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.

The Specials – Leamington Spa 1981

 

The Specials – Leamington Spa 1981

by Pete Clemons

The Specials have long had an association with Leamington Spa. Their hit single, Ghost Town, had been recorded there. And during that recording period the band played a concert there.

This deliberately low-key gig sold out weeks in advance and many youngsters had to be turned away at the door. This date had been seen as something of a 'come-back' for the Specials, and obviously as important to them as to their fans. It had been sparsely advertised the organisers preferring to rely, successfully, on word of mouth to ensure that only local kids could get tickets. There were even celebrity door men.

As a band The Specials had always appeared determined to progress, and reject the media imposed limitations of their brand of 2-Tone Ska. Their music now was more fluid, and, the overall impression, was happier and more optimistic. For this particular gig, gone were the black and white suits, shirts and ties in favour of an image less look which didn’t predefine their sound.

At the Spa Centre they played a long, varied set including obvious first album material - Too much, Too Young, Monkey Man, Gangsters, and most of 'More Specials'.

Three 'new' songs were all slipped in, all of which appeared on their then forthcoming single. The A-side being 'Ghost Town' a memorable tune which could well be about Coventry. 'Why' and 'Friday Night/Saturday Morning' both of which were equally commercially and viable.

A question asked at the time was 'it remains to be seen whether the Specials can recapture the nation's affection' with this singles release. It certainly seemed to work.

Violence, of course, was almost unavoidable during those days, and the Specials twice stopped playing when fights broke out between excitable youngsters. Sadly, due to previous incidents, the band found themselves in a difficult position of being unable to say much for fear of incurring the further wroth of Her Majesty's finest.

As if already predicting outbreaks, The Specials had already warned that if another fight starts, they'd go. It did, and so they did. In fairness, the majority of the audience made it plain that they go and fight elsewhere.

The Specials returned to the stage and reached a climax with the authentic jingle 'Enjoy Yourself'. They lost it slightly with the last number, 'Niteclub', but the encores of 'Monkey Man' and 'Too Much, Too Young', raised the pulse in readiness for a second and final post midnight encore of the suddenly meaningful and visionary 'Maggie's Farm'.

Terry Hall on congas, Neville on tom-toms and an unusual vocal interpretation, but the message was clear. And when Terry sang 'I try my best/ to be just like I am/but everybody wants you/to be just like them' it was obviously the Special's special message to you.... reject your stereotype and assert your individuality.

Hot Snacks and 21 Guns had provided the initial entertainment. Hot Snacks, in particular, had a sizeable, noisy and dedicated following.

21 Guns played with huge confidence. Their sound reminiscent of later Clash. A danceable, bouncy reggae beat, energetic vocals, and self-assurance born of not inconsiderable talent. Both bands weren't anxious to convey an anti-racist message by trite polemic, but rather by attitude and musical content.

The whole event had been a worthy message - a worthy occasion.