The Pineapple Thief – Far and Wide

 

The Pineapple Thief – Far and Wide

By Pete Clemons

The Pineapple Thief's sixteenth studio album, Far and Wide, released on October 9, 2026, through InsideOut Music, Sixteen albums really is a remarkable feat and keeping each album distinct, fresh and without repetition, a challenge.

And that challenge was met head on. Far and Wide gained praise with its tighter rock energy and live-oriented focus while noting a more streamlined and concise structure

Each era for The Pineapple Thief has brought a new beginning. And in a couple of ways this latest album brings with it new horizons.

The first new vista for The Pineapple Thief was a change in record label. Far and Wide is the first release for InsideOut Music. Founded in Germany in 1993, InsideOut Music is one of the world's premier record labels specializing exclusively in progressive rock and progressive metal. Now owned by Sony Music and operating out of Berlin, the label handles several of the genre's largest acts

Next up and a first for The Pineapple Thief, frontman Bruce Soord completely omitted acoustic guitars from the record. The album instead tends to rely on electric guitar parts, atmosphere, synths and keyboards, and rhythmic spaces.

And ever since drummer Gavin Harrison joined the band full time during 2016 it completely transformed the bands live versatility. Live shows heavily favour the bands tighter more groove oriented style over the more loose and experimental.

The 47-minute, 9-track record – 10 track CD - leans into a more streamlined, patient, and atmospheric progressive post-rock/art-rock approach. It strips back excessive layers in favour of tighter song structures, space, and strong live-band dynamics.

Lyrical content covers personal reflection and mortality after loss, alongside broader commentary on modern societal anxiety. Overall it has received generally positive comments but there were some mixed reviews.

Many critics praise the album as a cohesive, front-to-back listening experience rather than a collection of disjointed radio singles. Reviewers highlight Gavin Harrison’s intricate, tasteful drumming, Bruce Soord's emotive vocals and guitar work (such as the solo on "No Exceptions"), and a balanced, crisp production style that avoids self-indulgence.

Some reviewers felt the stripped-back, direct approach lacked the explosive spark or expansive complexity of their earlier high-water marks, with a few finding certain mellow tracks a bit slow to build or wishing for a more adventurous scope

If you are looking for an instant high then this record may disappoint. However, in this fast paced world, if you still have the capacity to kick back and devote 50 odd minutes, if you still enjoy music that washes over you and develops with each listen then this could possibly be the bands best release yet by this line up.

This album is subtly sublime and cannot fail to grow........

Joe Colombi – Sink or Swim Promotions

 

Joe Colombi – Sink or Swim Promotions

by Pete Clemons

Sink or Swim Promotions, led by Joe Colombi in Coventry, recently marked its 5-year anniversary in autumn 2026 by booking a special lineup of gigs across local independent venues like The Tin Music and Arts and Just Dropped In Records. But then this is what Joe has put his heart and soul into doing during those 5 years, putting on independent live music, avant-garde, and experimental gigs in the city.

It all began, although I hadn't twigged till Joe mentioned it recently, with a visit to Just Dropped In Records by Warrington-Runcorn New Town Development Plan who played in Coventry on Saturday, 16 October 2021. This 2021 Milestone was to promote the release of the album 'People & Industry' during the previous September.

Just getting into, and enjoying the Warrington-Runcorn project music, then seeing the gig advertised in the record shop, had me purchasing a ticket. I inadvertently attended without realising the gigs significance.

Warrington-Runcorn New Town Development Plan is an acclaimed electronic music project created by producer Gordon Chapman-Fox. Albums are released under the independent label Castles in Space, the project is a concept-driven exploration of 1970s and 1980s British civic planning, modernist architecture, and haunt-ology.

The music is characterized by cinematic, analog-heavy synth layers, shimmering arpeggios, and an aesthetic heavily influenced by retro-futurism and public information films of the late 20th century.

After the debut release 'Interim Report, March 1979', during early 2021, which set the scene in establishing its distinct focus on the post-war "New Town" boom came the second album 'People & Industry released during September 2021. This release continued the narrative of northern communities being restructured around modern manufacturing corridors.

The Warrington-Runcorn project goes beyond audio, packaging itself with a strict graphic identity that mirrors official bureaucratic documentation, urban blueprints, and regional development brochures from the mid-to-late 1970s. Songs are frequently named after specific locations, transit links, and industrial hubs across the Cheshire landscape.

But the Warrington-Runcorn project gig was just one that Joe has promoted. While the exact cumulative total of every single gig promoted over its entire 5-year history isn't tallied as a single static number, Joe Colombi has staged hundreds of independent live music, experimental, and avant-garde shows across Coventry since launching.

I just wanted to add my voice to the chorus of well-deserved praise you have been receiving. Your exceptional hard work, clearly unwavering dedication, and commitment to the Coventry music scene should not go unnoticed. Thank you for always giving it your all over these last 5 years.

And also due respect for Just Dropped In record store in FarGo Village and The Tin venue at the Canal Basin for providing the space for the promotions. Long may it all continue.

Vince Taylor and his Playboys

 

Vince Taylor and his Playboys

By Pete Clemons

I was recently reading an article about a song called 'Brand New Cadillac'. Joe Strummer famously noted that 'Vince Taylor was the beginning of British rock'n'roll. Before him there was nothing.' The Clash went on to immortalise the song globally by covering it on their seminal 1979 album London Calling.

The Vince Taylor in question was leader of Vince Taylor and his Playboys. A band from the late 1950s led by the leather-clad Vince Taylor (born Brian Maurice Holden). This influential 1950s/1960s rock and roll group is immortalized for the classic track 'Brand New Cadillac' released during April 1959. Additionally this band served as a major inspiration for David Bowie’s Ziggy Stardust persona.

While technically a B-side to 'Pledging My Love' on its original pressings, 'Brand New Cadillac' quickly became the track that defined Vince Taylor's legacy. Sadly though, at the time, the single was not a commercial success. But what failed to take off for Vince in the UK suddenly ignited in Europe a couple of years later.

Vince Taylor and his Playboys were formed in London during 1958 and featured numerous line-up changes over the years. Musicians during that time included drummer Bobbie Clarke, Brian Bennett another drummer later of The Shadows, Brian Locking ("Liquorice" Locking) on bass and again, later of The Shadows, Tony Sheridan on guitar and vocals along with many others.

During 1960 and 1961, Vince Taylor and his Playboys regularly gigged across the UK. The Co-operative Society (Co-op) owned prominent community halls that doubled as major regional music venues. During this time the band appeared at the Co-op hall in Rugby as well as the Milano Cafe on the Radford Road in Coventry. For the Coventry gig however Vince was backed by The Beat Boys.

The Beat Boys were one of the earliest backing groups assembled by music impresario Larry Parnes to support Billy Fury. They backed him during his early 1960s live performances and recordings before he transitioned to other famous backing units like The Blue Flames and The Tornados.

The most definitive line-up of the band I can find who possibly played that day consisted of the following musicians: Jim Crawford – Lead guitar and vocals, Alan George – Piano and organ, Alan Sanderson – Bass guitar and vocals, Andy McMullen – Drums, Ken Brady – Tenor saxophone and vocals, Tony Tait (Stage name Tony Damond) – Guitar, trumpet, and vocals.

Because he never quite broke into the big time Vince Taylor was left with animosity when it came to booking agents. In one interview from the continent his memories of England were tinged with bitterness. 'The kids liked me but I couldn't get across to the agents. They didn't like me'. As such he remembered the British Isles as 'A knife in my back'.

During the same interview Vince recalled his thoughts on what became known as the Great Black Leather Controversy. Responding to claims by Don Arden that it was Gene Vincent, Vince was asked 'who wore black leathers first you or Gene Vincent'?.

Vince responded 'Me!. I know that Gene and I dress alike, but I wore my outfit first. Jack Good put me in 'Wham' - (a TV series that lasted just 8 episodes) - he was aiming to make me as big as Cliff and Marty Wilde, who had just completed their own successful television series. I was given the full treatment, black leather and everything. I think it was the first time they'd been used in Britain.

But then Gene Vincent came over from America. He was a big name in Britain although he'd fallen off in America. Anyway he came and they threw in all the black leather gear. Gene had never worn that gear until then. So I was out - but I still wore the black leathers. And so did Gene.

We both appeared on the same bill once - I think it was the Granada, Tooting - dressed identically. It was very embarrassing'.

Johnny Kidd, who had read this ongoing leather debate responded by letter to a music magazine. 'I have read the recent controversy over who wore black leather first. The claims made by both Vince Taylor and Don Arden (for Gene Vincent) have been a joy. But might I add a confession, that whoever it was who wore them first.....IT WASN'T ME !. But I have written this letter sitting in a leather covered armchair'.

To back up Vince Taylor's claims and add a bit more weight, all I can find is that prior to his December 1959 British debut, Gene Vincent favored traditional 1950s rockabilly stage attire, which typically consisted of bright red and green shirts, wild patterns, and white trousers. When traveling or offstage, he apparently dressed simply and casually in slacks, suit style jacket and flat caps. Maybe Vince had a point?.