Few music lovers in Coventry are unaware that Chuck Berry recorded his infamous hit at the Locarno. But that wasn't Chuck's only visit to the city. He also appeared at the theatre during 1975. Chuck's band that night was John Spurling on bass, from Max Merritt and the Meteors - Lance Dixon on keyboards and Gilson Lavis on drums who later joined Squeeze and is still drummer for Jools Holland. The compere for the evening was Bob Stewart of Radio Luxembourg.
Outside of America, Chuck never toured with his own band. He once mentioned that, apart from his guitar, he took no other luggage with him. 'Just a comb and a toothbrush' he once said. His wife added that he enjoyed the freedom of doing what he wanted to do. He didn't rehearse for a tour. He expected the musicians to have listened to his songs and learnt them.
Additionally, while touring, Chuck never asked for much. But what he did ask for was insisted upon. And, on later tours, one of those demands was that he played for cash only. This coming about after being ripped off too many times in the past. Again, another phrase Chuck often used was 'Money goes in the guitar case for the guitar to come out of it'. Chuck certainly did things his way.
Chuck Berry's life story is a whole other tale. But through sheer talent, drive, determination and bloody mindedness he certainly contributed to helping change the world. And those factors made Chuck Berry come across as temperamental that's for sure.
And during his 1975 UK tour Chuck walked off stage several times during, what appeared to be, mid-set. And the Coventry Theatre gig was no exception as there were chants of money back. Scuffles also broke out as fans were refunded to leave the theatre. Truth was however that Chuck had already left the building.
At one gig on the tour he did actually return to the stage to explain that 'I'm already 15 minutes over' – meaning the minimum scheduled appearance time – and told the audience that he had been insulted by two of the fans amongst a group who had been invited up on stage to join him. Then wearing his coat he left to the cries of 'more' and 'refund our money'.
My own memory of that Coventry Theatre gig was that, as short as it was, Chuck Berry was a real treat. He ripped through 'Sweet Little Sixteen', 'Go Johnny Go' and 'Memphis Tennessee' along with many other hits. Despite comments by folk who had seen him regularly over ten years or so, saying that he was getting worse, Chuck Berry came across the supreme professional.
One news outlet commented on the gig as follows: 'Given a really hot band, Berry would surely be unbeatable. As it was he led a rousing version of Ding-a-Ling and played guitar like only he can. Probably because of the poor back up band, Chuck got increasingly better on his old red Gibson. His style is steeped in old chorded blues and has probably been copied by every major guitarist at some time or another. Fittingly he finished with a free for all on stage, where Teds in full drapes, fluorescent day glow socks and beetle crushers, jived around him. Vintage stuff!'.
Chuck Berry's music is many things but is literally out of this world. In 1977, a recording of Chuck Berry's 1958 hit 'Johnny B. Goode' was included on a golden disc sent to space with each of the Voyager missions. Astronomer Carl Sagan oversaw the collection, which included greetings in 55 languages, the sound of a mother kissing a child and Stravinsky's 'Rite of Spring'. The missions still continue today. Both Voyagers long left our own solar system and are currently in deep space. If contact with other beings is made I'm sure the first message from them will be 'send more Chuck Berry'.
We all know that Rock 'n' Roll had its beginnings in America. But its impact in the UK was equally as profound. So much so that BBC radio would not initially play rock n roll. Instead you had to go searching around stations like Radio Luxembourg to hear it.
Artists such as Chuck Berry, Ray Charles, Bill Haley, Elvis Presley, Little Richard, Jerry Lee Lewis, Gene Vincent, Eddie Cochran and many others all came to prominence during this period and had a tremendous influence over here in the UK.
So much so that this influence inspired home grown acts such as The Shadows, Tommy Steele, Lonnie Donegan, Billy Fury and Cliff Richard and a whole host of others who produced their own versions of this new music.
It all began in the UK, I guess, with the Bill Haley and the Comets single 'Shake Rattle and Roll' which hit the top 10 during January 1955. The follow up, ' Rock Around the Clock', failed to impress initially but after it was featured on the Blackboard Jungle film on release that all changed as the song hit No1 during December 1955.
Elvis Presley, who had been releasing records in America since 1954, first came to prominence in the UK with 'Heartbreak Hotel' released during Jan/Feb 1956 on the previously ‘respectable’ HMV record label.
As for Coventry, the earliest reference that I can find for any rock n roll references, dates back to mid to late 1956. The cutting I found advertised the film ‘Rock Around the Clock’ that was being shown at the now demolished Plaza cinema in Spon End. And this featured the music of Bill Haley and the Comets.
Around the same time a double bill of James Dean films was being shown at The Empire in Hertford Street. These events may well have possibly given rise to the birth of the teenager as we know them today.
It is also worth noting that at Coventry Theatre a yearly variety show, also known as the birthday show, tipped it's hat toward rock 'n' roll in October 1956. The opening number of the show, which normally had a topical theme, involved a group of youngsters dancing to ‘Rock Around the Clock’. Topping the bill on that particular birthday show was Jimmy Jewel and Tommy Cooper.
Next up came the film ‘Shake Rattle and Roll’. This first appeared in Coventry cinema’s during January 1957. Ironically the storyline for this film is around the banning of rock 'n' roll. January 1957 also saw the UK release of the follow up film to ‘Shake Rattle and Roll’. And this was titled ‘Don’t Knock the Rock’. Again it featured the music of Bill Haley.
These films led to teenage commotion in the cinemas up and down the country. A prediction was that the forthcoming visit to the UK by Bill Haley and the Comets could provoke even more rock 'n' roll related trouble.
Bill Haley and the Comets were actually formed during the early 1950s as a country band. As time passed and influences grew they developed the rock 'n' roll sound. And Bill Haley would tour the UK during February 1957. And that tour would take in Coventry with 2 shows sold out shows at the Gaumont in Jordan Well later known as the Odeon. And judging by the thousands who were outside the Gaumont at the time of the concerts, could have sold out many times over.
Such was the anticipation around Bill Haley’s visit that a week before the concerts at the Gaumont a band called the Sid Phillips Orchestra had played at Coventry Theatre. Trumpeter Kenny Ball, who was at that time a member of the band before finding fame with his own band, broke into a rendition of 'Rock Around The Clock' to frenzied applause from the audience. This kind of thing was, by all accounts, unheard of at concerts of this nature.
A year after the Bill Haley visit media reports suggested that rock 'n' roll was on it's way out. However I did find a report in a Coventry newspaper that very much disputed this claim
1956 had also the year that coffee bars began to spring up in abundance. Initially, they had opened in London some years earlier, but this new phenomena was also spreading nationally to city’s such as Coventry.
Coffee Bars were mainly independent which gave them that individual and unique touch. They were furnished with the cheapest Formica or plastic products available. And these coffee bars began to give the teenagers of that time, who had grown out of youth clubs, an outlet and a meeting place. They had exotic names like The Sorrento, El Cabarna and La Tropicale.
Some of these coffee bars like The Milano on Radford road, The Domino on Gosford Street and The Drumbeat on Holbrook Lane were also doubling up as music venues playing a mix of recorded music on the juke box and live music in the coffee bar itself.
And it was at the Drumbeat Club on Lockhurst Lane railway bridge that one of the earliest rock n roll bands formed in Coventry. They were called The Zodiacs and they first came together during 1959. They were formed by drummer Nigel Lomas and singer Maurice Redhead. The pair had first met at the Drumbeat in 1958.
The Drumbeat was actually a cellar club beneath the coffee bar, Nigel used to get up and sing there and have an occasional go on the drums. Also in the Zodiacs in those early days were Terry Wyatt and Graham Peace. Other people Nigel remembers from that time, and who were associated with the Zodiacs, were singer Mick Van de Stay and guitarist Jim Smith.
1959 also saw the formation of another Coventry rock n roll group. Called The Vampires they were fronted by none other than the legendary Vince Martin who later moved to Friars Promotions in Whitefriars Street and formed his own VM rock bands company from Earlsdon.
NME singles chart January 1955 - Bill Haley charts with Shake Rattle and Roll and a brief first appearance of Rock around the Clock.
NME commentary on Bill Haley January 1955
NME Chart November 1955 as Rock Around the Clock is featured in the film Blackboard Jungle and hits the top of the chart.
The easing of lockdown restrictions has seen the very welcome return of live music to the city. And gigs have returned to Coventry incredibly rapidly and with quite a bang. After such a long time away it has felt really good to be able to get out and about once more.
The last time I was in the building, now known as The Empire in Hertford Street, was when it was the ABC theatre back in the late 1970s. Amongst other films I remember seeing the Led Zeppelin documentary 'The Song Remains the Same' and 'Saturday Night Fever' in there. To gain entrance you climbed an outdoor staircase up to where the balcony is now.
Today however, you gain entry via an escalator. Entering the venue you are faced with two stages. Which is quite impressive because, if you have several bands on, it makes changeover between bands a lot slicker and quicker.
Then we have the pop up Assembly Gardens venue. A multi purpose area for socialising and entertainment. The Gardens also boasts a couple of stages. One undercover within a tent and another outdoors.
The magnificent settings of Coventry Cathedral, within both the new and the old ruins, have played host to live music and chat. Being mindful of those who feel that entertainment should not be within these settings it is still a spectacular place to hold such events.
The bands themselves seem to be on fire as well. Rather than sometimes feel as though they are simply going through the motions they do appear to be genuinely enjoying the new found freedom of being able to perform again. It is like they have been straining at the leash and have finally been set free.
Each of the bands I have seen play have come across of really enjoying the experience again. For the musicians involved, at times you could almost feel their joy at being able to do what they love once again.
As appreciative it was for the venues to organise seated and socially distanced gigs in between lock-downs. Special mention must go to places like The Arches Club in Spon End, The Gatehouse Tavern and The Queens Hall in Nuneaton.
Each of those places, along with a few others, managed to keep live music going when they were allowed to between restrictions. Overcoming every obstacle thrown at them. It will be a long time before, those that attended any of the gigs, forget the distantly spaced tables and temperature guns. That said, and despite their valiant efforts in keeping things going, I really hope that all of that is finally behind us.
Finally, CV folk club at the Albany Theatre and both Nuneaton and Bedworth folk clubs are now up and running again after the long lay off.
The last time I saw Callum Pickard play live was at the Old Grammer School. It was during 2018 and he was fronting his band The Third Look. It was a really excellent gig and if a band was ever on its way, it was them. I really thought they were on the cusp of something special. They were tight, they were inventive and they just seemed to bring something different.
Then to my complete and utter surprise The Third Look split. Despite the reasons being very understandable it was still a shock.
Since then Callum has been working on a project he has called Tarragon. And Callum has put every ounce of his being into this venture. From working all the hours he can get to fund it, to the writing of the songs and playing all the instruments on it.
'I’ve been working on new music for the past four years, funded myself through being a Deliveroo cyclist in my home town. I’ve ended up working with some of my heroes in the process and I’m so proud and excited for people to hear it!' mentioned Callum on a social media post.
March 25 2021 saw the release of his first single, 'Follow the Sign'. It has since been added to the 'Fresh Finds' indie playlist.
About the single Callum mentioned: 'I’m over the moon to share my debut single, 'Follow the Sign'.
Thanks a million to all the people that were a part of this and all those that were involved. Thanks so much to my hero and now friend, John Helliwell from the band Supertramp who laid down some gorgeous Saxophones for the track'.
He continued 'It’s an incredibly sensitive song about my sister and her physical illness and how she’s overcome the obstacles in her life since her diagnosis and shown so much determination to never give up, she’s an absolute trooper and inspiration to me and many others. I can’t wait to see what the future holds with this project. Take a listen and follow your heart to the finish line'.
A second Tarragon single 'Our Meaning', a song that Callum began writing in his teens, was released 29 July. An album has also been completed and is now awaiting release.
On the live front Callum, along with Loz Pettite, have been busy preparing for them. In fact Tarragon made an impressive debut recently at the Jephson Gardens in Leamington Spa. Tunes aired included: Barkey, Follow the Sign, Our Meaning, Autumnal Natalia, Catching Full On (solo), Sudden Whispers, Time Lies, Hail Hollow (solo), Hoard the Pieces (solo).
Callum and Loz complimented each other wonderfully. On a rain threatened afternoon, which thankfully held off, it was a satisfying kind of gig where you are convinced that the band is going to take off and you are getting the privilege of seeing them at close quarters. A decent crowd had gathered who appeared to really appreciate what was happening on stage. Further gigs for Tarragon are booked for Birmingham, Glasgow, Leeds and Manchester. Check out their facebook page for details and news.
It was during 1980 when Spandau Ballet were introduced onto TV for the first time and brought to the attention of a greater public. They were introduced, by a young Danny Baker, onto the current affairs series Twentieth Century Box . Unbeknown to them at the time they were ushering in a whole new era.
Up until that TV appearance Spandau Ballet had appeared live only 5 times – and even those were to an invited audience - before they had this break at Scala Cinema in London.
During interviews for the programme drummer John Keeble felt that there was no band around that they could relate too. Tony Hadley said that the band were not about creating a standard gig but more of a show. He continued that 'the music business was a scruffy affair and Spandau are not just another band, we are more fashion conscious, and more about elegance and romance'. Gary Kemp 'We want the band to be, at all times, the most contemporary statement that we can make about modern London'.
The band quickly built up a steady following. A following of correctly dressed audience. Spandau Ballet, the name spotted on a toilet wall in Berlin, were hotly pursued by record companies who saw the potential.
Spandau Ballet's second album 'Diamond' was a turning point for the band. It was split into two distinct parts. The first part opened up with 'Chant No.1' and continued in the funky dance style that the band were, up until then, more familiar for. The next part of the album felt more experimental. It was more soulful and was certainly intended to be listened to rather than danced to.
This then led to the release of an album which, to this day, is subtlety drip fed to us by way of TV advertising and other forms of media. And that album was 'True'. Recorded during Autumn 1982 in the Bahamas, 'True' yielded a succession of hit singles. It also appeared to combine, and enhance, all the elements from the previous album.
Spring 1983 saw Spandau Ballet fix up an extensive tour of UK theatres. One date being at Coventry Theatre where they performed to a sold out audience. After their softly softly approach to playing live, Spandau Ballet had now successfully developed their stage personas to match their technical skills. Now, they play as good as they looked and it was oh so smooth, relaxed and glowing.
This is how the gig was reported: 'Spandau Ballet cruised through most of their excellent 'True' repertoire, Martin Kemp and Tony Hadley receiving most of the attention, the latter displaying the full glory of his newly expanded vocal vocabulary and really performing for the first time. It was smiles and sways all the way through.
Particularly neat were the newly recruited backing singers Sam Brown and Sonia Jones, soulfully highlighting the Kemp melodies, plus the irrepressible bongoing of Steve Norman. No wonder they looked so happy – they've come through a rough patch with flying colours, a hardcore of fans and a diamond performance'.
The next tour saw Spandau Ballet performing at venues like the NEC at Birmingham, where they played for several nights, before setting off for more prestigious venues abroad. Still today, the individuals who made up the band, are as popular as they ever were.
With 2020 and now 2021 being a bit of a rollercoaster amid the ongoing coronavirus pandemic and we still continue to navigate the country's situation. It has not been ideal, it has been unsettling for many. But however you have approached it, for many it has been a productive time as they have strived to keep boredom at bay.
I personally have completed several of those projects I had been putting off. And with more time on my hands from being unable to go out and hear live music I have listened to a substantial amount of music I had not heard for years. And that has re-introduced me to several bands I had long forgotten about.
And one of those bands was the Kidda Band or The Incredible Kidda Band as they were also known. The re-introduction with them came after a listening to a couple of box sets titled 'Power Pop' and '1978', both released by Cherry Red Records, and a chance conversation with someone who had reminded me about them.
The Kidda Band were from the Nuneaton / Tamworth area and I remember seeing them play a couple of times, around 1978, at the long gone Ryton Bridge Hotel. They also played a lot around Nuneaton and clubs like Mr Georges in Coventry City centre. They were a very exciting band but never seemed to get anywhere apart from one time when they were advertising a 'fans' coach down to London where they were playing a prestigious gig.
New Wave was a term I began to hear in 1977 to describe a clutch of new artists whose music shared much of the energy of punk, but boasted a more sophisticated level of musicianship and a heavier reliance on traditional pop melodies. And, despite the Kidda Band being around slightly earlier, for me, that was where they sat. in fact, Nick Lowe used the phrase 'pure pop for now people' to describe his approach to the music at that time.
That chance conversation led to a quick search of the internet and the purchase of two CD's by the band. 'Too Much, Too Little, Too Late' a double CD release and 'Made in England'. It is worth noting that, as far as I can make out, none of the original singles the band released are on these discs. They are made up of demo's of those singles and other out takes. That said they are still incredibly good releases full of the energy that the band displayed on stage.
I always remember a review of their debut single, Everybody Knows on the Psycho label, that appeared in one of the music magazines. It read 'Their optimism is unfounded, this single is horrible. Record producer Tony Visconti, famous for working with David Bowie, T-Rex as well as Thin Lizzy had different ideas. He wrote: 'Great !!. A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered.'
..............
Line up
The Incredible Kidda Band (aka The Kidda Band) were a British power pop band formed in Nuneaton on 10 February 1976 -
Alan Hammonds (guitar/) vocals), Graham “Kidder” Hammonds (percussion/ backing vocals), John Rollason (guitar/ backing vocals), Les Rollason (bass), Graham “Dick” Millington (drums).
Later members of the band were Mark “Tarky” Bates (drums/ backing vocals), Keith Taylor (bass), Mick Rollason (guitar/ backing vocals) and Paul Gardener (drums).
"Everybody Knows/No Nerve" (1978) - Psycho P2608 "Fighting My Way Back/Asleep at the Wheel" (1979) - Carrere CAR119 "Get off the telephone/Big boys don’t cry" (1980) - Carrere CAR138 "If looks could kill/Don’t she look F-A-B" (1981) - Blue Chip/Cygnet BC102 "Hold your head up high/I wouldn't treat a dog" (1983) - Vinyl Cuts Records VC002 "Everybody Knows/No Nerve" (2002) – 1977 Records S045 "Fighting My Way Back/Asleep at the Wheel" (2002) - 1977 Records S046 "Get off the telephone/Big boys don’t cry" (2002) - 1977 Records S047 "If looks could kill/Don’t she look F-A-B" (2002) - 1977 Records S048 "Too Much Too Little Too Late" (2000) Detour Records DRCD 023 "Too Much Too Little Too Late" (Reissue) (2007) Detour Records DRCD 023 2nd album (planned 2010) Live album (planned 2010 or 2011)
From Wiki -The Incredible Kidda Band signed to Psycho Records on 19 January 1978 and their first powerpop single was released on 24 June that year. "Everybody Knows" backed with "No Nerve" were both written by Horden born Alan Hammonds and were recorded in London at Utopia Studios, and engineered by "Andy Brook Jackson".
The single was reviewed in Melody Maker on 15 July 1978 by the producer Tony Visconti, famous for working with David Bowie, Marc Bolan and T-Rex as well as Thin Lizzy, and he wrote "Great!! A good record at last. Good solid beat and the group actually sings in tune. This could chart (as they say in the biz). They sound young but aren't quite punk or new wave. I commend them for keeping their sound strong, simple and uncluttered." Other positive reviews appeared in Sounds on 5 August 1978 (By Geoff Barton) and in Record Mirror on 9 August 1978 (By Rosalind Russell).
Despite the favourable reviews, the single failed to sell in large numbers upon its release, however it was destined to become a collector’s item over 20 years later. On 31 August 1978, the band was signed to Carrere Records by "Peter Hinton", later to become the Producer of Wheels of Steel released in 1980 by heavy metal label mates Saxon. At the same time as the move of record company, the name was shortened to the Kidda Band.
The Kidda Band’s first live performance in London took place at The Rock Garden in Covent Garden on 1 September 1978 and five coaches of fans travelled from Nuneaton to support them.
The band was already a very well regarded live act across the UK and in late 1978 they were signed to Birmingham based OAK music booking agency run by John Mostyn. "John Mostyn" later became the manager of many successful UK acts, such as The Beat, Fine Young Cannibals and Ocean Colour Scene.
The band were always a favourite choice at Radio 1 live events, and they shared the stage with Peter Powell, Paul Gambaccini and David "Kid" Jensen in their career. The debut single release for Carrere was released on 29 June 1979 and was a double A-sided single featuring "Fighting my way back" and "Saturday Night Fever". The latter was written as a direct attack on the motion picture Saturday Night Fever which starred John Travolta and featured the music of the Bee Gees and which heavily influenced the UK music charts and live music venues at that time.
Both songs were recorded at Radio Luxembourg Studios on the 14 and 15 December 1978 and both songs were once again written by "Alan Hammonds". The sessions were engineered by Peter Hughes and co-produced by "Graham “Kidder” Hammonds". The same team were to remix both tracks at the same studio on 1st May 1979. During 1979, the Kidda Band were to support a number of established and emerging bands such as The Troggs, The Pirates, the Radio Stars and The Beat as their reputation for powerful live performances continued to grow.
On 11th September 1979, the band signed to talent management company "March Music/Fast Western Productions", founded and run by former Ten Years After drummer Ric Lee, prior to the release of their second Carrere single.
Muriel Young invited the band to appear on Get it together to promote the debut single. Muriel, the shows Producer, was a strong supporter of the band and she was to use the band again later that same series to promote their second single. The band entered Granada TV Recording studios on 13 November to record the soundtrack before filming both sides of the new single the following day.
The bands TV debut was broadcast on Granada Television 4 December 1979. They were to appear regularly on the show thereafter until their demise.
The bands third single was recorded on 14 January 1980 at Chas Chandler’s Portland Recording Studios, previously a member of The Animals, and manager of Jimi Hendrix, Slade and Nick Drake, and home to Barn Records. The session was engineered by Andy Miller and produced by "Mark Robbins".
At the time, Portland Recording Studios was also home to George "Porky" Peckham’s cutting rooms, whose master discs, and the records produced from them, were known as "Porky Prime Cuts". George was previously cutting engineer at Apple Records for The Beatles. Both sides of the single were subsequently cut by George, and the run-out groove on both sides of the single has his classic motto, "A Porky Prime Cut", etched into it. Once again, on the 29th January 1980, the band entered Granada Television’s recording studio to re-record the single ready for their second Get it together appearance. The show itself was filmed on 30 January and broadcast on 19 February 1980. On the 31st January 1980, the band were offered the support slot on The Skids 1980 Tour and the prospect of wider recognition were heightened. The 4th February 1980 saw the release of the bands third single, and their second on Carrere Records, featuring "Get off the telephone" and backed with "Big boys don’t cry". Once again both songs were written by "Alan Hammonds".
On the 13th February the support slot on tour with "The Skids" was cancelled as Carrere Records decided not to support it and relations with the label suffered as a result. On 3 March 1980, "Mark “Tarky” Bates" replaced "Paul Gardener" on drums. The band continued to tour the UK extensively and on 17 May 1980 a live review appeared in the first volume/second edition of the independent rock weekly New Music News in which writer Paul Bearer extolled the virtues of their live performance and song writing prowess. "One day some musicologist is going to light up "Alan Hammonds'" songbook and it'll be rather like the discovery of the Dead Sea Scrolls because nestling in those pages are some of the best pop songs to have been written over the past few years. Direct, melodic, a rough hewn commerciality wrapped around incisive and sharp lyrics with more than a touch of cheek thrown in for good measure: those are the qualities of the compositions. The Kidda Band play with punch and panache, putting more media- mirrored bands such as The Jags and the appalling The Knack, well and truly in the shade." On the 9th September 1980, they made their debut at London’s The Venue alongside Jess Roden.
On 1 October 1980, the Kidda Band left Carrere Records, with the alleged lack of record label support and investment being cited as the chief reason. Despite label mates Saxon gaining support slots on tour with more established bands such as Motorhead, no such tours were secured for the power pop band and their relationship with the record label rapidly deteriorated. The lack of plans for a debut album was also alleged to be a major contributory factor.
Just two weeks later, on 15 October 1980, the band were signed by Blue Chip/Cygnet Records, the new label run by record producer Rodger Bain, who had previously produced the single Paranoid for Black Sabbath which entered the UK Singles Chart in July 1970 at Number 2.
1981 also saw the release of the bands fourth single, "If looks could kill" and "Don’t she look F-A-B" produced by "Spencer Shiroda". The single was cut at Strawberry Mastering which was owned by members of 10cc at that time. Despite healthy airplay, the sales of the single were once again disappointing poor and the band left Blue Chip Records on 28 April 1981.
Later that year the band played Avery Hill College, which was incorporated into the University of Greenwich in 1985, and the show was recorded for a possible live album release, but to date this recording has never surfaced. In September 1982 the band entered Alaska Studios with engineer "Pat Collier", previously of The Vibrators to record several new tracks including "I want You". The band continued to perform live and made regular studio visits, including to Denmark Street Studios on 22 January 1984 to record several live favourites such as "Hold my head up high".
On the 10th November 1984 the band performed live at University of Essex in support of Orange Juice featuring Edwyn Collins. Having played regularly at The Bridgehouse in Canning Town, the band hooked up with the owner/promoter "Terry Murphy’s" own Vinyl Cuts Record label in order to release their fifth single, "Hold your head up high" and "I wouldn’t treat a dog (Like you treat me) ", in June 1985. Murphy was also manager of Wasted Youth and father to boxer turned TV actor Glen Murphy.
The single was recorded at Village Recorders on 19 March 1985 with the session being produced by their own "Graham “Kidder” Hammonds" and engineered by "Gary Edwards". Both sides of the single were once again cut by George "Porky" Peckham and the run-out groove on both sides of the single have his classic motto, "A Porky Prime Cut", etched into them.
The band experienced several name changes, beginning with the shortening of the name to the Kidda Band before changing name completely to "The Kicks" on 7 November 1979 and finally to "We’re Only Human" on 1 July 1981. On 23 September 1985, the contract with March Music expired with neither Ric Lee nor the band taking up the option to continue working together. In 1987 guitarist John Rollason took time out from the band to record the Dirty Strangers album with the Dirty Strangers and he was joined in the studio by Paul Fox, formerly of The Ruts, Keith Richards and Ronnie Wood. The album was produced by Prince Stanislas "Stash" Kosslowski de Rola.
Frankie Goes to Hollywood – Coventry, and our small part in their success.
by Pete Clemons
For those who can remember back almost 40 years, to 1984, you may well remember that the charts were dominated by a band called Frankie Goes to Hollywood. First released during 1983, their debut single 'Relax' was banned by the BBC. By January 1984 the single made its way back into the charts and, as such, promptly went to number 1.
Follow ups 'Two Tribes' and 'Power of Love' did similar. The bands album 'Welcome to the Pleasuredome' completed a hugely successful year when it also topped the charts. Soon after however, and as quickly as it all began, the Frankie's went into free-fall. But yes, it has to be said that the Frankie's were untouchable during 1984. However, it hadn't been instant success for them.
The end of the 1970s, and into the1980s, saw Liverpool awash with bands. One of those striving artistically at that time, Hambi Haralambous, mentioned during an interview: 'The abiding memory of the late 70s and early 80s as a performer was that anything was possible. The spirit of the Punk revolution spread quickly throughout Liverpool, and was personified by the opening of Eric’s, a club that presented International and National acts and allowed local artists a platform to launch themselves from. The competition between the bands was fierce and the next stage after appearing at Eric’s was to try and get a recording contract'.
During the spring of 1982 the recently formed Frankie's who, at that time consisted of bass player Mark O'Toole his brother Ged on guitar, Peter 'Ped' Gill on drums, vocalist Holly Johnson and their latest member, dancer Paul Rutherford, on backing vocals. Earlier versions of the band had existed but hadn't lasted long.
18 months prior to the beginning of their incredibly successful period the Frankie's were just another struggling band from Liverpool. And Coventry, very briefly, became one of the cities where the Frankie's began to put together their stagecraft, musical sense and communication.
Paul Rutherford had once been associated with another Liverpool band Hambi and the Dance led by Hambi Haralambous. And Paul's association with them possibly led to the reason why the Frankie Goes to Hollywood secured their support slot with Hambi and the Dance during a UK tour. The Hambi's shot to fame with their debut album 'Heartache', which they were promoting, and the singles 'Too Late to Fly the Flag' and 'Living in a Heartache'.
The promotional tour called into the General Wolfe on the Foleshill Road. In truth the Frankie's only had three completed songs at that time. 'Loves Got a Gun', 'Two Tribes' and 'Relax'. But they were working up many others and versions of those were given an airing.
After their Coventry appearance and during October 1982 the Frankie's recorded a John Peel session that comprised of 'Krisco Kisses', 'Two Tribes', 'Disneyland' and 'The World is my Oyster'. But the band were still struggling as, despite their efforts, they appeared to be getting nowhere. By December 1982 Ged O'Toole left the band replaced by Brian Nash.
The bands luck began to change during 1983 when, coincidentally, ZTT record label was being formed by Trevor Horn and others. Around the time that ZTT records was being conceived, and after seeing the Frankie's perform on TV programme, The Tube, Frankie Goes to Hollywood became the labels first major signing. After a mix of extensive marketing and exposure the band gave ZTT almost instant success.
Hambi and the Dance, who themselves had an illustrious history, were a short lived band but had major success with various band members going on to greater things - sadly front man Hambi Haralambous recently passed away.
