Incredible Kidda Band

 

Incredible Kidda Band

by Pete Clemons

With 2020 and now 2021 being a bit of a rollercoaster amid the ongoing coronavirus pandemic and we still continue to navigate the country's situation. It has not been ideal, it has been unsettling for many. But however you have approached it, for many it has been a productive time as they have strived to keep boredom at bay.

I personally have completed several of those projects I had been putting off. And with more time on my hands from being unable to go out and hear live music I have listened to a substantial amount of music I had not heard for years. And that has re-introduced me to several bands I had long forgotten about.

And one of those bands was the Kidda Band or The Incredible Kidda Band as they were also known. The re-introduction with them came after a listening to a couple of box sets titled 'Power Pop' and '1978', both released by Cherry Red Records, and a chance conversation with someone who had reminded me about them.

The Kidda Band were from the Nuneaton / Tamworth area and I remember seeing them play a couple of times, around 1978, at the long gone Ryton Bridge Hotel. They also played a lot around Nuneaton and clubs like Mr Georges in Coventry City centre. They were a very exciting band but never seemed to get anywhere apart from one time when they were advertising a 'fans' coach down to London where they were playing a prestigious gig.

New Wave was a term I began to hear in 1977 to describe a clutch of new artists whose music shared much of the energy of punk, but boasted a more sophisticated level of musicianship and a heavier reliance on traditional pop melodies. And, despite the Kidda Band being around slightly earlier, for me, that was where they sat. in fact, Nick Lowe used the phrase 'pure pop for now people' to describe his approach to the music at that time.

That chance conversation led to a quick search of the internet and the purchase of two CD's by the band. 'Too Much, Too Little, Too Late' a double CD release and 'Made in England'. It is worth noting that, as far as I can make out, none of the original singles the band released are on these discs. They are made up of demo's of those singles and other out takes. That said they are still incredibly good releases full of the energy that the band displayed on stage.

I always remember a review of their debut single, Everybody Knows on the Psycho label, that appeared in one of the music magazines. It read 'Their optimism is unfounded, this single is horrible. Record producer Tony Visconti, famous for working with David Bowie, T-Rex as well as Thin Lizzy had different ideas. He wrote: 'Great !!. A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered.'

..............

Line up

The Incredible Kidda Band (aka The Kidda Band) were a British power pop band formed in Nuneaton on 10 February 1976 -


Alan Hammonds (guitar/) vocals),
Graham “Kidder” Hammonds (percussion/ backing vocals),
John Rollason (guitar/ backing vocals),
Les Rollason (bass),
Graham “Dick” Millington (drums).


Later members of the band were
Mark “Tarky” Bates (drums/ backing vocals),
Keith Taylor (bass),
Mick Rollason (guitar/ backing vocals) and
Paul Gardener (drums).

Get off the Telephone

Kidda Band YouTube channel

https://www.youtube.com/channel/UC6eJ_Tb_zxKXA-RAbCUq0UA

Singles

"Everybody Knows/No Nerve" (1978) - Psycho P2608 
"Fighting My Way Back/Asleep at the Wheel" (1979) - Carrere CAR119 
"Get off the telephone/Big boys don’t cry" (1980) - Carrere CAR138 
"If looks could kill/Don’t she look F-A-B" (1981) - Blue Chip/Cygnet BC102 
"Hold your head up high/I wouldn't treat a dog" (1983) - Vinyl Cuts Records VC002 
"Everybody Knows/No Nerve" (2002) – 1977 Records S045
"Fighting My Way Back/Asleep at the Wheel" (2002) - 1977 Records S046
"Get off the telephone/Big boys don’t cry" (2002) - 1977 Records S047
"If looks could kill/Don’t she look F-A-B" (2002) - 1977 Records S048
"Too Much Too Little Too Late" (2000) Detour Records DRCD 023
"Too Much Too Little Too Late" (Reissue) (2007) Detour Records DRCD 023
2nd album (planned 2010)
Live album (planned 2010 or 2011)

From Wiki -The Incredible Kidda Band signed to Psycho Records on 19 January 1978 and their first powerpop single was released on 24 June that year. "Everybody Knows" backed with "No Nerve" were both written by Horden born Alan Hammonds and were recorded in London at Utopia Studios, and engineered by "Andy Brook Jackson".

The single was reviewed in Melody Maker on 15 July 1978 by the producer Tony Visconti, famous for working with David Bowie, Marc Bolan and T-Rex as well as Thin Lizzy, and he wrote "Great!! A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered." Other positive reviews appeared in Sounds on 5 August 1978 (By Geoff Barton) and in Record Mirror on 9 August 1978 (By Rosalind Russell).

Despite the favourable reviews, the single failed to sell in large numbers upon its release, however it was destined to become a collector’s item over 20 years later.
On 31 August 1978, the band was signed to Carrere Records by "Peter Hinton", later to become the Producer of Wheels of Steel released in 1980 by heavy metal label mates Saxon. At the same time as the move of record company, the name was shortened to the Kidda Band.

The Kidda Band’s first live performance in London took place at The Rock Garden in Covent Garden on 1 September 1978 and five coaches of fans travelled from Nuneaton to support them.

The band was already a very well regarded live act across the UK and in late 1978 they were signed to Birmingham based OAK music booking agency run by John Mostyn. "John Mostyn" later became the manager of many successful UK acts, such as The Beat, Fine Young Cannibals and Ocean Colour Scene.

The band were always a favourite choice at Radio 1 live events, and they shared the stage with Peter Powell, Paul Gambaccini and David "Kid" Jensen in their career.
The debut single release for Carrere was released on 29 June 1979 and was a double A-sided single featuring "Fighting my way back" and "Saturday Night Fever". The latter was written as a direct attack on the motion picture Saturday Night Fever which starred John Travolta and featured the music of the Bee Gees and which heavily influenced the UK music charts and live music venues at that time.

Both songs were recorded at Radio Luxembourg Studios on the 14 and 15 December 1978 and both songs were once again written by "Alan Hammonds". The sessions were engineered by Peter Hughes and co-produced by "Graham “Kidder” Hammonds". The same team were to remix both tracks at the same studio on 1st May 1979.
During 1979, the Kidda Band were to support a number of established and emerging bands such as The Troggs, The Pirates, the Radio Stars and The Beat as their reputation for powerful live performances continued to grow.

On 11th September 1979, the band signed to talent management company "March Music/Fast Western Productions", founded and run by former Ten Years After drummer Ric Lee, prior to the release of their second Carrere single.

Muriel Young invited the band to appear on Get it together to promote the debut single. Muriel, the shows Producer, was a strong supporter of the band and she was to use the band again later that same series to promote their second single. The band entered Granada TV Recording studios on 13 November to record the soundtrack before filming both sides of the new single the following day.

The bands TV debut was broadcast on Granada Television 4 December 1979. They were to appear regularly on the show thereafter until their demise.

The bands third single was recorded on 14 January 1980 at Chas Chandler’s Portland Recording Studios, previously a member of The Animals, and manager of Jimi Hendrix, Slade and Nick Drake, and home to Barn Records. The session was engineered by Andy Miller and produced by "Mark Robbins".

At the time, Portland Recording Studios was also home to George "Porky" Peckham’s cutting rooms, whose master discs, and the records produced from them, were known as "Porky Prime Cuts". George was previously cutting engineer at Apple Records for The Beatles. Both sides of the single were subsequently cut by George, and the run-out groove on both sides of the single has his classic motto, "A Porky Prime Cut", etched into it.
Once again, on the 29th January 1980, the band entered Granada Television’s recording studio to re-record the single ready for their second Get it together appearance. The show itself was filmed on 30 January and broadcast on 19 February 1980.
On the 31st January 1980, the band were offered the support slot on The Skids 1980 Tour and the prospect of wider recognition were heightened.
The 4th February 1980 saw the release of the bands third single, and their second on Carrere Records, featuring "Get off the telephone" and backed with "Big boys don’t cry". Once again both songs were written by "Alan Hammonds".

On the 13th February the support slot on tour with "The Skids" was cancelled as Carrere Records decided not to support it and relations with the label suffered as a result.
On 3 March 1980, "Mark “Tarky” Bates" replaced "Paul Gardener" on drums. The band continued to tour the UK extensively and on 17 May 1980 a live review appeared in the first volume/second edition of the independent rock weekly New Music News in which writer Paul Bearer extolled the virtues of their live performance and song writing prowess. "One day some musicologist is going to light up "Alan Hammonds'" songbook and it'll be rather like the discovery of the Dead Sea Scrolls because nestling in those pages are some of the best pop songs to have been written over the past few years. Direct, melodic, a rough hewn commerciality wrapped around incisive and sharp lyrics with more than a touch of cheek thrown in for good measure: those are the qualities of the compositions. The Kidda Band play with punch and panache, putting more media- mirrored bands such as The Jags and the appalling The Knack, well and truly in the shade."
On the 9th September 1980, they made their debut at London’s The Venue alongside Jess Roden.

On 1 October 1980, the Kidda Band left Carrere Records, with the alleged lack of record label support and investment being cited as the chief reason. Despite label mates Saxon gaining support slots on tour with more established bands such as Motorhead, no such tours were secured for the power pop band and their relationship with the record label rapidly deteriorated. The lack of plans for a debut album was also alleged to be a major contributory factor.

Just two weeks later, on 15 October 1980, the band were signed by Blue Chip/Cygnet Records, the new label run by record producer Rodger Bain, who had previously produced the single Paranoid for Black Sabbath which entered the UK Singles Chart in July 1970 at Number 2.

1981 also saw the release of the bands fourth single, "If looks could kill" and "Don’t she look F-A-B" produced by "Spencer Shiroda". The single was cut at Strawberry Mastering which was owned by members of 10cc at that time. Despite healthy airplay, the sales of the single were once again disappointing poor and the band left Blue Chip Records on 28 April 1981.

Later that year the band played Avery Hill College, which was incorporated into the University of Greenwich in 1985, and the show was recorded for a possible live album release, but to date this recording has never surfaced.
In September 1982 the band entered Alaska Studios with engineer "Pat Collier", previously of The Vibrators to record several new tracks including "I want You".
The band continued to perform live and made regular studio visits, including to Denmark Street Studios on 22 January 1984 to record several live favourites such as "Hold my head up high".

On the 10th November 1984 the band performed live at University of Essex in support of Orange Juice featuring Edwyn Collins.
Having played regularly at The Bridgehouse in Canning Town, the band hooked up with the owner/promoter "Terry Murphy’s" own Vinyl Cuts Record label in order to release their fifth single, "Hold your head up high" and "I wouldn’t treat a dog (Like you treat me) ", in June 1985. Murphy was also manager of Wasted Youth and father to boxer turned TV actor Glen Murphy.

The single was recorded at Village Recorders on 19 March 1985 with the session being produced by their own "Graham “Kidder” Hammonds" and engineered by "Gary Edwards". Both sides of the single were once again cut by George "Porky" Peckham and the run-out groove on both sides of the single have his classic motto, "A Porky Prime Cut", etched into them.

The band experienced several name changes, beginning with the shortening of the name to the Kidda Band before changing name completely to "The Kicks" on 7 November 1979 and finally to "We’re Only Human" on 1 July 1981.
On 23 September 1985, the contract with March Music expired with neither Ric Lee nor the band taking up the option to continue working together.
In 1987 guitarist John Rollason took time out from the band to record the Dirty Strangers album with the Dirty Strangers and he was joined in the studio by Paul Fox, formerly of The Ruts, Keith Richards and Ronnie Wood. The album was produced by Prince Stanislas "Stash" Kosslowski de Rola.

The Kidda Band finally disbanded in 1989.

Frankie Goes to Hollywood – Coventry, and our small part in their success

 

Frankie Goes to Hollywood – Coventry, and our small part in their success.

by Pete Clemons

For those who can remember back almost 40 years, to 1984, you may well remember that the charts were dominated by a band called Frankie Goes to Hollywood. First released during 1983, their debut single 'Relax' was banned by the BBC. By January 1984 the single made its way back into the charts and, as such, promptly went to number 1.

Follow ups 'Two Tribes' and 'Power of Love' did similar. The bands album 'Welcome to the Pleasuredome' completed a hugely successful year when it also topped the charts. Soon after however, and as quickly as it all began, the Frankie's went into free-fall. But yes, it has to be said that the Frankie's were untouchable during 1984. However, it hadn't been instant success for them.

The end of the 1970s, and into the1980s, saw Liverpool awash with bands. One of those striving artistically at that time, Hambi Haralambous, mentioned during an interview: 'The abiding memory of the late 70s and early 80s as a performer was that anything was possible. The spirit of the Punk revolution spread quickly throughout Liverpool, and was personified by the opening of Eric’s, a club that presented International and National acts and allowed local artists a platform to launch themselves from. The competition between the bands was fierce and the next stage after appearing at Eric’s was to try and get a recording contract'.

During the spring of 1982 the recently formed Frankie's who, at that time consisted of bass player Mark O'Toole his brother Ged on guitar, Peter 'Ped' Gill on drums, vocalist Holly Johnson and their latest member, dancer Paul Rutherford, on backing vocals. Earlier versions of the band had existed but hadn't lasted long.

18 months prior to the beginning of their incredibly successful period the Frankie's were just another struggling band from Liverpool. And Coventry, very briefly, became one of the cities where the Frankie's began to put together their stagecraft, musical sense and communication.

Paul Rutherford had once been associated with another Liverpool band Hambi and the Dance led by Hambi Haralambous. And Paul's association with them possibly led to the reason why the Frankie Goes to Hollywood secured their support slot with Hambi and the Dance during a UK tour. The Hambi's shot to fame with their debut album 'Heartache', which they were promoting, and the singles 'Too Late to Fly the Flag' and 'Living in a Heartache'.

The promotional tour called into the General Wolfe on the Foleshill Road. In truth the Frankie's only had three completed songs at that time. 'Loves Got a Gun', 'Two Tribes' and 'Relax'. But they were working up many others and versions of those were given an airing.

After their Coventry appearance and during October 1982 the Frankie's recorded a John Peel session that comprised of 'Krisco Kisses', 'Two Tribes', 'Disneyland' and 'The World is my Oyster'. But the band were still struggling as, despite their efforts, they appeared to be getting nowhere. By December 1982 Ged O'Toole left the band replaced by Brian Nash.

The bands luck began to change during 1983 when, coincidentally, ZTT record label was being formed by Trevor Horn and others. Around the time that ZTT records was being conceived, and after seeing the Frankie's perform on TV programme, The Tube, Frankie Goes to Hollywood became the labels first major signing. After a mix of extensive marketing and exposure the band gave ZTT almost instant success.

Hambi and the Dance, who themselves had an illustrious history, were a short lived band but had major success with various band members going on to greater things - sadly front man Hambi Haralambous recently passed away.

Frankie Lymon 1957

 Frankie Lymon 1957

by Pete Clemons

During July 1956 a singing group from New York, The Teenagers featuring Frankie Lymon, were riding high at number 1 on the UK singles chart with their hit single 'Why Do Fools Fall In Love'. The song also became a No.6 hit in the US. At 13, Lymon became the youngest performer to hit the top.

Less than a year later The Teenagers, namely Herman Santiago, Joe Negroni, Jimmy Merchant and Sherman Garnes began a tour of the UK. The tour was a mix of one nighters, that involved two performances per evening, and week long residencies with one of those being held at Coventry Theatre.

Despite the obvious commercial success the music press were not quite so impressed. It seems, that the Teenagers didn't really have a stage act. And things just didn't go right for them during their tour. At times the group were simply bundled onto the stage to an ecstatic reception from their teenage fans.

One report mentioned that Frankie Lymon did most of the on stage announcing and, almost without fail, this went 'Now we would like to do a tune which we had the pleasure of doing in the States'. More than once Frankie announced the wrong title. Another time he missed his introduction, stopped the orchestra, and had to begin for a second time. He encouraged the kids to clap along, several times on the 'on beat' instead of the 'off beat'.

Frankie had his own microphone, while the other four performers had to share two mike's. Additionally the backing group did very little other than to provide harmonies to Frankie's lead and join him in a couple of dance routines which 'would require a lot more polish before they were any help to the presentation'.

Even the final curtain was a fiasco – play off music from the pit, a stage hands fist clearly visible on the curtains, all in preparation for a final bow that never came.

When asked for a photograph on his own Frankie refused point blank. We work as a group, said one of the Teenagers, its a picture of all of us together or non at all.

The highlight of the tour however was even a two week booking at the London Palladium. But even that was not without controversy. Fourteen year old Teenagers' singing star Frankie Lyman was barred from making a 'live' television appearance with the Teenagers' on ATV's Sunday Night at the Palladium.

This had been because, the then, London County Council regulations forbid performers under the age of 16 from appearing on commercial television on Sunday's. Instead viewers saw a recording of Frankie and the Teenagers made at the Palladium earlier in the same week.

Had the programme been shown on the BBC then the performance would have been legal. The singing group had been appearing at the venue for two weeks. The controversy brought the BBC and ATV in line as to live performances.

Selections for the tour included Love is a Clown, Am I Fooling Myself Again, Teenage Love, Paper Castles, The ABC's of Love, I'm Not a Juvenile Delinquent, I Promise to Remember and the massive 'Why Do Fools Fall in Love?

City Arms Folk Club (Earlsdon)

City Arms Folk Club (Earlsdon)

by Pete Clemons

The City Arms, for the last 20 years a part of the Wetherspoons chain, has been a popular pub in Earlsdon for over 150 years. The current building has stood since 1930 but a 'City Arms' has been on the site since the mid 1800s.

 50 years ago the City Arms Folk Club, which attracted some of the country’s most talented musicians to Coventry as well as entertaining a generation of fans, staged its final event. The club first sprang up in 1966 and was initially hosted by Paddy Roberts.

By 1967 it was in the hands of popular musicians Rob Armstrong and Rod Felton who successfully ran this popular club for a good number of years. The pair had already become popular guests at the venue.

 The British folk scene of the 1960s and 1970s has a fascinating history. The highs including the discovery of some genuinely wonderful singer songwriters. The lows must have been the endless financial difficulties, that the clubs seemed to be in, required for keeping them going.

 The following quotes I collected while researching the Earlsdon club. My apologies for not remembering from where and who:

 'Been going to the folk clubs since 1963. First to Coventry - Barry Skinner, The Kerry's, Rod etc – and then Earlsdon. Since 1971 I went to Bedworth and other clubs before they all closed. These included Barwell, Brinklow and Nuneaton. I remember Roddy, Dave Bennett, Barry Skinner, The Gaels, Sneaks Noise, too many to remember'.

 'I remember when the Gaels had Owen on fiddle before Brian Patten, do you remember Geoff Smedley and Bennie Christie who were residents at the City Arms?.  Benita could down a pint in less than 3 seconds!. And Barry at the Binley Oak, that was the first club I went to, with Roger Bullen who I used to work with'.

 'Rod was always involved with the City Arms, his lovely Mum May used to actually 'run' the club, but she did it in Rods name. More or less, Rod and Rob Armstrong were both the residents before they formed the Grunt Band, as was Gentle Touch (Geoff and Benita) and June Tabor was a regular singer there too'.

'There were some top acts at the Earlsdon club. I don't know who actually booked them, but May, Rod's Mother, saw to the financial side of things'.

Finally a very brief history of some of those who appeared the City Arms Folk Club. These were in addition to the local artists who put in an appearance. Regarding the above quote, which mentions the booking of artists, I cant help but think that Rob Armstrong did a lot of the leg work in that department:

1966 – Initially it appeared to be a monthly club. But things soon stepped up and the club became a weekly event. Guests included: Dicken Reed, The Arden Folk, Rod Felton, The Embers, Sandy Denny

1967 – The Hibernian's Folk Group, The Kiandra Group, The Folklores, Mick Stuart

1968 – New Modern Idiot Grunt Band, Sneaks Noise, Mike Chapman, Alex Campbell, Martyn Wyndham Reed

1969 – Martin Windsor, Gilly Darbey, Jasper Carrot, Robin Dransfield, Hamish Imlach

1970 – Shelagh McDonald, Diz Disley, Don Partridge, Colin Scott

1971 - Gothic Horizon, Roger Williamson, Dave Turner, April,

The final club night appears to be when Dando Shaft appeared during September 1971.

Beverley Kutner (Martyn)

More on the Coventry Folk scene from Hobo

https://www.blogger.com/u/1/blog/posts/7661724268174147724

Ska'd for Life - Two Tone Mural, Pool Meadow Coventry.

Ska'd for Life - Two Tone Mural, Pool Meadow Coventry.

Photos by Pete Clemons and Pete Chambers.

The Ska'd For Life mural or mosaic (named after Horace Panter's autobiography) was commissioned by Coventry City of Culture as a 'Welcome to Coventry - Celebration of the City's Involvement in Two Tone and the decades long thriving Coventry music scene.

The artist was Carrie Reichart, a contemporary artist, who works from a studio in

Carrie Reichardt

London, A member of the Craftivism movement, Reichardt uses murals, ceramics, screen-printing and graphic design in her work. She is a dedicated advocate of the movement and curated one of the few exclusively Craftivist exhibitions in the UK. 

Craftivism is a portmonteau of the words Craft and Activism and a form of activism, typically incorporating elements of anti-capitalism, environmentalism, solidarity, or third-wave feminism, that is centered on practices of craft. Craftivism is a social process of collective empowerment, action, expression and negotiation. In craftivism, engaging in the social and critical discourse around the work is central to its production and dissemination.

The time scale was tight - four months to create and 4 days to put the display up with her team. According to the Coventry Telegraph "The artwork was created alongside two Coventry schools with 90 pupils involved. Pupils were invited to decorate their own sections of the mural, giving the community a part to play. Pupils from Frederick Bird, St. Mary and St. Benedict Catholic Primary school were each given a clay star to decorate. They decorated as they liked, then the stars were glazed and added to the feature,"

Carrie's Home!!

Carrie Reichardt trained at Kingston University and received a degree in Fine Art from Leeds Metropolitan University. You can read more about Carrie and her work on her website https://carriereichardt.com/ and on Wikipedia 

https://en.wikipedia.org/wiki/Carrie_Reichardt

Roddy Byers / Radiation and bands below the cover of Ruth Cherrington's Dirty Stop Outs of Coventry 1970's which was also a source of material. Ray King of the Ray King Soul band is in there too.

Riddy's Surplus Store where some of us got our Trench Coats in the early 70's - hippy days and Rioco and the Holyhead Youth Centre where both an early form of what was to become Selecter practiced in 1974 with Charley Anderson and co, and the Coventry Automatics, Chapter 5, Jah Baddis Sound System, Pharaoh's Kingdom,  Ray King's Nite Train and the Hobo Workshop gigs. The blue letter in the middle was from Horace Panter advertising in Trev Teasdel's magazine Hobo for a 'Happy band' in 1973.A lot more in that photo.

Vince Holliday singer with Coventry's first rock n Roll band the Vampires and creator of Friars Promotions who put on bands and discos in most of the M & B pubs in Coventry in the 60's and 70's.

This photo by Sheila Medlock

The Swinging Cats

Riot Act - Alternative Sounds

Neville and Sugary Staple.

Pete and Julie Chambers with Frank Ifield

Trev Teasdel and John Bargent (Bo) tiles - they started Hobo Coventry's own Music and arts Magazine in 1973 and the Hobo Music Workshop gigs at the Holy Head youth Centre 1974 to liven up the music scene, promote new bands and artists. Cutting from On the Scene supplement Coventry Telegraph June 1973. on the cover of Hobo is Mark Rider of Sasp'rilla now with Skawaddy.

Photo by Carrie Reichardt

A clearer view of Sasp'rilla 1973 with mark Rider and Ray Bukowski - this photo was on the cover of Hobo magazine as featured in the mural. Mark is now with Skawaddy and Ray was in Memories who played at the Hobo Coventry Precinct concert in 1974 and has been involved with Horizon studios and in various Coventry bands.

The cover of Hobo magazine as featured in the mural.

In September 1973 Horace Panter sent this ad through to Trev Teasdel advertising for a 'Happy band'. Horace had arrived in Coventry from Kettering, Northhamptonshire in autumn 1972 to do an Art degree at Coventry's Lanchester Polytech, so had been in the city about a year and just starting off on bass. The address at the bottom of Binley Road on the corner of Gulson Road is where Jerry Dammers and his girlfriend Val Webb (now Haudiquet). Val later was the second singer with the Two tone band The Swinging Cats. jerry was also at the Lanch and Pauline Black was also there doing Social studies. There was a delay owing to finances or lack of them, so Horace's ad didn't get put in until Feb 1974 but Horace had found a band by then (see his book for details).  Ironically it was published in the Two Tone blue issue of Hobo (below), two tone being a printers / art term at that stage for either black on white or as in this case dark blue ink on lighter blue paper - or whatever colour you wanted.  In this issue we featured an Op art graphic by Bridget riley who had an exhibition in Birmingham February 1974. Horace has said in a video that the black and white Two Tone squares came from Bridget Riley and he saw the exhibition in Birmingham -not sure if Horace saw the piece in hobo but he was studying art at the Lanch so may have heard of it independently but it's all a bit prescient !

This is the two tone blue issue Horace's ad was in but this cover is not featured in the mural.

A graphic by Op artist Bridget Riley that influenced his work on part of the Two Tone design later on.

A second letter by Horace to hobo after the ad was printed asking for possible places for his new band to play - I think I sent some suggestions.

The band Willow are advertised on the blue copy of Hobo - this was Joe Reynold's jazz / rock band in 1973 / 4. Joe went on to play sax on Selector's Three Minute Hero, on record and on Top of the Pops.

Close up of the Hobo Workshop flyer by Trev Teasdel in 1975 - we started off at the Holyhead Youth Centre in 1974 with Fission - a Johnny Adams band (John later paly lead with Squad after Terry Hall had left. Analog played their first gigs at the Hobo Workshop - Jazz Rock - with Steve Edgson and most of the band formed the first version The Reluctant stereotypes. Dave Pepper of Coventry punk band The X Certs had his first gig there with Phoenix and Neil O'Connor's band Midnight Circus (later known as the Flys) had their first gigs there. Neol Davies came to the Holyhead to organise a jam session for us. Charley Anderson and elements of what became Chapter 5 and then Selecter were practicing in the basement. I told Neol about them and he went down to try and get them involved with the jam session but staying in the basement where Desmond Brown taught him to skank on guitar. Neol later organised a jam session for us at the Golden Cross in 1975 with John Gravenor of Wandering John, Nikki Hawkswell of Three AM, Andy cairns, Phil Knapper (older brother of Stu Knapper, later of punk band Riot Squad. Charley and Desmond were in the audience at the Cross.

Hobo started in June 1973 and this cutting is featured in the mural. Coventry music scene was in a lull - many top bands had split up, like Indian Summer, Dando Shaft, Wandering John. The Broadgate Gnome editorial team had moved to Brighton and the Coventry Arts Umbrella club had had their premise demolished by the council! we started Hobo to liven things up and promote new bands and were interviewed by The Coventry Evening telegraph on the launch of the first Hobo.

Finally here is photographic piece from the Coventry Telegraph on the mural https://www.coventrytelegraph.net/news/coventry-news/incredible-2-tone-mosaic-unveiled-20918498?fbclid=IwAR0dpL7_Eaxyw3FZJDiLWOmW_amX5Oy8xvQRPxy-_538peGjRY9I2gIIkmI

 

The Platters Gaumont Coventry 1957

 The Platters

Gaumont Coventry 1957

by Pete Clemons

It is well known that artists such as Bill Haley, Eddie Cochran and Gene Vincent all appeared at the Gaumont Cinema, later the Odeon, on Jordan Well.

Not quite so well documented was that, The Platters and many others, played the venue too. The vocal harmony group toured Europe during 1957, appearing on the hit television show Sunday Night at the London Palladium.

Less than a year before The Platters appeared in Coventry, nobody had ever really heard of them. But they soon became one of the hottest attractions around.

The person responsible for a lot of The Platters success, at that time, was Samuel 'Buck' Ram a prominent songwriter and arranger for the likes of Benny Goodman, Duke Ellington and Count Basie.

Buck Ram wrote the hits 'The Great Pretender', 'The Magic Touch', 'Only You' and 'Heaven on Earth'. He also put together the classic version of the 'jive' group after meeting the rich voiced tenor Tony Williams.

Despite The Platters forming some years earlier, it was Buck's idea to rebuild the group around Tony, instead of sending him out as a solo artist. This was during 1955. First to join the combo was another tenor David Lynch. Next came baritone Paul Robi who had called Buck Ram's 'Personality Productions Office' for an audition.

Then came Zola Taylor who Buck had seen competing in an amateur singing contest in Los Angeles. Finally the slightly built Herbert Reed completed the quintet. In addition to having a rich bass sound Herbert was also the comic and dancer of the band.

For a while the individuals who made up The Platters could not have been happier with their good fortune which seemed to come around overnight. With Buck Ram also managing the band, he saw to it that they had their own accountant and legal adviser because, as he mentioned, he wanted them all to develop a business sense and save and prosper from the money they would earn.

At the time of the Coventry concert The Platters had just released an album for Mercury Records which bore just their name for its title. And, because of it's sales Mercury Records was already putting together a follow up album which would be called The Platters Volume 2.

The harmony within the band wasn't to last though. The 'classic' line up lasted till around 1959/60 when Tony Williams left the group. And one by one, other members resigned. Various line-ups using The Platters name have toured concurrently ever since. In later years the Platters became notorious for the number of competing groups touring the US and Europe using the name.

In addition to the Buck Ram hits mentioned above The Platters also covered songs like 'My Prayer', 'You'll Never Never Know', 'It Isn't Right' and 'I'm Sorry' during the Coventry concert. At the concert, which happened slap bang in the middle of the classic line up's existence, The Platters were supported by Jack Parnell and his Orchestra who had performed their own set during the first half of the evening.

To warm the audience up Jack Parnell and his band performed tunes such as 'Lime House Blues' and 'Rock Around the Clock'. Guest vocalist Gene Williams contributed on songs like 'Singing the Blues' and 'Heartbreak Hotel'.

The Gaumont / Odeon closed during 1999. The building was bought by Coventry University and December 2000 saw it become the Ellen Terry building.

Dando Shaft – Shadows Across the Moon

 

Dando Shaft – Shadows Across the Moon

by Pete Clemons

There was a time when folk rock was as equal in importance to the blues, country and contemporary rock music. Where traditional folk music, such as jigs and reels was almost non-rhythmic, folk rock was folk music underpinned by bass and drums or other percussive instruments.

Additionally, folk rock tended to take the simple, direct songwriting style of folk music and attempted to combine it with a rock & roll backbeat. One of the most distinctive elements of folk rock is the chiming, ringing guitar hooks, coupled with clear vocal harmonies.

And these qualities are demonstrated magnificently on a recently released live album, titled 'Shadows Across the Moon' and released by one of the leading exponents in the folk rock genre.

Dando Shaft came together during 1968. That said, the earliest gig date I have for them was during September 1969, when they played The Radford Hotel Folk Club. But I digress.

Dando Shaft were at their most active and prolific from 1969 through to the end of 1972. Unlike a lot of groups from the folk rock genre, Dando Shaft remained totally acoustic. No electric instruments were ever involved in their recordings or performances.

Even after that the band folded the musicians involved would occasionally reform as they did for a new album in 1977 and an unforgettable evening upstairs at Whitefriars Monastery during May 1993.

Before that particular reunion, however, Martin Jenkins, Kevin Dempsey, Dave Cooper, Roger Bullen, Ted Kay along with timely contributions from violinist, Chris Leslie (if Fairpost Convention) reconvened and performed magnificently for a series of gigs held in Italy during March 1989.Unlike the Whitefriars performance, the Italian venture was captured on tape, and has recently been given a fresh new CD release.

Selections for 'Shadows Across the Moon' are from across the entire Dando Shaft output. Each of their albums has been represented here.

The interplay of instruments and vocal harmonies are, at times, simply breath taking. This whole album grabs your attention from the off. There is also, to these ears at least, an added depth to the songs that you fail to hear in the original recordings.

Despite some positive reviews, Dando Shaft remained commercially unsuccessful. But they did leave us with an extensive and, still today, an impressive catalogue of music. Not only is 'Shadows Across the Moon' an outstanding release it is, in my opinion, a valuable piece of musical history.

Tracklist

1 Railway
2 Rain
3 If I Could Let Go
4 Sometimes
5 Feel Like I Want To Go Home
6 Cold Wind
7 Road Song
8 Shadows Across The Moon
9 Riverboat
10 Kingdom
11 Coming Back To Stay