Reggie 'Rocket' Sparkes

 

Reggie 'Rocket' Sparkes

By Pete Clemons

Given that he was once a well known local musician in and around Coventry, entertaining me several times, I felt it was appropriate to write down a few words about Reggie 'Rocket' Sparkes.

This is not meant as a definitive list of bands he played in. In fact I hope it isn't as I would love to see it added too. But it is a starter.

Born 1938 the earliest I see Reggie mentioned in a band was in 1965 and a group called The Soul Sect. The Soul Sect had a comparatively posh Bedford Van, a very good PA and plenty of gigs lined up, albeit in working mens' clubs. By all accounts they gave a valuable lesson in how to get enjoyment by revamping music that was initially not to the bands taste but demanded by the audience such as Dave Dee Dozy Beaky Mick and Tich numbers.

The Soul Sect featured Reg Sparkes on bass, his brother Rick Sparkes on drums, a rhythm guitar, player, Tony Warner who played a Hohner Cembalet Electric Piano and Colin Williams on on stereo Gibson guitar. Which I believe he acquired during the back end of 1966. They were later joined by Tim James on vocals and blues harp.

The Soul Sect, who also played a mix of Tamla Motown and Soul music, went on to gain a residency at the Chesford Grange Hotel. However the HP company eventually repossessed the gear and that was the end of The Soul Sect.

Towards the end of 1966 The Soul Sect lost Tim James and had a change of name, They carried on with a cosmic psychedelic name From the Sun.

From the Sun initially carried on from where The Soul Sect finished and found themselves plying their talents in clubs and pubs all over the north of England. British blues was in its infancy and the band found themselves becoming influenced by the likes of Eric Clapton and John MayalL's Bluesbreakers who at that time included Peter Green and Ainsley Dunbar and who they saw play at Coventry’s all night gig at The Locarno during Oct 1966.

From The Sun were Mick O'Rourke (vocals), Colin Williams (guitar), Tony Warner (organ), Reg Sparkes (bass), Rick Sparkes (drums). (The original singer Pete ?, who joined during the bands Chesford Grange days, was replaced by Mick O'Rourke from The Gazelles.)

It seems that after the 1960s passed and Reggie's flirtations with the underground music scene diminished he reverted to the rock and roll circuit where the 'Rocket' part of the name came in.

Vince Holliday is not 100% sure but thinks it did have something to do with his love for rock and roll. The audience would shout an encouraging 'Rock It' to Reggie. And the Reggie Rocket moniker stuck with him throughout his life.

It is sad when we lose another one of the local musicians who has made life so much more bearable. Reggie was very well known around the Coventry Music scene and will be greatly missed, especially by the likes of drummer Nigel Lomas who jammed, with Reggie, in a lot of those rock and rolling sessions.

Thanks to Robert Weston-Bartholomew and Vince Holliday for, unwittingly, providing some valuable thoughts and insights.

 

 

The VIPs

 

The VIPs

by Pete Clemons

Andrew Price – bass, Guy Morley – guitar, Jed Dmochowski – guitar, Paul Shurey - drums

Classed as a local band, possibly because they were formed at Warwick University in Coventry, The VIP's were based in South London. They were closely associated with the mod revival scene towards the end of the 1970s. As a band the VIP's were short lived but certainly left their mark. In part because band members were a part of the resident campus society 'Now Society' – previously known as Rabid Rat - who were hell bent on bringing, the unfashionable, new wave/punk/mod music to the university.

Rabid Rat, formed around 1977, were a university based club that catered for new wave enthusiasts. From the beginning they were formally told of the imposition to ban them following incidents at two new wave concerts they had organised.

The first concert had been by the band School Meals. It was a private booking held in the Disco Room and arranged through normal Arts Federation channels. According to an Arts Federation Rabid Rat had made a mess of the stewarding with only one person at the door.

After the concert abusive slogans were daubed in prominent areas of the union building. At least half of the audience had come from outside the university and it was them, rather than the students at the concert, who were believed to have done the daubing.

Also during 1977, and a week after a gig by School Meals, Rabid Rat organised a concert featuring the VIPs. On this occasion, after events the previous week, the Arts Federation installed its own stewards in the Disco Room, but again ugly incidents occurred.

'It was like the inside of a powder keg in there', an Arts Federation source said. 'The only way to handle gigs like that is with professional bouncers'. Again half the audience was non-student. There were plenty on the campus who were in favour of a ban on new wave concerts but, at the same time, there was an opposition group seeking to retain them.

By 1978 The VIP's had gained significant support. They had become known as the 'top campus pop group'. Unfortunately however it also brought notoriety. A gig at the campus was almost drowned out by hecklers rumoured to be the university rugby team who had just returned from an away game.

With a changing music scene 1979 saw The VIP's move into the Mod Revival arena. A gig at the campus began with a film shot on site. Sadly it fell flat. One of the band members said ' It was supposed to impress you, out obviously it didn't'.

Technical problems plagued them throughout. The set seemed sloppy and disorganised and never really seemed to get started, until the end. They also seemed to concentrate far too much on other people's songs. Chris Montez' 'Let's Dance'. They covered some old Beatles songs too.

To be fair, the set did pick up towards the end and the audience began to join in demanding, perhaps somewhat excessively, two encores. The drumming was excellent and The VIP's were obviously all competent musicians. If the VIP's were going to succeed they were going to have to do a lot more work and think again about what direction they were aiming to go.

And that appears to be exactly what happened. Between 1979 and 1981, away from the university, The VIP's cut several singles. These included: Just Cant let you go, The Quarter Moon, Need Somebody to Love, Causing Complications, Things Aren't What They Used to be. The band did record an early single in Coventry with John Rivers during 1978 but, arguably, their best work can be found when they signed to GEM records.

Duke Ellington Orchestra - Coventry Cathedral 1966

 

Duke Ellington Orchestra - Coventry Cathedral 1966.

by Pete Clemons

Despite groups like The Beatles riding high, Revolver was just around the corner, a concert by the Duke Ellington Orchestra during the mid 1960s was still seen as an incredibly important event.

In fact it was predicted 'Far from being a joke, Harold Davison's conception of teaming Ella and Ellington promises to be the musical highlight of 1966'. As such any UK dates were met with much excitement and expectation. Although for the Coventry gig Ella Fitzgerald did not feature despite, it being said, stole the show during the European dates.

A late announcement mentioned that 'Duke Ellington and his band, who were due to end their 1966 visit to the UK on Sunday February 20 with concerts at London's  Hammersmith Odeon, will stay over on Monday 21 to perform at Coventry Cathedral for ABC television'.

The programme, it was promised, would be similar to those performed at Grace Cathedral in San Francisco during 1965 and at New York's Fifth Avenue Presbyterian Church on Boxing Day same year, and is built around Ellington's then new work 'In the Beginning, God'.

'This piece is based on the first four words in the Bible  - In the Beginning, God. This will be the first thing we play using the orchestra and a choir' Ellington told music paper the Melody Maker.

Everything else that happens will follow 'In the Beginning' That we know, but the rest of the programme is not yet set. 'In San Francisco and New York we did something special, and no doubt, we will do something special in Coventry'.

'I've been invited to do this programme in many churches and I'm always honoured of course. When the chance came to play at Coventry I was delighted. But no I've not seen the cathedral yet'.

The European leg of the tour had seen drama. Poll winning drummer, Elvin Jones, was a last minute replacement for regular Sam Woodyard within the Ellington Orchestra. For one show the band featured Jones and the relatively unknown Skeets Marsh. But both drummers informed Melody Maker that they were unhappy with the arrangement. 'It isn't working out' said Elvin Jones 'and I'm not happy with a big band'.

By the time of the British dates the issue had resolved itself with Woodyard returning to the percussion seat. Woodyard had, in fact, re-joined the band in Switzerland.

 And indeed the momentous event in Coventry was filmed and broadcast by ITV and on the Midlands ABC channel as part of their Easter programming that year. The footage was long presumed lost, but was unearthed by Studio Canal, and restored by archive television company Kaleidoscope and the University of Warwick.

And this possibly explains why a subsequent CD release has 'In the Beginning' at the heart of it and not the opening piece as mentioned by Ellington. That said it is great to have rather than not.

The centre piece of the concert was not for everyone. One critic panned 'In The Beginning God' saying it was Ellington at his worst, overblown and pretentious. At one point George Webb chants, 'Matthew, Mark, Luke and John...' inviting the childish follow-on, ...'went to bed with their trousers on'. That said, it was just one of several sacred pieces performed.

But there were many though that did enjoy the concert where Ellington brought the full force of his repertoire. Out-tempo ballads, swinging sections and music that kept shifting and changing both thematically and rhythmically were all on display. There was also a section that featured The Cliff Adams Singers (for those who remember sing something simple?) who added their forte of easy listening, reverential chanting.

Ben Worsley - Guitarist

 

Ben Worsley - Guitarist

by Pete Clemons

https://x.com/benworsleymusic?lang=en

https://www.facebook.com/profile.php?id=100063578972509

Ben Worsley, a musician who may not be a household name, but I recently saw him do the most delightful duet with David Gilmour at The Royal Albert Hall. It was during the song 'Wish You Were Here', when that musician type language of glances were shared. Ben is second guitarist on the current David Gilmour tour.

During that part of the concert a sense of sadness and pride fell over me.  But it was not for me. It was for Ben's late father Spike (real name John). I had barely known Spike. I only met him through attending gigs where you meet a whole range of wonderful people.

But Spike and I did connect, many years ago, even if it was at that 'and where are you from?' level. You see Spike was from Leamington Spa and had studied in Coventry. And they are not the only connections with Coventry.

Over twenty years ago almost 300 people had filled All Saints' Church at Burton Dassett country park in south Warwickshire. They were there to say a farewell to one of Coventry's most remarkable sons, Spike's father - Jack 'J.R.' Worsley.

Professor Worsley had grown up, quite impoverished, in a small terraced home in Coventry. After the war years he began to study osteopathy but also had an interest in a more holistic approach to healthcare. In order to advance his learning Jack Worsley travelled to Paris where he studied acupuncture.

By 1956 Jack had opened a college in Leamington Spa where, by the 1960s, he had mapped out a structure of the traditional Chinese medicine that he called Five Element Acupuncture. In fact the college was re-named as such.

The 1970s saw Jack living in Kenilworth. And this would be a base from where he would tour America, particularly Florida, giving lectures on this ancient Chinese art. Not even ill health, in the form of of heart attacks, could slow Jack down. He even founded a place of learning in America. Spike, who moved to London and where I assume Ben grew up, carried on the family tradition of acupuncture.

Sadly Ben's father, Spike, passed away during 2022. From memory he was not huge in stature, he was slightly shorter than I am, but I'm certain he would have been so hugely proud right now.

We never met up at gigs, as such, but quite often bumped into each other through attending mutual events. Particularly in the London area where he had moved to. Conversation didn't take long to switch to the subject of Coventry and often began with 'did you ever see.....?'

He did mention that, for a while, he was a fixture at the Lanchester downstairs sports hall where he attended many gigs. His musical passion was vast and varied. His knowledge of the subject was immense and he was more than keen to share it. Spike was a special character.

Coming from a less salubrious area it was easy to assume that growing up in the leafy suburbs of Warwickshire must have been so perfect. And I am as guilty as anyone for imaging these things. But I got the impression that life for Spike wasn't quite as imagined.

Throughout the Royal Albert Hall concert Ben Worsley never put a foot wrong. At least to these ears. He didn't look out of place either. It was a quite magnificent event.

The Pineapple Thief – @25 years

 

The Pineapple Thief – @25 years

by Pete Clemons

As the sodden Summer of 2024 - ok occasionally sunny I admit - makes way for Autumn, rock band The Pineapple Thief are gearing up for a tour of the USA, Canada, Mexico and a few other territories where, hopefully, brighter weather awaits.

What I find remarkable about all of this is that this tour comes during the bands 25th year of existence. And given the size of some of the venues The Pineapple Thief are still growing, still expanding their reach.

Thinking back to the many classic rock bands I have enjoyed, their lifespan, the period they created their best remembered albums, was relatively short. Yes bands like The Rolling Stones have existed far longer. But in terms of new studio output, albums have relatively rare during the last 40 years of their 60 year time span. The Beatles, 12 years or so together.

So I do think that 25 years of hard graft, and still releasing worthwhile music, deserves a tip of the hat.

In hindsight, it seems that changes within the band have happened on an 8 yearly, or so, cycle. Not that it is some kind of target or been planned in any way. It's just the way the bands career has panned out.

I think it was The Pineapple Thief's principle writer, Bruce Soord, who mentioned that there are three distinct phases or era's of the band. The early cottage industry releases that began during 1999, the early K.Scope era from 2007 and, more recently, the Gavin Harrison era. Each of these aspects of the band are very distinct with each having their own merits. Add that to Bruce's own solo career and it amounts to a very decent body of work.

What is absolutely wonderful to read on social media, for example, is the variation of opinion as to different favourite albums. That, to me speaks volumes about the reach of a band. Imagine, in a huge range of record releases, if everyone had the same favourite album. That band might not be so interesting.

Many music careers have been and gone during the 25 years that The Pineapple Thief have been in existence. Some of those careers more successful than others. The Pineapple Thief are not a household name, but at the same time, have not been unsuccessful. They have had chart success but, admittedly, that is very contextual nowadays compared to what it once was.

I always get the impression, reading interviews, that Bruce comes across as feeling guilty for putting those closest to him through it all. At the same time being incredibly thankful that they do so. But he is a musician albeit, I think, a very humble one.

Bruce's songs tend to ground you. They are far from mundane but they strike a chord within you. They tend to get you to reflect and focus on what really is important in life. If you allow them to they will wash over you on a more emotional level. They are unique in that the songs appear to be aimed at progeny and relationships. And, yes, they occasionally veer off to document the state of the world and self growth within it. Full of warmth if you like. But at the same performed with a venomous rocky edge to them.

Do these songs endure?. I think they are absolutely timeless. Memories, life experiences, loss and longing, courage, disappointment. Its all there. These are powerful records. May The Pineapple Thief continue for years to come.

James Oliver Band with Horace Panter – Temperance Café bar, Leamington Spa

 

James Oliver Band with Horace Panter – Temperance Café bar, Leamington Sp.

by Pete Clemons

I had decided to see the James Oliver Band after being highly impressed during their recent support slot for The Dirt Road Band at the Arches Club. When I bought this ticket I noticed that Horace Panter was also involved but what I hadn't realised was that he was going to grace us for the entire gig.

Now, as a headline band it was a tale of 2 sets. One mainly acoustic the other with loads of vocalisations.

James was great fun and went down very well with the audience. Many of the songs were very well known. Some modified slightly with his own, very clever, lyrics added. Such as Jimi Hendrix's Red House over Rhonda.

Drummer Mark Kemlo is one of those rare breed of percussionist who can make a small kit sound much larger. He is so sympathetic to James's guitar playing. A very 1950s thing maybe. He adds to the music rather than simply keeping time.

The evening was not purely about the twangy side of James guitar playing.  He mixed things up with other styles so as to appeal to all tastes such as Country Blues.

James' stage presence was always edgy but he showed a great sense of humour – especially when an audience member got up to get a bottle of beer opened. James offered up his (teeth) plate, 'try this' he said.

Horace Panter also found himself the butt of James inoffensive off the cuff humour as he described his band as not so much Special, but more the Mediocre's.

Even during the serious numbers James did not seem to take himself too seriously and in songs such as Ry Cooder's 'Every Woman I know' his utterly Welsh accent showed genuine emotion despite breaking a string.

One of the highlights, for me, was a rousing 'Rolling and Tumbling', where James really seemed to get the best out of the band. The evening finished up with a traditional song called 'My Baby Left Me'.

James's guitar playing was very good and of the instrumentals played, of which I really did enjoy, 'Wipe Out', 'Sabre Dance' and 'Miserou' were stand outs. After his last number James eulogised the band and venue with great sincerity.

There is no disputing James's overwhelming sincerity and dedication to the whole field of blues music. He clearly has great love and affection for the whole genre. And on a completely personal note, it was just so wonderful to hear tunes played live that I remember so well from my childhood. These would have been on Saturday morning radio presented by the likes of Brian Matthew and Ed Stewart.

The James Oliver Band return to the same venue during March 2025.

Hear them on YouTube at henry's Blues House, Birmingham. 

Held By Trees with Martin Smith

 

Held By Trees with Martin Smith

by Pete Clemons

What happens when you mix a band who, by there own admission are influenced by Talk Talk, and musicians from a Christian rock and modern worship band?

Essentially what you have is a new release by Held by Trees. What is Held by Trees? Through a by product of the chemical reaction process called photosynthesis oxygen is produced and released into the atmosphere by the tree. Just about everything you need to sustain life.

And that is what appears to be captured in this CD. It is sheer beauty from beginning to end. I have rarely heard so few lyrics put to such maximum effect.

Would I, had I known this level of detail beforehand, have overlooked this release. Quite possibly, who knows. But so glad I went into listening to this release blind.

The first thing I noticed was inside the sleeve where I read the words 'friendship is divine'. Just seeing that blew me away. And this collaboration and friendship is certainly made in heaven.

After several really excellent instrumental releases, Solace (2022) and Eventide – Live at Real World (2023), Held By Trees release their first music with a vocalist, Martin Smith.

The seven tracks on this release comprise of two 12-minute songs, 'You Deserve' and 'Lay Your Troubles Down' along with a third shorter one 'Oh My Love'.

The release also includes similar length instrumental mixes of all three tracks and an ambient version of 'Lay Your Troubles Down' by Hong Kong based ambient duo, Salt of the Sound who contribute a peaceful ambient feeling. Add Anita Tatlow’s ethereal vocals to the mix and it brings a whole new dimension to the song.

Given the nature of Held by Trees previous releases, how did this wonderful collaboration and release come about?.

As told by the band: 'Having established themselves with the highly acclaimed instrumental releases, an obvious question for the project has been ‘what would it be like with vocals?’

The answer to this question came when Held By Trees frontman, David Joseph, asked his friend Martin Smith to come and play a short opening set for their gig in Martin’s home town of Brighton.

Martin, a world-renowned singer-songwriter, on hearing Held By Trees set, found his imagination set on fire by the possibility of a collaboration. Over a phone call a few days Martin and David began to hatch a plan to get together at Real World Studios and record new music.

'Lay Your Troubles Down' was the first release from the resulting session, which also features Martin’s long-time friend and former Delirious bandmate, Stuart Garrard on guitar. It immediately garnered a Spotify editorial playlist, despite running to nearly 13 minutes.

Held by Trees will be joined by Martin Smith on a few live dates during November. And Friday 15th November see's the band play The Tin Arts Centre at the canal basin in Coventry. This could well be one of those genuinely 'I was there' moments.

Andy Nixon: The Waterline

 

Andy Nixon: The Waterline

by Pete Clemons

The coast, particularly for people from the Midlands, is a special place. I myself still get excited by the prospect about going to the seaside.

Originally from Sunderland Andy Nixon, guitarist from Freedom to Glide (see footnote below), by his own admission took the sea for granted. Since moving to Coventry, like us, he realises that the coast is not so accessible and understands our affection for the sea. Andy has recently completed his debut solo album he titled, The Waterline. And what a joy it is.

The Waterline is, of course, the point where a boat floats. You can see what is above the waterline but not so much below. And, using The Waterline as an analogy, the same applies to people. You take them at face value but you never really know exactly how they are under the surface.

Similarly, Icebergs can also be a good metaphor for authenticity. The majority of what we really feel and what is really going on for us is down below the waterline (both consciously and unconsciously) – below the tip of the iceberg.

The book Jonathan Livingstone Seagull by Richard Bach offers a thought-provoking allegory about the importance of breaking free from societal limitations and pursuing your passions. The book emphasizes the importance of pushing boundaries and striving for excellence. It encourages readers to chase their dreams fearlessly.

Added together then it was a mix of those factors – what lies below the waterline, icebergs and chasing the dream – that proved inspirational for Andy's album. And he hopes that his efforts in the making of The Waterline will produce an album that strikes a balance somewhere between.

Musically, The Waterline, has not been written with any particular genre in mind. The songs were penned with a 'whatever seemed to fit' type attitude. The subject matter was, I think, the important element.

Andy's solo project began weeks before the pandemic, and for a while it ran in parallel with the last F2G album 'The Chronicle of Stolen Souls'. It was all ready to go by the end of 2023. But then Andy felt an intro was needed and that final piece of the puzzle was written Jan 2024.

In buying this release what you will come home with what I can only describe as a decidedly attractive sleeve. The cover picture was taken by Andy. All CD booklet pictures were taken in various locations such as Kos, Roker beach and Eyemouth in Scotland. And, you will notice a nod of the head towards Richard Bach's book, as Seagulls are noticeable too.

Andy Nixon's personality pervades this album, English, distinctive and occasionally sublime. His voice is unique, his guitar-playing subtle and rhythmic and his lyrics - well, his lyrics ... take the track 'Still' for example. Here Andy describes his thoughts:

So, we're going back to 2020 and looking at how it all unfolded, especially in the UK where we had a Health Service on it's knees and health professionals put through hell. The time was also marked by the PPE scandals, the late reactions to the pandemic, leaders breaking their own laws, the blatant lying, the incompetence, etc etc. (For the record I lean way more to the left than the right - enough said). The song is built around the phases of the moon, it's a more poetic way of time-lining the year than doing a Barbara Dixon January, February etc etc (look that up if you're under 50)..... Wolf Moon, Snow Moon, Strawberry Moon..... way more interesting!

I needed characters for the protagonist and the antagonist (NHS vs Govt) so it's very loosely based on the opening scene of The Tempest. (I'm not at all well-read on Shakespeare but it's a famous scene and it makes a great analogy). Johnson is the "Captain" and the entire NHS are the "Bosun".

I wanted the guitar solo to feel like a ship on a stormy sea so there are a lot of ascending and descending scales and arpeggios going on! I think it works?

Last but by no means least I want to thank my dear friend the amazing Louise Wilson of Kafkadiva who is responsible for the beautifully layered harmonies that build throughout the song "Still" would not have worked without her incredible vocal and her perfect improvisations. Thanks Lou x

So, to sum up, "Still" is a commentary on a world pandemic whilst journeying through the phases of the moon against the setting of The Tempest by William Shakespeare. Pretentious? Moi?

Response to The Waterline has, so far, exceeded expectations. It has actually been quite amazing . And, naturally, Andy is absolutely delighted with it all.

Footnote: Freedom to Glide (F2G) is a coming together of the talents Pete Riley and Andy Nixon. Both played together in the Pink Floyd tribute Dark Side of the Wall. F2G weren't so much a product of the 'modern boundary stretching/ambitious rock' type boom which gave us the likes of Porcupine Tree, The Pineapple Thief, Anathema and many others. That said, their music has always been accomplished, always melodic and always, but always, very listenable.

The Rabid Rat Punk Club / Now Society

 

The Rabid Rat Punk Club/Now Society

by Pete Clemons

It is fair to say that Warwick University was no different in struggling with the emerging punk rock scene. As indeed did many universities. Initially the whole punk rock scene was given a rough time. In the case of Warwick though, and in order to meet demand and attract punk bands, an alternative social scene began to run in parallel with the more customary social scene. It was known as The Rabid Rat Punk Club.

One of their first gigs was held during 1977 where they invited a band called School Meals to play. As was the case an over exuberant crowd spilled over to disorder.

The organisers received the following warning: 'Rabid Rat, the campus society which caters for new wave enthusiasts, has been formally told of the imposition of a ban, which followed incidents at two new wave concerts that took place earlier this term'.

The first concert, given by the band School Meals, was a private booking by the Disco Room, arranged through normal Arts Federation channels. According to an Arts Federation source: "They made a mess of the stewarding - only one man was at the door". After the concert abusive slogans were daubed in prominent areas of the union building. At least half of the audience came from outside the university, and it is they rather than the students at the concert who are believed to have done the daubing.

The second of those gigs, and a week after the School Meals concert, Rabid Rat organised a concert featuring the VIPs. The VIPs were mainly a university based band. On this occasion the Arts Federation installed its own stewards in the Disco Room, but again ugly incidents occurred.

"It was like the inside of a powder keg in there", an Arts Federation source said, "the only way to handle gigs like that is with professional bouncers". Again, the common denominator it seemed, was that half the audience was non-student.

The Arts Federation's chief steward confirmed that he and his staff were unable to keep order. The students' union executive supported a proposal to impose what was later described as "an unofficial ban' on New Wave groups. But of course that ban was soon lifted.

The Now Society began during January 1978. It was an offshoot of the then fashionable Rabid Rat Punk Club. At the time of its inception the arts federation (in the words of the club) was incapable of putting on any bands of any interest at a time when the British music scene was at its most vibrant.

As an alternative Paul Shurey (drummer of the VIPs) and Mike Dembinski instigated the Now Society.

Music, fun and spontaneity were the original watchwords. The first events were planned on a massive scale; fun dates were based around some small but hip bands: Whirlwind, The Boyfriends, Rocca Hula and the Waikiki Wipeouts. The nights came with discos, food & drink, competitions and fancy-dress.

This made a direct change from the 'normal boring old sit down university gigs'. Students flocked along, as publicity was good and the gigs were attractive. After about 5 fun dates organised by Shurey and Dembinski, based around power pop/beat/rock'n'roll acts, a new regime took over, which led to a new phase of 'Nowism', right in tune with the fast approaching 80s, and the emergence of Coventry as the cultural theatre of the universe.

1978 also saw a light-hearted musical intervention as a member of top campus pop group, the VIPs, was almost drowned by hecklers. Very quick on the uptake, ahead of the game so to speak, the Now Society had spotted the up and coming local talent and had vowed to have them at Warwick.

'You will have the opportunity to view the most promising talent that the City of Coventry has produced' affirmed the society. 'Over the last year or so Coventry, and the surrounding area, have produced a few good bands'. Of course they were referring to The Coventry Automatics and all that came with it.

Adam and the Ants – Tiffanys

 

Adam and the Ants – Tiffany's

by Pete Clemons

Adam and the Ants were a phenomenon although somewhat short lived. Here is a review of a visit, by them, to Coventry which recalls all the action.......

Adam is an excellent showman. He plays the crowd well. On a Tuesday evening at Tiffanys he produced a catalogue of old showbiz tricks. Judging by the performance of the Ants, they certainly needed them.

There is precious little to back up their recent popularity/fashion-ability after several years of obscurity and unfashion-ability.

Surprisingly, Tiffs did not seem too full, despite stories of trouble from locked out fans at earlier gigs. The majority of the crowd did not look much like the hordes of dressed up people that usually follow Adam.

Support band Gods Toys continue to improve. Despite a slightly dodgy sound they played very well, "Package Tours to Heaven" sounding particularly good.

Gods Toys were so good that Adam decided to pull the mikes out and switch the lights off during their last song, their theme "Gods Toys". This slightly annoyed sections of the audience, myself included.

The ant Disco provided entertainment between bands. This consisted of trendy old records by currently popular influences, e.g. the Sweet, Cockney Rebel etc. etc. jovial The Ants took the stage to the 1812 Overture.

The Ants were very well dressed though much the same as they appear on the cover of their latest glossy product. The two drummers began to pound away producing their customary tribal sound, a nice thumping, danceable beat. This got rather dull after several songs and the drums tended to dominate proceedings to the detriment of the songs.

The bass was inaudible but the bass player produced some pleasant tribal whoops to compensate for this. Marco Pirroni played guitar in his usual cutting manner, producing a sound similar to a chainsaw. He verges towards heavy metal at times, when his judgement temporarily deserts him, which on Tuesday was unfortunately rather frequent.

There was a definite lack of good tunes, although "Antmusic", "Jolly Roger", "Press Darlings" and "Car Trouble" were exceptions. The rest of the songs were unmemorable - in one ear and out the other.

The band take themselves very seriously despite the jovial nature of their songs, Adam's stage movements are somewhat macho. He appears just like a hairless Freddie Mercury. He is also putting on weight. His shirt came off, although he managed to keep it on until the encore. "Kings of the Wild Frontier" was left for this, somewhat predictably.

"Kings" was played very badly as was "You're So Physical", which followed. One more encore and a patronising comment to the audience from Adam – "Coventry, you're a sexy town" - and that was that.

I enjoyed seeing Adam getting hit in the gut by a bag of flour thrown by the Gods Toys keyboard player. It was annoying to see the audience forget so easily what had been done to the local heroes and lap all of the Antmusic up. Still, c'est la vie. They will probably be unfashionable again next week.

And Coventry band God's Toys.

THE CLASH - TIFFANYS 1980

 

THE CLASH - TIFFANYS 1980

by Pete Clemons

By 1980, and after several previous visits, The Clash had, by now, built up a sizeable following and returned to Coventry. The following review of that gig recalls how a section of the audience still thought it was 1977........

Its somewhere around 10.30 pm as the disco fades and the lights dim; and the audience ripples in anticipatory applause.

A roadie's flickering Ever Ready signals the impending blitz, and the Clash take the stage in customary darkness.

Seconds pass, lights blaze, and we're all "Rock, Rock, Clash City Rocking" to the one-time heartdrops.

From the mists of distinctively Clash guitar, Joe Strummer's voice rasps over the fate of war torn Spain and "Guys in the bar leaning over too far", as the London Calling set is despatched with an ease and skill that could all too easily be reserved for the "77 anthems.

"Safe European Home", "Jimmy Jazz", "Protex Blue", "Brand New Cadillac"... all are treated with art equal panache as definitive rock and roll receives ultimate presentation.

But all is not well. Time has hardened the Clash collective against the hail of saliva that accompanies every performance. "You've gobbed at us a million times", Strummer harangued, holding aloof his glistening guitar fret in evidence.

Joe then went on to say that the next person who gobs at me will get filled in. But warnings weren't enough. Cue more disgusting scenes. Joe then dived into the crowd and proceeded to fill this bloke in. He was swiftly followed by Topper Headon who had leapt in from behind his drum kit and along with some members of the crew began fighting with the audience.

Paul Simonon and Mick Jones looked on as a conglomerate of roadies and stewards struggled to re- install Joe onto the stage. When he did finally re-emerge, shirt torn and left eye injured, the audience appeared to recognise that there must endeth the gobbing. Strummer had fought Coventry's Joe Public, and I think, on balance, Strummer won.

The set stretched into a lengthy hour and forty minutes, during which I danced and sweated, and came to appreciate some of the reasons why the Clash are still with us, despite the decline of whatever happened in 1977.

They're still angry, and they still care, but their reach extends beyond punk- purism. Sophistication - if that's the right word - has led The Clash in new directions and the passion has found diversity and lasting appeal in the mixture of reggae and R & B that is the new album. And after all that, won't you give them a smile?

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'.

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.

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

https://www.youtube.com/@mangeire

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/

ENS to Reluctant Stereotypes

 

ENS to Reluctant Stereotypes

by Pete Clemons

Pete Clemons - Any research on Coventry band The Reluctant Stereotypes may well result in you seeing the note 'morphed out of ENS' or similar. Rarely is it expanded on.

But who or what was ENS?. To begin with, musicians including Paul Sampson, Steve Edgson, Peter Bosworth, Paul Brook, Steve Haddon and Chris Dunne were involved at some point. But that list is not exhaustive and others may well have passed through the band.

Trev Teasdel Hobo site editor - Stop right there. I think I can fill in here! Let's expand - (we'll come back to Pete's article)

Steve Haddon wrote "Ens was formed by Pete Bosworth (guitar - brilliant John McLaughlin look/sound-alike) and myself (Steve Haddon). 

The original bass player didn't turn up for our first gig (at The Golden Cross) so he was ditched! Our first drummer was Johan (can't remember surname) who played the working men's clubs in a drums/keyboards duo. Johan's commitments made it difficult for us to fit in gigs, so he was replaced by Paul Brook. Paul came to our first audition but was still playing in another Coventry band (Analog) along with Steve Edgson & Mick Hartley, so despite him being brilliant, he couldn't join because of this commitment. When Paul Brook joined, we also gained Mick Hartley (Bass) and Steve Edgson (Clarinet) - actually Steve Edgson may have joined before the other two! Paul Brook still found it difficult to give us 100% of his time and, eventually, this led to us replacing him with Chris Dunne - our 3rd brilliant drummer in a row.  Sadly Pete Boswell died and was replaced by Paul Sampson. Pete Bosworth made a huge contribution to Ens and it really wasn't the same without him - so the name was changed to the Reluctant Stereotypes mark 1 before Paul King replaced Paul Sampson."

Trev Teasdel " Yes Steve Haddon is right the core of ENS came out of Analog but who were Analog? I can help here - summer 1974 I was producing Hobo Coventry Music and Arts Magazine and got a letter from guitarist John Rushton telling the magazine about Analog - the letter began -

"Hi Trev, I thought you might like some details of a new and truly original Coventry rock band to include in your mag - Hobo." 

And yes we did include the band and their details in Hobo summer 1974 issue and then gave them their first gig at the Hobo Workshop Holyhead Road Youth Centre in Coventry in the July and and another in September 1974. Bear in mind at this time Charley Anderson etal and Neol Davies were practicing their reggae licks in the basement downstairs some years before the Specials formed there.

Analog's line up was Mick Hartley - bass, Steve Edgson guitar / clarinet / Paul Brook drums (double kit) and vocals  / John Rushton lead guitar and backing vocals. They band were a jazz / Rock band influenced by bands like Colosseum. Paul Brook had written a 40 min suite called Custer's Last Stand which they recorded at Bird Sound Studio, Snitterfield. You can listen to these suburb tracks here - and bear in mind three of Analog went into Ens and later the early Reluctant Stereotypes.

JARGON · Analog {Coventry Band 1974} feat. Paul Brooke [Drums] ARCHIVE

https://soundcloud.com/jargon-1/sets/analog-coventry-band-1974-feat?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Analog at the Hobo Workshop Holyhead Road Youth Centre September 1974 from the Coventry Journal.

John Rushton's letter to Hobo Magazine July 1974

So now, back to Pete Clemons and ENS

Pete Clemons - I for one would like to know what the acronym ENS stood for. But, I think, it would not be unfair to describe ENS as something of an experimental art rock band. They were certainly avant-garde and had a style of their own.

In fact ENS once won the Melody Maker folk/rock area finals competition. In hindsight, the problem for them was that they won this contest and flourished during 1977. A time when the country was not quite in the right frame of mind for innovative and forward thinking music.

During 1975, as far back as I can trace any of their history, ENS were described as a 'bona fide university band' and 'worth a glimpse' as they were announced as support to Savoy Brown who had guitarist extraordinaire Kim Simmonds in their ranks. Also on that bill was Jet who were described as 'an up and coming Sparks/Queen outfit'.

However I am guessing that ENS were maybe more at ease when, during 1977 they supported Henry Cow, a band who were trying to break free of all possible barriers to their music.

In, just short of 2 hours, five pieces of music of music was performed by Henry Cow. The shortest of them was the Lindsay Cooper tune 'No More Songs' which was dedicated to Phil Ochs. They played four long pieces, two of which were called 'Beautiful As An Army With Banners' and 'Living in The Heart Of The Beast'. The other two pieces were simply unannounced.

The gig had certainly been an evening of drama. Henry Cow had attempted to step outside of all that had been considered 'the norm' and simply experiment. With an audience that had a sympathetic ear, ENS had , without question, been received extremely well. But if ENS had felt like they were on a high, sadly it was not last.

Early 1978 saw Warwick University put on free entertainment in the Union Building. As it turned out it was an unfortunate example of student misbehaviour as ENS came in for criticism by those who considered them to be a 'bad band who could not satisfy their unruly inclinations'.

To be fair it was a sign of the time as it merely showed that some gig goers of the day lacked musical appreciation as well as etiquette.

Audiences had lost there way and had quickly forgotten that there was still music outside the realms of heavy rock and sniff rock. And ENS were more than competent to play their type of music.

It was unfortunate that those who were interested in listening to quality music had had their enjoyment spoiled by those who felt that they should voice their disapproval of the whole event.

Afterwards it was mentioned that 'One thing was certain, ENS won't play at Warwick University again unless we pay them 'danger money!'

Thankfully we have changed and, today, we seem to be more open and receptive to many different styles of music.

....

No audio of ENS but this is the early Reluctant Stereotypes with Paul Sampson on vocals before Paul King took over on vocals.