Making music from adversity is a powerful process of transforming trauma into triumph.
I will never let this happen to you while I'm alive, Not while I'm alive. You made a promise, You would look after me - Is it now a lie?, Take heart we are all here – these are just a few of the lyrics contained within the new Bruce Soord album 'Ghosts in the Park'.
And the contrivance of this involves challenges, pain and loss as fuel for its creative expression. All of which is deeply personal.
'Nothing extraordinary' though Bruce alludes to in the sleeve notes. To my mind – and the way I have read it anyway - Bruce is acknowledging that, in the grand scheme of things, he is not alone. We could all face similar challenges at some point in our lives.
But, (and I'm trying to remember Bruce's words from a recent gig), he wanted these new songs to remember the times from when he was young and not necessarily reflect back on all the difficult days.
But, of course, when you are confronted by these issues, it is one of the most extraordinary personal challenges you will confront. It can all be so frustrating, deeply upsetting and incredibly difficult to come back from.
Music serves as a lifeline and sanctuary for expressing emotions that are difficult to otherwise articulate. This is a cathartic exercise of providing some relief through the open expression of intense emotions.
On this album you find a set of songs that can soothe, even melt a stoic mindset such as mine. It has certainly had me in reflective mood lately.
The songs emphasise themes of resilience, acceptance of fate, emotional control, and finding inner peace amidst chaos.
This new set of songs, together, is quite simply a wondrous album. Just absorb and file under engaging, exquisite and elegant.
Yet while adversity can be challenging, it can clearly be a profound source of inspiration for music that offers hope, redemption, and connection to others. I think 'Ghosts in the Park' does just that.
This album hasn't been written in a pitiful way. You are not fully entering Bruce's world, you are I think, looking into a slightly open window. This isn't how life should be but, sadly, it can.
Hilda Woodward - The Homing Pigeon 1972 interview.
by Pete Clemons
At short notice and being more or less set in her ways, Hilda hadn't
even dressed up for the grand occasion, though of course she looked
her best. Hilda does take a pride in her appearance. That favourite
old black and white turban hat and that nice green dress with fur
trimmed collar, that would do nicely. It's best to feel comfortable
when you're in strange surroundings.
It wasn't so much
the hat, nor the dress, nor for that matter her insistence on shaking
everybody's hand that gave the impression that it was all a bit new
to her. It was the cup of tea and the plate of sandwiches that Hilda
was clinging to as she made her way with some trepidation through the
music business reception throng of beautiful people breakfasting on
chilled champers, deep fried drum sticks and calling each other
'dwarling' that first gave me the impression that this might just a
shade different from those coffee mornings back home in
Coventry.
Still, this sort of thing happens when suddenly
you're top of the nation's singles chart.
You've never
heard of Hilda Woodward?. Well she's not the kind who seeks
publicity. She prefers to remain one of the two piano players in
Lieutenant Pigeon - the cuddly grandma in dark shades who pounds out
'Mouldy Old Dough' on Top of the Pops.
What does stardom
feel like?.
'It's absolutely incredible and this is a
lovely cup of tea'. Hilda admits in the same breath, in a voice that
reveals an accent as distinctive as the motor car engine that
originate from her part of the world.
'To tell you the truth, I haven't come
down yet' she adds.
Hilda's husband George couldn't attend
this reception laid on in her honour by Decca Records.
'You
see, he's an engineer and at the moment he's on nights'.
But
Hilda doesn't think he has missed much because 'George is a quiet
sort of person'.
Up until now Hilda Woodward has enjoyed a
small measure of fame as an accompanist round the Coventry cabaret
and working person's club circuit. She also organises a choir of
disabled people at the Enterprise Club, who do charity appearances.
Though the offers are starting to pour in, Hilda and the
other Pigeons aren't planning live appearances. 'I'm 52 and it's a
bit hard to start doing one night stands at my time of life'.
I
expect the rest of the lads in the band, who also appear under the
name of Stavely Makepiece, must have told Hilda about the perils of
living on a diet of M1 transport caff grub.
'Anyway' she
continues 'I just haven't got the time. I've got the house to run and
my club work to think of'. What an amazing lady !.
What
will Hilda do when the Mouldy Old Dough comes rolling in via royalty
cheques?. 'Well one thing's certain, I'm not going on a spending
spree......I'm not that kind of person'.
She ponders on
something to splash out on. 'I've always fancied a fur coat, so I
might buy myself one, and I'd love to buy a television for the
Enterprise Club'.
By Christmas world sales for 'Mouldy Old
Dough' could mean that Santa will be delivering a gold disc to
Hilda's home. This could prove to be a bit of a problem too. Say's
Hilda 'We'd have to get the house done up first and then think of a
special place to put it......I'm glad you mentioned that'.
Hilda's
particularly pleased for her two grand-daughters, Barbara, seven and
Susie, six. 'They're over the moon' she says in a voice that only
proud grandmothers possess, but ponders the predicament, 'but I'm
afraid that they've now got a rock 'n' roll grandma'.
Well,
when you come to think of it, there are worse things in life.
Mrs Mills is alive and well and living in - well, almost living in the personage of a Mrs Hilda Woodward. Hilda is just one of the surprising aspects of a band named Lieutenant Pigeon, currently at number 2 in the charts. Every year you expect a few freak hits, and if you thought we'de got through '72 on the strength of 'Amazing Grace' and 'Popcorn' you didn't bargain for the freakiest of them all - 'Mouldy Old Dough'.
Lieutenant Pigeon have never played any gigs together. They don't intend to either. Three of them - drummer Nigel Fletcher, bassist Steve Johnson and pianist Rob Woodward form the nucleus of another band, Stavely Makepiece.
Lieutenant Pigeon is a send up. Drummer Fletcher informed me: 'It's not meant to be taken seriously - the whole thing is tongue in cheek. It's the first time we've made a record under that name - and probably the last. Stavely Makepiece is the main concern'.
Neither Abbey Road or Trident Studios, nor for that matter any studio, had the honour of Lieutenant Pigeon hiring out time. The record, like the best jam, was home made. Hilda's front room in her semi in Coventry was the scene of the crime.
'We didn't use the best equipment - it was recorded on a domestic machine. We find we get a better sound using the front room'. And obviously they cut corners on recording costs.
While most people are under the impression that 'Mouldy Old Dough' has rocketed up the charts in a matter of weeks, Fletcher is quick to point out it really is a mouldie oldie.
'It was released in February this year and didn't do a thing. Then it was picked up in Belgium where it went to number one. And it's now about number six in Holland'.
Fortunately he's under no illusions that his voice is reminiscent of Presley or Mario Lanza. He says 'I can't sing for nuts - that's why they put me on it'.
A mickey take at the expense of the public, it may seem? - 'No, we're not taking the mickey - we just want to enjoy ourselves, we're not out to take anyone'.
For the immediate future, Fletcher says they are going to 'sit down and sort something out - I'm not sure what. We've had a lot of agents phoning up to find out if we're working or not. We're working on an album too - there are about five tracks done so far. Yes, made in Hilda's room'.
And Hilda? She's still adjusting to life as an artiste (it's uncool to say star ya know) and planking away on the old joanna.
Fletcher says he is particularly pleased for her because she's put in a lot of hard slog over the years playing for charity, and it's good that she should at last get some kind of recognition.
June 1972 saw the release of Lantaloon, Dando Shaft's third album. It
would be their last - (until the brief reunion in 1977). One review
mentioned 'The groups sheer unpredictability is a joy'.
Despite
its adulation, soon after Lantaloon's release, the band broke up.
This wasn't quite the end however. By October mk 2 Dando Shaft was
under way seemingly led by Martin Jenkins.........
There
was no great fuss when Dando Shaft broke up recently. In any case
many people weren't aware of the fact that and only their faithful
followers mourned the passing. 'Lantaloon', the third fine album of
their work, had scarcely found the opportunity to make an impression
when the decision was made.
But in the past month lead
Instrumentalist Martin Jenkins has succeeded in picking up the pieces
and has put together a new Dando Shaft with a fresh approach to the
music. After an intense period of rehearsal they are all ready to go
out on the road once again.
Only conga and tabla player
Ted Kay survives from the original band, and the new Dando's will
feature Coventry songwriter Roger Williamson on guitar, and the old
bands roadie Bill Borthwick on bass.
'The old group had
steadily built up a following although we'd never been a huge draw'
Martin reflected. 'There were lots more things we could have done -
like we had plans to go electric with the old band but never quite
got around to it and economically it was difficult.
'The
first person to leave was Polly (Bolton) because she didn't really
dig the travelling too much. Then later Dave (Cooper) just decided he
didn't want to do it anymore and Rog (Bullen) and Kev (Dempsey)
decided they didn't want to do it anymore either - they just didn't
want to go on playing professionally'.
Martin's first
reaction was to join another band but in the meantime he started to
jam with Ted Kay, the old group percussionist, and Bill Borthwick.
'That's what made us decide to have a bash at getting another Dando
Shaft together' Martin went on. And this was the cue for him to use
his fiddle, mandolin and cello in an electric context for the first
time.
'We figured on asking Rog Williamson, an old friend
from Coventry to join up with us, and at the moment our material
consists about half and half of his songs and mine. We're also doing
a few of the old group numbers like 'Coming Home', 'Road Song', 'It
Was Good' and 'Now's the Time For Changing', but the basic difference
is that this band is a lot funkier - Rog's stuff is pretty funky'
Martin added.
'We decided to keep the same name because
the feel of the music is generally the same, it's just a bit heavier.
In any case during the early days of Dando Shaft we used to listen to
a lot of Roger's stuff back in Coventry, and Ted and I did a couple
of things with Roger on record'.
Had Dando Shaft evolved
in the way Martin had intended during their two and a half years
together ?. 'It didn't really, because I wanted to use electric gear
on 'Lantaloon' but in the end we just didn't have time to get into
the instruments properly - in fact, we were a bit rushed in doing the
'Lantaloon' record'.
So where had the first band slipped
up - mismanagement perhaps? 'Well there's no way of knowing whether
or not we were mismanaged', Martin decided. 'I'm just pleased that it
took a long time for us to build up a following: I think that if the
old band on and gone electric it would have turned out pretty well as
we are now'.
The band now hope to get their stage act
worked out with a series of live performances. They have a good deal
of work ahead of them as bookings have continued to come in for the
old band. Maybe after a few months they will decide to start work on
an album for they have no doubts about the material.
Roger
and Martin will largely be sharing the vocals, and although initially
Roger will be playing mostly a rhythm behind Martin's lead work,
eventually they hope to get the same counterpoint playing going as
Martin had succeeded in doing with Kev Dempsey.
'Kev's a
genius and it's sad we lost him' Martin went on. 'But Rog and I hope
to be doing similar things as we'd achieved in the old band'.
Martin
already has designs of augmenting the band as soon as finances allow.
A full drum kit, various other instruments such as flute which he
Hope's to incorporate himself, and a likelihood of at least one
addition to the band.
'I just hope that all the people
who saw the old Dando Shaft will enjoy the new Dando Shaft as well'
was his parting remark.
As it happened, Mk 2 Dando Shaft
failed to fly. That said, dates were undertaken. Amongst them in
places like Cheltenham, Hull, Exeter and the College of Education in
Leicester but sadly the album failed to materialise.
We can say with some surity that Beverley Martyn's life has been extensively covered in many places but here I am hoping to cover her more recent activities.
As recently as 2023 Beverly Martyn began to resurface once again. Releasing past interviews stories and anecdotes from her turbulent past. It felt like more music was possibly on the way too. But, sadly, it was not to be.
The comeback, after so many years, began with an album called 'No Frills' in 1998. With help from Art Garfunkel and fellow Dylan obsessive Wilko Johnson, Beverley began to write new songs and record some demos in the '90s, finally releasing an unaccompanied acoustic album after a very long silence.
The songs on 'No Frills' are intense. Beverley's voice was still expressive, the accompaniment sparse but competent. 'No Frills' was aptly titled.
Reviews for the album generally highlight its raw emotional honesty while occasionally noting its minimalist production. It was an album that Beverley was particularly proud of and called it a 'phoenix moment'.
A quite graphic book, Sweet Honesty' was released during January 2011. For years Beverley had kept quiet about the abusive relationship. But here, in those pages, she tells her story in her own words, taking us from her childhood in post-war Coventry through the making of classic albums 'Stormbringer!' and 'Road to Ruin' to the books release, where she survives as a woman beaten but not bowed.
Another head above water moment came during 2014. Aged 67, Beverley returned with an album titled 'The Phoenix and the Turtle' . This was only her second since 'Stormbringer!' and 'The Road to Ruin', the pair of classic folk-rock records she made in 1970 with her ex-husband, the late John Martyn.
'The Phoenix and the Turtle', recorded with former members of Los Lobos and Counting Crows, is an affirming testament to her survival instinct. 'It's been the best thing for a long time' she says. 'It's good to work, it's a great way of escaping your everyday troubles. I'm enjoying this time of my life. I just turned 67, I'm still here, and I think I know who I am now. This is what I do'.
Described by Beverley as a very personal album, 'The Phoenix and the Turtle', features songs written throughout her entire career, from her very first song, 'Sweet Joy', to the previously unrecorded Nick Drake & Beverley Martyn song 'Reckless Jane' which began life in 1974.
Several live performances followed. This included a gig in her native city of Coventry where she was accompanied by producer of 'The Phoenix and the Turtle' and guitarist Mark Pavey. Support for that evening was Cliff Hands.
A collection of live and home recordings, often featuring collaborations with John Renbourn titled 'The Attic Tapes' was released during 2015.
Finally, 'Where the Good Times Are' was released during 2018. This is a compilation and was released for Record Store Day in vinyl format. The album features early recordings from the 1960s, including her solo singles and previously unreleased tracks from her time with the Deram label.
50 years or so after their recording original tapes were unearthed and restored to create a representation of what could possibly have been Beverley's debut album. It is a remarkable record.
The New Wave of British Heavy Metal was a big genre in the 1970s and continued into the 1980s. An awful lot of heavyweight bands were associated with the scene. A couple of compilation albums 'Metal for Muthas' were produced on the back of the metal phenomena. Leamington Spa band Chevy contributed to volume 2 of that series. A huge article littered with interviews was released to the music papers in order to promote the Muthas albums. Here I have extracted the parts of the article relating to Chevy..............
Every so often something comes along as a total shock, bursting upon you instead of creeping up via an escalating feeling of 'hmm must check them out properly sometime they sound quite promising'. Chevy were one of those rare exceptions; their eponymous contribution to 'Metal For Muthas' passed by a welter of other cheapskate sounds, and only much urging by record company Avatar coaxed me to Coventry where I - and many others - were knocked sideways and proceeded to rave, froth at the mouth and shout Chevy's virtues.
And then the album emerged, a good solid debut of......nothing in particular. Great songs well played but no sparkle of life, and it began to appear that the Coventry cataclysm had been a bit of a fluke when the Alvin Lee tour found them being rushed on and off with little fire or apparent commitment. An ongoing 'forget it lads' scenario was in the air.
But now - shazam!. The renaissance of Chevy begins. They can still do it, I saw it with my own eyes (and I have witnesses!) - Chevy tore apart.....a radio 1 in concert session. I saw it all; in their brief thirty minute set. Chevy had a decidedly mixed audience all but dancing in the aisles, as they bristled with infectious energy and enthusiasm that left the audience breathless, let alone the band.
Words were definitely in order as I told them I was there to do an interview, dead casual like, and they said 'oh', dead casual like. So we did it, dead casual like.
Your history please, gentlemen....began the chat:
Martin Cure: 'the band first saw light of day, in its present form, about 2 and a half years ago as Four Wheel Drive. We even called ourselves The Sting for a while'.
Loud and embarrassed plea's for silence on that matter ensue.
Bob Poole: 'that was the biggest, most drunken bunch of loonies you've ever met, that lot was'.
Martin Cure: 'but anyway, that was 2 and a half years as a five piece. And we've looked back ever since'.
Paul Shanahan: 'we did a lot of covers then, a bit of our own material, and we were doing all the local gigs. Slowly we knocked the covers out and ended up doing our own material. We used to do Steely Dan numbers, Boston, the Allman Brothers Jessica, all good stuff that was enjoyable to play. We were doing pub gigs like that. Like we're still playing now!'.
As their own material took command they began to accost record companies with tapes, by a strange twist of fate they found a way of attracting attention to their own tape amidst the mass of others that flood into A&R departments everywhere:
Martin Cure: 'we were doing all these demo's, and it was a long job copying them into the early hours and, er, one slipped past quality control, which ended up at Bronze. They wrote a letter back which read 'thank you for your tape. Unfortunately after listening to it I couldn't find any music on it. I am returning your tape in the hope you will put some music on it and I will give it a listen when you send it back'. So we did and it was Peter Shallcraft who's now here at Avatar. He liked the tape and tried to get us a deal at Bronze but at that point in time they, er, felt unable to do that. It annoyed him a bit, and he heard that EMI were doing a compilation album and put the tracks forward for that and they took the track 'Chevy' as it was'.
'Shortly afterwards Peter left Bronze and came to Avatar, and he suggested that we talk to Avatar, which we did. And they let us do an album straight away, which we were very pleased to do. We'd had a few offers for one off singles, but we thought if we were going to give someone an arm and a leg, we might as well get an album out of it'.
Ok, the deal is in the bag, but what are you aiming to achieve with it?
Bob Poole: 'we're into people like Free when they started, Led Zeppelin - they wrote rock songs, that's the sort of stuff that we want to write, but with plenty of balls. Like the Praying Mantis single, that's great, that's the way it's got to go. In the next couple of years more and more bands will be going that way, there'll be much less of the thrashing. Right now you can think back, at many bands, and remember good songs, your heads swimming'.
Paul Shanahan: 'our personal taste is to try and write songs with a bit of punch to them. We're a ballsy band, we don't want to be like Steely Dan, it just wouldn't suit the way we are'.
So what happened to the album then? It had good songs, it was a good album but largely lifeless in chart position.
Chas Chaplain: 'it reflects the type of music we do, but doesn't reflect the way we play very accurately, we tend to play with a bit more aggression and life than the album puts across'.
Martin Cure: 'it's not our fault. The producer kept crying all the time. And the way he kept disappearing to the toilet when he was sad, and when he came back he was happy and his nose was red at the end. He must have had a terrible cold, and he kept taking all these Phensic tablets and crushing them and putting them up his nose, but it didn't get any better. We kept telling him the English way was to dissolve them in a glass of water'.
Bob Poole: 'seriously though, the end result was as much our fault for not opening our mouths and saying something. It was our first time in a studio, and we didn't know how much we could say'.
Martin Cure: 'I think you can sum it up as a safe album, a polite album. I think certain people, who aren't actually here at present, wanted it that way for a certain market that's quite large and isn't England. I think they blanded us little bit to be honest, but I also think they are coming round to our way of thinking now'.
Paul Shanahan: 'at the time we wanted it remixed, but it wasn't allowed'.
The article wound down with the interviewer explaining how it hadn't been easy putting Chevy together. And that included a lot of graft and hard work. Plenty of touring with amongst others Alvin Lee and Hawkwind.
There was also a sacrifice to be made in giving up easier careers in favour of a rock band. For some it was financially immense.
That said, money wasn't the main motivation for Chevy but, of course, if it is coming in it helps matters.
Cabaret bands were mentioned and how the safe option of regular income had been forfeited, by some of the band members, in favour of this new venture.
Bob Poole: 'the good thing about the tours we've done is that nothing's frightened us or worried us too much. There's been no sitting around in dressing rooms wondering what we were going to do that night'.
Martin Cure: 'mind you, there was a date in Middlesbrough when they said that we can't pay you tonight. That had us a bit worried I can tell you'.
All in all, what counted was quality and Chevy had it in profusion.
Footnote: Steve Walwyn left the Chevy in late 1981. His departure occurred shortly after the release of the band's only studio album, "The Taker", which came out in September 1980. Walwyn was part of the line-up that recorded The Taker and remained with the group until late 1981. So this interview, I have assumed, happened around the time of Steve's departure.
PUSB (Play Up Sky Blues)– Premiership Here we Come.
by Pete Clemons
May 19 2001 saw Coventry City play Bradford City. It was the last time either team would play a Premier league football fixture. The score was 0-0. For Coventry City relegation from the premier league had been confirmed the week before after a defeat at Aston Villa. After 34 consecutive seasons in the top flight it was all over.
But what else was happening 25 years ago in and around Coventry?
Well for starters Coventry based band, The Session, was formed in May 2001. Coincidentally, The Session had their latest magnificent single, 'The Fortress of Solitude', played at half time of the recent anti climactic game vs Sheffield Wednesday played during April 2026.
Jumpin Jaks and the Sky Dome Arena, as well as the ice rink, was an active live music venue with T'pau performing there around the time of that relegation. T'Pau, featuring lead singer Carol Decker, performed at the Sky Dome Arena on Sunday, 27 May 2001.
The performance was part of the "Sound of Sky Dome" concert series, which aimed to bring monthly music events to the then-newly built 4,000-seat arena.
For lead singer Carol Decker this gig was a sort of 'homecoming' as Carol grew up in nearby Nuneaton after moving from Liverpool as a child.
T'Pau's set included 'China In Your Hand', 'Heart and Soul', 'Valentine', 'Sex Talk' and 'Bridge of Spies'.
We also had Tony Hadley, John Keeble and Steve Norman giving us a nostalgic night of Spandau Ballet music along with crowd pleaser's Go West who 'closed our eyes'.
The Godiva festival for June 2001 saw headliners Cosmic Rough Riders, The Crocketts and Rachel Stamp. Local representatives included Swamp Donkey, Dreamgrinder, Jesus Deluxe, Thoria and The Four Kings.
Ikon superclub was just about to open and Careys, Scholars and Fatty Arbuckles on Stoney Stanton Road were still pulling em in.
That satisfying romp 'Three Minute Heroes' ran at the Belgrade for a couple of weeks.
Finally, in the Music/Charts: UK number one singles during May 2001 included "Don't Stop Movin'" by S Club 7 and "It's Raining Men" by Geri Halliwell. "Lady Marmalade" by Christina Aguilera. Pink, and Mya also topped charts that month.
How the times have changed.
Since we were relegated it is fair to say that Coventry City have had quite the journey. Not least we will be playing in a different ground from when we last played in the top level. As such teams like Liverpool, Arsenal, Manchester United et all will each be playing league games at the CBS in Coventry for the first time.
25 years on and Coventry City have been promoted back to the Premiership. It was a fantastic and memorable season. New horizons now beckon. New history will be written. It will be an interesting and exciting season to come.
When Warwick Uni Folk Club and Earlsdon Folk Club at odds.
by Pete Clemons
It is December 1965 and an issue blew up between Warwick University Folk Club and the recently formed Earlsdon Folk Club at the City Arms:
The secretary of Warwick Uni FC reported ' I believe that the Folk Club which has been started at Earlsdon on Sunday Evenings, and organised by Paddy Roberts, has been deliberately planned to clash with our own folk club at the same time. The motive behind this appears to be that the man running the new club wishes to make some money at our expense for he wants us to amalgamate with him taking the responsibility for the the club and for paying him £10 weekly. I have my reasons for making what must seem to many as rather rash accusations and only space prevents me giving my reasons here. Personally I shall refuse to have anything to do with an amalgamation and I only hope that you will support our own club so that we may force out of this particular field a man whose one interest is making money'.
The secretary continued:
'Everyone, absolutely everybody, should come to this week's folk club: the best meeting of the term as it should well turn out to be. Anyone known to be visiting a rival folk club will be publicly and ceremoniously linched afterwards. Don't forget then the university of warwick folk club'.
During January 1966 things seemed to have settled down again as the university listed artists who would be appearing in the future: Sunday Jan. 14th Anne Briggs Sunday Jan. 23rd The Couriers Sunday Jan. 30th Barry Skinner Friday Feb. 4th Janet Kerr and John Cowling Sunday Feb. 18th Malcolm Price Sunday Feb. 27th Pete Stanley and Wizz Jones Sunday March 6th Sandy and Jeanie
By February 1966 Warwick Uni FC had gone from strength to strength as, it has to be said, Earlsdon FC. A missal from the secretary read: 'The folk club claims to be the most thriving society in the university: this is justified by the fact that it has over 200 members and meets every week. In spite of early criticism the table tennis room has proved to be an excellent home for the club. Singers have enjoyed performing before a most receptive audience and have highly praised the friendly atmosphere. Past singers have included Bill Clifton, Mark Newman, Richard Lawrence and Judy Sutton, Diz Disley, Anne Briggs and Malcolm Price; this term Pete Stanely and Wizz Jones (Feb 27th), Sandy and Jeanie (March 6th) and Bert Jansch (March 13th) will be appearing. Resident singers include Dave Robinson, Carole Spackman and John Hobbs who sings regularly. The Warwick Week at the end of the year will include a folk concert on Wednesday, June 22nd. We hope the guests will include Davy Graham, Bert Jansch, Martin Carthy and the Young Tradition. If you haven't yet been to the folk club, you still have a term and a half to exonerate yourselves'.
Brian 'Liquorice' Locking – from Wildcat to Shadow.
by Pete Clemons
Marty Wilde's backing group, the Wildcats, was formed in late 1957, shortly after Marty Wilde signed to Philips Records and began his career as a leading British rock and roll singer.
The Wildcats were made up of 'Big' Jim Sullivan on lead guitar and whose roots began in skiffle. Rhythm guitar was Tony Belcher who began life as a quantity surveyor. Drummer was Brian Bennett a former outstanding art student. Finally, on bass was Bedworth born Brian 'Liquorice' Locking who began as a trumpeter with the Salvation Army. Work wise Brian was a fireman on British Railways.
The Wildcats and accompanied Marty Wilde on stage, television and records for two years. And it was while with Marty that they learned a great deal about show business including the studio aspect.
By early 1960, Marty Wilde sought to move into other areas of music and performance, which necessitated a change in his backing setup. His move was a natural progression in his career, driven by changing musical trends, and his desire to move beyond the limited 'teen idol' market. As such the original Wildcats became surplus to requirements. And late 1960 The Wildcats became known as The Krew Kats (sometimes spelled Krewkats) in 1961 because they were refused permission to keep using the name 'Wildcats'.
Incidentally, while still known as The Wildcats they backed Gene Vincent during that ill fated tour with Eddie Cochran in 1960.
As a band in their own right The Krew Kats recorded several of their own tunes such as 'Trambone' and 'Peak Hour'. These tunes demonstrated what a first rate musical understanding the band had gained during their several years together.
During 1959 Bob (Colin Day) and John (Brian Alford), who were unrelated, were auditioning for Emile Ford (of Checkmates fame) at the Putney Ballroom. That led them to sing in various coffee bars and dances throughout the year.
During September 1960 at the Boys and Girls exhibition - held at London Olympia and judged by Cliff Richard - the pair, and now known as The Allison Brothers, won a Disc magazine talent competition. That win led to some TV appearances but what became later essential was that the prize also included an audition with Fontana Records. The importance of that session could not be understated as, during January 1961, the pair recorded a composition they had written titled 'Are You Sure'. January was also the month that saw the Allisons begin working with The Krew Kats.
'Are You Sure' was entered into the British heat of the Eurovision Song Contest which it won. From there, it was off to Cannes for the finals on 18 March 1961 where they finished as runners up to Jean-Claude Pascal of Luxembourg. At the same time, back in the UK, 'Are You Sure' was winning a silver disc for sales.
The success at Eurovision 61 sparked a huge reaction. Literally the day after the song contest agents, publishers, bookers and press folk kept all lines busy with inquiries about the duo an extensive tour followed. Backing The Allisons on those dates were The Krew Kats.
The Krew Kats were in demand and well respected. Further evolution in the band saw Brian Bennett joining The Shadows as drummer in October 1961, replacing Tony Meehan. Brian "Licorice" Locking followed as he joined The Shadows as the bassist in April 1962, replacing Jet Harris.
A second version of The Krew Kats, featuring future Moody Blues members Ray Thomas and Mike Pinder. In late 1962, the band became the backing group for French singer Dick Rivers. During 1963 The Krew Kats toured Germany before disbanding after a difficult winter tour.
The Neon Story with Coventry Connections Continued..
by Pete Clemons
It cannot be understated how Coventry was central to the short-lived but now legendary RCA Neon progressive rock label (1971), primarily through the Coventry based band Indian Summer but also through Dando Shaft. Both were key signings for the label, with Indian Summer's self-titled album being one of the first and most notable releases on the label. Another local band, Fresh Maggots, were also in the mix.
While RCA Neon featured other acts like Spring and Tonton Macoute, Indian Summer's, with their Coventry roots, helped define the label's sound and is now considered a cornerstone of the Neon catalogue.
Coventry formed but also London based folk-rock band Dando Shaft were also a pivotal artist for RCA's progressive offshoot Neon, releasing their self-titled album on the label in 1971. While highly regarded by critics for their mix of folk, jazz, and psych, they were part of a roster that struggled commercially before moving to the main RCA label.
Dando Shaft June 1971 summary and interview:
Dando Shaft signed to Neon during 1971, releasing their eponymous second album Dando Shaft. A separate article titled 'Dando Shaft 1971' is an interview with some of the band when they lived in Ealing and undertaken right at the point of Polly joining and the second album on the way. Below is an interview with the band during that period between the first two albums..........
Dando Shaft make it quite clear that they want to incorporate as many instruments as possible into their exclusively acoustic repertoire. And since recording their first album for Youngblood just over a year ago, the Coventry group have expanded not only their instrumental scope but also their personnel, so that with the arrival of singer Polly Bolton, and a new album on the Neon label, Dando Shaft finally look set for the success that has long been predicted for them.
Having been invited to witness the band performing live in concert I can only add expletives to the album, the brilliance of which largely speaks for itself. With six members and many instruments from which to choose it is a difficult task indeed for a band to attain the kind of equipoise which Dando Shaft have. And at the same time they have remained true to their folk roots and often dwell upon traditional airs in which to set their contemporary songs. Thus they are always experimenting with different time structures (while retaining positive melodic structures) and Martin Jenkins, Dave Cooper and Kevin Dempsey have written some poignant songs such as 'Railway', 'Waves Upon the Ether' and 'Whispering Ned' which are masterpieces in lyrical and melodic construction.
Lead musician Martin Jenkins (fiddle, flute, mandolin, cello, mandola) explained this week that the groups activities had been restricted to a certain extent by the fact that Polly has been studying at university; but her final examinations and departure are now imminent and the group will then get down to some serious rehearsals. 'We've not been able to practice enough with Polly yet. And she also plays piano which we'd like to introduce' Martin added.
'There's hundreds of acoustic instruments that I'm sure we can play and we just want to keep expanding along these lines. Acoustic music is really our scene and I think we'd like to carry on like that for quite a while because there are so many acoustic outlets to explore'.
Certainly their folk apprenticeship has served them well for not only has it given them confidence in an informal environment where they are at conversation level with the audience but it has also expedited a high standard of musicianship and rapport, particularly on the part of Martin and guitarist Kev Dempsey whose contrapuntal duets are a joy.
'If you play electric instruments' went on Martin, 'you can synthesise practically every sound you want to, but with acoustic instruments you've really got to play accurately. And its marvellous musical training anyway'.
I questioned the danger of being overburdened with too many instruments and the trap that so many groups fall into of producing a cluttered sound. But Dave Cooper pointed out that all the band live in the same house in Ealing, and that 'its not so much a matter of what happens on stage as what happens at home'. And indeed the arrangements of their songs and their stage presentation is impeccable.
'I sometimes change the style of an instrument' cut in Martin. 'And that gives you something new to work with which no-one else is doing - and you can develop that infinitely.
Only percussionist Ted Kay, who plays tablas and congas, has not had some kind of a folk background, although various members have been involved with rock bands. And now Dando Shaft are finding the venues divided between folk clubs such as "Cousins, the Highcliffe at Sheffield and other broad minded contemporary clubs and the colleges where they appear to go down equally well.
'Folk clubs are a marvellous way to start for they help you to get involved with audiences. For instance although we arrange our programme beforehand there's still a lot of tuning to do between numbers which means you have to keep a rap going. Also I think that audiences will listen harder if you tell them a bit about the original song' said Martin.
Dando Shaft are evidently one of those empiric little outfits who will always be experimenting and expanding. And their latest project is explained by Dave Cooper: 'We got freaked out by some Bulgarian music recently which we are trying to learn now. It's a suite consisting of three folk tunes but they play such weird instruments that you really need an orchestra - there's some really weird syncopation'.
Martin commented on the group's adept sound balancing and the fact they could always achieve sufficient volume without distorting, regardless of venue or the company in which they are playing. 'We've just got a new PA and new instruments and everything is miked through one system while we've now got monitors on stage and can hear exactly what everyone else is doing. Its good because we are enjoying more than ever now.
Commercial release and appeal:
It appears that Neon Records wanted a commercial single to increase the band's, and their own, commercial success. Indian Summer was asked to record a version of Free’s "Ride a Pony" by their Neon label, as a strategic move to help break the band into the mainstream. The label hoped to leverage the popularity of the song to build momentum for the band. However, Indian Summer was not enthusiastic about the project, as they preferred to record their own material.
Not getting that commercial success was possibly a factor as to why the label was short lived.
The self-titled album by the folk-rock duo Fresh Maggots was released on the standard RCA Victor label (catalogue number SF 8205) in October 1971, not the specialized RCA Neon progressive label. But it seems as though it should have been on Neon.
I asked Mick Burgoyne if the Fresh Maggots album was destined for Neon 'Yes it was' he responded, 'we weren’t involved in the decision it was RCA’s choice. We were told that it was to be released on the launch of Neon and they informed us of the other bands on the launch but changed their mind'.
Interestingly Mick also mentioned 'Thinking back I believe we were told that our music didn’t fit in with the other bands on the release'. I found that to be odd given Neon's eclectic nature.
In October 1971, Sounds magazine published a positive review of the self-titled debut album by the Warwickshire acid-folk duo Fresh Maggots, describing it as a unique blend of melodic folk and "screaming fuzzed electric guitar".
The review was part of a wave of critical praise the duo received upon the album's release that autumn, though the record ultimately failed to achieve commercial success at the time due to a lack of promotion from their label, RCA.
Fresh Maggots 1st Album 1971 (Tracks in the side bar on youTube.)
March 1971 - The Birth of the RCA Neon Progressive Label
by Pete Clemons
Neon was RCA's move into contemporary music. The first three albums of the then new series were released during March and were from Brotherhood of Breath, Fair Weather and Indian Summer. In a special survey SOUNDS magazine looked at the three groups, reviewed the first albums and talked to Olav Wyper, RCA's commercial manager, who was responsible for that new series. The label was launched at a special concert held at Imperial College, London in front of a student audience, the market that Neon had hoped to hit.
Man behind new label:
Olav Wyper is RCA's commercial manager and the man responsible for the launch of Neon, RCA's move into contemporary music.
He joined RCA from Philips where he masterminded the birth of Vertigo. Prior to that he was marketing manager for CBS for three years after working as a journalist, a copy writer and as advertising manager for EMI.
He likes the majority of contemporary pop music, enjoys Miles Davis 'enormously' and names Stan Tracey's 'Under Milk Wood' suite as his favourite piece of music. His favourite composer is Brahms.
New name in contemporary audio arts:
The first three releases on Neon - the name comes from the Greek word Neos which means new - are diverse in character.
There's Brotherhood of Breath, the band led by Chris McGregor: Fair Weather fronted by Andy Fairweather Low: and Indian Summer, a new band from Coventry. The music of each of the three groups is vastly different but that's very much Neon's policy.
Olav Wyper first saw Indian Summer on a trip up to the Midlands to check out the music that was coming out of the Birmingham and Coventry areas.
We went up there because we had heard that there were some very good groups playing in the clubs in the Midlands. There were two bands that we saw, Indian Summer was the supporting act, and Black Sabbath.
Indian Summer didn't really have it together musically at that time, the original band that we saw then, wasn't the band that's together now, but after I left Philips and came here in November we saw them again after Jim Simpson, their manager, contacted us here and we signed them there and then.
Indian Summer summary:
There's been something of a resurgence of late in the number of rock bands coming out of the provinces after establishing large followings in their home town. Black Sabbath came out of Birmingham with enough impact to hit nationally and now Indian Summer are looking for the same kind of success having broken out of their native Coventry.
The group has been together for nearly two years and its members came from different groups working in and around the Coventry area. Their aim, they say, is 'to achieve the meaning of Indian Summer - to give something fresh, warm and exciting when no-one expects it'.
Focal point of the group is organist and vocalist Bob Jackson whose voice at times verges on a scream reminiscent of Arthur Brown in the Crazy World days.
Colin Williams plays guitar, Paul Hooper is the drummer and Martin Harker plays bass and joins with Paul in a drum duet they include in their stage set.
Indian Summer album review: 'Indian Summer' (NEON NE2)
First impression is that Indian Summer sounded more than a little like Jethro Tull in their 'Witches Promise' days but this isn't a bad indication and they set up a tight, insistent beat throughout. Bob Jackson (keyboard, lead vocal) Colin Williams (guitar, vocal), Paul Hooper (drums, vocal) and Malcolm Harker (bass, vocal) make up the band and were responsible for all the compositions.
While there isn't a great deal of flexibility - more numbers sound too much alike - they are better on the faster items with dashing organ backing up good vocals.
'Emotions of Men', 'Black Sunshine' and 'Secrets Reflected' are good tracks, but 'Another Tree Will Grow' is the best number with the band breaking free a little more. There are some interesting guitar passages from Williams.
Neon NE 01: Beginning From An End, Fair Weather, 1971
Neon NE 02: Chris McGregor's Brotherhood Of Breath, Chris McGregor's Brotherhood Of Breath, 1971
Neon NE 03: Indian Summer, Indian Summer, 1971
Neon NE 04: Tonton Macoute, Tonton Macoute, 1971
Neon NE 05: Dando Shaft, Dando Shaft, 1971
Neon NE 06: Spring, Spring, 1971
Neon NE 07: Shape Of The Rain (Riley, Riley, Wood And Waggett), 1971
Neon NE 08: Time IS ..., Raw Material, 1971
Neon NE 09: Septober Energy, Centipede, 1971
Neon NE 10: Metropolis, Mike Westbrook, 1971
Neon NE 11: The Running Man, The Running Man, 1971
............................
Indian Summer's Progressive Album on RCA Neon Label 1971 featuring Bob Jackson on vocals and keyboards - later of Pete Brown and Piblokto, Ross, Ra Ra, The Dodgers The Fortunes, Badfinger.
Malc Harker bass - based in Coventry at the time but later head of his father's firm Harkers in Stockton on Tees.
Colin Williamson and Paul Hooper - The Dodgers The Fortunes, Badfinger. and Paul Hooper more recently played drums for Prelude.
And Dando Shaft on RCA Neon
And Fresh Maggots originally ear marked for RCA Neon but actually on RCA Victor
The listening public were on the verge of seeing and hearing the release of one of the greatest albums of all times. One, on a scale that continues to touch people today. Here is an interview with the band prior to them performing in Coventry at the Lanchester Arts Festival of 1972.........
The Pink Floyd's current repertoire, which they'll be performing at Lanchester, includes just one old number in the whole two hours which, as Roger Waters says, is quite a breakthrough for them.
They have plenty of oldies to choose from - but they'll probably be ending their set with either 'Set the Controls for the Heart of the Sun' or 'Careful With That Axe Eugene' - the two pieces from their old repertoire that they most enjoy playing still.
As he said when he was spoken to during December, when the group were rehearsing and getting material together for the tour: 'The old stuff is being phased out, but there are still a couple of them that are still fun to play - the two that spring to mind are 'Set the Controls for the Heart of the Sun' and 'Careful With That Axe Eugene'. But the first half hopefully won't be a great kind of epic.....you know 'Atom Heart Mother' and 'Echoes' are both kind of odyssies. Epic sound poems I think we are coming down to earth a bit. I hope we are - getting a little less involved with flights of fancy.
Last week after the start of their tour Roger was asked how things had gone. 'At the first gig we had a terrible technical disaster during the first half of the set, which is 50 minutes long and is one whole new piece, and we couldn't finish it. The tape we were using just wouldn't play on to the end; but I think that's been sorted out now'.
The new piece seems to have worked out as he had hoped, in coming down to earth a bit. Its about the pressures that come to bear on people working inside the rock and roll business - dealing with things like travelling, and the wearing effects that has on you, and in more general terms, with the passing and the wasting of it, money and authority - the church and violence.
'It is' he says, 'more theatrical than anything we've ever done before, more into the whole theatre/circus thing. And in concept it's more literal, not as abstract as the things we've done before. It's more mental - we've gone mental'.
There're using a lot of specially made tapes with this first half of the set, and of course the quadrophenia sound system, as long as the hall they play is suitable for it. It's hardly surprising that technical disasters happen, but even when they do, the people seem to relate to what the music is saying. Roger had heard a report from one guy who'd seen the concert in Brighton, and apparently he hadn't really realised they hadn't been able to finish the piece, and he'd been moved and frightened by it.
The second half of the set includes 'Echoes' and I think 'One of These Days' plus the oldie.
And finally, another point of interest will be to see how they've coped with controlling their volume. When Roger spoke in a December interview he said 'The whole thing is getting completely insane , and that's another thing we've done. I'm happy to say, we've got quieter'. It'll be interesting to see if the Floyd can be effective without being ear-shattering, because if they can do it, other bands might just follow their lead.
Yes!! This is going to be a good night ! prophesied Moon's lead
warbler Noel McCalla to a packed Marquee early on in the proceedings.
And sure enough, brothas n sistas, he did not tell a lie. In fact,
from the moment they nosedived into the first number, Van Morrison's
'Moondance' (subtle eh), you rested easy that the set would be
stylish, assured and ultra-tight.
Since their emergence on
the London pub/club circuit two years ago, Moon have proved
themselves to be ascendant over most of their beer-drinking musical
buddies. They are very much a part of the sixties soul and R&B
tradition but have spiced this up with a sizeable helping from the
jazz world. Little wonder then that they should have chosen to open
with that R&B jazz influenced Belfast cowboy.
The
technical skill of this six man unit borders on the impeccable. The
rhythm section, consisting of Graham Collyer (rhythm guitar), Ron
Lawrence (bass) and Luigi Silvani (drums), provides a bedrock steady
enough to prevent the leaning tower of Pisa from sinking any further.
The only criticism here is levelled at the drums. It
would make for more variety if Luigi diluted his rigidly precise
approach at times in favour of a more loose, suggestive style. Dougie
Bainbridge (congas, flute and alto sax) together with the remarkable
Nicky Payn (tenor sax and flute), whose dexterity equals and even
surpasses that of Kokomo's revered Mel Collins, help join up and
colour the dots laid down by the previously set of gentlemen.
In
spite of a tendency to be jarringly frenetic, Loz Netto (lead
guitar), is a fine soul exponent. Last but no means least, Noel
McCalla sings with a range, control and sensitivity that has not been
heard in British haunts for, dare I say, many moons.
After
the good news, the less good. Though their crisp, meticulous
arrangements speak of long dedicated rehearsals, they end up sounding
too close to one another for comfort. More flexibility, more light
and shade would probably have swung the Marquee audience sooner than
actually happened (ie. In the last couple of numbers when ignition
was finally made and we had lift-off).
As it was the
arrangements were so smooth that it was difficult to maintain a
foothold without sliding off. A pity, since their own compositions,
which take up most of their act ('its getting better' is especially
recommended) are strong. Also a more positive stage presence would
not go amiss.
In particular Noel McCalla, a constant focal
point, seems unsure whether or not to take the plunge and enlist in
the Joe Cocker school of manic handshakes.
Still, a
powerful, sinewy band more than worth checking out. Now with a CBS
contract tucked up their instruments, keep your fingers crossed that
they manage the transition to vinyl successfully - it can often be a
dicey business.
Leamington Blues Mafia – Temperance Bar, Leamington Spa.
by Pete Clemons
The Leamington Blues Mafia are a group of musicians based in and
around Leamington Spa. The band features seasoned artists, including
Nick Rowbotham (vocals/harmonica), Steve Walwyn (guitar/vocals),
Horace Panter (bass), and Andy Bentley (drums). And this high quality
line up are known for playing classic tunes from the rich heritage of
blues.
It appears that the 'Blues Mafia' name
came about when another of Leamington's renowned blues outfits, The
Mosquitoes, were gigging. Horace would playfully refer to them as the
'Leamington Blues Mafia' being out and about again. And so this name
was a great fit when this combo came together.
Collectively, at a recent gig at
Temperance Bar the 'Blues Mafia' created an ardent and enthusiastic
atmosphere that grew throughout the evening. It was significant that
a brief but meaningful introduction about the music and the musicians
who created it was pivotal. Additionally the band didn't feel limited
to just one area of the blues. This was as much a celebration, as
much as paying homage to, a genre that has given them so much
enjoyment.
There was not a hard n fast set list,
it was more a 'what shall we do next?' kind of approach. All very
laid back in between numbers but absolutely attention grabbing and
deadly serious while performing. Just the key was required and off
they set, into that much loved place.
Hound Dog opened the proceedings. That
was followed by tunes such as I'd Rather Go Blind, Roadrunner and
Walking Blues. A rousing version of Gloria wound the evening down.
The set finally closing with a glorious take of Bullfrog Blues.
Another song, Canned Heat's 'World in a Jug' was introduced by Steve.
He remembered how, during his time with Dr Feelgood and sharing the
stage with Canned Heat, he was invited by Heat's guitarist, Henry
Vestine, to join them on Fried Hockey Boogie. Im not sure about other
folk but that was a real wow moment for me.
A combination of virtuosity, bottleneck
and epic solo's were prevalent throughout throughout as Steve
painting on top of a Bentley/Panter canvas using a range of styles
and colours. The magnetic pole however is Nick on vocals and
harmonica.
When a musician with the pedigree of
Horace Panter is seen smiling broadly, purring with delight and
ending with him doffing his cap by way of a round of applause for the
band, as happened after a wonderful rendition of 'People Get Ready'
kind of proves the band are on a roll.
Those who attended, combined with this
wonderfully tight venue, just made for a memorable evening. All were
there for, and clearly appreciated, the music. It all felt like a
match made in heaven.
Described as a side project
alongside current activities suggests that Leamington Blues Mafia
gigs will be few and far between. This particular gig was the day
after Martin Cure's funeral. I couldn't help hear his name mentioned
several times before the gig and during the interval – not that I
was earwigging, it was more because of the enclosed nature of the
venue. But it was clear Martin will never be forgotten. As such,
events like these have taken on added poignancy and feel just that
little bit more special.
A lot of people will remember the Song "Take a Heart". It
was Released as a single in August 1965 by Coventry group The Sorrows
and became a UK chart hit, reaching the Top 30.
“Take a Heart” is known for its hard-edged R&B sound and "tribal" drumming. It was written by Miki Dallon but was originally recorded as a B-side by a band called The Boys Blue before The Sorrows' version became famous.
Chart success led to The Sorrows gaining a modi-come of national press interest, tours etc. Here is one such article that came on the back of the bands time in the limelight................
It used to be the fashion to say 'We don't want a hit record' . Now The Sorrows have come up with a new complaint - they think their current Pop 50 entry 'Take a Heart' projected the wrong image.
'Of course we feel happy that the record got us off the ground and brought us to the money earning bracket where we always wanted to be' says 6 ft 7 inch lead singer Don Maughn. 'But we don't in fact play this sort of thing all the time'.
'Our music is far wilder, louder and more distorted. Our new one 'You Got What I Want' is far more us, with lots more noise. The thing about The Sorrows is you either like us or hate us. We appeal to the deaf set'.
Don agrees that 'Take a Heart' has made a big difference. 'They are working us ten days out of seven' he said 'The theory seems to be that we have been sleeping for the last 18 months so we can get through the next 18 without any'.
'Take a Heart' was probably also responsible for the battle of West Hartlepool - The Sorrows' first experience of fan fever.
'I'd never seen anything like it' recalled Don. 'Our lead guitarist, Pip Witcher, walked to the edge of the stage to shake hands with a girl. That was the last we saw of him for 10 minutes !'.
'He came back with one leg of his trousers gone, minus a sleeve of his jumper and cuts on his face. Then they charged the stage 300 strong'.
'I was on the floor with all these girls piled on top of me. A bouncer joined in. He was a nice quiet type - probably a probation officer or something like that during the day. But he started trying to get these women off me. I was in total agony for a week'.
'All of a sudden everything went up. Chairs were flying about. They finally locked us in the dressing room'.
'When we came out for the second half there seemed to be more bouncers than people - all standing in front of the stage. It was like playing to the back of somebody's head'.
Still, what are a few bruises when all that lovely loot is starting to roll in?.
David Bowie, it seems, was scheduled to appear at the now legendary 1972 Lanchester Arts Festival in Coventry but withdrew at very short notice. Festival organiser Ted Little indicated Bowie pulled out because his management felt he wasn't a good fit for the bill topped by jazz saxophonist Rahsaan Roland Kirk on the polytechnic site. (The festival was spread across different venues including the Locarno).
And this was at a time when David's record 'Hunky Dory' had just been released - an album that today - is still highly praised. And close to that scheduled appearance in Coventry, as part of the 1972 festival, David was even interviewed.....................
Since the very early precociously talented releases of 'Rubber Band' and 'Love You Till Tuesday' way back in the mid 60s David Bowie hasn't exactly been swamped with instant recognition.
His kind of wierd tongue in cheek material and half Newley voice didn't quite fit, it seems, into the kind of things that were going down then. It wasn't really until 'Space Oddity' that his name got around, and even then it didn't fore-run a massive trail of success. It was always a very jerky passage for Bowie. Half recognised, half buried not helped by the fact that he apparently was not too keen to do live appearances, didn't see himself as part of the rock and roll circus, and every so often just disappeared off the scene.
He did, however, record. And the result of these sorties into the studio presented us - after 'Oddity' - with a rather ragged album 'David Bowie' which gave a pointer to the way he was going to move musically but never quite gelled, but then the massive peculiar and neurotic 'Man Who Sold the World' and finally 'Hunky Dory'.
And although 'Man Who Sold the World' got Bowie off finally in the States, it wasn't until 'Hunky Dory' came out earlier this month that the cluster of British critics who had 'poo-poohed' Bowie as a rather boring freak they couldn't put into a musical compartment, sat up and took notice.
'Hunky' - a tight melodic collection of rock on tracks - has been backed up with Bowie's own imagery of prancing and capering and giving outrageous quotes when he feels like having a bit of fun with someone. It's his first album with a new record company and its success, backed with new management, has given him a whole new approach not only to his recorded work but to live gigs in general.
'We've really been swamped with work - turning down bookings every day. Lanchester happened to coincide at just the right time and looked like a good place to play. Certainly I've changed my whole outlook about live appearances. We're not going to go flogging around the country every night, but we'll do much more live work than we have in the past. I think really what's happened to my approach to work is having a new enthusiastic people around me makes life so much easier and it's made me more enthusiastic myself, plus we did this gig in Aylesbury before Christmas and got such a great reception it got us off'.
For Lanchester Bowie will be backed up by his usual three-piece line up of Mick Ronson, 'Woody' Woodmansey and Trevor Bolder who replaces Tony Visconti on bass.
It will, he says, be a composite show with only a few numbers from 'Hunky Dory' - and inevitably - 'Space Oddity' because 'it's a good little tune and you can't really ignore it can you?'. The mainstay of the material he'll be using will be from past albums - stuff like 'Wild Eyed Boy From Freecloud' - and from the new album he's just laid down in the studio's. 'I feel that a lot of the material from the two previous albums really didn't get much of an airing - certainly not on stage - so they'll be nice to do for people. At the time neither got much attention over here, probably they just weren't right for the time and had more empathy with what was going on in America.
'On the new album we've tried to capture the sound we had going for us on stage. A sort of phonographic representation of the stage act with a few strings added. It's such a harder sound than 'Hunky Dory' but certainly not as paranoic as 'Man Who Sold the World '.
After his Lanchester gig Bowie has his first real British tour since the very early days with Humble Pie two years back. A tour which should finally get him off the ground with British audiences before he goes back to the States, which has always reserved a special place for his talents.
'I don't know why it is but they certainly got into the music faster than they did here so really I can't help thinking of the British dates as something of a 'rehearsal' before we go to the States'.
Rubber Band
David Bowie - Space Oddity (Rare & Unreleased 1969 demo version)
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