Friday, July 26, 2024

John Mayall at Warwick University

 

John Mayall at Warwick University

by Pete Clemons




John Mayall and his various bands visited Warwick University several times playing consecutive years between 1965 and 1968. From an organisational point of view those visits had varying degrees of success. Mainly around the numbers attending and the financial side of things. The entertainments department had its own budget to work around. Additionally, I am guessing that blues music was maybe still niche at that time.

During 1967 it was announced that The Coventry Colleges Rag Week was to be held during April. It would feature a dance headlined by John Mayall. All proceeds would go mainly to the 'Save the children fund', with lesser donations to other charities. The problem was the dance lost money and the charities never did get the promised funds.

An inquest afterwards stated that - 'In the first year that the university put on events dances (I assume this t mean 1965), it seemed, made a profit with a greater percentage of the students attending; anyone who has spoken to a third-year 'raver' will be told this, but I'm sorry it's true. Every dance in the first year, according to the scanty treasurer's files made a profit. The artistes ranged through, John Mayall, Alex Harvey, the old Steam Packet, Mike Cotton, Gino Washington and the Alan Price Set. The dances were packed they were all successes'.

The report continued 'But in the second year the situation changed. following in the steps of the first year boom, a number of good groups were booked, Mike Cotton, Mayall again, the Move, the Cream, the Family and Alan Bown to name but a few. But only few of the dances broke even, most made a loss, and the question was why, they had followed the same formulae as the first year dances, so why did they fail' ?

Various reasons and ideas were then submitted on how to improve things. Something must have worked because after John Mayall's next visit during 1968 it was joyfully announced: 'Mayall makes money with a record attendance'

That particular report continued 'Last Friday evening saw the most popular and profitable dance of the year. Over 750 listened and danced to the exciting music of John Mayall, Elmer Gantry's Velvet Opera and the Green Marble Mind. The atmosphere sometimes destroyed by the A.T.V. floodlights, was tremendous. It seems unreasonable that people, having paid a comparatively large amount of money for the dance should have had their enjoyment spoiled by the brightness of these lights which not only dazzled them but made it uncomfortably hot, especially for dancing'.

'Indeed it was very noticeable that fewer people were dancing than normal. Throughout his one and a half hour set, which included only a short break, John Mayall played us music which demonstrated his true worth as Britain's top blues player. Backed by six members of his Bluesbreakers, Mayall played brilliantly through many of his L.P. tracks, lengthening and adapting them to the mood of the dance'.

'With his ragged beard and casual attire, he needed no gimmicks to hold the attention of his massive audience. Altogether superb music from some very talented musicians but what else could you expect from a group that has in its time included such people as Aynsley Dunbar, Pete Green and Eric Clapton yet further indication of the prowess of the great John Mayall'.

This dance, it seems, was the culmination of a period of reform of the structure of the Ents. Committee, last term and its success both financially and socially was a triumph for the new format. In conclusion, it was mentioned - 'this dance has proved that the university was not all apathetic and that it is up to all of us to help continue the enthusiasm that was aroused on Friday night'.










Sunday, July 14, 2024

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW

DIRT ROAD BAND - RIGHTEOUS - ALBUM REVIEW.

BY Pete Clemons


YOU CAN VIEW, LISTEN AND PURCHASE THE DIRT ROAD BAND'S LATEST ALBUM HERE ON BANDCAMP https://dirtroadband.bandcamp.com/album/righteous



I can't imagine that when Steve Walwyn, Ted Duggan and Horace Panter were young, they would be thinking that 'When I am nudging my eighth decade, I’d still like to be playing fast high energy music with that slightly aggressive attitude'. Yet that is exactly what they are doing right now surly?

Here are three men who, at their stage of life - and having had the careers they have had, would be forgiven for taking things a little bit easier.

But no, in the autumn of life they appear to be have gotten a welcome renaissance. And this rejuvenation, cohesion and camaraderie is there for all to hear. The Dirt Road Band's debut album 'Righteous' is absolute proof of that.

Righteous is a highly polished, exciting and truly excellent listen. This trio are certainly not going quietly. There are no huge anthems but at the same time this album is the complete antithesis of mediocrity and crushing tedium.

Apart from the atmosphere created by Righteous the album also creates a power and energy. At times you can't get the volume high enough. Years ago I guess this album would possibly have qualified for the heavy music label.

The tunes included are all original and as memorable for their stunning instrumental breaks. But there is a marriage of several contrasting styles - the one sharp-edged and shrill, the other calm and reflective - it is a treat not to be missed.

Perhaps the most striking departure on the album is the track called 'Been So Long' which features a lavish organ arrangement, and captures exactly the right shade of doomy foreboding, which is characteristic of the album.

Another key to the success of Righteous is that despite the musicians maturity and familiarity they seem to have approached the music with a radical freshness.

The Dirt Road Band are essentially happy war horses, at their absolute best in the short, sharp shock format of 'Cutting Room Floor' or the excellent 'Worry No More'. Its comforting to know that their are always some people you can rely on for a dirty night in.

All that said, and this is not a criticism - just an observation, I am getting a different kind of excitement to that of a Dirt Road Band live gig. As good as Righteous is, it does not - for me, capture the rawness of the Dirt Road Band live. This is an altogether different experience. To me the Dirt Road Band have now developed two facets. The live version of the band and the studio version. A live album is without doubt an idea to ponder. I really think there is room for one

However critics, even amateurs, are rarely the people to pay attention to and I urge anyone who has not heard this album to give it a listen. A powerful and worthwhile release.



Tuesday, July 2, 2024

The Dirt Road Band at the Arches. Midsummer Madness (fun in the sun)

The Dirt Road Band at the Arches. Midsummer madness (fun in the sun)

by Pete Clemons


https://dirtroadband.bandcamp.com/ Listen to their music here 

Line up

STEVE WALWYN (Guitar/Voc)
Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red
HORACE PANTER (Bass)
The Specials - Number One Hit `Ghost Town`
TED DUGGAN (Drums) Banco De Gaia,
Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.


This is not so much a review of the gig. I have done that on previous articles and do not want to simply repeat that process. This time I have just focussed on a few of the amazing songs they played.

The blues is both a musical form and genre. It gets its name from its original association with melancholic subjects and sounds. For example when we have the blues we are, in general, feeling sad. However the blues, as a genre, has developed to addressed other subjects and emotions. It has also adopting a wider purpose of chasing away those blues away using music as the tonic.

Historically, as the blues developed, it encouraged a series of sub genres to develop including blues rock and country blues. Further, the blues can be defined by their development in certain a place such as Chicago Blues and Delta Blues.

In their quest to develop a rarefied set list all these areas appear to have been explored. The obvious example is the song where the Dirt Road Band get their band name from. Charlie Patton and his Down the Dirt Road Blues. DRB have taken this song, sprinkled their unique ingredients, and given it, and many others, a complete overhaul. Delivering them in a fashion that boosts, enhances electrifies and with a touch of venom.

Goodness knows when Down the Dirt Road Blues was written but according to the archives it was recorded during sessions during June 1929. It is a really interesting track as it contains fascinating use of different rhythms. You do wonder, given the tools available during the 1920s just how Charlie got to beat his guitar and play it at the same time. The lyrics on the original tune are difficult to decipher. But someone has had a stab at it and those appear to be the ones adopted.

Farther on up the Road or Further on up the Road was believed to have been written by Joe Veasey. It was sold to Duke Records whose owner took a share of the song writing credits. But it was during 1957 when first recorded by Bobby Bland. Covered by many artists it features guitar playing that represents the transition from 1940s blues playing to the heavier blues rock style of the 1960s. Personally I absolutely love the Roy Buchanan version.

Laundromat was the opening track from Rory Gallagher's self titled debut album. It quickly became a firm favourite and a staple of his live shows. The song also appeared on a number of live albums. Laundromat was written during the period between Gallagher leaving his band Taste and going solo - so to speak. It was inspired, by all accounts, by a public laundromat in Earls Court close to a bedsit he was in at the time.

Credit to for support band the James Oliver Band. Growing up I remember we had a sideboard sized gramophone. A lot of their set contained tunes from those days. As such they stirred the soul several times bringing back many happy memories. Accelerated versions of Wipe Out, Roxette, Walk Don't Run, Misirlou were dispatched rapid fashion.

Dua Lipa from Glastonbury or The Dirt Road Band at the Arches. A tough but on reflection no  competition.

STEVE WALWYN (Guitar/Voc)
Dr Feelgood, The DTs, Chevy, Steve Marriott, Roger Chapman, Eddie and The Hot Rods, Red on Red
HORACE PANTER (Bass)
The Specials - Number One Hit `Ghost Town`
TED DUGGAN (Drums) Banco De Gaia,
Badfinger, The Beat, The Selecter, Desmond Dekker, Chevy, Red on Red, The Drifters.







about

Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

THE SUPERNATURALS
Supernaturals Warwick University and Belgrade Theatre 1985 and 1986


By Pete Clemons



June 1985 – The story went that a band named 'Two People', actually there were five of them, pulled out with flu. Fortunately at the same time Pauline Black, ex-Selecter, happened to wander into the union office, and her then current band, The Supernaturals, were booked.

Pauline Black’s rock steady vocals have now given way to an abrasive upfront, sometimes obsessive, sometimes monotonous rant. The impression created was of an experimental band putting itself through its paces, while searching for an identity.

At times the band appeared almost mentally detached from the audience. Admiration of the dynamics of the Whipround being reduced to an appreciation of the technical professionalism of the musicianship as opposed to danceable excitement.

The Supernaturals' might have expected more from the onlookers, the bands fault? Or the typical reaction of statuesque student audiences? Answer was probably both.

Inspiring enthusiasm is not Pauline Black's forte, the audiences contribution in what should be a two way relationship was also minimal.

Early 1986 - Pauline Black is back with her new band The Supernaturals. She has long since left behind the ska beat of The Selecter and her rock steady vocals have evolved into an abrasive upfront rant. The Supernaturals, at Warwick Uni last year, were described as 'an experimental band, putting itself through the paces, while searching for an identity.'

It is to be repeated that, at times, the band appeared detached from their uninspired Whipround audience. Their music as technically perfect but little excitement was generated. It is expected after some time out, the band will have found their identity and enthusiasm. Curiosity alone will probably draw some of you to the Belgrade on the 12th, which is no bad thing. In the words of Mr. Elvis Costello ‘Curiosity didn't kill the cat, it was some poisoned milk.'

Pauline Black - Vocals

Everett Morton – Drums

Zip – Bass

Tony White - Guitar

Dave Gedney - Guitar



Pauline Black - Vocals

Rob Hill – Drums

Ray – Bass

John Shipley - Guitar

John Greenhow - Guitar


A rare live audience recording of The Supernaturals; a band from Coventry with strong 2 Tone connections, featuring both Pauline Black (ex- The Selecter) and John Shipley (ex- Swinging Cats and The Special AKA) in their line up. This is track 6 from their gig in Aylesbury in 1986. An excellent article on John Shipley's career can be found on the link below which also includes further information on The Supernaturals.

Away - cover of Swinging Cats number.


Fish Gotta Swim


The End

More youtube by the band on this channel

The Supernaturals 1985 -86



BACK TO THE BAND INDEX

Pauline Black – Vocals

Everett Morton (The Beat’s old drummer) – Drums replaced by Rob Hill

Zip The Bassman – Bass replaced by Ray, a bass player from Rugby

Tony White – Guitar

Dave Gedney (“That boy gets everywhere!” – Tony)

John Shipley – Guitar (2nd Line-up)

John Greenhow (2nd Line-up)

Memories from Tony White via Rex Brough

“The first line-up supported Joe Boxers on tour. The second line up really rocked. NME described us as playing ‘Guitar-based underwater spy-movie music’ I really enjoyed this band – we supported The Communards on their UK tour in 1986 and played some great gigs around the country.

There was a lot of Press and record company interest in The Supernaturals at that time – closest that I personally ever got to ‘making it’ but it wasn’t to be. John Shipley and Pauline fell out, everybody took sides and it got a tad nasty. God I really hate all that political nonsense. Upshot of it was that a new band emerged from the ashes called The Great Escape – Val (Ex swinging cats) was drafted in as lead singer and Barry (Rob Hill’s old partner in rhythm from The Mix) replaced Ray on Bass. The new line up was now Val, Myself, John Shipley, John Greenhow, Rob Hill and Barry.

The Great Escape actually played some corking gigs in Cov in early ’87 but finally split with myself Rob and Barry going over to the French Riviera where we played the English Campsite bars as Ted Zeppelin and the Marina Maniacs !!

I have to say that this was amazing fun, and actually earnt more dosh than any of us had ever seen from music before ! 
https://www.artsrainbow.com/coventrybands/2019/03/28/the-supernaturals/

Saturday, June 15, 2024

ENS to Reluctant Stereotypes

 

ENS to Reluctant Stereotypes

by Pete Clemons




Pete Clemons - Any research on Coventry band The Reluctant Stereotypes may well result in you seeing the note 'morphed out of ENS' or similar. Rarely is it expanded on.

But who or what was ENS?. To begin with, musicians including Paul Sampson, Steve Edgson, Peter Bosworth, Paul Brook, Steve Haddon and Chris Dunne were involved at some point. But that list is not exhaustive and others may well have passed through the band.

Trev Teasdel Hobo site editor - Stop right there. I think I can fill in here! Let's expand - (we'll come back to Pete's article)

Steve Haddon wrote "Ens was formed by Pete Bosworth (guitar - brilliant John McLaughlin look/sound-alike) and myself (Steve Haddon). 

The original bass player didn't turn up for our first gig (at The Golden Cross) so he was ditched! Our first drummer was Johan (can't remember surname) who played the working men's clubs in a drums/keyboards duo. Johan's commitments made it difficult for us to fit in gigs, so he was replaced by Paul Brook. Paul came to our first audition but was still playing in another Coventry band (Analog) along with Steve Edgson & Mick Hartley, so despite him being brilliant, he couldn't join because of this commitment. When Paul Brook joined, we also gained Mick Hartley (Bass) and Steve Edgson (Clarinet) - actually Steve Edgson may have joined before the other two! Paul Brook still found it difficult to give us 100% of his time and, eventually, this led to us replacing him with Chris Dunne - our 3rd brilliant drummer in a row.  Sadly Pete Boswell died and was replaced by Paul Sampson. Pete Bosworth made a huge contribution to Ens and it really wasn't the same without him - so the name was changed to the Reluctant Stereotypes mark 1 before Paul King replaced Paul Sampson."

Trev Teasdel " Yes Steve Haddon is right the core of ENS came out of Analog but who were Analog? I can help here - summer 1974 I was producing Hobo Coventry Music and Arts Magazine and got a letter from guitarist John Rushton telling the magazine about Analog - the letter began -

"Hi Trev, I thought you might like some details of a new and truly original Coventry rock band to include in your mag - Hobo.

And yes we did include the band and their details in Hobo summer 1974 issue and then gave them their first gig at the Hobo Workshop Holyhead Road Youth Centre in Coventry in the July and and another in September 1974. Bear in mind at this time Charley Anderson etal and Neol Davies were practicing their reggae licks in the basement downstairs some years before the Specials formed there.

Analog's line up was Mick Hartley - bass, Steve Edgson guitar / clarinet / Paul Brook drums (double kit) and vocals  / John Rushton lead guitar and backing vocals. They band were a jazz / Rock band influenced by bands like Colosseum. Paul Brook had written a 40 min suite called Custer's Last Stand which they recorded at Bird Sound Studio, Snitterfield. You can listen to these suburb tracks here - and bear in mind three of Analog went into Ens and later the early Reluctant Stereotypes.






Analog at the Hobo Workshop Holyhead Road Youth Centre September 1974 from the Coventry Journal.

John Rushton's letter to Hobo Magazine July 1974



So now, back to Pete Clemons and ENS

Pete Clemons - I for one would like to know what the acronym ENS stood for. But, I think, it would not be unfair to describe ENS as something of an experimental art rock band. They were certainly avant-garde and had a style of their own.

In fact ENS once won the Melody Maker folk/rock area finals competition. In hindsight, the problem for them was that they won this contest and flourished during 1977. A time when the country was not quite in the right frame of mind for innovative and forward thinking music.

During 1975, as far back as I can trace any of their history, ENS were described as a 'bona fide university band' and 'worth a glimpse' as they were announced as support to Savoy Brown who had guitarist extraordinaire Kim Simmonds in their ranks. Also on that bill was Jet who were described as 'an up and coming Sparks/Queen outfit'.

However I am guessing that ENS were maybe more at ease when, during 1977 they supported Henry Cow, a band who were trying to break free of all possible barriers to their music.

In, just short of 2 hours, five pieces of music of music was performed by Henry Cow. The shortest of them was the Lindsay Cooper tune 'No More Songs' which was dedicated to Phil Ochs. They played four long pieces, two of which were called 'Beautiful As An Army With Banners' and 'Living in The Heart Of The Beast'. The other two pieces were simply unannounced.

The gig had certainly been an evening of drama. Henry Cow had attempted to step outside of all that had been considered 'the norm' and simply experiment. With an audience that had a sympathetic ear, ENS had , without question, been received extremely well. But if ENS had felt like they were on a high, sadly it was not last.

Early 1978 saw Warwick University put on free entertainment in the Union Building. As it turned out it was an unfortunate example of student misbehaviour as ENS came in for criticism by those who considered them to be a 'bad band who could not satisfy their unruly inclinations'.

To be fair it was a sign of the time as it merely showed that some gig goers of the day lacked musical appreciation as well as etiquette.

Audiences had lost there way and had quickly forgotten that there was still music outside the realms of heavy rock and sniff rock. And ENS were more than competent to play their type of music.

It was unfortunate that those who were interested in listening to quality music had had their enjoyment spoiled by those who felt that they should voice their disapproval of the whole event.

Afterwards it was mentioned that 'One thing was certain, ENS won't play at Warwick University again unless we pay them 'danger money!'

Thankfully we have changed and, today, we seem to be more open and receptive to many different styles of music.

....

No audio of ENS but this is the early Reluctant Stereotypes with Paul Sampson on vocals before Paul King took over on vocals.




Saturday, June 8, 2024

Frank Ifield

Frank Ifield
by Pete Clemons




Frank Ifield was born in Coventry during November 1937, emigrated to Australia 1946 and made his home in the Hills district of Sydney.

Before he was 16 Frank had landed himself a recording contract and, as a consequence, made many appearances on television and radio in that country. It was said that Frank Ifield couldn't resist a challenge.

And that challenge came in the shape of tackling and conquering a new audience in the United Kingdom that drove him to leave Australia where, as a top drawer entertainer, his future was secure.

So in November 1959 Frank arrived in England virtually unknown but eager to start again and determined to succeed. Initially a chart topping record eluded Frank. That said his first single for Colombia Records 'Lucky Devil' did enter the top twenty.

Subsequent TV appearances and nation wide tours made him well known to thousands. Then Frank recorded 'I Remember You' and everything changed overnight. This song had a distinct flavour all of its own which immediately grabbed the attention of the record buying public and it soared to number one.

Even after four number ones singles, between 1962 and 1963, Frank's chart success would not last. The advent of the beat bands saw the singing stars of the late 1950s and early 1960s soon finding themselves in the shadows.

By late 1963 and through 1964 The Beatles, The Rolling Stones were beginning to dominate the music scene and Frank had to reinvent himself.

And that change of direction was by becoming an almost automatic choice on the all round family entertainment programmes that dominated the small screens. And Frank was a regular until that type of entertainment had run its course.

Frank was also an advocate of the theatre. Particularly his beloved Coventry Theatre. 1976 saw the future of Coventry Theatre being threatened. February 1976 saw Coventry Planning Committee grant permission for an application to extend the building. This would mean it could be used as a Bingo Hall.

However Equity launched a campaign to keep the Theatre a live theatre. Messages of support were received from, amongst others, stars of the day like Frank, Peters and Lee, Noel Gordon John Alderton and Kenneth Moore.

But, of course, it was a short lived victory.


Below is a non exhaustive list of some of Frank Ifield's highlights:

April 1960 Duane Eddy, Kathy Kirby, Frank Ifield tour of the UK

May/June 1960 Emile Ford and the Checkmates, Frank Ifield tour inc Rugby Granada Theatre

The Shadows, Frank Ifield Jan/Feb 1961

The Shadows, Frank Ifield April 1962 for a week in Liverpool

Everly Brothers, Frank Ifield late 1962


Headline tours:

Frank Ifield, Anita Harris late 1962

Frank Ifield, Lana Sisters early 1963 (inc Coventry Theatre)

Frank Ifield, The Springfields early 1963

May and again June 1963 Frank Ifield, London Palladium

By 1965 Frank was playing summer seasons at seaside towns such as Great Yarmouth and Bournemouth
Summer season 1964 saw Frank Ifield in Blackpool with Kathy Kirby

By end of 1965 and into 1966 Frank was starring in pantomime at the London Palladium alongside stars like Sid James, Arthur Askey and Roy Kinnear.

1967 holiday star time with Jimmy Tarbuck at Blackpool

A similar pattern of shows and regular television appearances continued.



I Remember You


Lovesick Blues


The Waywood Wind


She Taught me to Yodel



Friday, June 7, 2024

Cycle - A Band with Teesside and Coventry Connections

 Cycle - A Band with Teesside and Coventry Connections.

By Pete Clemons with Prologue by Trev Teasdel.

Cycle second generation — from left to right, Jim Broughton, Norman Smith, John Whittingham, Andy Chisholm, and Malcolm Harker.

Photo from Andy Chisholm's website for Cycle - Here - for more information and photographs -

https://www.chisholm.nl/cycle/cycle.html

Prologue by Trev Teasdel

There's a little back history that led to this article. 

Coventry 1971, I was putting on bands at Coventry Arts Umbrella and doing the door for Pete Waterman's Progressive night at The Walsgrave. 

Pete Waterman (long before SAW) booked Coventry top progressive band -  Indian Summer for the Walsgrave. They'd just recorded an album for RCA Neon - a short lived progressive label, via their manager Jim Simson, who also managed Black Sabbath. Indian Summer who  also comprised Bob Jackson - later with Pete Brown and Piblokto, Ross, Badfinger and The Fortunes. Paul Hooper who now drums for North east group Prelude who had a hit in the 70's and  Colin Williams - a first class guitarist.

Indian Summer 1971 - L to R Collin Williams / Malc Harker / Paul Hooper / Bob Jackson.


I asked Malc Harker, the bass player, if Indian Summer would play the Umbrella - they had in the past, but Malc told me he was leaving the band to join his father's Engineering business - Harker and Sons and the band would be without a bass player for a while. 

I had assumed Harkers was in Coventry and in 1980 I moved to Teesside to do my degree and while I heard about Harkers Engineering in Stockton on Tees, I had no idea it was connected to Malcolm until Pete Clemons interviewed Malc for an article on this site published in 2021. It was a revelation to me but Malc had already sold Harkers by then and moved to Seattle band. 

I learnt via the article that Malc had bought a property not far from where I now live in Great Ayton, up near Chop Gate on the moors called Chisel Hill Mill where he had recorded Chris Rea and also North East band called Cycle. 

Chisel Hill Mill


I was up there recently a friend and the views are tremendous and I  Googled the band 'Cycle' and discovered Andy Chisholm's great website on the band's with lots of photos of the time at Chisel Hill and then put Pete Clemons in touch with Andy with the idea of writing this article on and in doing so I discovered there were more coincidences - Pete already had Cycle's album and it was produced by Coventry musician Lee Dorian and here it is. 

Malc Harker "Music had to take a back seat when I took over my Father's firm - but I was still playing. Haywire was the first Teesside band I joined, playing acoustic folk-rock at venues such as “The Kirk” and The Lion Inn, Blakey Ridge (home of Back Door). One day I saw an advert “Cycle needs a bass player” - so I went along."

You can read Pete Clemons 2021 article / interview with Malcolm Harker here and it compliments this new article - https://coventrygigs.blogspot.com/2021/03/malcolm-harker-ex-indian-summer-musical.html


CYCLE - by Pete Clemons


This particular article began as a chat between Trev Teasdel and Andy Chisholm. Andy had, I think, spotted an article I wrote about Coventry band Indian Summer. Andy spotted Malcolm Harker's name who, later, became associated with a band up in the North East called Cycle. Having had the Cycle CD in my collection I asked Malcolm Harker for his recollections and memories on that period. His reply follows............

Greetings from Seattle. What an amazing coincidence!

The story’s true, I’m here to say

I was driving that Model A

I left Coventry in '71 and went back north to join the family business. But I still wanted to play bass in a rock band. So I replied to an ad. in the Teesside Evening Gazette:

'Cycle needs a bass player'

Being newly-returned I didn’t know that Cycle were a heavy metal band from the original land of heavy metal - blast furnaces, shipyards, pit villages and all the other heavy jobs. Cycle had a reputation - and volume to make themselves heard above all this.

Unlike Indian Summer, they were also heavy drinkers. All the local bass players were intimidated, so there were only 2 applicants - me and a guy who had just been released from jail for something druggie. Perhaps surprisingly, I've never been in a druggie band.

So I got the job - but on 1 condition: I had to buy the old bass player Ronnie’s Laney amp. The WEM amp I had just wasn’t up to such heavy lifting. I subsequently discovered it also covered the hole in the van floor where the rain came in - another task my wimpy WEM couldn't handle.

Since you have the Cycle album, you know the other band members. Norman was a great powerful drummer and a rigger at ICI chemical works. John the guitarist (RIP) was really good, but I took that for granted as I was used to playing with Col. Williams. John was also a powerful singer and Special Needs teacher - exactly the skill set required to manage a hall full of drunken coal miners. Andy Chisholm, who became a life-long friend, was the roadie and sound man - with the first back-of-the-hall mixing desk of any local band.

We also had a serious PA with reflex bins. - another local first. Andy sang harmony vocals from the desk - including the Major Tom parts on Cycle’s pretty good version of Space Oddity. There were several Heavy covers - but no Bloody Sabbath!

And we were loud - VERY LOUD. But at the steelworks and pit village Working Men's Clubs no one cared how loud it was - unless we interrupted the bingo!

I’m on the title track, 'Cosmic Clouds', also playing the vibes, which featured on a couple of the Indian Summer album tracks. 'Walking Through the Darkness' and 'Dawn of a New Life' were recorded at my studio, Chisel Hill Mill. Incidentally, Chris Rea recorded some demos at Chisel Hill Mill.


Chisel Hill by Chris Rea

The funky influence was my fault as I liked Steely Dan: 'Reelin’ in the Years'?. We didn’t play it - but Paul Hooper does in the West Coast Band, which still plays the same North East Working Men's Clubs - even though all the pits and most of the heavy jobs have gone.

Andy Chisholm: Sadly of the list of Cycle members, John Whittingham, guitar, Ronnie Patterson, bass, Norman Smith, drums, Malcolm Harker, bass, Andy Chisholm, sound and synths - (we all did vocals), Dave Stokes, roadie, and Jim Broughton, roadie and keyboards, only Norman, Malcolm, Jim, and myself survive. There can be no revival of the band now without the others.

And the Coventry connection doesn't stop there. The reissued Cycle album came out on the Rise Above Relics label a specialist subsidiary label of the Rise Above Records run by none other than Napalm Death vocalist Lee Dorrian

My thanks to Andy Chisholm and Malcolm Harker

Indian Summer Album RCA Neon 1971


Dawning of the Last Life - Cycle 


Cosmic Clouds - Cycle


In the Beginning - Cycle

More from Cycle on their Channel


Lee Dorrian of Rise Again Records band Napalm Death.

Lee Dorian of Rise Above Records with Napalm Death - Scum.





Malc Harker (left) at Harkers and Sons Ltd Stockton on Tees.


The Lion Inn Blakey Ridge North Yorkshire Moors.

Chisel Hill Mill studios in the 70's via Andy Chisholm's website for Cycle 
And Malcolm Harker on bass via the same site.




Indian Summer at the Coventry Arts Umbrella 1970

Up near Chisel Hill - the views - Roseberry Topping in the background


Chisel Hill Mill today.