strum his guitars in familiar patterns either. He heavily uses a technique called open tuning which, on the face of it sounds a bit lazy.
Far from it, open tuning on a guitar can transform and vastly expand the possibilities of the instrument. While standard tuning remains flexible enough for most guitarists open tuning allows you to explore new chord shapes. It has been said that it can metamorphose the instrument into a whole new piece of kit.
Add looper pedals to the mix and that gives Bruce the opportunity to indulge by way of adding guitar solo's. He can go where he fancies really. Here he adds improvisation and depth to the songs in an alluring way.
The songs are then taken to the next level when accompanying musicians add their parts. But always, at the heart of them all, is love, compassion and harmony. They are a reminder that, actually, this is all you really need.
Bruce recently completed his first solo tour. When I say solo it was actually a trio made up of Jon Sykes, Bruce's very long time musical friend, and confidante, on bass and drummer Tash Buxton-Lewis. The tour was in support of his latest album Luminescence.
I caught a show at Nell's, a modest sized Jazz and Blues club in West Kensington, London. With so much improvisation, the use of open tuning and loopers, arguably, made this a unique show. So it all felt absolutely fitting in such a venue.
The club was blessed with new songs such as Dear Life, Day of All Days, Lie Flat and Nestle In. They merged snugly with the more seasoned Buried Here, Field Day and Cut the Flowers.
In Luminescence, Bruce Soord has yet again produced something very special. The power in this release is completely palpable. If the high emotions generated by this record could be converted to energy then the current power crisis would be over.
But it isn't just about the lyrics. Its the accompanying peripheral sounds that are so completely in sync. Bruce has a rare ability to get deep into the soul. Albums like this should come with a warning label.
Yes, there will always be The Pineapple Thief, Bruce's main outlet, but I really hope time allows for more of this.
Silk Disco didn't just provide disco nights. They also began to put on bands. And a band would be incorporated with a disco evening. This type of event began almost immediately.
Graham Wood of Silk disco remembers: 'When we (Jim Twyneham and myself) started promoting bands at the Plough we soon knew it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970'.
Circles worked within small budgets and, quite correctly, felt they were up against larger outfits like the 'Lanch' who could sustain any greater losses.
Graham's genuine love and enjoyment of the newly developing progressive rock scene provided the temptation to move into the world of band promotion.
'Promotion of bands began at The Plough. But we soon knew it wasn’t large enough for some of the better known bands and so probably started planning for Circles in late 1970'.
Building Trades Club, Whitefriars Street – (the numbers are attendance figures) 8 July 1971 Boots and Liberation 154 15 July 1971 Phineas Hog and Fresh Maggots 140 22 July 1971 Fang and Good Habit 130 29 July 1971 Hackensack and Lucrezia Borgia 118 5 August 1971 Stray 350
Circles tenure at the Builders (Building) Trades Club was short lived. As Graham remembers 'They sacked us after 5 weeks due to the mess left after the Stray gig on 5 August. The place was rammed with, approx 350 people. And yes they did spill a bit of beer. Also a few glasses were smashed. All this was not helped by Stray's exploding dustbin that showered confetti all over the floor'.
Graham conceded that the place did look a mess but the club probably took more money in beer sales that night, than they had in a complete month. A 15 strong committee summoned Silk representatives, Graham and Jim Twyneham, to a meeting the following Sunday and we 'were out'.
It left us 5 days to find a new venue !!. And that new venue was The West End Club just off the ring road at the Spon End junction.
West End Club – (the numbers are attendance figures) 12 August 1971 Hookfoot 284 19 August 1971 Mick Abrahams 311 26 August 1971 Dando Shaft (Palladin - Cancelled) 280 2 September 1971 Bronco 287 9 September 1971 Paul Brett's Sage 138 16 September 1971 Stackridge 163 23 September 1971 Quiver 90 30 September 1971 Ginger (Bell and Arc - Cancelled) 85 7 October 1971 Supertramp 104 14 October 1971 Caravan (Toby - Cancelled) 304 20 October 1971 Palladin 90 28 October 1971 Hackensack 156 11 November 1971 Stray 203 18 November1971 Writing on the Wall (Brett Marvin and the Thunderbolts - Cancelled) 146 9 December 1971 Hookfoot 16 December 1971 Man 138 20 December 1971 Hookfoot 95 23 December 1971 Hackensack and Butch 163 30 December 1971 Van der Graff Generator 355 27 January 1972 Duster Bennett 102 24 February 1972 Mick Abrahams Band 115 30 March 1972 Hackensack and Jizzel 223
Locarno – (the numbers are attendance figures) 13 April 1972 Hawkwind and Barnabus 678
27 April 1972 Arthur Brown's Kingdom Come, The Pretty Things and Pugma Ho (Words promotion)
11 May 1972 Argent and Vinegar Joe (Words promotion) 18 May 1972 Emperor Rosko Show and Hackensack 320 21 December 1972 Hackensack 225
2 Locarno gigs, Arthur Brown's Kingdom Come and Argent) were promoted by Words, a southern based promoter, who asked Silk to provide the disco and light show. Both good nights but not great attendances.
When Silk promoted Hawkwind and Emperor Rosko they only chose the Locarno because of its larger capacity and it was a kind of swansong and was never going to be a regular promotion like Circles.
In truth Graham cannot remember why Silk never continued booking bands for Circles beyond mid 1972, with the exception being Hackensack at the tail end of 1972, 'which I guess was our Circles finale'.
John Coles attended and, still clearly remembers, the vast majority of the above gig nights. He was just 16 in 1971. John had been challenged about his age during a Silk night at The Plough in 1970. Of course he had to think on his feet and distort the truth in order to get in.
If Graham Wood has one slight regret then that was that he and Jim didn't gamble more on bigger bands, the likes of Mott the Hoople for example.
With no disrespect for the bands they did promote Graham thinks the problem was a mixture of; competing with the Lanch and Warwick Uni and trying to get the right bands at the right price. And, of course, there was all the other admin stuff which all took time!
But, in my opinion, Graham Wood and Jim Twyneham had real bottle to go for it. And there is absolutely no need for regret. The legacy that this pair have left us, with their Silk and Circles ventures, is really quite amazing. They even made a national newspaper. But that story is to come.
My sincere thanks to Graham for all his time and insights.
Hawkwind - The Sunday People April 1972 - Why I Danced in the Nude – by pop girl.
By Pete Clemons
She joined Hawkwind and began dancing for the group during 1971. But the legend of Stacia, actually started right here in Coventry when she made the national newspapers.
A month or so after the Coventry concert, mentioned below, Hawkwind released their single 'Silver Machine' a tune recorded earlier in the year. It reached number 3 in the charts and remains the bands biggest selling hit.
An article that appeared in the Sunday People is below. And I have left the newspapers spelling of the name Stacia as it was printed...........
People who thought the Hawkwind pop group was all male got a surprise when a naked girl danced to their music at a concert.
And, as an investigation into the act got underway last week, 19 year old dancer Statia – 'that's my only name' – made it quite clear that she did not strip on the stage of the Locarno in the Lady Godiva city of Coventry.
She said that during her 25 minute spot she first danced in a costume then went off the stage to strip and returned to dance naked.
'It sounds much more daring than it is' she said. 'We use a lot of lights flashing on and off and the dance and nudity is only an expression of the music'.
'It is music about freedom – and I feel free with nothing on'.
'A lot of the audience never even realise I'm in the nude because of the lights and the type of music the band plays'.
The act was part of a gig at the Mecca owned ballroom organised by Graham Wood a 20 year old commercial apprentice.
Said Mr. Wood: 'we would never book any group of artists or musicians if nudity comes into the act. Hawkwind is supposed to be an all male group. Investigations are going on.
The ballrooms relief manager Mr Ronald Williams said he did not see the group, but was finding out from staff members what had happened.
He added 'on this occasion the hall was hired out as a private booking to Mr. Wood'.
The group's manager Mr Doug Smith said: 'Statia isn't what you think of as your normal stripper – she's a big girl'.
In the short time after the Coventry gig Stacia became incredibly well known on the rock music circuit.
Later on in 1972 the incredibly busy Hawkwind had several concerts recorded and released the next year titled The Space Ritual. That reached number 9 in the album charts and dented the billboard top 200 in America. The Space Ritual album was an attempt to capture the music but also try to convey the whole audio visual experience of the show by way of the album sleeve. The outer fold-out part of the record's sleeve features an illustration of Stacia flanked by the hounds of the king set over stage shots of the band.
Was that gig in Coventry, or at least the reporting of it, responsible for the sudden rise in Hawkwind's popularity. Who knows but it did coincide with, arguably, one of the most successful periods for the band.
Local band Barnabus from Leamington Spa, namely John Storer on guitar, Tony Cox drums
Barnabus
and bass player Keith Hancock, provided support on the
Punk rock and, arguably more so the punk rockers, were despised when the genre initially broke through in the UK during 1976. The bands and their music were condemned before anyone had barely heard them. Initial front page headlines from the red tops didn't help either. But gradually the scene was accepted to the point where, today, it has almost legendary status.
Saturday 17th December 1977 saw The Sex Pistols, by then described as 'the most controversial rock band of recent years, play Mr. George's nightclub.
It was the second time in a year that the band had played the city. Just 12 months earlier Lanchester Polytechnic had hosted their appearance as part of the 1976 Arts Festival. The Pistols had been supported by The Clash and had been booed off the stage, declared racist and fascist and paid a mere £50.
In complete contrast the 1977 visit saw the group have an entirely different welcome. The Pistols played for just under an hour and a packed house went bananas over Anarchy, Pretty Vacant, EMI and other goodies presented.
Going back to November 1976 and punk rock artists the Sex Pistols left their entertainments fixture at Lanchester Polytechnic without full payment after an impromptu meeting of union officers at the concert heard complaints about the group's stage act.
Lanchester followed the NUS (National Union of Students), then, national policy which recommended colleges not to invite people with racist or fascist views onto campuses, and it was decided that the Sex Pistols act had included racist and fascist references.
The Sex Pistols and supporting punk rock outfit, The Clash, had been booked for £475 but were actually paid £50. Lanchester union officials then sought legal advice about their rights on further payment, and are to inform the NUS entertainments office in London about the group and the type of act they presented.
Attendees of the concert reported to union officials that it had been 'fairly obscene'. At one point the audience booed Sex Pistols after their version of 'Substitute', which the group's lead singer countered with familiar Anglo-Saxon invective,
To balance the views it was also reported that nobody saw anything 'blatant'. It is simply, and widely accepted that the band were fascist. Reasons like 'I came away with the impression that they were because they were so populist'.
Further reasoning within the unions report included that - It comes out of the experience of unemployment, bad housing, sleeping rough and being anti-establishment. They are not working class, more drop-outs. But their support is working class. They see themselves as mediums of these frustrations, they see their role as a political role, using the channel of popular music because other channels are being closed.
It went on – the support band, The Clash, started off the concert with a song the lyrics of which could be seen as inflammatory. The Clash were also described as 'Incoherent, inarticulate and not inter-viewable' while Sex Pistols were 'more eloquent and forthcoming'. The bass guitarist of Sex Pistols, in reply to the suggestion that the group could use their power over young people to do something about racism, replied: "Yeah, I agree with you. I'm not racist'.
However, George Melly, author, ex-film critic of the Observer and 1950s blues singer attended the concert, and asserted that: 'They are fascist'.
Meanwhile, during 1977 at Warwick University, a headline in a campus missal declared 'Yes it could have been true!. The Sex Pistols could have played here. The entertainments team were offered the band for the Xmas Party provided the gig was unannounced. After accepting those conditions the band were booked.
A major scoop indeed but then problems started. For reasons unknown all the bands tour dates were put forward a week which scuppered arrangements at Warwick.
It was then that the decision was made to switch to Mr. George in Coventry city centre. So near yet so far.
Warwick did, however, have it on good authority that if the entertainments team were offered The Sex Pistols again they will accept them if conditions are acceptable. Of course, that never came to fruition.
Hype or not The Sex Pistols still continue to excite and that's why they're the band they are and why they continue to enjoy legendary status.
