Kraftwerk in Coventry and Birmingham

 Kraftwerk in Coventry and Birmingham.

by Pete Clemons

A few years ago I noticed that German rock band, Kraftwerk, were appearing at Symphony Hall Birmingham. Having never seen them play live since 1976 I really fancied it until, that was, when I enquired about tickets. Not only did I discover that the event had sold out, I also found out that the ticket prices had been an extortionate price. Which all kind of surprised me as I hadn't realised that they were so popular. And yes, I admit, the fact I hadn't really taken much notice of them for over 40 years meant I was completely out of touch.

But when I did think it through maybe I should not have been surprised by their popularity. After all back in the early 1980s Kraftwerk had been a major influence on the new romantic scene that burst out of London clubs such as Billy's and Blitz.

Technologically, I am certain that Kraftwerk would have moved on from when I had last paid any real notice of them. After all, they were never the kind of band to sit on one idea for too long.

Even during the mid 1970s, apart from a keyboard, Kraftwerk had removed the last recognisable instrument from when they began several years earlier. That instrument had been a violin and they replaced it with synthetic drums.

Each drum disc gave a different sound, such as bongo's and snares, by completing the contact with the spring steel batons they held. The hope then was to get rid of keyboards and create jackets with lapels that could be played by touch.

When Kraftwerk released their forth album, Autobahn, during late 1974 the band themselves called it 'Machine Music'. The sounds were created in a studio in Dusseldorf, programmed then recreated on stage with the minimum of fuss. Autobahn was based on the rhythm of cars, trucks and bridges all heard while driving through Germany.

Autobahn's title track took up one side of an LP and lasted for just over 22 minutes. A 3 minute 5 second edited version was released as a single in the UK during 1975 and proved to be an unexpected hit for the band. Just failing to crack the top 10.

And during 1975 Kraftwerk completed a UK tour appearing at the nearby Birmingham Town Hall. For that tour the band introduced new recruit Karl Bartos. Until then, and up till the recording of the Autobahn album, the band had been Ralf Hutter, Florian Schneider, Wolfgang Flur and violinist Klaus Roeder who was with Kraftwerk during 1974. long enough though to work on the Autobahn album but had left before its release. In fact, for the bands earlier releases, Kraftwerk were, ostensibly, just Ralf and Florian.

For that Birmingham concert the bands first three albums were represented by way of performing Kling Klang, Ruckzuck and Tanzmusik. But of course their latest release was being promoted and music such as Kometenmelodie 1 and 2 and of course Autobahn featured heavily.

And it was the quartet of Hutter, Schneider, Flur and Bartos that went on to record the follow up album Radio-Activity as well as returning to the UK during 1976 to tour the album. It was the Radio-Activity album released during 1975 which apparently influenced David Bowie for his Station to Station album.

This time Coventry was a part of the tour and the band visited the 'Lanch' during October 1976. Kometenmelodie and Autobahn remained in the set but new music such as Radioactivity, Airwaves, The Voice of Energy and Ohm Sweet Ohm were also on offer.

After Autobahn, Kraftwerk never really bothered the UK charts again. Until, that was, around the time of new millennium. But that never seemed to stop their popularity and cult rising it seems.

The Model

Radioactivity

Robots

Autobahn

Christopher Sidwell 2021

 Christopher Sidwell 2021

by Pete Clemons

There's a belief in our society that bad things always happen in three's. From natural disasters to household mishaps, if it's happened twice, it's definitely going to happen a third time. Particularly when it comes to death.

The source of the superstition appears to be that if three soldiers lit their cigarettes from the same match, one of the three would be killed or that the man who was third on the match would be shot. Since then, it has been considered bad luck for three people to share a light from the same match. Maybe best to give up smoking altogether.

But it doesn't have to be that way. Because in this case its all good news. And all three occurrences involve local artist and musician Christopher Sidwell.

Specialist record company Ace Records, who excel in re-issues, have been in touch with Christopher. It appears that they are interested in a track he wrote for a previous band from forty years ago, The Digital Dinosaurs called 'The Sideways Man'.

They want to include the track on a new compilation album called 'Winter of Discontent' compilation which the St. Etienne guys are putting together for release in the autumn. St. Etienne's Bob Stanley is a consultant for Ace, along with other record companies. Together with other band members they compile collections of obscure songs. St. Etienne fans are already aware of this and hugely appreciate Bob's discerning musical taste.

The album also includes bands such as Scritti Pollitti, The Television Personalities, The Raincoats, The Melons, Danny and the Dressmakers, The Homosexuals. Also included on the album is another track with a Coventry connection. 'The Window's Broken' by Human Cabbages, a tune recorded in 1980 from the Boys And Girls Come Out To Play EP also finds itself being given a fresh lease of life.

Say's Christopher 'They have sent a contract and are paying me ! The album comes out on CD and vinyl - very excited ! It is not my best material but it was as good as I could do at the time'.

The second piece of good news involves a series of programs documenting what people did during the Lockdown last year. Tentatively titled 'The Lockdown Diaries' the associated stories were built up during 2020 as Christopher completed, and posted up songs, from his Hoi Polloi album with notes about the songs. This formed the basis of a submission Christopher has made to a national radio station. Along with four songs being changed for ones he wrote and recorded at home last year.

Graham Fellows aka Jilted John / John Shuttleworth, and no stranger to Coventry following work at the Belgrade Theatre with Bob Eaton, is mentioned in one of those songs. We both wrote a song using the lines, 'I remember that you came in the period that remained after Christmas but before the new year in the days that have no name'. The project with Graham is completely different - it is a song we wrote a while back together which was called 'Love in the Afternoon' originally. It is now being used in Graham's new film titled 'Father Earth'.

The final piece of news involves a tune Christopher wrote for the Trees, 'Here Come the Trees' album. A version also exists on the Hoi Polloi album by Crokodile Tears. Says Christopher: 'The song was originally titled, 'Save that tree (Melanie)' and is a song about my wonderful friend Melanie Moon. Melanie is trying with others to prevent the HS2 devastation of ancient woodland in Warwickshire. She has the courage to stand up to a project that I and many other of the 'Hoi Polloi' believe to be wrong'. The song, it seems is becoming an anthem with the environmentalists who are against HS2.

Good luck goes to Christopher in his ventures. Maybe the biblical quote that begins with 'For everything there is a season' is a more appropriate for his recent turn of events. A time to plant and a time to harvest.

The Sideways Man - Digital Dinosaurs

Huh - Digital Dinosaurs

Tom Long and Tony Clarke's memories of Pinkerton's Assorted Colours

 Tom Long and Tony Clarke's memories of Pinkerton's Assorted Colours.

by Pete Clemons

Its always good to hear back on anything I write. It is especially good to hear from someone who personally knew, or had dealings with, the band or whoever I was writing about. So to receive feedback from Tom Long was especially pleasing.

It came after a recent thing I put together about record producer Tony Clarke. Tom was the guitar player for 1960s band, Pinkerton's Assorted Colours, who had hits in the 1960s with 'Mirror Mirror' and 'Magic Rockin' Horse'. And, of course, Tony produced those records. I also remember Tom from my days at GEC where Tom had much knowledge, and awareness, in the early days of home computers.

Tom mentioned: 'I just recently found the piece you wrote about Tony Clarke. Nice piece, he was a good and very talented guy. A few comments to add. The first and only time I recall seeing him playing was at the Rugby Granada with Buddy Britten and the Regents. He left for Decca Records quite early. I didn't know that 'Mirror Mirror' was his first single though I knew he hadn't been doing A&R long and was desperately keen to succeed'.

'Tony had done a wide range of odd jobs. He was proud of the fact that when they sent the Elvis masters over to the UK in mono, they created a second backing track to make them stereo and he played bass. He had met and worked with many greats even in that short time. He was competitive and very keen to compete with his main rival Gus Dudgeon'.

'And then I remember Tony playing us a number he wrote, called 'Five in the Morning'. I don't know if it ever got recorded though'.

'He most definitely added a lot of input to the 'Moodies'. Their records were full of his 'isms'. 'There you go man' was one of Tony's stock phrases, and, spoken on the record, exactly as he often did. I can also guarantee that there was a lot of laughter when Tony completed it with 'Face the trials of piles with smiles!'. Again, I know he would have said that, that was also his stamp'.

'But Tony had another side. He could be a bit sarcastic at times. That said full marks to Reg Calvert that he recognised Tony's abilities and gave him the chance'.

'The stock studio engineer, at Decca Records, at the start was Terry Johnson. He epitomised the old saying, What's the difference between God and a sound engineer? - God doesn't think he's a sound engineer. Terry commanded respect and was a bit of a prima dona. He also enjoyed a drink and I think it possibly led to his demise'.

'Recording engineer, Derek Varnals, was chief lackey cum probationary sound engineer. He did the odd 'B' side for us but he was good. He too, was keen to get on, but did it quietly and diligently. I am not at all surprised that Tony Clarke used him over Terry Johnson. Wise choice. Terry, if nothing else, would have taken twice the studio hours. That is, if he got it to sound as good anyway. Possibly not'.

'Tony Clarke's big nemesis was, of course, Dick Rowe who was still very staid and had learned nothing from having turned down The Beatles. Tony has mentioned that when they had finished 'Nights in White Satin' he was walking on air. He played it to Dick Rowe and Dick just didn't get it. I'm sure Tony was laughing his socks off inside. This was the turning point which got him away from the clutches of Dick Rowe. I'm sure he was on cloud 9'.

'I watched a YouTube video of the 'Moodies' at the Albert Hall. The orchestra were out of this world and their music really lends itself to that treatment, I'm sure the band seriously enjoyed that gig. The conductor looked extremely happy. I just wish Tony Clarke could have been there. Happy memories of Tony!'

My thanks to Tom Long for sharing his thoughts and memories.

Johnny Goodison and The Quotations - March 1966

 Johnny Goodison and The Quotations - March 1966.

by Pete Clemons

Strange how an article I put together a few weeks ago, about Big John's Rock 'n' Roll Circus, led to a chat that gave me enough information to put a few more words together another about the subject matter.

It seems that Johnny Goodison left his home town of Coventry, during mid 1964, in the hope of finding fame and fortune in the great city of London. John Goodison?. To help you a bit he used the somewhat more compelling name on stage, that of Johnny B Great. In London John became leader of a band called The Quotations. And, while in The Quotations, he was the front man of The Walker Brothers backing group.

In a short space of time John had progressed from organist and vocalist to the groups leader, arranger, organist and vocalist. It took a great deal of talent but, by all accounts, Johnny had the lot.

Sound wise it was said that The Quotations had probably the best line up, for that type of vocal group in the country, at that time. During 1966 they were an eight piece, organ, drums, guitar, bass, tenor sax, baritone sax, trumpet and trombone, and Johnny had hopes that the group might be even go on to bigger things. Which of course they did.

Johnny Goodison was interviewed on the opening night of the Roy Orbison / Walker Brothers tour of the UK which began during March 1966. And I found his views very interesting.

'We have completely different acts for ballrooms and clubs' he said. 'Six members of the group can sing, so we use a great deal of vocal harmony stuff for the clubs, and keep the more commercial hits for ballrooms. Obviously we owe a lot to the Walkers but we weren't doing too badly before they came along. There was plenty of work in the clubs and occasional gig with people like The Drifters. It was in one of the clubs that the Walkers first saw us'.

'None of the original Quotations are left now, but our sound seems to be improving all the time. This could be why we haven't had a record released until now but, personally, I think its because I freeze every time I get into a recording studio. I don't know why this is, but I've only just got over it. Anyway our first disc is out now titled 'Going Where the Loving Is', and was A&R'd by Scott Engel and John Stewart his business partner'.

On their current tour The Quotations have added strings for backing The Walkers but say this wont be a permanent arrangement. In their own act they perform such items as 'Don't Fight It', 'I Got You', and a very jazz flavoured 'Summertime' which features fantastic solo's from the baritone of Barry Martin and the trumpet of Tony Allen.

Don't The Quotations feel that they will always be in the shadow of the Walker Brothers?. Says Johnny 'The Walkers sing the type of material that we like, and lets face it, the money's much better, so we've got no complaints. If the Walkers go back to the States for six months we'll go out on our own and see what happens then. The main thing is, we're happy'.

The Quotations continued to tour with The Walker Brothers for several years acting as their backing band for many of their live performances. The group also backed Carl Perkins in 1964 and, later in the 1960s, supported Cat Stevens and several others.

...........

Other articles by Pete Clemons on Johnny Goodison or Johnny B Great.

1 Big John's Rock n n Roll Circus

https://coventrygigs.blogspot.com/2021/02/big-johns-rock-n-roll-circus.html

2 Johnny B Great (Johnny Goodison)
https://coventrygigs.blogspot.com/2013/07/johnny-b-great-johnny-goodison.html

"The Quotations toured along with The Walker Brothers during 1965/66 and also acted as their backing band for many of their live performances. The Quotations also backed Carl Perkins in 1964 and supported Cat Stevens. Later, when Gary Leeds aka Gary Walker released his single "You Don't Love Me' in 1966 it was The Quotations who were the backing band. Two members of this line-up went on to much bigger things; John Goodison and Johnny Gustafson.
Members: Johnny Goodison on keyboards, Pete ‘Greg’ McGregor and Barry Martin on sax, Graham Alexander on bass guitar, Tony Mabbett on trumpet, Graham Dee on guitar and Jimmy Buchard on drums." https://www.discogs.com/artist/3057121-The-Quotations-3

I Need You - The Walker Brothers with the Quotations

The Session at 20

 

The Session at 20

By Pete Clemons

Music is one of the world’s most beloved and widely consumed art forms. It is a medicine and can get us through all kinds of things. But have you considered how incredibly hard it is to create, especially when multiple musicians are involved ?.

There is a huge list of challenges to navigate if you happen to be in a band. And I am guessing that even those involved in that band fail to consider the potential pitfalls when starting out. After all, all the musicians want to do, is to simply create create music.

Additionally, and especially over the last 20 years or so, music has become more competitive. For starters you just have to look at the changes in consuming music. In that time we have gone from the physical format to the stream and download.

Then there were the venues. At the turn of the century Coventry had The Skydome Arena, Jumpin Jaks, The Colosseum, Fatties and many others. We also had The Dog and Trumpet which was iconic to a lot of bands who were just starting out at that time. It was particularly relevant to The Session whose first 9 gigs were at the D&T during 2002. Since then they have gone on to play getting on for almost 500 gigs and festivals across the country.

The Session are an original band from Coventry and consider themselves a funky folk rock fusion band. They have produced 5 albums of original songs. A 6th is very close to completion. And May 2021 will see The Session pass through the very significant 20 year milestone.

But there is so much more to this band. Down the years The Session, who were formed in a house in Earlsdon - directly opposite the High Street, have graced the main stage at Godiva Festival. During 2016 they supported The Charlatans. Additionally they have also shared the stage with Simon Fowler from Ocean Colour Scene and Star sailor front man James Walsh. They also won the local award for the most hard-working gigging band in Coventry and Warwickshire in 2017. And throughout the existence of The Session there has been a steady stream of musicians passing through the band.

With that in mind I gave founder member, Dean Macdonald, the unenviable task of trying to remember all of the names of those who had been involved with The Session during those 20 years. And he came back with the following list: Tom Meek , Andy Burnam, Matt T, Shaun Stenton, Ian MacDonald, David MacDonald, Rich Taylor, Daz Taylor, John Spencer, Fred 'Dubber' Waight , Dean MacDonald, Sheryl McClean, Tom Harris, Ciaran Corkery, Dave Chambers, Mark Adams, Iain Macdonald, Stephen Booth, Keith Eardley, David Richardson, Keith Harris, Martin Wilkins.

Additionally I wanted Dean going right back to the very beginning of the band: The Session are fronted by vocalist Sheryl McClean. The original line up was 7 musicians. They were siblings Sheryl and guitarist Dean Macdonald. Cousin's David Macdonald on keys and Ian Macdonald on guitars, drummer Rich Taylor, 'Bingo Bongo' Dave Richardson on bongo's and Congo's and bass player John Spencer.

John Spencer left during 2004 and Dave Chambers replaced him on bass guitar. 'Even though Dave is not an original original we think of him as an original because he has been in the band 17 years now. And, of the originals bingo bongo Dave Richardson, Shez McClean and myself are still remaining' confirms Dean Macdonald. Finally it is also worth mentioning Iain Macdonald who is father to Sheryl and Dean and who played harmonica on some of the records. Iain was never a member of the live band.

Finally I pushed Dean MacDonald for a biography and he came back with the following:

'The Session was formed in May 2001 but we never made our first recording until January 2002. It was an album called 'Live at Woodbine', which was Woodbine Studio, in Leamington Spa with the great Johnny Rivers.

The album was, in fact, 9 live takes in order to save the band money. Some tracks really still stand out today but many of them are wishy washy and, if I’m honest, it’s an album I kind of distance myself from. In those days our bass player John Spencer wrote many of the songs for that album. I think I penned 4 out of the 9 songs and, let’s just say, it’s not an album I re visit very often. That said, there is some nice stuff on it like the 'Song Birds'. Check it out on YouTube. That is a cracker.

Our second album is kind of my thinking is our first. That’s when we started to take it seriously. The second album was recorded during 2004. John Spencer left the band, halfway through its creation, and moved to London. So I was on my own to complete the writing. That album has about twelve songs on it. John contributed three songs out the twelve and his three were crackers. That album I really rate and it was called 'Time Will Pass You By'.

Our third release is one of my favourite session albums. It was called 'Trailblazing in the Art of Ego' and that was released during 2007. This was followed by 'Stamp Out Reality' during 2009. That album possibly contains all of our big gigging songs on it. For me it’s a complete no filler album in terms of liking the songs to this very day.

We then made the 'Hail the Renegade Express' album around 2013 and then, rather than make further albums, we waited and gathered a series of singles. We have since released 7 singles and all of them will be on our next album this summer 2021. That’s our history really. The 6th album is just one song away from completion'.

'Live at Woodbine', 'Stamp Out Reality', 'Hail the Renegade' and 'Trailblazing' were all recorded at Woodbine studios with John Rivers. 'Time Will Pass You By' was recorded at Planet Studios with the late Jim Meikle. The forthcoming album was recorded with Matt Waddell at 14 records, in Leamington Spa, and one song called 'Resonation' was with Roger Lomas'.

Dean Macdonald is incredibly gracious in his praise for those who have helped him with The Session, a band that he is, very rightly, so proud of. During our chat he continued: 'I think it’s worth pointing out that, out of all the members who have come and gone, then John Spencer Is still my best friend to this day. He was a massive part of that band and without him then I don’t think it would have happened. During the very early days he pushed the gigs, he booked the studios and he booked the practices.

When John Spencer left to work in the city of London it was not personal but I think he regrets it to this day although I would never say that to him. He misses music. I would say all of those past members each created something great for The Session but John was the main man at the outset. Finally it can’t be right if I don’t mention my uncle, Martin Wilkins (Butch). He managed the band from 2002 until about 2012. He was brilliant for us. Finding the gigs, organising artwork for gigs and posters and just getting our music out there. Be lovely and only right if I mention him in any bio. He is still a big part of us now although he no longer manages us. But he still comes to all the gigs with his wife Loz'.

For all the reasons above, and my reason for such a long and detailed introduction, is that I wanted to stress that keeping a band going for 20 years nowadays is extraordinary. For me it really does show the dedication to, and the determination of, those involved in it. Even during lockdown those involved have remained very busy writing and promoting new music.

As The Session enter their 21st year you can join them live on 17 July at The Arches Venue when, hopefully, live music begins to return to some kind of normality. Nowadays, and for a number of years, The Session contain a total of 5 band members.

Sheryl McClean (vocals & percussion), Dean MacDonald (vocals & guitar), Dave Chambers (bass guitar), Fred 'Dubber' Waite (lead guitar) and 'Bingo' Dave Richardson (drums).

Above - The Party's Over - The Session

Above - Birds - The Session

Roy Butterfield

 

Roy Butterfield

by Pete Clemons

Roy Butterfield was an early member and co-songwriter with The Tom Robinson Band but his Coventry Music Credentials go back to the 70's - in Alive and Smilin' with Horace Panter of the Specials and in the 60's - he was also in Coventry's RCA Neon band - Indian Summer.

Mention the name Roy Butterfield and the words lovely bloke and incredibly talented, readily and quickly come back in abundance. When he talks about himself Roy says that he gets 'bored quite quickly and easily'.

Borrowing from notes left by harp player, Tim James, 'Roy Butterfield replaced Steve Bentham in the Boll Weevils. He had a lovely sunburst Fender Telecaster which he later bartered for a crappy Hofner and a new suit. But Roy could have played any old rubbishy instrument and sounded class. He later played pedal-steel and bass guitar. He sadly lasted only a few weeks with the Weevils before, as predicted, he went back to his old band to be with his mate Bas Fawcus'. This, I am certain would have been during 1964.

Roy then joined a Coventry beat band called The Little Darlings, later known as The Sensations. This, again with finger in the air, I am guessing would have been late 1966. Apparently Roy replaced John Gilroy as the bands lead guitarist.

Roy then became the original lead guitarist for the newly formed Indian Summer. According to Roy 'they were a great bunch of lads' and, as people, he liked them very much. It was just the music. Roy didn't like it. Roy was into country and rock and not so much progressive. Additionally his guitar at that time, a Harmony Stratatone, gave him more of a BB King sound. Plus, he says, it had bits dropping off it.

Tim James continues: 'When Roy Butterfield joined Monster Magnet during 1972 he rolled up to the first rehearsal with the components of a 1960s Fender Precision bass in a Tesco carrier bag. He had got the bass by barter, probably for a suit ! He assembled it and, playing bass for the first time in his life became, instantly, the best bass player I have ever worked with'.

Roy was then involved in a band called 'Alive and Smilin' with Horace Panter. Roy remembers a battle of bands competition during October 1974 where they appeared at the final which was held at the Hammersmith Odeon. 'Alive and Smilin' finished runner up. According to Horace in his book Ska'd For Life 'Roy played the most tasteful guitar he had ever heard'.

Roy Butterfield even played in a Coventry punk band. They were called 'Certified'. Roy remembers that Certified once supported the Automatics during October 1977. at The Heath Hotel. Urban Blight, Squad (who at that still time contained Terry Hall) and The Wild Boys (who still had Roddy 'Radiation' Byers in their ranks), were also on the bill. Jerry Dammers famously mentioned that his organ wouldn't fit on the stage of the Heath Hotel so he played in the audience facing the band.

Delving, once again, into the memories of Tim James, he wrote: 'Roy Butterfield was later involved in writing the hit single '2-4-6-8 Motorway' with Tom Robinson but got fed up and left the band before the money rolled in'.

It appears that it was during the summer of 1976 when Tom Robinson and Roy Butterfield first met. Roy remembers that it was during Gay Pride week and when he happened to be playing for a band in a London theatre. Tom was still with his band, Cafe Society, at the time when he first met Roy. And Tom Robinson just happened to be an audience member at one of the gigs.

Later that year it was announced that Cafe Society had split. Tom Robinson quickly put together some gigs under his own name. The first at the Hope and Anchor in London quickly followed by one at the Golden Lion in Fulham. And it was at this time that Roy was in the early throws of what became the Tom Robinson Band. The pair certainly did a lot of song writing during those early days. The bands drummer. Brian 'Dolphin' Taylor even renamed Roy 'Anton Mauve'.

I can confirm however that Roy Butterfield did not contribute to Tom Robinson's massive anthem '2-4-6-8 Motorway'. However he did indeed contribute to the song 'Up Against the Wall' and several others. Roy would write the music and Tom Robinson the words. During the very early part of 1977 Roy Butterfield was replaced in the Tom Robinson Band by guitarist Danny Kustow. Nowadays, it seems, Tom is selective when it comes to TRB history but Roy was certainly with the TRB at the very start.

After the Tom Robinson Band Roy joined a band called the American Housewives. And there is an eye witness account of a time when the Housewives were playing a gig at the Stapleton Hall Pub in Stroud Green. It mentioned that, during a break in the proceedings, Tom Robinson stepped up on stage with guitarist Anton Mauve, and the Housewives drummer, and thunderously performed 'Up Against the Wall' and 'Motorway'.

Later in time, Roy Butterfield sold his rights to the Tom Robinson Band songs. As such Roy's name never now appears on any reissues. But, for similar reasons as to why Roy left Indian Summer, Roy left TRB. As he admits, he gets itchy feet and wanted to do country rock.

During 1978 and 1979 Roy was at his most financially successful when he joined various country music and show bands. Which seems to be the kind of music where Roy is most comfortable.

By the late 1980s Roy appears to have returned to Coventry. Bass player, Steve Barney, would encourage Roy down to Tile Hill Youth Club. According to Steve 'It was an education to just hear Roy jamming away in a blues style'.

Steve was a member of Paradise West who changed their name for a while when they became known as Saigon. Saigon played many times around the city. The core of Saigon was still Gez Moran, Dave Valley, Colin Hankinson and Steve Barney but occasionally Roy Butterfield would also add his talents to Paradise West / Saigon, joining them on stage, at many gigs. Steve Barney particularly remembers his amazing guitar solos and slide guitar playing.

Today, Roy still loves listening to country rock particularly bands like The Byrds. But hopefully this article goes some way of preserving the memory of Roy's talents. I just didn't feel he should be totally airbrushed out of music history. As I have borrowed from the notes of Tim James, I will give him the final words: Roy is a superb musician and an incredibly dry and funny guy. It's all a real shame because he really could have given something to the world if he could have kept his head together.

My thanks to Steve Barney in his help putting this together.

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

Additional memories from Trev Teasdel

Roy Butterfield was also in an early version of the Coventry folk / rock band April - with bassist Ron Lawrence who went on to play bass for Sniff and the Tears and the Kinks (on tour and the Come dancing album). April were Ron Lawrence (bass ) Mick Thompson guitar, Grey Richardson percussion Barry Fawcus drums, Bill Jackson piano / vocals  and Roy Butterfield guitar. Barry and Roy had left by 1970 but the group continued with a residency at the Swan in Yardley etc.

Runestaff - In the autumn of 1971 Al Docker and I were living in a cottage out at Shilton near Coventry and Al, then a drummer and songwriter, formed a Coventry supergroup which involved former members of April - ie Ron Lawrence (bass), Bill Jackson piano and vocals, Al Hatton acoustic guitar (ex Indian Summer) and Roy Butterfield on lead guitar - ex April and Indian Summer and Al Docker drums - ex Tsar and Love Zeus. It was a great band - I used to watch then rehearse in our dining room but alas the band split up before they got a gig. The band was named after a Michael Moorcock trilogy Al Docker was reading  - Runestaff. 

Roy Butterfield left - with the original Indian Summer - Al Hatton, Paul Hooper and Bob Jackson (right)

Dave Fawks of Broadgate Gnome with Roy Butterfield in the late 60's

Roy Butterfield (left) in the Little Darlings

Roy Butterfield (2nd left) in East Side Protection (1967 ish)

Roy Butterfield left with East Side Protection.

Roy Butterfield in Monster Magnet mid 1970's (back row 2nd left).

Songs Roy Butterfield co-wrote with Tom Robinson

Roy Butterfield is mentioned in Horance Panter's autobiography.

Octave

 

Octave

By Pete Clemons

During 1977 the classic line up of The Moody Blues reunited after a five year hiatus. They had reunited for a greatest hits project. By this time four of the band members were living in England but Mellotron player, Mike Pinder, had relocated to America.

During the project it was clear that the band were getting on really well and producer Tony Clarke who, for a long time was considered as the sixth Moody, was keen on the idea of taking advantage of the moment and getting the band to record a new album. And the rest of the band agreed. It was decided that the new album would be recorded in America. So off they all set for the Record Plant in Hollywood.

But this would be the beginning of a catalogue of mishaps. Everything that could go wrong did go wrong with the project apparently did.

Firstly the Los Angeles based studio caught fire. Tony Clarke accompanied the master tapes, recorded so far, to a car. These included some masters for a Mike Pinder solo album called 'The Promise' that were being stored there.

The band then relocated to Mike Pinder's 60 acre ranch in Malibu where he had a recording studio. The studio was up in some hills and, to get to it, you had to follow a narrow dirt track. At one point Tony Clarke led a torchlight procession just to get up there. The sessions coincided with the worst rain the region had seen for some years. And the rain washed roads away. Additionally guitarist Justin Hayward and Tony were involved in a car accident. It wasn't serious but it led to Justin getting arrested and being detained for a short while.

At the same time Tony Clarke was going through some very difficult personal issues. And other band members were having their own problems. Bass player John Lodge began to question the whole project and whether the stars were simply just not going to align for the band. Maybe it was never meant to be. Out of his concerns though came the albums opening song 'Stepping in a Slide Zone'.

Mike Pinder, who had added Mellotron successfully to past Moodies albums failed to connect with the songs destined for the new album. He admitted that it was very difficult to add strings to every song. This led to dispute with drummer Graeme Edge giving Mike 'both barrels'. Apparently accusing him of not having his heart in the project. At this point even Tony Clarke was beginning to realise that maybe the Moodies had hit a crossroads.

Feeling that there was no fun or love in the whole project Mike Pinder failed to show up at any further sessions. Additionally Mike announced that he did not want to do any more touring. Graeme Edge has even accused Mike of lying over the whole episode. 'On one phone call he had told flautist Ray Thomas he was up for touring. The next phone call, to Justin, he said he was not' said Graeme. Even Justin Haywood began to feel annoyed about the whole thing.

Collectively, the four remaining band members, didn't feel the same way as Mike and the album was completed to its conclusion. Additionally it was toured with replacement keyboard player Patrick Moraz. In an official statement Graeme Edge said 'We are not closing the door on Mike but, by his refusal to tour, he has walked out through it'.

The album, titled Octave, was launched in the UK during 1978. It was given a huge over the top garden party. Again Mike Pinder refused to attend and remained in America. On the day of the party the band was introduced to the media. Thinking that they could get away without Mike being noticed, the five man line up, actually included producer Tony Clarke.

A great strength with The Moody Blues, and possibly added to their longevity, was that they were very fair with money. Royalties were always split accordingly. If a band member came in with the merest hint of a song, it was always his. Another band member may have added three quarters of the final song but the credit always went to the one who came up with the stem of it in the first place.

Octave was the last album Tony Clarke would produce for The Moody Blues. He was extremely proud of it, and of everything, that had gone before. But this was the end of an era for the band. Tony still remained in close contact with the band members. The Moody Blues went on to create even more music and remained incredibly popular for decades to come as they set out on the next leg of their journey.