Breaking Glass 1980

 

Breaking Glass 1980

by Pete Clemons

Breaking Glass attempted to capture London's 1980s punk scene. It was a gritty new wave musical with a poignant rags to riches story of a talented and rebellious young singer-songwriter. Hazel O'Connor gave a tour-de-force performance as Kate, the lead singer of the rock group Breaking Glass.

Kate's socialist ideals are juxtaposed to her pragmatic rock manager, Danny (Phil Daniels), a streetwise hustler who discovers her and develops her into a star. The film pivots around the struggles for artistic recognition and an energetic singer whose talent and sanity are jeopardized by the music business' power structure.

Hazel O'Connor wrote and performs 13 captivating and provocative songs for the film. The cast also includes Jon Finch and Jonathan Pryce as the band's junkie saxophone player.

Phenomenal album, crap movie was the popular opinion among many. And that was reflected in a review from a local source below:

'I went to the film having been impressed by the Top of the Pops version of Eighth Day but found myself waiting for it to be repeated.

Unfortunately, when put into context even that was disappointing. The story traced the rise to 'fame' of a young and apparently original singer – Hazel O’Connor. The love element was played by Phil Daniels who doubled as Hazel’s manager.

We were shown of the struggle that our starlet had as she confronted agents, a record company, people and audiences – the agents ignored her for a telephone, the record company’s people played space invaders and the audiences beat each other up.

One of the most significant points raised by the film was the musical taste of the Nazis – it appears to be the opinion of the director that Nazis and policemen don’t like Hazel O’Connor’s singing.

On the other hand her music is adored by all free thinking, clear headed, purple haired socialists. This is understandable as lyrics like: - 'You drink my coffee and I drink my tea' do not lend themselves to appreciation by the more authoritarian nadirs of society.

It is the philosophy which the film is getting across. A statement that two lovers are capable of having differing tastes viz coffee and tea, but still live in harmony, is clearly a comment on the failings of society today where this is not possible.

I would very much have preferred to hear 'You drink white coffee and I drink black tea', but the film did not attempt to go so far and can you blame it?

I remember seeing Stardust about seven years ago and think that had a lot more to it than 'Breaking Glass'. The first major difference was the acting. No attempt was made at this in 'Breaking Glass' and I think the film lost a little because of it.

To say the film consisted of stereotypes saying lines and speaking lyrics would maybe be a little generous though as the entire audience were close to laughter at the most 'moving' part of the film, I cannot be complementary. Seeing the film was undeniable a waste of 80p'.

This Town

 

This Town

by Pete Clemons

Radio Times online:
'......set in the Midlands during the 1980s, exploring the ska and 2 Tone scene'.

Given that kind of hype you could be forgiven for expecting and going with certain assumptions. The programme title, it appears, has not helped either.

Bear in mind that This Town is set in 1981, after the whole 2 tone scene had peaked. It was also the beginning of a journey for Aston Villa football club that would see them win the European Cup. But with the programmes creator being a Birmingham City fan then I guess he can be forgiven for that omission.

Additionally, the era was not all about Ska. Far from it. It was the year, for example, that Duran Duran released their debut album. Along with the singles 'Planet Earth' and 'Girls on Film' it contained some instant classics.

Admittedly the programmes creator, Steven Knight has attempted to smooth things out. Steven said during an interview 'Its about a period of time I knew well, the early 80s, and its about this city that I knew well, Birmingham'. But as well as it has been written I cant help but feel that a selective memory has been engaged.

Steven continues 'The theme is the music. There is a style of music that really began in Coventry and migrated to Birmingham'.

With Peaky Blinders, and given the era that programme was set, there would be few around who could separate fact from fiction. Crossing that hurdle is so much different this time around.

Praise is never normally a thing that is universally positive. And reading the negative criticism from the targeted audience, the general public, the understandable expectations by many were just not there. And that's what led to the criticisms. Without the hype and maybe a different title the series would have been just another series.

But it's not all negative. There has been positives too. And rightly so. As a storyline, in this era of mediocrity it is, I think, very good. I get the narrative. But it is a bit of a slow burner. The overall portrayal is a bit overblown and exaggerated. But I personally am enjoying it and the acting really is very good.

It appears to draw loosely on related incidents around at that time. They in turn have been exaggerated and the history skewed. But it has very little do with what the hype and title led you to initially believe.

Was it really that bad?. The worrying aspect is that I really hope that the early 1980s are not tarnished forever. It really wasn't all about bombs and football violence.

Sometimes you just got to listen to the public at large. They can't be all wrong. If thousands of comments are consistent then maybe just maybe, as hard as it is to swallow, those comments might bear validity.

Revelation 2001

 

Revelation 2001

By Pete Clemons

Back in 2013 I wrote a piece that covered a potted history of how Peppermint Kreem came about and how they claimed their place in Coventry music history.

This is a long overdue follow up to that article and is focused on a unique piece of music Peppermint Kreem produced titled Revelation 2001 a story of the world, its future and one man's journey through it all, seeking some kind of truth.

Don Fardon, who once looked after Peppermint Kreem, once said about the band 'As amateurs they are professionals – but as professionals they are amateurs. Nevertheless they are very good'.

After listening to the piece I (PC) had a chat to its creator Paul Kennelly (PK) about his thoughts and memories of it all.

PC - Blimey Paul, this is very listenable. Am I right it was initially recorded during 1973, re-recorded 1987, performed 1973 at Memorial Park but conceived as far back as 1968 ish?. That was some journey if I am correct.

PK - I am not sure how far back the rock opera idea goes but it really came together during band practice in the Heath pub. But that was the first time I introduced the guys to my own work. That would be during 1972.

The album was recorded at Bird Sounds in Snitterfield in 1973 but the original tapes are now long lost. The master tape remained with Monty Bird and there were cassette copies around but sadly no one seems to have one.

Back in 1987 Arthur Albrighton was over from Germany and we kitted a studio out in our Time Machine shop, Earlsdon specifically to re visit the work. That was myself, Arthur and Bob Hopkins. Bob 'Spindler' Hopkins took the lead and improvises while Arthur Albrighton plays support chords and sound effects. Arthur also engineered the recording. This recording still exists but has only two keyboard tracks and vocal. It's in an unfinished state, not having bass, lead or percussion.

Arthur took the masters from that session back to Germany to add guitar and percussion. I have no idea why, but he never did complete the work. What you have is really a part work. All a long time ago.

PC - So really then the album could have been even grander than it is?

PK - Could still be if the guitar and drums was dubbed in. I also wrote two other similar pieces, one called 'Atlantis' and the other 'Nord Zaga'. Peppermint Kreem laid down keyboard and vocal tracks for 'Atlantis'. Again , this was never fully completed and remains unreleased and likely never to see the light of day. Sadly.

PC - Was this the music you played at Memorial Park 1973? If so who was in band that day. How did music go down?.
PK - Memorial Park gig. Keyboards Bob 'Spindler' Hopkins. Vocals Paul 'the Egg' Kennelly, Drums Pete 'the feet' Davoile, Bass guitar Keith 'Keethy Babes' Jaynes and guitar Arthur 'Modie' Albrighton.

We shared the gig with a band called Just Before Dawn. As can be seen from the poster, no one was top of the bill. The manager of Just Before Dawn got arsey and insisted they go on last.

This suited us. We had the big crowd as can be seen from the attached photos. By the time the other band went on it was dusk and the audience was mostly by then drunks.

I always say that of this gig, the public were watching a free show. They did not have to hang around if they thought the music was crap. But we held them, playing rock standards in the first half and the Rock Opera in the second half. I often wonder if someone out there took a movie of the show or made a recording.

Paul Kennelly

https://coventrygigs.blogspot.com/2013/11/peppermint-kreem.html

https://coventrygigs.blogspot.com/2013/11/peppermint-kreem.html

https://www.facebook.com/profile.php?id=100039388937599

RAVI SHANKAR at Coventry Cathedral 1967

 

RAVI SHANKAR at Coventry Cathedral 1967

by Pete Clemons

Photo by Richard Sadler @1967 via Coventry Cathedral Facebook Page.

Below is an account of how Ravi Shankar was introduced to the Coventry public in preparation for a concert held at the Cathedral during 1967.

If your experience of the sitar is confined to George Harrison and the Yardbirds, on Saturday, May 6th 1967. at 7.45 p.m. in Coventry Cathedral you have one of the all too chances to hear it played by Ravi Shankar, possibly the greatest virtuoso of the instrument ever to have lived.

In India he has the position of a national hero, draws crowds of up to 20,000 and is sometimes mobbed in the streets.

Ravi Shankar was born in Benares, and joined his brother's touring company as an apprentice on his tour of Europe when he was only nine.

He showed great talent in all the jobs he turned to. In 1935 India's foremost musician , Ustad Allaudin Khan , joined the company and Ravi asked if he could study with him. In a burst of rage Ustad Khan said that Ravi's talent made him think he could turn to anything he wanted, but if he wanted to be a musician he would have to devote his life to it.

Surprised, Ravi accepted the challenge, studied for a year and in 1938 returned to India to Ustad Khan to study intensively for six and a half years In 1949 he formed the Indian National Orchestra and worked as musical director with All-India Radio until 1957.

Since then he has toured and written film scores, among which was one for Jonathan Miller's version of 'Alice'. Indian music, which at its best generates at once both a depth and intensity of excitement not found in any Western music, is, for all its apparent spontaneity , highly formal.

Basically it consists of two elements, the raga, a scale-like series of notes similar in many respects to the modes of Ancient Greek music, and the tala, a rhythmic pattern that forms the basis of the improvisation .

Before each piece the twenty-five frets of the sitar are adjusted to the raga and the music usually begins with an exposition of it. The tamboura, a four or five stringed bass instrument is also tuned to the notes of the raga and produces a curious droning accompaniment to the sitar. Finally the tabla, a pair of drums of similar quality to bongos but with a more flexible tone and timbre, enter in the Gat as the music builds to its climax in the Jhala.

The climax is achieved by multiplying the time, by cross rhythms by increasingly rich ornamentation in the raga and, in the Hindustani style , by increasing the speed, until a state of near orgasm is reached. If you have never heard Indian music before you will probably never get such a good opportunity again. It is an experience you should not deny yourself.

Tickets are available from the Cathedral Bookshop.

....................

Coventry Cathedral are "Currently looking for stories from people who were at the performances of Ravi Shankar and Duke Ellington in the late 60s.
If you were there or know anyone who went to them get in touch with researcher Nirmal Puwar who is currently gathering peoples memories! Email: N.Puwar@gold.ac.uk

Neol Davies (later of The Selecter) with sitar and long hair in Coventry very early 70's from his former website

Below is Ravi Shankar a month later at the Monterey festival June 1967.

The Strawbs 1968

 

The Strawbs 1968

by Pete Clemons

The Strawbs story it seems goes back as far as 1963. But during 1967 The Strawberry Hill Boys were formed. They earned a sizeable reputation as a bluegrass group. Dave Cousins and Tony Hooper began to get a little more adventurous. After a spell with Sandy Denny and a succession of double bass players the band settled down as The Strawbs. During this time The Strawbs appeared in and around Coventry several times.

One such performance was during January 1968 at Warwick University's folk club. The Strawbs performance apparently surprised those who had been familiar with their previous style which was Country and Western and Blue Grass.

During that performance and in the words of Dave Cousins they got 'pissed off' with that style and had started to sing their own material which they say is influenced by, if anything, the Beatles whom they consider as folk writers - an opinion many would have found hard to swallow.

The Strawbs no longer liked ethnic folk but occasionally they played a blue grass number because people still enjoyed them. Dave's banjo playing was, certainly, extremely good. The songs which they had written, and were showcasing during 1968, were extremely genuine an impression one does not always get with many so called folk songs.

Amongst the best of them was the disturbing 'The Man who called himself Jesus', the beautiful and sad 'And You Need Me' and 'Spanish is a Loving Tongue' both of which were sung by Tony Hooper who had an exceptionally expressive and moving voice.

The Strawbs finished their set with a very funny rendering of 'Your Mother, Won’t be Home' with Dave playing the piano very badly and Tony and Ron Chesterman striking dramatic poses.

May 1968 and The Strawbs returned. With the exception of their bluegrass numbers it was reported that the Strawbs were 'rather disappointing in the first half'.

That said Tony Hooper's banjo playing was very good and appreciated by the audience. After the interval, they did some better songs, including 'Break the News to Mother'. It seems that during the second half The Strawbs sang more satirical songs, more in keeping with the humour of their introduction to the songs.

As with the January appearance, an outstanding number was 'The Man Who Called Himself Jesus'. Their closing number , 'Break the News to Mother' was rendered with suitable pathos, and heart-rending sighs, being the tragic tale of a young drummer boy who saved his company's flag. So good was it, that they came back for an encore, a spiritual that at last revealed the Strawbs as the talented group they are.

As the 1960s became the 1970s The Strawbs became aligned more to rock music with Dave Cousins becoming more interested in the electric guitar. This led to a succession of wonderful releases from a variety of line up's. But despite those marvellous albums I do like to dip back into their folky period now and again.

Sadly, it seems, time has ensured that The Strawbs have played their last gig. But what a band they were and what a legacy they leave us with.

.............................

Trev Teasdel adds - 

Another Coventry gig for the Strawbs was February 6th 1971 as part of the Lanchester Polytechnic Arts Festival (now Coventry University) alongside Ralph McTell and Mr Fox.

At this time Rick Wakeman was playing with the Strawbs on Grand Piano before leaving to join Yes. It was quite a night and the Strawbs, who were on last, went over time and the Lanch tired pulling the plug on them but the crowd cheered when the band who had mostly acoustic instruments continued playing and of course Rick Wakeman treated us to a gorgeous grand piano solo.

In 1980 i moved to Teesside and found that Dave Cousins was Radio Controller of Radio Tees - the commercial station in Stockton on Tees - I caught playing a solo gig at the nearby Dovecot Arts Centre, as he was trying to launch a solo career. We started putting on poetry performance gigs at the Dovecot in 1982 and afterwards the Dovecot engaged Bob Pegg of the support group Mr Fox as writer in residence with all his folklore experience.

Mr Fox - The Gypsy

Streets of London by Ralph McTell

The Strawbs with Sandy Denny I'm on My Way

The Dirt Road Band - Birmingham

 

The Dirt Road Band - Birmingham

by Pete Clemons

Time is of the essence rues the hackneyed quotation, and no matter how conceptions of it may change, in rock music, it still remains true that the person who lays it down is, or should be, the heart and soul of the group whatever its size.

So when Horace Panter quipped, during a guitar changeover, that it's great to be here, but at our age it's great to be anywhere, that old phrase suddenly felt all the more poignant.

The Dirt Road Band have been a good stylish band for getting on for a decade now. But I don't think I have ever seen them perform as well as they are doing during there current round of gigs.

Given the combined experience of the band members, Ted Duggan - drums, Steve Walwyn – guitars/vocals and Horace Panter – bass/vocals/ad libs, it is difficult to find any meaningful superlatives. As such it sounds strange to say that these guys are at top of their game. But it really is true.

A typical gig is sprinkled with takes of classics such as 'Laundromat', 'Tulane', 'Further on up the Road' and the showstopping version of 'Rolling and Tumbling'. Every song was projected with the right amount of meaning and without wringing them dry. Every effect, held note and ending was carried off with conviction and precision.

As this particular gig was in Birmingham another tip of the hat towards Steve Gibbons was made by way of Bob Dylan's 'Watching the River Flow'.

The Dirt Road Band also showcased some new tunes. 'Cutting Room Floor' was one. I honestly thought, as has happened before, that the band had been delving into the box marked 'obscure blues back catalogue' once again. But no genuinely surprisingly to discover that they were songs written by Horace.

I think its fair to say that Horace is not renowned for his songwriting abilities. But here they were for all to hear, and, wow!, they fitted into the equation remarkably well.

A 10 track CD, by The Dirt Road Band, is due to be released soon. And, can I just add that this album is long overdue.

I do have it on good authority that the album is made up of all new songs. None of them covers. And, of the new songs, it is around a 50/50 split between Horace and Steve as to who wrote them. The album also features Bob Jackson on keyboard.

And again, from the same source, the launch of the album is to be held at the legendary 100 club in London.

But back to the Birmingham gig. It was billed as loud and live. It most certainly was. But not uncomfortably loud. It must be so good to play in a club where people genuinely appeared to enjoy the blues. And that was clearly evident at Henry's Blues House on Broad Street.

Final word is from Horace: I think it would be safe to say that we rocked like motherfuckers tonight…........I for one wouldn't argue with that. They were absolutely blistering.

The Who – Warwick/Lanchester Polytechnic 1970

 

The Who – Warwick / Lanchester Polytechnic 1970

It was due to have been the biggest night in Warwick University arts history. It could have been the most notorious concert in Warwick's then short history.

On the 14th November 1970 The Who were due to play Rootes Hall on the campus. After some complex negotiations the venue has been agreed, subject to confirmation from the manager of The Who. Sadly, in the end it all fell through.

Originally, the concert had been planned for the workroom. The Who's management had agreed to the dimensions quoted. But days later a call was received to say that the group's stage act was impossible in a room less than 30 feet high - the workroom head height was just 13 feet.

A new venue was required. It was then planned for the glass doors of the Airport Lounge to have been removed to create one vast open space within Rootes Hall. A kind of theatre in the round if you like. In that way it should be possible to fit 1300 people in for the concert.

The Who's contract was described as a 'most unusual document' made provision for such extras as a security man for each musician, and drinks for the group - one of whom insisted on Napoleon Brandy.

In total the Warwick Union would have had to have to met the cost of 26 security staff plus the drink. Additionally they would have to foot the bill for any damage caused, as well as a fee of £1150 for the show, which included the supporting group.

All this would have made the concert the biggest, the best and the most expensive ever undertaken at Warwick. But it still hung in the balance.

The same tour saw The Who due to play the Lanch later the same month on 28 November. During the negotiations, and trying to protect their interest, the Lanch's social secretary wanted to get an exclusion clause written into their contract preventing The Who from appearing anywhere within a 40 mile radius around Coventry for a month before and a month after their appearance at the Lanchester. Basically they didn't want punters spending their cash at Warwick and not having enough left for their gig.

By then 960 tickets, out of the total of 1300, had already been sold for the Warwick gig. When the full number of tickets had been sold, there was also the possibility of another 100 being printed.

A week or so before the scheduled date it was announced that The Who would definitely not be playing at Rootes Hall. The deal was off, unless yet another new venue could be found. The tickets had already been printed and most of them sold at £1 a time. But it wasn't to be and attendees were offered a full refund.

The Who's concert at Lanchester on November 28 also hung in the balance. Similarly it was threatened by the stringency of the contract.

Although the Lanch had a suitable hall, with a suitable stage, facilities needed to be provided for the special lighting effects, safety fences and a reinforced stage which was necessary to support the antics of the group as well as the weight of equipment.

As the Who had appeared at the Lanchester previously the union was confident that all the problems should be ironed out and the concert should take place.

And so it did with a set almost identical to the classic Live at Leeds album released earlier in the year.

More on the Lanch Poly Gig 1970 with the Who here https://coventrygigs.blogspot.com/2012/10/the-lanch-lanchester-polytechnic-gigs.html

Reno

Reno

by Pete Clemons

RENO on Facebook https://www.facebook.com/profile.php?id=100049294732954

Reno were a Coventry/Nuneaton based group who performed around the Midlands. I particularly remember them from the crazy evenings at the Ryton Bridge Hotel which had an outdoor stage and swimming pool. Inevitably, some folk would end up in that pool.

The band had only been formed a few weeks before they auditioned to appear on the New Faces show. Their first ever performance of their American West Coast sound certainly impressed the producer of the show, Albert Stevenson. It only took him a matter of minutes to spot the quality of the group and their audition, announcing ‘we’ll have you on the show.’

At the time of their audition the group were, Mick Broadhurst (bass), Don Ker (guitar), Dave Simpson (drums), Paul Price (guitar) and Pete Brazil (guitar), who were all no strangers to Coventry’s music scene. They had all played with local groups, including The Sorrows, Patsy Powell and Staveley Makepiece before forming Reno.

Another gig was during 1977 when the group were invited to Warwick University by courtesy of the country and western society. This despite the fact that they were far from a country and western act. By the time of this gig Pete Oliver had replaced Don Ker.

The closest that Reno came to being country and western was in their version of 'New Kid in Town' by the Eagles. Wary of being type cast for their performance for Eagles' numbers Reno tended to broaden out into a much wider field ranging from 50's rock n roll to modern day rock music.

Reno wrote their own material and earned themselves a number of bookings across the UK for the summer of 1977 and regularly appeared at The New Phoenix, Fletchamstead Highway, Coventry throughout that year. In 1978 they were still playing live shows and were also perfecting their own original sound in a recording studio with their music was being plugged by two Radio One DJs, Dave Lee Travis and David ‘Kid’ Jensen.

The band bought an expensive sound system, used in their live performances, from their good friends the Electric Light Orchestra, and it served them well in their new venue at the Ryton Bridge Hotel, Coventry. They had also signed a publishing deal with United Artists for their original songs, written by Paul Price and Pete Brazil, but all were reluctant to give up their full-time jobs until they had a firm chance of becoming a successful group.

A report about the uni gig mentioned that 'Although the group played to a mere 130 people, all who were present thoroughly enjoyed a sparkling performance. Musically the group were faultless. Hopefully after the group has appeared on DLT's show and also In Concert in the spring more people will turn up to their next visit here next year'.

It continued 'The variety of talent in Reno can be appreciated by studying a round up of the group. Mick Broadhurst bass guitar and lead vocals, Pete Brazil, lead guitar, accordion, vocals and songwriter, Paul Price, steel, acoustic and Spanish guitars, electric banjo, mandolin, violin, and backing vocals-not bad eh! Pete Oliver, acoustic guitar and backing vocals and Dave Simpson, drums, harmonica and vocals. Here is a group of tremendous versatility both vocally and musically as you can see from the variety of instruments played'.

Reno held a reunion during 2016 and again during 2018.

More on the Coventry bands 1960's to Now 

West of Midnight - Reno

Devil's Window Reno

Bert Jansch 1966

 

Bert Jansch 1966

by Pete Clemons

March 1966 saw Bert Jansch will be playing at a local folk club in Coventry. It was described as an 'event not to be missed. If you happen to go, you will see a very nervous young man, who manages to transform his nervous energy into some of the best guitar-playing in the country. Most of the songs he sings are his own compositions'.

They combine the good simplicity of traditional folk music, (such as that of the singing of Anne Briggs, heard at the Folk Club earlier this term), with an amazing guitar technique, which he says is wholly American. Although he is only 22, Bert Jansch has already made two L.P's, ('Bert Jansch' and 'It Don't Bother Me': issued by Transatlantic Records), and is becoming increasingly popular all over the country.

Bert had recently given up residencies at Les Cousins and Scots Hoose in order to tour other areas. He says he will probably take up another residency: 'All my friends are in London - and I play first of all for my friends'. He also plays because he must. 'If I had no money, I'd be a bum-but playing the guitar. And money-well, I've never had any-you see money just doesn't mean anything to me. If I'd been brought up with money, then I reckon I'd need it. But I've never had any, so it just doesn't worry me'.

His words reflected his indifference to many things. He claims the audience hardly matters 'If they're too intent, they frighten me, but I like them to be interested - I can't stand it when they're not'.

Bert's claim to indifference was probably wishful thinking, for being so nervous, he senses atmosphere instantly. If people talk, he asks them to shut up, or cups his hand to his ear as if to listen to them! If they give no response to his work, he makes remarks like 'This song is about dreams, so the words don't mean anything - at least not to you. But then I doubt if any of the words mean anything to you'.

The words of his songs are often missed, partly because of the brilliance of the music, which always dominates a song - "I am more a guitarist than a song-writer: the words aren't important" - and partly because his voice, although full of feeling, lacks clear diction. But the effort of listening to the words is rewarding.

Bert's images are strange and poetical 'Your love was like a child upon a rocking-horse, the colour black, who rides through a forest of dreams, and laughs at evils that cannot be seen. Yet like the ageing of a child at play, your love is broken and fades away'.

His songs are wistful and mostly deal with the sorrows of love, (and occasionally its pleasures), but there are also songs about social issues 'Do you hear me now?' and his instrumentals cover a wide variety of sounds.

One of his songs, 'Needle of Death', is a great favourite around the clubs and more frequently requested than anything else, except Davy Graham's 'Angie'. It deals with the death of a drug-addict 'Your troubled young life had made you turn to the needle of death', but at times it verges on sentimentality, which probably accounts for its popularity!

Bert gets excited, talking about various types of music. He says 'Don't try to differentiate between types of music'.

The artists he admires are: 'John Renbourne, full stop.... After that, a long way behind, come a lot more, but too many to name'.

On the new John Renbourne L.P., released by Transatlantic, they work together on two amazing guitar improvisations.

He wants to be able to go on developing in the field in which he has made his name: 'I will never be a great composer, but then I can't see myself singing like Elvis Presley either!'

His roots are deep in traditional music, and he says 'The best music is of the people, from the people, not from a few great men', but he sees the various categories into which people put music as moving closer together. 'It's my opinion that they'll invent more categories-they've already begun with 'Popular Classics' and 'Popular Folk Music'.

Bert Jansch is one of the people playing today, who is helping to combine the forms of music. His background is that of traditional folk music, but to this he brings guitar-playing of an extremely high musical standard and a gift for using words in an exciting way.

......................

Bert Jansch formed the Bert Jansch Conundrum in the late 1970s as a touring unit for his solo performances following the breakup of the original Pentangle. 

Another Coventry connection is an album titled Avocet. Released in 1979, this was Bert Jansch's twelfth solo album. It was also said that it was his favourite. Avocet is instrumental, concentrating on Jansch’s celebrated guitar work, free and clear of vocals. There are six tracks, each named after a sea or wading bird. That was until an expanded 40th anniversary version was released more recently. There were three people involved in the recording, Jansch on guitar and piano, Danny Thompson on bass and Coventry's Martin Jenkins (Ex Dando Shaft) on the wonderfully named mandocello, flute and violin. And those others do a sterling job of supporting him, working together well, knowing instinctively what is required at any given moment. There is not a note out of place.

Trev Teasdel saw the duo at the Fletch in Coventry c 1981 - he knew Martin from Dando Shaft days and said it was great to see the pair play together live - musical sparks were flying between them - their styles complimented each other.

Angie - Bert Jansch

 

Above Bert Jansch with Martin Jenkins

Bittern by Martin Jenkins and Bert Jansch,

Radiohead

 

Radiohead

by Pete Clemons

One Saturday in 1992 saw a normal unsuspecting Whipround event at Warwick University. The Spasmodics from Bristol. They were described as a long haired band, that apparently make the Manic Street Preachers look like Brownies. They had hope and a lot of record company interest.

Little did The Spasmodics know though, that when the band drove to the Uni, that they would meet their nemesis! For the support band that night had also had a lot of EMI interest and it was said that a record deal was in the offing for one of them. They were a 5 piece band from Oxford, lead by a singer with a bleach blonde mop of hair, who called themselves Radiohead!!

It wasn't long after that gig that they had the deal and the rest is.......!! So with that disappointment the Spasmodics headed off to France for a few dates and had a memorable time on tour! This proved to be the bands swan song though, as upon return to Bristol the band slowly fell apart, with stress, money, drugs, and musical differences all being cited as reasons. All the clichés really!

By the autumn of 1992 The Spasmodics had called it a day and gone their separate ways. The band, together since 1989, saw their various ex members getting involved in a lot of musical projects. None of those ventures have really matched the summer of 91 when a live album was recorded, and the great times they all shared together!

On the other hand Radiohead released 'Drill' EP later followed by 'Creep' single which was, slightly later, being reissued as an EP

The following year, 1993, and Radiohead were back. The 'Anyone can play guitar,' single had just been released and followed the acclaimed 'Creep' EP. It calmly blew away any sceptics who thought Radiohead had peaked early.

The eponymous track was a progression of their slightly unusual sound as they prove that they’re not just another 'bland-indie band'. 'It’s definitely a hit if it can get the play it deserves' predicted local pundits.

There are bands that like the idea of being a guitar band, the rest just like being a guitar band. What set Radiohead apart was a purpose far beyond posters and parties and making a noise with the lads.

During 1993 Radiohead's main aim is to surpass the standard set by Creep. Then the sky’s the limit. Which of course it was with the release in 1997 of OK Computer. The only criticism back in 1993 was that their records paled besides their live sound.

Creep had been heralded in locally with 'Radiohead worthy support of last year. Another production let-down: the guitar suffocation still hasn’t found its way onto vinyl. And another thing. The lyrics are so ingloriously morbid'.

'Such works live, for the quiet desperation of the words were always drowned by the ferocious stringed onslaught, a strong metaphor of depression'.

Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway certainly created some landmark records and influenced a whole generation.

Tim Bowness and The Butterfly Mind, Kidderminster

 

Tim Bowness and The Butterfly Mind, Kidderminster.

by Pete Clemons

Listening to a record 20 or 30 years on from its original release creates different feelings to those gained when you first heard it. And the same, it seems, applies to those who created it.

Founding member of the 1980s experimental pop rock band No-Man, Tim Bowness, appears to have found a fresh spring in his steps. And he has every reason to. He has recently put together a really excellent and fresh band called The Butterfly Mind. Together, Tim and the Butterfly Mind have been quietly gaining traction via several live shows that showcase, not only Tim's solo career, but also the wonderful music of No-Man.

Add to that the release of the recent box set, 'Housekeeping – The One Little Indian years 1990-1994' and its accompanying album 'Swagger', new life has now been breathed into the whole world of No-Man. But that was then.

After a recent gig an upbeat Tim said: 'I hope to do more gigs with the current band and we'd all be up for performing a more comprehensive tour. As it currently stands, we have two festival dates in April and July (I think!)'.

Tim continued 'As well as my forthcoming solo album (expected Summer release), we'll be (probably!) putting out a live album this year and that would be good to support with dates. In answer to your question re: the arranging of gigs, I used to have a booking agent, but at the moment I await offers or put things on myself (Kidderminster and Hope & Anchor, for example)'.

On this new line up Tim says 'While we want to be faithful to music it will never be note for note'.

At Kidderminster Tim and the band were on fire. At times it felt almost theatrical. There was drama and tension as you are drawn into the songs. Tim paces the stage like a caged animal but in a conspicuous way. Tim agreed 'It worked really well live, especially with Theo Travis on there. The band has really enjoying going through the No-Man catalogue.

A brief version of the familiar 'Another Winter' opened the Kidderminster set. This was quickly followed by 'Time Travel in Texas'. From there it was straight into the mesmerising section of 'All the Blue Changes' and 'Wherever There is Light'.

The tempo changed gear slightly as a clutch of songs from Tim Bowness' solo albums followed. But it all cranked up ferociously as the No-Man songs took off again.

A huge surprise of the evening was the announcement of 'Sweetheart Raw' a song not heard live in decades. The band handled it magnificently.

Another source of excitement came during the encores when 'Mouth Was Blue' was introduced. Again it held a certain familiarity.

The set was wrapped up with the final song 'A Stand-Up for the Dying' which is a song from Tim's next solo album.

Is this fresh impetus in No-Man shared by all its protagonists?

On that Tim mentioned: 'Hopefully No-Man will record together again with original violinist Ben Coleman. I think we can recapture spirit and do something different with it. The Butterfly Mind was possibly a direction No-Man could have gone in. There is still lots of life in that No-Man material when played live. As such Tim feels more comfortable producing that music live now than ever. Steven Wilson is less keen on nature of touring.

The last time we reformed no-man was that my band. They knew the music inside out and Steven could just join in with us.

Now I have a completely different band and, musically, they are different again. This is as exciting a band I have ever been with. The music has been redirected and refashioned and I think Steven would quite enjoy it.

Its all very mouth watering but only time will tell.

Neil Kulkarni

 

Neil Kulkarni

By Pete Clemons

Like many, the loss of Neil Kulkarni came as a complete shock. And, as happens at times like these, there have been moments of reflection.

The obvious being around the many music articles Neil wrote. They were some of the best I ever read. One that immediately comes to mind came after Prince had passed away. It contained thousands of words and seemingly released within hours after news of Prince's demise had been announced. It was a staggering piece of work.

Numerous times, over the last year or so, I have heard others mention that Neil's written tribute to Terry Hall and the Specials as being 'the greatest piece of critical music writing I have ever read'.

And while on The Specials I remember seeing a painting of Neil by Horace Panter. Given his social media reaction, Neil was really chuffed by it. As such I am fairly certain it was framed and hung up in pride of place. There was something of a message in the painting as well.

Neil's writing was compelling and, even if you were not interested in the subject matter, the quality of the writing was worth the effort of reading. Whether you enjoyed what he had to say or not, there was no denying his brilliance as a scribe. On music, Neil would go deeper than a records content. He delved down and dissected the creator at DNA level. And it could hurt.

In addition to his writing Neil was an extremely competent musician. And, because of that talent in this field, maybe partly explained his, sometimes, critical standpoints when it came to music. Neil was also a member of the Coventry band the Moonbears who I saw play live, and enjoyed, many times.

The band began as a 6 piece called Rochenko. They then became The Moonbears when they when went down to a five-piece. Then around 2006 they reduced in number again. This time to a 3 piece. Moonbear#1 is Mick and he plays drums and sings. Neil was Moonbear#2 and he plays guitar and keyboards and sings. And Moonbear#5 is Jon who plays bass and won't sing.

More recently they were completed by saxophonist, Sarah Laughton, Moonbear#0 who, I remember reading in one Moonbear message, as having 'completed the circle'.

I must stress that I never knew Neil as such. Apart from gigs, my personal contacts with Neil were few. We seemed very different. I am very much into music nostalgia whereas Neil mainly seemed to strive for the new. But, having read a lot of his work I did hold a quiet esteem for Neil.

My own articles are what they are. The ramblings of an enthusiast amateur. The first time Neil 'liked' an article it left me numb. Daft I know but I couldn't help my giddiness.

Neil did contact me several times, and, they were memorable - for me at least. The first approach being completely out of the blue during May 2013.........

Hiya Pete, Neil from the Moonbears here - just wanted to send you a song from our new album, out now on i-tunes and wondering if there's any chance the launch gig could get a mention in the Telegraph? It's at Inspires this Saturday from 8 onwards and we're on stage about 10. Our album's called 'The Wow! Signal' and will be available to buy on the night as well. Let us know if there's anyone else I should be bothering about this and once again thanks for all the support - I just think you deserve a sneaky preview of the album cos of all the brilliant support you've given us! Cheers, Neil Kulkarni (Moonbear#2).

At that time I was writing nostalgic music articles for said newspaper. So I did what I could for them. That said I was pleasantly surprised that the band had thought to get in touch with me. Not that it happens regularly but it is an honour when an artist trusts you with their work.

A few years on and, during November 2016, I was blind sided once more........

Hiya Pete - promo copy of 'Let's Get Nice' for you - would be great to get a write-up in the Telegraph if possible no worries if not! Thanks as ever for the support x

Naturally I think, I was quite taken aback by this request. Here was a major league music critic and former journalist for the Melody Maker asking me, an enthusiastic amateur, to review a Moonbears album.

Being honest I bottled it. I just couldn't get started. Imagine, if you like, the person writing at a desk, lots of scribbling, lots of scrubbing out, and every piece of paper is ending in the bin. That was me.

I had never felt that way before so called in the help of the then brilliant Telegraph music reporter, Alan Poole. As always he did a fine job.

Long before the pandemic I had an inclination that The Moonbears had been writing another album. If memory serves it began during 2017. The final track, 'Red's Theme', was completed on the night before the first lock down of 2020. It was a massive achievement and a huge labour of love. But I hadn't, yet, realised it's significance.

May 2020 Hiya Pete - Just wanted to get the new Moonbears album to you as your support over the years has been really appreciated. It’s a double album, it’s called ‘Four Sides For Red’ and we are doing a full digital and vinyl release once lock down eases. Hope you enjoy it and have a nice Sunday mate, hope this finds you well x

This time, and without the safety net of the Coventry Telegraph, I had to go for it. I did have a brief chat with Neil about writing and critiquing. The reply was quite uplifting but centred around – regardless of ability, as a writer, just be honest to yourself. Which, of course, is easier said than done.

I was never entirely happy with my article, I never am, but there you have it I simply wrote what I thought.

'Four Side For Red' was fan-fared in defiantly with a wonderful statement of resistance that accompanied news of the album: 'The pandemic was never going to beat the Moonbears but we are all excited that from three of the toughest years of our lives we had Moonbears, and we had this miraculous thing we made. Thanks for reading x'

As already mentioned Neil's writings were immense. His mastery of the written word was simply breathtaking. Deep down I realise that the best writers are controversial, frank and to the point. For me Neil was, without doubt, up there with the very best of them.

At a time like this I feel that the final words must come from those closest. After sending on my condolences I had this reply from Jon Moonbear:

Yes the Neil "headlines" tended to be comical battering's he could dish out but the real Neil was in the way he could lavish praise in a way that the rest of could only think "yeah I also love that artist, know all those words and can write in sentences but I can't understand how he can do it like that"
Jon.x

Rest in Power Neil Kulkarni

The Moonbears by Pete Clemons

https://coventrygigs.blogspot.com/2012/08/the-moonbears.html

RISKY CITY Belgrade Theatre 1981

RISKY CITY Belgrade Theatre 1981

by Pete Clemons

A couple of Wild Boys tracks from play were released on cassette - Roddy Radiations former band.

2023 saw the passing of Michael Boyd. Michael was an artistic director for the RSC but began his career at the Belgrade Theatre. Not only did he produce the landmark play Risky City, written by Ron Hutchinson, but he also produced many of the Coventry mystery plays. The early 1980s and Coventry was an uncomfortable place to grow up in. And the more violent side was the theme of Risky City. It was a play of huge contradiction. On one hand it depicted disaffected youth who were, apparently, all sticking together for the common cause. On the other those same 'friends' were kicking each other to death over a pint of lager. Such were the priorities held, and what was deemed important, within the city at that time. In the edition of 'Something Else' that focused on Coventry, one of the saddest attitudes presented of the city was that of the local kids to the theatre - 'It's all Shakespeare innit?', and in the past the choice of plays made by the Belgrade has seemed determined to foster such an unpromising opinion. When 'theatre' means The Wild Boys and bands in the foyer, there is then an immediate interest established, and I hope that there is to be more collaboration with the Youth Theatre in producing drama that has direct appeal to the young who normally would sneer. More a series of scenes interspersed with music from the band than a play - it's far too rough and crudely put together for that - Risky City tells the true story of Eddy who was kicked to death in one of the city centre car parks over 'the price of a pint of piss warm, low-cal, overpriced lager' and of the CID officer on the case who discovers that one of the attackers was his own son Ellis. Tensions between a father and steady dependable copper attitude to the city and that of his son, who represents the disenchanted youths of a boom town gone terribly wrong, rise. As Ellis puts it in a marvellous extended venomous diatribe against his birthplace, it is 'a ring-road with a dump in the middle or a dump with a ring-road round it?' . This impression of the city is perfectly captured in a stark set of ring road and subway with a backdrop of the skyline, and it is from these epitomes or urban development that the kids come to the stage front in menacing gangs, evincing boredom, anger and frustration. 'Saturdays we have a few, have a few, kick a few heads' – they then go to the pub to watch The Wild Boys - those that don't get pushed out by the bouncers. But it was in such a club that Eddy spilled some of Dave's beer and his fate is decided when they accidentally meet in the car park. Risky City pulled no punches about the desperate plight of Coventry at that time. A play from the heart that acted as a mirror to what had been seen by its writer Ron Hutchinson. Ron, by his own admission, wasn't a sociologist. But he wanted to deliver a message about the culture of violence in Coventry. But, as he also mentioned, it was up to others to solve the problem.

Risky City - Wild Boys

Coventry's First Taste of the Mod Revival Era Live

 Coventry's First Taste of the Mod Revival Era Live.

by Pete Clemons

2024 sees the mod revival period of 1979 hit 45 years. And, as is now customary, a celebration of the music will be held in London later in the year. In fact several of the bands from that era still tour on a regular basis today.

The Mod revival tended to trend almost in tandem with the rise of 2 tone. Both became inextricably linked. And Coventry was, once again, very quick to pick up on this up and coming scene. Around these parts however, and unlike other areas of the UK, the Mod generation, I felt, gradually became overshadowed by the whole Ska scene.

During September 1979 The Purple Hearts, soon after a tour with The Secret Affair and Back to Zero on the 'March of the Mods' tour The Purple Hearts undertook a few headline dates of their own. The Purple Hearts themselves, you may remember, had scored something of a minor hit with their debut single 'Millions Like Us'.

And one of those gigs was a hurriedly arranged date in Coventry. Support for that night was a relatively unknown band from Birmingham called The Beat. The gig had been a couple of months before The Beat had released their amazing debut record, an excellent version of Smokey Robinson and the Miracles 'Tear of a Clown'.

The Beat opened the evening with a lively mixture of Reggae, Ska , Rock and Roll etc. which soon got everyone off their feet. The five piece band played a very tight set , although slightly loud out front.

Cross cultural fusion with dual rockability guitarists Dave Wakeling and Andy Cox were both twangy and semi- acoustic. Art school bassist David Steele wearing mohair threads. Everett Morton, a powerful drummer who kept the beat like a bionic quartz watch. A squawking Ranking Roger up front on vocals with guitar.

You may have noted that saxophonist, Saxa, whose sublime playing summed up the bands mixture of sensitivity & street roots appeal, was missing. Well this gig was either before he joined or he was simply unavailable.

The set was a mixture of impressive covers of Prince Buster like 'Whine and Grind' and 'She's a Rough Rider', a moving 'Tears of a Clown' and many of their own originals which had the audience gyrating. The encores were, without doubt, needed to to satisfy the audience and at the risk of using a well worn cliche, The Beat were without doubt the future of British Rock and Roll.

Purple Hearts followed half an hour later with some impressive Mod music which had all the audience up and dancing. But quite honestly didn't match up to The Beat and, as the gig was arranged at such short notice, Coventry's first mod revival gig went off relatively unnoticed.

The Pink Umbrellas

 

The Pink Umbrellas

by Pete Clemons

Coventry band, The Reluctant Stereotypes, should have gone on to better things. They were quite unique. They were Paul King - Vocals, Paul Sampson - Guitars, Steve Edgson - Clarinet, Tony Wall - Bass & Colin Heanes - drums.

After the demise of The Reluctant Stereotypes, Paul King, Tony Wall & Colin Heanes formed King during 1984 who, you may recall, sang 'Love & Pride'. Additionally, Paul Sampson and Steve Edgson formed The Pink Umbrellas were formed who recorded the delightful 'Raspberry Rainbow'.

My first encounter with them was during an evening in1981. It was after a gig had finished a at Warwick University. At another campus venue two rather eccentric old hippies, called the Pink Umbrellas, were playing. They performed with the accompaniment of drum machine, guitar, clarinet and xylophone. They sang quaint songs about raspberries and odd people and I quite enjoyed what I saw of them.

The following year, 1982, I remember the following review of them. It was a strange analogy and one that I completely disagreed with: At a time when The Jam, whose primary songwriter regarded their music as getting stale, and had just split up, it was a shame to see the Pink Umbrellas at times sounding too similar to them. They were bland without being incredibly bad and left no lasting impression. However, in their more 'psychedelic' moments', with their clarinet lamenting mournfully in isolation they deserved some of the polite applause they received.

Another twelve months on, 1983, saw the duo on an upward trajectory. When I say duo, I mean they had now become a band and had expanded to a four piece.

They prompted the following, and far more accurate, review: After hairstyles had flopped amongst the dudes of the Market Bar on came the Pink Umbrellas, and they were great!. Despite being 1960s influenced, but more up to date with it, they had an interesting line up with a clarinet, which added melodic feeling throughout. The occasional use of the glockenspiel added a new dimension, though I'm not quite sure what the instrument was. They had an instant appeal, coming over as a commercial pop band who were honest and unpretentious, putting their music across rather than any image. Despite being a band to listen to rather than to dance to their songs, a few verging on being ballads, contained a lot of energy and it was a pity the crowd were unreceptive until the end. However, the encore showed the band were appreciated and deservedly so.

And it was this four piece that released the incredibly pleasant and entertaining single 'Raspberry Rainbow' single with its blackberry skies and strawberry sunshine.

Later, Steve Edgson & Paul Sampson ran the club night, The Groovy Garden, held at various venues in Coventry. Although arguably it was on a Sunday night at the excellent, centrally located, Tic Toc club, where the 60s/70s disco/club night was at its finest. The club night lasted for several years.

Paul was also known as a highly acclaimed producer. Sadly Steve passed away during January 2009.