Callum Pickard 2019

Callum Pickard 2019

By Pete Clemons

July 2018 and, after seeing them play live at the Old Grammar School, they left me feeling convinced that it was only a matter of time until Callum Pickard and the Third Look would gain a far wider audience and get far greater attention.

However, within weeks of that gig and to my disbelief, the band were no-more, and it was all over for the Third Look.

But now, after several months away, Callum Pickard has re-emerged and is playing live once again. Gone is the dreamy pop and in comes a whole new direction. The improvisation has been replaced by planned and more premeditated, but not predictable, song structures.

For this new venture Callum has built a new band around the familiar faces from each of his previous bands. And it is clear he still enjoys hearing some brass in the mix. Although this time the band make a greater use of programming and sequencing.

From the Third Look you have the familiar faces of Laurence Pettit - Synths, Acoustic Guitar and backing vocals and Jon Pudge - Flugelhorn and Trumpet.

Then, from his earlier band, the now ironically named ‘For Absent Friends’, you have Chris Lings on Drums, Matty Wishart, Guitar and Dan Grealy on Bass. Completing this exciting new septet is Bill Cameron on Saxophone.

In his time away from the live scene Callum has not been idle. Far from it in fact. He has, for at least the last six months, been busy immersing himself in an album which still has some way to go until it can be released. As I understand, though, the album will comprise of new songs and reworkings of old ones. But with guest appearances by members of ‘War on Drugs’ and ‘The 1975’, this alone should certainly focus some attentions when it does see the light of day.

Additionally, Callum has been increasing his skill set by adding drums to a growing list of instruments he is prepared to improve upon.

For Sunday’s Sound: in bloom gig ‘an evening of brand new music’ held at The Tin, Callum and the band more than rose to the occasion by presenting four new songs. Bar Key, Follow the Sign, Time Lies and Translated Radio. And how well they came across. To these ears at least the band felt comfortable, they appeared to enjoy themselves and any rehearsals had certainly paid dividends as the music flowed effortlessly.

And this new-found confidence may also yield a spin off as there is also some talk of resurrecting ‘For Absent Friends’ for a one-off gig. The dusting off, of some old tunes, just for old time’s sake.

Caravan - Recent Output

Caravan - Recent Output

By Pete Clemons

Rock band Caravan continue to celebrate their 50th year of existence. You may remember them for their 14 wonderful and varied studio albums and the rather splendid live recording with the New Symphonia Orchestra.

Caravan’s music was initially influenced by a loose form of jazzy rhythms but that disappeared as the band developed. Textured harmonies and, at times, extended and complicated work outs became a staple. Their songs can be catchy, sometimes display humour yet, at the same time, be deep and abstract.

The last twenty years has seen Caravan’s discography produce an abundance of live, demos, re-recordings and other, unused material. Some of the releases have been outstanding, some of them not so.

For anyone remotely interested in Caravan, they did have a large underground following, and who has yet to hear this stuff, I have listed below a selection of what I consider essential listens. Almost as important, in my opinion, as the bands original studio albums.

All Over You (1997) – Completely new and, it must be said, a brilliant set of re-workings of some of Caravan’s finest moments such as ‘Place of my Own’ and ‘For Richard’ in an almost acoustic format. The band at this point was Pye Hastings, Geoffrey Richardson, David Sinclair, Jimmy Hastings and Richard Coughlan.

All Over You…Too (2000) – A similar project to above but featured the reformed band of 1999 that included, Doug Boyle on lead guitar and Jim Leverton on bass. The energy and vibrancy, contained within these versions, is quite startling. Even a track like ‘Ride’ from the first album has been given a complete transformation.

Songs For Oblivion Fishermen (1998) – A live album containing archive BBC recordings that spanned the period 1970 to 1974 and was mastered from original archive tapes. As for the album’s title, Pye Hastings explained: ‘I have always been intrigued by misunderstandings and Chinese whispers and the title is an example of this. It stems from a conversation I heard in my local pub about these Bolivian street musicians - obviously I misheard’.

Ether Way (1998) – Another set of live recordings from archive BBC recordings that spanned the period 1975 to 1977 and featuring the band line ups from the ‘Cunning Stunts’, ‘Blind Dog’ and ‘Better by Far’ album period.

Green Bottles For Marjorie (2002), (‘Green Bottles for Marjorie’ was, as I understand, the early working title for what became ‘If I Could Do it All Over Again, I’d Do it All Over You’ tune) - This album contains Top Gear sessions from 1968 along with an In Concert recording from 1971 and a track recorded on the John Peel show in 1972.

Live at the Fairfield Hall 1974 (2002) – Originally released as a double LP in Germany and France under the title of ‘The Best of Caravan Live’, this concert remained unreleased in the UK until its CD release during 2002. This concert was performed by the line-up that released the Cunning Stunts album.

In addition, I would also recommend that you check out the various re-issues of official studio albums, for the bonus songs that they contain. Each of the 2001 CD releases contain at least three extra tracks of demo’s or working titles from the period of the main album they feature on.

Finally, Steven Wilson's 40th anniversary deluxe 2011 release of ‘In the Land of Grey and Pink’ album. In addition to the main event it also contains recording sessions, archival stuff from Sounds of the Seventies and a Paris Theatre concert hosted by John Peel.

The above CD’s I mentioned CD’s may be quite difficult to locate. However, with the number of digital outlets available nowadays, I am sure they would not take much time to track down on the ether.

I admit that it may seem strange have, in some cases, multiple versions of the same songs but the thing about Caravan, is that they never played to a script. Each version of every song Caravan perform, brings with it, its own uniqueness.


2019 sees Caravan appearing in selective gigs that continue the celebration of the bands 50 years of existence. Who knows how many more years exist. But one thing is for sure. Their legacy will live on forevermore.

Georgie Fame at Warwick University

Georgie Fame at Warwick University

by Pete Clemons

One of my own personal favourite sounding musical instruments is that of the Hammond Organ. For me it has a wonderful rich and warming tone. Additionally, it seems to exemplify the 1960s.

And one of the foremost British exponents of this instrument is Georgie Fame. Now well into his 70s Georgie Fame still tours from time to time, clearly enjoys himself and, in his words, will continue to for as long as he can.

Just recently Georgie performed at the Warwick Arts Centre where he wowed us with his, still, fine voice and his incredible talents. He also enlightened us with his anecdotes.

Georgie made no secret of how he was influenced by the likes of Ray Charles, who he saw play live during 1962, Jimmy Smith, Booker T Jones along with many of the artists who played on the Blue Note label during the late 1950s and early 1960s.

In fact, it was during 1966, after hearing Booker T play, that convinced Georgie to buy his first Hammond. And it is that very instrument that he is playing this evening. The Hammond was even connected to the integrated amplifier / rotating speaker cabinets, rarely seen nowadays, but were famously known as Leslie cabinets. Named after the guy who invented them.

Georgie, born Clive Powell, was discovered by composer Lionel Bart who introduced him to Larry Parnes who, in turn, renamed him Georgie Fame. At the time, Larry Parnes, was one Britain's top rock 'n' roll impresario’s and tended to rename all his ‘discoveries’. This led to Georgie becoming the house pianist on the ill-fated Eddie Cochran UK tour during 1960.

Georgie Fame and his band the Blue Flames found chart success with the 1964 hit 'Yeh, Yeh'. Georgie informed us that ‘Yea Yea’ had begun life as an instrumental. Words were added later and, when released, the song shot to top. That fame led to a tour of Sweden. As their plane taxied on the runway George noticed a Beatles style reception. Lots of screaming girls had gathered at the airport. Unknown to Georgie, actor Roger Moore had been on the same flight. Back then Roger was famous for his role in the TV series The Saint and, of course, the reception was for him.

Another chart hit followed during 1966 with ‘Get Away’. Georgie explained how this tune had been written for a Benzol petrol promotion and how he had been given two weeks to produce the song. However, in his mind, he put the task to one side. After playing a gig in Bristol the tune was written overnight while travelling back to London. It was presented the very next day which happened to be the final one of his deadline.

Georgie revealed about the time he had to split up the Blue Flames. Drummer Mitch Mitchell took the news badly. By coincidence, and at the same time, Chas Chandler got in touch and invited Georgie to go see his new discovery, Jimi Hendrix, perform in a London club. Jimi was looking for a drummer. Georgie took Mitch with him.

Georgie was also full of praise for producer and label manager Denny Cordell. As Georgie set about forging his solo career Denny was a massive help. He described him as very helpful and very hip.

As we moved into the 1970s and 80s, Georgie spent much of that time in cabaret or as a guest on television shows. Georgie recalled that during the 1980s he was a guest of American singer songwriter Hoagy Carmichael. At that time Hoagy was himself in his 80s. Clearly proud of the experience, Georgie even got to play some of Hoagy’s compositions for an album using Hoagy’s own piano. He even toured the UK with a New York band.

During the 1990s Georgie joined Van Morrison both on tour and in the recording studio. Georgie also became a founder member of Bill Wyman’s rhythm kings.

Joined on stage by his son’s James Powell on drums and Tristram Powell on guitar, it wasn’t purely an evening of anecdotes. Each story touched on was accompanied musically with a selection of tunes from that period, and more. All in all, it was an enthralling evening of pure class and style.

Richard Barbieri – St. Paul's Church, Birmingham

Richard Barbieri – St. Paul's Church, Birmingham

by Pete Clemons

April 1995 and Porcupine Tree played a gig at the General Wolfe, Coventry. Being quite keen on the band, and the venue being close to where I lived, I happened to be there, mid-afternoon, when the band arrived to set up. I even helped them move kit into the building. I had my daughter with me who was around 8 or 9 at the time and we stayed on to see the sound check.

The General Wolfe, as many will know, is a couple of miles outside the city centre and to pass the time, in between sound check and gig, Steven Wilson was keen to visit a record shop. I offered to drive the band into town. So, into my car they climbed. All except drummer Chris Maitland who had decided to go for a walk on his own. Sat directly behind me, in the rear passenger seat was Colin Edwin. Next to him was Steven. And to my left, in the front passenger seat was keyboard player Richard Barbieri. My daughter, for those following this, was sat between Colin and Steven.

Thinking back, it all sounds so surreal now. How I wished now, I had had a mobile phone back then, so I could have recorded the event by way of a selfie. Anyhow off we ventured down the Foleshill Road, happening to pass Chris Maitland who had made an earlier escape, and onward to the city centre. I dropped the trio at St Johns Church at the bottom end of Spon Street as it was a short walk to the record shop close to C+A - Spinadisc Records, I think it was called at the time. It must have been a disturbing experience for the band and one they are more than likely to have long forgotten although the gig, later on that evening, was a resounding success.

Fast forward almost quarter of a century and I find myself at a church once more. And, again, Richard Barbieri is a major part of the story. This time however, we are at St Pauls Church in Birmingham, close to the Jam House, for Richard’s solo gig as part of another ‘Seventh Wave electronic music festival’. And Richard is blissfully unaware that I am in the audience.

For the next hour and a half Richard, along with Lisen Rylander who added saxophone and effects, puts on a masterclass. In Richard’s words it was all unrehearsed. I took it that he was making a reference to the set itself as he had to refer to his notes once or twice. But Richard knew exactly what he was doing as each piece was musically introduced and was built upon with added layers and textures. It was all totally absorbed by an incredibly appreciative and respectful audience.

Initially it was music from Richards most recent release, ‘Planets and Persona’, that created the ambiance. But then it was the turn of the unmistakable sounds of the Japan hit, ‘Ghosts’ that filled the air as it was given an instrumental outing.

A high point came around half way though when, to my surprise at least, Richard and Lisen were joined on stage by Nick Beggs and his 10 string Chapman Stick. What made this incredibly special however, was that they performed an instrumental version of another Japan ‘Nightporter’ which felt almost baroque in style. It was truly breathtaking and spell binding few minutes.

As quickly as Nick had joined the pair, he then packed away his gear and left the scene. Presumably to another engagement. And from then on in, the music - in the main - tended to concentrate around Richard’s series of Variants albums. He finds the time, however, to finish off with another Japan track ‘The Experience of Swimming’.

Surrounded by synths, sequencers and a lap top computer, Richard mentioned that he finds his Roland system a struggle nowadays and that it is forty years old. But to these ears at least, all seemed to perform well as he glided around the variety of keyboards. A memorable evening in an incredibly unique setting.

And the daughter that I mentioned earlier in this tale, well just to put things into perspective, she is now in her 30s and has 2 children of her own. One of them, not far off the age she was, when she experienced the Porcupine Tree.

Profile / Paradise West / Saigon

Profile / Paradise West / Saigon

by Pete Clemons

Includes related bands Profile who became Beachmantango, Saigon who became Paradise West. 

As I remember, I first crossed paths with bass player Steve Barney, around 1982 ish. He had just begun life as an apprentice at the GEC. I guess that apprenticeship curtailed his musical activities for a while. But not fully and, certainly, never diminished his ambitions as he currently turns out for The Ramrods alongside Danny Cunningham.

As soon as we met it did not take long until we discovered our shared love of music. Although he was on a slightly different level as he was, playing in a band whereas I simply listened to it.

Something I have been meaning to do for a while now is to put together a blog that, in some way, detailed Steve’s achievements. So, after a chat with him, that’s exactly what this will attempt to do.

Steve’s first band was Profile. Profile was formed around 1977 I think. But at the time Profile were the youngest bands around the city in terms of age range.

Steve mentioned ‘We were all school mates. Guy Surtees the creator, singer and guitar. Rich Elson guitar and me bass. We were all at Woodlands School together. We had various drummers Steve Russell, the late Chris Drew and Mad Steve from Squad and the Tearjerkers who guested for us in the studio. We were very young but got to do supports in town at the standard venues. This was when alternative sounds magazine was going on. The single was Guys idea. We could not afford to do it all ourselves so we came up with the idea for several bands to appear on one single and share the costs. Six bands were involved in the project and the result was the ‘Boys and Girls Come Out to Play’ EP’.

Once the cost was calculated to make the record and sleeve, each band had to contribute 1/6 of the costs. The idea was for 3 different bands to feature on each side. As the bands contained both male and female singers there became a blue side and a pink side. Profile were on the blue side and contributed with the track ‘Vince’. Profile originally wanted a different song, ‘Nuclear Future’, to feature on the EP, but had to settle for a shorter one as their preferred choice was too long and wouldn’t fit. So, the final ‘Boys and Girls Come Out to Play’ EP looked like this……….

Pink Side:

Human Cabbages – The Window’s Broken

The Clique Syndicate – Cism

L’Homme de Terre – Get a Grip



Blue Side:

Profile – Vince

Famous Five – Take Over

First Offence – Hammer and Sickle

Steve continues ‘Each band had to design their own part of the sleeve which became a big poster when it unfolded. Guy was the instigator of the idea but, as we were so young, Human Cabbages took over the running of it. When Human Cabbages releases a solo single later... the label was Boys and Girls 2’. ‘Once the EP was released I remember playing in the school assembly at Woodlands School and then selling some records there. While this was going on I think we encouraged a lot of others, the same age as us, to form bands so other local bands appeared - Sedition being one who went on to become Criminal Class. I left Profile in around 1982. They then changed their name and style and became ‘Beachmantango’ with Anthony Harty on bass. I then had a brief spell playing for Criminal Class when their ‘Fighting the System’ record was released’.

Fast forward to around 1986 and another of Steve’s bands, ‘Paradise West’, were formed.

Steve recalls ‘I had just bought a drum machine that connected to my spectrum computer and used that to help write songs at the time. The band at that time consisted of just myself and Gez Moran. We were then joined by guitarist Mark Quinn quickly followed by Craig Grant on drums. Our first proper gig was at New Star in Tile Hill. It was absolutely packed. We then went into the recording studio and did three tracks – Guy Surtees from ‘Profile’ came in to help and did some keyboards and harmonica. We played some great gigs. With Gdańsk at ‘the Venue’ was a particularly good one. And this is how I got to know Danny Cunningham. For whatever reasons, after that gig, Gez decided to change out the drummer and guitarist. They were replaced by Dave Vallely on drums (who had originally been in Fridays Angels) and Colin Hankinson on guitar. I remember lots of enjoyable gigs with that line up. We supported ‘Havana’ at the Lanch (The Clash’s Paul Simonon’s band). We also did several gigs at the Dive (Lady Godiva). We even did one for the Coventry Carnival in a float. Another that comes to mind was a great one at the General Wolfe which was supposed to be for a ‘battle of the bands’ competition. But as we had so many people down there to see us they let us do our whole set. I left Paradise West, along with Dave and Colin, around 1992/93 I think. I then did a one-off gig playing for ‘Squad’ at Busters as Gus Chambers was visiting from America and wanted to do a reunion gig. Absolutely loved that one’.

Paradise West did change their name for a while. They became known as Saigon who also played many times around the city. The core of Saigon was still Gez, Dave, Colin and Steve but, additionally harmonica player Bryan Lea Bradford would add his talents. Legendary local guitarist, Roy Butterfield, would also join Paradise West / Saigon on stage at many gigs. Steve particularly remembers his amazing guitar solos and slide guitar playing.

More recently, the Profile track ‘Nuclear Future’, which happens to be Steve’s favourite Profile track, has cropped up on a compilation album called ‘A Tale of Two Cities’. Originally, ‘A Tale of Two Cities’, was supposed to be an album, like the ‘Sent to Coventry’ album. The two cities featured were Birmingham and Coventry. But it failed to materialise at the time. However, the digital age has seen a CD version of that album recently surface. The profile track ‘Vince’ also surfaced. That appeared on a CD compilation called ‘Messthetics’.

Steve finished off with ‘And now I’m currently playing in Ramrods with Danny and Barney Cunningham who have both been good friends since those early days’. ‘I keep hassling Guy about doing a 40-year reunion gig, but he has so far, failed to take the bait’.

As I have said many times - Who knows what the future holds.

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

Additional information

BEACHMANTANGO " Featured multi-instrumentalist and super-session player Anthony Harty (who also played on the Grammy Award winning album Jamaican ET by Lee 'Scratch' Perry. He later played in the Flying Tortellinis with keyboard player from King - Mick Roberts and The Supernaturals with Hazel O'Connor, Paul Weller's Style Council and Box of Blues with Neol Davies and Horace Panter. . Both had been in Walnut Conspiracy. Source - Pete Chambers Godiva Rocks.

 Profile (See Solid Grease) John Hewitt's band - later drummer with King.

Profile - Vince

Mott the Hoople

Mott the Hoople

by Pete Clemons

Mott the Hoople originated from a Herefordshire based group called Silence. They comprised of Overend Watts on bass, Dale ‘Buffin’ Griffin on drums, Verden Allen on keyboards and Mick Ralphs on guitar. After arriving in London, Silence added Ian Hunter as vocalist and thus, Mott the Hoople were born. Mott the Hoople were a very hard working and hard gigging group. This early version of the band made some memorable music such as ‘Thunderbuck Ram’, ‘Second Love’ and ‘Walkin With a Mountain’. And during this period Mott the Hoople called into Coventry, and Warwick University, several times.

After four, very good, but not particularly successful albums released between 1969 and 1971 the group famously split up on 26 March 1972 (as documented on the tune ‘Ballad of Mott’ released 1973). But they were encouraged to reform by long-time admirer David Bowie.

David Bowie gave Mott the Hoople a new image and a stronger belief in their abilities. David also produced their fifth studio album ‘All the young Dudes’. In fact, the title track was given to the band by David Bowie and it gave the band much needed success in the singles charts during 1972. Mott the Hoople also embarked on yet another UK tour that, again, called into Coventry.

Davie Bowie then stepped aside encouraging Ian Hunter to assume leadership of the band. This new-found success didn’t stop there as Mott the Hoople went from strength to strength. However, this move of Ian Hunter becoming more the front man of the band, possibly cost the Mott the services of Verden Allen and then Mick Ralphs. The later leaving to join Paul Rogers, Simon Kirke and Boz Burrell in the newly formed Bad Company. Mick Ralphs did, however, stay around long enough to help Mott the Hoople complete the excellent ‘Mott’ album released in 1973.

Mick Ralphs was replaced by former Spooky Tooth guitarist Luther Grosvenor who was working under the pseudonym of Ariel Bender. Morgan Fisher took over keyboards from Verden Allen. This line up cut ‘The Hoople’ album and a ‘Live’ album both released 1974.

Ariel Bender’s association with Mott the Hoople wasn’t a great success and he also became a casualty of the band as he was very briefly replaced by ex-David Bowie guitarist Mick Ronson. By late 1974 both Ian Hunter and Mick Ronson had left Mott the Hoople to embark on a partnership of their own.

This now left Dale ‘Buffin’ Griffin, Overend Watts and Morgan Fisher to regroup as the truncated, but short lived, ‘Mott’.

Fast forward to 16 January 2009 and an announcement was made that Mott the Hoople line up of Hunter, Griffin, Watts, Allen and Ralphs would be reforming for two concerts at the Hammersmith Apollo. Those two gigs soon, due to the phenomenal demand, became five nights. You would never have guessed that these guys had not performed together for 35 years. It was truly memorable.

Due to poor health, however, drummer Dale Griffin was replaced by Martin Chambers of The Pretenders. As I remember Griffin accompanied the band on the encores.

A further reunion took place in 2013 and this time included other cities away from London. This including Birmingham’s Symphony Hall. Sadly, since those reunions both Dale ‘Buffin’ Griffin and Verden Allen have passed away.

2019 sees a third reunion of sorts. This time it is the 1974 version of the band and in addition to Ian Hunter will include Ariel Bender and Morgan Fisher as well as full supporting musicians. As well as several gigs up and down the country, this tour will also include The Assembly, Leamington Spa.

From the Jam – All Mod Cons

From the Jam – All Mod Cons

by Pete Clemons

Forty years ago, or at least just over, saw the release of that most iconic of albums ‘All Mod Cons’ by The Jam.

Garry Bushell, in his review, commented on the perceived fact, that, during the run up to the release of ‘All Mod Cons’, the ‘David Watts’ single had apparently relegated The Jam to a spent force. He later pointed out how that comment had been a trifle premature. He continued to mention how the next single ‘Down in the Tube Station’ was a whacking great poke in the ribs pointer to the possible strengths of this, their third and most satisfyingly rounded album.

At its release, and for the normal run of the mill listening public ‘All Mod Cons’ seemed to perfectly capture snapshots of aspects of everyday life, as seen through the eyes of Paul Weller. Wonderful lyrics coupled with great tunes instantly had the making of this, now, classic album. Not only that but ‘All Mod Cons’ also looked back musically and spiritually to the 1960s. Although the record itself was totally grounded in the 1970s.

And judging by the recent crowds at both The Empire in Coventry and The Assembly in Leamington Spa, The Jam are still fondly remembered in these parts. Incidentally, the Leamington Spa gig came 40 years to the day after The Jam played at Coventry Theatre on the ‘Apocalypse Tour’ in support of the ‘All Mods Cons’ album.

At both the Empire and Assembly gigs it was ‘From the Jam’, a hybrid of Paul Wellers super group that contains bass player Bruce Foxton from The Jam’s original line up. They performed the ‘All Mod Cons’ album in its entirety and almost in track order as it appeared on the album. For practicalities, however, ‘English Rose’ was tucked into a quieter seated, more acoustic section, during the middle of the gig. After the main course the set list included hits such as ‘News of the World’, ‘Strange Town’, ‘Eton Rifles’, ‘Private Hell’, ‘Town Called Malice’, ‘In the City’ and ‘When your Young’ which did make me smile due to the fact it was sung by many ‘in reflection’.

As with this kind of gig, by bands from this era, very few words came from the stage. Without any heirs and graces 20 or so songs were delivered in blistering fashion. There was little or no tuning of guitars and certainly no sermons delivered.

At the time of the release of ‘All Mod Cons’ The Jam were still in their ascendancy. Such was the sudden growth of their following at that time meant that, for the Apocalypse Tour, the band were suddenly moved up from playing smaller venues such as The Locarno/Tiffany’s to the larger, grander seated theatres such as the Coventry Theatre.

And what happened to The Jam at the end of their time was totally unprecedented. The trio of Bruce Foxton, Rick Buckler and Paul Weller had steered the band to incredible heights. At the time, they were arguably the most popular group in the UK and then, seemingly out of the blue, Paul pulled the plug on it all.

For a short while the country reeled as news of the break up hit the headlines of a lot of national newspapers let alone the music press.

However, for the last 10 years or so, ‘From the Jam’ who have always comprised of ex The Jam band members, have resurrected interest in The Jam and their music once again. They have consistently toured in tribute to all that The Jam created. And the resulting audiences have remained as faithful to the band, just as they had been, 40 years ago.

All Mod Cons  - The Jam - Album