One Saturday in 1992 saw a normal unsuspecting Whipround event at Warwick University. The Spasmodics from Bristol. They were described as a long haired band, that apparently make the Manic Street Preachers look like Brownies. They had hope and a lot of record company interest.
Little did The Spasmodics know though, that when the band drove to the Uni, that they would meet their nemesis! For the support band that night had also had a lot of EMI interest and it was said that a record deal was in the offing for one of them. They were a 5 piece band from Oxford, lead by a singer with a bleach blonde mop of hair, who called themselves Radiohead!!
It wasn't long after that gig that they had the deal and the rest is.......!! So with that disappointment the Spasmodics headed off to France for a few dates and had a memorable time on tour! This proved to be the bands swan song though, as upon return to Bristol the band slowly fell apart, with stress, money, drugs, and musical differences all being cited as reasons. All the clichés really!
By the autumn of 1992 The Spasmodics had called it a day and gone their separate ways. The band, together since 1989, saw their various ex members getting involved in a lot of musical projects. None of those ventures have really matched the summer of 91 when a live album was recorded, and the great times they all shared together!
On the other hand Radiohead released 'Drill' EP later followed by 'Creep' single which was, slightly later, being reissued as an EP
The following year, 1993, and Radiohead were back. The 'Anyone can play guitar,' single had just been released and followed the acclaimed 'Creep' EP. It calmly blew away any sceptics who thought Radiohead had peaked early.
The eponymous track was a progression of their slightly unusual sound as they prove that they’re not just another 'bland-indie band'. 'It’s definitely a hit if it can get the play it deserves' predicted local pundits.
There are bands that like the idea of being a guitar band, the rest just like being a guitar band. What set Radiohead apart was a purpose far beyond posters and parties and making a noise with the lads.
During 1993 Radiohead's main aim is to surpass the standard set by Creep. Then the sky’s the limit. Which of course it was with the release in 1997 of OK Computer. The only criticism back in 1993 was that their records paled besides their live sound.
Creep had been heralded in locally with 'Radiohead worthy support of last year. Another production let-down: the guitar suffocation still hasn’t found its way onto vinyl. And another thing. The lyrics are so ingloriously morbid'.
'Such works live, for the quiet desperation of the words were always drowned by the ferocious stringed onslaught, a strong metaphor of depression'.
Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway certainly created some landmark records and influenced a whole generation.
Tim Bowness and The Butterfly Mind, Kidderminster.
by Pete Clemons
Listening to a record 20 or 30 years on from its original release creates different feelings to those gained when you first heard it. And the same, it seems, applies to those who created it.
Founding member of the 1980s experimental pop rock band No-Man, Tim Bowness, appears to have found a fresh spring in his steps. And he has every reason to. He has recently put together a really excellent and fresh band called The Butterfly Mind. Together, Tim and the Butterfly Mind have been quietly gaining traction via several live shows that showcase, not only Tim's solo career, but also the wonderful music of No-Man.
Add to that the release of the recent box set, 'Housekeeping – The One Little Indian years 1990-1994' and its accompanying album 'Swagger', new life has now been breathed into the whole world of No-Man. But that was then.
After a recent gig an upbeat Tim said: 'I hope to do more gigs with the current band and we'd all be up for performing a more comprehensive tour. As it currently stands, we have two festival dates in April and July (I think!)'.
Tim continued 'As well as my forthcoming solo album (expected Summer release), we'll be (probably!) putting out a live album this year and that would be good to support with dates. In answer to your question re: the arranging of gigs, I used to have a booking agent, but at the moment I await offers or put things on myself (Kidderminster and Hope & Anchor, for example)'.
On this new line up Tim says 'While we want to be faithful to music it will never be note for note'.
At Kidderminster Tim and the band were on fire. At times it felt almost theatrical. There was drama and tension as you are drawn into the songs. Tim paces the stage like a caged animal but in a conspicuous way. Tim agreed 'It worked really well live, especially with Theo Travis on there. The band has really enjoying going through the No-Man catalogue.
A brief version of the familiar 'Another Winter' opened the Kidderminster set. This was quickly followed by 'Time Travel in Texas'. From there it was straight into the mesmerising section of 'All the Blue Changes' and 'Wherever There is Light'.
The tempo changed gear slightly as a clutch of songs from Tim Bowness' solo albums followed. But it all cranked up ferociously as the No-Man songs took off again.
A huge surprise of the evening was the announcement of 'Sweetheart Raw' a song not heard live in decades. The band handled it magnificently.
Another source of excitement came during the encores when 'Mouth Was Blue' was introduced. Again it held a certain familiarity.
The set was wrapped up with the final song 'A Stand-Up for the Dying' which is a song from Tim's next solo album.
Is this fresh impetus in No-Man shared by all its protagonists?
On that Tim mentioned: 'Hopefully No-Man will record together again with original violinist Ben Coleman. I think we can recapture spirit and do something different with it. The Butterfly Mind was possibly a direction No-Man could have gone in. There is still lots of life in that No-Man material when played live. As such Tim feels more comfortable producing that music live now than ever. Steven Wilson is less keen on nature of touring.
The last time we reformed no-man was that my band. They knew the music inside out and Steven could just join in with us.
Now I have a completely different band and, musically, they are different again. This is as exciting a band I have ever been with. The music has been redirected and refashioned and I think Steven would quite enjoy it.
Its all very mouth watering but only time will tell.
Like many, the loss of Neil Kulkarni came as a complete shock. And, as happens at times like these, there have been moments of reflection.
The obvious being around the many music articles Neil wrote. They were some of the best I ever read. One that immediately comes to mind came after Prince had passed away. It contained thousands of words and seemingly released within hours after news of Prince's demise had been announced. It was a staggering piece of work.
Numerous times, over the last year or so, I have heard others mention that Neil's written tribute to Terry Hall and the Specials as being 'the greatest piece of critical music writing I have ever read'.
And while on The Specials I remember seeing a painting of Neil by Horace Panter. Given his social media reaction, Neil was really chuffed by it. As such I am fairly certain it was framed and hung up in pride of place. There was something of a message in the painting as well.
Neil's writing was compelling and, even if you were not interested in the subject matter, the quality of the writing was worth the effort of reading. Whether you enjoyed what he had to say or not, there was no denying his brilliance as a scribe. On music, Neil would go deeper than a records content. He delved down and dissected the creator at DNA level. And it could hurt.
In addition to his writing Neil was an extremely competent musician. And, because of that talent in this field, maybe partly explained his, sometimes, critical standpoints when it came to music. Neil was also a member of the Coventry band the Moonbears who I saw play live, and enjoyed, many times.
The band began as a 6 piece called Rochenko. They then became The Moonbears when they when went down to a five-piece. Then around 2006 they reduced in number again. This time to a 3 piece. Moonbear#1 is Mick and he plays drums and sings. Neil was Moonbear#2 and he plays guitar and keyboards and sings. And Moonbear#5 is Jon who plays bass and won't sing.
More recently they were completed by saxophonist, Sarah Laughton, Moonbear#0 who, I remember reading in one Moonbear message, as having 'completed the circle'.
I must stress that I never knew Neil as such. Apart from gigs, my personal contacts with Neil were few. We seemed very different. I am very much into music nostalgia whereas Neil mainly seemed to strive for the new. But, having read a lot of his work I did hold a quiet esteem for Neil.
My own articles are what they are. The ramblings of an enthusiast amateur. The first time Neil 'liked' an article it left me numb. Daft I know but I couldn't help my giddiness.
Neil did contact me several times, and, they were memorable - for me at least. The first approach being completely out of the blue during May 2013.........
Hiya Pete, Neil from the Moonbears here - just wanted to send you a song from our new album, out now on i-tunes and wondering if there's any chance the launch gig could get a mention in the Telegraph? It's at Inspires this Saturday from 8 onwards and we're on stage about 10. Our album's called 'The Wow! Signal' and will be available to buy on the night as well. Let us know if there's anyone else I should be bothering about this and once again thanks for all the support - I just think you deserve a sneaky preview of the album cos of all the brilliant support you've given us! Cheers, Neil Kulkarni (Moonbear#2).
At that time I was writing nostalgic music articles for said newspaper. So I did what I could for them. That said I was pleasantly surprised that the band had thought to get in touch with me. Not that it happens regularly but it is an honour when an artist trusts you with their work.
A few years on and, during November 2016, I was blind sided once more........
Hiya Pete - promo copy of 'Let's Get Nice' for you - would be great to get a write-up in the Telegraph if possible no worries if not! Thanks as ever for the support x
Naturally I think, I was quite taken aback by this request. Here was a major league music critic and former journalist for the Melody Maker asking me, an enthusiastic amateur, to review a Moonbears album.
Being honest I bottled it. I just couldn't get started. Imagine, if you like, the person writing at a desk, lots of scribbling, lots of scrubbing out, and every piece of paper is ending in the bin. That was me.
I had never felt that way before so called in the help of the then brilliant Telegraph music reporter, Alan Poole. As always he did a fine job.
Long before the pandemic I had an inclination that The Moonbears had been writing another album. If memory serves it began during 2017. The final track, 'Red's Theme', was completed on the night before the first lock down of 2020. It was a massive achievement and a huge labour of love. But I hadn't, yet, realised it's significance.
May 2020 Hiya Pete - Just wanted to get the new Moonbears album to you as your support over the years has been really appreciated. It’s a double album, it’s called ‘Four Sides For Red’ and we are doing a full digital and vinyl release once lock down eases. Hope you enjoy it and have a nice Sunday mate, hope this finds you well x
This time, and without the safety net of the Coventry Telegraph, I had to go for it. I did have a brief chat with Neil about writing and critiquing. The reply was quite uplifting but centred around – regardless of ability, as a writer, just be honest to yourself. Which, of course, is easier said than done.
I was never entirely happy with my article, I never am, but there you have it I simply wrote what I thought.
'Four Side For Red' was fan-fared in defiantly with a wonderful statement of resistance that accompanied news of the album: 'The pandemic was never going to beat the Moonbears but we are all excited that from three of the toughest years of our lives we had Moonbears, and we had this miraculous thing we made. Thanks for reading x'
As already mentioned Neil's writings were immense. His mastery of the written word was simply breathtaking. Deep down I realise that the best writers are controversial, frank and to the point. For me Neil was, without doubt, up there with the very best of them.
At a time like this I feel that the final words must come from those closest. After sending on my condolences I had this reply from Jon Moonbear:
Yes the Neil "headlines" tended to be comical battering's he could dish out but the real Neil was in the way he could lavish praise in a way that the rest of could only think "yeah I also love that artist, know all those words and can write in sentences but I can't understand how he can do it like that" Jon.x
A couple of Wild Boys tracks from play were released on cassette - Roddy Radiations former band.
2023 saw the passing of Michael Boyd. Michael was an artistic director for the RSC but began his career at the Belgrade Theatre. Not only did he produce the landmark play Risky City, written by Ron Hutchinson, but he also produced many of the Coventry mystery plays.
The early 1980s and Coventry was an uncomfortable place to grow up in. And the more violent side was the theme of Risky City.
It was a play of huge contradiction. On one hand it depicted disaffected youth who were, apparently, all sticking together for the common cause.
On the other those same 'friends' were kicking each other to death over a pint of lager. Such were the priorities held, and what was deemed important, within the city at that time.
In the edition of 'Something Else' that focused on Coventry, one of the saddest attitudes presented of the city was that of the local kids to the theatre - 'It's all Shakespeare innit?', and in the past the choice of plays made by the Belgrade has seemed determined to foster such an unpromising opinion.
When 'theatre' means The Wild Boys and bands in the foyer, there is then an immediate interest established, and I hope that there is to be more collaboration with the Youth Theatre in producing drama that has direct appeal to the young who normally would sneer.
More a series of scenes interspersed with music from the band than a play - it's far too rough and crudely put together for that - Risky City tells the true story of Eddy who was kicked to death in one of the city centre car parks over 'the price of a pint of piss warm, low-cal, overpriced lager' and of the CID officer on the case who discovers that one of the attackers was his own son Ellis.
Tensions between a father and steady dependable copper attitude to the city and that of his son, who represents the disenchanted youths of a boom town gone terribly wrong, rise. As Ellis puts it in a marvellous extended venomous diatribe against his birthplace, it is 'a ring-road with a dump in the middle or a dump with a ring-road round it?' .
This impression of the city is perfectly captured in a stark set of ring road and subway with a backdrop of the skyline, and it is from these epitomes or urban development that the kids come to the stage front in menacing gangs, evincing boredom, anger and frustration.
'Saturdays we have a few, have a few, kick a few heads' – they then go to the pub to watch The Wild Boys - those that don't get pushed out by the bouncers. But it was in such a club that Eddy spilled some of Dave's beer and his fate is decided when they accidentally meet in the car park.
Risky City pulled no punches about the desperate plight of Coventry at that time. A play from the heart that acted as a mirror to what had been seen by its writer Ron Hutchinson. Ron, by his own admission, wasn't a sociologist. But he wanted to deliver a message about the culture of violence in Coventry. But, as he also mentioned, it was up to others to solve the problem.
Coventry's First Taste of the Mod Revival Era Live.
by Pete Clemons
2024 sees the mod revival period of 1979 hit 45 years. And, as is now customary, a celebration of the music will be held in London later in the year. In fact several of the bands from that era still tour on a regular basis today.
The Mod revival tended to trend almost in tandem with the rise of 2 tone. Both became inextricably linked. And Coventry was, once again, very quick to pick up on this up and coming scene. Around these parts however, and unlike other areas of the UK, the Mod generation, I felt, gradually became overshadowed by the whole Ska scene.
During September 1979 The Purple Hearts, soon after a tour with The Secret Affair and Back to Zero on the 'March of the Mods' tour The Purple Hearts undertook a few headline dates of their own. The Purple Hearts themselves, you may remember, had scored something of a minor hit with their debut single 'Millions Like Us'.
And one of those gigs was a hurriedly arranged date in Coventry. Support for that night was a relatively unknown band from Birmingham called The Beat. The gig had been a couple of months before The Beat had released their amazing debut record, an excellent version of Smokey Robinson and the Miracles 'Tear of a Clown'.
The Beat opened the evening with a lively mixture of Reggae, Ska , Rock and Roll etc. which soon got everyone off their feet. The five piece band played a very tight set , although slightly loud out front.
Cross cultural fusion with dual rockability guitarists Dave Wakeling and Andy Cox were both twangy and semi- acoustic. Art school bassist David Steele wearing mohair threads. Everett Morton, a powerful drummer who kept the beat like a bionic quartz watch. A squawking Ranking Roger up front on vocals with guitar.
You may have noted that saxophonist, Saxa, whose sublime playing summed up the bands mixture of sensitivity & street roots appeal, was missing. Well this gig was either before he joined or he was simply unavailable.
The set was a mixture of impressive covers of Prince Buster like 'Whine and Grind' and 'She's a Rough Rider', a moving 'Tears of a Clown' and many of their own originals which had the audience gyrating. The encores were, without doubt, needed to to satisfy the audience and at the risk of using a well worn cliche, The Beat were without doubt the future of British Rock and Roll.
Purple Hearts followed half an hour later with some impressive Mod music which had all the audience up and dancing. But quite honestly didn't match up to The Beat and, as the gig was arranged at such short notice, Coventry's first mod revival gig went off relatively unnoticed.
Coventry band, The Reluctant Stereotypes, should have gone on to better things. They were quite unique. They were Paul King - Vocals, Paul Sampson - Guitars, Steve Edgson - Clarinet, Tony Wall - Bass & Colin Heanes - drums.
After the demise of The Reluctant Stereotypes, Paul King, Tony Wall & Colin Heanes formed King during 1984 who, you may recall, sang 'Love & Pride'. Additionally, Paul Sampson and Steve Edgson formed The Pink Umbrellas were formed who recorded the delightful 'Raspberry Rainbow'.
My first encounter with them was during an evening in1981. It was after a gig had finished a at Warwick University. At another campus venue two rather eccentric old hippies, called the Pink Umbrellas, were playing. They performed with the accompaniment of drum machine, guitar, clarinet and xylophone. They sang quaint songs about raspberries and odd people and I quite enjoyed what I saw of them.
The following year, 1982, I remember the following review of them. It was a strange analogy and one that I completely disagreed with: At a time when The Jam, whose primary songwriter regarded their music as getting stale, and had just split up, it was a shame to see the Pink Umbrellas at times sounding too similar to them. They were bland without being incredibly bad and left no lasting impression. However, in their more 'psychedelic' moments', with their clarinet lamenting mournfully in isolation they deserved some of the polite applause they received.
Another twelve months on, 1983, saw the duo on an upward trajectory. When I say duo, I mean they had now become a band and had expanded to a four piece.
They prompted the following, and far more accurate, review: After hairstyles had flopped amongst the dudes of the Market Bar on came the Pink Umbrellas, and they were great!. Despite being 1960s influenced, but more up to date with it, they had an interesting line up with a clarinet, which added melodic feeling throughout. The occasional use of the glockenspiel added a new dimension, though I'm not quite sure what the instrument was. They had an instant appeal, coming over as a commercial pop band who were honest and unpretentious, putting their music across rather than any image. Despite being a band to listen to rather than to dance to their songs, a few verging on being ballads, contained a lot of energy and it was a pity the crowd were unreceptive until the end. However, the encore showed the band were appreciated and deservedly so.
And it was this four piece that released the incredibly pleasant and entertaining single 'Raspberry Rainbow' single with its blackberry skies and strawberry sunshine.
Later, Steve Edgson & Paul Sampson ran the club night, The Groovy Garden, held at various venues in Coventry. Although arguably it was on a Sunday night at the excellent, centrally located, Tic Toc club, where the 60s/70s disco/club night was at its finest. The club night lasted for several years.
Paul was also known as a highly acclaimed producer. Sadly Steve passed away during January 2009.
The Specials have long had an association with Leamington Spa. Their hit single, Ghost Town, had been recorded there. And during that recording period the band played a concert there.
This deliberately low-key gig sold out weeks in advance and many youngsters had to be turned away at the door. This date had been seen as something of a 'come-back' for the Specials, and obviously as important to them as to their fans. It had been sparsely advertised the organisers preferring to rely, successfully, on word of mouth to ensure that only local kids could get tickets. There were even celebrity door men.
As a band The Specials had always appeared determined to progress, and reject the media imposed limitations of their brand of 2-Tone Ska. Their music now was more fluid, and, the overall impression, was happier and more optimistic. For this particular gig, gone were the black and white suits, shirts and ties in favour of an image less look which didn’t predefine their sound.
At the Spa Centre they played a long, varied set including obvious first album material - Too much, Too Young, Monkey Man, Gangsters, and most of 'More Specials'.
Three 'new' songs were all slipped in, all of which appeared on their then forthcoming single. The A-side being 'Ghost Town' a memorable tune which could well be about Coventry. 'Why' and 'Friday Night/Saturday Morning' both of which were equally commercially and viable.
A question asked at the time was 'it remains to be seen whether the Specials can recapture the nation's affection' with this singles release. It certainly seemed to work.
Violence, of course, was almost unavoidable during those days, and the Specials twice stopped playing when fights broke out between excitable youngsters. Sadly, due to previous incidents, the band found themselves in a difficult position of being unable to say much for fear of incurring the further wroth of Her Majesty's finest.
As if already predicting outbreaks, The Specials had already warned that if another fight starts, they'd go. It did, and so they did. In fairness, the majority of the audience made it plain that they go and fight elsewhere.
The Specials returned to the stage and reached a climax with the authentic jingle 'Enjoy Yourself'. They lost it slightly with the last number, 'Niteclub', but the encores of 'Monkey Man' and 'Too Much, Too Young', raised the pulse in readiness for a second and final post midnight encore of the suddenly meaningful and visionary 'Maggie's Farm'.
Terry Hall on congas, Neville on tom-toms and an unusual vocal interpretation, but the message was clear. And when Terry sang 'I try my best/ to be just like I am/but everybody wants you/to be just like them' it was obviously the Special's special message to you.... reject your stereotype and assert your individuality.
Hot Snacks and 21 Guns had provided the initial entertainment. Hot Snacks, in particular, had a sizeable, noisy and dedicated following.
21 Guns played with huge confidence. Their sound reminiscent of later Clash. A danceable, bouncy reggae beat, energetic vocals, and self-assurance born of not inconsiderable talent. Both bands weren't anxious to convey an anti-racist message by trite polemic, but rather by attitude and musical content.
The whole event had been a worthy message - a worthy occasion.
