Jigsaw – Sky High

Jigsaw – Sky High

by Pete Clemons

It was November 1975 and it was only Olivia Newton John and Elton John who were selling more British singles in the United States than Jigsaw were. Yet Jigsaw were still under the radar in most of the UK.

Despite their single Sky High climbing most of the world's music charts it was largely ignored by the British music press. A fate, the band said at the time, that had been happening to them for the past seven years.

Admittedly it had taken a monster, all action, Kung Fu film to put things right.

'The Man From Hong Kong' had given this four man Midland group the recognition that they had been after for so long.

'It's quite a story how we came to record the theme music' said Clive Scott the band's then 25 year old keyboard player and co-writer.

'The film had been completed but the distributors had wanted a pop single to go with the picture to help publicise it and MCA didn't think the existing theme music was strong enough'.

'Both David Essex and The Four Tops were approached but due to contractual difficulties they couldn't do it and it was nearing the time for the films release'.

'We were asked to write and record the music and we had only three days to get it all together. We made demos of two songs and the next day recorded Sky High' he added.

But this isn't Clive's first success as a songwriter. With partner Des Dyer, who was Jigsaw's drummer and lead vocalist they were responsible for Candlewick Greens hit 'Who do you Think you are' which also made waves in the American top ten by way of Bo Donaldson and the Haywoods.

'Though we just finished our fifth album and have been together since 1968 you would be surprised what one hit single can do' said Dyer.

Jigsaw had quite a following in Coventry and Warwickshire area and often played Mr Georges Club in the city centre. However during one gig, and with increasing interest in the band, by 1975, the doors were closing early as the venue quickly reached full capacity. With that particular gig being midweek this was an uncommon event.
Des Dyer continued 'it doesn't matter how long you have been around without getting that illusive hit you've never made it. Whereas we thought everyone in our home town had heard of us it appeared there were thousands that hadn't'

Lead guitarist Tony Campbell took up the story. 'We're obviously being offered bigger and better concert gigs now that we have had a hit record. We are fully booked up until Christmas and we plan to play all those dates and not let any drop'.

'Though we were clever enough to have a rider in the contract that if the disc was a hit and we had to go over to America to promote it then we would' adds the bands remaining member, bass player, Barrie Bernard. 'Of course, when we get back we will honour any outstanding gigs'.

That American visit was due at the end of November. Though Jigsaw will be doing two major concerts a tour has not yet been set up. It'll be a short promotional visit to help Sky High get nearer to that number 1 spot.

And then during December it's off to Australia where the record has got to that covered top spot already.

'Something I've always wanted to do is spend Christmas Day on Bondi Beach and now we will be doing it' says Tony.

So after seven years since Jigsaw were put together have the group achieved what they set out to get?

'Far from it', interjected Tony. 'Those seven years were only an apprenticeship and it doesn't matter how successful this record is we are very ambitious and want any future discs to be even more successful. And we are optimistic that we can do it'.

'You see, we have an original sound' continued Clive. 'Its certainly not rock like say Led Zeppelin but neither is it pure pop. We are hoping people will judge us in the same category as the likes of Bread'.

'Seven years together has its advantages' adds Des. We already have a very visual stage act worked out which includes exploding cabinets and......

At that point Barrie hushed him up in case he gave too much away.

Coventry Theatre - One Week in 1974

 Coventry Theatre - One Week in 1974

by Pete Clemons

It seems mind blowing when thought about nowadays but it really did happen. Just over 50 years ago, during November 1974 two, then future iconic bands, Queen and Sparks, visited the city over consecutive weekends. Neither band could claim to be the behemoths that they became but, nevertheless, these groups were still top drawer attractions. But here they were at Coventry Theatre as part of a series of Sunday evening attractions.

As time went on both bands broadened their horizons, moving away from a more conventional rock and roll base to creating more quirky anthemic and a sophisticated style of music that attracted a wide range of fans. Rock music with a twist if you like. Both bands were never content to sit on their laurels. They were incredibly forward thinkers.

According to a review that accompanied the Sheer Heart Attack LP that they were touring, 'Queen were now one of the most popular bands around. With this LP they prove their maturity with a melodic ever changing album that runs the whole gamut of pop'.

And it was true as Queen brought with them an energy and a very rich and powerful performance. They were lauded at the time for their high-quality audio and visuals, particularly by early Queen fans, and this highlighted their early hits and heavy guitar rock style.

The concert includes iconic tracks like 'Keep Yourself Alive', 'Now I'm Here', 'Killer Queen', and 'Seven Seas of Rhye'. The gig showcasing their early sound. There was fire and passion by way of Freddie Mercury's vocals and Brian May's guitar solos shining and, of course, a dynamic rhythm section.

Speaking after the tour Brian May mentioned, 'we knew songs like Killer Queen would be a hit because its got going on in it. Freddie is very fond of cabaret so we all got into that on Killer Queen. But I don't think that's the way the band is going. We are going in lots of different directions at once'.

Sparks' live performances in 1974 were a unique blend of musical innovation and theatrical flair, characterized by their quirky stage presence and distinctive sound. The band, led by the Mael brothers, Ron and Russell, gained significant popularity with the release of their album Kimono My House released earlier during 1974, and their live shows reflected this shift towards a more mainstream audience.

Ron and Russell Mael, particularly, stood out with their distinctive appearances. Ron's Chaplinesque moustache and serious demeanour, while Russell's energetic bouncing and androgynous style, created a striking contrast that captivated audiences.

Sparks' music, though influenced by glam rock, incorporated elements of art rock, pop, and even disco, setting them apart from many of their contemporaries.

Their breakthrough hit 'This Town Ain't Big Enough for Both of Us' and the album 'Kimono My House' propelled them into the UK charts, leading to a surge in popularity and larger live venues.

Propaganda album had just been released to glowing reviews. 'If you liked Sparks last album [Kimono my House] then you will certainly go a bundle on Propaganda because where Kimono lacked depth, grace and musical fluency, Propaganda flows, reels and rolls with all the daring audacity of a Moulin Rouge stripper' said one.

Both albums mentioned offers a valuable glimpse into Sparks' live sound in their mid-70s prime, especially given the band's influential status

Finally, and for completeness and balance, the remainder of those November's Sunday concerts at Coventry Theatre was completed by Ray Conniff, The Syd Lawrence Orchestra and Jack Jones.

Coventry Area Folk Clubs 1969

 

Coventry Area Folk Clubs 1969

by Pete Clemons

I recently came across a newsletter for freshers to Coventry from 1969. Within it was an article about the various folk clubs around the region at that time. Hopefully it will bring back a few memories.................

Over the last two years the Sunday night Folk Concerts have become one of the most popular institutions in the university sector.

With this in mind, three acts have been booked for the 'Freshers' weekend concert at Warwick Uni on Sunday night. The Strawbs will already be well known to many of their audience. They have performed here more than once and are becoming very well known throughout the country, through their performances, radio programmes and their very successful LP. The three original members have recently been joined by a girl cellist, so it should be interesting to hear the group in its new form.

Car drivers, Londoners or Strawbs addicts may be interested to know that the group now run a club in Hounslow every second Tuesday, with a wide variety of artistes

Tea and Symphony are a less well known group who have also been heard a lot on radio recently and have issued an LP. and two singles. Between them they play a vast range of instruments and have been described as something like a cross between the Incredible String Band and a jug band.

Finally for the beer drinkers and chorus singers, there is Ray Fisher, a long established traditional singer from Newcastle.

Those with a serious interest in Folk Music will no doubt want to visit some of the clubs in the surrounding area and real addicts will be able to find something on every night of the week.

On Monday there is the 'Village Pump' Folk Dance and Song Club (at the Bulls Head, Binley Road, Coventry). This is a definite must for folk dance fans but not for those who like a sit-down-and-listen type of club.

The Boggery Folk Club in Lugtrout Lane, Birmingham, meets several nights a week and is one of the smokey, beery, chorus-song type of clubs. On Tuesdays, 'Tuesdays People’ meet at 'The Factory', in Gas Street, Birmingham. It has a cabaret atmosphere and is slightly pretentious, with big-name artists. It's residents are the Heart of England and the Couriers and it is run by Mike Lloyd of A.T.V. John Betmead, a performer there summed it up by commenting, "Last time I sang there it was a folk club''.

The Cedars Folk Club meets on Wednesdays in Barker Butts Road, Radford, Coventry, and is Irish. The 'Rooster' club meets on Thursdays in the Biggin Hall, Binley Road, and is fairly new with enough backing to book big names like Derek Brimstone, Jerry Cochran, Magna Carta. Contemporary fans, especially should visit it.

The Red Lion in Stratford is closely connected with the Heart of England group. On Friday's there is the Mercer's Arms, Swan Lane, Coventry (near the football ground). It has some of the best guests but is a bit noisy.

The Fox and Vivian, in Leamington, has as its resident the one and only, your friend, Ron Healey and if you don't yet know him you soon will. It is shabby but cosy, crowded and has a great atmosphere.

The Coventry Folk Club, Gosford Park Hotel, meets on Saturdays and relies mainly on local talent. The Denbigh Arms, Monks Kirby, is 15 miles out in the wilds so it is as well to find out who is on before going. It usually has a well-known guest and its residents, The Gaels, are one of the best local groups.

If you get pissed off with the University club on Sundays, try the City Arms, Earlsdon but check who's on first and get there early. Apart from 'The Factory' which costs 10/6d, to join then 10/6 each evening, most of the clubs charge less than 5/- member- ship and even cheaper entrance. They generally advertise, in the Coventry Evening Telegraph or Birmingham Evening Mail, on the day of performance.

The University Folk Club hopes to be able to provide some kind of information service about the clubs and their guests.

Pink Floyd at Pompeii – Coventry Theatre 1974

 

Pink Floyd at Pompeii – Coventry Theatre 1974

by Pete Clemons

2025 has seen the return of the groundbreaking 1972 film Pink Floyd at Pompeii. Although now titled Pink Floyd at Pompeii – MCMLXXII.

This new version has been digitally re-mastered in 4K from the original 35mm footage with enhanced audio.

Those who remember the film will be familiar with its setting in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy.

The film captures Pink Floyd performing an intimate concert without an audience filmed over four days during October 1971. There they performed unforgettable tracks such as “Echoes,” “A Saucerful of Secrets,” and “One of These Days.”

The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance, creating a unique and immersive experience. Additional footage filmed in a Paris television studio the following December was added for the original 1972 release.

The film was scheduled for a special premiere at London's Rainbow Theatre, on 25 November 1972. It was cancelled at the last minute by the theatre's owner as they didn't have a certificate from the British Board of Film Censors and the theatre could be seen to be in competition with established cinemas

After that stalled release the film was eventually premiered on 10 November 1973, at the Alouette Theatre in Montreal. General release and screening took place in the US during April 74

It was then re-released into the UK slightly later in 1974. By this time it had been furnished with additional behind-the-scenes glimpses of the band working on the then forthcoming and iconic 'The Dark Side of the Moon' album. If that wasn't enough interviews captured at Abbey Road Studios, London also enhanced it's eventual release.

As I remember it, demand for the film was huge. So big, in fact, that normal cinemas within the Coventry area were not able to cope. Coventry Theatre stepped in where the film sold out for a week during July 1974. Remarkably, further demand created a necessity to add a follow on second week at the theatre.

This meticulous restoration delivers stunning image and sound quality, featuring a theatrical and home entertainment mix from Steven Wilson in 5.1 and Dolby Atmos. These upgrades enhance the film's depth and clarity while preserving the authenticity and spirit of the original 1972 release.

Inspired by the golden warmth of Pompeii’s iconic setting, the remaster transforms this timeless piece into a masterpiece of sight and sound.

Watching the enhanced version recently had memories of different times flooding back. The music is still magical. The film is not on the big screen for long. Not to worry it will be readily available for home entertainment set ups. Experience Pink Floyd like never before through this pioneering audio-visual remaster!

The Primitives Interview 1991 - at a Freshers’ Ball in Coventry

 

The Primitives interview 1991 - at a Freshers’ Ball in Coventry

by Pete Clemons

Since reforming during 2009, The Primitives have performed in Europe, made several visits to the US and Japan as well as touring the UK multiple times.

November will see The Primitives return to Coventry to play 2 gigs at the Tin on the canal basin. These dates, and the preceding tour, underlines a remarkable 40 years in existence for the band.

And that fact kind of upends the assertion made in the following interview from 1991 that The Primitives were a one hit wonder type band. That said, as you will read, it wasn't a bad interview.

Although they have had a number of hit singles and appeared on Top of the Pops three times the major success of Crash has pretty much left The Primitives in the category of one hit wonders.

They took time out after their sound check on Thursday afternoon to talk to me about the past, the present and the future.

“They only say one hit wonders ’cos it stayed in the top ten for around six weeks — two of our other singles have also got in the top thirty”, P.J. Court, vocalist and guitarist, quickly defends The Primitives’ right to long term status. In fact the band has been together now for six years.

So, how did they first meet? “The usual thing: someone wants a guitarist and I got asked to join — I knew about two chords. The singer left and Tracy joined through an advert,” P.J. explains.

The record deal came later when they hit the top of the Indie charts, as Tracy told me: “We were doing the usual gigs in London where A&R men scout and we had interest from three or four record companies. Obviously you go with the better deal.”

What about the comparisons that have been made with Velvet Underground and Transvision Vamp? “As for the Velvets, it is a bit over-exaggerated when people say I steal all their rifts — there is only one that I actually used, "admits Court," it’s just a matter of influence coming through.”

And so for Wendy James, or “the poor man’s Barbara Windsor ”so P.J. put it, Tracy had this to say, “I think you only have to listen to their records to see that the only comparison you can make is that we’ve both got blond hair. There’s more to us than one of those bands that just has a girl lead singer.”

After major tours in America and Japan, what comes next? “We’re going to be stronger and faster than ever in 1992" promises Tracy. “We’ll be doing a substantial tour and we’ve got a new album coming out in January /February time.” There’s a new chord on this one, confirms P.J., and it’s not from the Velvets.

And what’s going to give them staying power? “We’re believable. When you hear the album there’s really good songs on it. It probably will get in the charts, but we’re not looking for the sort of success we had with Crash - to us that was a bit of a fluke. You’ve got to be true to yourself.”

What about advise for aspiring new musicians at Warwick? “Have loads of money. Decide what you want to be like and have a definite plan. We didn’t really have one and it was all a bit thrown together looking back.”

My overall impression of The Primitives was that they are unwilling to reconcile musical integrity with commercial success, hence, unlike contemporaries such as Transvision Vamp, they have no intention of selling out. Good luck to them.

During 1992, and as indicated during the chat, The Primitives fourth album 'Galore' was indeed released. It was met with positivity.

Coventry’s own Primitives have managed to clean up their live sound without losing the energy of their music. The steady but not lavish drum beat and typical bass lines are swollen under some decent guitar playing. Vocal Harmonies are set above the instruments, producing a sound that’s not so much unique as simply clever. Gems include Lead Me Astray Cold Enough to Kill and the ultimate number The Little Black Eggs. Penultimately Smile reminisces to the days of Velvet Underground. The eye-catching, poppy strewn outer sleeve is fantastic, but the liner notes are conspicuously lacking. The visual quality is there, but it leaves you with nothing to do while taking that all important first listen. This album may be classified by some as Indie - Dance. Although the Indie feel is there, the album, released on RCA, doesn’t quite lend itself to the rave / disco scene. All in all, Galore is a worthwhile record and a worthy successor to the band’s last release, Ravish.

November 1973: New York Dolls

 

November 1973: New York Dolls

by Pete Clemons

Sadly David Johansen, lead singer of the New York Dolls, passed away recently. David had been the last surviving member of the classic line up of the glam and protopunk band. On one of the New York Dolls earliest, and rare, visits to the UK during 1973 they appeared at Warwick University.

Some critics dismissed them as an unserious group of amateurs who could not play or sing while others noted their dress sense and the resemblance of Johansen and Thunders to that of Mick Jagger and Keith Richards.

Guitarist Roddy 'Radiation' Byers was at the Warwick Uni gig and called it a life changing experience. Several students, however, begged to differ. These were different times and the New York Dolls were here to shock and shake things up in every possible way.

The line-up during that 1973 gig consisted of vocalist Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist, pianist Sylvain Sylvain, and drummer Jerry Nolan.

Several previews of the Warwick gig, which – yes – attracted some violence, appeared the nearer the gig approached............

The New York Dolls Yes dahhhlings they're here . Divinely decadent, superbly sexy, long, lean and licentious - dig this, if you can. Not quite drag, as the Dolls would be the first to admit, but certainly a vision out of the ordinaire. A taste for the bizarre? Interested honey? Say, did somebody mention music.....music? "The New York Dolls are trash, they play rock'n'roll like sluts." - Nick Kent. Not much more to say, lovelies. just come and wet your pants to the most outrageous band yet.

A preview appeared on the day of the gig...........

The Final Fall into Depravity It is with grave concern that we have followed the blatant attack on the moral standards of our society in recent years. In an age of declining morals, it is particularly disquieting to see the intellectual cream of the country condoning, and even encouraging moral laxity. The University of Warwick has recently gained notoriety in this respect, by allowing and even promoting entertainment of a lewd and offensive nature. In the past, we have had to put up with corrupt performances by theatrical groups before audiences largely composed of young people who are in the formative period of their life: even nudity and simulated drug-taking has been presented as a form of "art." More recently new depths have been reached.

Information has now reached us that tonight an unthinkable depth of depravity will be reached, when students - in what is supposed to be an institute of learning and education in the widest sense - will be exposed to a rock 'n' roll band 'The New York Dolls'.

This group has emerged from the gutters of New York - the Gomorrha of the Western World. These young men - if we may take the liberty of describing them thus - have the audacity to flaunt their perversions in public and on the stage. It should be realised that these and other groups purposely work towards the corruption of clean and decent youth. If the University cannot keep the Students' Union in check, then it is clear that the Director of Public Prosecution should be informed about this state of affairs forthwith. It is time that those of us who are older and wiser, those of us who have had experience of life, should act to protect the moral welfare of innocent youngsters who cannot yet be expected to judge that which is in their best interests.

After the gig a follow up letter mentioned......The excuse for this was the disturbance on the night the New York Dolls appeared, made by people dressed up in drag and with make-up plastered all over them. You try and tell me that students are supposed to have a higher grade of intelligence than most people.

Pink Floyd – Valentine's Ball, Warwick University, Coventry 1969

 

Pink Floyd – Valentine's Ball, Warwick University, Coventry 1969

by Pete Clemons

After recently watching 'The 14 Hour Technicolour Dream' film for the umpteenth time I have often wondered how many gigs have been long forgotten about over the midst of time.

In order to fulfil that Alexandra Palais gig The Pink Floyd had to be flown in from The Netherlands where they had performed earlier that evening. The 29th April 1967. The date for the Technicolour Dream event was also 29th April but in actual fact they played on the 30th April as the band didn't get on stage till sunrise. They then fulfilled yet another gig later on the 30th.

Bands, especially where the members were young and had a youthful energy and, so long as they had a trusty van, occasionally played a couple of gigs over an evening and early morning.

I take the point that both those dates mentioned above, the one in the Netherlands and the Technicolour Dream, were celebrated events and unlikely to have been forgotten. But had the gigs been more conspicuous then some double date bookings could easily have been overlooked.

A possible point in case:

A Pink Floyd related reference book states that on 14th February 1969 the band played Loughborough. International Times mentioned a Pink Floyd gig for the same day at Warwick University. The reference book suggested that International Times was mistaken.

The fact is, both references are actually correct. However I need to add some providence.

So how could both bands have played the same evening. Look at the finishing time on the advertising flyer for gig. It was 3am.

Not an easy ask but it was not beyond the realms of impossibility to load a van, travel from Loughborough to Coventry, set up and perform a set. As I mentioned, when you are young energy was abound and, lets face it, the late 1960s were very different times. These things happened back then.

How the Warwick University Valentine's gig was advertised.........

Four groups in a single night! Aw, come on... Who'd be so enterprising as to treat us poor students to four groups in one night? They must be awful.

The Pink What ? Floy? The Pink Floyd!! you don't mean that incredible electric deal? You do...........! And who else ? Watsons Harp Booze Band. Steve Millers Blues Band.- Catering for all tastes, eh?

What do you mean not only musical tastes ? Gastronomic. Gastronomic! What do you mean Gastronomic? Ah! Food. Hum. .. Come of it - I can imagine: cheese rolls and gherkins.. . the odd hamburger. You don't fool me, I've seen it all before. Yeah, yeah.

That's what they all call it, "A BUFFET” but it'll be cheese rolls and gherkins. You'll see. Oh no! There'll be meats for every palate, sumptuous accompanying dishes, all the trimmings and as much as you want. All sounds rather good. In fact - With a jazz background as well? Seems to be extra-ordinarily appealing.

On St. Valentine's Day, is it? A Ball on St'. Valentine's Day - a President's Ball on St. Valentine's Day. and only thirty five bob! So where do I get my ticket?

And how it all went........

Ball Breaks Even ! Over four-hundred people attended the IVth President's Ball last Friday. This will mean that the Ball will almost break even -£20 loss at maximum - as compared to a £150 loss last-year.

The entertainments secretary handed over the arrangements for the ball to a private enterprise, who last term organised the first successful dance at Warwick in the shape of the "Pre-1965 Rave".

The first move was to place the Ball ticket selling on a capitalist basis, paying sellers 1/- commission on each ticket. It also granted a franchise for a photographer to preserve the gullible guests' finery for posterity for 2/- a time.

The first crisis came when the "Philli-dogs", one of the Pink Floyd's supporting groups, cancelled with "a broken back axle" a few hours before the start. However, the entertainments team managed to get hold of the 'Playground' who were appearing at Lanchester College with The Who the same night. A good move as the replacement group only cost £30.

The event got off to a very boring beginning with everyone sitting around in the bar feeling self-conscious and uncomfortable in unaccustomed clothes. The buffet meal broke the ice however, (the queue was so long that lifetime friendships were made in it), and Lennie and Grego's cabaret performance went unfortunately ignored in the hubbub of conversation.

Sources of amusement were such well-known Campus bums appeared in suits (the latter in full tails and bow tie). "Best Dress of the Evening Award" went to a student who wore an 18th century courtesan's outfit.

The free punch provided at the buffet was surprisingly weak considering that there was £25 worth of rum mixed with it. The President and other members of the Executive ate a private meal at Union expense and only mixed with the lowly proletariat towards the end of the Ball.

As for the late start to Pink Floyd's set at the Valentine's Ball 1969, well it happened again in Coventry. That night during February 1972 when Chuck Berry was on the same bill. It was well past midnight when they finally found the stage. As I touched on at the beginning. I wonder how many other early morning starts, not by just The Pink Floyd but by other bands, are now long forgotten and possibly lost forever.

Jimi Hendrix (Pink Floyd) – Warwick University 1967

 

Jimi Hendrix (Pink Floyd) – Warwick University 1967

by Pete Clemons

JIMI HENDRIX WILL BE COMING TO PLAY at the Warwick Week Big Dance,

It is an eye-catching headline from May 1967, maybe not so at the time as Jimi was relatively unknown in the UK and still breaking through. At the time of the headline, which did happen by the way, Jimi had just played the Monterey Festival. But known he was and this gig 'kind of' very nearly happened.

The striking headline was announced by the then entertainments secretary who also added that the date may be threatened because Hendrix has to re-apply for a work-permit. The Jimi Hendrix Experience is at present at No. 5 in the Hit Parade with the record 'Purple Haze'. Mick Jagger of the Rolling Stones said that Jimi Hendrix was the only worthwhile new artist to hit the British pop scene for 2 years.

However, no sooner had that announcement been made when, almost as quickly, the following headline popped up 'HENDRIX DATE OFF'

As rumoured about the University, the star of this year's Warwick Week dance, Jimi Hendrix will now not be appearing. An entertainments committee member announced that a contract had been signed but the last entertainments secretary had lost it. The present entertainments sec. does not think that there ever was a contract and that the previous entertainment secretary had been bluffing from the start. Hendrix will in actual fact be in America (Fillmore Auditorium) until the day before the dance and then will return to England to fulfil outstanding engagements. In Jimi's place will be The Pink Floyd, one of the most famous psychedelic groups, who will be playing. We are assured, however, by the current entertainments secretary that The Pink Floyd are every bit as good as their hit parade reputation suggests, and that the quality of the dance will not be marred in any way.

Jimi Hendrix performed at the Fillmore Auditorium in San Francisco, California from June 20–26, 1967. Hendrix was relatively new at the time and was billed third on the bill, opening for Gabor Szabo and the Jefferson Airplane.

A fresh announcement complete with band details appeared........

MONDAY 26th JUNE (Piper at the Gates of Dawn was released August 67)........................... Mid-Summer Ball with The Pink Floyd, The Mike Cotton Sound, The Factotums, and the New Economic Model

THE PINK FLOYD "The Pink Floyd cannot be thought of merely as a beat group". The 'Floyd' are undoubtedly the best of the so-called 'psychedelic' groups which are dominating the scene at the moment. Even their brilliant hit record "Arnold Layne" is unable to carry over the full effect they can produce an a live show, filling the hall with such deafening sounds of their music, with their well known light show heaving and glooping in the background in a multiplicity of colours reminiscent of Chelsea Flower Show viewed through a goldfish bowl, and spotlights flashing in time to the music. They have appeared at many of the Psychedelic clubs in London, and were prominent at the technicolour freak-out at the Alexandra Palace in May, where their skill and stage presence was greater than those of most of the other groups appearing with them. Since then they have had their own concert at the Queen Elizabeth Hall on the South Bank, which was apparently something of a San Francisco Hippy Love Festival, and their new disc, "See Emily Play" has just been released.

The Mike Cotton Sound with Lucas will be well known to many readers, since they have appeared here several times in the last two years , including last years Warwick Week. They were recently voted top group playing on the University circuit, and give a consistently good and lively performance. Their singer Lucas, attempts to give the same type of performance as Geno Washington and the atmosphere that the group create is an excellent one. According to Brian Morris, resident vocalist and connoisseur of the group scene, The Factotums are the best in Britain for Beach Boys and Four Seasons numbers - rumour has it that the lead singer is a natural tenor. The NEM will be in devastating form again one hopes no more Blow-ups or is that a dirty word like Ulysses.

Further details about those Jimi Hendrix Fillmore gigs............

Jimi commissioned a poster for the event from artists Michael English and Nigel Waymouth, also known as Hapshash and the Coloured Coat.The poster depicts Hendrix in a way that references his Native American Indian ancestry.

The poster also incorporates Victorian dragons, Japanese floral patterns, and a Tarot triangle with the Third Eye.

The Jimi Hendrix Experience's performance at the Fillmore Auditorium is included on the posthumous live album Paris 1967/San Francisco 1968, released in 2003.

DANDO SHAFT 1971 and 1993

 

DANDO SHAFT 1971 and 1993

by Pete Clemons

I have written several articles about Dando Shaft over the years. So this one can be seen as a companion to the others as it brings nothing new, as such, but adds a bit more to the previous stories. The fact they were from Coventry is incidental but I genuinely enjoy hearing them. They were very unique and, in a strange way, very uplifting.

The words below are self explanatory and cover a couple of local gigs that the Dando's appeared at.

1971 – Warwick University

Dando Shaft were the group featured in last Monday's concert at Warwick. They originated in Coventry seventeen months ago and are now based in Ealing and are at present recording their second album (on RCA).

Unlike most of the other groups who have played these concerts, they were a folk band who played numbers varying in style from Irish Jigs to Pentangle type numbers Many instruments are included in the line up violin, mandolin, cello mandolin, flute (all played by Martin Jenkins), guitars (Kevin Dempsey and Dave Cooper), double bass (Roger Bullen) and various types of percussion (Ted Kay). Polly Bolton sings, along with Martin, Dave and Kevin.

Dando Shaft write their own material, including some impressive songs such as 'Railway' and 'Waves on the Ether', as well as various 'Come all-Ye numbers such as 'Daffodil' and 'Pass it on'.

They seem to lose the folk tag to some degree in some of the instrumental passages in their songs, acquiring a slight but noticeable rock feel, contrasting quite pleasantly with the more 'straight' aspects of the music.

Some of their songs (such as 'Shadows', dedicated to P.C. Bust and friends) combine antique tune lines with amusing words in a contemporary style. The workroom proved itself quite an unsuitable place to present a folk concert and I thought the Monday night concerts were rock concerts anyway ?

However, Dando Shaft's music was generally relaxing enough to compensate.

1993 - Whitefriars

For the record. This 'Whitefriars' reunion gig in 1993. Lineup was: The original dandoist Roger Bullen on bass, Martin Jenkins on Mandocello plus other instruments, Kev Dempsey on stratospheric guitar. Ted Kay tabla..., Chris Leslie zeta violin. Polly Bolton singing. Dave Cooper guitar and vocals.

There were a number of guest performers; Gillie Nicholls, Kalinka Vulcheva and Rod Felton. The video of 'Raining on the Rock' is Dave and Kev vocals. Rod is playing percussion. rain sticks. Dando Shaft were also joined by Dave Cooper's son, Selvin Cooper, on Didge for the song.

Dave Cooper adds: 'I'm aware that stories and dare I say myths appear and swirl. To my knowledge Rod Felton never performed with Dando Shaft apart from the Whitefriars occasion. Maybe he called up once or twice in the early Cov scene days to harmonise a chorus? When the band parted in '73. Mart tried to form a new group with Ted, Roger Williamson and Billy Bones our ex Roadie bass player. There was some talk of Rods involvement. In the event it didn't really happen no gigs. Rod was and will always be in my heart and soul'.

Tony Clarke on Quad 1970

 

Tony Clarke on Quad 1970

by Pete Clemons

Where things were with regard to audio in 1970. With us now in the digital age, and listening to music via anything from mobile phones to Atmos or even Spatial systems,

In a way that Steven Wilson and Bruce Soord try to today. Not only do they create music but they endeavour to present it the best way they can.

I think this is a lovely nostalgic trip back in time with Moody Blues producer Tony Clarke........

The inevitability of Quad Sound in the immediate future - we hope to make the next Moody Blues album available in this form - and 'Audio Visual' techniques are as certain to be a reality as 'iron ships will never float' and 'you'll never get me up in one of those'.

Two or three years ago we would go into a recording studio with only four track systems available, but in a very short time this has escalated to 16 and in some cases 24 track studios which present infinite possibilities for separation and mixing.

The 'spin-off' from the improvements and equipment in the studios is subsequently reflected in the devices made available to the public who are now demanding more sophisticated forms of audio appreciation. The most important aspect for the stereo enthusiast is to avoid buying expensive equipment which might be outmoded the next year by the revolutionary new techniques being evolved.

Quad sound is only months away from a massive launch by the suppliers who are providing the equipment and lends a new dimension to present stereophonic systems. The dinosaurs of this development are likely to become the radiograms which can never provide the width separation with their self contained speakers, but Quad Stereo will provide depth width and, if you think about it, a complete circle of sound.

All this could be quite expensive to the consumer but there is one development which could be a considerable saving to those contemplating throwing their stereo players or stereo amps out of the window. But the simple addition of a small device called a 'phase modulator' which you should be able to purchase for just a few pounds. It is possible to produce an effective version of the 'Quad Sound' system with the addition of two matching speakers and your old system. It is really nothing more than a little black box with a few resistors but it does the job.

Within a year we should see the development of an audio-visual product which is being developed along four basic lines:

1. Sound and picture from a disc
2. Sound and picture video tape cassette
3. Sound and picture from a tape cartridge
4. Sound and picture from a 16mm film

The most likely of these would appear to be the cassette or cartridge although some companies are experimenting with the disc. But this has proved limited related to playing time so far.

A 12 inch disc, for example, will only play 12 minutes. The amount of information needed to provide both a colour film and quad sound would relate better to a tape cartridge. All of these techniques would involve modification of a TV set, and one company have declared their intention of retailing such a set as their new model next year for approximately £200.

We are continually being informed of a 'golden age'. The public are going to become more critical and selective over their play machines and ultimately there must be increased activity resulting in more sophisticated and refined equipment.

Tony Clarke's own equipment consists of a B&O 1000 deck with Sanyo 60 watt stereo amplifier and 4 Wharfedale 15 inch speakers with mid range and tweeters.

Stevenson's Rocket

 

Stevenson's Rocket

by Pete Clemons

This article is adapted from an interview during December 1975. At the time, musically, the country was in the grip of Rollermania. The meeting had been conducted at the offices of Magnet Records soon after the band had signed for them. Pete Waterman, despite writing two hits for them, called Stevenson's Rocket 'a brief diversion'........

Leaving school for the front man spot in a rock n roll group must have been every young person's idea of a dream come true, but that exactly what happened to 16 year old Kevin Harris during 1975.

Just six months after he turned down an apprenticeship in a Coventry factory, Kevin was having to deal with the sort of fan mania usually associated with the Bay City Rollers.

Everywhere his group, Stevenson's Rocket, played the fans went bonkers. And this was because of their debut single, Alright Baby, was streaking up the charts.

Of course, it didn't happen just like that, Stevenson's Rocket had been slogging around the gruelling social club circuit (all beer and bingo) when they happened to get a booking at Tiffany's ballroom. There they were spotted by then Magnet Records A and R executive Pete Waterman who still ran a disco there.

Pete recognised something raw and earthy in them and decided to take them under his wing. He signed them to Magnet, got them to give up the soul destroying club circuit and before they set out to play ballroom's, made them rehearse for three months on a new act.

When it came to cutting the single they played all the instruments themselves then, with its release, they began gigging.

As Kevin pointed out 'it was only through doing a lot of work that we got that chance. We didn't doss about, we got stuck in'.

Bass player Allan Twigg, who at 18 was one of the older band members, said 'some days we used to go without dinner, we were working so hard. But it's better than working in a factory '.

The group formed around 1972 but only went professional after a guitarist left and was replaced by Mick Croshaw who, at 19, became the eldest group member and Kevin Harris.

Stevenson's Rocket still played the social clubs but as drummer Steve Bray mentioned 'we got a much better reaction with the new line up'.

Mick Croshaw added 'Particularly after Kevin joined us things really started to move. And Allan Twigg, he is non stop entertainment '.

Suddenly all of Stevenson's Rocket at once and the office at Magnet Records where the band were doing their first day of interviews was a cacophony of noise.

'Its a dream, you know' said keyboard player David Reid who summed up everyone's thoughts.

'We all had dreams of hit records and what it would be like' said Steve Bray. Kevin added that 'he always wanted to be in a group. When I knew I could earn a bit more than as an apprentice I thought I would take a chance. When I went to the audition I knew I had to join them, even if they were rubbish. If it hadn't worked we would have all had it' he exclaimed. They had worked so hard for this.
The result of all that practice was an aim to perform four or five nights per week. There would be no more sleeping in the van and jumping their own equipment.

On the day of the interview they were due in Scotland but first they had returned to Coventry to help their new road manager with their equipment. Then, after Scotland, they were being joined by a full road crew.

As for writing their own songs, 'its too early to say. Pete Waterman wrote their current hit and is likely to guide them for some time, but eventually they all want to write.

'I dont think we have the talent yet to write our own singles' said Kevin. 'There's a lot more involved than meets the eye. You've got to know what a pop song is all about. We would like to make pop music a bit more interesting '.

The fact that Stevenson's Rocket were being re-booked at venues suggested that they were doing just that.

A couple of singles followed but then it all came to an end with a changing music scene.

The Damned – Warwick University 1976

 

The Damned – Warwick University 1976

by Pete Clemons

The Damned were the first UK band of the punk era to release a record. They were also the first to split and subsequently reform. They were chaotic, they were charismatic. And they are still here, still touring and remain almost intact in fact. Experience has made them infinitely better almost 60 years on.

Almost as soon as it had begun punk rock was castigated by the Warwick University entertainment section as punk rock was trying to infiltrate into their scene. The fact this new phenomenon was given prominence by SOUNDS magazine had one promoter lambasted them when he read how a group called "The Damned", had created the splash headline 'DAMNED HEAD FOR THE CHARTS'.

He went on "SOUNDS has yet again taken upon itself to ram punk rock down the throat of the unsuspecting public. Now don't get me wrong, I'll sniff glue with the next degenerate, and there's no one I'd rather see in London today than a good punk rock band go through its paces, but for a music paper to come out with such fallacies is just not on".

Apparently the Damned's first single, for the obscure 'Stiff' label, sold 4,000 copies, when a sale of 25,000 was usually needed even to make the lower reaches of the Top Thirty.

A delegate from Warwick University even went down to London to watch The Damned during autumn 1976. And the verdict was...'boy, were they (expletive deleted). The barrage of sound that emanated from on-stage was greeted not even by what one could call polite applause by the attendance, the majority of which were all seasoned punksters'. Despite this The Damned were, soon after that London gig, visiting Warwick Uni.

The Pink Fairies were a part of the London underground scene of the early 1970s. They were known for promoting free music and performing impromptu gigs and stunts. The Fairies had released a single during 1976 on Stiff Records called 'Between the Lines C/W 'Spoiling For a Fight'. So pairing up with label mates The Damned was not as far fetched as it might seem.

Later during October 1976 appeared The Damned's first single, titled 'New Rose' c/w 'Help', was also released on Stiff Records. The single had been produced by Nick Lowe and regarded as the first ever 'punk' release by a UK band. New Rose failed to chart but became Stiff's biggest seller to date and helped the label secure a distribution deal with Island Records.

Before the gig The Damned asked the promotion team at Warwick if they were scared. The answer apparently was 'No, and also unimpressed .... Don't call us'.

Climax Blues Band had also been in the mix for that Autumn line up of entertainment. A song played during the CBB set was described as 'at least one billion times better than the Damned's Help'.

There is also anecdotal evidence that The Damned also appeared a week later at Canley Teacher Training College. It had been freshers week and the normal festival balls had been arranged. Sparrow, a five piece, new faces show winner from Feb 1976 were certainly on the bill. But I did read that The Damned also possibly appeared. But there was, by admission, the student had maybe got mixed up by the previous weeks events on campus.

Less than a year later had seen 'Punk', as a phenomenon, grow to far greater proportions than one can have envisaged the year before, even taking into account the undoubted impetus given by the press coverage devoted to the Pistols v Grundy T.V. incident.

As a result you never actually sure who actually is into the music. Punk had cast its net wide. Was it the latest thing to be 'into', or did repeated listening to it make a different impact to the initial one. But there was another, more important, reason.

To many, the music itself had improved in terms of its quality, content and impact. Presentation had been the last aspect a punk band would once have to worry about. Aside the likes of Television and The Stranglers who just happened to surface around the same time as the likes of The Clash, The Adverts and the Pistols.

But there were plenty of other bands who are producing attention grabbing yet really red hot sounds. There was The Jam, Buzzcocks, Generation X, Boomtown Rats to name a few – but the list goes on. I don't know how or why the change had evolved the way it did, but my word, it certainly got the adrenalin rushing!