Friday, July 26, 2024

John Mayall at Warwick University

 

John Mayall at Warwick University

by Pete Clemons




John Mayall and his various bands visited Warwick University several times playing consecutive years between 1965 and 1968. From an organisational point of view those visits had varying degrees of success. Mainly around the numbers attending and the financial side of things. The entertainments department had its own budget to work around. Additionally, I am guessing that blues music was maybe still niche at that time.

During 1967 it was announced that The Coventry Colleges Rag Week was to be held during April. It would feature a dance headlined by John Mayall. All proceeds would go mainly to the 'Save the children fund', with lesser donations to other charities. The problem was the dance lost money and the charities never did get the promised funds.

An inquest afterwards stated that - 'In the first year that the university put on events dances (I assume this t mean 1965), it seemed, made a profit with a greater percentage of the students attending; anyone who has spoken to a third-year 'raver' will be told this, but I'm sorry it's true. Every dance in the first year, according to the scanty treasurer's files made a profit. The artistes ranged through, John Mayall, Alex Harvey, the old Steam Packet, Mike Cotton, Gino Washington and the Alan Price Set. The dances were packed they were all successes'.

The report continued 'But in the second year the situation changed. following in the steps of the first year boom, a number of good groups were booked, Mike Cotton, Mayall again, the Move, the Cream, the Family and Alan Bown to name but a few. But only few of the dances broke even, most made a loss, and the question was why, they had followed the same formulae as the first year dances, so why did they fail' ?

Various reasons and ideas were then submitted on how to improve things. Something must have worked because after John Mayall's next visit during 1968 it was joyfully announced: 'Mayall makes money with a record attendance'

That particular report continued 'Last Friday evening saw the most popular and profitable dance of the year. Over 750 listened and danced to the exciting music of John Mayall, Elmer Gantry's Velvet Opera and the Green Marble Mind. The atmosphere sometimes destroyed by the A.T.V. floodlights, was tremendous. It seems unreasonable that people, having paid a comparatively large amount of money for the dance should have had their enjoyment spoiled by the brightness of these lights which not only dazzled them but made it uncomfortably hot, especially for dancing'.

'Indeed it was very noticeable that fewer people were dancing than normal. Throughout his one and a half hour set, which included only a short break, John Mayall played us music which demonstrated his true worth as Britain's top blues player. Backed by six members of his Bluesbreakers, Mayall played brilliantly through many of his L.P. tracks, lengthening and adapting them to the mood of the dance'.

'With his ragged beard and casual attire, he needed no gimmicks to hold the attention of his massive audience. Altogether superb music from some very talented musicians but what else could you expect from a group that has in its time included such people as Aynsley Dunbar, Pete Green and Eric Clapton yet further indication of the prowess of the great John Mayall'.

This dance, it seems, was the culmination of a period of reform of the structure of the Ents. Committee, last term and its success both financially and socially was a triumph for the new format. In conclusion, it was mentioned - 'this dance has proved that the university was not all apathetic and that it is up to all of us to help continue the enthusiasm that was aroused on Friday night'.










Sunday, July 14, 2024

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW.

BY Pete Clemons


YOU CAN VIEW, LISTEN AND PURCHASE THE DIRT ROAD BAND'S LATEST ALBUM HERE ON BANDCAMP https://dirtroadband.bandcamp.com/album/righteous



I can't imagine that when Steve Walwyn, Ted Duggan and Horace Panter were young, they would be thinking that 'When I am nudging my eighth decade, I’d still like to be playing fast high energy music with that slightly aggressive attitude'. Yet that is exactly what they are doing right now surly?

Here are three men who, at their stage of life - and having had the careers they have had, would be forgiven for taking things a little bit easier.

But no, in the autumn of life they appear to be have gotten a welcome renaissance. And this rejuvenation, cohesion and camaraderie is there for all to hear. The Dirt Road Band's debut album 'Righteous' is absolute proof of that.

Righteous is a highly polished, exciting and truly excellent listen. This trio are certainly not going quietly. There are no huge anthems but at the same time this album is the complete antithesis of mediocrity and crushing tedium.

Apart from the atmosphere created by Righteous the album also creates a power and energy. At times you can't get the volume high enough. Years ago I guess this album would possibly have qualified for the heavy music label.

The tunes included are all original and as memorable for their stunning instrumental breaks. But there is a marriage of several contrasting styles - the one sharp-edged and shrill, the other calm and reflective - it is a treat not to be missed.

Perhaps the most striking departure on the album is the track called 'Been So Long' which features a lavish organ arrangement, and captures exactly the right shade of doomy foreboding, which is characteristic of the album.

Another key to the success of Righteous is that despite the musicians maturity and familiarity they seem to have approached the music with a radical freshness.

The Dirt Road Band are essentially happy war horses, at their absolute best in the short, sharp shock format of 'Cutting Room Floor' or the excellent 'Worry No More'. Its comforting to know that their are always some people you can rely on for a dirty night in.

All that said, and this is not a criticism - just an observation, I am getting a different kind of excitement to that of a Dirt Road Band live gig. As good as Righteous is, it does not - for me, capture the rawness of the Dirt Road Band live. This is an altogether different experience. To me the Dirt Road Band have now developed two facets. The live version of the band and the studio version. A live album is without doubt an idea to ponder. I really think there is room for one

However critics, even amateurs, are rarely the people to pay attention to and I urge anyone who has not heard this album to give it a listen. A powerful and worthwhile release.



Tuesday, July 2, 2024

The Dirt Road Band at the Arches. Midsummer Madness (fun in the sun)

The Dirt Road Band at the Arches. Midsummer madness (fun in the sun)

by Pete Clemons


https://dirtroadband.bandcamp.com/ Listen to their music here 

Line up

STEVE WALWYN (Guitar/Voc)
Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red
HORACE PANTER (Bass)
The Specials - Number One Hit `Ghost Town`
TED DUGGAN (Drums) Banco De Gaia,
Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.


This is not so much a review of the gig. I have done that on previous articles and do not want to simply repeat that process. This time I have just focussed on a few of the amazing songs they played.

The blues is both a musical form and genre. It gets its name from its original association with melancholic subjects and sounds. For example when we have the blues we are, in general, feeling sad. However the blues, as a genre, has developed to addressed other subjects and emotions. It has also adopting a wider purpose of chasing away those blues away using music as the tonic.

Historically, as the blues developed, it encouraged a series of sub genres to develop including blues rock and country blues. Further, the blues can be defined by their development in certain a place such as Chicago Blues and Delta Blues.

In their quest to develop a rarefied set list all these areas appear to have been explored. The obvious example is the song where the Dirt Road Band get their band name from. Charlie Patton and his Down the Dirt Road Blues. DRB have taken this song, sprinkled their unique ingredients, and given it, and many others, a complete overhaul. Delivering them in a fashion that boosts, enhances electrifies and with a touch of venom.

Goodness knows when Down the Dirt Road Blues was written but according to the archives it was recorded during sessions during June 1929. It is a really interesting track as it contains fascinating use of different rhythms. You do wonder, given the tools available during the 1920s just how Charlie got to beat his guitar and play it at the same time. The lyrics on the original tune are difficult to decipher. But someone has had a stab at it and those appear to be the ones adopted.

Farther on up the Road or Further on up the Road was believed to have been written by Joe Veasey. It was sold to Duke Records whose owner took a share of the song writing credits. But it was during 1957 when first recorded by Bobby Bland. Covered by many artists it features guitar playing that represents the transition from 1940s blues playing to the heavier blues rock style of the 1960s. Personally I absolutely love the Roy Buchanan version.

Laundromat was the opening track from Rory Gallagher's self titled debut album. It quickly became a firm favourite and a staple of his live shows. The song also appeared on a number of live albums. Laundromat was written during the period between Gallagher leaving his band Taste and going solo - so to speak. It was inspired, by all accounts, by a public laundromat in Earls Court close to a bedsit he was in at the time.

Credit to for support band the James Oliver Band. Growing up I remember we had a sideboard sized gramophone. A lot of their set contained tunes from those days. As such they stirred the soul several times bringing back many happy memories. Accelerated versions of Wipe Out, Roxette, Walk Don't Run, Misirlou were dispatched rapid fashion.

Dua Lipa from Glastonbury or The Dirt Road Band at the Arches. A tough but on reflection no  competition.

STEVE WALWYN (Guitar/Voc)
Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red
HORACE PANTER (Bass)
The Specials - Number One Hit `Ghost Town`
TED DUGGAN (Drums) Banco De Gaia,
Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.







about

Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

THE SUPERNATURALS
Supernaturals Warwick University and Belgrade Theatre 1985 and 1986


By Pete Clemons



June 1985 – The story went that a band named 'Two People', actually there were five of them, pulled out with flu. Fortunately at the same time Pauline Black, ex-Selecter, happened to wander into the union office, and her then current band, The Supernaturals, were booked.

Pauline Black’s rock steady vocals have now given way to an abrasive upfront, sometimes obsessive, sometimes monotonous rant. The impression created was of an experimental band putting itself through its paces, while searching for an identity.

At times the band appeared almost mentally detached from the audience. Admiration of the dynamics of the Whipround being reduced to an appreciation of the technical professionalism of the musicianship as opposed to danceable excitement.

The Supernaturals' might have expected more from the onlookers, the bands fault? Or the typical reaction of statuesque student audiences? Answer was probably both.

Inspiring enthusiasm is not Pauline Black's forte, the audiences contribution in what should be a two way relationship was also minimal.

Early 1986 - Pauline Black is back with her new band The Supernaturals. She has long since left behind the ska beat of The Selecter and her rock steady vocals have evolved into an abrasive upfront rant. The Supernaturals, at Warwick Uni last year, were described as 'an experimental band, putting itself through the paces, while searching for an identity.'

It is to be repeated that, at times, the band appeared detached from their uninspired Whipround audience. Their music as technically perfect but little excitement was generated. It is expected after some time out, the band will have found their identity and enthusiasm. Curiosity alone will probably draw some of you to the Belgrade on the 12th, which is no bad thing. In the words of Mr. Elvis Costello ‘Curiosity didn't kill the cat, it was some poisoned milk.'

Pauline Black - Vocals

Everett Morton – Drums

Zip – Bass

Tony White - Guitar

Dave Gedney - Guitar



Pauline Black - Vocals

Rob Hill – Drums

Ray – Bass

John Shipley - Guitar

John Greenhow - Guitar


A rare live audience recording of The Supernaturals; a band from Coventry with strong 2 Tone connections, featuring both Pauline Black (ex- The Selecter) and John Shipley (ex- Swinging Cats and The Special AKA) in their line up. This is track 6 from their gig in Aylesbury in 1986. An excellent article on John Shipley's career can be found on the link below which also includes further information on The Supernaturals.

Away - cover of Swinging Cats number.


Fish Gotta Swim


The End

More youtube by the band on this channel

The Supernaturals 1985 -86



BACK TO THE BAND INDEX

Pauline Black – Vocals

Everett Morton (The Beat’s old drummer) – Drums replaced by Rob Hill

Zip The Bassman – Bass replaced by Ray, a bass player from Rugby

Tony White – Guitar

Dave Gedney (“That boy gets everywhere!” – Tony)

John Shipley – Guitar (2nd Line-up)

John Greenhow (2nd Line-up)

Memories from Tony White via Rex Brough

“The first line-up supported Joe Boxers on tour. The second line up really rocked. NME described us as playing ‘Guitar-based underwater spy-movie music’ I really enjoyed this band – we supported The Communards on their UK tour in 1986 and played some great gigs around the country.

There was a lot of Press and record company interest in The Supernaturals at that time – closest that I personally ever got to ‘making it’ but it wasn’t to be. John Shipley and Pauline fell out, everybody took sides and it got a tad nasty. God I really hate all that political nonsense. Upshot of it was that a new band emerged from the ashes called The Great Escape – Val (Ex swinging cats) was drafted in as lead singer and Barry (Rob Hill’s old partner in rhythm from The Mix) replaced Ray on Bass. The new line up was now Val, Myself, John Shipley, John Greenhow, Rob Hill and Barry.

The Great Escape actually played some corking gigs in Cov in early ’87 but finally split with myself Rob and Barry going over to the French Riviera where we played the English Campsite bars as Ted Zeppelin and the Marina Maniacs !!

I have to say that this was amazing fun, and actually earnt more dosh than any of us had ever seen from music before ! 
https://www.artsrainbow.com/coventrybands/2019/03/28/the-supernaturals/