Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

THE SUPERNATURALS

Supernaturals Warwick University and Belgrade Theatre 1985 and 1986

By Pete Clemons

June 1985 – The story went that a band named 'Two People', actually there were five of them, pulled out with flu. Fortunately at the same time Pauline Black, ex-Selecter, happened to wander into the union office, and her then current band, The Supernaturals, were booked.

Pauline Black’s rock steady vocals have now given way to an abrasive upfront, sometimes obsessive, sometimes monotonous rant. The impression created was of an experimental band putting itself through its paces, while searching for an identity.

At times the band appeared almost mentally detached from the audience. Admiration of the dynamics of the Whipround being reduced to an appreciation of the technical professionalism of the musicianship as opposed to danceable excitement.

The Supernaturals' might have expected more from the onlookers, the bands fault? Or the typical reaction of statuesque student audiences? Answer was probably both.

Inspiring enthusiasm is not Pauline Black's forte, the audiences contribution in what should be a two way relationship was also minimal.

Early 1986 - Pauline Black is back with her new band The Supernaturals. She has long since left behind the ska beat of The Selecter and her rock steady vocals have evolved into an abrasive upfront rant. The Supernaturals, at Warwick Uni last year, were described as 'an experimental band, putting itself through the paces, while searching for an identity.'

It is to be repeated that, at times, the band appeared detached from their uninspired Whipround audience. Their music as technically perfect but little excitement was generated. It is expected after some time out, the band will have found their identity and enthusiasm. Curiosity alone will probably draw some of you to the Belgrade on the 12th, which is no bad thing. In the words of Mr. Elvis Costello ‘Curiosity didn't kill the cat, it was some poisoned milk.'

Pauline Black - Vocals

Everett Morton – Drums

Zip – Bass

Tony White - Guitar

Dave Gedney - Guitar



Pauline Black - Vocals

Rob Hill – Drums

Ray – Bass

John Shipley - Guitar

John Greenhow - Guitar

A rare live audience recording of The Supernaturals; a band from Coventry with strong 2 Tone connections, featuring both Pauline Black (ex- The Selecter) and John Shipley (ex- Swinging Cats and The Special AKA) in their line up. This is track 6 from their gig in Aylesbury in 1986. An excellent article on John Shipley's career can be found on the link below which also includes further information on The Supernaturals.

Away - cover of Swinging Cats number.

Fish Gotta Swim

The End

More youtube by the band on this channel

https://www.youtube.com/@mangeire

The Supernaturals 1985 -86

BACK TO THE BAND INDEX

Pauline Black – Vocals

Everett Morton (The Beat’s old drummer) – Drums replaced by Rob Hill

Zip The Bassman – Bass replaced by Ray, a bass player from Rugby

Tony White – Guitar

Dave Gedney (“That boy gets everywhere!” – Tony)

John Shipley – Guitar (2nd Line-up)

John Greenhow (2nd Line-up)

Memories from Tony White via Rex Brough

“The first line-up supported Joe Boxers on tour. The second line up really rocked. NME described us as playing ‘Guitar-based underwater spy-movie music’ I really enjoyed this band – we supported The Communards on their UK tour in 1986 and played some great gigs around the country.

There was a lot of Press and record company interest in The Supernaturals at that time – closest that I personally ever got to ‘making it’ but it wasn’t to be. John Shipley and Pauline fell out, everybody took sides and it got a tad nasty. God I really hate all that political nonsense. Upshot of it was that a new band emerged from the ashes called The Great Escape – Val (Ex swinging cats) was drafted in as lead singer and Barry (Rob Hill’s old partner in rhythm from The Mix) replaced Ray on Bass. The new line up was now Val, Myself, John Shipley, John Greenhow, Rob Hill and Barry.

The Great Escape actually played some corking gigs in Cov in early ’87 but finally split with myself Rob and Barry going over to the French Riviera where we played the English Campsite bars as Ted Zeppelin and the Marina Maniacs !!

I have to say that this was amazing fun, and actually earnt more dosh than any of us had ever seen from music before ! https://www.artsrainbow.com/coventrybands/2019/03/28/the-supernaturals/

ENS to Reluctant Stereotypes

 

ENS to Reluctant Stereotypes

by Pete Clemons

Pete Clemons - Any research on Coventry band The Reluctant Stereotypes may well result in you seeing the note 'morphed out of ENS' or similar. Rarely is it expanded on.

But who or what was ENS?. To begin with, musicians including Paul Sampson, Steve Edgson, Peter Bosworth, Paul Brook, Steve Haddon and Chris Dunne were involved at some point. But that list is not exhaustive and others may well have passed through the band.

Trev Teasdel Hobo site editor - Stop right there. I think I can fill in here! Let's expand - (we'll come back to Pete's article)

Steve Haddon wrote "Ens was formed by Pete Bosworth (guitar - brilliant John McLaughlin look/sound-alike) and myself (Steve Haddon). 

The original bass player didn't turn up for our first gig (at The Golden Cross) so he was ditched! Our first drummer was Johan (can't remember surname) who played the working men's clubs in a drums/keyboards duo. Johan's commitments made it difficult for us to fit in gigs, so he was replaced by Paul Brook. Paul came to our first audition but was still playing in another Coventry band (Analog) along with Steve Edgson & Mick Hartley, so despite him being brilliant, he couldn't join because of this commitment. When Paul Brook joined, we also gained Mick Hartley (Bass) and Steve Edgson (Clarinet) - actually Steve Edgson may have joined before the other two! Paul Brook still found it difficult to give us 100% of his time and, eventually, this led to us replacing him with Chris Dunne - our 3rd brilliant drummer in a row.  Sadly Pete Boswell died and was replaced by Paul Sampson. Pete Bosworth made a huge contribution to Ens and it really wasn't the same without him - so the name was changed to the Reluctant Stereotypes mark 1 before Paul King replaced Paul Sampson."

Trev Teasdel " Yes Steve Haddon is right the core of ENS came out of Analog but who were Analog? I can help here - summer 1974 I was producing Hobo Coventry Music and Arts Magazine and got a letter from guitarist John Rushton telling the magazine about Analog - the letter began -

"Hi Trev, I thought you might like some details of a new and truly original Coventry rock band to include in your mag - Hobo." 

And yes we did include the band and their details in Hobo summer 1974 issue and then gave them their first gig at the Hobo Workshop Holyhead Road Youth Centre in Coventry in the July and and another in September 1974. Bear in mind at this time Charley Anderson etal and Neol Davies were practicing their reggae licks in the basement downstairs some years before the Specials formed there.

Analog's line up was Mick Hartley - bass, Steve Edgson guitar / clarinet / Paul Brook drums (double kit) and vocals  / John Rushton lead guitar and backing vocals. They band were a jazz / Rock band influenced by bands like Colosseum. Paul Brook had written a 40 min suite called Custer's Last Stand which they recorded at Bird Sound Studio, Snitterfield. You can listen to these suburb tracks here - and bear in mind three of Analog went into Ens and later the early Reluctant Stereotypes.

JARGON · Analog {Coventry Band 1974} feat. Paul Brooke [Drums] ARCHIVE

https://soundcloud.com/jargon-1/sets/analog-coventry-band-1974-feat?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Analog at the Hobo Workshop Holyhead Road Youth Centre September 1974 from the Coventry Journal.

John Rushton's letter to Hobo Magazine July 1974

So now, back to Pete Clemons and ENS

Pete Clemons - I for one would like to know what the acronym ENS stood for. But, I think, it would not be unfair to describe ENS as something of an experimental art rock band. They were certainly avant-garde and had a style of their own.

In fact ENS once won the Melody Maker folk/rock area finals competition. In hindsight, the problem for them was that they won this contest and flourished during 1977. A time when the country was not quite in the right frame of mind for innovative and forward thinking music.

During 1975, as far back as I can trace any of their history, ENS were described as a 'bona fide university band' and 'worth a glimpse' as they were announced as support to Savoy Brown who had guitarist extraordinaire Kim Simmonds in their ranks. Also on that bill was Jet who were described as 'an up and coming Sparks/Queen outfit'.

However I am guessing that ENS were maybe more at ease when, during 1977 they supported Henry Cow, a band who were trying to break free of all possible barriers to their music.

In, just short of 2 hours, five pieces of music of music was performed by Henry Cow. The shortest of them was the Lindsay Cooper tune 'No More Songs' which was dedicated to Phil Ochs. They played four long pieces, two of which were called 'Beautiful As An Army With Banners' and 'Living in The Heart Of The Beast'. The other two pieces were simply unannounced.

The gig had certainly been an evening of drama. Henry Cow had attempted to step outside of all that had been considered 'the norm' and simply experiment. With an audience that had a sympathetic ear, ENS had , without question, been received extremely well. But if ENS had felt like they were on a high, sadly it was not last.

Early 1978 saw Warwick University put on free entertainment in the Union Building. As it turned out it was an unfortunate example of student misbehaviour as ENS came in for criticism by those who considered them to be a 'bad band who could not satisfy their unruly inclinations'.

To be fair it was a sign of the time as it merely showed that some gig goers of the day lacked musical appreciation as well as etiquette.

Audiences had lost there way and had quickly forgotten that there was still music outside the realms of heavy rock and sniff rock. And ENS were more than competent to play their type of music.

It was unfortunate that those who were interested in listening to quality music had had their enjoyment spoiled by those who felt that they should voice their disapproval of the whole event.

Afterwards it was mentioned that 'One thing was certain, ENS won't play at Warwick University again unless we pay them 'danger money!'

Thankfully we have changed and, today, we seem to be more open and receptive to many different styles of music.

....

No audio of ENS but this is the early Reluctant Stereotypes with Paul Sampson on vocals before Paul King took over on vocals.

Frank Ifield

Frank Ifield

by Pete Clemons

Frank Ifield was born in Coventry during November 1937, emigrated to Australia 1946 and made his home in the Hills district of Sydney.

Before he was 16 Frank had landed himself a recording contract and, as a consequence, made many appearances on television and radio in that country. It was said that Frank Ifield couldn't resist a challenge.

And that challenge came in the shape of tackling and conquering a new audience in the United Kingdom that drove him to leave Australia where, as a top drawer entertainer, his future was secure.

So in November 1959 Frank arrived in England virtually unknown but eager to start again and determined to succeed. Initially a chart topping record eluded Frank. That said his first single for Colombia Records 'Lucky Devil' did enter the top twenty.

Subsequent TV appearances and nation wide tours made him well known to thousands. Then Frank recorded 'I Remember You' and everything changed overnight. This song had a distinct flavour all of its own which immediately grabbed the attention of the record buying public and it soared to number one.

Even after four number ones singles, between 1962 and 1963, Frank's chart success would not last. The advent of the beat bands saw the singing stars of the late 1950s and early 1960s soon finding themselves in the shadows.

By late 1963 and through 1964 The Beatles, The Rolling Stones were beginning to dominate the music scene and Frank had to reinvent himself.

And that change of direction was by becoming an almost automatic choice on the all round family entertainment programmes that dominated the small screens. And Frank was a regular until that type of entertainment had run its course.

Frank was also an advocate of the theatre. Particularly his beloved Coventry Theatre. 1976 saw the future of Coventry Theatre being threatened. February 1976 saw Coventry Planning Committee grant permission for an application to extend the building. This would mean it could be used as a Bingo Hall.

However Equity launched a campaign to keep the Theatre a live theatre. Messages of support were received from, amongst others, stars of the day like Frank, Peters and Lee, Noel Gordon John Alderton and Kenneth Moore.

But, of course, it was a short lived victory.


Below is a non exhaustive list of some of Frank Ifield's highlights:

April 1960 Duane Eddy, Kathy Kirby, Frank Ifield tour of the UK

May/June 1960 Emile Ford and the Checkmates, Frank Ifield tour inc Rugby Granada Theatre

The Shadows, Frank Ifield Jan/Feb 1961

The Shadows, Frank Ifield April 1962 for a week in Liverpool

Everly Brothers, Frank Ifield late 1962


Headline tours:

Frank Ifield, Anita Harris late 1962

Frank Ifield, Lana Sisters early 1963 (inc Coventry Theatre)

Frank Ifield, The Springfields early 1963

May and again June 1963 Frank Ifield, London Palladium

By 1965 Frank was playing summer seasons at seaside towns such as Great Yarmouth and Bournemouth
Summer season 1964 saw Frank Ifield in Blackpool with Kathy Kirby

By end of 1965 and into 1966 Frank was starring in pantomime at the London Palladium alongside stars like Sid James, Arthur Askey and Roy Kinnear.

1967 holiday star time with Jimmy Tarbuck at Blackpool

A similar pattern of shows and regular television appearances continued.

I Remember You

Lovesick Blues

The Waywood Wind

She Taught me to Yodel

Cycle - A Band with Teesside and Coventry Connections

 Cycle - A Band with Teesside and Coventry Connections.

By Pete Clemons with Prologue by Trev Teasdel.

Cycle second generation — from left to right, Jim Broughton, Norman Smith, John Whittingham, Andy Chisholm, and Malcolm Harker.

Photo from Andy Chisholm's website for Cycle - Here - for more information and photographs -

https://www.chisholm.nl/cycle/cycle.html

Prologue by Trev Teasdel

There's a little back history that led to this article. 

Coventry 1971, I was putting on bands at Coventry Arts Umbrella and doing the door for Pete Waterman's Progressive night at The Walsgrave. 

Pete Waterman (long before SAW) booked Coventry top progressive band -  Indian Summer for the Walsgrave. They'd just recorded an album for RCA Neon - a short lived progressive label, via their manager Jim Simson, who also managed Black Sabbath. Indian Summer who  also comprised Bob Jackson - later with Pete Brown and Piblokto, Ross, Badfinger and The Fortunes. Paul Hooper who now drums for North east group Prelude who had a hit in the 70's and  Colin Williams - a first class guitarist.

Indian Summer 1971 - L to R Collin Williams / Malc Harker / Paul Hooper / Bob Jackson.

I asked Malc Harker, the bass player, if Indian Summer would play the Umbrella - they had in the past, but Malc told me he was leaving the band to join his father's Engineering business - Harker and Sons and the band would be without a bass player for a while. 

I had assumed Harkers was in Coventry and in 1980 I moved to Teesside to do my degree and while I heard about Harkers Engineering in Stockton on Tees, I had no idea it was connected to Malcolm until Pete Clemons interviewed Malc for an article on this site published in 2021. It was a revelation to me but Malc had already sold Harkers by then and moved to Seattle band. 

I learnt via the article that Malc had bought a property not far from where I now live in Great Ayton, up near Chop Gate on the moors called Chisel Hill Mill where he had recorded Chris Rea and also North East band called Cycle. 

Chisel Hill Mill

I was up there recently a friend and the views are tremendous and I  Googled the band 'Cycle' and discovered Andy Chisholm's great website on the band's with lots of photos of the time at Chisel Hill and then put Pete Clemons in touch with Andy with the idea of writing this article on and in doing so I discovered there were more coincidences - Pete already had Cycle's album and it was produced by Coventry musician Lee Dorian and here it is. 

Malc Harker "Music had to take a back seat when I took over my Father's firm - but I was still playing. Haywire was the first Teesside band I joined, playing acoustic folk-rock at venues such as “The Kirk” and The Lion Inn, Blakey Ridge (home of Back Door). One day I saw an advert “Cycle needs a bass player” - so I went along."

You can read Pete Clemons 2021 article / interview with Malcolm Harker here and it compliments this new article - https://coventrygigs.blogspot.com/2021/03/malcolm-harker-ex-indian-summer-musical.html

CYCLE - by Pete Clemons

This particular article began as a chat between Trev Teasdel and Andy Chisholm. Andy had, I think, spotted an article I wrote about Coventry band Indian Summer. Andy spotted Malcolm Harker's name who, later, became associated with a band up in the North East called Cycle. Having had the Cycle CD in my collection I asked Malcolm Harker for his recollections and memories on that period. His reply follows............

Greetings from Seattle. What an amazing coincidence!

The story’s true, I’m here to say

I was driving that Model A

I left Coventry in '71 and went back north to join the family business. But I still wanted to play bass in a rock band. So I replied to an ad. in the Teesside Evening Gazette:

'Cycle needs a bass player'

Being newly-returned I didn’t know that Cycle were a heavy metal band from the original land of heavy metal - blast furnaces, shipyards, pit villages and all the other heavy jobs. Cycle had a reputation - and volume to make themselves heard above all this.

Unlike Indian Summer, they were also heavy drinkers. All the local bass players were intimidated, so there were only 2 applicants - me and a guy who had just been released from jail for something druggie. Perhaps surprisingly, I've never been in a druggie band.

So I got the job - but on 1 condition: I had to buy the old bass player Ronnie’s Laney amp. The WEM amp I had just wasn’t up to such heavy lifting. I subsequently discovered it also covered the hole in the van floor where the rain came in - another task my wimpy WEM couldn't handle.

Since you have the Cycle album, you know the other band members. Norman was a great powerful drummer and a rigger at ICI chemical works. John the guitarist (RIP) was really good, but I took that for granted as I was used to playing with Col. Williams. John was also a powerful singer and Special Needs teacher - exactly the skill set required to manage a hall full of drunken coal miners. Andy Chisholm, who became a life-long friend, was the roadie and sound man - with the first back-of-the-hall mixing desk of any local band.

We also had a serious PA with reflex bins. - another local first. Andy sang harmony vocals from the desk - including the Major Tom parts on Cycle’s pretty good version of Space Oddity. There were several Heavy covers - but no Bloody Sabbath!

And we were loud - VERY LOUD. But at the steelworks and pit village Working Men's Clubs no one cared how loud it was - unless we interrupted the bingo!

I’m on the title track, 'Cosmic Clouds', also playing the vibes, which featured on a couple of the Indian Summer album tracks. 'Walking Through the Darkness' and 'Dawn of a New Life' were recorded at my studio, Chisel Hill Mill. Incidentally, Chris Rea recorded some demos at Chisel Hill Mill.

Chisel Hill by Chris Rea

The funky influence was my fault as I liked Steely Dan: 'Reelin’ in the Years'?. We didn’t play it - but Paul Hooper does in the West Coast Band, which still plays the same North East Working Men's Clubs - even though all the pits and most of the heavy jobs have gone.

Andy Chisholm: Sadly of the list of Cycle members, John Whittingham, guitar, Ronnie Patterson, bass, Norman Smith, drums, Malcolm Harker, bass, Andy Chisholm, sound and synths - (we all did vocals), Dave Stokes, roadie, and Jim Broughton, roadie and keyboards, only Norman, Malcolm, Jim, and myself survive. There can be no revival of the band now without the others.

And the Coventry connection doesn't stop there. The reissued Cycle album came out on the Rise Above Relics label a specialist subsidiary label of the Rise Above Records run by none other than Napalm Death vocalist Lee Dorrian

My thanks to Andy Chisholm and Malcolm Harker

Indian Summer Album RCA Neon 1971

Dawning of the Last Life - Cycle 

Cosmic Clouds - Cycle

In the Beginning - Cycle

More from Cycle on their Channel

https://www.youtube.com/playlist?list=OLAK5uy_mJV5Gsv6G7SSJRvg3-weP9yksUhPQ2TBw

Lee Dorrian of Rise Again Records band Napalm Death.

Lee Dorian of Rise Above Records with Napalm Death - Scum.

Malc Harker (left) at Harkers and Sons Ltd Stockton on Tees.

The Lion Inn Blakey Ridge North Yorkshire Moors.

Chisel Hill Mill studios in the 70's via Andy Chisholm's website for Cycle 

https://www.chisholm.nl/cycle/cycle.html

And Malcolm Harker on bass via the same site.

Indian Summer at the Coventry Arts Umbrella 1970

Up near Chisel Hill - the views - Roseberry Topping in the background

Chisel Hill Mill today.

U2 / Comsat Angels – 1981 Coventry

U2 / Comsat Angels – 1981 Coventry.

by Pete Clemons.

U2 are arguably one of biggest acts to grace the planet. They are known the world over. Fill stadiums. But, like most bands, they had humble beginnings. They played the Coventry area several times during those formative years. And, judging by the following report of one of those visits, U2's future success was far from anticipated. It is a fascinating read.............

"The Arts Centre Hall was, surprisingly, sold-out for this, the first big gig of the academic year. Still, in the first week the Freshers will go to anything, I thought to myself on the way in. My preconceptions were dashed by the strong and enthusiastic response that was enjoyed by both bands. Their appeal is, strangely, far greater than I had previously imagined. That is not to say they are undeserving of such acclaim, its just that they are both quite good, or okay, but not really particularly special.

The Comsat Angels made a dramatic entry. The stage was dimly lit as they ambled on and went into their first number, a tense and atmospheric little tune. The drums thudded away repetitively, the bass thumped along in a robotic manner, layers of keyboards added texture to the sound, whilst the guitar cut sharply through the middle. This combination was most absorbing but began to pall after a while. Their material tends to sound distinctly similar. 'Independence Day' was great and is still their best number. It has what many of their other songs lack - a strong hook. Of the newer songs, which are represented on their latest L.P. which is called 'Sleep No More', 'Do the Empty House' sounded the most promising, which is just as well for them as it is their latest single.

U2 received what was practically a heroes welcome. Familiar songs were greeted with whoops of joy. Certain members of the audience actually seemed to enjoy having water thrown over them by singer Bono.

They possess something that the support band, Comsat Angels, did not possess. And that was charisma. This comes in the shape of Bono, a man who definitely has a certain something denied to the mass of humanity.

Despite the weak points in the set, of which there were many, he somehow managed to carry them through. His colleagues are not especially talented. The guitarist would like to be a good old fashioned guitar hero whilst the other two are somewhat faceless.

They certainly have age on their side if nothing else. They began with 'Gloria' (the latest single) which was quite impressive. It featured the usual U2 formula of soaring guitar lines, a little bit of harmonics also on the guitar, in the middle and a strong riff. This is quite pretty, enjoyable, exhilarating etc., but can become tiresome when repeated ad infinitum. The rest of their set thus varied between the brilliant and the mundane

Unfortunately, they played a lot of inferior new material, some of which verged on the heavy metal. A slot number with only piano and drum accompaniment 'October' was somewhat embarrassing, but mercifully short. The old favourites were left till last and were brilliant "I Will Follow" being particularly outstanding.

There were many encores, of course, during which the magnificent '11 O'clock tick tock' was played. Not a brilliant gig but nevertheless fun. Oh yes, and Bono was suffering from a bad bout of flu."

Interestingly, 'Sleep No More' - the album being toured by Comsat Angels, was regarded as somewhat of a masterpiece. Additionally, it was said that it had a major influence on the future U2.

The Comsat Angels - Independence Day

Gloria U2

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