Also see the post about Bob Tempest and the Buccaneers on the Hobo A to Z of Coventry Bands
Saturday, August 9, 2014
Bob Tempest and the Buccaneers
Once again, the latest article by Pete Clemons for Coventry Telegraph taking us back to the early 60's with Bob Tempest and the Buccaneers ...
Also see the post about Bob Tempest and the Buccaneers on the Hobo A to Z of Coventry Bands
Also see the post about Bob Tempest and the Buccaneers on the Hobo A to Z of Coventry Bands
Friday, July 18, 2014
Roye Albrighton - Interview on his Coventry Days
Roye Albrighton of Nektar and other bands like Rainbow and the Peeps got in touch with his site and and I passed him along to Pete Clemons who interviewed him on his early Coventry days. Roye has lived and played live music in Germany with Nektar since 1969 but played in a number of Coventry bands during the 60's. This article appeared in the Coventry Telegraph recently.
So imagine the surprise I had when Coventry born Roye Albrighton of Nektar got in touch via Trevor Teasdel at his excellent Coventry Music Blogspot website.
It turned out that Roye had seen my article about his musical past. And, not only that, but Roye was agreeable to answer a few questions that covered his earliest musical memories in Coventry along with some which touched on his own future plans.
My original article barely touched on Roye's formative days in Coventry so I thought it would be great to redress the balance and for our conversation to see day of light by way of a freshly updated article.
And so here is that conversation in full...
PC: You grew up in the Little Heath / Bell Green area of Coventry. Were they happy memories? RA: They were very happy memories, especially just after I left school and started out on my musical adventure.
PC: When you think back and reminisce is there anything about Coventry that still makes you smile and that maybe you still miss? RA: Because I left Coventry not long after I was able to get a passport, I used to go from pub to pub wherever live music was playing, I have fond memories of that time when you could literally go from one gig to another and just get up and jam with whoever was playing.
Roye's Golden Nektar Days Revisited.
by Pete Clemons
IT is always pleasing to get feedback on the articles I write. And it is even more special to nd out that the artist you have written about has actually read the article you have written about them. So imagine the surprise I had when Coventry born Roye Albrighton of Nektar got in touch via Trevor Teasdel at his excellent Coventry Music Blogspot website.
It turned out that Roye had seen my article about his musical past. And, not only that, but Roye was agreeable to answer a few questions that covered his earliest musical memories in Coventry along with some which touched on his own future plans.
My original article barely touched on Roye's formative days in Coventry so I thought it would be great to redress the balance and for our conversation to see day of light by way of a freshly updated article.
And so here is that conversation in full...
PC: You grew up in the Little Heath / Bell Green area of Coventry. Were they happy memories? RA: They were very happy memories, especially just after I left school and started out on my musical adventure.
PC: When you think back and reminisce is there anything about Coventry that still makes you smile and that maybe you still miss? RA: Because I left Coventry not long after I was able to get a passport, I used to go from pub to pub wherever live music was playing, I have fond memories of that time when you could literally go from one gig to another and just get up and jam with whoever was playing.
PC: What other early Coventry memories do you have, such as youth clubs, and where in town did you go to buying your records that kind of thing? RA: I was never really one for going to youth clubs, but used to hang out wherever music was involved be it at pubs/clubs or music shops. ere were two main music shops in Coventry at that time with similar names, Cranes and Paynes, Paynes were great because they would let you take a guitar down and try it out.
PC: The Peeps were formed in 1965. Who approached you about joining the band? Are you able to recall your first gig with them? RA: I think our first gig was in Hamburg at the top ten club but I can't be sure. Martin Cure came around to my house one day and told me that Steve Jones their guitarist was leaving and asked if I would step in..Of course I said yes Martin is one of the nicest guys you ever want to meet.
PC: I am sure you were, but could you conrm, if you were involved in the recording of the singles made by e Peeps.
RA: I believe "I can make the rain fall up" was one of them PC: Did you have a favourite Coventry venue where you enjoyed playing at the most? RA: The Navigation inn and the Heath hotels back room which we always called Dantes inferno. PC: Next group up were e Rainbows. How did that band get up and running? RA: Rainbows were the Peeps reincarnate, Terry Howells came on the keyboards and Gordon Reed was on drums. Graham Amos was on the bass. We got involved with Ashley Kozak who was previously Donovan's manager and recorded our first track which was "Rainbows". It was music away from the normal verse chorus of the day and was probably the beginning of what would later be known as progressive rock.
PC: Of course you were with Rainbows when you went to Germany and first met up with the guys who would become Nektar? RA: at's right, we were doing a stint as the house band in the Top ten club in Hamburg and during the day while the clubs were being cleaned I passed the Star club and heard a drummer practising. is was Ron Howden from the band Prophecy. He and I decided to spend the next few days together playing and when it was time for Rainbows to return to the UK I told Ron that if they ever needed a guitarist they should call me. A while later I got a telegram from the bass player asking if I want to join them in Hamburg. at was November 5th 1969.
PC: The Peeps were formed in 1965. Who approached you about joining the band? Are you able to recall your first gig with them? RA: I think our first gig was in Hamburg at the top ten club but I can't be sure. Martin Cure came around to my house one day and told me that Steve Jones their guitarist was leaving and asked if I would step in..Of course I said yes Martin is one of the nicest guys you ever want to meet.
PC: I am sure you were, but could you conrm, if you were involved in the recording of the singles made by e Peeps.
RA: I believe "I can make the rain fall up" was one of them PC: Did you have a favourite Coventry venue where you enjoyed playing at the most? RA: The Navigation inn and the Heath hotels back room which we always called Dantes inferno. PC: Next group up were e Rainbows. How did that band get up and running? RA: Rainbows were the Peeps reincarnate, Terry Howells came on the keyboards and Gordon Reed was on drums. Graham Amos was on the bass. We got involved with Ashley Kozak who was previously Donovan's manager and recorded our first track which was "Rainbows". It was music away from the normal verse chorus of the day and was probably the beginning of what would later be known as progressive rock.
PC: Of course you were with Rainbows when you went to Germany and first met up with the guys who would become Nektar? RA: at's right, we were doing a stint as the house band in the Top ten club in Hamburg and during the day while the clubs were being cleaned I passed the Star club and heard a drummer practising. is was Ron Howden from the band Prophecy. He and I decided to spend the next few days together playing and when it was time for Rainbows to return to the UK I told Ron that if they ever needed a guitarist they should call me. A while later I got a telegram from the bass player asking if I want to join them in Hamburg. at was November 5th 1969.
PC: With the Peeps I am guessing the music style was described as 'beat.' .' With Rainbows it got a little more ambitious. roughout those years in the 60's can you describe your own music ambitions? I think what I am trying to get to here is when did you begin to realise that you could create music that was even more ambitious and even more stretching than the normal three minute song. When did you get that spark? Each album created by Nektar is a journey rather than an album of songs.
RA: When the Peeps were together we played a lot of Motown material and some lightweight soul music. When we changed to Rainbows we sat down and really thought about what we could really do that would be dierent. Of course we wanted to stay in the rock vein but were unhappy to continue to play standard material, something new was needed.
We came up with a few ideas that were touching on commercial but not too much but at the same time able to venture into other parts, a little like the classics would do. is for me would be the start of my own personal song writing career which would expand even more when I joined Ron Howden to form Nektar.
PC: Nektar of course are well documented around the world. I could really go o on one right now and gush over some of those albums you created with them. But I don't want to do that, only to say that after all these years those albums still make the hair on my back stand.
RA: It was a very special time with Nektar, we were very productive in the space of a few years, it was a kind of relief to be able to play and create music as we want, we were lucky in the fact that our then record company gave us the freedom to do this. Ninety nine percent of all other record companies were afraid to take on our first album "journey to the centre of the eye" because they said it was too far out, I guess in 1970 it was.
We came up with a few ideas that were touching on commercial but not too much but at the same time able to venture into other parts, a little like the classics would do. is for me would be the start of my own personal song writing career which would expand even more when I joined Ron Howden to form Nektar.
PC: Nektar of course are well documented around the world. I could really go o on one right now and gush over some of those albums you created with them. But I don't want to do that, only to say that after all these years those albums still make the hair on my back stand.
RA: It was a very special time with Nektar, we were very productive in the space of a few years, it was a kind of relief to be able to play and create music as we want, we were lucky in the fact that our then record company gave us the freedom to do this. Ninety nine percent of all other record companies were afraid to take on our first album "journey to the centre of the eye" because they said it was too far out, I guess in 1970 it was.
PC: But Nektar today - Time Machine and Spoonful of Time are getting some tremendous reviews. You have just completed a European tour and you are due to visit the U.S... Clearly, the creativity and the passion are still there. What are your future plans and projects? RA: I want to carry on writing and performing as long as I possibly can, as for future projects, I would like to revisit "Journey" with a 20-piece orchestra at some later date, but until then, more music is in the pipeline. Lastly, I would love to play my home town again but I'm sure nobody knows who Nektar and Roye Albrighton are. Fingers crossed.
And there you have it although I am not sure that last statement is strictly true. I accept that times change and musical tastes move on but today's music listener is not afraid to travel back in time to listen to some of those classic rock acts of the past as well as embrace what is current.
For me though the music is just too good to ignore and although I would personally recommend that you listen to and totally absorb yourself in a Nektar album from beginning to end, given today's listening habits, you can treat yourself to selected tracks.
If that is your preferred option then give songs such as 'Wings' 'New Day Dawning' and 'Do You Believe in Magic' a spin. They are truly astonishing and they really do stand the test of time.
And there you have it although I am not sure that last statement is strictly true. I accept that times change and musical tastes move on but today's music listener is not afraid to travel back in time to listen to some of those classic rock acts of the past as well as embrace what is current.
For me though the music is just too good to ignore and although I would personally recommend that you listen to and totally absorb yourself in a Nektar album from beginning to end, given today's listening habits, you can treat yourself to selected tracks.
If that is your preferred option then give songs such as 'Wings' 'New Day Dawning' and 'Do You Believe in Magic' a spin. They are truly astonishing and they really do stand the test of time.
Treat yourself and hopefully you will gain a better understanding of why Nektar were so successful worldwide and why the band are still welcomed in and able to tour many parts of the globe.
Thanks to Lesley Evans for the use of the photos which were taken on April 2 at a Steve Walwyn and Friends evening at e Zephyr in Leamington.
Thanks to Lesley Evans for the use of the photos which were taken on April 2 at a Steve Walwyn and Friends evening at e Zephyr in Leamington.
=
Thursday, July 3, 2014
Horace Panter - Artist, Author, Musician
For Pete Clemons latest article for the Coventry Telegraph, he turns his attention to some of the other artistic works of Horace Panter of the The Specials.
It has been well documented that Horace graduated from the Lanchester Polytechnic (now Coventry University) with a degree in Fine Art and that it was while he was there that he met Jerry Dammers; the rest is history! However, it is only when you find yourself, as I did recently, in conversation with him at the Coventry Music Museum, that you gain some in depth knowledge of what he is like as a person and what makes him tick.
Horace's art is very art is very Special!
by Pete Clemons
YOU may well recognise the name Horace Panter as being the bass player of Coventry band e Specials. But how about Horace Panter the artist, or Horace Panter the author? Horace continues to be a member of that iconic band who reached No.1 in the UK charts with 'Ghost Town' back in 1981 but nowadays his creativity is being applied to dif-dif ferent mediums, those of art and writing. He is equally at home wearing painting overalls in his studio or donning his writing cap as he is wearing a tonic suit on stage. It has been well documented that Horace graduated from the Lanchester Polytechnic (now Coventry University) with a degree in Fine Art and that it was while he was there that he met Jerry Dammers; the rest is history! However, it is only when you find yourself, as I did recently, in conversation with him at the Coventry Music Museum, that you gain some in depth knowledge of what he is like as a person and what makes him tick.
For example, during his many tours with e Specials over the years, Horace built up a substantial collection of art and art books from around the world. He says he has always spent his free time on tour visiting local galleries and museums in those towns and cities where the band was playing. Because of this, he has been able to see some of his favourite works of art up close: Jasper Johns, Joseph Cornell, James Rosenquist, Kenneth Noland, Peter Blake, Robyn Denny and Francis Bacon are examples.
The concept behind Horace's art is contemporary iconography, with subjects ranging from the classic 1950s fictional robot to the supersize studio demo cassette. He says though that it is all Pop Art. One of the common denominators in his work seems to be the link to his own experiences relating to places he has been or people he has met.
My own preference is for his music-related art: e Clash, e Specials, Amy Winehouse, e Ramones. In written and spoken comments about Horace's art, I often come across the name of Sir Peter Blake as a comparison, perhaps because they both use bright colours and similar subject matter. Horace has even done an homage to Peter Blake with his 'Elvis with Badges' painting which is based on Peter Blake's 'Self Portrait.'.
* However, I am far from being an expert in thiseld so could not possibly begin to compare the two. I do know what I like though and I think some of his collages and portraits in the musical genre are wonderful. I love the vibrancy of the colours and the fact that he seems to capture the essence of his subject.
My own preference is for his music-related art: e Clash, e Specials, Amy Winehouse, e Ramones. In written and spoken comments about Horace's art, I often come across the name of Sir Peter Blake as a comparison, perhaps because they both use bright colours and similar subject matter. Horace has even done an homage to Peter Blake with his 'Elvis with Badges' painting which is based on Peter Blake's 'Self Portrait.'.
* However, I am far from being an expert in thiseld so could not possibly begin to compare the two. I do know what I like though and I think some of his collages and portraits in the musical genre are wonderful. I love the vibrancy of the colours and the fact that he seems to capture the essence of his subject.
I own one of his 'cassette' paintings. ere is a complete series of these; a simple idea superbly executed which includes (to date): e Specials, Madness, Nirvana, John Peel, the Undertones, the Jam, the Clash, Bowie and Chic. Nile Rodgers actually has the Chic 'Good Times' supersize cassette framed in his studio in the USA. He has also done a small series of giant paintings of Sony Walkmans to accompany the cassettes!
As well as the painting itself, Horace is currently putting the finishing touches to a book to be published this year about his art. is is after the fact that he wrote his musical biography 'Ska'd for Life' (published in 2007) in which describes the formative years of e Specials, his early musical experiences and the rise and fall of the band.
Following the initial demise of e Specials, he spent ten years as an art teacher prior to the band reforming in 2008. e book is written from his own perspective, in a light-hearted way and without any hint of pretentiousness; this is not the kind of book that dishes the dirt. Horace's passion and dedication for performance is very evident but there is nothing disrespectful towards the other band members. It is refreshing to read this honest first-hand account and out of my collection of music-related books it is certainly one of my favourites.
As well as the painting itself, Horace is currently putting the finishing touches to a book to be published this year about his art. is is after the fact that he wrote his musical biography 'Ska'd for Life' (published in 2007) in which describes the formative years of e Specials, his early musical experiences and the rise and fall of the band.
Following the initial demise of e Specials, he spent ten years as an art teacher prior to the band reforming in 2008. e book is written from his own perspective, in a light-hearted way and without any hint of pretentiousness; this is not the kind of book that dishes the dirt. Horace's passion and dedication for performance is very evident but there is nothing disrespectful towards the other band members. It is refreshing to read this honest first-hand account and out of my collection of music-related books it is certainly one of my favourites.
The overriding message of the book, in my opinion, is that you may have ambitions to make it big in the music business and you may have the talent to get there but this doesn't mean it'll be a bed of roses if and when you do! Sadly, it seems that the success got in the way of just enjoying the creative process and the journey to get there. To sum it up - the chase is better than the catch!
Being the bassist in e Specials doesn't prevent him from playing locally in the blues band 'Blues 2 Go': Alio Maynard on vocals, Pete Gardner on guitar and Russell Munns on drums. ey are to be found most weekends playing in and around Coventry, with regular appearances at e Broomeld Tavern, Whitefriars Olde Ale House and e Albany Club - all the gigs are free entry.
Formed ten years ago, 'Blues 2 Go',' are recognised as being more than just a band that has a 'Special' in the ranks. eir set will typically include the music of Cream, Gary Moore, Stevie Ray Vaughn, Jimi Hendrix. And, listening to them live, you quickly realise that their delivery of such classic and respected music is quite exceptional.
And if that wasn't enough Horace will be bringing his new venture, the 'Uptown Ska Collective',' to the Godiva Festival on Sunday, July 6. By all accounts the USC are a nine-piece band that includes a brass section, which will perform Horace's favourite music in a ska/reggae style.
Horace's art can be seen on his website: http://www.horacepanterart.com but to see it up close you could visit either e White Room Gallery in Leamington: http://www.thewhiteroomgallery.com or at Reuben Colley Fine Arts in Birmingham: http://www.reubencolleynearts.co.uk. He exhibits in galleries throughout the UK and this summer is exhibiting in Singapore at 'Best of British' (an event showcasing the best of British art and design) and at Icon Gallery.
Being the bassist in e Specials doesn't prevent him from playing locally in the blues band 'Blues 2 Go': Alio Maynard on vocals, Pete Gardner on guitar and Russell Munns on drums. ey are to be found most weekends playing in and around Coventry, with regular appearances at e Broomeld Tavern, Whitefriars Olde Ale House and e Albany Club - all the gigs are free entry.
Formed ten years ago, 'Blues 2 Go',' are recognised as being more than just a band that has a 'Special' in the ranks. eir set will typically include the music of Cream, Gary Moore, Stevie Ray Vaughn, Jimi Hendrix. And, listening to them live, you quickly realise that their delivery of such classic and respected music is quite exceptional.
And if that wasn't enough Horace will be bringing his new venture, the 'Uptown Ska Collective',' to the Godiva Festival on Sunday, July 6. By all accounts the USC are a nine-piece band that includes a brass section, which will perform Horace's favourite music in a ska/reggae style.
Horace's art can be seen on his website: http://www.horacepanterart.com but to see it up close you could visit either e White Room Gallery in Leamington: http://www.thewhiteroomgallery.com or at Reuben Colley Fine Arts in Birmingham: http://www.reubencolleynearts.co.uk. He exhibits in galleries throughout the UK and this summer is exhibiting in Singapore at 'Best of British' (an event showcasing the best of British art and design) and at Icon Gallery.
Tanks to Clare Milne for her invaluable assistance in the production of this article.
Horace Panter's website http://www.horacepanterart.com/
Horace and Blues to Go
Kevin Harrison Real Life with Horace Panter and Neol Davies and Lynda Harrison
Saturday, June 28, 2014
The Buzzcocks in Coventry
Pete Clemons with his latest article for the Coventry Telegraph. They recently played the Godiva Festival and back in the 70's they played Mr Georges with Neil O'Connor's punk band - The Flys who continued to tour with them after that. I saw the Buzzcocks gig at Tiffany's with Penetration c 1978.
I WAS personally delighted when I heard that the Buzzcocks were going to headline the Friday evening of the Godiva Festival 2014. Having seen them play live on many occasions I do admit that they really are a guilty pleasure of mine.
This band is one of the UK's most popular and successful groups to have emerged from the punk rock era. For well over thirty years they have produced a host of studio and live albums. And, today, they continue to influence many a young, up and coming band.
The idea for e Buzzcocks came about during early 1976 and had been inspired by an early Sex Pistols gig attended by Bolton based students Peter McNeish and Howard Trafford.
Guitarist McNeish became known as Pete Shelley while vocalist Trafford became known as Howard Devoto. To complete the band they were joined by bass player Steve Diggle and drummer Mick Singleton on drums. By April 1976 and after a few gigs Singleton had been replaced by self taught drummer John Maher.
By mid1976 the band were touring with the band that had inspired them, namely e Sex Pistols, as well as touring with e Clash on the infamous 'White Riot' tour. And then toward the end of that year they had entered recording studios in Stock-Stock port to record a number of tracks, of which four would end up on their first record release 'Spiral Scratch.'.
The punk band The punk band that still gets that still gets me buzzing!
by Pete Clemons
This band is one of the UK's most popular and successful groups to have emerged from the punk rock era. For well over thirty years they have produced a host of studio and live albums. And, today, they continue to influence many a young, up and coming band.
The idea for e Buzzcocks came about during early 1976 and had been inspired by an early Sex Pistols gig attended by Bolton based students Peter McNeish and Howard Trafford.
Guitarist McNeish became known as Pete Shelley while vocalist Trafford became known as Howard Devoto. To complete the band they were joined by bass player Steve Diggle and drummer Mick Singleton on drums. By April 1976 and after a few gigs Singleton had been replaced by self taught drummer John Maher.
By mid1976 the band were touring with the band that had inspired them, namely e Sex Pistols, as well as touring with e Clash on the infamous 'White Riot' tour. And then toward the end of that year they had entered recording studios in Stock-Stock port to record a number of tracks, of which four would end up on their first record release 'Spiral Scratch.'.
Released during January 1977 on the band's own New Hormones record label, 'Spiral Scratch' became an almost instant cult classic and, due its limited production run, the record soon became a much sought after release. The Buzzcocks had created a fast, fresh sound and the pop world had not heard anything quite like it. is was a true musical revolution in the making.
By February 1977 Devoto had left the group and the band had to reshue. John Maher remained on drums, Steve Diggle shifted to guitar, Pete Shelley took over vocal duties as well as retaining his guitar parts and the band recruited bass player Garth Smith who had known Shelley from a previous band.
Howard, Devoto returned to college but would resurface a year or so later with a new group called Magazine. A totally different story but Magazine went on to become a quite superb band in their own right.
By mid-1977 the Buzzcocks were attracting the attention of major record labels. And it was this latest line-up of the band that played Coventry's Mr Georges Club during October 1977. is gig became significant for two reasons. One was the fact that this gig would be Garth's last for the band and the other was that the Buzzcocks had been supported by Coventry band the Flys.
Described by guitarist Neil O'Connor as one of the best ever gigs by the Flys, the band were invited to stay on as the opening act for the Buzzcocks for the remainder of that tour and at the same time attracted the attentions of EMI records.
Shortly after that Coventry gig the Buzzcocks, who by then had been signed to the United Artists record label, released their first single for that label. 'Orgasm Addict' was the only single to feature Garth Smith who, by the time the record was released, had been replaced by bass player Steve Garvey.
Howard, Devoto returned to college but would resurface a year or so later with a new group called Magazine. A totally different story but Magazine went on to become a quite superb band in their own right.
By mid-1977 the Buzzcocks were attracting the attention of major record labels. And it was this latest line-up of the band that played Coventry's Mr Georges Club during October 1977. is gig became significant for two reasons. One was the fact that this gig would be Garth's last for the band and the other was that the Buzzcocks had been supported by Coventry band the Flys.
Described by guitarist Neil O'Connor as one of the best ever gigs by the Flys, the band were invited to stay on as the opening act for the Buzzcocks for the remainder of that tour and at the same time attracted the attentions of EMI records.
Shortly after that Coventry gig the Buzzcocks, who by then had been signed to the United Artists record label, released their first single for that label. 'Orgasm Addict' was the only single to feature Garth Smith who, by the time the record was released, had been replaced by bass player Steve Garvey.
The Buzzcocks were now recording sessions for John Peel and becoming more and more noticed by the wider public. Their next single 'What Do I Get?', released during February 1978, was their rst to reach the UK top 40 charts. ' was followed in March by their wonderful debut album 'Another Music in a Different Kitchen'.
A further three visits were made to Coventry by the Buzzcocks during 1978. A couple of those gigs were at Tiffany's, of which one I recall was where they were supported by another amazing band called 'Penetration'. The third visit was at the Coventry Theatre to promote their second, and equally brilliant, LP release 'Love Bites.'.
* Arguably the band had their finest hour when the single 'Ever Fallen in Love (With Someone You Shouldn't've)' was released during September 1978. For me personally it was just another great single by the band. But its longevity cannot be denied as, even nowadays, the song seems to crop up with regularity on the radio and television as well as being instantly recognised by the masses.
A further three visits were made to Coventry by the Buzzcocks during 1978. A couple of those gigs were at Tiffany's, of which one I recall was where they were supported by another amazing band called 'Penetration'. The third visit was at the Coventry Theatre to promote their second, and equally brilliant, LP release 'Love Bites.'.
* Arguably the band had their finest hour when the single 'Ever Fallen in Love (With Someone You Shouldn't've)' was released during September 1978. For me personally it was just another great single by the band. But its longevity cannot be denied as, even nowadays, the song seems to crop up with regularity on the radio and television as well as being instantly recognised by the masses.
After several more singles, a further visit to Coventry eatre during 1979 and a third LP titled 'A Different Kind of Tension' released the same year the Shelley, Diggle, Garvey and Maher line up continued right the way through till when the Buzzcocks eventually broke up to pursue solo careers during 1981.
However that 'classic' line-up then, seemingly out of the blue, regrouped once more during 1989 for a US tour that included an appearance on the TV series 'Bedrock.' .' Many bands were featured on this lucrative TV show but only on the condition that it was the most recognised line-up of the group which would perform. And, apart from a brief stint by ex-the Smiths drummer Mike Joyce, the band remained together again until 1992.
During 1992 Tony Barber joined on bass and Phil Barker on drums, replacing Garvey and Maher, and it was this line-up that embarked on a tour with Nirvana and again with Pearl Jam during 2003. An album titled 'Trade Test Transmissions' was released the same year. is had been e Buzzcocks rst release in 14 years.
To date the nucleus of the Buzzcocks has always remained as Shelley and Diggle. During April 2006, Phil Barker left and was replaced by Danny Farrant. And in April 2008, Tony Barber left and was replaced by Chris Remmington.
During January 2009 the Buzzcocks embarked on a UK, European and American tour which they titled the 'Another Bites Tour' where they played their first two albums in full as well as completing the gig with an encore of their other hit singles. Support came from another 70s punk band the Lurkers' and the tour called in at the Leamington Assembly.
Another out of the blue moment happened during November 2011 when a couple of shows featuring Howard Devoto, John Maher, and Steve Garvey were announced. Both the reunited line-up, plus the current line-up took to the stage for two very special shows held at the Manchester Apollo and the Brixton Academy.
However that 'classic' line-up then, seemingly out of the blue, regrouped once more during 1989 for a US tour that included an appearance on the TV series 'Bedrock.' .' Many bands were featured on this lucrative TV show but only on the condition that it was the most recognised line-up of the group which would perform. And, apart from a brief stint by ex-the Smiths drummer Mike Joyce, the band remained together again until 1992.
During 1992 Tony Barber joined on bass and Phil Barker on drums, replacing Garvey and Maher, and it was this line-up that embarked on a tour with Nirvana and again with Pearl Jam during 2003. An album titled 'Trade Test Transmissions' was released the same year. is had been e Buzzcocks rst release in 14 years.
To date the nucleus of the Buzzcocks has always remained as Shelley and Diggle. During April 2006, Phil Barker left and was replaced by Danny Farrant. And in April 2008, Tony Barber left and was replaced by Chris Remmington.
During January 2009 the Buzzcocks embarked on a UK, European and American tour which they titled the 'Another Bites Tour' where they played their first two albums in full as well as completing the gig with an encore of their other hit singles. Support came from another 70s punk band the Lurkers' and the tour called in at the Leamington Assembly.
Another out of the blue moment happened during November 2011 when a couple of shows featuring Howard Devoto, John Maher, and Steve Garvey were announced. Both the reunited line-up, plus the current line-up took to the stage for two very special shows held at the Manchester Apollo and the Brixton Academy.
The Buzzcocks have an incredible legacy and over the years many bands have cited the band as a major influence. And many, I think, do indeed owe this unique group a debt of gratitude. I am sure that the Godiva Festival will remember them for a time and will be left with some nostalgia for an age yet to come.
Penetration who supported the Buzzcocks at Tiffanys in Coventry 1978
Neil O'Connor's The Flys who supported the Buzzcocks at Mr Georges and subsequently toured with them.
Neil was Hazel's older brother for those who may not know.
Wednesday, June 18, 2014
Nick Drake - Pete Clemons Asks "did he play in Coventry?"
Pete Clemons has posed a question for his latest article for the Coventry Telegraph. "Did Nick Drake play a gig in Coventry?". There are things that hang on that but Pete will explain in the article.
Nick Drake was born in June 1948 and died on November 25, 1974. He grew up in Tanworth in Arden, Warwickshire, was educated at Cambridge University where he was an accomplished sprinter (I believe he still holds the university record for the 100-yard dash) and it was there where he discovered the English folk scene.
His love of folk music led to him signing to Island records in 1969 where he recorded three almost perfect albums. Sadly the wider audience at that time, and for whatever reason, failed to notice Nick and his albums barely sold 5,000 copies each after their release.
No footage, as far as I know, exists of Nick and relatively few photographs were taken or interviews conducted. 'is lack of all round success led, in turn, to bouts of depression and insomnia that in the end had a major bearing on him losing his life at such a young age.
Since his death, and in particular from the beginning of the 1990s, Nick's popularity increased dramatically. It is said that his music has been an influence on such luminaries as Paul Weller, Pete Buck of REM and Robert Smith of the Cure. And those influences spread to the artists' extensive individual fan bases, and beyond, and suddenly it seemed the true genius of Nick Drake had begun to be realised. As a result several posthumous albums and compilations have been released along with various books and articles.
Did city gig make Nick Drake stage shy?
by Pete Clemons
A MUSICAL question I have had, for a while now, and tried to find a definitive answer to, is one surrounding Nick Drake. It is whether or not he ever played a gig in Coventry, which would solve a riddle about one of my all time favourite ever singer songwriters. Nick Drake was born in June 1948 and died on November 25, 1974. He grew up in Tanworth in Arden, Warwickshire, was educated at Cambridge University where he was an accomplished sprinter (I believe he still holds the university record for the 100-yard dash) and it was there where he discovered the English folk scene.
His love of folk music led to him signing to Island records in 1969 where he recorded three almost perfect albums. Sadly the wider audience at that time, and for whatever reason, failed to notice Nick and his albums barely sold 5,000 copies each after their release.
No footage, as far as I know, exists of Nick and relatively few photographs were taken or interviews conducted. 'is lack of all round success led, in turn, to bouts of depression and insomnia that in the end had a major bearing on him losing his life at such a young age.
Since his death, and in particular from the beginning of the 1990s, Nick's popularity increased dramatically. It is said that his music has been an influence on such luminaries as Paul Weller, Pete Buck of REM and Robert Smith of the Cure. And those influences spread to the artists' extensive individual fan bases, and beyond, and suddenly it seemed the true genius of Nick Drake had begun to be realised. As a result several posthumous albums and compilations have been released along with various books and articles.
Apart from busking around France and parts of the UK in his early days Nick Drake only ever played a handful of official live performances. Depending on what website or list you look at the total number of recorded events Nick Drake participated at has never gone beyond 20 or so gig dates. And among those confirmed, no date has ever been given for a gig in Coventry.
The websites containing his gigging activity show that he once played a gig in Smethwick. The exact date is unknown but indications show that it was sometime during autumn 1969 at a venue for the Guest, Keen and Nettlefolds works social club. Guest, Keen and Nettlefolds were more commonly known as GKN a company who, at that time, produced cast iron products.
On that particular evening in question Nick performed to an inattentive crowd between a works dinner and a disco that was scheduled for later in the evening. One of Nick's closest friends was singer songwriter John Martyn. So close were they that John had written one of his most famous songs, 'Solid Air',' especially about Nick. 'I know I love you, and I can be your friend, I can follow you anywhere' is a line from that particular song.
John, it seems, remembered the works dinner event well. And some years later, during an interview on Radio 1, John reflected on that particular experience: "It really destroyed him' and that he thought that they (the audience) would have rather listened to the Troggs. So I think that was a major blow to his confidence. I remember him being defencive about it for days and days."
I then read a Nick Drake biography by the well respected author Patrick Humphries. I was completely astonished to read on pages 124 and 125 of the paperback that Patrick had written the following passages which related to gigs played by Nick during late 1969. It was based on more recollections made by John Martyn: "He primarily played for his own amusement. One of the things that contributed to his utter detestation of the whole thing was that he was once booked to play at a Coventry Apprentices Christmas Ball. In those days, Purple Haze was 'in', and there he was singing 'Fruit Tree' and all those gentle breezy little ballads and I can just imagine them swigging back Carlsberg Special and giving him an awful time. I know that gig lived in his mind and he'd talk about it quite regularly."
The websites containing his gigging activity show that he once played a gig in Smethwick. The exact date is unknown but indications show that it was sometime during autumn 1969 at a venue for the Guest, Keen and Nettlefolds works social club. Guest, Keen and Nettlefolds were more commonly known as GKN a company who, at that time, produced cast iron products.
On that particular evening in question Nick performed to an inattentive crowd between a works dinner and a disco that was scheduled for later in the evening. One of Nick's closest friends was singer songwriter John Martyn. So close were they that John had written one of his most famous songs, 'Solid Air',' especially about Nick. 'I know I love you, and I can be your friend, I can follow you anywhere' is a line from that particular song.
John, it seems, remembered the works dinner event well. And some years later, during an interview on Radio 1, John reflected on that particular experience: "It really destroyed him' and that he thought that they (the audience) would have rather listened to the Troggs. So I think that was a major blow to his confidence. I remember him being defencive about it for days and days."
I then read a Nick Drake biography by the well respected author Patrick Humphries. I was completely astonished to read on pages 124 and 125 of the paperback that Patrick had written the following passages which related to gigs played by Nick during late 1969. It was based on more recollections made by John Martyn: "He primarily played for his own amusement. One of the things that contributed to his utter detestation of the whole thing was that he was once booked to play at a Coventry Apprentices Christmas Ball. In those days, Purple Haze was 'in', and there he was singing 'Fruit Tree' and all those gentle breezy little ballads and I can just imagine them swigging back Carlsberg Special and giving him an awful time. I know that gig lived in his mind and he'd talk about it quite regularly."
" Another source, an unconfirmed eye witness account of the gig, states that: "Nick came on at about 9pm. They were still clearing away the tables and chairs from an earlier dinner. Without a word he proceeded to play and an audience of 10 to 15 people who had stayed and gathered in front of the stage. the rest of the people in the hall continued to arrange chairs, clean up after the meal or just chat. After five or six numbers he just packed his guitar in its case and walked of stage."
Facts and other things can easily be forgotten over the passage of time. But John Martyn would surely have known if he had been in Coventry or not. Particularly as John's partner at that time was Beverley Kutner who happened to live in Coventry. John Martyn knew Coventry fairly well at that time.
Another factor is that Patrick Humphries is a great writer and I just could not imagine him publishing something without the full facts being fully researched and checked.
Seeing those passages in Patrick's book was all I needed to start my search for evidence and after some considerable time I came across an advert for an Alvis Apprentice Christmas Dance at their Sports and Social Club on the Holyhead Road (nowadays the home of the Alvis retail park). It was held on Friday December 19, 1969.
Admittedly, Nick Drake's name was not on the advert. the band shown on the advert, as scheduled to appear that night, was called ''The Big Idea.' .' But everything else about the whole event seems to fit. It would certainly not be the first time a band or artist had played at an event and whose name had failed to have been included on the advertising flyers.
One of the many things Nettlefolds (GKN) were famous for was the manufacturing of iron castings for the automobile industry. Alvis were of course a major player in the manufacture of cars and heavy artillery for the armed services.
So the links between the two companies were denitely there. So much so in fact that during 1998 Alvis plc acquired the armoured vehicle business of GKN plc. A long shot I guess, but, reading this article may just jog the memory of someone who attended the Alvis apprentices dinner and dance.
I could, of course, be way o| beam with my thoughts, however, I just think that John Martyn's memories, along with his knowledge of Coventry at that time, are just too strong to ignore. I really do think my suspicions hold some water.
Having said that, and even though I really do think it happened, I do so with mixed feelings. On one hand I am convinced in my mind that Nick Drake did perform in Coventry during the winter of 1969. Yet, I get a sense of guilt that Coventry could possibly have been the city and provided the audience that destroyed him as a live performer.
Another factor is that Patrick Humphries is a great writer and I just could not imagine him publishing something without the full facts being fully researched and checked.
Seeing those passages in Patrick's book was all I needed to start my search for evidence and after some considerable time I came across an advert for an Alvis Apprentice Christmas Dance at their Sports and Social Club on the Holyhead Road (nowadays the home of the Alvis retail park). It was held on Friday December 19, 1969.
Admittedly, Nick Drake's name was not on the advert. the band shown on the advert, as scheduled to appear that night, was called ''The Big Idea.' .' But everything else about the whole event seems to fit. It would certainly not be the first time a band or artist had played at an event and whose name had failed to have been included on the advertising flyers.
One of the many things Nettlefolds (GKN) were famous for was the manufacturing of iron castings for the automobile industry. Alvis were of course a major player in the manufacture of cars and heavy artillery for the armed services.
So the links between the two companies were denitely there. So much so in fact that during 1998 Alvis plc acquired the armoured vehicle business of GKN plc. A long shot I guess, but, reading this article may just jog the memory of someone who attended the Alvis apprentices dinner and dance.
I could, of course, be way o| beam with my thoughts, however, I just think that John Martyn's memories, along with his knowledge of Coventry at that time, are just too strong to ignore. I really do think my suspicions hold some water.
Having said that, and even though I really do think it happened, I do so with mixed feelings. On one hand I am convinced in my mind that Nick Drake did perform in Coventry during the winter of 1969. Yet, I get a sense of guilt that Coventry could possibly have been the city and provided the audience that destroyed him as a live performer.
An unfinished song by Nick Drake and Beverley Martyn finished recently by Beverley on her new album.
Monday, June 2, 2014
Farewell to Rod Felton - Coventry Folk Star
Pete Clemons reports on the memorial service for Rod Felton. Attended by the who's who list of Coventry musicians including Pauline Black of Selecter and folk star Derek Brimstone. True to form, Rod was still giving them the run around after his demise! From the Coventry Telegraph.
SO, as widely reported by way of many tributes and remembrances in the press and other media, the world lost Coventry singer songwriter Rod Felton on Wednesday, March 26. Born on August 28, 1942 Rod was just 71. (Ed Note - think the birthdate was April 24th 1942 according to the funeral notices)
A bout of chemotherapy for throat cancer had left him very weak and he finally succumbed to bronchial pneumonia and emphysema.
But, in keeping with Rod's 'doing it his way' approach to life, even the lead-up to his funeral was not as straightforward as these things would normally be. And those who were close to him had to admit that, giving his family a final runabout, would have been in keeping with Rod's sense of humour. You see, and not for the first time, Rod went missing for a while.
After his passing, Rod, was transferred to hospital. At some point inbetween the incident, documents were accidentally mislaid and this resulted in Rod being listed under the name of Donald Felton (part real name and part stage name) instead of his real name of Donald Rodney Feltham. As a consequence of the coroner not receiving any information Rod became 'lost' for a while. This resulted in Rod's brother-in-law Alan and niece Kelly, a nurse at University Hospital, touring its catacombs and having to make a visual search until he was found. Apparently a joyous 'there he is' went up when he was discovered.
A little later, and after Rod's whereabouts had been discovered, he was visited by his sisters Gill and Jan who remarked at how peaceful he looked. They likened him to 'lying in state' blissfully unaware of the events that had been going on around him.
Rod lost his mother May during November 2013 and had not been very well at all during that period. However, a few weeks before his passing, he seemed to be rallying around. He even phoned his sister Jan to announce that his voice had returned and to prove it he began singing down the phone to her. My darling girl, he said, the old vocals are getting stronger and the calluses on my fingers are returning.
The night before his funeral there had been a gathering and a celebration of Rod's life at the Royal Oak in Earlsdon. As Rod once played a large bass drum for them, apparently never missing a beat, the celebration included Morris men dancing and singing out in Earlsdon High Street.
There was even a re-creation of a team photograph taken during Rod's own Rod in younger Morris men days. His friends took up the same positions that they had stood many years ago but Rod's sister Jan took front row centre position behind the bass drum. Poignantly, this had been the very position that Rod had taken up on the original photograph.
The Morris Men will be having a ceremony in October where, apparently, they nail a plaque to a tree in his honour. is particular honour dance will take place on Hearsall Common and is normally reserved for respected members of the group only.
The thing that passed through my mind, that particular evening, was when it suddenly occurred to me as to how late the daylight had remained. I just happened to think that, for April, it seemed unusual for the darkness not to draw in until at least 8.50pm. Just me I guess.
Rod's funeral took place on April 29 at Canley Crematorium. I remember that that particular Tuesday morning had started off rather damp and misty. There was even a drop of rain. But by midday glorious sunshine had broken through.
The chapel was packed with Rod's friends and family. Not only were people stood in the aisles and at the rear of the room but there were masses of folk outside who could not get in. Despite the high turnout it all remained very orderly and dignified. Even the minister who conducted the service commented on the fact that in 20 years service at Canley he had never witnessed a crowd like it.
The theme of celebration, that was prevalent the previous evening, continued throughout the proceedings. One of Rod's songs 'And I Love You' heralded the mourners into the chapel and another, and possibly the one he will be most remembered for, 'Curly', was heard during the service.
Now I will admit that I do not know who 'Curly' is. Maybe one day I will find out. But I had it on good authority that 'Curly' was present on the day. The ever traditional 'Morning Has Broken' was also heard. The readings included a eulogy, a poem written and read by Rod's sister Jan, and a bible reading from Ecclesiastes 3:1-8 'To everything there is a season, and a time to every purpose under the heaven' which was adapted into a song by Pete Seeger and made infamous by the Byrds.
At times, throughout the service, spontaneous accompaniment could be heard from the mourners which made for a most wonderful and memorable event. Rod would have absolutely loved it. And with donations being requested, a considerable amount of money was raised for Rod's favourite charity e British Red Cross and Cancer Research.
Even after the formalities it was all back to Whitefriars Olde Ale House on Gosford Street where acquaintances were remade, stories of days gone by swapped and memories revived. Apparently by the end of the afternoon, due to the size of the crowd who had attended, the pub's supplies of alcoholic beverages had began to run into short supply.
Rod's ashes will now be taken to Scotland where they will be released during a Spiritual Native American Ceremony. Originating from the head of the 'Bear Tribe medicine clan', Chief Two Trees, the ceremony releases you to the four elements of earth, wind, re and water. is form of spirituality was something Rod very much believed in.
Everyone I have spoken with recently seemed to agree that, as a lyricist and songwriter Rod could have 'made it.' .' Yet the thought of 'making it' was not, I think, what Rod would have wanted. There would have been demands and expectations that he would not have enjoyed.
A legacy website has been talked about, as has a 'Concert for Rod' which is due to happen during August. e intention being that a website will contain his music, photographs and cuttings. But of course this will take time and can only be achieved when Rod's possesions have been sorted through. And as Rod was in the process of moving house then his bits and pieces are currently in various locations.
Many people crossed paths with Rod during the various stages of his life. He seemed to have been known by a wide and varied range of folk. And he did have some very good and close friends who knew him better than most. But I am not sure if anyone actually ever knew the real Rod Felton. He was indeed a unique and special character.
Read more of Pete Clemons articles on Rod Felton here on this blog http://coventrygigs.blogspot.co.uk/2014/03/hot-rod-rod-felton-and-new-modern-idiot.html
And on Coventry Folk Scene Blog - here http://coventryfolkclubs.blogspot.co.uk/2011/07/rod-felton.html
Farewell to Folk Star Rod.
Pete Clemons
SO, as widely reported by way of many tributes and remembrances in the press and other media, the world lost Coventry singer songwriter Rod Felton on Wednesday, March 26. Born on August 28, 1942 Rod was just 71. (Ed Note - think the birthdate was April 24th 1942 according to the funeral notices)
A bout of chemotherapy for throat cancer had left him very weak and he finally succumbed to bronchial pneumonia and emphysema.
But, in keeping with Rod's 'doing it his way' approach to life, even the lead-up to his funeral was not as straightforward as these things would normally be. And those who were close to him had to admit that, giving his family a final runabout, would have been in keeping with Rod's sense of humour. You see, and not for the first time, Rod went missing for a while.
After his passing, Rod, was transferred to hospital. At some point inbetween the incident, documents were accidentally mislaid and this resulted in Rod being listed under the name of Donald Felton (part real name and part stage name) instead of his real name of Donald Rodney Feltham. As a consequence of the coroner not receiving any information Rod became 'lost' for a while. This resulted in Rod's brother-in-law Alan and niece Kelly, a nurse at University Hospital, touring its catacombs and having to make a visual search until he was found. Apparently a joyous 'there he is' went up when he was discovered.
A little later, and after Rod's whereabouts had been discovered, he was visited by his sisters Gill and Jan who remarked at how peaceful he looked. They likened him to 'lying in state' blissfully unaware of the events that had been going on around him.
Rod lost his mother May during November 2013 and had not been very well at all during that period. However, a few weeks before his passing, he seemed to be rallying around. He even phoned his sister Jan to announce that his voice had returned and to prove it he began singing down the phone to her. My darling girl, he said, the old vocals are getting stronger and the calluses on my fingers are returning.
The night before his funeral there had been a gathering and a celebration of Rod's life at the Royal Oak in Earlsdon. As Rod once played a large bass drum for them, apparently never missing a beat, the celebration included Morris men dancing and singing out in Earlsdon High Street.
There was even a re-creation of a team photograph taken during Rod's own Rod in younger Morris men days. His friends took up the same positions that they had stood many years ago but Rod's sister Jan took front row centre position behind the bass drum. Poignantly, this had been the very position that Rod had taken up on the original photograph.
The Morris Men will be having a ceremony in October where, apparently, they nail a plaque to a tree in his honour. is particular honour dance will take place on Hearsall Common and is normally reserved for respected members of the group only.
The thing that passed through my mind, that particular evening, was when it suddenly occurred to me as to how late the daylight had remained. I just happened to think that, for April, it seemed unusual for the darkness not to draw in until at least 8.50pm. Just me I guess.
Rod's funeral took place on April 29 at Canley Crematorium. I remember that that particular Tuesday morning had started off rather damp and misty. There was even a drop of rain. But by midday glorious sunshine had broken through.
The chapel was packed with Rod's friends and family. Not only were people stood in the aisles and at the rear of the room but there were masses of folk outside who could not get in. Despite the high turnout it all remained very orderly and dignified. Even the minister who conducted the service commented on the fact that in 20 years service at Canley he had never witnessed a crowd like it.
The theme of celebration, that was prevalent the previous evening, continued throughout the proceedings. One of Rod's songs 'And I Love You' heralded the mourners into the chapel and another, and possibly the one he will be most remembered for, 'Curly', was heard during the service.
Now I will admit that I do not know who 'Curly' is. Maybe one day I will find out. But I had it on good authority that 'Curly' was present on the day. The ever traditional 'Morning Has Broken' was also heard. The readings included a eulogy, a poem written and read by Rod's sister Jan, and a bible reading from Ecclesiastes 3:1-8 'To everything there is a season, and a time to every purpose under the heaven' which was adapted into a song by Pete Seeger and made infamous by the Byrds.
At times, throughout the service, spontaneous accompaniment could be heard from the mourners which made for a most wonderful and memorable event. Rod would have absolutely loved it. And with donations being requested, a considerable amount of money was raised for Rod's favourite charity e British Red Cross and Cancer Research.
Even after the formalities it was all back to Whitefriars Olde Ale House on Gosford Street where acquaintances were remade, stories of days gone by swapped and memories revived. Apparently by the end of the afternoon, due to the size of the crowd who had attended, the pub's supplies of alcoholic beverages had began to run into short supply.
Rod's ashes will now be taken to Scotland where they will be released during a Spiritual Native American Ceremony. Originating from the head of the 'Bear Tribe medicine clan', Chief Two Trees, the ceremony releases you to the four elements of earth, wind, re and water. is form of spirituality was something Rod very much believed in.
Everyone I have spoken with recently seemed to agree that, as a lyricist and songwriter Rod could have 'made it.' .' Yet the thought of 'making it' was not, I think, what Rod would have wanted. There would have been demands and expectations that he would not have enjoyed.
A legacy website has been talked about, as has a 'Concert for Rod' which is due to happen during August. e intention being that a website will contain his music, photographs and cuttings. But of course this will take time and can only be achieved when Rod's possesions have been sorted through. And as Rod was in the process of moving house then his bits and pieces are currently in various locations.
Many people crossed paths with Rod during the various stages of his life. He seemed to have been known by a wide and varied range of folk. And he did have some very good and close friends who knew him better than most. But I am not sure if anyone actually ever knew the real Rod Felton. He was indeed a unique and special character.
............................................................
And on Coventry Folk Scene Blog - here http://coventryfolkclubs.blogspot.co.uk/2011/07/rod-felton.html
Rod Felton's songs on Soundclick - over 60 tracks. https://www.soundclick.com/artist/default.cfm?bandID=1514876
Thursday, May 22, 2014
Dog and Trumpet - Coventry Music Venue
Pete Clemons with yet another article in the Coventry Telegraph, this time looking at the former Coventry Bier Keller turned New Wave cellar bar pub / music venue The Dog and Trumpet.
IT was great news when it was announced early last year that the Dog and Trumpet in Hertford Street, or the Dog as it now known, seems to be getting a new lease of life by way of regular quality gigs and music nights. This unique pub and music venue was a very popular place to go up until twenty years ago.
When I first heard about this news, and the same most likely happened to many other readers, the memories came flooding back of many tremendous evenings in this below ground level bar. Not strictly unique though, I guess, as the Lady Godiva had a downstairs below ground bar area although, as I remember, not as spacious as The Dog.
There was a time there were several pubs existing within Broadgate, the Precinct, and the pedestrianised city centre. Some that immediately spring to mind are the City Arms, The Climax, The Market Tavern, The Thistle, The Black Eagle and The Penny Black. I am sure that there may have been a few more as well but they are now long since gone.
The Bier Keller, as it was, opened in 1972 and carried that name for five years. Initially it was, as the name of the place suggests, German themed. Accordion playing musicians and oom-pah bands dressed in lederhosen would regularly entertain the punters as they drank the German beer that was on offer. The venue also hosted traditional jazz nights.
That all changed in 1977 when the pub became known as The Dog and Trumpet and a more varied live music scene began to take shape at the venue. For those without such long memories: The Dog and Trumpet was named as such because, directly above it, was situated the HMV shop that existed there at the time prior to it moving further down Hertford Street. Of course HMV has since moved on again to its current location in the Precinct.
There's life in the old Dog, yet.
by Pete Clemons
When I first heard about this news, and the same most likely happened to many other readers, the memories came flooding back of many tremendous evenings in this below ground level bar. Not strictly unique though, I guess, as the Lady Godiva had a downstairs below ground bar area although, as I remember, not as spacious as The Dog.
There was a time there were several pubs existing within Broadgate, the Precinct, and the pedestrianised city centre. Some that immediately spring to mind are the City Arms, The Climax, The Market Tavern, The Thistle, The Black Eagle and The Penny Black. I am sure that there may have been a few more as well but they are now long since gone.
The Bier Keller, as it was, opened in 1972 and carried that name for five years. Initially it was, as the name of the place suggests, German themed. Accordion playing musicians and oom-pah bands dressed in lederhosen would regularly entertain the punters as they drank the German beer that was on offer. The venue also hosted traditional jazz nights.
That all changed in 1977 when the pub became known as The Dog and Trumpet and a more varied live music scene began to take shape at the venue. For those without such long memories: The Dog and Trumpet was named as such because, directly above it, was situated the HMV shop that existed there at the time prior to it moving further down Hertford Street. Of course HMV has since moved on again to its current location in the Precinct.
With the new name came a new genre of live music and, initially, it was folk music that dominated the venue. With punk rock taking hold of the youth at the time this music style seemed to be the polar opposite as to what was happening up and down the country. However, undeterred, regular visitors included the likes of Black Parrott Seaside, Ninepenny Marl and local favourites The Armpit Jug Band.
The end of the 1970s saw the emphasis began to change with regard to live music. The folk bands were still appearing but now also were local bands such as The X-Certs and The Incredible Kidda Band. And this marked the beginning of a glorious period for the venue. For the next fifteen years the venue went on to stage an abundance of top quality gigs The Dog and Trumpet even played host to The Specials and King in their formative days and, under the leadership of Ken Brown, the venue became very much the place to be during Coventry's 1980s music boom as he introduced DJs as well as keeping the live music.
The early 1980s saw popular local bands such as The Ramrods and The Vetoes perform regularly. 1983 then saw the beginning of a club night that still exists today. The Pink Umbrellas, who themselves would play the venue regularly, began a night called The Groovy Garden. From memory, The Groovy Garden began its life on Sundays at the D+T. The club night later moved to the Tic Toc Club during the early 1990s. And until very recently I understand that a Groovy Garden night continued at the Kasbah.
Christmas Eves and New Years Eves were special, in particular New Years Eve, as the crowds flocked out of the Dog & Trumpet as well as other bars, and made their way to Broadgate. The revellers around, and on top of, Lady Godiva's statue must have numbered thousands at times.
The end of the 1970s saw the emphasis began to change with regard to live music. The folk bands were still appearing but now also were local bands such as The X-Certs and The Incredible Kidda Band. And this marked the beginning of a glorious period for the venue. For the next fifteen years the venue went on to stage an abundance of top quality gigs The Dog and Trumpet even played host to The Specials and King in their formative days and, under the leadership of Ken Brown, the venue became very much the place to be during Coventry's 1980s music boom as he introduced DJs as well as keeping the live music.
The early 1980s saw popular local bands such as The Ramrods and The Vetoes perform regularly. 1983 then saw the beginning of a club night that still exists today. The Pink Umbrellas, who themselves would play the venue regularly, began a night called The Groovy Garden. From memory, The Groovy Garden began its life on Sundays at the D+T. The club night later moved to the Tic Toc Club during the early 1990s. And until very recently I understand that a Groovy Garden night continued at the Kasbah.
Christmas Eves and New Years Eves were special, in particular New Years Eve, as the crowds flocked out of the Dog & Trumpet as well as other bars, and made their way to Broadgate. The revellers around, and on top of, Lady Godiva's statue must have numbered thousands at times.
The mid 1980s saw the Dog and Trumpet continue with its incredible success story as visitors to Coventry included the calibre of The Wilco Johnson Band and The Photos but there was still room for the finest of local bands like The Furious Apples, Major 5, Crystal Amees who all appeared at the venue.
1985 even saw the pub selected as a venue for the Coventry Festival. This festival, held for several years, was an early pre-cursor to the ever popular Godiva Festival as we know it today.
As a new decade began brought upon us the 1990s the D+T played host to regular gigs by the ever popular rock 'n' roll revival outfit The Eager Beavers along with their continuing and ongoing policy to support the then current music scene by way of providing a decent stage for the fresh wave of local bands at that time like Kick FC and Eusebio.
1985 even saw the pub selected as a venue for the Coventry Festival. This festival, held for several years, was an early pre-cursor to the ever popular Godiva Festival as we know it today.
As a new decade began brought upon us the 1990s the D+T played host to regular gigs by the ever popular rock 'n' roll revival outfit The Eager Beavers along with their continuing and ongoing policy to support the then current music scene by way of providing a decent stage for the fresh wave of local bands at that time like Kick FC and Eusebio.
And after two successful years in Leamington the early 1990s also saw the well publicised relocation of the Worldbeat Club from Hinton's Wine Bar to the D+T. The Worldbeat Club, which was quite cutting edge back then, had a fortnightly residency and for a while alternative sounds from around the world could be heard at the venue on Monday evenings.
The Dog has now been refurbished and is up and running again. I am sure that the venue continues to remain in the hearts and minds of many who grew up during the period that encompassed its glory days. And, given the right support, I am also sure that those days will return.
The music being put on at the venue nowadays reflects the current scene with a mix of acoustic acts in midweek and DJs dominating the weekends. But it is fair to say that the place covers most genres and will appeal to many. After many years in the doldrums the city centre deserves a new lease of life.
Is it purely coincidence that since the city centre lost the abundance of pubs and music venues it once boasted the shopping area has also taken a downturn in fortunes? Who knows. But you only need to look at other towns and cities in the region where pubs, theatres and shops mix well together and you get an idea of what might have been. Either way, let's hope that this is the start of things finally being turned around.
Thankfully the revival of The Dog, along with other established pub music venues such as The Shakespeare in Spon Street and The Town Crier, things will hopefully begin to pick things up again and breathe new life into the city centre again.
EMF
The Dog has now been refurbished and is up and running again. I am sure that the venue continues to remain in the hearts and minds of many who grew up during the period that encompassed its glory days. And, given the right support, I am also sure that those days will return.
The music being put on at the venue nowadays reflects the current scene with a mix of acoustic acts in midweek and DJs dominating the weekends. But it is fair to say that the place covers most genres and will appeal to many. After many years in the doldrums the city centre deserves a new lease of life.
Is it purely coincidence that since the city centre lost the abundance of pubs and music venues it once boasted the shopping area has also taken a downturn in fortunes? Who knows. But you only need to look at other towns and cities in the region where pubs, theatres and shops mix well together and you get an idea of what might have been. Either way, let's hope that this is the start of things finally being turned around.
Thankfully the revival of The Dog, along with other established pub music venues such as The Shakespeare in Spon Street and The Town Crier, things will hopefully begin to pick things up again and breathe new life into the city centre again.
Some of the bands that played the Dog and Trumpet
Machine / Hot Snacks - Coventry Ska band.
21 Guns
EMF
This is a promo for the Leeds Bier Keller to give a flavour of the former Coventry one before the venue changed.
Bad Manners Roger Lomas tells us " Bad Manners played at the Dog & Trumpet to absolutely jam packed audiences on two occasions in 1980. Both times, they were 'warm up' gigs for their first two album promotional tours. Both of Bad Manners first two albums were recorded at Horizon Studios in Coventry. I produced all four of Bad Manners 'hit' albums. The first two ('Ska'n'B' & 'Loonee Tunes') at Horizon Studios in Coventry, and the second two ('Gosh It's....' and 'Forging Ahead') at Rockfield Studios in Monmouth"
Subscribe to:
Posts (Atom)