Two Whole Quails – Dropped in Records

 

Two Whole Quails – Dropped in Records

by Pete Clemons

Surrounded by tons of vinyl this was instrumental duo, Two Whole Quails, first live outing since 2019. They had been looking forward to it immensely. And Dropped in Records, at Fargo Village, was the unlikely setting for an hour or so of the kind of music that consisted of long, elaborate, wordless compositions that circled around a melody of sorts.

The keyboard duo that is Two Whole Quails threw up a series of sounds that mean everything or nothing depending upon the amount of imaginative work the listener is prepared to do in total search of enjoyment and appreciation.

Visual stimulation was provided by accompanying film that was flashed up onto a screen alongside the players. These consisted of film especially prepared for the compositions.

The opening suite was titled 'The Chancellor's Dinner'. It is a twenty odd minute piece against a backdrop created by Two Whole Quails but credited to a whole host of people from both the online and real worlds.

This was followed be a piece called 'Glad', which was made up from parts of an even longer track which the pair recorded during lock down.

The last one was titled 'Emily'. This was an extended version of music made for Emily Mann's' and inspired by 'COVID - 20: The Coventry Isolation Diaries 2020'. The diaries being a part of the very excellent the Coventry Sketchbook project.

Throughout the entire evening I was gripped by the way the music flew off into discursive variations on original themes.

The duo, Lee on keyboards and Chris on keys, guitar and bass explained very little to their audience during the entire course of the evening. Everything was down to those attending taking what they wanted out of the evening.

A sizeable turn out at the venue that also included the more 'dance' inspired, Field Lines Cartographer, took away with them a memorable experience.

Visit Bandcamp Two Whole Quails for more.

The Skabilly Rebels at the Arches December 2021

 The Skabilly Rebels at the Arches December 2021

by Pete Clemons

If Jerry Dammers is credited as the architect of The Specials, by way of his vision of reviving and reinventing past styles of music and fashion, then Roddy 'Radiation' Byers was the guy who brought a touch of originality to that band. Roddy also provided the edge that a band requires.

The pulsating rhythms of The Specials have since found a solid niche within popular music history and beyond. And Roddy is quite rightly recognised, by the Ska music fraternity, as one of the pioneers of that whole 2 tone movement.

Today, Roddy Radiation continues to lead an original band. The Skabilly Rebels play a blend of music repeated rarely. And after many years in the business the Skabilly Rebels have fostered and thrived on their mix of Ska and Rockabilly.

Rockabilly and vintage fashion are not only a statement but they are also a lifestyle. Rock 'n' Roll is your life and your love. It is clear, that no matter the size of gig, Roddy is meticulous in his appearance. His attention to detail is clear for all to see. For every Skabilly Rebels gig Roddy is immaculately turned out without a hair not being in place.

Roddy still has that sharpness and edge to him and through his writing he has brought us songs like Hey Little Rich Girl, Rat Race and Concrete Jungle to the proceedings. And these were performed at the recent gig at the Arches Venue. Despite an obvious cold and the fact he was struggling a little Roddy and the band who tonight are: Joe Harcourt on guitar, Connor O'Connor on bass guitar, Adie H Dee on Sax and an Australian called Jeff who is standing in for Matt Hart on drums, put in a remarkably decent shift.

The swingbeat continues with interpretations of Do Nothing, Judgement Day, Bonediggin' and many others. Overall a tremendous performance and an extremely enjoyable evening. The songs that Roddy provided are still amongst the most popular in The Specials live repertoire.

Roddy wears his heart on his sleeve and has a conviction and charisma that adds to his compelling stage presence.

Jethro Tull Coventry Cathedral Dec 2021

Jethro Tull Coventry Cathedral Dec 2021

by Pete Clemons

As far as I can research this, the first time Jethro Tull had performed in Coventry since they appeared at the Balsall Common Equestrian Centre with Amen Corner, and others, during May 1969. There are suspicions of a gig at The Lanch during late 1970. But that has yet to be confirmed. Since those days, of course, the band has changed beyond recognition both in music style and personnel.

Another Coventry connection is that of Martin Barre who, for 43 years between late 1968 and 2011, was lead guitar for the band. Martin spent three years at the Lanchester Polytechnic before he joined Tull.

This was billed as a Christmas gig. In terms of religion Ian Anderson has described himself as deist and pantheist. In other words God is not dominant in Ian's world but, at the same time, he does not rule out God's existence. 'You can find your own God by being a decent person'.

Additionally, Ian does not belittle religion. He is very respectful of it. However, at times, he does feel the need to challenge it. And his gigs within the splendour of cathedrals have become part of the norm over the last couple of decades.

The version of Jethro Tull that gathered for this particular evening included guitarist Joe Parrish, Scott Hammond on drums and percussion, John O'Hara on piano and keyboard, David Goodier on bass and the ever charismatic Ian Anderson on flute, mandolin, acoustic guitar and vocals.

The evening opened with a spirited version of 'God Rest Ye Merry Gentlemen' followed by an interpretation of 'Gaudete' where Tull were joined by the Coventry Cathedral choir.

The first guest to accompany the band was Marc Almond who sang his song 'Bedsitter'. During the second half Marc returned to the stage where he got to sing another familiar song 'Say Hello Wave Goodbye'.

The next guest was food critic and guitarist, Lloyd Grossman, who joined the fray for firstly some rock 'n' roll and then a punk number 'I ain't doing nothing'.

Several times throughout the long history of Jethro Tull, Ian Anderson has broached the subject of Christmas and is no stranger to the odd Christmas song. Even if it is to remind us that it is not all about the commercial side. And those songs were to be heard this evening.

Aqualung, Jethro Tull's first concept album, hits out at the church through its main character, of the same name, who represents the lowest common denominator in humanity. The records fold out sleeve featured three paintings specifically commissioned from American artist Burton Silverman. Andersons words, within Aqualung, are often hard hitting and pull no punches.

During 1971 it was said about the album 'Our music has to be on a simple pop rock 'n' roll musical level. But if you can introduce little subtleties, eventually they'll become the important things in your music. We're playing worthwhile music now, but we don't over estimate what we're doing'.

The album was recorded under the working title of 'My God' a track which became a sub-title within the album. And the big hitters from the Aqualung album 'My God', 'Locomotive Breath', and the albums title track, wrapped up the offerings in magnificent style.

No wild eyed cavorting or grandiose gestures from Ian Anderson tonight, but there was still the odd manic pirouette, that gave us a hint of his old self. More than a hint though was how good the music of Jethro Tull is, that he has given us. As if the faithful needed to be reminded. This was a memorable evening within a remarkable setting.

Coventry Cathedral 2021

God Rest You Merry Gentlemen

The Boll Weevils / The Bo-Weevils / The Soul Sect / 3AM Blues Band

The Boll Weevils / The Bo-Weevils / The Soul Sect / 3AM Blues Band.

by Pete Clemons

Some time ago I wrote an article about Coventry group The Boll Weevils. The article was more of an overview of the band. With the help of some notes made by the late Tim James I have added some more meat to that article also including Tim's musical path up until the end of 1967.

The Boll Weevils were formed during 1963 as an R n B outfit. They featured Tim James on harp and vocals, Steve Bentham on guitar and vocals, Barry Smale on bass and Joe Craner on Drums. This was Tim's first band with numbers being arranged by himself and Steve Bentham. Apparently this was done while walking home from parties at about 2 in the morning in the inevitable early morning rain.

The band had an older guy, about 30 years old, called Roy working for them. Roy would wade through a spaghetti like mess of wires and cables to get his 30 watt PA system working. After Roy left Tim borrowed fifty pounds from his father and bought his own PA. Neither did we make it, but played original music with balls in the process of failing.

The bands name was changed name to The Bo-Weevils during 1964 in order to avoid confusion with a London group. Kev Dempsey, later the guitarist for Dando Shaft, replaced Joe Craner on drums. With Fred Liggins being added on Tenor Sax. The Bo-Weevils gravitated towards the more soul orientated sounds of Otis Redding, Wilson Pickett and James Brown as public tastes changed.
By 1965 and with the addition of Greg Taylor on tenor sax, Gordon Wood on baritone sax, Lenny Barratt on guitar, Frank Lazarus on bass, who introduced 'Lenny' to the band a jazzier influence had arrived. This coincided with interest from Pye records.
Tim James remembered 'I can't deny that we were very popular and played well - but we simply covered, rather than re-interpret and re-arrange, the current soul and R&B hits. We were no longer unique, we were just another band rolling along with the commercial flow. The essential component for a record deal was writing our own songs, which were absolutely awful and, to me, embarrassing. To me this was the essential reason for getting out'.

During 1966, and till 1967, Tim moved to The Soul Sect on vocals and blues harp. Completing the band were Reg Sparkes on bass, his brother Rick on drums, Tony Warner on rhythm guitar and Colin Williams on Gibson stereo guitar. After Tim left the band carried on as 'Into the Sun', and, in Tim's words 'played better music at better gigs now featuring the blistering Williams guitar'.

The 3AM Blues Band had formed during 1966 and were heavily influenced by John Mayall and Cream. They were managed by Rodney Joyce, who also played congas, and also comprised of Derek 'Beck' Wilson on Fender Telecaster guitar, Nick Hawkeswell on Gretch bass and Jim Longworth on drums.

Tim James joined 3AM on harmonica & vocals during 1967. He remembers that the band had 'No van but travelled in Rodney's enormous Pontiac saloon, which was just as good ... when it worked'. 'The group are strongly opposed to the current soul music trend' said manager Rodney Joyce in early 1967. Derek Wilson left 3AM during February 1967 replaced by Joe Beale. Eventually 3AM moved to London and finally split in late 1967.

Boll Weevils. Bill Campbell was also a bass player with the band. later with the Eggy and Coconut Mat.

Three AM  - below

Tim James with Ra Ho Tep - avant garde jazz c 1967 - 70 - alto-sax, tenor-sax, clarinet, electric-piano, harp and vocals 
Joe Craner - drums, trumpet and vibes
Phil Porter - bass-guitar, string-bass and acoustic-guitar

Mouldy Old Music

 

Mouldy Old Music

by Pete Clemons

Muriel Young was both a radio and television presenter having worked for commercial television since its inception during 1955. And during the 1960s and 70s she worked behind the scenes on many of the more influential pop music programmes.

And it was Muriel, who originated from the north east, that saw the potential in Coventry band Stavely Makepeace during 1970. After several singles Stavely Makepeace, with the addition of pianist Hilda Woodward, became know as Lieutenant Pigeon, and went on to have a hit with 'Mouldy Old Dough' during 1972. The note below, from Muriel, is taken from the reverse of the Lieutenant Pigeon album, 'Mouldy Old Music' released February 1973,

'It's three years ago since a couple of round faced lads, Rob and Nigel, came into my office with a disc. Stavely Makepeace was the name and I was knocked out with the sound, partly because it was different – fresh and sort of kerpow !!. Also because I was intrigued that the discs had been made in Rob's front sitting room. This had been handed over to him willingly by his Ma and fitted out as a sound studio. 'What a super Ma', I said to myself, and what a super Ma she turned out to be when I met her in Lieutenant Pigeon. Along with Rob and Nigel (not so round faced three years later) and Steve, Mrs Woodward at piano, added another fun dimension to the sound which to me is still different, fresh and loaded with kerpow !! Thank you Lieutenant Pigeon.'

A review of the album, released on the Decca label SKL5154, has been reproduced below.

'This will do. Despite the awesome threats that it was all a one hit wonder gimmick and destined for an early grave, the gallant Lieutenant's music has gone on to do well in the charts. Nigel Fletcher, Rob Woodward, Steve and 'Ma' open here with Mouldy Old Dough, then into a fairground sound on Jumping Jack and, on side two Desperate Dan makes a predictable appearance. They plunge into the martial beat on Opus 300, and its organ cranking stuff on The Monkey Song. There's the odd break for piano, and the odd extra curricular bit of vocalising – in short don't expect no musical miracles and you'll enjoy the exercise. It's happy go lucky, enthusiastic stuff, and the group has done well to get so many variations of style and sound especially considering the smallness of the personnel. On the sleeve note, Muriel Young opines: its a fun dimension to the sound which to me is still different, fresh and loaded with KEPOW!. Perhaps that's the word for which we've been searching.......'different'.

'Unusual stuff not without its charms from a band who were rather difficult to pigeon hole. Its not an obvious style of music from any era and at times it appears to hark back to the old days of the music hall although the piano is largely dominant'.

Sadly the Lieutenant Pigeon album never fared as well as the single. But one thing is for sure, almost 50 years on, and Lieutenant Pigeon left us with one of the most recognisable tunes ever released.......To a certain generation at least.

Rob Woodwood of Lieutenant Pigeon as Shel Naylor at 17 on the Decca label with a song written by Kinks member Dave Davies in 1964. Jimmy Page on guitar.

The Pineapple Thief – Bristol - November 2021

 

The Pineapple Thief – Bristol - November 2021

by Pete Clemons

Defining the success of bands like The Pineapple Thief is rather like pulling the leaves off a daisy. Are they, are they not?. However, in my mind, there seems little doubt, after having seen them on stage and listened to their albums, any success has something to do with their apparent vulnerability.

The Pineapple Thief are possibly the first of the current great un-super groups who have based their appeal on being of the people as opposed to coming on strong in time honoured tradition. In this delightful venue, there were no visuals of any kind, no fanfares even. The band simply amble on stage and pulled off the seemingly impossible by their sheer musical enthusiasm.

In support of the latest studio album, 'Versions of the Truth', and accompanying live album, 'Nothing But the Truth', recorded in a freezing cold studio in Bedford, at the height of the pandemic, and under the strictest of Covid conditions, The Pineapple Thief set the house ablaze.

During October 2021 The Pineapple Thief became one of the first bands from the UK, if not thee first, to tour in Europe again. They began their tour with gigs in Manchester and Glasgow and, after successfully crossing the border, they arrived in The Netherlands for a performance in Amsterdam. From their they made their way around Germany, Poland, France, Hungary and Belgium without a hitch.

That said, the build up to this tour was not without its obvious problems. Against a backdrop of Brexit and the pandemic The Pineapple Thief had the difficult task of negotiating this tour of Europe. Yes, they had done it before. But this time it must have felt a little like a journey into the unknown. Like countless others dates had been postponed by around 18-24 months and appeared to be beset by rescheduling issues. But, despite the hurdles, it happened.

Back to the gig, which was seen as something as a homecoming, The Pineapple Thief were immense. Within their armoury, the sound comprised of balanced and rounded harmonies, continuous complex drumming and textural, atmospheric keyboard playing. In fact the whole rhythm section is exceptional. The like you have rarely heard before. Principle song writer and lead vocalist Bruce Soord appeared to exude a new confidence. Additionally Bruce doesn't leave all the soloing glory to the impressive Beren Matthews on lead guitarist. Check out 'Our Mire' for an example of Bruce's own capabilities. Hearing that particular song live, along with the many others new and established, this whole gig was taken to a different level.

No doubt Bruce had more than a degree of satisfaction after the completion of this tour. Albeit maybe tinged with a little sadness that it was all over. Happy to be home but the kind of sadness you feel after a really good holiday. There is more to come however. The second stage of this European excursion continues during February 2022. And this is followed by a tour of America.

Hope is like flying. You cant see what keeps you going, but you know it is there. That said I am confident U.S. audiences will turn up in their numbers. Well at least I hope they will.

As a fan of a band whose music genuinely moves you, and who you remember playing in pubs to a handful of people, you just can't help but feel some pride at the moments like this. And this gig certainly felt like a moment for The Pineapple Thief.

Urge (Part 1)

 Urge (Part 1)

By Pete Clemons

To attempt to put together a potted history of Coventry band Urge I have plagiarised notes from a past John Shipley interview and those of Kevin Harrison which appeared to have long disappeared from the internet thus leaving little about this particular band. I also used appreciated input from Nigel Mulvey.

During 1978, and after splitting from a band in Brighton called 'Les Squares', guitarist John Shipley and vocalist David Wankling both returned to Coventry from Brighton, where they had spent the previous few years. After a period of resettlement they began the formation of a new band. And, along with the additional talents of John Westacott on bass, and Billy Little on drums they formed Urge. Kevin Harrison, on synth, organ, tapes joined The Urge slightly later during January 1979.

Kevin 'I get invited to do a support spot at a birthday party at the Rockhouse in Coventry, The Urge are playing, later they ask me to record a rehearsal session. After a few weeks I join them, I play guitar, electric piano and EMS synth and start to introduce some of my songs to the group. I employ Burroughs 'cut-up' techniques for some of the lyrics. We decide to dispense with the definitive and we are now just called Urge'.

Urge began as an imaginative and experimental band. Nothing like Coventry had seen or heard before. Combining both rhythm and noise. Their early performances were relative to the environment and atmosphere and how they were feeling at the time.

Urge have had their problems which was unusually due to a bad P.A. Or insufficient time to soundcheck. Other things which they felt were problematic was a lack of visual image and meaningful communication between band and audience. Due in part to their uniqueness they felt there was not really the audience out there to communicate with.

John Shipley, however, was not destined to remain in Urge for too long. He had noticed that people didn’t dance at their gigs even though the songs were, by and large, danceable. He was also very keen to create a more rhythmic groove with more visible audience participation.

Dramatically, during August 1979 and in the middle of a set at the Lanchester Polytechnic, John walked off the stage, never to return. Seeing the Coventry Automatics perform at Mr Georges nightclub only confirmed the direction he now wanted to take.

After John Shipley's departure, and during September 1979, Lynda Wulf joined the band on vocals. The whole feel of the band had now changed. Shortly after her arrival Urge were involved with U.K Subs and were invited to join them on their national tour.

The first Urge single, 'Revolving Boy/Revolve'. was recorded at Spaceward Studio, Cambridge on 1st November 1979 and released shortly after on the groups own label 'Consumer Disks'. Kevin and David created the sleeve and label design and with the sleeves being printed at the Lanchester Polytechnic.

By now David Wankling and Kevin Harrison were writing much of the bands material. David the words and Kevin the music and production. Urge finished 1979 on a high when they performed in front of a home crowd at Tiffany's where they supported The Beat and UB40.

During January 1980 they Urge were invited by The Specials to support them on their European tour. Urge subsequently played dates in Hanover; Hamburg; Cologne in Germany and Arnhem; Sittard; Waalwijk in Holland.

A new track, 'Nuclear Terrorist', was recorded at Woodbine Studios in Leamington during March 1980 and was included as a track on the compilation record 'Sent From Coventry'.

Mid 1980 was spent recording. Firstly a session that included tracks such as 'Revolving Loop', 'New Sex', 'Inkman' and 'Minutes to Go' were recorded at Woodbine Studio during June. Soon after and, on the strength of those demos, Urge signed up to Arista (Ariola) Records just weeks after Arista's A+R executive, Tarquin Gotch, had heard them.

In July, the band recorded 'Shadow Man' with Dennis Bovell at Surrey Sound who produced and engineered the song. And during late late July it was back to Woodbine Studio to record 'Teach Yourself Dutch' a song written by Urge, engineered by John Rivers and produced by Kevin.

August saw the recording of another new song, 'Bobby' written by Wankling/Harrison, engineered by Pete Buhlman and produced by Nigel Gray. Once again this was recorded at Surrey Sound. During the same session a new version of 'Revolving Boy' was also recorded.

It was back once more to Surrey Sound, for a third time, during the early part of October for the recordings of 'Sea Of Storms' and 'Megadeath'. Not long after this session John Westacott was replaced by Nigel Mulvey (ex-Squad).

During October 1980 Urge played in a bullring in Barcelona with The Specials. Nigel Mulvey confirmed that the Barcelona gig had only been his second or third with the band. But 'What an experience that was' for Nigel. There is a permanency of this new line up in the form of two tracks recorded at Woodbine Studios. These were 'Nowhere to Go' and 'Marching'.

February 1981 a second single was released on 'Consumer Disks' through Arista 'Bobby/Teach Yourself Dutch' (arist 382), followed by an appearance on BBC T.V 'Look Hear'. Look Hear was filmed at Pebble Mill in Birmingham and The Beat were recorded at the same time although the bands songs went to air on different days. Urge performed 'Revolving Boy', which is on YouTube and 'Bobby'.

During March 1981 Urge toured England supporting Selecter on their 'Celebrate the Bullitt' tour with new member Steve Teers - keyboards/trombone. During April 1981 Urge played Marquee Club in London's Wardour Street. However shortly afterwards the group split up 'due to difficulties with Arista and internal wrangles'.

Urge were resurrected between 1981 and 1982. This line-up utilised the songwriting abilities of Kevin and David. And after one abortive gig with Lynda Novak and bass player Dave Gedney along with a rhythm-box Urge added a real drummer in the shape of John Hill and a conga player.

After a few weeks John Hill replaced by Rick Medlock (ex-I) and Pete Jordan - on alto saxophone (ex-L'Homme de Terre) joined. This line-up best known for residency on Sundays at The Whitley Abbey. Coventry. Initial record company interest from CBS; Warner Bros and EMI amounted to nothing. And soon after Urge split once again.

Soon after Kevin Harrison released his solo L.P 'Inscrutably Obvious' for Cherry Red Records and a 12" single 'Fly/Inkman/Views of the Rhine' for Glass Records. 'Fly' featured Horace Panter - bass guitar, Rick Medlock - drums, Kevin - vocals and all other instruments and Lynda - backing vocals.

1983 saw a third Urge line up. The new version included Kevin Harrison - guitar, bass and keys, Kendell Smith – Vocals, Lynda Harrison – vocals and Rick Medlock – drums. This line-up recorded one session at Woodbine Studio during September 1983. Songs completed were 'Pressure Drop/Style & Fashion'. 'The chemistry had gone so Urge, once again, called it a day'.

Links to some of Kevin Harrison's earlier bands on the Hobo sites.

Whistler - Avant garde Jazz Rock band c 1970 

Zoastra - Experimental elctronic band c 1974 / 5 (a bridge between Whistler and Urge) 

Urge - more about Urge

Urge Reunion 2010

Kevin Harrison's YouTube channel

Bobby - The Urge

Teach Yourself Dutch

Ink Man - Kevin Harrison

Below - Kevin Harrison c 1969

Below Lynda Harrison (Wulf) c 1969

Below Urge from their 2010 Reunion along with John Shipley