The Ramones - Warwick University 1978

 

The Ramones - Warwick University 1978

By Pete Clemons

Warwick university, already knowing its growing popularity as an entertainment hub, had made huge strides in the development of what became the Arts Centre.

However, until that building came to fruition, what began as a place of merriment for the students, The Workroom, also grew into a performance venue for the greater public. It wasn't exactly the best rock venue in the Midlands. Far from it.

And, at times this became problematic. None more so, it seems, than when the 'punk rock' era peaked. By and large, but not strictly, it appeared that the genre was favoured by run of the mill gig goers rather than students.

And for those of you who saw (or rather paid for and didn't see) the Ramones at the venue would surly agree.

It turned out to be a night the organisers would never forget. The place was absolutely packed and once a few drinks had been drunk no-one cared about making a fool of themselves. All good clean fun. Yet, at the same time, it was an evening that a lot of the fraternity would have liked to forget.

A review of the gig stated that 'For the support band we understandably had to sit down and so, with the floor not being solid, you got the most amazing vibrations up your arse every time the bass drum pedal was kicked.

I won't attempt to review the support, Snips and the Video Kings, since they were without Snips, who must do a lot for the band 'cause without a lead singer they were struggling, to say the least'.

When the minimalisation kings did arrive on stage everyone understandably stood up and anyone further than 5 rows had no chance of seeing them. Even though Joey Ramone was six foot seven he seemed to have a permanent crouch. Maybe he didn't want to hit his head on the ceiling.

For the Warwick gig they went from 'Blitzkrieg Bop' to 'Pinhead' via just about everything; you name it, they did it. Most songs were introduced merely as '1-2-3-4'. The band were fast and competent.

As a friend of mine said he has been waiting for years to see the band and all he saw was the letter 'O' on the backcloth.

If you were in the front five rows you were subjected to an awful lot of young punks, obviously not post grads, being extremely obnoxious and refusing to conform to what was said to them like, 'move back or someone's gonna get injured'.

Apart from all that the gig was well organised. And The Ramones? Well, they weren't actually that bad......just.

Just listen to their first album, Leave Home, Rocket to Russia or the new one if you missed them and you might well have been there.

The following morning you still had The Ramones ringing in your ears. All in all it had been very hot and it had attracted lots of people. What more can you say?

That said, a few years later when The Ramones returned, a bus left Warwick to see them in Birmingham.

Blitzkrieg Bop Ramones

Rocket to Russia Album.

Rocket 88 1979 - Warwick Uni Party

 

Rocket 88 1979 - Warwick Uni Party

By Pete Clemons

'
A flashback to a gathering of the great and good at the out of town Warwick University'.

Rocket 88 were a group of top notch musicians who would jam together occasionally. They took their name either from a hit single by Ike Turner and the Kings of Rhythm way back in 1951 or the 1948 instrumental 'Rocket 88 Boogie by Pete Johnson. Regardless, Rocket 88 laid down an unforgettable evening of jump blues.

The names of the musicians were, mostly well known. Although Charlie Watts, originally scheduled to play, failed to appear. To keep the promise of a top name, he was replaced by Jack Bruce, who had previously played bass with Eric Clapton.

Ian 'Stu' Stewart was also in attendance. Ian was a Rolling Stone and was once with the Faces when they supported Rod Stewart, and also played with Jeff Beck. And it was Ian who I understand had a hand in forming the band.

Other attendees who completed the line up for the Warwick gig were:

Alexis Korner, the father of British Blues, once of Blues Unlimited. He discovered the Rolling Stones, nurturing them along, bringing them out of the ABC Ealing Broadway to international fame. He also did a blues show on Radio 1 on Sundays, 9pm to 10pm.

The incredibly modest Bob "Boogie Woogie" Hall who played with millions and millions. Apparently he taught Linda McCartney to play piano. Bob was described as the best boogie-Woogie/blues piano in Europe - and possibly in the entire Universe - has played on about 50 albums. Has played with such legendary bluesmen as John Lee Hooker, Howling Wolf, Little Walter, the fab harpist etc. etc.

Dick Morrisey who had played Warwick earlier that term, along with Jim Mullen, at the Arts Centre. An accomplished Jazz player, Dick Morrissey played saxophone as he did with Jazz-Rock outfit If.

Colin Smith lead this ersatz band, taking centre stage on vocals and trumpet. Drummer for the evening was Peter York was once in the Spencer Davies Group.

On lead guitar was ex-Roogalator Danny Adler, one of Britians foremost pub rockers.

John Pickard featured on trombone. George Green on piano and Dave Markee on bass guitar and stand up bass also appeared.

This gig is worth seeing as some of the best musicians (in terms of proficiency) playing danceable Blues music. Yeah! (And some famous people might turn up on the night - Just possibly!)

Support band, The Beat, arrived and set up their gear only to find that the PA, belonging to headlining band Rocket 88, had no on-stage monitors. This fact, combined with their not very powerful amplifiers meant that the band would not be able to hear themselves properly and so they decided to withdraw, rather than play badly.

However there was a lot of speculation around the decision of The Beat to pull out. And it rumbled on for several years. It was said that 'There's a long story in that event, something for another time' although that 'other time' has, as far as I understand, never materialised.

Either way the event sold out with a total of 1800 people attended the party. Not bad for what was supposed to be a small low key event.

https://en.wikipedia.org/wiki/Rocket_88_%28album%29

Breaking Glass 1980

 

Breaking Glass 1980

by Pete Clemons

Breaking Glass attempted to capture London's 1980s punk scene. It was a gritty new wave musical with a poignant rags to riches story of a talented and rebellious young singer-songwriter. Hazel O'Connor gave a tour-de-force performance as Kate, the lead singer of the rock group Breaking Glass.

Kate's socialist ideals are juxtaposed to her pragmatic rock manager, Danny (Phil Daniels), a streetwise hustler who discovers her and develops her into a star. The film pivots around the struggles for artistic recognition and an energetic singer whose talent and sanity are jeopardized by the music business' power structure.

Hazel O'Connor wrote and performs 13 captivating and provocative songs for the film. The cast also includes Jon Finch and Jonathan Pryce as the band's junkie saxophone player.

Phenomenal album, crap movie was the popular opinion among many. And that was reflected in a review from a local source below:

'I went to the film having been impressed by the Top of the Pops version of Eighth Day but found myself waiting for it to be repeated.

Unfortunately, when put into context even that was disappointing. The story traced the rise to 'fame' of a young and apparently original singer – Hazel O’Connor. The love element was played by Phil Daniels who doubled as Hazel’s manager.

We were shown of the struggle that our starlet had as she confronted agents, a record company, people and audiences – the agents ignored her for a telephone, the record company’s people played space invaders and the audiences beat each other up.

One of the most significant points raised by the film was the musical taste of the Nazis – it appears to be the opinion of the director that Nazis and policemen don’t like Hazel O’Connor’s singing.

On the other hand her music is adored by all free thinking, clear headed, purple haired socialists. This is understandable as lyrics like: - 'You drink my coffee and I drink my tea' do not lend themselves to appreciation by the more authoritarian nadirs of society.

It is the philosophy which the film is getting across. A statement that two lovers are capable of having differing tastes viz coffee and tea, but still live in harmony, is clearly a comment on the failings of society today where this is not possible.

I would very much have preferred to hear 'You drink white coffee and I drink black tea', but the film did not attempt to go so far and can you blame it?

I remember seeing Stardust about seven years ago and think that had a lot more to it than 'Breaking Glass'. The first major difference was the acting. No attempt was made at this in 'Breaking Glass' and I think the film lost a little because of it.

To say the film consisted of stereotypes saying lines and speaking lyrics would maybe be a little generous though as the entire audience were close to laughter at the most 'moving' part of the film, I cannot be complementary. Seeing the film was undeniable a waste of 80p'.

This Town

 

This Town

by Pete Clemons

Radio Times online:
'......set in the Midlands during the 1980s, exploring the ska and 2 Tone scene'.

Given that kind of hype you could be forgiven for expecting and going with certain assumptions. The programme title, it appears, has not helped either.

Bear in mind that This Town is set in 1981, after the whole 2 tone scene had peaked. It was also the beginning of a journey for Aston Villa football club that would see them win the European Cup. But with the programmes creator being a Birmingham City fan then I guess he can be forgiven for that omission.

Additionally, the era was not all about Ska. Far from it. It was the year, for example, that Duran Duran released their debut album. Along with the singles 'Planet Earth' and 'Girls on Film' it contained some instant classics.

Admittedly the programmes creator, Steven Knight has attempted to smooth things out. Steven said during an interview 'Its about a period of time I knew well, the early 80s, and its about this city that I knew well, Birmingham'. But as well as it has been written I cant help but feel that a selective memory has been engaged.

Steven continues 'The theme is the music. There is a style of music that really began in Coventry and migrated to Birmingham'.

With Peaky Blinders, and given the era that programme was set, there would be few around who could separate fact from fiction. Crossing that hurdle is so much different this time around.

Praise is never normally a thing that is universally positive. And reading the negative criticism from the targeted audience, the general public, the understandable expectations by many were just not there. And that's what led to the criticisms. Without the hype and maybe a different title the series would have been just another series.

But it's not all negative. There has been positives too. And rightly so. As a storyline, in this era of mediocrity it is, I think, very good. I get the narrative. But it is a bit of a slow burner. The overall portrayal is a bit overblown and exaggerated. But I personally am enjoying it and the acting really is very good.

It appears to draw loosely on related incidents around at that time. They in turn have been exaggerated and the history skewed. But it has very little do with what the hype and title led you to initially believe.

Was it really that bad?. The worrying aspect is that I really hope that the early 1980s are not tarnished forever. It really wasn't all about bombs and football violence.

Sometimes you just got to listen to the public at large. They can't be all wrong. If thousands of comments are consistent then maybe just maybe, as hard as it is to swallow, those comments might bear validity.

Revelation 2001

 

Revelation 2001

By Pete Clemons

Back in 2013 I wrote a piece that covered a potted history of how Peppermint Kreem came about and how they claimed their place in Coventry music history.

This is a long overdue follow up to that article and is focused on a unique piece of music Peppermint Kreem produced titled Revelation 2001 a story of the world, its future and one man's journey through it all, seeking some kind of truth.

Don Fardon, who once looked after Peppermint Kreem, once said about the band 'As amateurs they are professionals – but as professionals they are amateurs. Nevertheless they are very good'.

After listening to the piece I (PC) had a chat to its creator Paul Kennelly (PK) about his thoughts and memories of it all.

PC - Blimey Paul, this is very listenable. Am I right it was initially recorded during 1973, re-recorded 1987, performed 1973 at Memorial Park but conceived as far back as 1968 ish?. That was some journey if I am correct.

PK - I am not sure how far back the rock opera idea goes but it really came together during band practice in the Heath pub. But that was the first time I introduced the guys to my own work. That would be during 1972.

The album was recorded at Bird Sounds in Snitterfield in 1973 but the original tapes are now long lost. The master tape remained with Monty Bird and there were cassette copies around but sadly no one seems to have one.

Back in 1987 Arthur Albrighton was over from Germany and we kitted a studio out in our Time Machine shop, Earlsdon specifically to re visit the work. That was myself, Arthur and Bob Hopkins. Bob 'Spindler' Hopkins took the lead and improvises while Arthur Albrighton plays support chords and sound effects. Arthur also engineered the recording. This recording still exists but has only two keyboard tracks and vocal. It's in an unfinished state, not having bass, lead or percussion.

Arthur took the masters from that session back to Germany to add guitar and percussion. I have no idea why, but he never did complete the work. What you have is really a part work. All a long time ago.

PC - So really then the album could have been even grander than it is?

PK - Could still be if the guitar and drums was dubbed in. I also wrote two other similar pieces, one called 'Atlantis' and the other 'Nord Zaga'. Peppermint Kreem laid down keyboard and vocal tracks for 'Atlantis'. Again , this was never fully completed and remains unreleased and likely never to see the light of day. Sadly.

PC - Was this the music you played at Memorial Park 1973? If so who was in band that day. How did music go down?.
PK - Memorial Park gig. Keyboards Bob 'Spindler' Hopkins. Vocals Paul 'the Egg' Kennelly, Drums Pete 'the feet' Davoile, Bass guitar Keith 'Keethy Babes' Jaynes and guitar Arthur 'Modie' Albrighton.

We shared the gig with a band called Just Before Dawn. As can be seen from the poster, no one was top of the bill. The manager of Just Before Dawn got arsey and insisted they go on last.

This suited us. We had the big crowd as can be seen from the attached photos. By the time the other band went on it was dusk and the audience was mostly by then drunks.

I always say that of this gig, the public were watching a free show. They did not have to hang around if they thought the music was crap. But we held them, playing rock standards in the first half and the Rock Opera in the second half. I often wonder if someone out there took a movie of the show or made a recording.

Paul Kennelly

https://coventrygigs.blogspot.com/2013/11/peppermint-kreem.html

https://coventrygigs.blogspot.com/2013/11/peppermint-kreem.html

https://www.facebook.com/profile.php?id=100039388937599

RAVI SHANKAR at Coventry Cathedral 1967

 

RAVI SHANKAR at Coventry Cathedral 1967

by Pete Clemons

Photo by Richard Sadler @1967 via Coventry Cathedral Facebook Page.

Below is an account of how Ravi Shankar was introduced to the Coventry public in preparation for a concert held at the Cathedral during 1967.

If your experience of the sitar is confined to George Harrison and the Yardbirds, on Saturday, May 6th 1967. at 7.45 p.m. in Coventry Cathedral you have one of the all too chances to hear it played by Ravi Shankar, possibly the greatest virtuoso of the instrument ever to have lived.

In India he has the position of a national hero, draws crowds of up to 20,000 and is sometimes mobbed in the streets.

Ravi Shankar was born in Benares, and joined his brother's touring company as an apprentice on his tour of Europe when he was only nine.

He showed great talent in all the jobs he turned to. In 1935 India's foremost musician , Ustad Allaudin Khan , joined the company and Ravi asked if he could study with him. In a burst of rage Ustad Khan said that Ravi's talent made him think he could turn to anything he wanted, but if he wanted to be a musician he would have to devote his life to it.

Surprised, Ravi accepted the challenge, studied for a year and in 1938 returned to India to Ustad Khan to study intensively for six and a half years In 1949 he formed the Indian National Orchestra and worked as musical director with All-India Radio until 1957.

Since then he has toured and written film scores, among which was one for Jonathan Miller's version of 'Alice'. Indian music, which at its best generates at once both a depth and intensity of excitement not found in any Western music, is, for all its apparent spontaneity , highly formal.

Basically it consists of two elements, the raga, a scale-like series of notes similar in many respects to the modes of Ancient Greek music, and the tala, a rhythmic pattern that forms the basis of the improvisation .

Before each piece the twenty-five frets of the sitar are adjusted to the raga and the music usually begins with an exposition of it. The tamboura, a four or five stringed bass instrument is also tuned to the notes of the raga and produces a curious droning accompaniment to the sitar. Finally the tabla, a pair of drums of similar quality to bongos but with a more flexible tone and timbre, enter in the Gat as the music builds to its climax in the Jhala.

The climax is achieved by multiplying the time, by cross rhythms by increasingly rich ornamentation in the raga and, in the Hindustani style , by increasing the speed, until a state of near orgasm is reached. If you have never heard Indian music before you will probably never get such a good opportunity again. It is an experience you should not deny yourself.

Tickets are available from the Cathedral Bookshop.

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

Coventry Cathedral are "Currently looking for stories from people who were at the performances of Ravi Shankar and Duke Ellington in the late 60s.
If you were there or know anyone who went to them get in touch with researcher Nirmal Puwar who is currently gathering peoples memories! Email: N.Puwar@gold.ac.uk

Neol Davies (later of The Selecter) with sitar and long hair in Coventry very early 70's from his former website

Below is Ravi Shankar a month later at the Monterey festival June 1967.

The Strawbs 1968

 

The Strawbs 1968

by Pete Clemons

The Strawbs story it seems goes back as far as 1963. But during 1967 The Strawberry Hill Boys were formed. They earned a sizeable reputation as a bluegrass group. Dave Cousins and Tony Hooper began to get a little more adventurous. After a spell with Sandy Denny and a succession of double bass players the band settled down as The Strawbs. During this time The Strawbs appeared in and around Coventry several times.

One such performance was during January 1968 at Warwick University's folk club. The Strawbs performance apparently surprised those who had been familiar with their previous style which was Country and Western and Blue Grass.

During that performance and in the words of Dave Cousins they got 'pissed off' with that style and had started to sing their own material which they say is influenced by, if anything, the Beatles whom they consider as folk writers - an opinion many would have found hard to swallow.

The Strawbs no longer liked ethnic folk but occasionally they played a blue grass number because people still enjoyed them. Dave's banjo playing was, certainly, extremely good. The songs which they had written, and were showcasing during 1968, were extremely genuine an impression one does not always get with many so called folk songs.

Amongst the best of them was the disturbing 'The Man who called himself Jesus', the beautiful and sad 'And You Need Me' and 'Spanish is a Loving Tongue' both of which were sung by Tony Hooper who had an exceptionally expressive and moving voice.

The Strawbs finished their set with a very funny rendering of 'Your Mother, Won’t be Home' with Dave playing the piano very badly and Tony and Ron Chesterman striking dramatic poses.

May 1968 and The Strawbs returned. With the exception of their bluegrass numbers it was reported that the Strawbs were 'rather disappointing in the first half'.

That said Tony Hooper's banjo playing was very good and appreciated by the audience. After the interval, they did some better songs, including 'Break the News to Mother'. It seems that during the second half The Strawbs sang more satirical songs, more in keeping with the humour of their introduction to the songs.

As with the January appearance, an outstanding number was 'The Man Who Called Himself Jesus'. Their closing number , 'Break the News to Mother' was rendered with suitable pathos, and heart-rending sighs, being the tragic tale of a young drummer boy who saved his company's flag. So good was it, that they came back for an encore, a spiritual that at last revealed the Strawbs as the talented group they are.

As the 1960s became the 1970s The Strawbs became aligned more to rock music with Dave Cousins becoming more interested in the electric guitar. This led to a succession of wonderful releases from a variety of line up's. But despite those marvellous albums I do like to dip back into their folky period now and again.

Sadly, it seems, time has ensured that The Strawbs have played their last gig. But what a band they were and what a legacy they leave us with.

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

Trev Teasdel adds - 

Another Coventry gig for the Strawbs was February 6th 1971 as part of the Lanchester Polytechnic Arts Festival (now Coventry University) alongside Ralph McTell and Mr Fox.

At this time Rick Wakeman was playing with the Strawbs on Grand Piano before leaving to join Yes. It was quite a night and the Strawbs, who were on last, went over time and the Lanch tired pulling the plug on them but the crowd cheered when the band who had mostly acoustic instruments continued playing and of course Rick Wakeman treated us to a gorgeous grand piano solo.

In 1980 i moved to Teesside and found that Dave Cousins was Radio Controller of Radio Tees - the commercial station in Stockton on Tees - I caught playing a solo gig at the nearby Dovecot Arts Centre, as he was trying to launch a solo career. We started putting on poetry performance gigs at the Dovecot in 1982 and afterwards the Dovecot engaged Bob Pegg of the support group Mr Fox as writer in residence with all his folklore experience.

Mr Fox - The Gypsy

Streets of London by Ralph McTell

The Strawbs with Sandy Denny I'm on My Way