The Beatles 1962 to 1964

 

The Beatles 1962 to 1964

by Pete Clemons

During the years 1962 and 1964 The Beatles went from playing to a handful of people to thousands in under a couple of years. During some recent general research, for a completely different subject, I found myself going back in time to when the band played in Coventry. Snippets I found myself drawn to included the following and I put them into some sort of context:

Matrix Ballroom November 1962:

The Beatles first single 'Love Me Do' had been released early October 1962. During November of that year the band appeared at The Matrix Ballroom

The more recent 'anthology series' revealed several, previously unseen, engagement instructions. Specifically for the Matrix Ballroom gig of 1962 it was stipulated that: 'You must have a good programme for this date as this engagement is for a new London Agent (also for our best fee yet – One hour spot minimum')

In the 'Let It Be' film Paul McCartney discussed this particular show with John Lennon, describing it as 'the worst first-night ever' following their recent return from Hamburg.

Set lists from this period are mainly based on a 'best guess'. But as the band had played both 'Love Me Do' and 'Ask Me Why' for a radio session the day before the Matrix gig I assume these tunes would have been played at the ballroom.


Coventry Theatre February 1963:

The single 'Please Please Me', released during January 1963, went to number one in February just as the band were touring with Helen Shapiro. Ringo Starr revealed 'We used to open for her, then hang out until the next show, it was always a bore – then suddenly we had a number one!'

A typical set list at this time may have included some of the following: 'Chains', 'Keep Your Hands off My Baby', 'A Taste of Honey', 'Please Please Me', 'Love Me Do', 'Beautiful Dreamer'.

Coventry Theatre November 1963:

A week or so before the Coventry gig it was announced that 'The Beatles latest and greatest long playing record entitled 'With the Beatles', and presented in an attractive monochrome cover featuring the shadowed faces of the four idols, will be released on November 22. A so far unnamed single will appear seven days later. Demand for both is fantastic – city record shops have been overwhelmed with advance orders'.

Interestingly the article also mentioned that 'the group had been in the city the previous Sunday, walking almost unnoticed near the Lady Godiva statue in Broadgate Island' – did The Beatles make an unscheduled visit to the city?.

The show(s) themselves were reported as follows: 'Once the show got under way the capacity audience screamed for their idols – almost ignoring the supporting entertainers who really worked themselves into the ground – but met with little response'.

The reporter continued: 'This crowd only have ears for only one group tonight and the rest of us might as well go home' mentioned a member of the Peter Jay group – as he staggered to his dressing room after a soul destroying session on stage. It was impossible to hear the words of any of the songs and the music was almost drowned out by the screaming – despite the fact that the group had 10 amplifiers on stage. The second performance, with a slightly older audience, was just as enthusiastic in its reception and while the Beatles were on stage for the last time several teenagers threw small table tennis balls onto the stage. Outside the theatre many of the fans who had seen the first show had waited to see their idols leave Coventry but the group had been driven away almost unseen'.

As for songs played, every Beatles gig at that time seemed to start with 'I Saw Her Standing There'. Also it was reported widely that up to 10 songs were played on every date of that Autumn tour. Others possibly included 'All My Loving', Twist and Shout', 'She Loves You' and 'Money'.

An article that appeared after that Beatles gig stated that the bands latest single 'Can I Hold Your Hand', which had been released that week, was proving popular, and I am told that sales may exceed supply in some shops. The demand for the long player 'With the Beatles' has been 'simply fantastic' say the local record shops. (of course the single was actually titled 'I Want to Hold Your Hand').

Beatles German releases arrived in Coventry during 1964 and this is how that news was received:

Die Beatles 'Komm Gib Mir Deine Hand' disc, with 'Sie Liebt Dich' on the flip side is now available in Coventry. This German version of 'I Want to Hold Your Hand' and 'She Loves You' is one of four Odeon records featuring the four long haired lads from Liverpool.

The imported records cost is 1d more than a British single, but what's 13 pence between Beatle fans. The other three discs are re-recorded in English, but are perhaps a better proposition for the thrifty as they feature 'A' songs on each side. Specimen titles include 'Roll Over Beethoven', 'It Wont Be Long' and 'Twist and Shout'. Each disc is presented in an attractive coloured cover with photographs of their idols.

Of course, all of the above could have been in any town or city as The Beatles travelled the length and breadth of the country during that time. But it does give a small flavour of how things were almost 60 years ago when The Beatles made their flying visits the city.

I Want to Hold Your Hand in German

She Loves You in German

UB40

 

UB40

by Pete Clemons

Almost as soon as they formed reggae purists were dismissing UB40 as bland UK rockers. Music journalists were labelling them as dull. Regardless of the dismissiveness UB40 carried on, undeterred, eventually proving how important this band actually were.

That said, local fanzines such as Alternative Sounds, along with local record shops, had picked up on UB40 very early on and were very positive in their comments.

The first six months of UB40's career were spent in a cellar, where they began to learn how to play their instruments by copying their favourite records by artists such as Gregory Isaacs and Bim Sherman. The band played public for the first time during February 1979.

For the rest of that year UB40 played pub and club dates, community festivals and political benefits. First of all locally then they began to play around the country. These early gigs included several in Coventry. A date at 'The Lanch' with The Cimarrons, a visit to Warwick University and a support slot to The Beat at Tiffany's during December 1979.

UB40 recorded a demo tape that the legendary Robin Valk broadcast on his BRMB show. That same tape also impressed John Peel. So much so that John arranged a radio one session which was broadcast during January 1980.

In the meantime Chrissie Hynde saw UB40 play in London and this resulted in, arguably, the bands first big break when she asked them to support The Pretenders on their first national tour. This tour included a date at Tiffany's. And throughout 1980 more headline dates in Coventry followed.

Around the same time UB40 were signing their first major record deal with Graduate Records, a small independent company in Dudley. Their first single 'King/Food for Thought' was released during February 1980 and, with little promotion, soon found itself at number 4 in the UK singles chart. 'King' became one of the earliest singles ever to reach the top 10 without any major record company backing.

An album 'Signing Off' followed during August 1980. 'Tyler' opened the album and its strong, booming chords and beseeching chorus showed off all UB40s melodic powers to the full. The simmering anger bursts out on 'Burden of Shame'. Dubbier versions of 'King' and 'I Think its Gonna Rain Today' are also showcased on the album. 'Signing Off', as well as the bands style, certainly turned heads and opened up a lot of ears.

UB40 had several more hit singles on the Graduate label but then the band formed its own record label DEP International. In making this move the band felt they were able to maintain complete control of their own output. The formation of DEP International was to also create an outlet to release records by other artists.

With increasing popularity came the inevitable relentless heavy touring schedules. 1982 saw UB40 visit Coventry Theatre several times.

During the summer of 1983 UB40 had the opportunity to record a collection of songs that had inspired them to form a band in the first place. They called the album 'Labour of Love'. A couple of American tours, including one supporting The Police, and a European tour followed. The new album took the band to a whole new level.

1984 saw yet another album and UK tour. This time in support of the Geoffrey Morgan album release. The completely sold out tour included a date at Coventry Theatre during December 1984 and two at Birmingham Odeon.

The Choir of Man

 

The Choir of Man

by Pete Clemons

The world is not made up of people who think the same as you or feel the same. We are all very different in our moods and mannerisms. We are also different people at different times and the humble pub catered for all.

And all the above is at the heart of the musical The Choir of Man currently running at the Assembly Festival Gardens in Coventry.

The setting for The Choir of Man is a pub called The Jungle. The pub has its own choir that features a multi talented cast of 9 men, each with his own personality type.

And those personalities include a Poet, a Handyman, the Pub Bore, the Hard Man, the Beast, a Romantic, the Maestro, a Joker and the Bar Man. The Bar Man, for example, loves to keep the beer flowing for people at the pub while the Romantic hopelessly keeps swiping on dating apps. The Beast is a bit more dexterous than his first impression gives.

The Poet is generally the narrator, but there's not really a plot. Each of the performers has somewhat of a surface level backstory. Nevertheless you are welcomed into the Jungle where you are served with beer and banter.

Throughout the 90-minute performance, each man gets his chance to perform his own number when he's not backing up another. There's a few rousing group numbers too, and they featured an awful lot of talent.

No doubt, even the average theatre goer would recognise a lot of the music featured here. And towards  the end of the performance there's a sing-a-long of The Proclaimers '500 Miles'.

Other songs performed include 'Somebody to Love' by Queen, '50 Ways to Leave Your Lover' by Paul Simon', 'Under the Bridge' by the Red Hot Chilli Peppers, 'Hello' by Adele, Rupert Holmes 'Escape (the Pina Colada song)' along with several others.

Throughout the show, The Poet will pop in for a few timely monologues, mostly reminding the crowd of the loss of gathering spaces like pubs during the pandemic, and how much we all missed them.

There was actually a lot of talk about the freedoms that the pandemic took from us. It also reminded us about theatre and live music being back and how that needs our help right now.

Overall The Choir of Man delivers on so many fronts. It was charismatic, and they had the audience on their feet several times.

The Choir of Man is on it's second run here in Coventry and is now on it's last couple of weeks of that run. Be quick if you intend to see it. It is very worthwhile.

Ade Taylor - Wandering John Bassist

 Ade Taylor - Wandering John Bassist

by Pete Clemons

Ade Taylor - bass with Wandering John 1970 Coventry Cathedral Diggers Fest.

Bass player Ade Taylor nowadays lives happily in Devon. He has done so for a good number of years. There, he performs with local blues and rock bands. But this child of Coventry holds a wealth of knowledge and experience form those heady days of the late 1960s. So it is great to chat to people like Ade about those days. One story tends to lead to another and so on.

I began by asking Ade Taylor why he had chosen the bass guitar. He replied:

'I was born in Hipswell Highway, Wyken before moving to Shakespeare Street, Holbrooks, Binley Woods and finally Earlsdon. As a youngster I had a little gang of friends in Earlsdon, where I lived at the time. We used to get up to all sorts of things as lads do. Football, Scalextric, bikes, and pop music. The Stoke/Wyken area at that time had a wealth of talent that included Neil and Hazel O'Connor, Dave Pepper, Rod Felton, Paul King, Wall, Geoff Veasey, Arnold Chave amongst many others). One day, I went around one of my friends house, and he and another were playing acoustic guitars together. From this, came a little band, and I just sang along with the lead singer. When one of the lads got a drum kit, only the bass position wasn't filled. So, they all looked at me with those, what about Ade eyes'.

Ade continued 'My brother said, I think the bass will really suit you Ade. And although this band of 14 - 15 year olds didn't get off the ground, that chance remark by my brother got me thinking. Fast forward to 1967, and I was working by then, and was able to purchase my first bass from Exchange and Mart in town, for £15. Nick Hawkswell gave me some good bass tips back in 1967, when I bought my first bass guitar. Nick had been a member of Coventry band 3AM along with Derek Wilson (guitar, vocals) and Jimi Longworth (drums)'.

The following year, 1968, Ade got himself a Fender Precision, a decent bass guitar. Bob Jackson gave him some useful riffs, including "Sunshine Of Your Love" by Cream. On the strength of that, he got into his first proper band, 'Interior War' and on rythmn guitar and slide guitar was John Alderson. (I think Interior War also included Leamington Spa resident, vocalist Nick Rowbotham, later of The Mosquitos)

Ade and John Alderson were kicked out of Interior War and 1969 saw the pair form Wandering John. The first Wandering John gig in the late Autumn, 1969 at the Newlands pub, Tile Hill Lane.

This gig lasted just 3 songs, then we were ejected for being too loud!. The band famously played an afternoon gig in the old cathedral. A lot of folk remember that day so well.

By 1972 Ade was playing rhythm guitar. Trev Teasdel remembers how Ade taught him how to do a 'barre chord' and John Alderson taught him the basis of 'Angie' - the Bert Jansch tune.

As it turned out Ade always dabbled with guitar. He had a cheap Spanish guitar, and played in my bedroom, as playing bass on your own isn't much fun. He learned a lot from various guitarists, including Johnny Alderson. But, alas, his ventures into lead guitar never rose to any great heights.

Ade says 'Some day I will tell about my links to well known Coventry musicians, including Wandering John, Indian Summer, Asgard, 3am, The Rare Set, Jessica's Theme, and many more.


Maybe, reading this, will spur Ade on to giving a more fuller account of his story.

Live concert by Wandering John 2010 for their 40th anniversary at the Sphinx Club  Coventry 

Ade Taylor in the 70's

Wandering John 1970

From a 1970 photo of Ade Taylor in Broadgate Gnome 1970 - above a graphic used for the Hobo Coventry Music Archive in 2007 and the original from Broadgate Gnome.

More on Wandering John on the Coventry bands from the 1960's onwards A to Z.

Here https://coventrybands.blogspot.com/2018/08/wandering-john.html

Rock Goes to College

 

Rock Goes to College

by Pete Clemons

Rock Goes to College was a BBC series that ran between Sept 1978 and March 1981. The programme showcased a variety of up-coming rock oriented bands who were given the opportunity to perform live from small venues and broadcast simultaneously on television and radio during a 40-50 minute live performance.

The venues were typically university, polytechnic or college halls that had small stages. The halls held a few thousand people with tickets often given to the Students Union to distribute out for free. The bands chosen were also, in some cases, bands which, at that time, did not have a particularly strong mainstream following. Although many went on to be very successful.

A BBC DJ, normally Pete Drummond, would also be present to introduce the band for the television audience.

I have put a few words together about a couple of Coventry connections to the series.

The first was on January 21st 1980. In this episode the student taunting Specials performed at the Colchester Institute in 1979, playing hits such as Rat Race, Too Much Too Young and Gangsters. The band are caught throwing tambourines at the bouncers and indulging in a little moon stomping during a stage invasion. This appearance definitely captured Coventry’s Magnificent 7 at their finest.

Set listing: Do the Dog, Monkey Man, Rat Race, Blank Expression, Rude Boys Outta Jail, Doesn’t Make It Right, Concrete Jungle, Too Much Too Young, Guns of Navarone, Nite Club, Gangsters, Longshot Kick De Bucket, Madness, You’re Wondering

Next up was when Rock Goes to College visited Coventry. On 19 March 1981 Siouxsie and the Banshees were filmed live at the nearby Warwick Arts Centre, for the BBC music show.

From the concert came a tune called Israel, a dazzling walk between the symbolic and the emotional. The song was released and issued as a stand-alone single between the albums ‘Kaleidoscope’ and ‘Juju’.

The concert was enticing in its ethereal darkness, from Steve Severin’s irresistibly menacing bass and Budgie’s ceremonial drums to the eerie choral backing. John McGeoch’s dazzling guitar spirals and Siouxsie’s beautifully mournful delivery.

This 40-minute set, which was also the last ever Rock Goes to College, was filmed a few months before the band released Juju, their fourth studio album and several of the tracks featured in the setlist.

Set listing: Intro (Clockface), Israel, Spellbound, Arabian Knights, Halloween, Christine, Night Shift, Red Light, But Not Them, Voodoo Dolly, Eve White/Eve Black.

In general, many of these RGTC performances have only have been shown a very limited number of times on TV and in some cases only once. Very few of these concerts seem to have made it to legal DVD.

Bootlegs exist created from original TV and radio broadcasts as well as subsequent repeats. The Specials, for example, are commonly found advertised on trader's sites.

Some of the shows have been recently broadcast on VH1 Classic on the show BBC Crown Jewels.

The Specials Rock GoesTo College below

Siouxsie And The Banshees Rock Goes To College 1981

All Night Jazz Session, Coventry Locarno 1961

All Night Jazz Session, Coventry Locarno 1961

by Pete Clemons.

For a while I was under the assumption that the first all night music event, to have been held in Coventry, was during 1966 at the Locarno. Then I found information that confirmed there had been a slightly earlier all night event that involved John Mayall's Bluesbreakers.

More recently I came across some information that substantiated there had been an all night jazz session, again at the Locarno, but this time during 1961.

This event involved regulars to the then Mercers Arms jazz club scene. In fact the bands involved seemed to be permanently on the road. These bands were incredibly hard working. All night events were not a new thing to these guys as they had been involved in other all night jazz sessions up and down the country.

The Locarno event began at 11pm and went through the night till 6am. It had been organised jointly by The Abracadabra Jazz Club based at the Mercers and The White Lion Jazz Club at the Leofric and involved the following bands:

The Clyde Valley Stompers

Formed in Glasgow, Scotland in 1952. From 1954 they were led by Ian Menzies and soon became a full-time professional group. Their popularity extended throughout the U.K. during the '50s trad jazz boom and they had several minor hit records. The band had a U.K. Top 30 success in 1962 with 'Peter and the Wolf', but although they appeared on television, including playing on The Morecambe and Wise Show, the days of trad pop were over. The group disbanded in 1963.

Ken Colyer's Jazzmen

Trumpeter Ken Colyer loved ensemble oriented New Orleans jazz, and he never really veered from that path throughout his career. Colyer also worked with the Crane River Jazz Band from 1949-51. He joined the Merchant Navy where he jumped ship in America to go to New Orleans and play with local musicians. After making some recordings, he was caught and deported from the U.S. During 1953-54 he formed the Ken Colyer Jazzmen along with trombonist Chris Barber. Musical differences resulted in the rest of the group leaving and forming Barber’s classic group.

Alex Welsh and his Band

Alex Welsh began his musical life in Leith on the smaller cornet, later switching to trumpet. He moved to London in the early 1950s, forming a new band. Welsh made sure every position in the band was filled with an expert, exciting player. The band frequently toured, including several trips to the United States.

Mickey Ashman's Ragtime Band

Bass player and former member of the Chris Barber Band. Mickey Ashman first played with Chris Barber in one of the latter’s amateur bands in the early 1950s. By 1955 he was working in Humphrey Lyttelton’s band and then in 1956 he joined Chris Barber once more. In the early 1960s he was leading his own outfit.

The Cy Laurie Jazz Band

Cy Laurie initially trained as a draughtsman. He began playing on a soprano saxophone which had been left at a pawnbroker’s shop owned by his father; but he soon swapped it for a clarinet, on which he was self-taught. Cy's band gained a reputation for getting 'wildly carried away' while on stage.

Clyde Valley Stompers - Peter And The Wolf.

KEN COLYER JAZZMEN - Harlem Rag.

Alex Welsh Jazz Band - It Don't Mean A Thing.

SIX FIVE SPECIAL "Chris Barber & Ottilie Patterson"

Wild Man Blues The Cy Laurie Jazz Band.

Dando Shaft Reunion 1993

 Dando Shaft Reunion 1993

by Pete Clemons

A recent on-line discussion about the Dando Shaft reunion, at Whitefriars during 1993, had me digging through some unused notes, about the band, I took several years ago. With so many myths surrounding the Dando's early days I thought it best to get those notes out there.

The first words came from Kevin Dempsey:

Rod Felton took Kevin under his wing and got him gigs at the City Arms (Earlsdon) folk club. Dando Shaft started the Pilot Folk Club in order to get their music heard. Kevin's father, Frank Dempsey, was in the band New City Sounds. One time Frank came to watch the Dando’s. This was a totally different kind of music to what the New City Sounds played and Frank totally shocked Kevin by his reaction. It was shocking. This reaction, rather than have a negative effect actually spurred Kevin on. One day you will have to queue up to watch us play Kevin told his Father.

Soon after the Dando’s had landed back in Coventry after returning from London the band had a gig lined up at The Walsgrave pub. The day of the gig had seen snowfall and that evening a large queue of gig goers had formed outside of the Walsgrave. Kevin drove into the car park and he spotted familiar faces in that queue. It was his Mother and Father. He pulled up alongside and wound his window down reminding them of their earlier reaction.

The next set of notes came from Dave Cooper:

The first Dando shaft album occurred as a result of a cancellation at Pye studios by Jonny Silvo. The bands manager suggested we could use the studio time to make a demo. After the first take the session producer Miki Dallon called us into the booth and announced "great lets make an album". The eight tunes were played live no overdubs, at the session in little over four hours.

A second session was booked at a later date, to mix the tracks and correct the one fluff we made in "Drops of Brandy". At this session a contract and lawyer were produced and we signed away 60% publishing and 100% of mechanical royalties. We quickly realised we had to get away from Young Blood Music, however we had an album release, "An Evening with Dando Shaft" to support our live shows.

"An Evening with Dando Shaft 1970" must have been one of the cheapest albums Miki Dallon ever produced. I wrote five of the eight songs. Over the years many and various lease deals have been made with companies for compilations. Over fifty years later and the music is still available. None of the band members receive royalties from the mechanical reproduction and sale of this music.

Again, borrowed from Dave:

For the record. This "Whitefriars" reunion gig in '93. Lineup was: The original dandoist Roger Bullen on bass, Martin Jenkins on Mandocello+, Kev Dempsey on stratospheric Guitar. Ted Kay tablaaaaa..., Chris Lesley Zeta violin. Polly Bolton singing. Dave Cooper guitar and vocals. There were a number of guest performers; Gillie Nicholls, Kalinka Vulcheva and Rod Felton.

The video of "Raining on the Rock" is Me (Dave) and Kev vocals. Rod is playing percussion, rain sticks. We were also joined by my son Selvin Cooper on Didge for the song. I'm aware that stories and dare I say myths appear and swirl. To my knowledge Rod never performed with Dando apart from this occasion. Maybe called up once or twice in the early Cov scene days to harmonise a chorus?


DANDO SHAFT were formed in 1968 and featured:
POLLY BOLTON - Lead Vocals
MARTIN JENKINS - Lead & Backing Vocals, Mandolin and Violin
DAVE COOPER - Lead & Backing Vocals and Guitar
KEVIN DEMPSEY - Lead & Backing Vocals, Guitar and Bass
ROGER BULLEN - Bass
TED MAY - Percussion

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

From Dave cooper's Facebook 

It is with great pleasure to report that following the recent transfer of the catalogue of the Dando Shaft recorded works to "Cherry Red Records", a new publishing deal and a new release of our music. Planned to be a multi-disc boxed set. To include the first three records plus Radio concert recordings and additional unreleased tracks from a gig at the Belgrade Theatre in 1977. More news on "Dandology" as we progress. We are delighted to be working with "The Unmistakeable Sound Of Independence" and look forward to the release and future collaborations.

https://www.cherryred.co.uk/?fbclid=IwAR3WugP0k8PWo2e3DceSHPySDTPQfWoxLEpFvpZAJwcxeXGuKxKf7Sc0Pmc

More on Dando Shaft here

https://coventryfolkclubs.blogspot.com/2014/05/dando-shaft.html

The name of the group came from a 60's novel by Don Calhoun