Tony Visconti

Tony Visconti

by Pete Clemons

Born in New York, the producer and bass player has long become a legend in the field of popular music production.

Tony Visconti first came to London during 1968 after a chance meeting with fellow producer Denny Cordell. After moving to the UK, one of the first albums he had a hand in producing was ‘Maybe Tomorrow’ by The Ivey’s, later to become known as Badfinger.

There then began a partnership, for Tony, with Marc Bolan which lasted right from the outset of Tyrannosaurus Rex for seven albums including the classic ‘Electric Warrior’ when the band were now known by the truncated T. Rex.

At the same time Tony was still playing bass and had teamed up with David Bowie. After a short spell in David’s band The Hype, Tony continued work with David by appearing on his ‘Space Oddity’ album then playing bass on and producing his ‘The Man Who Sold the World’ album. Tony would team up with Bowie again around the time of ‘Diamond Dogs’ in 1974. This continued with production work for the ‘David Live’ album and subsequent albums up until and including ‘Scary Monsters’.

Again, and in parallel to his work with David Bowie, Tony Visconti was working with artists and bands such as Osibisa, The Strawbs, Sparks, Ralph McTell, Thin Lizzy and Mary Hopkin.

The 1980s saw Tony’s services were still in high demand, and equally as demanding, as he was now working with Hazel O’Connor, The Boomtown Rats, The Moody Blues and a host of others.

The 1990s were relatively quiet in terms of production but the 2000s saw an upturn for Tony’s services. David Bowie and Tony would join forces again during the early 2000s for David’s four final studio albums.

And now at almost 75 years old Tony has teamed up once more with Woody Woodmansey, drummer on ‘The Man Who Sold the World’ in Holy Holy. Named after a failed single from the very early 1970s Holy Holy have been creating the authentic sounds of David Bowie’s early songs since 2014.

‘We’re not a tribute band; we are the real deal’, they claim as they are performing songs from the 1969 to 1973 period. Opening this tour with ‘The Width of a Circle’ the seven-piece band go on to perform ‘The Man Who Sold the World’ album, which was never done at its time of release. They then follow that up with the ‘Ziggy Stardust’ album in full.

After recording a live album from Shepherd's Bush Empire, during 2015, Tony played it to David Bowie. And apparently the man himself was ‘just grinning from ear to ear’ in acknowledgment.

Admittedly vocalist Glenn Gregory does not ooze the sensuality of the creator of those songs. I don’t think for a minute that is what the audience expects. Woody Woodmansey’s hand speed is, at times, electric. And the twin guitars capture Mick Ronson’s licks perfectly. Between them Holy Holy give truly faithful renditions of David Bowie’s music and are well worth catching if, at all possible.

Gary Numan

Gary Numan

by Pete Clemons

There is no denying that, at the age of 60, Gary Numan is riding the kind of high that, arguably, he has not experienced since he burst into the music scene with his ‘Replicas’ album over 40 years ago.

I recently witnessed evidence of this where, together with the Skaparis Orchestra, he performed a two hour set to a capacity house at the Symphony Hall Birmingham.

This particular extravaganza was one of just 6 exclusive gigs that also took place in Cardiff, Newcastle, Manchester, London and Glasgow.

As to be expected the set list was heavily weighted towards Gary’s more recent and highly successful albums ‘Savage’ and ‘Splinter’. However, the past was not forgotten as he delved into his back catalogue pulling out a song from each of ‘Replicas’, ‘The Pleasure Principle’ and ‘Telekon’ albums. And this was my own live date with Gary since those days.

Additionally, Gary brought with him his biggest and most extravagant light show that he had taken on the road for over three decades. And this had been designed specifically for these special orchestral performances.

Arriving at the venue Gary tweeted ‘Birmingham Symphony Hall. I’ve not been here before but it’s really quite impressive. This show is nearly two hours long so we’re bringing the stage time forward a little tonight’.

Gary’s obvious excitement over the prospect of this tour had clearly spilled over into his huge and loyal following. Chants of ‘Numan, Numan’ rang around auditorium as soon as he hit the stage. And this continued in between tracks until it hit fever pitch with the onset of ‘Are Friends Electric’.

Still sporting his jet-black hair and eye liner, the one obvious difference from 40 years ago was that Gary now frequently moves. Whereas once, he had this deadpan, almost robotic like, demeanour when delivering his songs, he now has a repertoire of several shapes into which he contorts his body in heavy rotation while, at the same time, stalking around the stage like a caged creature. And this loop of expression continued throughout the entire gig with very little spoken interaction between himself and his audience.

In addition to the orchestra Gary was surrounded by his regular band. This comprised of a drummer, a keyboard player, a guitarist and a bass player. And between them the sound was dense and heavy. But at the same time the sound became distinctly different when an old tune was approaching.

Another delving into the past came by way of support act, keyboard and viola player Chris Payne, a name you may recognise from the hey days of the touring principle and living ornaments tours. Chris delivered a spectacular and very enjoyable aural, if not visual set, from a pair of keyboards and lap tops.

Gary mentioned that he had often felt that his music has had, at times, a filmic quality. And, that with The Skaparis Orchestra joining them for these six shows, that mix of hard electronic and soaring cinematic atmosphere would finally come fully to life. And so it did, to great effect.

Throughout the gig, I genuinely couldn’t help but feel pleased that for Gary Numan, after all this time, and throughout his highs and particularly his lows, things once again appear to have come together for this one-time pioneer.

The Strawbs - 50th Anniversary

The Strawbs - 50th Anniversary

by Pete Clemons

Thinking back to the late 1960s when I was becoming a teenager, apart from the normal chart music, Rolling Stones, Pink Floyd, Moody Blues and Beatles albums and such like, I distinctly remember being totally captivated by 3 LP records of less familiar bands. These were Music in a Dolls House by Family, It’s All About by Spooky Tooth and the first record release by The Strawbs. Although, as I was not aware of at that time, technically, it wasn’t the band’s first album release. That had been an album recorded with Sandy Denny which was abandoned to the vaults. It would, however, see light of day some years later.

Family and Spooky Tooth have both long since split although the charismatic lead vocalist of Family, Roger Chapman, still performs the occasional gig. As does ex Family drummer, Rob Townsend, who turns out for The Manfreds. Remarkably however, The Strawbs are still going strong, and still lead by the bands founder and primary song writer Dave Cousins who continues to produce wonderful music.

The other band members at the time of the first LP, guitarist and vocalist Tony Hooper and double bass player Ron Chesterman had both left the band by 1973. Having said that, Tony Hooper did return for a while from the late 80s through to the early 90s. Ron Chesterman sadly passed away during 2007.

April 2019 will see the band celebrate their 50th anniversary in the United States. But consistently year after year The Strawbs have gigged almost continuously throughout that time either with a full band or acoustically. And it is equally impressive that, for the last 45 years or so, Dave has had guitarist Dave Lambert at his side.

At this point I am not even going to attempt to give a potted history of The Strawbs. It is far too complicated a tale to tell and, besides, it is all out there on the internet to see. Some wonderful work has clearly been done cataloguing the bands history.

However, I would just like to acknowledge this fine debut record because, for me personally, it has been like a life-long friend and has never been far from the record player / CD player. Even today the songs within it have never dated and retained the beauty I first discovered soon after it was released during May/June 1969. On its release Melody Maker called it ‘thoughtful arrangements offset the songs, which are reminiscent of the Moody Blues style’.

The opening track, ‘The Man Who Called Himself Jesus’, even for someone like myself who has never really understood the notion of religion, is immediately compelled to listen. The lyric is so sympathetic to the situation in many ways.

‘That Which Once Was Mine’ – and it’s opening line of ‘If in some capricious moment’ – I wouldn’t have even known what the word capricious meant back then. ‘Pieces of 79 and 15’. Again, there is no way I would have known what that song was all about. Even today, I am still not totally sure. The closest I came to a greater understanding was when I came across an interview with Dave Cousins where he explained that ‘it centred around Tony Hooper’s bizarre experiences in his several, extremely seedy, London flats’. The mind can only wonder.

So, it clearly wasn’t the lyrics that drew me to this record. Maybe it was the music then. As with Nick Drake albums, this album had arrangements added to it, to greatly enhance the songs. Great credit therefore must go to producer Tony Visconti and Gus Dudgeon who recorded it.

‘Oh, how she changed’ / ‘Or am I dreaming’ / ‘Where am I’ / ‘Tell me what you see in me’ – are just totally intoxicating songs for someone of such a tender age. They were written with pure love, passion and whimsy. Or at least that’s how they come across to me at least. And, they capture perfectly, the vocal talents of both Dave Cousins and Tony Hooper. The Preserves Uncanned set, that featured many early recordings from the band known as the Strawberry Hill Boys, and who went on to become The Strawbs, also contained several stripped backed versions of songs that would crop up on The Strawbs debut record. The difference in them is stark and revealing.

As for The Strawbs developing into an electric band, which of course they did during the 1970s, Dave Cousins was clearly looking toward the future as early as January 1969 when, in an interview, he mentions this ambition for the band as well as introducing a drummer.

Do I have any criticisms of the record? No nothing major, only that, as good as the song is – and it really is, I always felt that ‘The Battle’ felt slightly out of context with the rest of the album. The song, as I understand, is about a game of chess. But maybe it was intended to be included as a way of adding some shade dark to all the light.


During their 50 years together, The Strawbs have produced many fine and varied albums. So powerful are some of the lyrics I have seen them reduce people to tears. But the stories and messages within that debut record certainly left a huge impression on me. Maybe it was a simple case that it happened to snare me at such a vulnerable and innocent time in my life, who knows. Whatever the reason though, I am just so thankful that it did happen. It remains today, when called upon, something that’s guaranteed to make me feel a whole lot better about things.

Freedom to Glide

Freedom to Glide

by Pete Clemons

Performing in a band that plays the music of Pink Floyd must be a daunting challenge. After all the fans of Floyd are no mugs and they wouldn’t forgive you if you did the band a disservice. But, to great credit, that’s exactly what Andy Nixon and Pete Riley did together for over ten years. They were both members of tribute band Dark Side of the Wall. In fact, Pete still is.

No doubting then, both Pete and Andy’s credentials as musicians. But more than that, between them, Pete and Andy have forged an even greater alliance. They formed a partnership known as Freedom to Glide and this enterprising pair are now on the verge of releasing the final album of what has grown into a trilogy.

Freedom to Glide took off during 2010. While waiting for the start of a Dark Side of the Wall gig both Pete and Andy chatted about the possibility of recording. And it kind of grew from there. Pete had a tune along with an idea for writing something based on World War 1. These embryonic ideas were formed around the concept of ‘Soldiers falling like rain on the battle field’. This instantly had Andy hooked and so sessions began immediately. Within a week or so acoustic guitar, drums and vocals had been added to Pete’s original musical theme. Not only that but Andy had further contributed with complete lyrics inspired by the ‘soldiers falling like rain’ quote from Pete. Further content was produced, and an album titled ‘Rain’ followed. Rain pt1 began as Pete’s instrumental demo. Andy then molded the arrangement into the song that it became. And that’s pretty much how the songs, that Freedom to Glide do collaborate on, are formed. They also write individually, for Andy more so as time has gone on, but still very much a team in terms of the final product.

Rain, released during 2013, was almost 3 years in the making. The album references World War 1 as well as showcasing a lot of their own talents and, given that the pair were performing in a Pink Floyd tribute, that influence is very evident.

The sessions for ‘Rain’ proved to be very bountiful with more than enough tunes written for its release. So, some of the tracks were shelved. It wasn’t as though the pair disliked any of the music produced. It just felt that some of the tunes were better placed than others to take their place on the first album.

Four songs that became surplus were used and developed for a second album release. And it was around this time when the idea developed that, in fact, this project could become a trilogy. So, rather than being planned, the whole concept evolved. A second album, ‘Fall’, was released during 2016. The reference point, this time, was a full century of war from 1914 to present day. The album itself is more song based and the pair felt freer to progress and to show more of themselves.

As far as distribution of the music was concerned, independent on-line record label ‘Burning Shed’ have been incredibly supportive. Fellow band member Ted Duggan, from Andy’s other band Badfinger, had also been drummer for Banco de Gaia. Banco leader Toby Marks knew Tim Bowness at Burning Shed. Impressed with Freedom to Glide results, Tim was more than happy to help. Both albums have sold very successfully around the world, helped immensely by the internet.

As mentioned, both Pete and Andy contribute with music and lyrics although I think it is fair to say that Andy, since leaving Dark Side of the Wall, has had more time on his hands and as such has more time to prepare the third album.

The final track on ‘Fall’ is titled ‘October’ and its lyric contains the phrase ‘Seeds are Sown’ several times. By coincidence, the third album in the trilogy is due to be called ‘Seed’. Were these albums beginning to contain codes and messages throughout, that reference back to other albums within the series?

‘Seed’ is due for release early 2019. And several themes are present within the album. The whole album is focused on the last year of World War 1. It concentrates on one man and his life between January and November 1918. During that time, he is granted leave to return home. While there it occurs to him that, after returning to the battle, this may be the last time he is seeing his home and his family. The futility of war begins to become clearer to him. There is also a little bit of Andy’s grandfather within the album. And Pete’s grandad is not forgotten either. During the war, he was carried into British lines and back to the safety of the British trenches by a German doctor. The German doctor saying that ‘I am here to save lives not to take them’.

Andy mentioned that the outbreak of World War 1 was remembered greatly during 2014 but the ending of it, which for him was particularly more poignant, did not get a similar response. Which is kind of strange as, if you take a minute, it suggests that war is remembered more than the peace.

As far as Andy was concerned, ‘Seed’ was a complete joy for him to write and record – and, when talking about it all, it shows. A taster track from ‘Seed’, titled ‘Broken Road’, is already out there on the internet to whet the appetite, along with a video shot by the band themselves in The Yorkshire Dales. (Pete is a pro designer with high level videography/photography skills) The soldier in the video is the drummer Andy Mapp (Katrina & The Waves) with whom Andy has worked in the past.

With three albums now in the bag I asked Andy what future held for Freedom to Glide. Essentially, decisions are to be made. Do they remain a studio-based band or do they take the band on the more ambitious route of gigging? Gigging, of course, would involve more musicians and many hours of practice. Andy mentioned that he would love to do some gigs but realises that with an audience spread around the world, it would be very difficult to get them all into one venue. And then there are the logistics between the pair, Andy is based in Coventry and Pete in Derby.

So maybe a good starting point, should the band take that route, would be to do some support slots for an established band. The internet is a double-edged sword. It is incredibly powerful for connecting people and getting the word out there. But if those people are in different countries and territories then there is an added challenge when it comes to playing live. Despite these challenges, however, Freedom to Glide fully intend to take the project out live, even with the difficulties mentioned and that, as well as support slots, they will, definitely, present their own shows, albeit a small number initially.

Finally, I asked Andy how the name ‘Freedom to Glide’ came about. He said: ‘From what I remember the FTG name came from a texting conversation between Pete & me. We liked the idea of "free" or "freedom" being in the name and it just popped up. What really nailed it was when we realised it could be abbreviated to f2g. In this world of abbreviations and text language it just seemed perfect. Ironic really, I'm a stickler for spelling, punctuation and grammar.’

An interesting spin off to this whole f2g project is told by Andy: ‘We were contacted by an English teacher around 2014 after 'Rain' had been released who was teaching English in The Netherlands at the time. She was a fan of our music and very keen on the war poets like Wilfred Owen, Seigfried Sassoon, Laurence Binyon, Edmund Blunden etc... (I refer to all those war poets for inspiration in my lyric writing by the way). Well, I was knocked out when she asked if she could use 4 of our songs' lyrics, (Rain pts 1,2,3 & 4) to introduce WW1 themed poetry to her class. She asked her students to annotate each "poem" (the song lyrics) and the feedback was just incredible! She didn't tell them who'd written these four 'poems' until they'd presented their annotations. They all presumed they were written by some 'mystery' war poet. What a huge honour that was and an amazing compliment for an English teacher and her students to hold my lyrics in such high regard. We take great care to respect the subject matter and it's all very heart-warming to hear you've done it justice in some way’.

Fine words indeed and, I for one, am looking forward to whatever the future brings for f2g. 

Huge thanks to Andy Nixon for his time, checking over this article and the cup of coffee.

King Crimson

King Crimson

by Pete Clemons

Robert Fripp has said that King Crimson is, not so much a band, more of a way of doing things. And January 2019 saw the anniversary of the 50th year since King Crimson came into being and began to do things.

During its 50 years in existence, King Crimson has experienced various phases of change. When it comes to trying to define the music of King Crimson, such is the bands complicated history that includes leaving the past behind and reinventing the way they sound, then I don’t even try to bother.

Each phase on the bands journey has come some incredibly challenging and yet strangely stimulating music, more so to the musicians (of which there has been in excess of 20) I am guessing, but also to the listener.

To get the best out of the listening experience of a King Crimson album, and other bands of this ilk, I find that for me personally, I need to switch off and take myself away from this fast-paced world for an hour or so, and totally commit your complete aural senses. The rewards can be just incredible.

By 2012 Robert Fripp, the bands leader and the one remaining constant throughout the bands 50-year history, appeared to be as detached from making music as he had been at any point in his life. While his contemporaries revisit their past on the reunion circuit, Robert Fripp appeared to be ignoring it all and not getting caught up in the nostalgia.

However, by September 2013 it was all change when, seemingly, out of the blue a message emerged announcing the resurrection of King Crimson. Further, the band would be revisiting the past. But things were not as straight forward as simply putting a band together and going through the motions. Any touching of early King Crimson music was going to be on Robert Fripps terms and conditions.

And so, it was, that for the first time since 1974 the world got to hear, albeit, reconstructed versions of songs from albums such as ‘In the court of the Crimson King’, ‘Red’ and ‘Larks Tongue in Aspic’. Except of course, if you were lucky enough to have seen a gig by the short lived 21st Century Schizoid Band. The 21st CSB had essentially been a large part of the musicians who made up the original King Crimson, less the main man himself, but with his full blessing.

Along with guitarist Fripp, the lineup for this new incarnation of the band included Tony Levin (bass and vocals), Mel Collins (Sax, flute), Jakko Jakszyk (guitar, vocals), Gavin Harrison (drums), Bill Rieflin (drums) and Pat Mastelotto (drums). Yes, three drummers. It was a sight and sound to behold.

Previous comments I have read about it all cover the event well. But it was just one of those gigs where you could read all the words in the world about it and yet it still wouldn’t be able to capture the whole of the magic.

But just being sat there in the hall, being subjected to a set that revolved around such classic music was just stunning. Watching the 3 drummers was at times hypnotic. In fact, there were countless musical moments that had us mere menials simply scratching our heads in wonderment at the genius being displayed.

The lighting was limited as it virtually remained the same throughout until they played ‘Starless’ when it changed to a red hue that filled the stage. All very dramatic.

King Crimson are several life time’s away from the band that evolved and revolved around the lyrical mysticism of Pete Sinfield but are still able capable to hold the attention of an audience for several hours. The whole thing was simply spell binding.

Pete Clemons - 2018 Musical Highlights

Pete Clemons - 2018 Musical Highlights

Once again 2018 provided me with a wealth of memories. Some of which will remain with me longer than others. As always, a lot more was bound to have happened than ever crossed my path. 

That said, this is not so much a best of, just a view of what passed my way. And I will try to keep events in some sort of chronological order.

The gig going year, began for me, with a visit to Leicester for a gig by the Dirt Road Blues Band. It was a fantastic night and a pity that these guys don’t get together more often. But maybe the fact they don’t, makes the gig that bit more special.

It continued with a trip to London to see Judy Dyble perform at the Union Chapel. Again, Judy’s gigs are few and far between but well worth catching if possible. Judy returned later in the year with another album of beautiful and evocative tunes titled ‘Earth is Sleeping’.

March saw Steven Wilson visit the Warwick Arts Centre in support of his ‘To the Bone’ album release. Honestly, I was just not prepared for how good this gig was going to be. It was an immense spectacle.

Bedworth band Luna Kiss released their long-awaited album ‘Following Shadows’ during

April. And very impressive it was too in particular the very powerful single ‘You Are’. This was followed up in July by the albums official launch gig at which, each of the bands performing, Luna Kiss, The Ellipses and Free Galaxy did themselves proud. The heatwave meant the venue felt like you were in a pressure cooker and, given these very difficult conditions, each band excelled.

Norwegian band, Gazpacho released their tenth album in May. Titled ‘Soyuz’, this unique band reminding us, by putting to music, the notion that beautiful moments in time cannot be captured and simply saved for the future. May also saw The Fierce and the Dead release their acclaimed instrumental album ‘The Euphoric’. Ethereal, compelling and highly recommended.

Synthcurious, in conjunction with the Tin Arts Centre used the magnificent setting of St John’s Church, Spon Street, to great effect during May. The venue played host to White Noise legend David Vorhaus, who gave a dazzling display of wizardry on his Kaleidophon during May.

A seemingly endless summer saw me take in a couple of memorable outdoor gigs. The Rolling Stones at the Ricoh and Elvis Costello at Blenheim palace. Both gigs have been extensively covered elsewhere but both were extremely memorable.

A memory that has become ingrained in me and will stay with me for life was that of virtually a whole audience singing along to ‘Shoom’ a track by Public Image Ltd and performed as an encore at their gig at the Copper Rooms. If you are familiar with the track you will get the picture. It was something else.

Legends Canned Heat arrived at the Leamington Assembly during July and gave the audience a night to remember as their brand of boogie music had the whole of a seated audience on their feet. It really was great to see and hear.

August and the release of ‘Dissolution’ by The Pineapple Thief. A very different album and not instantly gratifying. But well worth sticking with. With a subtlety deep within it this album certainly grows and continues to give. Later in the year I saw the band play live in Sheffield. With drummer Gavin Harrison now settled in The Pineapple Thief have certainly arrived.

July saw Callum Pickard and the Third Look simply blow me away at the Old Grammar School. Soon afterwards I was shocked by the news that they were splitting up. I appreciate that these things happen, but I can’t help but think that they were on the cusp of something special. However, thanks for the memories guys.

Kristy Gallacher returned to the live stage during August after, what seemed like, a long period away. Not as though I needed it, but I was reminded as to what a talent Kristy is. Her set at Nuneaton Folk Club was immense.

September was a very busy month. Soft Machine released their ‘Hidden Details’ album. And very good it is too. It is a nod to the past and I enjoy listening to it immensely. The loss of guitarist, Piotr Grudziński, cast a huge shadow of the future of Riverside. Certainly, judging by the reaction to their album, ‘Wasteland’, any fears were quickly dispelled. Wasteland is clearly a departure from past and Riverside have clearly embarked on a whole new path. September was also when Two Whole Quails left me mesmerised at The Nursery Tavern with their unique interplay between audio and visual. A real highlight. Finally, for the month of September, Crokodile Tears gave us ‘Old Skool’ a pleasant album of songs reminding us of times gone by.

Acclaimed Russian duo, Iamthemorning, returned with a new album titled ‘Ocean Sounds’. A melancholic release that vocalist, Marjana Semkina, freely admits that they do conjures up visions of desperate and dramatic situations. Their music is certainly complex and compelling.

From the Jam brought the house down, firstly during October at The Empire and then a few weeks later at The Assembly in Leamington as they celebrated 40 years since the release of the iconic album released by The Jam, ‘All Mod Cons’.

Sanguine Hum are another band who never seem to fail in their pursuit of a catchy tune. Latest album ‘Now We Have the Power’, released during October, is sheer delight. Great rhythms combined with lyrics that feel at times as if conversations are taking place within the song. As with previously mentioned releases - complex and worth persevering with.

My final gig of the year was one during December by Roddy Radiation and his Skabilly

Rebels. Promoting his EP release ‘Losing Control’ the Rebels were on sparkling form performing a great cross section of songs from his days as a Bonedigger back to that as a Special. What a way to sign off.

A CD bought for me at Xmas is proving to be a real delight. Released by American band Ace of Cups, this really is a remarkable story and a genuinely fine album. Ace of Cups are from the West Coast who, during the mid-1960s, performed at the same festivals as the likes of Jimi Hendrix. They split releasing only a single. Now the Ace of Cups, complete with stellar backing musicians, have put everything right. The album is a nugget of, fifty-year-old songs, recorded in today’s digital age. Well worth investigation.

Of course, the world of music suffered losses. These included that of Eddie Clarke – the last remaining member of Motorhead. Aretha Franklin, such was her popularity, her passing appeared to have been mourned world-wide. Pete Shelley of The Buzzcocks, who, given the number of tributes, appears to have touched more people than, I am guessing, he would ever have expected. And finally, closer to home, Phil Packham, bass player or The Sorrows.

All in all, it was another tremendously memorable year and no doubt I missed something. Apologies to those that I did.

Billy Connolly

Billy Connolly

by Pete Clemons

There have recently been a few programmes on TV involving Billy Connolly. They have been reminding us of Billy’s past achievements. And Billy, himself, has been reminiscing along with us. Sadly, Billy was diagnosed with Parkinson's - a neurological condition that impacts movement and speech – several years ago. But apart from physically, he doesn’t appear to have lost his spark.

Billy Connolly left the shipyards of Glasgow during the mid-1960s. He particularly remembers a conversation with fellow welder Willie McGuiness. The words: ‘You don’t want to be sitting here, an old man, who wanted to be a folk singer. If you are keen on it then do it now’ were ringing in his ear and he acted upon that advise.

As still happens today, those who think differently, tend to find each other and gravitate toward each other. Back then though, these people were more identifiable by the way let their hair grow long. Together these types of people did anything other than the ordinary. Tam Harvey and John Byrne were two of the artists who befriended Billy. (50 years on and John Byrne has recently had an exhibition at the National Portrait gallery in Edinburgh).

During 1965 Billy and Tam Harvey formed The Humblebums, a name derived from a play on the word Hobo. Billy playing banjo an instrument that he had discovered a few years earlier and practised at every moment he could.

At gigs, Billy introduced them both to the audience by saying, ‘My name's Billy Connolly, and I'm humble. This is Tam Harvey, he's a bum’.

Gerry Rafferty met Billy during 1968 while sharing a bus in Paisley. The pair recognised in each other, things others didn’t. Gerry, who already knew John Byrne, mentioned to John that he had just met the funniest man he had ever come across. John would animate Billy throughout his career. Gerry joined The Humblebums, expanding the band to a trio, but it then became a duo again after Tam Harvey left.

Gerry Rafferty was writing some strong songs and was dedicated to ‘making it’ and this, in turn, influenced Billy. As The Humblebums, Billy told stories while Gerry played the songs. But it seems that the stories were becoming longer and were overtaking the concerts. A strain developed between the pair and, in all places, at Queen Street Station, Glasgow, they made the decision to split. Apparently, it was all very amicable. The Humblebums had given Billy the desire to be more than just a comic.

Billy was also becoming known for his colourful and outrageous clothes as well as causing some controversy with his observational brand of humour. One famous example of this was a sketch called The Crucifixion. Apparently, the whole sketch had begun years earlier in the Saracens Head pub on Gallowgate, Glasgow.

Billy and Tam Harvey frequented the pub regularly. Tam told Billy a story that, over time, Billy added to and expanded upon. Essentially the story picked up on an alleged spelling mistake in the bible and that the last supper had really taken place in Gallowgate, and not Galilee. And this, I understand, is how The Crucifixion sketch began.

Billy Connolly shot to fame after several appearances on the Michael Parkinson chat show. He starred in his own comedy shows and tours and then moved into the world of humorous travelogues, where again, he created many popular prime time TV series. His career took another dramatic turn when he featured in several blockbuster films.

Billy appeared in Coventry several times at the theatre. And there was even on appearance at the start of his solo career which took place at The Bear Inn folk club that once stood on the High Street. I am also, fairly-certain, that The Humblebums once appeared at the Elastic Inn folk club. But I need to find evidence to prove that one.

The one thing Billy has unknowingly given me is the ability to laugh at myself and to not take life too seriously.

The Humblebums