Jethro Tull

Jethro Tull

by Pete Clemons

A pair of albums that have given me immense pleasure over the years, one now over 50 years old and the other fast approaching, are ‘This Was’ and ‘Stand Up’. Both releases were by Jethro Tull and, together, they still get regular outings on my audio devices.

Jethro Tull had been regulars at the prestigious Marquee Club in London throughout 1968 and even featured at their festival, The National Jazz and Blues Festival in Sunbury during August of that year, where they proved to be a huge hit. September 1968 saw the release of the band’s first Island single ‘Song for Jeffrey’.

Prior to ‘This Was’ being recorded, associates of the band, advised Ian Anderson to forget the flute which he had only recently taken up. How wrong he was to prove them. Upon its release, John Peel enthused about it, becoming an early advocate, and gave the album huge airplay. It seemed to catch the music business by complete surprise.

‘This Was’, entered the album chart at number 23 during October 1968 peaking at number 10 mid-November, and was a more than impressive debut record. It was blues-based and featured the line-up of Ian Anderson, flute/vocals, Mick Abrahams, guitar, Glenn Cornick, bass and Clive Bunker on drums.

The final recording of ‘This Was’ was far from perfect but, in their defence, Jethro Tull had not got the weight of a label behind them during its creation. That only came later. A Melody Maker review ‘thoroughly recommended’ the album. It reached number 10 in the charts.

Jethro Tull played Coventry a couple of times during 1968 either side of the release of ‘This Was’.

Early 1969 and Mick Abrahams left Jethro Tull to form Blodwyn Pig. An uneasy alliance had grown as to the direction of the band with Mick wanting to follow the previously embarked bluesy path. Ian Anderson had other ideas however and was becoming more influenced by the more progressive sounds that were springing up at that time.

Securing the services of ex Lanchester Polytechnic student, Martin Barre, the band began their first tour of the U.S. soon afterwards. While in the States, the band quickly picked up a sizeable following.

Jethro Tull’s fourth 45 rpm single, and their first recording with Martin Barre, ‘Living in the Past’, entered the charts at number 41 during May 1969 steadily rising to number 3 over a 6 week or so period.

A second album, the quite brilliant ‘Stand Up’, entered the charts at number 1 during August 1969. At around the same time ‘This Was’ was re-entering the lower reaches.

Ian Anderson, complete with his wild eyes and one-legged stance (a position adopted from his harmonica playing days) along with various other postures and poses, was now in total control of band.

‘Stand Up’ was, I think, still a bluesy album but undoubtedly Jethro Tull were beginning to expand and find their own niche. Some great songs took the album into a host of wonderful directions. Take a listen to ‘We Used to Know’, from ‘Stand Up’ and see if it reminds you of a familiar tune from the mid to late 1970s. Incredibly both bands toured with each other during the early 70s. A further two tunes, ‘Sweet Dream’ and ‘The Witch’s Promise’ kept the band in the singles chart, reaching number 7 and 4 respectively.

The next album up was ‘Benefit’ which entered the chart at number 7 during May 1970, rising to number 3, before dropping down again quickly. ‘Benefit’ was, again, a change in style. It felt more loosely put together in feel with the introduction of piano and organ enabled this. Despite selling over a million copies the critics were not enamoured by it.

‘Benefit’ would be the last album with the Anderson / Barre / Cornick / Bunker line up. Although they still had time, complete with John Evan on keyboards, to appear at the Isle of Wight festival on 30 August 1970 Isle of Wight.

From all accounts Jethro Tull’s performance at the Isle of Wight was impressive from the outset on that final day of the festival. The band were said to have delivered a powerful and charismatic gig. The set included a version of ‘My God’ which featured on the ‘Aqualung’ album, the first album to feature Jeffrey Hammond on bass guitar and vocals.

Incidentally, Ian Anderson, Glenn Cornick and Jeffrey Hammond had been members of the John Evan Band prior to the formation of Jethro Tull. Anderson even wrote a trio of songs, across those first three albums, about Jeffrey Hammonds peculiar behaviours.

Jethro Tull went on to make many wonderful and amazing albums. And some of the lyrics found within those lyrics have a touch of genius. The band still tour today. But those early days of the Tull, along with all the new and exciting sounds being discovered, made them very special indeed.

Snowy White

Snowy White

by Pete Clemons

I first came across guitarist Snowy White at a Pink Floyd concert at Stafford Bingley Hall during 1977. Pink Floyd, had until then, normally performed as a four piece so it was intriguing to see this ‘fifth’ member of the band on stage bolstering the sound.

It turned out that Snowy had been recommended to Pink Floyd by a former manager of Kate Bush. A year or so after that gig, and after buying a copy of Richard Wright’s solo album ‘Wet Dream’ I noticed that Snowy had been a guest musician.

Snowy also appeared on the next major Pink Floyd tour where they performed The Wall. That enormous extravaganza appeared at Earls Court in the consecutive years of 1980 and 1981. Snowy was on stage for the 1980 gigs but not on the 1981 shows. Possibly because, at around the same time, Snowy had also became a member of Thin Lizzy, and the two activities maybe clashed.

1983 saw Snowy White make the top 10 of the UK singles charts with the timeless classic ‘Bird of Paradise’, which came from his own debut solo album release ‘White Flames’. I remember buying this LP particularly well as, at that time, I was taking a break in Spain and Portugal, and a record shop I popped into stocked it. The style of the ‘White Flames’ album set the scene for Snowy’s initial album releases, solid laid-back rock tunes where Snowy took up lead vocals.

The late 1980s saw a distinct change of direction for Snowy, with the formation of the Blues Agency. With the clue in the name, the emphasis, was now on the blues. During this period this band played live at the Tic Toc club Coventry (now known as the Kasbah) during 1990. In addition to Snowy on guitar, the Blues Agency included Graham Bell on vocals, Kuma Harada on bass and Jeff Allen on drums.

From then on, and for the following quarter century, there was a steady release of a dozen or more excellent and varied blues-based albums, from Snowy, under band names such as White Flames and the Blues Project. Additionally, for these albums, Snowy White had once again resumed the lead vocal as well as introduce the wider world to a Dutch -Indonesian rhythm section - Drummer Juan Van Emmerloot and bass player Walter Latupeirissa - that remained the cornerstone of most of those albums during this period.

Interspersed within these releases Snowy’s talents were still in high demand. He was invited to perform alongside Roger Waters at high profile gigs such as The Wall concert in Berlin 1990 and the Pink Floyd association continued with many prestigious tours, with Roger, between 1999 and 2013.

Throughout his entire recording career, including some sessions with Peter Green during the early 1970s, Snowy played an iconic 1957 Gibson Les Paul Goldtop guitar which he acquired during 1969. During those 45 years, the Goldtop had been played almost every day. As such the guitar was sold ‘as scene’ with no apology for its condition. The guitar was auctioned on 28 February 2015. It raised a cool $93,750 US.

I remember thinking that maybe Snowy was finished with music. His last album, prior to the sale of the guitar, was released during 2011. Titled ‘Realistic’ this album was one of my personal favourites from that year and appeared to wrap up, what I thought, to be a wonderful legacy.

How wrong I was. Snowy went and bought a new Goldtop Gibson and has since recorded a further three albums, ‘Released’, ‘Reunited’ and his most recent album ‘The Situation’ issued April 2019.

Each of these albums has seen Snowy team up once again with long time musical associates such as drummers Jeff Allen, Richard Bailey and Juan Van Emmerloot. bass players Kuma Harada and Walter Latupeirissa, piano player Max Middleton and keyboard player John ‘Rabbit’ Bundrick amongst many others.



Snowy White has built a career on near-anonymity. Deliberately it seems. ‘It is my nature,’ he explains in an interview I once read. ‘If the spotlight hits me, my inclination is to step out of it. I’m actually quite a private person.’ And this possibly explains why his own gigs in support of his own music have been few and far between. It could also be possibly due to commitments elsewhere. But if it’s some refreshing and beautiful bluesy music you are after, then check out Snowy White.

Solid Silver 60's Tour 2019

Solid Silver 60's Tour 2019

by Pete Clemons

It is always pleasing to hear about somebody who has achieved goals that they may have set themselves. So, it was particularly good to hear that Coventry drummer Rick Medlock had successfully accomplished his aim of touring as a professional drummer once again.

After years away from music, Rick’s passion returned several years ago. And since getting back behind a kit Rick went on to appear in bands such as Cupids Inspiration, SixOne20s, The Mosquitos and Honky Tonk Rose to name a few.

Rick is incredibly dedicated towards any task he sets himself. And hopes for the same in return. As such, he believed he still had it in him to complete a nationwide tour.

Rick’s break came toward the end of 2018. An invitation from guitarist, an old band mate from Smackee days, Michael Smitham, led to Rick stepping into The Fortunes to cover for Glenn Taylor. This included a three month 60s tour of the UK including a sell-out date at the Symphony Hall, Birmingham. Thankfully Glenn made a full recovery and has returned to the band.

With Rick’s other bands, such as Honky Tonk Rose, being on hold, due to bass player Horace Panter’s commitments with The Specials, the turn of the new year, musically speaking, looked bleak for Rick as he faced the prospect of no work for the foreseeable future. How quickly that all changed.

With the unavailability of Vanity Fare drummer, Graham Walker due to illness, a 30 date Solid Silver 60s Show tour beckoned. Vanity Fare had been on the previous 60s tour and knew of Rick’s capabilities so invited him to tour with them. Once again Rick was thrown in at the deep end with only three days of rehearsal. But before that, a further opportunity cropped up. And that was a few dates with the original Tremeloes. The down side was that there was no time for any rehearsal. So hastily was Rick rushed in, in fact, that while on stage lead singer Chip Hawkes kept turning around trying to figure out who the drummer was.

The Solid Silver 60s tour spanned the country. From Aberdeen to Swansea, Torquay to Southend concluding at the prestigious Liverpool Philharmonic.

The format of the show was two one-hour sets. Vanity Fare opened the show with several of their numbers followed by a set by Brian Poole whose final tour this was to be. The second half of the show began with Dave Berry and finished with Peter Noone. As to be expected, nuances and preferences came with each of the artists.

Brian Poole requested a slow tempo, not too fast. He is 77 don’t forget. Dave Berry was great fun to be around. Dave loved Rick’s drum fills and gave him a solo in his set. Peter Noone, at just 71 wanted nothing fancy. No fills, just keep the right beat except for the odd hi-hat sound to lift and move on to the next section. And Rick seemed to have impressed all round.

The artists that Rick was working with are, without doubt, all giants of the 1960s music scene. And judging by the audience sizes and venues, still draw a lot of people who are fans of the 60s music. These legends are still more than capable of attracting a huge and loyal following.

Rick returned to Coventry enthused and very impressed by the management company who organised the tour. They had provided Rick with a drum kit, a road crew and a sound engineer who also doubled as a drum tech. So, no lugging around of his own equipment. The only preference Rick had was for his own snare drum and some of his own cymbals.

A lasting and overriding memory Rick has of the tour was a deeper appreciation for the musicians who originally appeared on, and recorded, the songs played. ‘Their musicianship, particularly their timing, was immaculate’, Rick says.

With contacts now made, fingers crossed for more work to follow. Who knows what the future holds. 

Callum Pickard 2019

Callum Pickard 2019

By Pete Clemons

July 2018 and, after seeing them play live at the Old Grammar School, they left me feeling convinced that it was only a matter of time until Callum Pickard and the Third Look would gain a far wider audience and get far greater attention.

However, within weeks of that gig and to my disbelief, the band were no-more, and it was all over for the Third Look.

But now, after several months away, Callum Pickard has re-emerged and is playing live once again. Gone is the dreamy pop and in comes a whole new direction. The improvisation has been replaced by planned and more premeditated, but not predictable, song structures.

For this new venture Callum has built a new band around the familiar faces from each of his previous bands. And it is clear he still enjoys hearing some brass in the mix. Although this time the band make a greater use of programming and sequencing.

From the Third Look you have the familiar faces of Laurence Pettit - Synths, Acoustic Guitar and backing vocals and Jon Pudge - Flugelhorn and Trumpet.

Then, from his earlier band, the now ironically named ‘For Absent Friends’, you have Chris Lings on Drums, Matty Wishart, Guitar and Dan Grealy on Bass. Completing this exciting new septet is Bill Cameron on Saxophone.

In his time away from the live scene Callum has not been idle. Far from it in fact. He has, for at least the last six months, been busy immersing himself in an album which still has some way to go until it can be released. As I understand, though, the album will comprise of new songs and reworkings of old ones. But with guest appearances by members of ‘War on Drugs’ and ‘The 1975’, this alone should certainly focus some attentions when it does see the light of day.

Additionally, Callum has been increasing his skill set by adding drums to a growing list of instruments he is prepared to improve upon.

For Sunday’s Sound: in bloom gig ‘an evening of brand new music’ held at The Tin, Callum and the band more than rose to the occasion by presenting four new songs. Bar Key, Follow the Sign, Time Lies and Translated Radio. And how well they came across. To these ears at least the band felt comfortable, they appeared to enjoy themselves and any rehearsals had certainly paid dividends as the music flowed effortlessly.

And this new-found confidence may also yield a spin off as there is also some talk of resurrecting ‘For Absent Friends’ for a one-off gig. The dusting off, of some old tunes, just for old time’s sake.

Caravan - Recent Output

Caravan - Recent Output

By Pete Clemons

Rock band Caravan continue to celebrate their 50th year of existence. You may remember them for their 14 wonderful and varied studio albums and the rather splendid live recording with the New Symphonia Orchestra.

Caravan’s music was initially influenced by a loose form of jazzy rhythms but that disappeared as the band developed. Textured harmonies and, at times, extended and complicated work outs became a staple. Their songs can be catchy, sometimes display humour yet, at the same time, be deep and abstract.

The last twenty years has seen Caravan’s discography produce an abundance of live, demos, re-recordings and other, unused material. Some of the releases have been outstanding, some of them not so.

For anyone remotely interested in Caravan, they did have a large underground following, and who has yet to hear this stuff, I have listed below a selection of what I consider essential listens. Almost as important, in my opinion, as the bands original studio albums.

All Over You (1997) – Completely new and, it must be said, a brilliant set of re-workings of some of Caravan’s finest moments such as ‘Place of my Own’ and ‘For Richard’ in an almost acoustic format. The band at this point was Pye Hastings, Geoffrey Richardson, David Sinclair, Jimmy Hastings and Richard Coughlan.

All Over You…Too (2000) – A similar project to above but featured the reformed band of 1999 that included, Doug Boyle on lead guitar and Jim Leverton on bass. The energy and vibrancy, contained within these versions, is quite startling. Even a track like ‘Ride’ from the first album has been given a complete transformation.

Songs For Oblivion Fishermen (1998) – A live album containing archive BBC recordings that spanned the period 1970 to 1974 and was mastered from original archive tapes. As for the album’s title, Pye Hastings explained: ‘I have always been intrigued by misunderstandings and Chinese whispers and the title is an example of this. It stems from a conversation I heard in my local pub about these Bolivian street musicians - obviously I misheard’.

Ether Way (1998) – Another set of live recordings from archive BBC recordings that spanned the period 1975 to 1977 and featuring the band line ups from the ‘Cunning Stunts’, ‘Blind Dog’ and ‘Better by Far’ album period.

Green Bottles For Marjorie (2002), (‘Green Bottles for Marjorie’ was, as I understand, the early working title for what became ‘If I Could Do it All Over Again, I’d Do it All Over You’ tune) - This album contains Top Gear sessions from 1968 along with an In Concert recording from 1971 and a track recorded on the John Peel show in 1972.

Live at the Fairfield Hall 1974 (2002) – Originally released as a double LP in Germany and France under the title of ‘The Best of Caravan Live’, this concert remained unreleased in the UK until its CD release during 2002. This concert was performed by the line-up that released the Cunning Stunts album.

In addition, I would also recommend that you check out the various re-issues of official studio albums, for the bonus songs that they contain. Each of the 2001 CD releases contain at least three extra tracks of demo’s or working titles from the period of the main album they feature on.

Finally, Steven Wilson's 40th anniversary deluxe 2011 release of ‘In the Land of Grey and Pink’ album. In addition to the main event it also contains recording sessions, archival stuff from Sounds of the Seventies and a Paris Theatre concert hosted by John Peel.

The above CD’s I mentioned CD’s may be quite difficult to locate. However, with the number of digital outlets available nowadays, I am sure they would not take much time to track down on the ether.

I admit that it may seem strange have, in some cases, multiple versions of the same songs but the thing about Caravan, is that they never played to a script. Each version of every song Caravan perform, brings with it, its own uniqueness.


2019 sees Caravan appearing in selective gigs that continue the celebration of the bands 50 years of existence. Who knows how many more years exist. But one thing is for sure. Their legacy will live on forevermore.

Georgie Fame at Warwick University

Georgie Fame at Warwick University

by Pete Clemons

One of my own personal favourite sounding musical instruments is that of the Hammond Organ. For me it has a wonderful rich and warming tone. Additionally, it seems to exemplify the 1960s.

And one of the foremost British exponents of this instrument is Georgie Fame. Now well into his 70s Georgie Fame still tours from time to time, clearly enjoys himself and, in his words, will continue to for as long as he can.

Just recently Georgie performed at the Warwick Arts Centre where he wowed us with his, still, fine voice and his incredible talents. He also enlightened us with his anecdotes.

Georgie made no secret of how he was influenced by the likes of Ray Charles, who he saw play live during 1962, Jimmy Smith, Booker T Jones along with many of the artists who played on the Blue Note label during the late 1950s and early 1960s.

In fact, it was during 1966, after hearing Booker T play, that convinced Georgie to buy his first Hammond. And it is that very instrument that he is playing this evening. The Hammond was even connected to the integrated amplifier / rotating speaker cabinets, rarely seen nowadays, but were famously known as Leslie cabinets. Named after the guy who invented them.

Georgie, born Clive Powell, was discovered by composer Lionel Bart who introduced him to Larry Parnes who, in turn, renamed him Georgie Fame. At the time, Larry Parnes, was one Britain's top rock 'n' roll impresario’s and tended to rename all his ‘discoveries’. This led to Georgie becoming the house pianist on the ill-fated Eddie Cochran UK tour during 1960.

Georgie Fame and his band the Blue Flames found chart success with the 1964 hit 'Yeh, Yeh'. Georgie informed us that ‘Yea Yea’ had begun life as an instrumental. Words were added later and, when released, the song shot to top. That fame led to a tour of Sweden. As their plane taxied on the runway George noticed a Beatles style reception. Lots of screaming girls had gathered at the airport. Unknown to Georgie, actor Roger Moore had been on the same flight. Back then Roger was famous for his role in the TV series The Saint and, of course, the reception was for him.

Another chart hit followed during 1966 with ‘Get Away’. Georgie explained how this tune had been written for a Benzol petrol promotion and how he had been given two weeks to produce the song. However, in his mind, he put the task to one side. After playing a gig in Bristol the tune was written overnight while travelling back to London. It was presented the very next day which happened to be the final one of his deadline.

Georgie revealed about the time he had to split up the Blue Flames. Drummer Mitch Mitchell took the news badly. By coincidence, and at the same time, Chas Chandler got in touch and invited Georgie to go see his new discovery, Jimi Hendrix, perform in a London club. Jimi was looking for a drummer. Georgie took Mitch with him.

Georgie was also full of praise for producer and label manager Denny Cordell. As Georgie set about forging his solo career Denny was a massive help. He described him as very helpful and very hip.

As we moved into the 1970s and 80s, Georgie spent much of that time in cabaret or as a guest on television shows. Georgie recalled that during the 1980s he was a guest of American singer songwriter Hoagy Carmichael. At that time Hoagy was himself in his 80s. Clearly proud of the experience, Georgie even got to play some of Hoagy’s compositions for an album using Hoagy’s own piano. He even toured the UK with a New York band.

During the 1990s Georgie joined Van Morrison both on tour and in the recording studio. Georgie also became a founder member of Bill Wyman’s rhythm kings.

Joined on stage by his son’s James Powell on drums and Tristram Powell on guitar, it wasn’t purely an evening of anecdotes. Each story touched on was accompanied musically with a selection of tunes from that period, and more. All in all, it was an enthralling evening of pure class and style.

Richard Barbieri – St. Paul's Church, Birmingham

Richard Barbieri – St. Paul's Church, Birmingham

by Pete Clemons

April 1995 and Porcupine Tree played a gig at the General Wolfe, Coventry. Being quite keen on the band, and the venue being close to where I lived, I happened to be there, mid-afternoon, when the band arrived to set up. I even helped them move kit into the building. I had my daughter with me who was around 8 or 9 at the time and we stayed on to see the sound check.

The General Wolfe, as many will know, is a couple of miles outside the city centre and to pass the time, in between sound check and gig, Steven Wilson was keen to visit a record shop. I offered to drive the band into town. So, into my car they climbed. All except drummer Chris Maitland who had decided to go for a walk on his own. Sat directly behind me, in the rear passenger seat was Colin Edwin. Next to him was Steven. And to my left, in the front passenger seat was keyboard player Richard Barbieri. My daughter, for those following this, was sat between Colin and Steven.

Thinking back, it all sounds so surreal now. How I wished now, I had had a mobile phone back then, so I could have recorded the event by way of a selfie. Anyhow off we ventured down the Foleshill Road, happening to pass Chris Maitland who had made an earlier escape, and onward to the city centre. I dropped the trio at St Johns Church at the bottom end of Spon Street as it was a short walk to the record shop close to C+A - Spinadisc Records, I think it was called at the time. It must have been a disturbing experience for the band and one they are more than likely to have long forgotten although the gig, later on that evening, was a resounding success.

Fast forward almost quarter of a century and I find myself at a church once more. And, again, Richard Barbieri is a major part of the story. This time however, we are at St Pauls Church in Birmingham, close to the Jam House, for Richard’s solo gig as part of another ‘Seventh Wave electronic music festival’. And Richard is blissfully unaware that I am in the audience.

For the next hour and a half Richard, along with Lisen Rylander who added saxophone and effects, puts on a masterclass. In Richard’s words it was all unrehearsed. I took it that he was making a reference to the set itself as he had to refer to his notes once or twice. But Richard knew exactly what he was doing as each piece was musically introduced and was built upon with added layers and textures. It was all totally absorbed by an incredibly appreciative and respectful audience.

Initially it was music from Richards most recent release, ‘Planets and Persona’, that created the ambiance. But then it was the turn of the unmistakable sounds of the Japan hit, ‘Ghosts’ that filled the air as it was given an instrumental outing.

A high point came around half way though when, to my surprise at least, Richard and Lisen were joined on stage by Nick Beggs and his 10 string Chapman Stick. What made this incredibly special however, was that they performed an instrumental version of another Japan ‘Nightporter’ which felt almost baroque in style. It was truly breathtaking and spell binding few minutes.

As quickly as Nick had joined the pair, he then packed away his gear and left the scene. Presumably to another engagement. And from then on in, the music - in the main - tended to concentrate around Richard’s series of Variants albums. He finds the time, however, to finish off with another Japan track ‘The Experience of Swimming’.

Surrounded by synths, sequencers and a lap top computer, Richard mentioned that he finds his Roland system a struggle nowadays and that it is forty years old. But to these ears at least, all seemed to perform well as he glided around the variety of keyboards. A memorable evening in an incredibly unique setting.

And the daughter that I mentioned earlier in this tale, well just to put things into perspective, she is now in her 30s and has 2 children of her own. One of them, not far off the age she was, when she experienced the Porcupine Tree.