Porcupine Tree - An Empty Box

 

Porcupine Tree An Empty Box

by Pete Clemons

The build up to the release of this album seems to have taken an age. Although, to be fair, 'The Future Bites' was written and completed long before Covid 19 took hold. Through no fault of Steven Wilson, it has been the pandemic that has played its part in the albums long delay. But it is now almost upon us and the reviews of the album, so far, have been very encouraging and incredibly positive.

The theme for 'The Future Bites' questions commerciality, and I found myself ordering the box set. But the longer the delay ensued and the release date was put back I found myself recalling a very early Porcupine Tree tune called 'An Empty Box'. No idea why. I maybe guessed that Steven was being mischievous and maybe, in some way, he was going to have the last laugh on us. Those with long memories may remember the spoken sequence, a fictitious interview, at the beginning of the track:...............

'You did mention recently in an interview with the New Musical Express that you were considering issuing a box. Unreleased demo's, psychedelic jams that kind of thing.

Well the thing is, at the moment and the way that the money is going, I think that the box is as far as we get – an empty box. Which seems fairly unwise at the moment'.

As it turns out, the box set is far from empty. Musically there are plenty of surprises in it. I'm not sure if there are many left. If you want one to listen to, and not just to own, do not regret missing out on the chance to buy it.

In addition to commercialism, 'The Future Bites' has also investigated what the internet has done to us as consumers. Inadvertently, this album, via the internet and social media, has drawn out of us, some of the funniest and strangest reactions that I have ever come across.

An angst and a furor, rarely heard or seen since Bob Dylan and T. Rex went electric or The Beatles and Abba split up, has built up on the various social media sites during the period that the album was on hold. Steven Wilson has got it absolutely right when it comes to the album's subject matter. From being a closed, and rather private society, we now appear to be more than happy to reveal our most personal of details and our innermost nature.

During the 'To the Bone' tour, which lasted 14 months, the touring band racked up 145 concerts taking in over 30 countries and over 100 cities around the world. In hindsight, the more electronic nature of this album was hinted at during that last tour. And recently, Steven Wilson is quoted as saying that, 'for the first time in my life I actually wrote something topical to our current climate'.

Another twist is that Steven has even managed to recruit Elton John to guest on the album. Elton was involved on the track Personal Shopper. He does the monologue towards the end of the track. And it is true what Steven says, in that we sometimes tend to buy stuff for the ownership of it rather than for what it is intended for. Such how the algorithms have seeped into us.

Steven Wilson has been doing what he does within his world of music for majority of his life. Additionally he has been recording, releasing and touring music for the last 30 of those years. He is astute and clearly thinks about the wider business. In terms of career length he has far surpassed many of his contemporaries. And, despite that, he still wants to release music of value and worth. So it is only fair that if he says that he has done all he can with guitar based music, and wants to explore other avenues, then we need to respect that.

When Mothers Club Came to Coventry

 

When Mothers Club Came to Coventry

by Pete Clemons

Mothers Club in Erdington was one of the first of its kind outside of London that really meant anything to the music fan. When it opened as the Carlton during 1963 its aim was 'to provide live music and regular dances for the burgeoning teenage population'. And that policy continued when it was renamed Mothers during 1968. Occasionally dances would move to places like the Town Hall in Birmingham. A Mothers themed night was added to the Lanchester Arts Festival of 1970.

King Crimson were supposed to have headlined the evening and, even during mid January 1970 within a fortnight or so of the event, they were still being advertised in the national music papers and local press. But instead, and at very short notice, they were replaced on the bill by Danny and the Heart-throbs. The rest of the bill was completed by Free, Yes, Mott the Hoople, Atomic Rooster.

For that downstairs main hall gig social secretary, Bob Jones, did a lot of hyping for Danny and his Heart-throbs in 'Lanch' bulletins with a backstory saying they had come over from the USA. And it seemed that many bought it. But in reality it turned out that several local bands combined to put together Danny and the Heart-throbs. And they lasted for just two gigs.

The idea for Danny and the Heart-throbs came from future Indian Summer bass player Malcolm Harker. He drafted in band mates Brian Whittle on sax and Paul Moreton from Ultra Sound. Completing the band were sax player Tim James, guitarist Steve Cottrel, Bob Jackson on keyboards and Paul Hooper on drums. Paul Morton took on lead vocals as Danny. There was also a great boogie woogie piano player and a brass section. To give the band an image Malc had them all dress in drape coats, bootlace ties and brothel creeper shoes.

The first gig was at the 'Lanch' in a top floor room, for a Freshers party, where, as a result of this gig, further live music was banned. The crowd were so enthusiastic jumping around to the rock n roll - which was pretty much a novel genre at the time - that they cracked the floor/ceiling so no bands were allowed to play upstairs after that. That aside, the band were invited back again because they had gone down so well. The second, and final gig, was as part of the main Lanchester Arts Festival and Danny and the Heart-throbs went down an absolute storm with a set made up of tunes like 'Rock Around the Clock', 'Heartbreak Hotel', 'At the Hop', 'Summertime Blues', 'Shakin All Over' and 'Lucille' to name a few.

The event was reviewed in a national music paper as follows: An odd sort of evening at Mothers, the Birmingham 'heavy' club, as Friday's contribution to the Lanchester Arts Festival.

No really popular groups, and last act of the evening, so presumably top of the bill, was a last minute addition, local group Danny and the Heart-throbs. Unheard of outside Birmingham, Danny and his boys do a rock 'n' roll set which is a send up of the whole scene, black leather greasy hair and all, although the music is a straight laying down the line of what rock is all about.

Free were on before Danny's mob and played a predictable set including the popular 'Woman'. The crowd loved them and gave them the accolade of being the only group of the evening to be asked to do an encore. Much better live than on record, Free had the audience on its feet with a mind blowing ear splitting set.

Yes, possibly one of the finest live acts in the country, seemed a little out of their depth and got something of a cool reception until they moved from their sweet music on to some more pounding material.

I asked Paul Hooper for his memories of the gig: We did it as a spoof joke but in fact, had we kept it together, there may well have been potential for real success as was proved a little later on by Showaddywaddy amongst others..but we didn't take it seriously. Because we'd done a gig shortly before upstairs in the Lanch, and bought the house down, I do recall Chris Welch giving us rave review in Melody Maker. Perhaps we should have stuck with it eh?

Bob Jackson agreed: We went down a storm. I was in drag along with Paul Hooper. So it was a wild night!! It was packed in there and I got pulled off the stage by my ankle onto the floor. I had a shift dress on but that was all. You've never seen anyone move so fast to get back on stage. It was a winning formula.

Thanks to Bob Jackson and Paul Hooper for their help with this article.

PS Pete Clemons adds "the Danny gig was at the point where Malc Harker got to join Indian Summer. Steve Cottrel was still guitarist and he left shortly after, making way for Colin Williams as lead guitar in Indian Summer.

Indian Summer above  Colin Williams, Malc Harker, Paul Hooper, Bob Jackson

Joe O'Donnell – The Long Sobs

 

Joe O'Donnell – The Long Sobs

by Pete Clemons

'Les sanglots longs / des violons / de l'automne' ('Long sobs of autumn violins') is a poem by French poet, Paul Verlaine (1844–1896), and was first published during 1866. During World War 2 lines from the poem were used to send messages from the Special Operations Executive to the French Resistance about the timing of the forthcoming invasion of Normandy, otherwise known as the D. Day landings. They were used as a code if you like.

The poem is in fact referred to during the 1962 epic war movie 'The Longest Day'. And local resident and violinist, Joe O' O'Donnell, has long been intrigued by this poem. So much so that it is featured in Joe's latest musical project. More than that, Joe has made the whole project relevant to the City of Coventry.

 During the 1970s, when Joe was a member of folk rock band East of Eden. One tour saw East of Eden supporting the Climax Blues Band. East of Eden were instructed to plug themselves into the Climax Blues Band's back line equipment. And Joe found himself plugged into sax player, Colin Cooper's, Leslie Cabinets. This was not what he was used to and for Joe it was a revelation. From behind him and through the monitors the sound was astonishing. It felt as though he was inside large rotating cabinets.

 During the 1960s and 70s Leslie Cabinets were incredibly popular and very difficult to acquire. Together with the Hammond Organ they were the perfect fit. And these instruments featured on many great albums from that period. But it wasn't until Joe moved to Guernsey during the 1980s that the opportunity arose for him to buy these prized cabinets. Joe noticed an advert for a Leslie. But when he arrived to buy it, the seller offered him a second. They were in almost mint condition and hardly played. Joe adapted them for violin and, in Joe's words, 'there is not a sound like it'.

After relocating to Coventry during the 1990s Joe was quickly get to know fellow musicians around the city. After filling in on a gig Joe ended up at, of all places, Foleshill Road Fire Station. He had been invited to play his violin there. But what struck Joe was this incredible feeling of ambiance from the building. That then led him, sometime later, to record the sound of his violin through those Leslie Cabinets at 3 locations around the city. The Guildhall, the Roman Fort at Baginton and the New Cathedral. He fed in on the natural acoustics and ambience of those settings and drew that into the Leslie cabinets and back out again. While at the Cathedral the Long Sobs poem came back to Joe. It just seemed to fit in with feel of it all. And the Long Sobs became central to the entire project.

What had began as an avant garde project has, over time, evolved into a suite of music. The original recordings have now been overdubbed with authentic war time sounds which would have been heard during the Coventry blitz. These include aircraft engines, ambulance bells, Ack Ack guns, air raid warnings. Joe even discovered recording's of the original bells from the old Cathedral Tower. And these would have been heard prior to the cathedrals destruction. And all of these sounds have been mixed into the recording process.

The Long Sobs project has been, and still is, a work in progress for a number of years. Recently, however, it has began to gain traction. The arts council have shown an interest. And have been most helpful by accepting a bid for a development grant. This broad based suite of music runs in at around an hour and a quarter. It is similar in feel to an orchestral piece in that it is built up of several movements. It takes you on an emotional journey.

When live theatre returns there are plans for an ambitious interactive concert. The hope is that Joe's band, Shkayla, are accompanied by an on screen orchestra and choir. Adding to the overall audience experience their would also be narration and sound effects. And penciled in as the setting for this spectacle is the Albany Theatre in Earlsdon. Watch this space.

https://www.vox.com/2014/6/6/5785954/how-paul-verlaine-helped-the-allies-pull-off-d-day

On June 1, to tell the resistance to stand by for further alerts, the BBC transmitted the first three lines:

Les sanglots longs

Des violons

De l'automne

Then, on June 5, to signal that sabotage efforts should begin, the next three lines were sent:

Blessent mon coeur

D'une langueur

Monotone

Paul Verlaine. His poem Chanson d’Automne (1866)

Les sanglots longs
Des violons
De l’automne
Blessent mon cœur
D’une langueur
Monotone.
Tout suffocant
Et blême, quand
Sonne l’heure,
Je me souviens
Des jours anciens
Et je pleure;
Et je m’en vais
Au vent mauvais
Qui m’emporte
Deçà, delà,
Pareil à la
Feuille morte.


Translation
The prolonged sobs of the violins
of autumn
wound my heart with their
monotonous languor.
All breathless and pale,
when the hour sounds,
I remember former days
and I cry;
I am carried on an ill wind
which tosses me
here, there,
like a dead leaf.

Joe O'Donnell's Shkayla

2020 - An Overview

 

2020 - An Overview

by Pete Clemons

People do not need me reminding them that 2020 has had its extraordinary difficulties. And live music was especially hard hit. Clubs closed and tours cancelled. Will life ever go back to the way it was. I am not convinced. The virus is certainly here to stay. So we will need to adapt in order to live with it. But I am certain we will. That said it has not all been doom and gloom. Remarkably, and despite the problems it has encountered, the music world has still managed to give us many positives. Listed below are a selection of the positives I have come across. Of course, this is a very narrow view and, with music being such a vast ocean, there will have, I'm sure, been many positives in other areas of music. Massive thanks to all for keeping our spirits high..............

 Albums

 

Gazpacho – Fireworker: each Gazpacho album takes you on some kind of a journey. And this release is no exception. With Fireworker you are taken on an immersive exploration to the depths of your mind as they question why we react the way we do in certain situations and why we think the way we do.

 

Colin Edwin and Robert Peck – Infinite Regress: Infinite regress, as I understand, is a statement that needs to be supported by another, and so on. So in that sense these ten songs support each other. Heavy bass and lyrics based around how memories hold up over time.

 

The Pineapple Thief – Versions of the Truth: the growth of the internet has been both a benefit and a curse. Here Bruce Soord delves into how the magnification of the digital age has enabled truth to have been twisted to suit certain agendas and aims.

 

Lunatic Soul – Through Shaded Woods: This is the seventh album from multi instrumentalist Mariusz Duda. Here, Mariusz found his inspiration for the album from his childhood home, an area of Poland known for its forests and lakes. Musical soundscapes guide you through the local folklore.

 

Dyble Longdon – Between a Breath and a Breath: An accompanying postcard, that came with the album, and signed in one corner by David Longdon just spoke volumes. There seemed to be this large gaping void that was yearning for another name. Of course, it was that of Judy Dyble who is no longer with us. But what a way to bow out.

 

Sanguine Hum – A Trace of Memory: Sanguine Hum have been going about their musical business for 20 years now. Quietly releasing a series of really good albums. And still they have the capability of turning one out as engaging as this one.

 

Iamthemorning EP – Counting the Ghosts: As if to prove that the pandemic was indeed worldwide, this Russian pair vented their frustrations. 'All I wanted lately was to scream aimlessly into space but instead I recorded a Christmas song'.

 

Tim Bowness – Late Night Laments: Very much an album to be heard under the headphones. This a very inward looking and a self examination of an album. Brooding and, at times, quite dark.

 

Jack Hues – Primitif: it was the Syd Arthur connection that drew me toward this album. Before then, to my knowledge, I hadn't been aware of Jack Hues. Yet here he is at the age of 60, with time on his hands, writing a set of wonderful songs of reflections and relationships spread across a double CD release.

 

Steven Wilson EP's – Eminent Sleaze & 12 Things I Forgot: Steven's latest album has been ready to go for a number of months. But the pandemic, along with the chaos it has caused, has resulted in its delay to the wider world. But the intervening time has seen Steven release a series of tasters in the form of EP's.

 

Nektar – The Other Side: This was a very pleasant surprise. Following the passing of Roye Albrighton in 2016 the new Nektar began work on a new album. As I understand some of the songs on this release were based on ideas from 1978. Those ideas were reworked on and readapted to produce this beauty.

 

Judy Dyble and the Band of Perfect Strangers - Weavings of a Silver Magic: Recorded live at St Barnabus Church, Cambridge complete with full band and strings. I am proud of the CD and want to blush a bit with joy – Judy Dyble.

 

Airbag – A Day at the Beach: Their music is smooth and sophisticated. It is rich and creates atmosphere's. At times though I do struggle with the rawness of the lyrics. But it is with the music where this band excel.

Locally released music

 

Voodoo Kings – Rollin: this dynamic rockabilly trio completed their album just prior to lockdown. Released during October 'Rollin' contains a mix of highly original and imaginative reinventions of standards and classic foot tapping tunes.

 

The Session: as ridiculous as it sounds, The Session could quite rightly claim that 2020 was the most successful in their two decade history. Tunes like 'Denver Hill', 'The Fear' and 'Ravages of Time' have ensured that the accompanying videos have received thousands of hits and visits.

 

Crokodile Tears – Hoi Polloi: in the continuing tradition of any Croks release this album is piled high with musical quirks and is choc full of joy.

 

Fresh Maggots – Waiting For the Sun: Almost fifty years after the release of their first studio album, during October 1971, Fresh Maggots released a new album. But do not expect a follow up to that debut. Equally as enjoyable, this album represents the duo today.

 

Barnabus – Beginning to Unwind:all good things come to those who wait. And this album, that sat in the vaults for years, at last saw the light of day. Rise Above Records/Relics, led by Coventry born Lee Dorrian, pulled out all the stops in giving this record the most tasteful of releases.

 

Alternative Sounds – Compilation: Volume 4 of an ongoing series that showcases the best of what Coventry offers.

 https://alternativesounds.bandcamp.com/album/alternative-sounds-volume-iii

Re-issued albums

 

Medicine Head – Old Bottles, New Medicine: Fiftieth anniversary release of Medicine Head's debut album. Comes with unreleased tunes and live material recorded at the Marquee Club.

Brian Davidson – Every Which Way: A vastly under promoted album when first released. Now available on CD this is an excellent album by a band that received little recognition at the time.

Crystalline – Axe Music: One of those long lost albums revamped and produced onto CD-Rs by Steve Giles of Dark.

The Classic 1970 Album - fully endorsed by Steve Gordon, drummer from AXE - which is now available again.

 

Live music

 

Sadly live music for 2020 was decimated by the pandemic so not much to report on. What there was of it though, particularly during the lockdown and restricted times, was a huge tonic. Grateful thanks to those who led the way in pioneering these gigs and who had to jump many hurdles, following the ever changing rules, to ensure they were all run safely.

 

Pre Lockdown Gigs

 

Glen Matlock and Earl Slick – Robin 2, Bilston

Kafkadiva / Andy Nixon – Duffy's Bar, Leicester

 

Post Lockdown Socially Distanced Gigs

 

Voodoo Kings – Gatehouse Tavern

Roddy Radiation - Arches

Blues2Go - Arches

Stone Foundation – Queens Hall, Nuneaton

 

On Line Gigs

 

Bruce Soord – 5 sessions

Soft Machine – 2 sessions

 

Losses during 2020 included amongst many others..........

 

Neil Peart

Kenny Rogers

Bill Rieflin

Neil Landon

Bill Withers

Little Richard

Florian Schneider

Dave Greenfield

Phil May

Judy Dyble

Peter Green

Wayne Fontana

Pete Way

Lee Kerslake

Johnny Nash

Brian Locking

Dave Munden

Spencer Davis

Charlie Pride

Eddie Van Halen

Leslie West

 

There are moments in all lives when the world turns slightly on its axis, a death, a birth, a shocking of the soul coming from nowhere to change the reality of the days . And there is no going back. There is no returning to how it used to be.

So we go forward into the unknown future, with no real understanding of how or why. But knowing that the universe has turned and changed forever – quote borrowed from Judy Dyble

 

Alternative Sounds

 Alternative Sounds

by Pete Clemons

Alternative Sounds is back with a brand new compilation and, given the year we have all had, it is indeed a remarkable feat. The statistics around this series of releases are equally impressive. 4 CDs released over the last three to four years, containing 84 tracks by 82 different acts. And incredibly work is continuing on further releases that include a fifth volume along with one dedicated to Ska and reggae.

The original idea for the Alternative Sounds fanzines was the brainchild of Martin Bowes who has himself, over the last 40 years, regularly released records with his own Attrition project. And the spirit of that fanzine has been revived and faithfully restored in the modern digital age. In fact AS4, and the previous release AS3, came complete with a souped up version of the AS fanzine last seen during the very early 1980s.

Together, the Alternative Sounds team, have collected some exclusive tracks from their favourite artists and talent that Coventry and Warwickshire is well known for nurturing.

The CDs are instantly recognisable by their distinctive sleeves that feature full colour images of different music venues around the city.  And the contents are totally dedicated to what the county and city has to offer past and present. For me, AS4 had a couple of big hitters to draw you in, but those tracks were only a pre curser to what follows. And, as you move through the album, you cannot fail to be impressed by the talent and skill of these artists.

It doesn't take long before all of the tracks make themselves known. And despite the different styles and genres there are no fillers, and no intervals. So this whole compilation is perfectly designed to keep your interest throughout.

Alternative Sounds is without doubt a series of releases that continues to push the distinctive sound that has made the Coventry and Warwickshire music scene what it is today. It also reflects the huge steps that the team, who have clearly worked so hard to keep the releases coming, have taken over the years. AS4 follows the philosophy of previous releases in that it gives new talent a platform, alongside some of the more established names.

Over four glorious packed to the brim CDs, several now fully sold out, Alternative Sounds investigates the sounds of Coventry and Warwickshire. Whether it be rock, punk, acoustic or even electro along with a plethora of sub-genres. Its all here.

This limited run of releases is available from the 2 tone village, Vinyl Destination in the market and other outlets.

 

Hoi Polloi - Crokodile Tears

 Hoi Polloi - Crokodile Tears

by Pete Clemons

Hoi Polloi is a term that, apparently, originated in Greece and was used to refer to the masses or the people. Over here, in the UK, the phrase was claimed by the elitist and used as a reference towards the commoners in a negative way.

And now, here in Coventry, the term Hoi Polloi has been turned completely on it's head. It has been applied in a positive way and has been used to showcase the latest series of songs by fabled troubadour Christopher Sidwell. And along with the freewheelin' Jerry Richards and the free spirited Alf Hardy, collectively known as Crokodile Tears, those songs have been turned into an album.

Titled Hoi Polloi, the album celebrates the ordinary folk as several songs within it have been written for some of the people in, principle songwriter, Christopher Sidwell's life. Of course this is nothing new. Real life subjects have been immortalised in song before. Included amongst them include Suzanne, a girlfriend of Leonard Cohen, 'Layla' a song written by Eric Clapton for similar reasons and Bob Dylan who was captured in song by David Bowie amongst many others.

The parodies are not taking aim at anyone in a nasty way, they are not a mockery. They are simply a social commentary. They are creative and articulate. The songs are funny but poignant, silly but, at the same time, deep. Where parodies can quite often be a sense of ridicule or criticism these are light and humorous.

The album itself contains sixteen songs and runs in at just under forty minutes. It is bookended by the Croks latest hit Momus Boulevard and, in terms of recording and production, is clearly a team effort.

Finally, Hoi Polloi is dedicated to Kosmic Ken Ingram who was a leading light of the festival scene and who sadly passed away earlier in this most dreadful of years.

Everyone deserves a bit of sunshine right now and this album has been created in order to add a bit of light to this most dark of years. And things will pick up, that I am certain about. 

Porcupine Tree in Coventry 1993

 Porcupine Tree in Coventry 1993

by Pete Clemons

The latest Future Bites session, by Steven Wilson, saw him revive one of his earliest solo recordings. This being a version of Voyage 34. Despite it being a solo effort, Voyage 34 was released first released under the name Porcupine Tree way back in 1992, and was one of the longest singles ever released clocking in at over 30 minutes long.

This particular session was released onto the internet on December 11 2020 and, while on my daily walk that day, a series of coincidences began to occur to me. It suddenly struck me that Porcupine Tree had played in Coventry on December 11, but 27 years earlier, in 1993. Even more coincidental was that Voyage 34 had played a major part of that gig.

The first half of December 1993 had been a busy time for the recently formed Porcupine Tree as a live unit. There had been a weeks rehearsals followed by their first gig, at the Nags Head High Wycombe, on the 4th. A trip to Manchester for a session on the Mark Radcliffe show followed on the 6th. Another gig on the 7th, at the Borderline in London, and then onto Coventry on the 11th to round the year off.

The Coventry gig was held at Antics nightclub formerly known as the Tic Toc. More recently this popular venue was known as The Colly and most recently Kasbah. It was not the first time Steven Wilson had played the venue. He had performed there around 18 months earlier with his other band No-man. But what was significant about this gig was that it was the only time Porcupine Tree, during its existence, performed as a trio. Keyboard player Richard Barbieri was unavailable for this date due, as I understand, to a previously arranged engagement.

Steve Ashwell, one of the organisers of the event, remembers it well: 'I know that when we first received and loved the initial recordings, Steven had no live band, because we spoke to him about gigging him here. I hope therefore that we played a small part in him getting one together! '

At that time Saturday evenings at Antics/Tic Toc were normally reserved for blues nights but dance/trance nights, as opposed to a band, were beginning to prove to be popular. Ultramarine had appeared there a few weeks earlier and that had been very well received. So this was the perfect foil for the three piece who were heavily reliant on Richard's keyboards that, for this gig, had apparently been pre-recorded.

A more truncated version of Voyage 34 had been performed a week earlier at the Nags Head. But this particular audience was treated to the full version, possibly more, as I honestly cannot remember anything else being performed during the entire night. And the attendees, who had also been provided with a DJ who had been providing music without a traditional verse/chorus structure, lapped it all up.

With trance being mostly a layered instrumental music, characterised by a repetitive melodic beat, that includes peaks and drops and Voyage 34 fitted the bill perfectly. In all honesty nobody, at that time, had really heard of Porcupine Tree and fewer still would even realise Richard Babieri was absent.

The event had coincided with the build up toward the Christmas period and the atmosphere was 'joyous' to say the least. The evening which on the face of it, had the potential to be an absolute disaster, actually proved to be an total success if measured in terms of a happy and receptive crowd. A perfect combination in fact.