King Crimson

King Crimson

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

Pete Clemons - 2018 Musical Highlights

Pete Clemons - 2018 Musical Highlights

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Billy Connolly

Billy Connolly

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

The Humblebums

Wham!

Wham!

by Pete Clemons

Nowadays, you can’t help but notice the number of 1980s music events that have sprang up. As with the 60s and 70s it is as though those, who were teenagers during the 80s, are suddenly staring to get that second wind. You know the feeling. You have seen your children grow up and now they are beginning to fly the nest. You have more time on your hands and you are now setting about having a few years to yourselves again. And fair play to you all.

And of all those 80s bands and artists whose names you will see touring on these package tours, for some of you, there will be one glaring omission. Or at least I rarely seem to see them mentioned. And that band is Wham!. And for a while, the music that Wham! created, was totally inescapable.

Wham!, namely George Michael and Andrew Ridgeley, epitomised and embellished the 1980s. Essentially a duo, Wham! was formed during 1981 after the break-up of a Ska band George and Andrew both featured in.

George Michael and Andrew Ridgeley would also perform with backing singers Dee C. Lee and Shirlie Holliman. After Dee C. Lee left the band to join, and later marry, Paul Weller of the Style Council, Shirlie was joined by Helen ‘Pepsi’ DeMacque during 1983. They first appeared together on the video of ‘Wake me up before you Go-Go’.

After the split, which was apparently very amicable, both George and Michael went their separate ways, career wise, to varying degrees of success.

Seeing this new wave of electronic funk on the horizon, on entrepreneur began a new series of promotions at the Stables nightclub, at the Chesford Grange in Kenilworth during 1982. They began on, of all nights, a Monday night and one of their earliest promotions was that of a personal appearance by Wham!, ‘an exciting new funk group’. They were promoted as follows……..

Wham! are a duo – vocalist George Michael and guitarist Andy Ridgeley – who hail from Watford. They specialise in electronic funk, something like ABC, but much better.

Their aim (apart from being successful) is to become spokesmen for Britain’s youth – George is just 17 and Andy 18 – hence their slogan: Youth is precious. Don’t waste it, enjoy it. - (By my calculations the pair would have each been 19 at the time of the gig, but hey – what do I know about how these things work).

Since they signed to CBS early this year, they have had one single out – Wham! Rap – which was critically acclaimed, but failed to make the charts.

Now they have a new single ‘Young Guns (Go For It)’ which they will be promoting at the Stables.

Soon after this appearance ‘Young Guns’ reached number three in the UK charts and, then during 1983, Wham! achieved further success with ‘Bad Boys’ and ‘Club Tropicana’.

They went on to achieve further huge smash hits with the above mentioned ‘Wake Me Up Before You Go-Go’, ‘Everything She Wants’, ‘I'm Your Man’, ‘Last Christmas’, ‘Careless Whisper’ and ‘Freedom’.

Wham!, had developed their style of funk and soul music and went on to become one of the most successful pop acts of the 1980s selling an estimated 30 million records worldwide between 1982 and 1986.

George Michael was indeed an incredibly special person. Throughout his turbulent and well documented solo career he, seemingly and generously, donated and provided his time to Cancer, HIV, IVF and many other worthy causes. Additionally he gave royalties from the re-releases of the ‘Last Christmas’ single to Band Aid. And all this was done, apparently, under strict ‘no publicity’ conditions.

Coventry Music 1978

Coventry Music 1978

by Pete Clemons

On the face of it, 40 years ago seems an awfully long time ago. And of course, it was. But looking back over that particular passage of time, and at some of the moments that took place, it seems like only yesterday. Apart from those directly involved - although even they may not have even realised – we certainly didn’t know it at the time, but history has proved that 1978 was one of the most significant years the Coventry music scene has ever known. It preceded and gave rise to one of the most important musical movements which, even today, continues to create ripples.

The celebrations that heralded in 1978 had hardly died down when almost immediately The Automatics, very soon to be known as The Coventry Automatics and namely Jerry Dammers, Horace Panter, Terry Hall, Silverton Hutchinson, Roddy Radiation and Lynval Golding, began a residency at Mr Georges Club.

These regular Monday night sessions lasted for several months. Almost, in fact, until the club finally closed its doors for the last time. It was a period of great change for the band. Those first few months of the year would see also the band’s name change to The Jaywalkers for a short while.

By the middle of 1978 things would change again. The following extract was written by Gary Bushell and was published in the 5th July 1978 edition of Sounds magazine. It is part of a review he wrote for a gig by The Clash at Aylesbury Friars the previous week on June 28th.

‘SURPRISE number one last Thursday were support group The Specials (as they'd been known for four whole hours. were formerly the Automatics which was very confusing far the other Automatics, you know, the tanks rolled over Poland ones). The Specials are a five piece multi-racial punk reggae group from Coventry, and the two cultures don't so much clash as entertainingly intermingle. Whereas Clash play punk songs and reggae songs, The Specials' ditties combine elements of the two’.

That tour with The Clash was also significant for other reasons. As bass player Horace Panter remembers – ‘We started the tour as a 6-piece but ended it as a 7-piece’ (Neville Staples had graduated from Roadie to full-time performer).

The final piece of the jigsaw of the classic recording line up of The Specials would drop into place toward the end of 1978 when Transposed Men drummer John Bradbury replaced Silverton Hutchinson. Word has it that Silverton, a reggae drummer, had become disillusioned with the direction the band was taking. Brad’s unique drumming style would become integral as firstly, The Special A.K.A, and then The Specials developed their distinctive sound.

But, as important as it was, the birth of The Specials was not the only thing that happened in Coventry during 1978.

Bands such as Ian Dury and the Blockheads, The Jam and The Buzzcocks who, less than a year or so earlier had been playing the nightclubs had found that their fan base had grown significantly. As such they were now returning to the city and appearing at the far larger Coventry Theatre.

Also appearing at the theatre were the more established rock acts like Be Bop Deluxe, Wishbone Ash, AC/DC and Rory Gallagher alongside the more soulful sounds of Johnny Mathis, The Stylistics and George Benson.

There were also some notable support bands playing the Theatre as UFO and Van Halen each supported Judas Priest and Black Sabbath respectively.

On the outskirts of the city, at the Warwick University, other memorable gigs were taking place. Those by The Ramones, Third World and a Stiff Records tour that included Stiff recording artists Wreckless Eric, Jona Lewie and Lena Lovich certainly spring to mind. Looking back in hindsight, time has told us that it was an incredible year for Coventry, although I think in this case we all realised it. But it was also one that continues to provide many a talking point.

The Manfreds

The Manfreds

By Pete Clemons

They say that great music lasts a lifetime. And, any band that can sell out 1000 seated venues, with regularity and with ease, must have had something going for it at some point. What is even more remarkable is that the band in question have been in existence for more than 55 years and each of its core band member are now in their 70s. But I am talking about the music of Manfred Mann.

One of the earliest memories I have is one of receiving a 45-rpm record by Manfred Mann back in 1964. I know that as I still have it and I wrote on the sleeve the date I received it. I was captivated by it. More so the B side of the record, as I remember it though.

Little did I know back then but all these years later and I would still be getting to at least one Manfred’s gig per year. Honestly, it is one of the highlights on my gig going calendar. And I am clearly not alone as the loyalty of those who follow The Manfred’s is really, quite staggering.

The band itself began as The Mann-Hugg Blues Brothers, playing The Wine Lodge (aka Tally Ho, Tudor Rose and now Philip Larkin) during 1963. An ever-evolving group, The Mann-Hugg Blues Brothers has an interesting history all its own. And it was during mid 1963 that the band became known as Manfred Mann and gained a recording deal with the HMV record label.

Below is a reproduction of a revealing article from early 1964, that contains an interview with Manfred, and touches on the bond that developed between the band and our city………….

"Manfred Mann is to appear at Coventry’s Matrix Hall soon and what a crowd will be there to see him, or rather them, because Manfred Mann is more than one person.

In the bleak wintery days of early 1963, the five members of Manfred Mann, the rhythm and blues group who have established a large following in Coventry were so hard up that they all slept in one room.

This was the only room in their South London flat they could afford to heat, drummer Mike Hugg mentioned.

Existence depended on pooling resources and, from the bond which developed among the group, has grown a strong co-operative alliance. Although it takes its name from pianist Manfred Mann it acknowledges no leader. This alliance is paying off now the groups growing popularity is bringing regular well-paid work.

They are contracted to Southern Television for a new series and their recording ‘5-4-3-2-1’ was written at the request of producers of Associated Television’s ‘Ready Steady Go’ who were looking for a new signature tune.

Manfred Mann work with the future in mind and after a job, draw only £3 each, the bare minimum to cover everyday expenses. The rest goes into the bank with the result that the latest recruit, bass player Tom McGuiness joined, he was immediately equipped with a new £155 instrument.

During the last year the group estimate they have spent £1600 on such items as a van, equipment and uniforms. And they still claim to have £900 in the bank.

The group was formed in 1962 by Manfred and Mike Hugg who played drums and vibes after a summer season at Butlin’s Clacton where they had been playing in the same dance band. It was at this time that the two founder members began to be noticed by Coventry youth as there was a party of local lads and lassies at the camp at that time.

The boys formed a modern jazz combo which provided rewards neither financial nor artistic, shrugged Manfred. We became steadily more disenchanted with the scene. It wasn’t just that there was little money to be made, but wherever the band played it was always in competition with audience conversation.

‘They didn’t participate. But gradually we drifted into rhythm and blues where we found that the audience were participating in something-alive. In a way rhythm and blues is the music of today – it is modern folk music, inasmuch as modern folk dig it’. At this point Manfred broke off to stroke his long hair away from his eyes.

‘Our idea is to play rhythm and blues, but not as most people think it should be played, as an imitation of an American sound. We want to create some sounds which are different and original to us. Our interest is not short term and we feel that turning out our own material will pay us in the long run’.

Originally known as the Mann-Hugg Blues Brothers the group change their name just before their first disc ‘Why Should We Not’ was released.

Explained Manfred ‘when we started recording it was impressed upon us that we were using a name that was not commercial. I agreed to the new one on the understanding that it refers to us all. We work as a team and I don’t want to be singled out for special attention’.

The full line up of this interesting group with the interesting sound that is soon to rebound from the ceilings of the Matrix Hall, Coventry is Mike Hugg drums and vibes, Manfred Mann piano and organ, Paul Jones singer, Tom McGuiness bass and Mike Vickers alto sax, guitar and flute. "

Incredibly today’s Manfred’s still contain at their core, three members of the band from those early days, namely Hugg, Jones and McGuinness. In fact, when the band reconvened for Tom’s 50th birthday during 1991, Mike Vickers was also a part of it all. The current band also features vocalist Mike d’abo who was successor to Paul Jones when Paul left the band during 1966 to begin a solo career. And together The Manfred’s set is generally made up of songs from the entire Manfred Mann spectrum along with a few surprises.

Porcupine Tree – Live, where it began

Porcupine Tree – Live, where it began

By Pete Clemons

I couldn’t just let this pass. But the 4 December 2018 marked exactly 25 years since the first ever Porcupine Tree gig at the Nags Head, High Wycombe in 1993.

And what a journey it has been for Steven Wilson ever since. To get to the position of being a musician, simply creating music from his bedroom, to an internationally acclaimed artist has not been easy. The fact is that it has been far from an easy ride. There has been an incredible amount of hard work, commitment and an awful lot of self-sacrifice along the way.

Additionally, Steven is at the forefront of giving the listener as complete an aural experience as possible. From the artwork of an album right down to its final production and mastering. Steven oversees the whole thing. He is also seen as a leading light in the field of state of the art recording techniques. Which is where Steven’s real passion lies.

As far as Porcupine Tree, being a live band were concerned, questions were being asked a couple of years prior to that first gig as to whether Steven’s ‘bedroom’ project would ever be heard by a wider audience. It wasn’t as though Steven had not already had experience on the road. He had, through his ‘other band’ No-Man. But by the time of those first gigs, Porcupine Tree had already had a couple of albums released. Those had been through their independent label, Delerium Records who, it must be said, deserve a lot of credit for getting the band heard during those early days.

Even in a news update from mid-1993, when asked about playing Porcupine Tree music live, Steven mentioned that he was no nearer having a live band than he had been at the previous update. He continued that, he had hoped to do a few gigs to promote the release of ‘Up the Downstair’ but the whole project just didn’t justify the expense of touring yet.

Suddenly, during October 1993, a news update was released that was a lot more up-beat about the whole live thing. It read ‘To promote the imminent re-release of Voyage 34 (Nov 29), I’m doing some gigs. This is a bit of an experiment and we are only doing three to start with, just in case it’s a total disaster’. These will be at High Wycombe, Nags Head on Dec 4, London Borderline on Dec 7, Coventry Tic Toc on Dec 11 (although by the time of the gig the venue had been renamed Antics).

The news update also mentioned that Porcupine Tree were doing a radio one session on December 6 for the Marc Radcliffe show. The band, who would be accompanying Steven, was also announced. Steven Wilson on vocals and guitar, Colin Edwin on bass, Richard Barbieri on keyboards (who both played on ‘Up the Downstair’) and Chris Maitland (from NO-MAN’s live band) on drums.

Surprisingly that first gig, held in an upstairs period styled room that I remember contained a lot of old timber, sold out as it drew in people from far and wide. From memory it was, understandably, a slightly nervy but very competent debut. I cannot think of very much interaction between band and audience. A couple of the musicians were laughing and joking before the gig but as soon as the first notes of V34 were released they all came across as highly committed to the task in hand. For what it’s worth, I did come away feeling hugely impressed. For me, that live debut at The Nags Head came across as a complete success. The gig in Coventry on the following Saturday was an altogether different affair. But what did the band think about it all?

An update received during the early part of 1994 mentioned that Steven had been happy with the way that the PT shows had gone. Changes had been made of a consequence of finding that certain pieces had not worked in a live context (‘Fadeaway’ for example) and others had been introduced to replace them. At present Porcupine Tree are doing several shows in Europe, where a lot of interest had been shown.

Toward the end of 1994 things were gathering momentum as half a dozen UK gigs were announced. One being at the Old Trout in Windsor on November 9 which I managed to get to. News of these events came with a couple of cautionary lines. One being how it had been difficult getting decent gigs in the UK. The other was whether or not the ‘professionals’ would recognise the quality and appeal of the music.

Remember, all this was happening at a time when Britpop was taking the country by storm. And the kind of music which Steven was creating, was very much a part of the underground. Plus, the internet was very much in its infancy. So, getting the word out there was still very much hand to mouth. How times have changed over the last quarter of a century.

After more than 700 gigs, culminating with a gig at the Royal Albert Hall, 10 studio albums and several live releases Steven pressed the pause button on Porcupine Tree as he concentrated on his solo career where he went on to become the biggest selling artist for the K.Scope label. And still, to many, the music of Porcupine Tree and Steven Wilson is still to be discovered.