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.

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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.