Dud Clews Jazz Orchestra

Dud Clews Jazz Orchestra

by Pete Clemons

https://www.discogs.com/artist/3665346-The-Dud-Clews-Jazz-Orchestra

The Dud Clews Jazz Orchestra will forever be associated with Club Harlem. A regular jazz night, held weekly at the Mercers Arms, for almost ten years. Right from the off, and over time, the band steadily improved and were noted for the way they performed in a relaxed professional way. And during there time together there were very few changes in musical policy. The band's repertoire enlarged enormously but always came from the same musical sources. And they were the same famous bands whose recordings first inspired Dud Clews to form the orchestra back in 1962 and was still the source of most of the material when the band finally folded. The band even managed to record an album for local label 'Midland Sound Recordings' during 1968.

Sax player Mac Randle wrote the following tribute 'The young Coventry jazz trumpeter Dud Clews was determined to revive the exciting sounds of the 'big bands' of the twenties, like King Oliver and the Dixie Syncopators, Luis Russell, Fletcher Henderson and Duke Ellington that bridged the gap between the New Orleans & Chicago jazz bands and the later swing bands of the early thirties.

In 1963, after a long period of preparation and rehearsal, he opened the Club Harlem with the Dud Clews Jazz Orchestra. The band quickly progressed in repertoire and popularity but suddenly Dud was fatally injured in a motor accident. This was a terrible shock but almost spontaneously it was decided that the band must continue as best it could and Dud's parents were in agreement with the keeping of his name at the head of the venture, so the Dud Clews Jazz Orchestra continued.

Dud's fine Oliver-styled trumpet was greatly missed but the band recovered its composure and picked up again under the leadership of Derek Habberjam who at the time was switching from second trombone to superb tuba.

What typifies this band, capable handling of the material and retention of the idiom being taken as read, is the enthusiasm and good humour which is brilliantly captured in these recordings and which has never been surpassed by other bands since. Most of the arrangements were created and copied out by members of the orchestra plus the highly valued supporter and excellent arranger Peter Bright. The original few printed arrangements from the early days were still kept and played'.

During 1971 the orchestra held a special session at the Mercers Arms to celebrate the eight anniversary of the opening of Club Harlem. The Coventry Telegraph reported at the time 'One could not help wondering what factors had provided the continuity to convert what could have been a nine-day wonder into an eight year phenomenon'.

The Telegraph continued 'It is as difficult as it ever was to define the kind of people who comprise the audience. There is a hard core of jazz fans but the majority of people of every age group, occupation and degree of interest in the music, who come along every week because they like the atmosphere of Club Harlem'.

Of the band themselves only two members, who were present at the first rehearsal in 1962, and four who played at the first club session in November 1963, were still members of the band during 1971. Yet through all the changes in personnel and revolutions in popular music, the dated sounds of early Duke Ellington, Fletcher Henderson and Luis Russel still made those weekly audiences incredibly happy. And as far as Derek Habberjam and the Orchestra were concerned 'that alone justifies the hard work'.

The 1970s saw the bands reputation spread and so did their popularity. This brought them bookings and appearances outside of Coventry. But like all bands the inevitable happened, and The Dud Clews Jazz Orchestra finally folded. This was during 1981 when, unfortunately, Derek Habberjam upped sticks and left the area.

During the bands 18 years tenure, many band members came and went. It would be great to eventually fill this page with all names but a 1976 line up that played The Burnt Post contained the following personnel:

Brian Bates - Trumpet (Tpt)
Brian Wathen (Watty) - Trumpet (Tpt)
Terry Perry - Alto Sax (Alt)
Mac Randle - Tenor Sax (Ten), Clarinet (Clt), Soprano Sax (Sop), Alto Sax (Alt)
Ollie Dow - Tenor Sax (Ten), Clarinet (Clt)
Cliff Williams - Baritone Sax (Bari), Alto Sax (Alt)
Paul Munnery - Trombone (Tmb)
Fred Brownson - Piano
George Beach - Banjo
Derek Habberjam - Leader, Tuba
John Astle - Drums 

Isle of Wight, UK - August 26-30, 1970

Isle of Wight, UK - August 26-30, 1970

by Pete Clemons

August will mark 50 years since the staging of, what is still referred to as, 'the last great rock music festival'. The 1970 Isle of Wight festival, the third of its kind on the island was organised by local residents the Foulk brothers. It was a five day event and was a magnet for where the younger generation set off for a weekend in pursuit of love, peace and understanding. It all fell a bit flat though.

I didn't attend this event but I can still picture my brother, along with several others from Coventry, setting off for that long weekend. Complete with tents and rucksacks full of camping utensils I assume they were ticketed. And I can still see my brother returning tired and bedraggled. So who knows what happened to them during those few days. As such I have based this article on some memories and anecdotes I picked up on at the time.

Initially, the festival began really well. Compère Rikki Farr suggested it was a very fine audience, and in the main it was, but that mood and atmosphere was soon to change. Money began to rear its head and, in the end, almost killed the festival.

It seems as though the festival wasn't so much badly organised, it was more that an unprecedented number of people turned up without tickets. And an element of those without tickets were hell bent on getting into the festival without paying. Unwittingly, it seems, the festival had been staged at a time when there was a diverse mix of ideals. Some felt everything in life, especially music festivals, should be for free. It appeared at times as though some attendees were naive about the costs involved to the musicians and organisers.

The 5-day event also caused the obvious logistical problems, such as the obvious one that almost all the attendees had to be ferried across from the mainland. It was estimated that, at its peak, 600,000 people - maybe upwards of 700,000 - attended the event.

But the festival required at least 170,000 paying customers to make the whole thing break even. Repeated requests were made for those without tickets to 'please leave the arena'.

Perhaps sensing the on-setting chaos some of the artists wanted to be paid in cash. And the musicians appeared to be caught between a rock and a hard place as the atmosphere within the audience suggested a riot could well have erupted if bands failed to appear. There then began an atmosphere of conflict between artist and audience. It was not going down very well when it appeared as though the artists were guilty of only playing for the money.

At one point artists were seen mingling with audience members trying to justify why they couldn't do it for free. Although at the same time they somehow sympathized with the audience. It was also reported that Jethro Tull requested for people to leave the arena in order for them to complete a sound check. However, on his arrival to the stage, Ian Anderson categorically denied this.

By the third day of the festival things really were getting out of hand. And amidst the ensuing chaos of what's been called 'Britain's Woodstock' anger flared up when many revellers reached the fences. Suddenly many of those youthful ideals were lost as perimeter fences were broken down and free entry gained.

It wasn't long until the festival descended into a shambles and utter chaos. Rikki Farr's earlier optimism had altered. On stage he began his infamous rant, that include him screaming down the microphone that the festival had taken a year to prepare for and he began calling those involved in the violence 'pigs'. Rikki then admitted to the audience that the organisers had lost everything and told security to 'just open the gates'. Either come in or go, its your choice. Rikki continued that it had been the music what it had only ever all been about. And now he faced up to the prospect of having to face to face meeting with the creditors. Despite being visibly upset, Rikki's concluding message to the audience was to go home in peace. Good intentions but naive in its execution. Violence had ruined the whole event both financially and also the taste of it. To cap it all, an electrical fault set a section of the stage and its roof on fire.

Musically it was an utterly brilliant weekend with totally enthralling sets by The Doors, Sly and the Family Stone, The Who, Free, The Moody Blues, Chicago and Miles Davis along with many others. Outside the main arena a separate stage had been erected that featured bands such as Hawkwind. Rumours of Cream reuniting failed to materialise.

Emerson, Lake and Palmer concluded their set to a fanfare of cannons, Supertramp appeared just a month after recording their debut album. Sadly the festival was also notable for being the last ever performance by Jimi Hendrix. In general, however, the music throughout stands as a test of time as it recalls the sheer freedom of performance and musicianship.

During an interview, many years later, Ian Anderson and Pete Townshend both admitted that their respective bands, Jethro Tull and The Who, failed to get paid. It turned out that only 50/60,000 of the attendees had purchased tickets. But in hindsight they admitted that the exposure did them no harm.

Ian went on to say that Jimi Hendrix had wanted to go on before Jethro Tull. But the stage hands had got the Tull's equipment set up first. So they went on. That left Jimi to close the event at around 2am-3am on the morning of the 31st which he wasn't particularly happy about. Some reports have suggested Hendrix's performance was lackluster, others described it as beautiful.

The Isle of Wight festival 1970 was a lesson in how wrong things can go badly wrong. It even involved parliament passing the Isle of Wight Act during 1971 which prevented gatherings of more than 5000 people on the island without a special license.It turned out, however, to be the end of an era as things turned sour.

In its aftermath Rikki Farr defended a generation but admitted that a minority had blew it. After everyone had left the arena resembled a battlefield. After the festival the organisation team recovered and set about rebuilding their lives. Rikki Farr created a successful music business. Ron Foulk became a furniture dealer and Ray Foulk went on to become a renowned architect.

If any lessons were learned in the aftermath of this festival it simply highlighted that you need to get it right at all levels. These things can not run on goodwill and love and peace alone. And to be fair, festivals nowadays, are run like clockwork. If anything, a bit too clinical. This particular Isle of Wight festival turned out to be so much more than just another music festival.

The Rolling Stones - Coventry Theatre 1964

The Rolling Stones - Coventry Theatre 1964

by Pete Clemons

Rolling Stones Coventry Theatre 1971

With all the things I read nowadays at people chatting at gigs, overuse of mobile phones etc I couldn't help but wonder if it was an inherent problem. The below is a fascinating account, I stumbled across, of when The Rolling Stones first played Coventry Theatre during 1964.

Two frenzied performances by the Rolling Stones pop group sent their hoards of loyal fans streaming away from the Coventry Theatre in a happy mood last night – and left one independent observer very puzzled.

Just why, I wondered, do people pay good money – in some cases, having queued all night for tickets – to see a particular group and then apparently do their utmost to drown away any noises their idols are making?.

I had attended one of the performances with an open mind, prepared to give The Rolling Stones a fair hearing.

'Hearing' is a somewhat ironic word to choose. All I did hear were piercing incessant screams from all around me, that multiplied into a great cacophony of sound and quite erased any attempts by the five young men on stage to compete.

The total effect was of a continuous siren blast, with each little jig in the air or shake of the head by one of the performers bringing extra loud squeals of appreciation.

The answer, one can only suppose, is that this type of entertainment is more visual than aural. The fans can only actually listen to their idols on records, while live performances are occasions for showing their appreciation in the only way they appear to know.

Of the Rolling Stones themselves, it would be unfair to comment on last nights evidence except to say that their reputation as the 'scruffiest group in the business' is well earned and is being faithfully maintained.

Not all of the show was lost to the ear. The fans were thankfully quiet during the performance of the Caravelles, the two attractive girls noted for their whispering style of singing, who included, of course, their record success 'You Don't Have to be a Baby to Cry'.

The big surprise of the night, however, was the performance of a group called The Barron Knights, led by Duke D'Mond, who showed themselves to be as much comedians as musicians and vocalists. Their idols having their legs pulled a bit.

The bill was completed by the Overlanders, The Chimes, Julie Grant and David John and The Mood with Tony Marsh the compere.

The Rolling Stones in Concert 1964

The Stones in Coventry 1971 - photos

Porcupine Tree Bandcamp

Porcupine Tree Bandcamp

By Pete Clemons

http://www.porcupinetree.com/

For these unprecedented times, Porcupine Tree have launched a Bandcamp page where you can download full resolution recordings of rare and unreleased rarities from across the 20 years or so it the band were in existence. The page, and the opportunities to download this music, will be around indefinitely and the band aim to add more titles to it over the coming months.

Included within its many and varied content is an almost complete recording of the first ever live performance of Porcupine Tree. After the newly assembled band line-up had rehearsed for one week, they played 4 times in quick succession. This nervous but spirited show at a sold-out Nag's Head club in High Wycombe was the first, followed by a BBC radio session, and modestly attended shows in London and Coventry.

The recording was made directly to DAT from the mixing board, so as with any board tape the balance is not perfect, but the quality is excellent. Radioactive Toy, Up the Downstair (extract), and Not Beautiful Anymore were previously included on a limited cassette/vinyl album Spiral Circus, which also contained music from the BBC session and London shows.

The track listing for the download of the Nags Head gig is 1. Voyage 34, 2. Always Never, 3. The Nostalgia Factory, 4. Burning Shed, 5. Radioactive Toy, 6. Up the Downstair and 7. Not Beautiful Anymore.

And the band line up that night was Richard Barbieri - Synthesisers, Keyboards, Colin Edwin - Bass guitar, Chris Maitland – Drums and Steven Wilson - Guitar, Vocals.

'Fadeaway' was also performed at the show, between 'Radioactive Toy' and 'Up the Downstair', but due to issues with the source tape could not be included here. I do know that it took a great deal of effort went into getting this gig download out there. The trouble is that DAT tapes, the original source, do not keep well unlike their analogue equivalents.

Steven Wilson said 'I had a to edit around some glitches on the DAT, and remove one track completely, but it's about 90% there'.

Coincidentally March 2020 sees one of Porcupine Tree's landmark albums, Stupid Dream, celebrate its 21st birthday. For me, at that time, Stupid Dream felt such a departure from what had gone before. I wasn't keen on it at all. And, back in 1999 I quizzed Steven Wilson about it. He said 'Anyway, the new album. I think it's the best and it certainly has my favourite songs on it. As to whether it has been a shift in direction?, Of Course !!. Hasn't every album been different to all those that came before?, I hope so – that was my goal. The sign of a good album is I think one that you're not sure of the first time you hear it – that's certainly the way with me anyway. The new one is about written now and is different again'. And he wasn't joking !!

I remember those words of Steven's as being quite profound to me and certainly changed a lot of how I approached listening to new music going forward. As for the Stupid Dream album, it became one of the most listened to Porcupine Tree albums in my collection.

I appreciate that this is a very difficult time for everyone at the moment, including musicians and their families. Bandcamp offers a huge variety of ways where you can keep these musicians, a lot of who have no other form of income, artistically active. Not just for Porcupine Tree but for a whole host of other artists.

Colin Armstrong - Coventry Singer Songwriter

Colin Armstrong - 

Coventry Singer Songwriter.

By Pete Clemons

Colin Armstrong was one of the Top Coventry singer songwriters, visual artist and bookshop proprietor to come out of Coventry. He was a member of the folk group Music Box with Coventry luthian Rob Armstrong (no relation) who made guitars for Bert Jansch and George Harrison and together they made an album called Songs of Sunshine in 1971.

Remember Armstrong's book shop in Earlsdon, close to the library?. It was a fascinating place. But, of course, it closed several years ago now, due to the then growth of the internet.

Colin Armstrong playing guitar in his Earlsdon bookshop.

A few years ago I had a chat with its proprietor Colin Armstrong. He mentioned that before the shop he had been involved in the construction of the ring road. He worked, for a while, as a shuttering joiner for Gallifords on the section between Pool Meadow and London Road.

Away from work Colin would go to the Holyhead youth centre where he would sing and play his guitar along with Trev and Bob and other musicians. He would sing his own songs also.

Trev Teasdel has thrown some light on that - 

" I used to see Colin play when he was in Music Box. He got in contact in 1973 when we started Hobo and I covered his musical activities in the magazine (see below). Colin performed as a solo artist for the Hobo Workshop gigs, at the Holyhead Youth Centre. Colin was a great advocate for Hobo and Bob and I started jamming with him and attempted to form a trio. Bob Rhodes was the Youth Worker for Coventry Voluntary Services, and had helped us get the Holyhead for Hobo gigs. Charley Anderson and elements of what became Selecter, used the basement at that time along with Neol Davies. Bob and I played guitar but we were no match for Colin! Nonetheless we did some of Colin's song, a few of mine and some rock and pop covers, at the Holyhead and in a warehouse at the Canal Basin,  ultimately the idea of a trio didn't get off the ground!"

He lived, for a while, in a bedsit on Earlsdon Avenue North from the late 1960s into the 1970s. So he had easy access to and played regularly at the City Arms Folk Club. He would do solo slots with his own songs as well as sing and play in various rock and folk bands.

While at the City Arms he clearly remembered seeing Jasper Carrott appear there. He also remembered when Dave Bennett had just starting playing there. 'After one session, there were a few of us in the downstairs bar having a drink and Dave asked us 'Do you think I should carry on playing, am I good enough'. We all gave him a resounding – absolutely, yes indeed!!. And, as we all know, Dave went on to become a stalwart of the Coventry folk scene'.

Colin, who describes his music as 'funky folk', used to play in the Music Box group until they folded during 1972. This band, of course, included Rob Armstrong (no relation).

He then went down to London to try and get some sort of recording contract and sell some of his songs, without any success.

It's fair to say that Colin's musical career was steady but had not been progressing in the way he had hoped. But then during 1973, at the age of 25, there was a whiff of success and a hope that his big break would be coming at last. The top prize was a recording contract with EMI.

The national competition was organised by the Association of Musical Rument Industries and sponsored by the Melody Maker. As well as the EMI recording contract the prize also includes new instruments and equipment.

Colin found himself as the winner of a Midlands area heat of a national folk rock contest. 'Each musician had a 10 minute spot in the heat and I did three of my own songs – 'Country Boy, Country Bound', 'Blues for Glenda' and Heaven and Hell' – all vocals and acoustic guitar' he said. And he was judged the best soloist from acts all over the West Midlands, and he was the only one from his heat to be chosen to go through to the semi finals in May 1973.

As he progressed into the semi finals he said at the time, 'I'm hoping to do really well in the competition and get another chance. It could also bring in a bit more work for me from the local pubs and clubs'. But it wasn't to be as Colin fell at the final hurdle.

Later on, and before the shop, Colin, went to work for an Earlsdon Engineering firm. Another side line was that Colin was also an abstract painter of some note. He had exhibitions in the Minster Gallery in Hearsall Lane, the Kongoni Coffee Bar and a couple of things in the 'reject art exhibition' at the Methodist Central Hall. It was on Colin's suggestion that Trev did an interview with the Minster Gallery for the first edition of Hobo magazine.

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

From the Coventry Telegraph c 73 / 74

 From Hobo Magazine

From Hobo issue 1 June 1973) -
"Congrats to Colin Armstrong in reaching the Semi-finals in the Melody Maker National Rock/Folk contest and also to Just Jake, Willow, Naked Light, Just Before Dawn, Bumble and all the other Coventry bands / artists that took part. More on them if poss - later." 

From Hobo Issue 4 (Unpublished version)
"Coventry singer - songwriter COLIN ARMSTRONG, who reached the semi-final in the Melody Maker contest last year, is to enter again this year...Lotza luck Colin..."

Other blogs related to Colin Armstrong 

Hobo - Coventry Folk Scene blog - Colin Armstrong

https://coventryfolkclubs.blogspot.com/2011/09/colin-armstrong-coventry-singer.html

Hobo - Coventry Folk Scene - Rob Armstrong - No relation but they both played in Music Box. Rob made guitars and also played with Rod Felton in the New Modern Idiot Grunt Band.

https://coventryfolkclubs.blogspot.com/2013/04/rob-armstrong-coventry-folk-musician.html

Hobo  - Coventry Folk Scene - Music Box

https://coventryfolkclubs.blogspot.com/2013/02/music-box-rob-and-colin-armstrong-pip.html

Music Box

Rob Armstrong recalled the days of Music Box in the Coventry Telegraph -

"We called ourselves Music Box, and found quite a following among local folk-music lovers. Songs of Sunshine was our first disc. One of the pieces was composed by Colin and entitled Seaside Sunshine, I had written the title song and there were Scottish songs and a Bob Dylan number. We recorded it on a Saturday afternoon at a house in Cheadle Hulme (Greater Manchester). Rob and Colin, owner of Armstrong's Collectables, in Earlsdon, played as Music Box on the local folk circuit for nearly two years, performing at the Belgrade Studio and Lanchester Arts Festival, as well as several pubs."

MUSIC BOX - SEASIDE SUNSHINE

To hear more of the Music Box album - follow this link to a page about Music Box...

https://coventryfolkclubs.blogspot.com/2013/02/music-box-rob-and-colin-armstrong-pip.html

Monster Magnet

MONSTER MAGNET

by Pete Clemons

Coventry group, The Return of Monster Magnet, could certainly boast a wide variety of musical influences. The member of this eight piece came from folk, jazz, blues and rock groups. There was even a former Lanchester Polytechnic disc jockey amongst their ranks.

The group started up in 1972 when Paul Hooper, the then 24 year old drummer from Indian Summer, was asked by the Lanchester Polytechnic to put a band together for an end of term dance. He rounded up a few friends and musicians and set to it.

Almost everyone had played with one or another in various bands over the years so the musical and social foundations were already there and merely required building upon.

The band stayed together after the Lanchester booking. Paul said at the time 'At the moment its on a workshop basis and we still do bookings. In the near future we are hoping to go around some local colleges playing for charity. There is just about every influence at work form folk, progressive blues and free form. But no one style is allowed to dominate. Our music is mainly good time rock which people can dance to. We do some of our own material, Delaney and Bonnie, and Steven Stills numbers. And there are even a couple of old Beatles songs'. Paul described the band as rough and ready though, but of course, a very musically competent outfit. 'We're not out to get anything out of it save the pleasure of playing. As long as we cover expenses then we will play'.

Bob Jackson, then also 24, and Paul's band mate in Indian Summer featured on keyboards and vocals in Monster Magnet. And the groups lead and bass guitarists were Steve Cotterill and Roy Butterfield who both also played with Indian Summer during heir early days. Roy also played with the group April.

The line up was completed by Tim James, who played sax and electric piano in Coventry jazz group Ra Ho Tep and Bo Weevils, and who shares in the groups vocal duties. Bill Jackson, no relation to Bob, on vocals and keyboards and also a one time member of April. Mick Smitham on guitar and Tony Fletcher the former Lanchester Polytechnic disc jockey on bongos.

The group had ambition and were working on some new material with a view to putting it all down on tape. And, while playing live, they had been hoping to extend some of their numbers. They were also looking for a couple of girl singers or dancers but they seemed to be scarce mentioned Paul at the time.

Of course this is only a partial history of the group at soon after the time the group formed. Monster Magnet ent on for several years and, like most bands, made several line up changes.

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

From Hobo Magazine 1973 - 74

Line up: Bob Jackson (keyboards),
Tim James - sax, harmonica, keyboard
Mick Smitham - Guitar
Ron Lawrence - Bass
Roy Butterfield - Bass
Paul Hooper - Drums
Tony Fletcher - congas
Phil Street - congas

From Hobo

MONSTER MAGNET c1973 

 COVENTRY SUPERGROUP
"Coventry's Supergroup of the 70's. A loosely formed group of Coventry musicians, fresh from touring or out a band or otherwise up for playing. Consists of ex members of Indian Summer / April / Ra Ho Tep and more. Mostly play in the Golden Cross."

FROM HOBO ISSUE 3 FEB 1974

MONSTER MAGNET
"Musicians from a selection of Coventry bands, past and present, have formed a local 'Super Group' calling themselves MONSTER MAGNET. The band, which first hatched at the beginning of 73, has a loose line up of about 9 musicians and only do selected gigs, owing to the size of the band and the cost of keeping such a band on the road. It also depends on the availability of the musicians involved as some are currently with other bands. It also gives musicians who are in between bands a chance to play whilst out of work. The line up (although this varies) consists of such 'devastating musicians' as Mick Smithem, Phil Street, Tim James, Paul Hooper, Col Williams, Steve Cotterill, Bill Jackson (Ex April lead singer) , Bob Jackson (no relation), Roy Butterfield, Ron Lawrence (Ex April bassist and later with Sniff and the Tears), Dave Pennycock and Little Jimmy Osmond and all! A cool band full of top Coventry musicians".

Tim James says on the Rex Brough site
"Monster Magnet [1972-1975 ish] comprised a variable number (5-15) of musos from other bands who shared a love of early US rock, soul & blues and would play with the band if other commitments allowed. Played "covers" by Johnny Winter, Stevie Wonder (early stuff), Steely Dan etc and played all over the country. I have a very blurred memory of this band but do remember Paul Hooper on drums, Ron Lawrence on bass (sometimes), Roy Butterfield on bass (other times), Mick Smitham on guitar, Bill Jackson on piano and depressing songs (which we always found an excuse not to play), Bob Jackson on organ, Tony Fletcher on congas, Phil Street on congas, and anybody else that came "along on the night." 

From Phil Randall Feb 2016 -
" Trev, worth noting that Monster Magnet were playing till at least 1976/7 as I wasn’t in the area till 1974 and used to work with Phil Street at Nuneaton Council.

Also,if you know anyone who knows where Phil is now, some of his old friends are trying to track him down
Cheers Phil Randall"

A Band Called George

A BAND CALLED GEORGE

By Pete Clemons

Photo from Coventry Telegraph c 1973

The Bell Record Company became a real hit machine for the first few years of the 1970s. With artists such as Showaddywaddy, Tony Orlando and Dawn and David Cassidy and the Partridge Family on their books, it was quite rare not to see them represented in the singles chart.

So the Coventry based group A Band Called George were incredibly confident about the prospects of their first ever single released on Bell during August 1973.

'For such a relatively new band, everything's gone like a dream so far' said the five piece groups manager Craig Ward. 'We have a contract with Bell for the next three years. And they have promised to give the single a push. And, being on Bell, its bound to get a lot of airplay'. Craig continued 'We are wildly confident about the whole thing. We have got everything going for us'.

The single which should have put A Band Called George firmly on the map was called 'N.C.B. Man'. It was written by the groups lead vocalist and guitarist, Bob Young, who came from Leamington Spa. 'Its a little bit of mickey taking of the miners, their work and their attitudes to it' mentioned Craig. 'It praises them up in one verse and puts them down in another'. Bob's father used to be a miner so he did know something about their life.

A Band Called George was formed late 1972 when five lads Bob Young, Colin Young (Bass), Nick Trevisick (Drums) and Baz Andruzko (Accordion) came together after a number of years playing in other local bands. They turned professional in May 1973 and recorded a tape with the hope of being signed up by a record company. 'I took it round half a dozen publishers in London' said Craig at the time. 'Everyone seemed impressed though no one offered us what we wanted'. So he then went to see an old friend, Lionel Conway, chief executive at Island Records. Lionel liked it and took it to Dick Leahy the general manager of Bell Records. He was just knocked out with the tape and offered us a three year contract. Craig described the music as 'good time, nice and light and humorous. There are influences of Lindisfarne, Mungo Jerry and Stackridge in there. We write all our own music and we are a highly original band. And we must be one of the very few groups in the country who use an accordion. On stage the group cover a variety of styles from rock to reggae. Its all light hearted with a fair amount of stage antics. Baz will dress up in some gaudy red white and blue check trousers or something. He is about 18 stone and makes the most of it'.

The band were not particularly well known in the Coventry area due to there not being a lot of places, for a band like that ot play at that time. And it was hoped that the single would change all that. And if you are wondering, the bands peculiar name came after they were going through the usual stages of trying to come up with a name. Someone just suggested it and it simply stuck.

YouTube below of NCB Man by A Band Called George Bell Label 1973

And Jack Tar.

More on the Hobo site Coventry Folk Club Scene here

https://coventryfolkclubs.blogspot.com/2012/08/a-band-called-george-single-ncb-man-1974.html

What the press said - 

Coventry Telegraph

FROM HOBO MAGAZINE

Issue 2 August 1973

A BAND CALLED GEORGE

"Released their first single on the 24th August entitled NCB MAN, which is out on the Bell label. their music, which is self composed, is in similar vain to that of Lindisfarne. The members of the band hail from both Coventry and Leamington. They are Bob Young on lead vocals and guitar. Colin Young on bass; Roger Prince on guitar;Nicky Trevisick on drums and Baz Andruszko on accordion. Not forgetting Ricky and Dave the trusty roadies!). (both Ex Indian Summer roadies). ...

Another entry in the same issue....

Whilst on the subject of Indian Summer, the roadies from that long lost Coventry group are now with a Leamington based group. Their name is A Band Called George and their music in the vain of Lindisfarne. Their line up consists of an accordion / bass guitar / 2 guitars with Coventry's Nicky Trevisick on drums. All members contribute to vocals and they have a single released on July 27th called NCB MAN for Bell Records."

Hobo - Late News - Issue 2 August 1973
A BAND CALLED GEORGE

"Released their first single on the 24th August entitled NCB MAN, which is out on the Bell label. their music,



which is self composed, is in similar vain to that of Lindisfarne. The members of the band hail from both Coventry and Leamington. They are Bob Young on lead vocals and guitar. Colin Young on bass; Roger Prince on guitar;Nicky Trevisick on drums and Baz Andruszko on accordion. Not forgetting Ricky and Dave the trusty roadies!). (both Ex Indian Summer roadies). ...

Another entry in the same issue....

Whilst on the subject of Indian Summer, the roadies from that long lost Coventry group are now with a Leamington based group. Their name is A Band Called George and their music in the vain of Lindisfarne. Their line up consists of an accordion / bass guitar / 2 guitars with Coventry's Nicky Trevisick on drums. All members contribute to vocals and they have a single released on July 27th called NCB MAN for Bell Records."


Hobo - Late News - Issue 2 August 1973
Baz Andruszko, the accordionist with A BAND CALLED GEORGE has left the group. A replacement is being sought.
(Ed's note - I think Baz left to join a reformed Dando Shaft to provide the soundtrack for a play - You Must Be Joking (on the history of the car industry in Coventry) at the Belgrade Theatre. Rod Felton also joined Dando on this occasion.

Hobo

Issue 3 Unpublished Version - C January 1974

NCB MAN - NO AIRPLAY

NCB MAN, released on the Bell Label by A Band Called George has not been selected for air play on the Beeb, despite it being a highly commercial song, hailed by discos. The reason however is not owing to the lyrics erupting the Mary Whitehouse or the pulsing beat inciting couples to copulate in bus queues, but is, I'm told, the fate of 90% of the singles that are submitted to the BBC. So everyone bombarded the Beeb with requests for it!

The band have ceased live gigs for the time being, coming together for recording only. Bob Young is writing and producing at Snitterfield Recording studios. Rog has written and recorded a solo single for release on Bell called World War 1. Nick has joined Smack! and Baz is joining Dando Shaft.


Issue 4 (Unpublished Version scheduled for May 1974)

SHADES OF NIGHT - have split up and also WILLOW. Joe Reynolds and Willow's other saxophonist are to join a reformed version of A Band Called George.