tag:blogger.com,1999:blog-54922905401833285082024-03-12T15:58:18.464-07:00Coventry Discos, Venues, Music Shops, AgenciesCoventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.comBlogger40125tag:blogger.com,1999:blog-5492290540183328508.post-76233009181241881782020-02-10T08:52:00.002-08:002023-04-12T10:31:30.594-07:00Colin Richardson interview - Colosseummanager who booked bands for Lanchester Poly Arts fests.<br />
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRxaokk29uCYznmJcTMn7G-eKbHe57EB-yfANAo3rWacMEcaORjfk8mJMIOA1_cKihZ7Qbjsdg4yCH08rQB2YU7SsPbvqFtqhbJ4OXRVBK5TeR2-k6_7fzuPSbkkPNIrwFiNfUo3gqkl4IvOFaJ0WRGxvdHfnhlalukxTwuurrsqrVOPkT_ULhnW0k/s320/6a0133f436b043970b0133f436d27f970b-320pi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="242" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRxaokk29uCYznmJcTMn7G-eKbHe57EB-yfANAo3rWacMEcaORjfk8mJMIOA1_cKihZ7Qbjsdg4yCH08rQB2YU7SsPbvqFtqhbJ4OXRVBK5TeR2-k6_7fzuPSbkkPNIrwFiNfUo3gqkl4IvOFaJ0WRGxvdHfnhlalukxTwuurrsqrVOPkT_ULhnW0k/s1600/6a0133f436b043970b0133f436d27f970b-320pi.jpg" width="242" /></a></div><br />COLIN RICHARDSON</span></b></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;">Interviewed by Trev Teasdel</span></b></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: medium;">Colin Richardson - Jazz bassist - Night Manager of The Marquee Club, Manager of Colosseum and The New Jazz Orchestra - BRON Music agent, Booking Agent for Coventry's Lanchester Poly Arts Festivals, International Manager of Charisma Records and Music Journalist and more!</span></b></div>
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<span face=""arial" , "helvetica" , sans-serif"><br /><span style="font-family: arial;"><b>What’s in a Name?</b><br /><br />We all know the household names, the TV and recording stars, but the people who make all these things possible, who slog long hours behind the scenes to bring bands and artists to the fore often go unacknowledged. And yet they have some great stories, fascinating insights. Colin Richardson is one of ‘those’! He’s been a Jazz musician, a band leader, a venue organiser who worked with and encouraged the early Manfred Mann. He was night manager for the Marquee club, Rod Stewart, Long John Baldry, and Elton John forged their craft on stage on his watch. He was a booking agent for the BRON Music Agency, bringing some of the best future legends to Coventry Lanchester Polytechnic Arts Festival in the early 70’s, scooped the first ever live performance of Monty Python’s Flying Circus for Coventry Belgrade Theatre, managed the colossal Jon Hiseman’s Colosseum and The New Jazz Orchestra, has stories of Chris Farlowe, John Mayall, Pete Brown, Peter Green, Graham Bond, Jack Bruce and more. Edited Jon Hiseman’s biography Playing the Band. Was the international manager for Charisma Records, became a music journalist, interviewed the likes of Paul McCartney, Harry Nilsson, Genesis and more.<br /><br />What follows is an extensive interview with Colin Richardson, which I did via a series of emails and phone calls in 2007 for Hobo—Coventry’s Music and Arts magazine and Website.<br /><br />Enjoy -</span></span><br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-66587199670417399262020-02-10T07:06:00.001-08:002023-04-12T10:32:58.329-07:00Dave Marshall - My Coventry DJ Story<div style="text-align: center;">
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial; font-size: large;"><b>by David Marshall</b></span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">My first attempt at being a D.J. was on 8/3/1969 at the church hall on Holyhead Road I was then aged 18. It was as support for a band called <i>Time Tunnel</i> as I knew Terry Price. </span><div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">I did not have any P:A or decks or even records ! I used a Ferguson tape recorder with the songs recorded on it and played it through a microphone. I threw most my flyers and tickets etc away probably after I got married, but did keep a few items,which you'll find lower down on here. </span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;"><b>Time Tunnel</b> were Martin Barter, Terry Price, Billy Campbell and Errol Mcgrath who went on to change the name to <b>Coconut Mat</b>. Around April 1969 I saw an advert in the Coventry Evening Telegraph advertising a complete D.J. set up P:A: and decks. It was 80 pounds which was quite a sum as I was only an apprentice at Rolls Royce who started in 1967 for 3 pounds 17 shillings and 6 pence for 40 hours so do not remember what I got in 1969, but not a lot more.</span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">Well I went to view the equipment at the Abbey Hotel in Kenilworth. I remember I went with a friend and we bought it between us 40 quid each. It consisted of twin decks make forgotten, twin speakers also forgotten, a mic also forgotten and mic stand but what I remember and wish I still had was a VOX AC 30 I think was the model that many groups used. </span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">What surprised me when we bought it was it came with a residency every Thursday night ! We started on Thursday 17 March I have it in an old diary. My friend did not like being a DJ, so I bought him out for the 40 quid he put in. Turned out to be a good idea in the long run. The first gig I did after 17 March was April 25 for a golden wedding. Now things get a little hazy as I only have my memory and a few more clippings in the diary. The next day 26 April I was at the Virgin and Castle Kenilworth 8-12 midnight. On 9 May was at Kenilworth youth club. On 8 September had my first gig backing a band at Jaguar Apprentice Association, the band were <b>Indian Summer</b>.</span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">On the 12th, four days later, I ran my first disco at Wyken Parish Hall. I think I rented it from the scouts I was in at the time. My best mates father, custom made some Garrard SP 25 decks for me, also a sound to light console that consisted of household light bulbs of different colors that worked on frequencies, he was very clever and repaired all electrical things like TV s. Later he built me a strobe. I then bought a Marshall 100 watt amp, Carlsboro speakers a Shure Unidyne mic. and sold all the old gear (regret that AC30 to this day when I see what they go for). I now had a good set up. </span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">We could only sell pop and crisps at Wyken Parish Hall. I booked <b>Wandering John</b> first on 10 January 1970 for 12 pounds 14 shillings.The place was packed so I booked them again on 13 June for a record 15 pounds as you know the going rate was a fiver, but I made money on tickets and sales. The scouts saw how popular my discos were and wanted a piece of the action AND profits. I was doing all the work and they wanted a cut for doing nothing ? I basically told them to take a hike and stopped the discos. </span></div>
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<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">The next big break I got was I do not know when. There was a DJ competition at the Wally ( Walsgrave as you well know). About 8 of us hopefuls entered. We had to each play 3 records and 1 would be eliminated every week by the judges. After 8 weeks I managed to get in the final. It was against a man called Boris. I thought I had no chance he was a good looking man to me. We each played our records and I remember 1 that went down very well with the crowd dancing. It was '<i>Breaking Down the Walls of Heartache</i>' by Johnny Johnson and the </span><span face="Arial, Helvetica, sans-serif">Bandwagon if I remember correctly but that was the title. </span></span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">The judges that night were <b>Peppermint Kreem </b>and I cannot remember if Dr. Vince was also. To my amazement I was voted the winner. The prize was a legally binding contract with Friars Promotions. Things really took off then. I had various regular weekly residencies Wally (Walsgrave), Mercers Arms, Silver Sword, etc - all Friars Promotions venues. The only other rival company was CBR ( Cliff and Brian Ridge ).</span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;"> I also had my own regular spots away from Friars like the Old Hall Tamworth road supporting Coconut Mat, Sportsman's Arms, Binley club. Allesley Hotel and Chesford Grange where I met and worked with 208 DJ Tony Prince. He told me what record he wanted, I would cue it in then he would do his spiel . Next I remember passing an audition at the Rock House. I worked there Saturday afternoons and Monday night Vive La Revolve with <b>Pete Waterman</b> who taught me a lot. It was great listening to groups like Equals, Jimmy James and the Vagabonds,Geno Washington and the Ram Jam Band. I also met Edwin Starr and have a picture with him somewhere in a box. Arthur Conley. Along with pictures of David Frost, Jimmy Tarbuck, Danny Blanchflower, Bernard Manning with his roller BM 1. Last time I saw Pete Waterman was coming out of Coombe Abbey hotel in his Bentley years ago. </span></div>
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<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">Next working at the TIC TOC: (Theatre in Coventry Theatre of Coventry) I met John Gaunt and Gerry or Jerry forgot his name and they gave me a job to play 60s, 70s and 80s music. I used to go round the pubs and clubs selling Kershaws seafood and I worked the TIC TOC: They therefore called me D:J: COCKLE </span><img src="https://mail.google.com/mail/e/1f604" /><span face="Arial, Helvetica, sans-serif"> It was great being able to see Martha Reeves and The Vandellas and Kirsty McColl free. In fact I have seen over 40 of the best bands in the world all thanks to my love of music. My last DJ spot in England was the DJ revival night at Mercia sporting club over 20 years ago. I did some work in Germany where I now live. Worked in Tenerife as DJ and compere where I lived for 11 years. Majorca and on a cruise liner as a guest . I used to drink with a good friend of mine in the Foresters and Whitefriars Rod Felton RIP:</span></span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">Coconut Mat - formally known as Time Tunnel</span></div>
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<span face="Arial, Helvetica, sans-serif" style="font-family: arial;">Wandering John</span></div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com2tag:blogger.com,1999:blog-5492290540183328508.post-19321185392625743662017-11-17T10:30:00.002-08:002017-12-02T10:41:53.244-08:00Dirty Stops Outs - Coventry in the 1970's - Ruth Cherrington<span style="font-family: Arial, Helvetica, sans-serif;">Brand new book packed full of pics and memories of venues and entertainment in the 1970's in Coventry. Many taken from this and other Hobo Magazine sites. Well worth a read.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaxZZA-D4l161HOW4JPxP-IYeomQcVzDr0JHQXUXPecfxk8daq7R_kcwZdn7uF5od4YgLbcryKDg8aVs5KgSUlK-yO9VmOIq72-3qwXAoTdZnQ9X0rGc32IKkp4i9nleYZdWWQHM__0s/s1600/51tbwSB77aL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="353" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaxZZA-D4l161HOW4JPxP-IYeomQcVzDr0JHQXUXPecfxk8daq7R_kcwZdn7uF5od4YgLbcryKDg8aVs5KgSUlK-yO9VmOIq72-3qwXAoTdZnQ9X0rGc32IKkp4i9nleYZdWWQHM__0s/s400/51tbwSB77aL.jpg" width="281" /></span></a></div>
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<span style="font-size: large;">Available from Amazon UK <a href="https://www.amazon.co.uk/Dirty-Stop-Guide-1970s-Coventry/dp/1908431415/ref=sr_1_1?s=books&ie=UTF8&qid=1510942311&sr=1-1"><b>Here</b></a></span><br />
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<span style="font-size: large;">Also read a review by Pete Clemons <a href="https://coventrygigs.blogspot.co.uk/2017/11/dirty-stops-outs-coventry-musicvenues.html"><b>here</b></a></span></div>
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The book on display at HMV in Coventry and also available from Waterstones.</div>
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Ruth Cherrington - the author - holding the new book at the Coventry Music Museum.</div>
Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-65415008609182881682015-11-04T13:35:00.005-08:002023-04-12T10:38:50.693-07:00Pete Waterman, The Coventry Days. R & B band, Top Soul DJ, Soul Hole, Radio One, Philly Sound.<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jlLygr6Cz3C-_LXgpm406c6YsR0Pmo5lN_3w23MSd786_er7P5wj9hIoDG3INxLC-bLuIlEgfNpltwfkcF71B5KEWGZm-HqEEt1sPze3gFAj664NxJhk0E8syTBg8z2iA3M96cUlMfIi/s1600/Pete+Waterman+005.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jlLygr6Cz3C-_LXgpm406c6YsR0Pmo5lN_3w23MSd786_er7P5wj9hIoDG3INxLC-bLuIlEgfNpltwfkcF71B5KEWGZm-HqEEt1sPze3gFAj664NxJhk0E8syTBg8z2iA3M96cUlMfIi/s200/Pete+Waterman+005.jpg" width="185" /></a></h3>
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<b><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete Waterman's Early R & B Bands</span></b></h2>
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<b><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete Waterman's own and fuller story can be found in his autobiography <i>I Wish I Was Me</i>. What follows is from my recollections and interaction with Pete in Coventry, in the 1970's before he was well known.</span></b></div>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">c 1965,<b> Pete Waterman</b> took a leap in his musical development and played in a Coventry R & B band called <b>The Pilgrims. </b>Not much is known about this early band but soon after Pete joined <b>Tomorrow's Kind.</b></span><br />
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In his book, <b style="font-style: italic;"><a href="http://www.amazon.co.uk/Wish-Was-Me-Waterman-Autobiography/dp/0753505738">I Wish I Was Me</a>, </b>Pete talks about the band -</span><br />
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<span face=""arial" , "helvetica" , sans-serif">" <i>By 1965 the whole Beatlemania phenomenon had gone barmy........for a while at least I was in a<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: medium; font-style: italic; text-align: start;"><a href="http://www.amazon.co.uk/Wish-Was-Me-Waterman-Autobiography/dp/0753505738">I Wish I Was Me</a></b></td></tr>
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band called <b>Tomorrow's Kind</b> who actually looked like they might have gone on to be famous. They didn't, of course, but we did pick up a bit of a following and we started gigging three or four nights a week while I was still holding down the day job at the GEC. That continued for a couple of years but I eventually realised that I didn't have any genuine talent. I could fake it like buggery, but I was never going to be top of the charts.<br /><br />One night in 1966 we were playing a gig and one of the other bands didn't turn up, so I dashed home, got my records and played them before the band came on. Now no one really did this at that time and the Landlord of the pub where we were playing said he really liked it. He offered me 10 bob to come back again and play records the following week. This wasn't some kind of complicated system, it was a record player with a microphone next to it going through the PA, but for 10 bob. I wasn't about to complain. So by a quirk of fate, I went from being the lead singer in a not very good band to being the only DJ in Coventry. ....I began to play records more than I played instruments, and because I got to know the right people, I started to get people asking me to play records.</i>"</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Tomorrow's Kind c 1965 with Pete Waterman - </span><br />
<span face=""arial" , "helvetica" , sans-serif">Photos supplied by Paul Hatt</span><br />
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><b>Tomorrow's Kind </b>were apparently the band R & B and <i>Talma Motown</i> and the line up was</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Pete Waterman </b>on guitar and vocals,</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b>Keith Jackson</b> on bass,</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b>Duncan Hall</b> on drums,</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b>Richard Hollis</b> on lead guitar ,</span><br />
<span face=""arial" , "helvetica" , sans-serif"><b>Paul Hatt</b> on vocals. </span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">It wasn't long before Pete Waterman became the top Soul DJ in Coventry, working with Friars Promotions, who had an arrangement with the M & B brewery to run gigs and discos in their Coventry pubs and Pete's Soul discos at Coventry's Locarno Ballroom were legendary, noting what kind of records got the punters on the dance. A huge Talma Motown, Northern Soul and black music fan, Pete began to make contacts with record pluggers develop some of the skills and knowledge of the industry that would later inform his work with SAW in the 1980's.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">I met <b>Pete Waterman</b> in 1970, working at the GEC (General Electric Company), Stoke Works, Coventry - Telecommunications dept. I knew him at first as my Shop Steward, and ironically jotted down my lyrical idea while he was in full flow at Union meetings! I was 19, with long hair and hippy boots and involved with the Coventry Arts Umbrella Club, booking the bands for the Friday night sessions. One day in June 1970, the boss was away, the supply of Telephone Exchange Racks we had to inspect, had dried up for a while and I began to write a new lyric called <i>A Lotta rain is Fallin' . </i>The rain was indeed bouncing off the<i> </i>glass roof but the song was both a symbolic personal statement and a social statement at the same time and influenced partly by <b>Bob Dylan</b>'s <i>A Hard Rain's a Gonna Fall </i>and the newly released <b>King Crimson</b> album, especially the track called <i>Epitaph</i>. My friend came over "<i>What are doing?</i>" "<i>Writing a song lyric</i>" "<i>You should have a talk to Pete Waterman</i>". I had no idea that Pete was anything more than a fellow worker and my shop steward but next thing I knew, Pete was standing over me, looking at my lyric. He took the lyric away and said he would put some music to it. I was both pleased and annoyed, as I hadn't finished the lyric at that stage. Nonetheless, the next week he came over with mono cassette player. His voice sounded like a combination of the smooth tones of Paul McCartney and rough R & B edge of Bob Dylan. He loved the line "There's a lotta rivers flowin' but the sea's learned how to fly" so much that he repeated that line in his version of the song. I finished the lyric and gave it to him. It was the beginning of an association with him lasting through the early 70's. He promised to play it at the walsgrave, where he ran a progressive Music night for Friars Promotions. Here's the lyric - </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b>A LOTTA RAIN IS FALLIN’ </b><br /><br />A lotta rain is fallin’ but the earth has moved aside.<br />There’s a lotta bullets flying but the victim’s found somewhere to hide. <br />There’s a lotta rivers flowin’ but the seas learned how to fly. <br />There’s a lotta clouds a wondering which rockets nicked the sky. <br />Cos the roads are moving fast but the cars are standing still <br />And so much is happening, yet nothin’s ever done <br />Oh we want to see the light but we’re dazzled by the sun. <br /><br />(Bridge) <br />And some people’s only sunshine <br />Is their Cornflakes in the morning time <br />And the age of 'Instant Sunshine',<br /> in packets bright of bright display,<br />I know will be dawning, in some future day. <br /><br />There’s a lotta tears a fallin’, and more are being cried. <br />There’s a lotta people trampled on as man takes another stride. <br />There’s a lotta smoke arising but the sky’s learned how to swim <br />There’s a lotta faces smiling but their hearts are feeling grim. <br />Cos a lotta tension’s forming and the bag’s about to burst <br />There’s gotta be an answer cos the world is getting worse. <br />A lotta help is needed to get that truck back on the road <br />Cos too many people are pullin’ too heavier a load. <br />(Bridge repeated) <br />Lyric copyright Trev Teasdel June / July 1970 Coventry.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Pete wrote the music using 7th chords in his version of the song but I don't have a copy of that version but I put my own chords to the lyric some years later, using minor chords and this is an acoustic version with Middlesbrough guitarist Steve Gillgallon playing lead.</span></div>
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<iframe allowfullscreen="" frameborder="0" height="375" mozallowfullscreen="" src="https://player.vimeo.com/video/126717137" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="https://vimeo.com/126717137">A Lotta Rain is Fallin' - Trev Teasdel</a> from <a href="https://vimeo.com/user938458">Trev Teasdel</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<span face=""arial" , "helvetica" , sans-serif">Pete teamed me up with Bill Campbell of Coconut Mat to write a song for them. They were a 'heavy' band and Bill was the bass player. Black Sabbath were out about then and so I thought I'd write a bit of gritty lyric that I thought my be sung in the style of <b>Robert Plant</b> to heavy power chords.</span><br />
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</span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFsxoUuzkNVrkS7LZC9bpfy0yP_reX3v_Azr6MSJXXUnl7o-TEJsa_56ReHByT45RLSAEp1H8GvGgIaJV-ZSKwWCzLD8WG5c0rdA41BPQK-xb9tQgGr_Dv9OQe3dtJeJHNTTrf9PKMfQ/s1600/Cocoanut+Mat.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFsxoUuzkNVrkS7LZC9bpfy0yP_reX3v_Azr6MSJXXUnl7o-TEJsa_56ReHByT45RLSAEp1H8GvGgIaJV-ZSKwWCzLD8WG5c0rdA41BPQK-xb9tQgGr_Dv9OQe3dtJeJHNTTrf9PKMfQ/s400/Cocoanut+Mat.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: arial;">Coconut Mat 1970<br />
<br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b>Martin Barter </b>(keyboards) <b>Errol McGrath</b> (Lead Singer / Guitarist) <b>Terry Price</b> Drummer / <b>Billy Campbell </b>(Bass).</span><br />
</span><div style="text-align: left;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">This was the lyric - </span></div>
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</span>
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<br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;"><b>THE CITY FIRES</b></span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">
</span>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Amidst the
conflagrations</span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">
</span>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Living substances
survive.</span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">
</span>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Squandering their
energies</span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">
</span>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">In the furnaces they do
thrive.</span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif"><span style="font-size: small;">
</span>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Making haste that’ll
only guarantee
</span></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">
</span>
<br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">An early grave.</span></div>
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</span>
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;"><br /></span></div>
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<div class="western" style="margin-bottom: 0cm;">
<span lang="en-GB">Bridge..</span></div>
<div class="western" style="margin-bottom: 0cm;">
And the cities burn</div>
<div class="western" style="margin-bottom: 0cm;">
And the cities burn</div>
<div class="western" style="margin-bottom: 0cm;">
And the cities burn</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna die</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna slowly
die</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna slowly
die too young</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires.</div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Preachers scream from
the steeple</div>
<div class="western" style="margin-bottom: 0cm;">
That we’re heading
for hell</div>
<div class="western" style="margin-bottom: 0cm;">
But tell me people if
this place ain’t worse than hell.</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
Making
waste; it’ll only guarantee an early grave.</div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span lang="en-GB">Bridge..</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The evil witch has cast
her jinx</div>
<div class="western" style="margin-bottom: 0cm;">
Beelzebub now rules.</div>
<div class="western" style="margin-bottom: 0cm;">
Pandemonium’s the
song he sings</div>
<div class="western" lang="en-GB" style="margin-bottom: 0cm;">
As he
swallows all you fools.</div>
<div class="western" style="margin-bottom: 0cm;">
And he’s gonna drink
your blood</div>
<div class="western" style="margin-bottom: 0cm;">
As your bodies slowly
burn</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span lang="en-GB">Bridge..2</span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As your bodies burn</div>
<div class="western" style="margin-bottom: 0cm;">
As your bodies burn</div>
<div class="western" style="margin-bottom: 0cm;">
As your bodies burn</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna die</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna slowly
die</div>
<div class="western" style="margin-bottom: 0cm;">
You’re gonna slowly
die too young</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires</div>
<div class="western" style="margin-bottom: 0cm;">
In the city fires.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Copyright <b>Trev Teasdel</b> July 1970 </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
</span><br />
</span><div class="western" style="margin-bottom: 0cm;">
<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">Bill's reaction to the lyrics was not favourable. "<i>You can't have a pop hit with the word 'beelzebub in!!</i>". I had no idea the band were considering a single. I now know that Bill was in the Eggy with <b>Nigel and Roger Lomas</b> who had been in the Sorrows, a hit Coventry band from c 1965, and so they did have the contacts. The Eggy had made a single called <i>You're Still Mine/B: Hookey </i>(Spark SRL1024 1969). The music was described by <i>Broadgate Gnome</i> as <i>'Freak Beat'</i> and vocalist <b>Bill Bates</b> was formerly in The <b>Boll Weevils</b>.</span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZY1v_KLTzAg" width="420"></iframe>
<br />
<span face=""arial" , "helvetica" , sans-serif">Bill was a nice bloke and a good bass player but had a bit of a sense of humour. He worked at the GEC too, and when he saw me, he'd rasp "Beez-leebub", stressing the Bee! I'd love to have see his face 5 years later when <b>Queen</b> had a No 1 hit with <i>Bohemian Rhapsody! </i>What word is in that song<i> - Beelzebub! </i>Nonetheless, <i>Bohemian Rhapsody</i> is a classic and they would have had to be really good to emulate that band.</span><br />
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<span face=""arial" , "helvetica" , sans-serif">Pete knew that I had started off doing the door for the <i><a href="http://coventryartsumbrella.blogspot.co.uk/"><b>Umbrella Club</b></a></i> and was now putting on the bands on a Friday night and said he needed some one to do the door for the his progressive Music night at the <i>Walsgrave</i>. I started to go down every Tuesday from June 1970, after work, getting the early enough to help him and the bands set up. Sometimes I'd book the bands for the <i>Umbrella</i>, sometimes I'd suggest bands we had had that went down well. Pete would be there setting up the decks, going through the hits, working out the sequence. A few records I remember him playing in mid 1970, were <i>In the Summertime</i>, <b>Mungo Jerry</b>, <i>Yellow River</i> by <b>Christie</b>, <i> Itchycoo</i><span style="background-color: white; color: #6a6a6a; font-size: x-small; font-weight: bold; line-height: 18.2px;"> </span><i> Park</i>, <b>Small Faces</b>, <i>Groovin with Mr Bloe</i>, <b>Mr Bloe</b>, <i>The Green Manalishi,</i> <b>Fleetwood Mac</b>, <i>American Woman</i>, <b>Guess Who, </b><i>Spirit in the Sky</i><b>, Norman Greenbaum, </b><i>Psychedelic Shack</i>, <b>Temptations </b>and<b> </b>most of the hits of the time.<b> </b>He have a two or three bands on each week. The venue was one of several run by <i>Friars Promotion</i> in Coventry who had a contract to provide entertainment in Coventry M & B pubs. Friars was started by <b>Vince Holiday</b> who headed Coventry's first Rock n Roll band, <b>Vince Martin and the Vampires</b> in the late 1950's. pete worked for Friars at several pubs and also at the Locarno, doing a Soul disco at the weekend.</span><br />
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</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pJA4vqyCttQqek9kqjJ75RU2f7Bd0ijlnamlLPaTOd6JhkBaH8HeCc1FPKbJ42Ulyu3e6au9pxiZ66Dsx-ctfN79SHXKEE6ltTVvEkUA5NO3mRMMD8U0kpyTMM2796D8vwQJ8WUffqg/s1600/Feltonz.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pJA4vqyCttQqek9kqjJ75RU2f7Bd0ijlnamlLPaTOd6JhkBaH8HeCc1FPKbJ42Ulyu3e6au9pxiZ66Dsx-ctfN79SHXKEE6ltTVvEkUA5NO3mRMMD8U0kpyTMM2796D8vwQJ8WUffqg/s200/Feltonz.jpg" width="200" /></span></a><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Sometimes, we'd go walk about, return before 8pm when the doors opened. We'd go up to his house at Walsgrave or to his parents house, now on <b>Pete Waterman Way</b>, to collect equipment, or into Coventry precinct to pick something up from the electronics shop and some of Pete's disco fans would wave to him. On one occasion we went up to the Folk Club at the Earlsdon Cottage, where <b><a href="http://coventryfolkclubs.blogspot.co.uk/2011/07/rod-felton.htm">Rod Felton</a></b> was performing. Pete had introduced me to Rod the week before "as <i>the only star that Coventry has produced</i>". Rod was hailed by the local press as "<i>A newcomer in the Bob Dylan Folk Tradition", </i>he had toured the continent, played with Coventry born <b>Beverley Kutner</b> (later known as <b><a href="http://coventryfolkclubs.blogspot.co.uk/2014/06/beverley-martyn.html">Beverly Martyn</a></b>,), Beverley had recorded for Decca with the likes of <b>Jimmy Page</b> on her R & B records. Rod had formed <b><a href="http://coventryfolkclubs.blogspot.co.uk/2011/07/new-modern-idiot-grunt-band.html">The New Modern Idiot Grunt Band</a> </b>with Guitar maker <b>Rob Armstrong</b>, and toured the country's folk clubs with their riotous jug band act. Pete had gone along to pick up his flute. If I'd had an iPhone back then, there would be some YouTube footage here. Rod was sat out the back on the grass with friends and I watched Rod play one of his songs with <b>Pete Waterman</b> playing melodic flute. It was over too soon and headed back to the Walsgrave to get things started. That night we had a blues band on called <b>Gypsy Lee</b>, playing a startling version of <b>Led Zeppelin's</b><i> The Lemon Song</i>. Pete joined them on stage to sing a raucous version of <i>Rock Me Baby</i>, giving the flute some wellie, <b>Jethro Tull</b> style.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Here are some of the tickets from the Walsgrave summer 1970.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfEttwqUrzsDDm-ZoAKtngKx-HLTFfXqnzNjAABsVtDRzY7PEG2vm6-mSYDRGTH5w5tmc4-jS18Peox-VF4p9z_vBB3TU3PA40x6UKmAJnHVK0Q9ig4xKJb7eFmYxC5kunPyyOnHypSq8/s1600/waterman003.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfEttwqUrzsDDm-ZoAKtngKx-HLTFfXqnzNjAABsVtDRzY7PEG2vm6-mSYDRGTH5w5tmc4-jS18Peox-VF4p9z_vBB3TU3PA40x6UKmAJnHVK0Q9ig4xKJb7eFmYxC5kunPyyOnHypSq8/w640-h418/waterman003.jpg" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7gfQ9TPPdn3Y3izIkqVs9u4uIEfc-ayNQfDsZz0f7FCsnquAWI-wSSCL5R5aiuxipEV43LTDXBTTRZv0e8QeqfCdGwyoPt5cMT23RLtSeWODM8rJqKRAkWkjNnwImb9kN_ns_G6gC9E/s1600/waterman002.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7gfQ9TPPdn3Y3izIkqVs9u4uIEfc-ayNQfDsZz0f7FCsnquAWI-wSSCL5R5aiuxipEV43LTDXBTTRZv0e8QeqfCdGwyoPt5cMT23RLtSeWODM8rJqKRAkWkjNnwImb9kN_ns_G6gC9E/w640-h424/waterman002.jpg" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSlzxXYYPtxaPG5i3pKXrVEOCt0hT4sDNBksrU-0KU8sAufQ51IG_vIlkkjyFdOVlzeeEuGn3Eag_7vNhzofYbZj8zmtw1O7OcMp0kR30BSZRNTlH0g9PuuIejL1IxFrg02-egspbyI4Y/s1600/Walsgrave.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSlzxXYYPtxaPG5i3pKXrVEOCt0hT4sDNBksrU-0KU8sAufQ51IG_vIlkkjyFdOVlzeeEuGn3Eag_7vNhzofYbZj8zmtw1O7OcMp0kR30BSZRNTlH0g9PuuIejL1IxFrg02-egspbyI4Y/w640-h427/Walsgrave.jpg" width="640" /></span></a></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Profiles of some of the bands <b><a href="https://www.youtube.com/watch?v=KYHpcJg1vY0">Wandering John</a> - </b>Local and very popular progressive blues band in 1970, their reunion in 2010 is on YouTube, and features <b>Neol Davies</b> of <b>Selecter </b>as guest, <b><a href="https://coventrybands.blogspot.com/2023/01/asgard.html">Asgard</a></b> were a trio band in the style of <b>The Nice</b> and <b>Pink Floyd</b> with their own material and were being nurtured by <b>John Peel</b> early 1970 who put them on at <i>Mothers </i>in Birmingham. The were written about in <b>John Peel's</b> column in <i>Disc and Music Echo</i>.</span></div>
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<b><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: large;">Pete Waterman's Soul Hole 1973</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGXc29U7x_rJpXfRnLXfc131BrPt2hWd_jFw6Z-m503fC5a36RZNwr3fvWCDk1UTaWSODUgX4XsvF0jcZPHGN9Yz71CdRgHK0dxPM2-Ei69d8tX1yGDsGFn0hgj7PWw-PzLr7zkeLNt8/s1600/Tilly+Rutherford_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGXc29U7x_rJpXfRnLXfc131BrPt2hWd_jFw6Z-m503fC5a36RZNwr3fvWCDk1UTaWSODUgX4XsvF0jcZPHGN9Yz71CdRgHK0dxPM2-Ei69d8tX1yGDsGFn0hgj7PWw-PzLr7zkeLNt8/s200/Tilly+Rutherford_n.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Tilly Rutherford</span></td></tr>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">By 1974 both Pete and I had left the GEC and I was now running Hobo Magazine. In August 1973 I went in to I Am, a hippy boutique in Hales Street Coventry. They had placed a full page ad in Hobo and I went to see if they'd do it a 2nd time. As I walked in the was bouncing with soul music. "What's going down in the cellar?" <i>"It's Pete Waterman, he's renting the basement for his new Soul Hole Shop. Why don;t you go down, he'll give you an ad for the magazine, he's trying to get it off the ground.". </i>Obviously I already knew Pete and went down. The place was heavin' and I pushed my way the counter. Pete was selling <i>Northern Soul</i> imports and already doing a good trade. I have never seen a record shop before or since, so packed and full of such energy. Pete was hugely popular on the disco circuit in Coventry and veritable mover and shaker on the Coventry music scene. He ran the shop with his mate and fellow DJ, <b>Tilly Rutherford, </b>who later worked for Pete's PLW label.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Waterman sticker 1973</span></td></tr>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete gave me one of the promotional smiley lapel stickers he was handing out and drafted a top 15 of records that were selling in his store (except that there were only 14!). Nonetheless it went in the magazine by way of an advert. By 1974, Pete had found a larger room upstairs above the new Coventry Virgin Records shop in the City Arcade.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">In 1974, we reported in Hobo reported that "<i><b>Dave Simmons</b>, Radio One DJ on the Saturday Soul programme, dedicated last week's programme exclusively to the Philly Sound, thanks to the efforts of of our own Pete Waterman, who has just returned from the very place with a hoard of interviews and information about the Philly Sound. Pete was interviewed throughout the program by Dave and the interviews Pete himself did were broadcast.. Next issue, if Pete gets it together, we will have an article for Hobo on the Philly sound from the expert!</i>" We didn't that second article but we did his review of a Three Degrees concert.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">This is what Pete says about 1973 in his book p34 of <i>I Wish I Was Me </i>published in 2000.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">"<i>It was 1973 and it was time for me to put the final bits of the jigsaw puzzle together. Time to stop sitting on the sidelines and start participating. I'd been so inspired by American music....through initial contacts, I had a standing invitation to go over to Motown and to Philadelphia International to meet Kenny Gamble, Leon Huff and Tom Bell. So I thought - this was the kind of arrogance that was motivating me at the time - that what I would do was make a radio show about r 7 b. Not the r & b that Mike Raven played, which was serious soul but a different side of it., pop, r&b, Motown, Three Degrees and Billy Paul...I bought myself a little tape recorder, booked myself a ticket and jumped on a plane. I'd decided to go to Philly rather than Motown because Philly seemed to be the coming thing. Motown, I'm sorry to say, seemed to be over....The trip to Philadelphia was going to be research and I had also considered writing a book about the mechanics of the r&b industry</i>."</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">By 1974, Pete had found a larger room upstairs above the new Coventry <i>Virgin Records</i> shop in the City Arcade. Virgin Records was a sales point for Hobo Magazine and they also advertised in the magazine. Once again <b>Pete Waterman</b> obliged with an advert and offered to write a Soul article for the magazine. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Virgin Records Store in Coventry - Pete Waterman and Tilly Rutherford </span><br />
<span face=""arial" , "helvetica" , sans-serif">ran the Soul Hole upstairs in 1974.</span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete's notes for an advert in Hobo Magazine.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial; font-size: small;">This is the first article <b>Pete Waterman</b> wrote for hobo Magazine in 1974 - the second one on The Philly Sound didn't transpire. it may well be that Tilly wrote it down for him as he has said that he could read or write at that stage. </span></div>
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<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">The article transcribed -</span><br />
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<span style="font-family: arial;"><b><span face=""arial" , "helvetica" , sans-serif">PETE WATERMAN'S SOUL ARTICLE (1974) from HOBO - Coventry Music and Arts Magazine</span></b><br />
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<span face=""arial" , "helvetica" , sans-serif">As you know by now our small shop (<b>The Soul Hole</b>) has now moved to the top of <b>Virgin Records</b> in the City Arcade. Our new shop will, we hope, bring more people into the faith. We had a good time at the shop in the <b>I AM</b> boutique but the stock was getting too big for our small shop. The move will not, we hope, change the service that we are so proud of. The new shop will give us more room to serve and talk. Also you can stand up! (The Soul Hole was originally in the cellar of the I AM boutique with a low ceiling!!)</span><br />
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<b><span face=""arial" , "helvetica" , sans-serif">THE THREE DEGREES</span></b><br />
<span face=""arial" , "helvetica" , sans-serif">Anyway, down to business. As most of you know by now, I spent the 5th and 6th of March with the <b>Three Degrees.</b> Sheila, Fay and Valerie. On Monday the 5th I went to the <i>Mayfair Hotel</i> in London to see the girls do their own thing. The girls got on and did <i>When Will I See You Again</i>. The first thing that took our breath away was their see through dresses, but they are far from just good looking foxes. At dinner I sat with <b>Peter Winfield</b> (for all those who don't read sleeve notes) Peter is the cat who played keyboards for <b>BLOODSTONE</b> on both <i>Natural High</i> and their new album. For all the foxes and cats not into our faith, Pete also plays for <b>COLIN BLUNSTONE</b>, and writes for a National rock paper.</span><br />
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<span face=""arial" , "helvetica" , sans-serif">Pete is a soul freak, like myself and we both agreed their harmonies were the tightest we'd heard for some time. The voices were fantastic, Sheila takes the lead most of the time. The next in line was <i>Dirty Old Man</i>, this was fantastic, with the girls showing they can handle the audience with fun and firmness. Then they did "<i>A Woman Needs Love"</i> proving they can sing ballads as well as up tempo Nos. Their footwork was as good as any I've seen before, and if any in the audience weren't sold on that, the next was they're single Year of Decision. It had everybody on their feet shouting for more. But it was all over, Pete and the <b>Colin Blunstone</b> band went off to record the <i>Old Grey Whistle Test</i>, and I went to the girls bedroom to have a natter to them about their early years for all the people who knock our music- God knows why!</span><br />
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<span face=""arial" , "helvetica" , sans-serif">Just as a boost to our egos, <b>David Bowie</b> was there to pay homage to the three ladies of soul. It seems that Rock stars are getting back to their roots with Bowie telling me that he is soon to be recording with top black acts in the states and <b>John Lennon </b>saying <b>Ann Pebbles</b><i> I Can Feel the Rain</i> is the best record for two years.</span><br />
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<span face=""arial" , "helvetica" , sans-serif">New Sounds to Look Out For</span><br />
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<span face=""arial" , "helvetica" , sans-serif">The <b>Ojays</b> new single is a track off their latest LP (as are all the new Philly singles) and is called <i>For the Love of Money</i>. <b>The Intruders</b> - <i>I’ll Always love My Mama</i> (2 Pts)</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>Trammps</b> new single is a track off the 1970 British Motown company, picking the slower track. USA Marvin Gaye scores with his controversial single You Sure Like to Ball taken from the Let’s Get it On album. A new single soaring up the American charts from the <b>M.F.S.B. band</b> on <i>Philly International</i> is called <i>Tsop</i>, taken from the TV series <i>Soul Train</i>.The end five bars feature the <b>3 Degrees</b>.</span><br />
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<span face=""arial" , "helvetica" , sans-serif"><b>LP of the month</b> - too many really to pick one but look out for <b>Blue Magic </b>and import <b>Out Here</b> on my Own Lamont / Dozier. Superb LP’s. Next <b>Billy Paul</b> single <i>The Whole Town’s Talkin’ .</i></span><br />
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<span face=""arial" , "helvetica" , sans-serif">Also check out - <i>Rock me Baby</i> - <b>George McCrea</b> /<i> Help Yourself </i>- <b>Undisputed Truth</b> / <i>Dancing Machine</i> - <b>Jackson 5</b> /<i> I Lied</i> - <b>Bunny Sigler</b> / <i>Mighty Mighty</i> - <b>Earth, Wind and Fire</b> / <i>Be Thankful</i> <i>For What You’ve Go</i>t - <b>William Devaaughn</b> / <i>Chameleon </i>- <b>Herbie Hancock</b> / <i>Sagittarius</i> - <b>Eddie Kendicks </b>/ <i>If You’re Ready</i> - <b>Staple Singers</b> / <i>Got To Get You Back</i> - <b>Sons of Robin Stone</b> / <b>Pepper Box</b> - The Peppers</span><br />
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<span face=""arial" , "helvetica" , sans-serif">See ya soon. Keep the faith right on -</span><br />
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<b><span face=""arial" , "helvetica" , sans-serif">Pete Waterman (1974)</span></b><br />
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<span face=""arial" , "helvetica" , sans-serif">More recently<b> </b>author<b> Dave Haslam quoted Pete Waterman's </b>article for<b> Hobo magazine, </b>in his 2015 book <i>Life After Dark </i>A History of British Nightclubs and Music Venues. </span><br />
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">In 1974, a look at the <i>Hobo Whatz On </i>columns, <b>Pete Waterman</b> is DJing at <i>The Tree Tops Clu</i>b - <i>Apollo</i> on Monday nights / <i>Pete Waterman's Soul Club</i> on a Thursday night. <i>Tiffanys</i> (formerly Locarno), <i>Baginton Oak</i> - Soul Explosion, <i>Mr Georges Nite Club.</i></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">The following are verious Coventry press cuttings from 1974 and below that two more recent articles on Pete Waterman by Pete Clemons for the Coventry Telegraph</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete Waterman, John Bradbury and Pete Chambers putting up a Two Tone Plaque at Virgin records Coventry c 2007 - Photo John Coles I think.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Coventry Locarno where Pete Waterman was top soul DJ through the 60's and 70's</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Pete Clemons article on Pete Waterman from Coventry Telegraph recent years, in two parts.</span></div>
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Pete Waterman's Childhood home in Coventry.</span></div>
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An earlier article on The Walsgrave with Pete Waterman - by Pete Clemons in the Coventry Telegraph.</span></div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-40695217430777244192015-06-17T09:32:00.002-07:002023-04-12T10:41:38.038-07:00Coventry Venues 1970's<span style="font-family: arial;"><b>The Dive Bar (Lady Godiva)</b><br />
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From the 60's onwards student / Cov muso cellar bar, later Biker / Punk venue. Disoc and bands some times. Hobo got it's start and restart through connections here.<br />
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Lady Godiva (Dive Bar) 60's / 70's</span></div>
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Later Photos</span></div>
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Little Viv in Dive from back in late 70's / early 80's</span></div>
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Paul Hooper (Indian Summer)'s disco. From Hobo Magazine1974</span></div>
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<b><span style="font-family: arial;">GOLDEN CROSS</span></b></div>
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<span style="font-family: arial;"><b>The Golden Cross </b>has house bands, discos, jam sessions and Folk Acoustic sessions since the early 70's. The Hobo Workshop put on bands there c 1974. </span></div>
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More to come to this post.</span></div>
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St. Osburgs</span></div>
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Climax</span></div>
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General Wolf</span></div>
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Charterhouse Pub</span></div>
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Mercers Arms</span></div>
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The Walsgrave</span></div>
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The White Bear (Willenhall)</span></div>
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Earlsdon Cottage</span></div>
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The Smithfield</span></div>
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The Cathedral Coventry.</span></div>
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<b><br /></b>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-39149326024490555882015-06-17T05:48:00.001-07:002023-04-12T10:42:38.978-07:00Coventry Virgin Record Store Charts 1973 / 74 for Hobo Magazine<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: arial; font-size: large;">Coventry Virgin Record Store Charts 1973 / 74</span></b></div>
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These are the <i>Coventry Virgin Records Album Charts</i> 1973 - 74 as published in <i>Hobo - Coventry Music and Arts Magazine.</i></span><div>
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<span style="font-family: arial;"><b>Virgin Records</b> in Coventry was a far cry from the impersonal, walk through mega-stores of more recent </span><div class="separator" style="clear: both; text-align: center;">
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times. This was the first-born venture of <b>Richard Branson</b> and the 60's ethos still permeated his business approach. The Coventry store was relatively small run by <b>Mike O'Hare </b>and <b>Malc</b>. You could hang out in the store and listen to grooves through the headphones or chat to the guys about music. The guys lived and breathed the music, enthused and argue over it around serving the customers. They also used to do album reviews for Hobo. They weren't sent by the Job Centre with a certificate in sales speak!</span><div>
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Upstairs by 1974, was <b>Pete Waterman</b> with his mate (also a Coventry DJ and later a SAW manager) Tilly, in the <b>Soul Hole</b> selling rare soul imports. Both Pete and Mike and Malc were very supportive of <i>Hobo</i>. We sold copies of Hobo through both the Virgin and Soul Hole stores; both placed ads in the mag to help us, wrote reviews and articles for us and compiled charts for their stores. The <b>Peter Waterman</b> Soul chart is the section about Pete but here are the Virgin Record Album Charts (Coventry Store) as compiled for Hobo. Later in the 70's <b>John Bradbury (Specials)</b>, <b>Stu Knapper (Riot Act)</b> and <b>John Coles (Silk Disco), Texas Dave McGarry </b>(later a major promoter of Texas music in Australia) all worked for Virgin and more. <b>Simon Frith - </b>author of the Sociology of Rock and many other books, was living in Coventry in the 70's while a senior lecture at Warwick University. <b>Stu Knapper </b>said he often used to pop in to the Coventry Virgin Record store.</span><div>
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Coventry Virgin Record Store was awarded one of the Coventry Music Two Tone Plaque and the lauch c 2007, brought together John Bradbury, Pete Waterman, John Coles and Pete Chambers.<br /></span><div>
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<b><span style="font-family: arial;">HOBO MAGAZINE'S COVENTRY VIRGIN RECORD STORE ALBUM AND SINGLES CHARTS 1973 / 74</span></b></div>
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<span style="font-family: arial; text-align: start;">Published by <b>Trev Teasdel</b> in <i>Hobo - Coventry Music and Arts Magazine </i>and compiled by <b>Mike O'Hare and Malc.</b></span></div>
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<span style="font-family: arial; text-align: start;">The July 1973 Virgin chart is incomplete in the archive - only the last ten entries of the Top 30 remain. It's possible, as the July issue didn't come out that to first 20 were used for the issue that came out early August 73 but I can;t be sure. Anyway - this is No 21 to 30 of the July chart!</span></div>
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July 1973</span></div>
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21 Terry Riley - Rainbow in Curved Air.</span></div>
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22 Paul Simon - Rhymin Simon</span></div>
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23 Kevin Ayres - Bananamour</span></div>
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24 Roy Harper - Stormcock</span></div>
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25 Roxy Music - For Your Pleasure</span></div>
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26 Pink Floyd - Meddle</span></div>
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27 David Bowie - Space Oddity</span></div>
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28 Pink Floyd - Relics</span></div>
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29 Budgie - Never Turn Your Back.</span></div>
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30 Johnny Winter - Still Alive and Well.</span></div>
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<span style="font-family: arial;"><b>VIRGIN RECORDS ALBUM CHART </b>(Coventry Store) Hobo Magazine August 1973<br /><b>Albums August 1973</b><br />1 Mike Oldfield - Tubular Bells<br />2 David Bowie - Hunky Dory</span></div><span style="font-family: arial;">
3 Pink Floyd - Dark Side of the Moon<br />4 Faust - Tapes<br />5 Santana - McLaughlin<br />6 George Harrison - Material World<br />7 David Bowie - Aladdin Sane<br />8 Genesis - Live<br />9 Clifford T Ward - Home Thoughts<br />10 Roy Wood - Boulders<br />11 David Bowie - Ziggy Stardust<br />12 Cat Stevens - Foreigner<br />13 Terry Riley - Rainbow in C<br />14 David Bowie - Man Who Sold the World<br />15 Lindisfarne - Live<br />16 Alan Hull - Pipedream<br />17 Mott the Hoople - Mott<br />18 Genesis - Foxtrot<br />19 Pink Floyd - Meddle<br />20 Beatles - 67-68</span><div><span style="font-family: arial;">
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<span style="font-family: arial;"><b>Albums October 1973</b><br />1 Rolling Stones - Goat's Head Soup<br />2 Mike Oldfield - Tubular Bells<br />3 Pink Floyd - Dark Side of the Moon<br />4 Status Quo - Hello<br />5 David Bowie - Ziggy Stardust<br />6 David Bowie - Man Who Stole the World<br />7 Pink Floyd - Meddle<br />8 David Bowie - Aladdin Sane<br />9 Beatles - 66 / 70<br />10 Yes - Yes Album<br />11 Led Zeppelin - 5<br />12 Uriah Heap - Sweet Freedom<br />13 David Bowie - Hunky Dory<br />14 Yes - Yes Songs<br />15 Van Morrison - Hard Rose the Highway<br />16 Slade - Sladest<br />17 Budgie - Never Turn Your Back<br />18 Beatles - 62 - 67<br />19 Faust<br />20 Steely Dan - Countdown to Ecstasy</span><div><span style="font-family: arial;">
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<span style="font-family: arial;"><b>Albums Feb 1974</b><br /><br />1 Mike Oldfield - Tubular Bells<br />2 Leo Sayer - Silverbird<br />3 Roxy Music - Stranded<br />4 Yes - Tales from Topographical Oceans<br />5 ELP - Brain Salad Surgery<br />6 Who - Quadrophenia<br />7 Black Sabbath - Sabbath Bloody Sabbath<br />8 Bob Dylan - Dylan<br />9 Gong - Angels Eggs<br />10 David Bowie - Pin Ups<br />11 Fripp and Eno - No Pussy Footing<br />12 Elton John - Yellow Brick Road<br />13 Santana - Welcome<br />14 Alice Cooper - Muscle of Love<br />15 Wings - Band on the Run<br />16 John Lennon - Mind Games<br />17 Faces - Faces Live<br />18 Donovan - Escence to Escence<br />19 Ringo Starr - Ringo<br />20 Nazareth - Loud n Proud<br /></span><div>
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<span style="font-family: arial;"><b>Albums March 1974</b><br />1 Free - Free Story<br />2 Tangerine Dream - Phaedra<br />3 Joni Mitchell - Court and Spark<br />4 Deep Purple - Burn<br />5 Bob Dylan - Planet Waves<br />6 Wings - Band on the Run<br />7 Steely Dan - Pretzel Logic<br />8 Roy Harper - Valentine<br />9 Slade - Old, New and Borrowed<br />10 Incredible String Band<br />11 Eno - Here Come the Warm Jets<br />12 Pink Floyd - Dark Side of the Moon <br />13 Pink Floyd - A Nice Pair<br />14 Steeleye Span - Now we're Six<br />15 Sutherland Bros / Quiver = Dream Kid<br />16 Montrose<br />17 Lou Reed - Rock n Roll Animal<br />18 Mick Ronson - Slaughter on 10th Avenue<br />19 Carley Simon - Hot Cakes<br />20 Temptations - 1990</span><div>
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<span style="font-family: arial;"><b>Albums June 1974</b><br />1 Gong - Camembert Electrique</span><div><span style="font-family: arial;">
2 Mike Oldfield - Tubular Bells</span></div><span style="font-family: arial;">
3 Rick Wakeman - Journey<br />4 David Bowie Dianond Dogs<br />5 Wings - Band on the Run<br />6 Uriah Heap - Wonder World<br />7 Sparks - Kimona<br />8 Tangerine Dream - Phaedra<br />9 Bonzo Dog Dog Do Dah Band - History of<br />10 Bad Company</span><div>
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<span style="font-family: arial;"><b>June 1974 - Singles Chart</b><br />1 Sparks - This Town Ain't Big Eough for the Both of Us<br />2 Bad company - Can't Get Enough<br />3 Montrose - Bad Motor Scooter<br />4 Brian Ferry - The In Crowd<br />5 Allman Bros - Jessica<br />6 Captain Beefheart - Upon the My oh My<br />7 Kevin Coyne - I Believe in Love<br />8 Jan Akkarman - House of the King<br />9 ELP - Jerusalem<br />10 Black Oak Arkansas - Jim Dandy</span><div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">June 1974 Virgin Charts Coventry in Hobo<br /><br /></span></td></tr>
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Hobo - Coventry Virgin Album Chart February 1974</span></div>
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<b><span style="font-family: arial;">FROM ALTERNATIVE SOUNDS 1979</span></b></div><span style="font-family: arial;">
"We talked to Tim and John here. Virgin records have been open for 6 years in Coventry. They stock everything here (except from brass bands) and are open 6 days a week. As they are a chain store, it means that they can get most records but there are often delays cos they don't deal with the distributors direct. A chart single costs 75p here. they also have discounts on the top 50 albums (about £1 off) plus various bargains in their 'cheap rack'. This is the only shop in Coventry where they have headphones for you to listen to records first"</span>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-75037261792461900642015-04-04T11:17:00.003-07:002023-04-12T10:44:05.905-07:00Dream Discotheques and Mood Lighting Systems - 1974<div style="text-align: center;">
<b><span style="font-family: arial; font-size: large;">Dream Discotheques and Mood Lighting Systems </span></b></div><div style="text-align: center;"><b><span style="font-family: arial; font-size: large;"><br /></span></b></div>
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<span style="font-family: arial;"><b>Rob Dalton</b> sent a letter to <b>Hobo</b> in 1974 in regard to his popular discos and Mood Lighting systems, which we covered in Hobo issue 3 February 1974.</span></div>
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Transcript of the letter - </span></div>
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Dear Trev.</span></div>
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I am writing concerning the next issue of Hobo. Drop me a line and tell me when the next issue is out and I'll distribute in Rugby.</span></div>
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I should be grateful if you could include somewhere in the mag, some of the enclosed ads.</span></div>
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Best wishes Rob.</span></div>
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PS The '<b>Dream Machine</b>' is now on the verge of being marketed all over Europe via international distributors.</span></div>
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<span style="font-family: arial;"><b>Dream</b> has now available three Dream lighting computers for hire, complete with all necessary lights, in addition to a whole range of liquid wheel, cassette and graphic effects projectors, strobes, UV and PA etc etc. plus, of course our own unique high powered roadshows available for larger bookings.</span></div>
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We are now also offering a technical support service for those who are having trouble with their gear, whether it be sound or lights.</span></div>
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From Hobo Issue 3 February 1974</span></div>
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<b><span style="font-family: arial;">THE DREAM MACHINE</span></b></div>
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"Dream Discotheque appears, at first sight, to be just another disco unit but alas they have a phew innovations up their trouser legs. No, not a new form of contraceptive but a lighting computer for discos. Designed and patented by Rob Dalton, B. Eng. M.I.E.E., C.E., M.I. E. E. E. (USA). This is one of the most advanced lighting systems in in Europe and has taken about two years to develop. The computer can be coupled with existing conventional equipment or any of the £2000 worth of equipment designed by Dream. The lighting computer itself costs in the region of £550 (Prices as at 1974!). Dream both sell and hire this equipment for mobile and fixed discos. They also do their own disco shows incorporating the gear, ie Becketts and Caesars in Nuneaton. If you are interested in this and want to know more, Dream can be contacted by phoning Rugby 3372, Rob Dalton, 20, Constable Rd."</span></div>
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<b><span style="font-family: arial;">From the Hobo Whatz On April 1974</span></b></div>
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<span style="font-family: arial;"><b>Imperial Hotel, </b>165 Oxford Street, Rugby, Wednesdays <b>Dream Discotheque, </b>/ Thursdays - Lanch's own Disco - DJ <b>Captain Christmas</b>.</span></div>
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<span style="font-family: arial;"><b>NEW - </b>I received an email from Mike Murphy October 2015 - </span></div>
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Hi,<br />just found your blog because I was searching for Hanson's music shop as I<br />found a receipt from them in a box of 78's that I inherited from my parents.<br />We used to live in Rugby.<br /><br />I notice that on your venues page there is mention of Captain Christmas DJ at<br />the Imperial Hotel in 1974. I was part of CC in the early 70's (mainly I think<br />because I was the only one who could correctly wire a mains plug). The main CC<br />people were <b>Pete Thornley</b> and <b>Dave Proffitt</b>. They split up many years ago; Pete<br />is an artist now and Dave is a UK athletics qualified coach.<br /><br />I attach a scan of the CC business card from that early 70's time.<br /><br />Regards<br />- Mike</span><div class="separator" style="clear: both;">
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-34893834399449917922015-04-04T05:59:00.005-07:002023-04-12T10:45:45.326-07:00Coventry Technical College Student Union Gigs 1974<span style="font-family: arial;">In 1974, <b>Hobo Magazine</b> got a letter from <b>PENNI</b> - Ents sec. at <i>Coventry Technical College</i> for the <br />
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Students' Union regarding their gigs. 1974 saw the power cuts which affected a lot of things including the gig schedule and the Tech College, as can be seen from the letter.<br />
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Hobo carried a piece about the band in Issue No 3 February 1974 in the Brum Beat Column of that issue.</span></div>
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<span style="font-family: arial;"><span style="text-align: left;">abstracted from a publicity sheet by </span><b style="text-align: left;">Craig Ward</b><span style="text-align: left;"> of the </span><b style="text-align: left;">Sunshine Music Agency</b><span style="text-align: left;"> in Coventry 1974 for Hobo magazine. Here is the original 'Bullsheet' written by Craig Ward.</span></span></div>
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<span style="font-family: arial;"><b>Walrus Gumboot </b>recorded live at <b>Bogarts</b> in Birmingham 1974 - sound quality not the best but gives a good idea of their sound and material in concert.</span></div>
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In a later issue of <b>Hobo</b> April 1974 we advertised another gig at the Coventry Technical College in the Whatz on.</span></div>
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Coventry Technical College April 5th Presents <b>MERLIN</b> live on stage with <b>Glade Sounds Disco</b> in the Refrectory, Albany Road, Coventry.</span></div>
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This is the B side of the card advertising their single.</span></div>
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Put my Spell on You - Merlin</span></div>
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"<b>Merlin</b> was a heavy rock band that moved down to London from the North East of England in 1970-1971. They had residencies at '<i>The Factory</i>' in Leicester Square and The 'Scotch Of St. James' in that time. Apart from playing the circuit in London ie; Marquee, Temple, Ronnie Scotts, Hatchets etc. They also played the home counties and the university scene country wide. They broke up in the early 70's. The band had been together since 1967, playing locally in the North East and evolving into a very solid outfit. The final, and best line up of the band consisted of: Doug Haley (keyboard & vocals). Harry Bryzinski (Guitar). Colin Hall (Vocals). Bill Johnson (bass). Tommy Guthrie (Drums). Other members who passed through their ranks were: Des Long (Drums) Simon Wallace" (Drums)." <b>William Johnson</b> <a href="http://www.answers.com/Q/Who_was_the_70's_rock_band_Merlin">http://www.answers.com/Q/Who_was_the_70's_rock_band_Merlin</a></span></div>
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<b><span style="font-family: arial;">COVENTRY TECHNICAL COLLEGE FOLK CLUB</span></b></div>
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From at least 1972, when I played there, the Tech had a folk club in the Refectory until at least the late 70's.</span></div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-16303400322064228852015-04-03T13:50:00.003-07:002023-10-20T10:52:43.895-07:00Coventry Discos in the 1970's<div style="text-align: center;">
<b><span style="font-family: arial; font-size: large;">Coventry Discos in the 1970's</span></b></div>
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Some of these are entries or adverts from various issues of Hobo 1973 - 5 or material collected or from other sources.<br />
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<b>From Hobo Issue 2</b> - August 1973 - Some places to go column.<br />
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"Mondays - Stereo progressive Disco, Boatyard, Gosford Street, Coventry 7.30 pm 10p.<i>"</i><br />
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<b>Golem Disco</b><br />
Rock, Soul etc. <b>Dave Thomas</b>, 56, Grafton Street, Coventry. (Advertised in <b>Hobo Issue 3 F</b>ebruary 1974 as below).<br />
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<b><span style="font-family: arial;">CAESARS DISCO</span></b></div>
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Monday, Thursday and Sunday. Over 21's Weddington Hotel, Weddington Rd. Nuneaton.</span></div>
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( Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974)</span></div>
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<span style="font-family: arial;"><b>APOLLO CLUB, </b>Tree Tops, Foleshill Road, Coventry. Monday Nights - DJ<b> Pete Waterman.</b></span></div>
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(Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974 and in April 1974)</span></div>
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<span style="font-family: arial;"><b>PETE WATERMAN'S SOUL CLUB </b>at the Tree Tops, Foleshill Road, Coventry. Thursday Nights.</span></div>
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(Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974). By April 1974 it was called <b>Soul Explosion (</b>Hobo Whatz On April 1974)</span></div>
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<span style="font-family: arial;"><b>TREE TOPS</b> Foleshill Road, Coventry, Disco Monday nights - funky, soul pop, reggae with <b>Tom Martin, Jeff Carvell</b> and <b>Mark Brown</b>. From Hobo Whatz on July 1974.</span></div>
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<span style="font-family: arial;"><b>TIFFANY'S (</b>Formerly the Locarno). Monday and Friday nights disco with Philly Phreak <b>PETE WATERMAN</b>. From Hobo Whatz On July 1974.</span></div>
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<span style="font-family: arial;"><b>CHARTERHOUSE DISCO </b>- <b>Pete Waterman</b> and <b>Mark Brown </b>star in the ship shape disco at the Charterhouse, Terry Road, Coventry. Friday nights. (Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974). By April 1974, it was called<b> Jolly Roger Disco </b>(Hobo Whatz On April 1974).</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">The Charter House, Terry Road, Coventry.</span></td></tr>
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<span style="font-family: arial;"><b>BECKETTS</b> - Chase Inn, Coleshill Road, Chapel End, Nuneaton. Thursday, Friday, Saturday and Sunday.. Top live bands and intimate Disc Jockey's. with <b>Dream Disco Lighting</b>. <b>Craig Ward</b> DJ (of Sunshine Music Agency, Gulson Road Coventry.).</span></div><span style="font-family: arial;">
(Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974)<br />
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(Mentioned in the <i>Whatz On</i> in in <b>Hobo Issue 3</b> February 1974)<br />
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<b>SOUNDS OF VENUS DISCO </b>- 59, Craven Street, Coventry, 57347 / 89795<br />
(Advertised in Hobo Is<b>sue No 3, February 1974 - small ad)</b><br />
<b>Also COVEN 74 </b>at the Radford - Progressive music with Sounds of Venus Disco - From Hobo Whatz On April 1974.<br />
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<b>MAD MART'S MAGNIFICENT MUSIC MACHINE</b><br />
322, Hipswell Highway, Coventry 455033.<br />
(Advertised in Hobo Issue No 3, February 1974 - small ad)<br />
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<b>HOT AIR DISCO </b><br />
66, Ivy Bridge Road, Coventry 411746<br />
(Advertised in Hobo Issue No 3, February 1974 - small ad)<br />
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<b>MARVEL LIGHTING AND DISCO</b><br />
Paul Hooper (Ex Indian Summer) Coventry 75769<br />
(Advertised in Hobo Issue No 3, February 1974 - small ad and full ad in Issue 4 1974)<br />
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<b><span style="font-family: arial;">SKELETON DISCO</span></b></div>
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Alistair Paul - Coventry 75721.</span></div>
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<span style="font-family: arial;"><b>ACE DISCO </b>at the Thistle, Monday, Tuesday and Thursday. (In Hobo Whatz On April 1974)</span></div>
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<span style="font-family: arial;"><b>OLD BALL DISCO </b>at the Old Ball, Ball Inn. Rock n Roll. Monday nights. (From Hobo Whatz On April 1974)</span></div>
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<span style="font-family: arial;"><b>The WALSGRAVE </b>Disco and bands - Mondays and Tuesdays - From Hobo Whatz On April 1974.</span></div>
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<span style="font-family: arial;"><b>CLOUDS DISCO </b>at Courtauld's Social Club. From Hobo Whatz On April 1974.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw33WjM5vhp3jtcWMPluPfW0cEqcCnoeu_HAqZItn-IMg2ORcMMIbK0l_u_VsQEXs8i213VR1veevnZGHVT16Pccd6V9EUDx-Ivy9eGS2FDB491X-LEOj6Z7D-cSXygfQLCwbxn91BBQc/s1600/Hobo013a.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw33WjM5vhp3jtcWMPluPfW0cEqcCnoeu_HAqZItn-IMg2ORcMMIbK0l_u_VsQEXs8i213VR1veevnZGHVT16Pccd6V9EUDx-Ivy9eGS2FDB491X-LEOj6Z7D-cSXygfQLCwbxn91BBQc/s640/Hobo013a.jpg" width="640" /></span></a></div>
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Below, advert from hobo Magazine 1974 - colourised.</span></div>
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<span style="font-family: arial;"><b>CLOUDS DISCO </b>at the Sportsman's Arms, Allesley, Coventry, Sunday nights. From Hobo Whatz On July 1974.</span></div>
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<span style="font-family: arial;"><b>BIG SOUNDS DISCO </b>at<b> </b>the Bear Inn, High Street Coventry. (Hobo Whatz On April 1974). Possibly Silk Disco. Friday Nights. in July 1974 issue of Hobo, it was on Friday nights.</span></div>
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<span style="font-family: arial;"><b>GULLIVERS </b>Rock and Progressive Music - Friday nights at the Sportsman's Arms, Coventry. (Hobo Whatz On April 1974).</span></div>
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<span style="font-family: arial;"><b>STEAM PACKET </b>Tree Tops, Foleshill Road, Coventry. New Rock Venue with Heavy Disco. Featuring the best in Live Bands. 55p Students 25p. Direct Enterprises. (Hobo Whatz On April 1974.)</span></div>
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<span style="font-family: arial;"><b>GOLDEN CROSS </b>- Disco upstairs with John Bargent (Bow), Moonraker Disco. Hobo Whatz on April 1974.John was a co founder of Hobo with me in 1973. He ran Roguestar Promotions then (separate post on them coming up soon). he was also road manager for Khayyam (Coventry Jazz Rock outfit) on their European tour in the autumn of 1973. </span></div>
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<span style="font-family: arial;"><b>GLADE SOUNDS </b>- They did the disco in 1974 for Coventry Technical College Student Union Gigs. More on those gigs on the post about Cov tech college gigs on here.</span></div>
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<span style="font-family: arial;"><b>RADFORD HOTEL </b>Wednesday disco - Soul and funky with<b> Tom Martin </b>and <b>Jeff Carvell.</b></span></div>
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<span style="font-family: arial;"><b>CHUMS </b>Thursday Rock, prog disco by Silk (see separate post for them on here). High Street Coventry. From Hobo Whatz On July 1974.</span></div>
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<span style="font-family: arial;"><b>BAGINTON SOUL EXPLOSION </b>Thursday nights at the The Baginton Oak, Baginton Village, Coventry, with Pete Waterman.</span></div>
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<span style="font-family: arial;"><b>Mr. GEORGE'S NIGHTCLUB </b>Friday night with Pete Waterman.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9TOoi8v9AZf2fcIXvX8pgvPvyn9QhFKSftohMLikw7k1yo0g2NqZbaX11nT8UHWBGg91rhqls-QDSf7kvVv6G6VBSaH1scdYZjT3x4NlX3ACOAAiZV6Trxw7Qbb8S90YAMYyWO-Xg9M/s1600/10475834_10204090979019164_4005601979155050940_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9TOoi8v9AZf2fcIXvX8pgvPvyn9QhFKSftohMLikw7k1yo0g2NqZbaX11nT8UHWBGg91rhqls-QDSf7kvVv6G6VBSaH1scdYZjT3x4NlX3ACOAAiZV6Trxw7Qbb8S90YAMYyWO-Xg9M/s640/10475834_10204090979019164_4005601979155050940_n.jpg" width="640" /></span></a></div>
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<span style="font-family: arial;"><b>ANTELOPE </b>Motorcycle Club, Butts, Coventry. DJ's Tom Martin and Jeff Carvell. Tuesday nights - Rock n Roll. also Thurs, Sat, Sun Soul and Pop.</span></div>
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<b><span style="font-family: arial;">STRANGE DISCO AND LIGHTSHOW </span></b></div>
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Advertised in Hobo small ads in 1974. Si Cook and Little John. This is the original info sheet that gave Hobo.</span></div>
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<b><span style="font-family: arial;">THE VILLAGE - COLIN CAMPBELL</span></b></div>
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The Colin Campbell has a long history as part of the Coventry Music Scene right up to the present. In 1970 the upstairs room played host to the Village Disco and gigs with Top Prog DJ <b>Malv Preece</b>.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg39FKP6uRXZrzye9bXQDM5DpaMTCMWANnndXxro1AFJ-CnS0B9TMmyn5lShUdhcDgooxSgm22_zg35DnjC9ZMxp6YLbOeQLhVAAMGNl69WK9TcOdjtS1v2exZNnT_56wxy5TtFIaDXzvs/s1600/village2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg39FKP6uRXZrzye9bXQDM5DpaMTCMWANnndXxro1AFJ-CnS0B9TMmyn5lShUdhcDgooxSgm22_zg35DnjC9ZMxp6YLbOeQLhVAAMGNl69WK9TcOdjtS1v2exZNnT_56wxy5TtFIaDXzvs/s1600/village2.jpg" width="362" /></span></a></div>
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From Broadgate Gnome 1970</span></div>
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Advert from Hobo Magazine 1974.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvCyzEjLtMAVZk319nWBxs7uM4r0ARqqt5kPQ-RDz8vR5kg6LKPsj-yloT8orE0TDdVk6e05nH0C7d0Klo_BBoIJTRbqBHFImKv1Hep6n5Zo_VNxbl0JZm-UFEQthoAgDzcZm2EtMMwK0/s1600/village003a.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvCyzEjLtMAVZk319nWBxs7uM4r0ARqqt5kPQ-RDz8vR5kg6LKPsj-yloT8orE0TDdVk6e05nH0C7d0Klo_BBoIJTRbqBHFImKv1Hep6n5Zo_VNxbl0JZm-UFEQthoAgDzcZm2EtMMwK0/s640/village003a.jpg" width="640" /></span></a></div>
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Advert from Hobo Magazine in 1974</span></div>
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<b><span style="font-family: arial;">CONTACT DISCO - Alan Clark 1974.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRh1MhXl6BGPSCxTy_xLsS8q6D4CWcvLV6nznrSv0RjVIsIhCndCAKI-PSyKTnVg3IEIqjFnmaPflE6DUjh6NXen8oo8zuLR59Wqsi9cq1Rur3vEd7s_CMAX01DxVsVVGUIAjMraaUfw/s1600/Hobo010.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRh1MhXl6BGPSCxTy_xLsS8q6D4CWcvLV6nznrSv0RjVIsIhCndCAKI-PSyKTnVg3IEIqjFnmaPflE6DUjh6NXen8oo8zuLR59Wqsi9cq1Rur3vEd7s_CMAX01DxVsVVGUIAjMraaUfw/s640/Hobo010.jpg" width="640" /></span></a></div>
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Below, Advert in Hobo Magazine 1974</span></div>
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St. Osburg's Hall, Coventry with Desmond Dekker 9th August 1974 </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3fj3VQ1E1ICOEZzBg2WdbypnDCN24L730KCMTyY1tNDDNpwNbfgmEu48A31vUWiwyFgMONt3agdupUV8VheFFGL7VTOhfxgGzfmNoQvzS1L4sYfGKz8fbLWqoxqOJQ3cL6p4ksravhU/s1600/Desmond+Dekker.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3fj3VQ1E1ICOEZzBg2WdbypnDCN24L730KCMTyY1tNDDNpwNbfgmEu48A31vUWiwyFgMONt3agdupUV8VheFFGL7VTOhfxgGzfmNoQvzS1L4sYfGKz8fbLWqoxqOJQ3cL6p4ksravhU/s640/Desmond+Dekker.jpg" width="508" /></span></a></div>
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<b><span style="font-family: arial;">Spode Sounds - Mobile Disco, Coventry 1974</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrcH1Zn77_IsZuZBmAdaR1ha25-tkWNcJd67CFidE95RFpmCMO8X8N25hMdfFfPuuY-E7cqqbDPJDZSa9NOclR_A2iGUrqRhWQPVeG2A8Pwj6ni50qoS1o5pZAAdtHOzcZZJE1RjSWkc/s1600/Hobo015.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrcH1Zn77_IsZuZBmAdaR1ha25-tkWNcJd67CFidE95RFpmCMO8X8N25hMdfFfPuuY-E7cqqbDPJDZSa9NOclR_A2iGUrqRhWQPVeG2A8Pwj6ni50qoS1o5pZAAdtHOzcZZJE1RjSWkc/s640/Hobo015.jpg" width="640" /></span></a></div>
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<b><span style="font-family: arial;">Patatheque Promotions Coventry 1974</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIMlSLNcIVmV6p1tciC23QP9a4culdUPPWMeZAI4jyhbpp-4jjgDZNixgxJYiHDQv8IotALR7MDQYvopfzyPZW5NPwxIYobnvLtGQnlDIzY8hPTCyeIuchr8-zsqRTHcEEHTGvJZBZrhc/s1600/Hobo017.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIMlSLNcIVmV6p1tciC23QP9a4culdUPPWMeZAI4jyhbpp-4jjgDZNixgxJYiHDQv8IotALR7MDQYvopfzyPZW5NPwxIYobnvLtGQnlDIzY8hPTCyeIuchr8-zsqRTHcEEHTGvJZBZrhc/s640/Hobo017.jpg" width="640" /></span></a></div>
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Discos took place at the weekends in <b>The Jaguar,</b> <b>Tally Ho</b> and the <b>The Dive Bar (Lady Godiva)</b> 1972 onwards.</span></div>
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<span style="font-family: arial;"><b>Axis Disco - </b>Mercers Arms - Henry's Blues House session 1971</span></div>
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<span style="font-family: arial;"><b>Boatyard</b> - Stereo Progresive Disco - Hand in Heart, Far Gosford Street.</span></div>
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<span style="font-family: arial;"><b>Covern, Hare and Squirrel, </b>New Union Street, 1972 - Rock Disco</span></div>
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<span style="font-family: arial;"><b>Coven 74</b> club.Radford Hotel. Progressive music with Sounds of Venue Disco Weds 1974</span></div>
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Thursday nights 1972 <b>Mandy'</b>s at the Royal Naval Club, Top Prog Gigs supported by <b>The T. F. Much Disco. </b></span></div>
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<span style="font-family: arial;"><b>Imperial Hotel </b>Rugby. Dream Disco and lights.</span></div>
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<span style="font-family: arial;"><b>Trocadero</b>, Weston Hall, Bulkington. Silk Disco Mon / Tues. </span></div>
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<span style="font-family: arial;"><b>Purple Haze Disco</b> - Steve and Al Varney (bass player with Fission). Mostly based at the Coventry Arts Umbrella Club prior to 1972. Also same outfit known variously as <b>Alisterpeda</b> (with Pete Webb).</span></div>
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Discos at the Lanch Poly.</span></div>
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<span style="font-family: arial;"><b>Count Down</b> at the Baginton Oak 1972</span></div>
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<b><span style="font-family: arial;">NEW ADDITIONS ADDED OCT 2017 FROM THE OLD HOBO VOX SITE.</span></b></div>
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<span style="font-family: arial;"><b>John Bargent's (Bo's)</b> disco c 1973</span></div>
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Above - A Hobo Workshop band list 1974 for Sept / Oct.</span></div>
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(Work in progress - to be continued)<br />
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<br /></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-88284507209868422152013-11-19T15:02:00.001-08:002023-04-12T10:52:01.042-07:00Pete Chambers - Two Tone Trail / Plaques / Walk of Fame / Books / Music Museum<span style="font-family: arial;">While doing the Hobo Vox blog on Coventry Music c 2007 - 9, I was in regular contact with Pete <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Chambers </span></td></tr>
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Chambers who was doing some outstanding work for Coventry music (and still is). We put on quite a number of posts relating to his work. That site has now been closed by Vox but most of the posts have been relocated on this series of Hobo bloggers and the Hobo A to Z of Coventry music. Many of the posts for <b>Pete Chambers </b>were current at the time but now out of date but here I will try to illustrate some of the work that he did back then. His time and effort now goes in to the Coventry Music Museum on Ball Hill, Coventry as described in another post on here.<br />
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Pete's work included writing the <i>Backbeat </i>Column on Coventry music for the Coventry Telegraph, the <i>Pop into the Past </i>programme for BBC Radio Coventry and Warwickshire with <b>Bob Brolly</b>, writing a number of books on Coventry Music and Two Tone, designing the <i>Walk of Fame</i>, <i>The Two Tone Trail</i> and <i>Plaques</i> and creating the <i>Two Tone Central</i> and the <i>Coventry Music Museum.</i><br />
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<i>I'm not sure who took all the photos but you can e mail me if you know and I will give credits.</i><br />
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<b>Stop Press September 2015 - </b>"Pete Chambers has been writing the Backbeat column in Coventry Telegraph for over ten years, and has been awarded A Coventry Music Wall office plaque and Citizen of the Month Award for his promotion and celebration to Coventry music." His articles can be read here <a href="http://www.coventrytelegraph.net/authors/pete-chambers/">http://www.coventrytelegraph.net/authors/pete-chambers/</a><br />
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The book that started it all off for <b>Pete Chambers</b> in 2005 - no longer available as far as I know but sold really well and established him as a leading authority on Coventry Music.</span></div>
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These two books were part of a wider programme of establishing the <b>Two Tone Trail</b>, along with the <b>Walk of Fame </b>and the series of Two Tone plaques on the relevant buildings that hadn't been demolished!</span></div>
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Next Pete enlightened us on the visitations and influence of the <b>Beatles</b> on Coventry, including their early meeting with<b> Pete Waterman</b> and <b>John and Yoko</b>'s planting of Acorns for Peace in the grounds of Coventry Cathedral.</span></div>
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<span style="font-family: arial;"><b>Godiva Rocked to a Backbeat</b> was a more visual history of Coventry's top bands from the 60's through to the 80's and the launch of the book was a great gathering of Coventry musicians and music.</span></div>
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Following the More than Two Tones Exhibition of Coventry Music at the Herbert Museum and Art Gallery 2009. Pete created the 2 Tone Central museum at Coventry University and the Ball Hill - now the Coventry Music Museum - a must visit!</span></div>
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Pete signing one of his books</span></div>
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<span style="font-family: arial;"><b>Pete Chambers </b>with <b>Roadent</b> (of<b> Sex Pistols</b> and <b>Clash</b> fame) from Coventry - Steve Connelly or Scon as he was known in the early 70's to his friends. They are establishing the 7th Two Tone Plaque at Mr George's Night club. Roadent introduced the Specials to the notorious <b>Bernie Rhodes</b> at <i>Mr Georges</i>!</span></div>
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<span style="font-family: arial;"><b>Pete Chambers </b>and <b>Horace Panter</b> at the Lanch (Coventry University) establishing a Tow Tone plaque.</span></div>
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More than Two Tones Exhibition 2009</span></div>
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Two Tone Plaque at the Lanch (Coventry University)</span></div>
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<span style="font-family: arial;"><b>Pete Waterman</b> and <b>John Bradbury</b> outside the former Coventry <i>Virgin Records</i> with <b>Pete Chambers </b>establishing the Two Tone Plaque. <b>John Bradbury</b> worked at Virgin records and Pete Waterman ran the <i>Soul Hole Record</i> store upstairs - <i>Northern Soul</i> imports with <b>DJ Tilly Rutherford.</b></span></div>
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Photographer <b>John Coles</b> and <b>John Bradbury</b> with the Virgin Plaque.</span></div>
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51 Albany Road, base of the early Specials with a Two Tone plaque above the window!</span></div>
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The Holyhead Youth centre had long been a base for pop music in the 60's, a rehearsal space for the Belgrade theatre, Youth Club and in 1974/5 the base for the <i>Hobo Workshop</i> gigs, giving first gigs to bands who later reformed as <b>The Reluctant Stereotypes</b> / <b>Neil O'Connor</b>'s <b>Midnight Circus</b> (later the <b>Flys</b>), <b>Dave Pepper'</b>s first band <b>Phoenix</b> and many more. In the cellar in 1974, <b>Charley Anderson </b>was the youth worker and some of the musicians who formed the later Two Tone bands rehearsed there. <b>Neol Davies</b> came along to the <i>Hobo Workshop </i>to organise a jam session for us and we wanted to include Charley's musicians in the cellar so Neol went down to talk to them and ended up jamming with them down there - by 1977 he was playing <b>Chapter 5</b> with Charley and his musicians. The Holyhead later played host to the formation of the <b>Coventry Automatics</b> - later the <b>Specials </b>and much else - a centre with huge Coventry music importance including the involvement of the legendary <b>Ray King</b> whose Soul Band had a huge international reputation in the 60's and 70's. Here Pete Chambers is organising yet another Two Tone plaque and the Holyhead Youth Centre in Coventry. </span></div>
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The usual suspects with the Virgin Two Tone Plaque</span></div>
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The Hand in Heart - scene of <b>Rod Felton'</b>s <i>Rude Bare Folk Club </i>and of other relevance to the Coventry music scene and of course The Specials - hence yet another Two Tone plaque being established.</span></div>
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Inside the Holyhead Youth Centre with <b>Pete Chambers, Ray King </b>and <b>Neol Davies</b> etc.</span></div>
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<span style="font-family: arial;"><b>Analog</b> playing at the Holyhead Youth Centre 1974 - with <b>Paul Brook</b> (drums) and <b>Steve Edgeson</b> later of <b>Reluctant Stereotypes</b> etc. Also in this picture<b> Trev Teasdel </b>and <b>Bob Rhodes </b>who organised the Hobo Workshop and <b>Phil Knapper</b> (elder brother of <b> Stu Knapper </b>- later leader of the punk band <b>Riot Act</b>). <b>Paul Sampson</b> (another <b>Reluctant Stereotype</b> and later producer of the <b>Primitives </b>etc) also played there with jazz rock band <b>Trigon. </b>(Photo by Coventry Evening Telegraph 1974)</span></div>
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Neol Davies, The Lord mayor and Pete Chambers outside the Holyhead Youth Centre.</span></div>
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Pete Chambers with the Enemy</span></div>
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More than Two Tones Exhibition 2009</span></div>
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Pete Chambers outside the Holyhead Youth Centre</span></div>
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Coventry Music museum opened in 2013 (Photo by Paul Kennelly)</span></div>
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2 Tone Central</span></div>
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Trev Teasdel by the Pete Waterman Walk of Fame plaque (photo by Pete Chambers)</span></div>
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The 1st two Tone Central at Coventry University</span></div>
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More than Two Tones Exhibition</span></div>
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Jerry Dammers at Two Tone Central</span></div>
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<br />Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-51526249599229995202013-11-18T14:18:00.001-08:002023-04-12T10:52:27.997-07:00Coventry Music Exhibition 2009 - More than Two Tone Videos<span style="font-family: arial;">Following on from posting the minutes from the committee meetings held between 2007 and 2009 for the Coventry Music Exhibition - known as More than Two Tones, and based for a few months at the Herbert Museum and Art Gallery, we are posting the special videos that were made at the time featuring Coventry celebs like Hazel O 'Connor etc.<br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-44220381213382391492013-11-18T10:25:00.002-08:002023-04-12T10:54:10.350-07:00MORE THAN TWO TONES - Review of the Launch 2009<div class="separator" style="clear: both; text-align: center;">
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<b><br /><span style="font-family: arial;">10/05/2009 from Hobo Vox blog<br /><span style="font-size: large;">MORE THAN TWO TONES - Review of the Launch</span></span></b><div><span style="font-family: arial;">Having been on the steering group for the Coventry Music History Exhibition - More Than Two Tones over the past two years, (along with <b>Pete Chambers, Richard Elms, Trev Teasdel</b> (me), <b>Huw Jones, John Dawkins, Roger Lomas, Neol Davies, Dave Fisher, Pete Walters</b> and <b>Herbert Museum team</b>) I was invited to the launch at the <b>Herbert Museum and Art Gallery</b> last Friday (2nd October). <br />
This is a temporary exhibition lasting until January 3rd.<br />
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<span style="font-family: arial;"><b>Down in Coventry</b><br />
Living now on the edge of both Teesside and the North York Moors, I travelled down to the Two-Tone <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Two Tone gold Discs at the More Than Two Tone Exhibition</span></td></tr>
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Motor City by National Express down long stretches of arterial lanes and souless motorways passing through the wonderwell of York and the urban guerrilla of Birmingham where I was picked up and ushered to Cov by my young nephew in his smart new car!<br />
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Coventry seemed surprised to see me after all these years and spread the rumour loft to loft '<i>Trev is back</i>' but the cars and buses and lorries bustled on regardless. After spending the afternoon with my mother and sister in Chapelfields, I was driven by my nephew down to Priory Street where things were already happening. </span></div>
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Striding down the new Cathedral steps, trying to avoid eye contact with devil on the side wall, I saw a crowd <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Chambers at More than Two Tone launch</span></td></tr>
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entering the Lanch Poly (now Coventry University) Student Union building. Priory Street has become the iconic street in Coventry having had three Cathedrals, one of which was bombed and it is near where the <b>Lennons</b> laid acorns for peace in 1969 and where the Lanch Poly SU held its arts festivals and put on some of the top underground in the 70's and early 80's from <b>Soft Machine, Jack Bruce, Colosseum, Clash, Selecter, UB40 </b>to name just a few. <i>Priory Street </i>is now where<b> Pete Chambers</b> does his <i>BBC Coventry Pop into the Past</i> programme with his <i>Walk of Fame</i> outside in Priory Place - with it's tributes to the <b>Specials, Hazel O Connor </b>and <b>Pete Waterman</b> etc. At the other end - the <i>Herbert Museum and Art Gallery</i> but more of that soon.</span></div>
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<b>THE 8th TWO TONE PLAQUE</b><br />
The gathering at the Student Union was to launch the 8th Coventry Two Tone plaque.This being the place where <b>Roddy Radiation </b>wrote <i>Rat Race</i> in the Student Union. <b>Horace Panter, Pauline Black </b>and <b>Jerry </b><br />
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Dammers</b> all did their degrees there.The fact that the plaque had already been up a year (I know because Pete Chambers photographed me below it a year ago) didn't matter - it was a good way to start the launch and attract a crowd and a flashing of journalists! <b>Pete Chambers</b> and Horace of the Specials addressed the crowd and answered questions. Afterwards it was camera and notebook madness with Pete and Horace most likely '<i>Braggin' and Trying not to lie</i>!' as they say in the song!</span></div>
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<b>Stories of Indian Summer</b><br />
The crowd then moved up past the old Cathedral to the new Herbert Museum and Art Gallery for the launch. There was quite a crowd of invited guests,many seemingly of the Two Tone generation but quite a mixture of ages really. I was hard put though to find anyone from the early 70's music scene. Bob Jackson, the former Indian Summer front man who over the years has played with John Entwhistle, Pete Brown, Badfinger and the Fortunes came up and spoke. He too had expected to see more familiar faces. Neol Davies of Selecter came up and shook our hands but wasn't able to stay as he was guesting at a Ska gig in Birmingham. </span></div>
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Neol had originally wanted to reform <b>The Selecter</b> for 30th Celebration and I suggested they might play at <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Chambers & Horace Panter 2 Tone Plaque launch</span></td></tr>
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the Exhibition launch. Neol however was unable to get Selecter back together again but there was talk of a Two Tone jam or a solo performance from Neol, but Neol was off to Brum instead. <b>Roger Lomas</b> (Ex <b>Sorrows</b> and producer of the <b>Selecter</b> and also on the steering group, was touring the contient with The Ripps. Bob Jackson told me a story about how they had to push his Hammond Organ all the way from Grafton Street near Gosford Green to the Lanch poly for a gig owing to a lack of transport and also corrected a story I'd heard that when the Nice played the Lanch poly. Rumour in the 70's had it that Keith Emerson borrowed Bob's Hammond albeit that Emerson was notorious for throwing knives into his Hammond as part of the act but that Emerson bought him a brand new one to replace it! Bob revealed that the story had gotten a little far fetched and Bob confirmed he turned Emerson down! Bob's Hammond was precious and there was no mention of any <br />
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replacement - not that Bob - in his own addmission - was opposed to throwing knives in his own Hammond as part of the act at one stage but no way would he let anyone else do that -even Emerson! </span></div>
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I agreed to interview Bob for Hobo on the Indian Summer days and beyond. Bob was always good for some interesting news update stories in the 70's when I ran Hobo magazine I was amazed tofind Bob looks more or less the same as he did in the 70's - he still has the long hair and the colouring and so was easily recognisable!</span></div>
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<span style="font-family: arial;"><b>The Launch</b><br />
After much socialising and free drinks and Liquorace Allsorts - Pete and Horace opened the launch with a speech. Unfortunatley little of it was audiable in the new cathedral-like reception hall except for the words'Two Tone' which seemed to resound in the rafters like a sacrad word! I commented to Martin Richards of the museum that Pete would probably love that - the rest of the words were presumably fillers and acknowlegements anyway and the crowd were anxious to see the Exhibition..<br />
Without giving too much away (you really will have to go and see for yourself) the exhibition was rather smart with a mix of Gold discs, costumes, guitars, posters, recording desks and outline histories. Sure it's not going to please all of the Coventry musos - much that was mentioned in the planning wasn't evident but given the size of the gallery and the time scale and pressures, I think the team did a great job and although it focuses on the big names mainly, it presents a convincing picture of Coventry as an important musical centre. It will be what the fans from across the world will want to see. Sure there were names missing - I didn't see Dando Shaft for instance and it didn't portray the underground music scene out of which Two Tone emerged, but it was probably better for being simple; being a temporary exhibition and the first of its kind in Coventry. The Hobo Vox site (here) gives a lot of that background anyway although I didn't notice the urls to the Coventry music sites that I thought were going tobe displayed!<br />
But it gets the thumbs up for all the hard work the team did to make it happen at all and hopefully this is just the start of documenting the rich musical history of the city.<br />
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<b>The Concert</b><br />
Meanwhile downstairs in the restaurant the stage was being prepared for the musical aspects of the night.<br />
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Early plans for the launch had included <b>The Selecter</b> or a Two Tone Jam with <b>Neol Davies</b> at least, <b>The Vampires </b>- a Cov band from the 50's. Once more Pete Chambers took to the stage but this time we could hear him loud and clear through the PA. We knew the Primitives were headlining but who was on first? I was delighted when Pete introduced a young Coventry singer songwriter called Kristy Gallacher. I'd communicated with her and had a copy of her CD but never got to see her live, living a long way from Cov. Kristy did a short but highly effective set. The sound system and lighting was superb and Kristy looked great in her stageoutfit. Kristy is a great example of the new talent coming out of the city, proving that the cities musical achievement is not all in the past - far from it - there's a thriving acoustic scene and although mixed, has a good representation of female singer songwriters (in the seventies - with a few exceptions like Beverly Martyn) music scene was largely male dominated (ok maybe some bands had the cursory 'chick singer') but the lads ruled!<br />
Now some like Kristy and Janine are not only talented muscians and writers but run some of the top venues in the city - a measure of how far women have come. Kristy led us through some of her best songs with confidence and skill and such good guitar accompaniment with touches of jazz funk, finger style and rock in the chording. Her songs tell an evocative and heartfelt story with great wit, ingenuity and rhythm. Speaking to her afterwards I realised what a lovely person she is and, in the best of the Cov Scene spirit, selfless enough to give much of her time to promoting other up coming artists (she runs at least two acoustic venues herself). Kristy ended the short set with an uptempo number and had the audience not been so close to the stage, I would have been both dancing and listening (but as those who have been to the <i>Writers Cafe </i>in Stockton know - I need space for my kind of dancing!).Kristy's Home page is <a href="http://www.kristygallacher.com/">http://www.kristygallacher.com/</a><br />
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Ne<b></b>xt on were the <b>Primitives.</b> I was excited to see the Primitives as they emerged after I left Cov. Produced by Paul Sampson -who used to play for us at the Hobo Workshop - <i>Holyhead Youth Centre </i>in the mid 70's with his jazz rock band - <b>Trigon</b>. Paul went on to be a leading member of the Two Tone band <b>Reluctant Stereotypes</b> with <b>Paul King </b>who later topped the charts with his own band <b>King</b>. For those not in the know - the Primitives were a kind of Blondie style groups who had hits in the mid 80's - like <i>Crash</i>. Sadly it wasn't the original line up with the passing of <b>Steve Dulla</b>. Their performance is on You Tube for those interested. Very much a pop style band with plenty of danceable tunes and it was a treat to see them live despite the absence of one of it's leading members. <b>The Primitives</b> underpin the diversity of music that has come out of Coventry over the decades, from rock n roll, progressive pop, metal, folk rock, ska and punk and much more. Here are some photos of the concert by <b>Chris Johnson </b>(his flickr account has now gone unfortunately).
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<span style="font-family: arial;"><b>Inspire</b><br />
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On the advice of Kristy, I headed to Inspire for a glass of Vino before heading back to my sisters. Although<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Inspire - Coventry</span></td></tr>
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I didn't recognise anyone I knew, it is apparently one of the places Coventry musos now go. Maybe the equivalent of the Dive bar in the 70's. Inspire is interesting for those not from Coventry. So called because Coventry's smallest spire of the three famous ones is just that - the church got blown away by the Luftwaffe. The pub is literally in the base of the spire with an outside lounge area and a powerful landlord who keeps order by thunderbolts!!! It often has live music or a DJ.<br />
The flying visit was over - next morning bright and early back on the coach heading towards Leeds through blustery headwind and then out in to Middlesbrough and home!<br />
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More videos of the Primitives Live at the More than Two Tones Launch 2009 at the Herbert Museum and Art Gallery here on It's All About Coventry site <a href="https://www.youtube.com/user/bgbgbgx/videos">https://www.youtube.com/user/bgbgbgx/videos</a><br />
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<b>Comments from the former Hobo Vox site</b></span></div>
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[this is good] Good review of the night Trev.<br />
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Posted by: <b>Wayne Spencer</b> | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c174970b#comment-6a0133f436b043970b0133f436c174970b">10/06/2009 at 05:52 PM</a><br />
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I was at the plaque unveiling and launch night and enjoyed it all. And really enjoyed seeing The Primitives and Kristy Gallacher. I'm hoping to see both of them again. The exhibition is definitely worth going to, some great items on display. <br />
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Posted by: <b>Wayne Spencer</b> | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c176970b#comment-6a0133f436b043970b0133f436c176970b">10/06/2009 at 05:57 PM</a><br />
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Thanks Wayne. I must have seen you then but didn't know who you were. Was it you that did the video. I'm sure I've seen your name before - are you a muso?<br />
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Posted by: Glass Orange Magazine (Trev Teasdel) | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c179970b#comment-6a0133f436b043970b0133f436c179970b">10/06/2009 at 06:17 PM</a><br />
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Sorry if I confused you with that reply - I was logged into another of my Vox sites - it should have come from Hobo and Trev -oops.<br />
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Posted by: HOBO - Coventry Music Magazine | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c17b970b#comment-6a0133f436b043970b0133f436c17b970b">10/06/2009 at 06:30 PM</a><br />
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Hi Trev. No problem. You may have seen my name on Pete Chamber's facebook. I didn't shoot the video, just posted links to the youtube stuff on Pete's page after the event so everyone could find them. I don't actually play, just a big music fan. I started going to Pete's plaque unveilings after joining his facebook page, and he was kind enough to give out invites for the Herbert event so I went along and thought it was great. I've been really impressed by the plaque events and all of the Two Tone at 30 things that have been done this year, and as I'm in Leicester its pretty easy for me to go along and enjoy them. I do intend to take some video and pics at the next plaque events and I'll post them online and put links on Pete's facebook page. <br />
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Posted by: <b>Wayne Spencer </b>| <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c17d970b#comment-6a0133f436b043970b0133f436c17d970b">10/06/2009 at 08:52 PM</a><br />
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Cool - I'll look out for them Wayne T.<br />
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Posted by: HOBO - Coventry Music Magazine | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c17f970b#comment-6a0133f436b043970b0133f436c17f970b">10/06/2009 at 08:55 PM</a><br />
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Oh, and I should have said. I'm on the left in this pic on facebook, chatting to Horace Panter at the Herbert. Well, the pic only shows the back of me but you get the idea. <a href="http://www.facebook.com/photo.php?pid=2208440&id=544527613">http://www.facebook.com/photo.php?pid=2208440&id=544527613</a><br />
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Posted by: <b>Wayne Spencer</b> | <a href="http://coventrymusichistory.typepad.com/blog/2009/10/more-than-two-tones-review-of-the-launch.html?cid=6a0133f436b043970b0133f436c181970b#comment-6a0133f436b043970b0133f436c181970b">10/06/2009 at 08:59 PM</a></span></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-43372854435029668292013-11-18T08:34:00.001-08:002023-04-12T10:58:03.937-07:00Coventry Music Exhibition (Herbert Museum and Art Gallery) 2009<span style="font-family: arial;">The minutes and information relating to the<b> Coventry Music Exhibition 2009</b> are re-archived here from the old Hobo Vox site.<br />
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<b>10/05/2007 - by Trev Teasdel</b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Herbert Museum and Art Gallery, Coventry</span></td></tr>
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Earlier this week I zoomed down to Coventry - my first visit for a few years - at the invitation of Coventry's Retro Pop historian and journalist / author - <b>Pete Chambers.</b><br />
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We both had ideas towards a possible Coventry Music museum separately and more recently shared those ideas. Pete approached<b> Roger Vaughan</b> of the <i>Herbert Museum and Art Gallery</i> and Roger set up a meeting between his staff and various interested parties including Pete and myself and <b>Roger Lomas</b> (Ex Sorrows and Two Tone Producer).<br />
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The Herbert complex is currently being re-developed and includes the Depot recording studio and re-opens in 2008. We met in the temporary accommodation at the Canal Basin where the famous <b>Specials</b> Cover photo was taken. Roger wanted to consult some of the people involved with the Coventry music scene and those who currently charting it's history and developing new projects.<br />
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The meeting was quite to begin with but soon cranked up and got quite heated at one stage - such was the enthusiasm for the idea. The idea is to stage an exhibition that will hopefully lead to a permanent Coventry music focus / museum. It was thought the exhibition should create atmosphere, contexted by what was going on in both wider youth culture and the Coventry take on it, layered so that people can view the exhibits and those that want to can dig a little deeper in to it's social history. It was thought that it could involve school workshops for schools and adult education and much more. Pete's message was not to forget the music in all the brilliant ideas. Now Roger's staff have the challenge of marshaling all those diverse ideas into a coherent and achievable plan and get it funded. There will be follow on meetings periodically and the Hobo, Broadgate Gnome,<b> Rex Brough</b> and <b>Tim James</b> sites will provide source materials and inspiration along with all of <b>Pete Chamber'</b>s books on Coventry music.<br />
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Like the sites, the exhibition won't just be about history or nostalgia but inspiration and hopefully will provide a springboard for new developments for Coventry musicians.<br />
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It was great to see the idea starting to become a reality. Long way to go but it's begun it's journey - and in the same week that long proposed Coventry Co-operative <b>Gnome label</b> has started to develop with the proposed Retro Cov podcast and possible CD and much more.<br />
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Exciting stuff.<br />
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Meanwhile if you have any suggestions for the exhibition - in terms of who should be represented (famous or not famous but important to the Cov Scene) or for artifacts, or whatever - use the comments below. I won't guarantee your ideas will be taken up but they will be looked at.</span></div>
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<b><span style="font-family: arial;">Comments from Hobo Vox site </span></b></div>
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Brilliant idea guys and hopefully one that will come to fruition. My involvement in the Coventry music scene is restricted to just the 90`s, but as co-founder of <i>Rockhouse Studios</i>, aka<i> Backbeat,</i> if I can help with this era please ask.<br />
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Posted by: <b>Dean Lovell |</b> <a href="http://coventrymusichistory.typepad.com/blog/2007/10/coventry-music-exhibition-for-2009.html?cid=6a0133f436b043970b0133f436ff33970b#comment-6a0133f436b043970b0133f436ff33970b">12/10/2008 at 01:05 AM</a><br />
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<span style="font-family: arial;"><b>Meting Update Oct 2007</b><br />
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Present: <b>Pete Chambers, Peter Walters, Trevor Teasdel, Roger Lomas, Dave Fisher, Roger Vaughan, Jo Whitford, Richard Elms, Martin Roberts.</b><br />
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The current proposal is to hold a temporary exhibition at The Herbert towards the end of 2009. This would be used to test the feasibility of a permanent gallery on the subject.<br />
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The exhibition aims are:<br />
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• To record the history of the music scene in Coventry<br />
• To inspire the musicians of the future<br />
• To celebrate the creativity of the city and instill civic pride<br />
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Key themes<br />
• Main acts/heroes/chart successes<br />
• Behind the scenes (e.g. producers, studios, venues, instrument makers)<br />
• Social history context (e.g. fashions, politics)<br />
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The current proposal is to hold a temporary exhibition at The Herbert towards the end of 2009. This would be used to test the feasibility of a permanent gallery on the subject.<br />
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The exhibition would focus on events in Coventry, but the scope should be widened to include the rest ofWarwickshire, especially Leamington, Warwick, Stratford, Rugby. The chronological range of the exhibition would be from the 1950s (birth of rock & roll) to the present day.<br />
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A timeline could be used to give a chronological framework to the exhibition, within which these themes could be explored in some depth.<br />
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THE EXHIBITION</b><br />
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The exhibition should be rich in content, including objects, stories and the music itself. Objects would need to be borrowed from people involved in the music scene. A number of people have been approached already and most were willing to loan items. Potential objects include instruments, gold discs, clothing worn by band members, fan memorabilia, etc. The Herbert can guarantee the security of any items loaned, which would be displayed in secure showcases.<br />
<br />
It is important that the right atmosphere is created, through the use of sound, etc.<br />
<br />
An important aspect of the exhibition would be to look to the future and to encourage people to make music.<br />
<br />
Content could include film of Top of the Pops performances by Coventry bands, karaoke, juke boxes, oral history, etc.<br />
<br />
The exhibition should be wide ranging and have layers of interpretation so that it appeals to all age groups, including families and schools.<br />
<br />
AV and multimedia exhibits could be used to provide access to more information, including access to relevant websites.<br />
<br />
<b>EXHIBITION VENUE</b><br />
<br />
The exhibition will be held in the Herbert's gallery 4 and will run for a period of 2-3 months. Other spaces within the Herbert could also be used for linked activities, e.g. café, studio space, media studios, etc.<br />
<br />
<b>EVENTS PROGRAMME</b><br />
<br />
The programme of events linked to the exhibition could include:-<br />
Launch party<br />
Live performances by bands in café or Studio space<br />
Film screenings<br />
Talks programme<br />
Possible commission of a theatre company to create and perform a piece of musical theatre which could then tour other venues<br />
<br />
Local bands could be asked to cover songs from other bands from the city. These could be made into a CD which could be sold.<br />
<br />
It will be important to promote the work of new young artists.<br />
<br />
<b>PETE CHAMBERS IDEA</b><br />
</span><div><span style="font-family: arial;">
11/03/2007<br />
<b><span style="font-size: large;">Jerry Dammer's Diorama - Pete Chamber's idea for the Coventry Music Exhibition 2009</span></b><b><br /></b><br />
One idea I had that I didn't mention at the meeting. Was the idea of a mock-up of <b>Jerry Dammer's</b> flat <br />
</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6k4LhtcOyb052kStRQ-q9PbaMe0T28UI4ZSQ24VEhh3OJdAu2VLN21OeJ3hDDL6jsXdf4xaHziwdOZPU8E6r8MiCbq-Occr2EbQiuOYctlZLyPTC1jU9G4aj-sTmjbLwrmnV3tU9Y8E/s1600/6a0133f436b043970b0133f436fba0970b-320pi.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6k4LhtcOyb052kStRQ-q9PbaMe0T28UI4ZSQ24VEhh3OJdAu2VLN21OeJ3hDDL6jsXdf4xaHziwdOZPU8E6r8MiCbq-Occr2EbQiuOYctlZLyPTC1jU9G4aj-sTmjbLwrmnV3tU9Y8E/s1600/6a0133f436b043970b0133f436fba0970b-320pi.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Chambers with the Enemy</span></td></tr>
</tbody></table><span style="font-family: arial;">
(actually just a one wall diorama). This was effectively <b>Two Tone HQ </b>1979-1980. I think it would work as a centre-piece to any Specials/Two Tone exhibit. The museum already has hand written lyrics and other items that could be included in this diorama. I have photographs of the whole room to base designs on.<br />
<br />
Other bi-product stars of the Cov music scene include <b>Chuck Berry</b>, who famously recorded <i>My Ding-A-ling </i>at <i>Coventry's Locarno</i>. As a point of trivia, when Chuck was hitting number one in The USA, <b>Lieutenant Pigeon </b>were number one in the UK. This meant both number one's either side of the pond, were recorded in Coventry, can't see that happening ever again.<br />
<br />
As we also touched on; Reggae star <b>Lee Sratch Perry</b> recorded the Grammy award winning album at Roger Lomas's studio in Coventry. <b>Roger Lomas</b> remains the only Cov musician to win a Grammy.<br />
<br />
The <b>Clash</b> and the <b>Sex Pistols</b> both played on the same bill at Coventry's Lanch (Cov Uni), 48 hours before the famous Filth & Fury headlines provoked by <b>Bill Grundy</b> infamous interview with the Pistols. It was effectively the last gig they would perform before the tabloid press went critical mass over punk rock and its "evil" followers.<br />
<br />
Regards all<br />
<b>Pete Chambers</b></span></div>
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<b><span style="font-family: arial;"><br /></span></b></div>
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<b><span style="font-family: arial;">Comment from Hobo Vox</span></b></div>
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<span style="font-family: arial;"><br />
Pete is great, always has time for the bands and artist of Coventry! A<br />
Posted by: The Coventry music scene | <a href="http://coventrymusichistory.typepad.com/blog/2007/11/jerry-dammers-diorama-pete-chambers-idea-for-the-coventry-music-exhibition-2009.html?cid=6a0133f436b043970b0133f436fba7970b#comment-6a0133f436b043970b0133f436fba7970b">04/16/2008 at 12:02 PM</a><br />
<br />
<b>HOBO ARCHIVES</b><br />
The <b>Broadgate Gnome </b>were asking, I think, about the archiving of the source material. In discussion with <b>Roger Vaughan</b> of the Herbert Art Gallery and museum, I hope to donate the source material from the Hobo files to the Museum / Coventry Archives where they can be used for the new upcoming History research unit and the Coventry Music Exhibition. However there is stil a lot to do on this site as yet.<br />
<br />
<b>Trev.</b><br />
</span><div>
<b><span style="font-family: arial;"><br /></span></b></div>
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<span style="font-family: arial;"><b>Other proposals</b><br />
30th Anniversary of Two Tone 2009 - Possible Celebrations - Possible reformed Selecter Concert<br />
2009 also marks the 30th Anniversary of Two Tone and <b>Neol Davies</b> has been exploring the possibility of a <b>Selecter</b> Reunion gig (with the original members) to Celebrate. We have suggested to him that that might be a good way to launch the <i>Coventry Music Exhibition</i>, perhaps as the culmination of a week long Celebration of Coventry music past and present in general and Two Tone in particular. The concert could be recorded and filmed for a live album and DVD. However it's only an idea at this stage and we don't know yet if the rest of Selecter are up for it and if it is feasible as far as the museum is concerned. However it is an exciting prospect and Neol would clearly like to see a Celebration of one of Coventry's finest moments. By way of market research - would people still turn out for a Selecter gig 30 years on. We think the answer is a Big Yes - but what do you think? Let us know your thoughts in the comments box below. These comments may help towards securing funding for the Exhibition and the proposed concert / Celebrations.<b><br /></b><br />
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<b><span style="font-family: arial;"><br /></span></b></div>
<b><span style="font-family: arial; font-size: large;">THE COVENTRY MUSIC EXHIBITION MEETING - MARCH 5TH 2008<br />Coventry Music Exhibition Trev's Notes March 5th 2008)</span></b></div>
<span style="font-family: arial;"><br />
<b>And below the minutes of the meeting</b><br />
<br />
Just got back from Cov where I attended a meeting for the proposed <b>Coventry Music Exhibition </b>earmarked for the reopened <i>Herbert Museum and Art Gallery</i> in October 2009.<br />
<br />
I'm still awaiting the summary of the meeting from the Herbert but some points -<br />
<br />
We are at the early stage of discussing ideas, gathering information, contacts and resources. The real work on developing the Exhibition, which will be a temporary thing until Jan 2010, will begin in October 2008, giving a full year for the project plan to develop through research, consultations, collecting objects and oral history resources, design, fundraising etc.<br />
<br />
It is hoped that the Exhibition will develop and become a permanent feature at the Herbert.<br />
<br />
<b>TWO TONE JAM SESSION</b><br />
<br />
This time around Two Toner <b>Neol Davies</b> was in attendance and we discussed the possibility of an organised Two Tone jam session / concert / DVD to launch the museum, both because a central focus of the exhibition will be Two Tone (although the whole range of Coventry Music History will be represented to various degrees) and also because 2009 is the 30th anniversary of Two Tone anyway and the city should be celebrating one of its greatest achievements and assets. There is still a lot of discussion and planning needed around this exciting idea and Hobo will keep you informed of developments.<br />
<br />
<b>NEED YOUR IDEAS AND FEEDBACK</b><br />
<br />
The group that met consisted mainly of the Herbert's staff and local media representatives and a few musos such as <b>Pete Chambers, Neol Davies</b> and <b>Trev Teasdel</b>. Others such as <b>Roger Lomas</b> are also involved. However we need to get more ideas and thoughts from Cov musicians past and present in the lead up to the Exhibition preparations in October.<br />
<br />
A statement from the Herbert reads -<br />
<br />
"This exhibition will cover the history of the popular music scene in Coventry from the 1950s to the present day. It aims to celebrate the Coventry bands of those years and inspire the next generation of musicians in the city. Familiar names featured will range from <b>Frank Ifield</b> and <b>Vince Hill</b> in the early days of rock and roll, through the Two Tone bands like the <b>Specials </b>and the <b>Selecte</b>r, to the city's latest pop successes, the Enemy. The exhibition will also feature the venues, such as the <i>Locarno</i> and the <i>Lanch</i>, where top bands like the <b>Beatles</b> and <b>Sex Pistols</b> played in their heyday. It will also focus on the fans who bought the records, wore the clothes and collected the memorabilia. The exhibition will include music, film and interviews with band members and fans, and there will be a chance to see instruments, clothing and gold disks loaned by some of the stars."<br />
<br />
But we need to know what bands / styles / venues etc you think should be featured and why in each decade since the 50's. Do you have any ideas for interesting displays. In short what do you think would be important to include in such an exhibition? It may not be possible to include all the ideas you send in but all of the feedback will be relayed to the Exhibition committee. Let's have your imput Coventry!<br />
<br />
The Herbert have set up a website to keep you informed<br />
<br />
<b>Neol Davies </b>suggested that the Herbert create a <i>My Space</i> for the Exhibition which might be more accessible for Cov musos. Hobo will link to it when it is up and ready and put it in our Top Friends list. Meanwhile you can send your thoughts and ideas to this Hobo site. We are hoping for a good response here - after all the museum will be reflecting your music scene and musical heritage Cov people!<br />
<br />
Budget<br />
<br />
Although there will be core funding for this project, ideas for sponsorship and co funding are being sought. If you have any thoughts on this - please let us know.<br />
<b>INTERACTIVE PROGRAMME</b><br />
<br />
For after the Exhibition is up, we discussed ideas for interactive and cultural projects around the Exhibition. These may include school visits and workshops; adult education involvement; music, songwriting and recording workshops linked to the work of the Depot studios now based at the Herbert; performances in the coffee bar area; drama on Cov music history - this may include new works, drama / musical shorts or plays with a musical relevance that have already been written; photographic displays and more.<br />
<br />
The point of this is so that the Exhibition doesn't just denote the history of Coventry Music scene but is also actively supporting and inspiring the continued development of the city's musical heritage. So please - any thoughts and ideas on these aspects. These interactive intiatives will also attract more visitors to the Exhibition. This support will be essential if we want it to become a pemanent and developing feature at the Hertbert. So spread the word and give your support. This is your history!<br />
<br />
Through the work of <b>Pete Chambers </b>and the new<b> Gnome Label's Retro-Cov</b> series, there will be a plentiful supply of books and CD's / downloads to support the Exhibition.<br />
<br />
More updates later -<br />
<b>Trev Teasdel</b></span></div>
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<b><span style="font-family: arial;"><br /></span></b></div>
<span style="font-family: arial;"><b>THE HERBERT'S NOTES OF THE MEETING</b><br />
Notes on the Coventry Music Exhibition Meeting by the Herbert<br />
<br />
Present: <b>Pete Chambers, Trevor Teasdel, Neol Davies, Dave Fisher, Peter Walters, Richard Elms, Jo Whitford, Huw Jones, Erin Hollis, Dominic Bubb, Martin Roberts</b><br />
<br />
Apologies:<b> Roger Lomas, Roger Vaughan</b><br />
<br />
1. Exhibition development<br />
2009 is the 30th anniversary of Two Tone. There is the possibility of the Specials and The Selecter reforming. There could be a celebration of this anniversary in Coventry running over a period of several months and involving a number of other organisations and venues. The exhibition would be major part of this. The celebration could start in the summer with the Godiva Festival – Friday night could have a Two Tone/Ska theme, with newer bands from e.g. Latin America as well. This would be a very high profile event and would help to promote the exhibition.<br />
<br />
2009 is also the year when Coventry group The Zodiacs celebrate 50 years in music. This could be commemorated through the exhibition.<br />
<br />
The basic aims, content and target audiences for the exhibition were agreed to be as described on the blog.<br />
<br />
Agreed that it would be useful to include a timeline which placed the music in the context of what was happening in Coventry at the time. Agreed to explore further the idea of recreating Jerry Dammers’ flat in the exhibition. Also agreed that we need to ensure that Two Tone doesn’t dominate the exhibition too much.<br />
<br />
It may be useful to involve rock historian Simon Frith and it also may be interesting to have a Two Tone family tree drawn up, possibly by Peter Frame.<br />
<br />
One possible activity would be to set up mixing system for people to create their own mixes from original tracks. This could be a gallery activity or be done through workshops.<br />
<br />
In order to move the exhibition forward we now need to compile a list of contact names and details of people who can offer practical assistance, eg by lending items for the exhibition, being interviewed, providing information, images, etc. The Herbert staff are happy to follow these up.<br />
<br />
The exhibition will take place in the Herbert’s Gallery 4 which is 15.9m x 9.4m (149 sq.m)<br />
<br />
2. <b>Project Plan and Milestones</b><br />
A draft paper outlining a timetable for the exhibition development was circulated for comment. The Herbert staff will have more capacity to work on the development of the exhibition after October when the Herbert redevelopment is delivered. An exhibition designer can be appointed soon after this, who will work with the exhibition team to finalise the themes, content and layout of the exhibition. By this stage it would be useful to have a detailed list of objects, images, interviews and other information for inclusion.<br />
<br />
3. <b>Funding</b><br />
Ideas for potential project sponsors were discussed, including EMI, the Ricoh Arena (Dave to pursue), Coventry Airport (Dave to pursue), Coventry businesses, Coventry Building Society, AWM (Peter W to pursue) and private individuals. All agreed to think about possible sponsors and pass contacts on to Herbert team.<br />
<br />
The possibility of generating income through the sale of branded merchandise was also discussed.<br />
<br />
4. <b>Events programme</b><br />
Jo outlined ideas for the kinds of events that could be staged to support the exhibition. These include talks, film showings, live bands, master classes by established musicians, events for schools and families, workshops (eg DJ workshops) and possibly a commissioned theatre productions (maybe along the lines of 3 Minute Heroes).<br />
<br />
Events can take place in the gallery itself, but also in the Studio space, the café, the education spaces and the media studios.<br />
<br />
Further ideas for events or useful contacts to be sent to Jo or put on blog.<br />
<br />
Agreed that any information which includes personal details (eg addresses, phone numbers, etc) should be emailed direct to Herbert staff rather than being placed on the blog. Agreed to investigate possibility of setting up a MySpace page for the exhibition.<br />
<br />
</span><div><span style="font-family: arial;">
5. Next meeting<br />
This will take place in June/July.</span></div>
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<span style="font-family: arial;"><br />
<b>07/02/2008</b><br />
<br />
<b><span style="font-size: large;">Coventry Music Exhibition - Minutes of June Meeting 2008</span></b><br />
<br />
Any thoughts or comments on the meeting welcome.<br />
<br />
Note of meeting re Coventry Music Exhibition, 5.3.2008<br />
<br />
Present: <b>Pete Chambers, Neol Davies, Dave Fisher, Peter Walters, John Dawkins, Huw Jones, Erin Hollis, Martin Roberts.</b><br />
<br />
<br />
Apologies:<b> Trevor Teasdel, Roger Lomas, Richard Elms, Roger Vaughan</b><br />
<br />
<br />
1. Exhibition development<br />
<br />
Pete circulated a list of pledges so far, which included costume, instruments, gold disks, poster, etc representing a number of bands and performers. He also passed round some scanned images of objects, posters, etc. This represents a really good start and will help to determine the structure and design of the exhibition.<br />
<br />
<b>Pete</b> is also going to write a column appealing for information and objects.<br />
<br />
<b>Neol</b> has material relating to Selecter, including a gold disk and cuttings.<br />
<br />
<b>Trevor</b> has agreed to begin a timeline of Coventry bands since the 1950s on the Hobo website. He will also start to compile a list a list of possible interviewees for the exhibition.<br />
<br />
A couple of people have been contacted by a company who are interested in making a film of Coventry music history. This is something Richard has suggested we do for the exhibition.<br />
<br />
It was agreed that for publicity and marketing purpose, we should concentrate on Two Tone, as there is a large following for this and it is likely to attract visitors to the exhibition, including from further afield. Dave suggested a title for the exhibition could be 'More Than Two Tones' and it was agreed to adopt this as a working title. Dave is going to put together a poll for the Mercia website, asking people to nominate the bands they would most like to see featured in the exhibition.<br />
<br />
2. Project Plan and Milestones<br />
<br />
There were no further comments on the document issued at the previous meeting.<br />
<br />
3. <b>Funding</b><br />
<br />
It was agreed that a formal approach should be made by the Herbert to EMI to try to obtain a favourable deal for music and film clips and to persuade them to support the exhibition generally. John agreed to supply contact details for the Herbert to follow up.<br />
<br />
Peter has spoken to a colleague about a possible funding application to Advantage West Midlands. The project does potentially fall within their remit.<br />
<br />
Dave will follow up the Ricoh re sponsorship. The Coventry Building Society don't sponsor the arts. Cassidy's were also suggested as potential sponsors and John agreed to look into this.<br />
<br />
John suggested staging a concert as the Ricoh as a fundraising activity. This could involve a number of local bands and it may be possible to get the venue at reduced cost. All agreed to think about this.<br />
<br />
The Herbert's move to trust status is due to be confirmed in July – it will then be possible to set a budget for the exhibition.<br />
<br />
4. <b>Events programme</b><br />
<br />
Jo, the Herbert's Events Officer, has recently moved on to a new post elsewhere. However she has left detailed notes about the ideas for events which have been discussed so far, for her successor to pick up when they are appointed.<br />
<br />
Neol expressed his willingness to lead a 'masterclass' event. It was felt that the Herbert's new Studio space would be an ideal venue for this type of event.<br />
<br />
5.<b> Next meeting</b><br />
This will take place in the autumn, date tbc.<br />
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<span style="font-family: arial;"><br />
1<b>1/30/2008<br />MORE THAN TWO TONES - Coventry Music Exhibition Mins Nov 08</b><br />
<br />
Well I went down to Cov for the music Exhibition steering group meeting but got stuck on the M1 for three hours while they removed an overturned lorry someway in front of us - huge tail backs on both sides. I got there just after the meeting had finished and Pete Chambers kindly caught up on the meeting and next day gave me a tour of the New Herbert Museum and Art gallery and showed me the room the Exhibition will be in. He also got some photos of Priory Street for the new magazine and photographed me near the Walk of Fame in Priory Place. However - here are the minutes for those interested. The Exhibition is earmarked for autumn 2009 which coincides with the 30th anniversary of Two Tone. The team would still appreciate any feedback, ideas or if you are a Coventry musician of repute - any offers of costumes, artefacts, guitars to display. Let us know.<br />
<br />
<b>Note of meeting re Coventry Music Exhibition, 25.11.2008</b><br />
<br />
Present: <b>Pete Chambers, Peter Walters, Roger Lomas, Richard Elms, Jessica Pinson, Huw Jones, Erin Hollis, Dominic Bubb, Christopher Kirby, Martin Roberts</b><br />
<br />
Apologies: <b>Trevor Teasdel, Neol Davies</b><br />
<br />
1. <b>Progress since last meeting</b><br />
<b>Pete</b> has written a Backbeat article appealing for more material for the exhibition which has resulted in a few more pledges of items. These include a guitar signed by the Specials which was given as a competition prize by Coventry Market.<br />
<br />
<b>Trevor</b> has started a timeline of Coventry bands since the 1950s on the Hobo website.<br />
<br />
<b>Richard</b> reported that we have been offered some archive material belonging to Delia Derbyshire, pioneer of electronic music. He is also working with a local film maker on a film about the history and development of Coventry music. This could be shown as part of a programme of screenings to accompany the exhibition.<br />
<br />
<b>Dave Fisher</b> has put together a poll for the Mercia website, asking people to nominate the bands they would most like to see featured in the exhibition.<br />
<br />
2. <b>Budget for exhibition</b><br />
The Herbert has confirmed that a budget of £10,000 can be allocated to the production of the exhibition. A further £1500 will be made available for events, plus the marketing team will be able to use their time and budgets to promote the exhibition. The main exhibition costs will be for design fees, construction materials, graphics and permissions to reproduce music, photographs, film, etc. The Herbert can supply other equipment, eg Audio Visual, showcases, etc and the museum technician will be available to help build and install the exhibition.<br />
<br />
Pete has had a conversation with someone from the Market and they are interested in putting some money into the exhibition. They would be keen to be involved in a long term output from the exhibition possibly linked to education.<br />
<br /><b>
ACTION</b>: Pete and Richard to set up a meeting to discuss further.<br />
<br />
The possibility of funding bids to HLF, AWM, etc was discussed. These are most likely to be for linked events and other activities which will provide added benefit to the exhibition. The Herbert does not really have the capacity to lead on these.<br />
<br />
3. Further development of exhibition themes and content<br />
<br />
The Herbert will form a project team which starts to work in detail on the content and design of the exhibition. This will include appointing an exhibition designer. Ideas from previous meetings were reviewed and the following were agreed:<br />
The exhibition will include a timeline of music and social history to give a context.<br />
The starting point will be the 1950s and the exhibition will be specifically about popular music.<br />
A themed approach will be taken – themes to include a mixture of broad themes, eg 'chart successes' and specific themes, eg 'Ray King'. Two Tone would be a key theme.<br />
The reconstruction of Jerry Dammers' flat will be followed up for inclusion in the exhibition. Pete pointed out that a suit belonging to Jerry Dammers is held by the V&A. Agreed to investigate loaning this for the exhibition.<br />
One theme will be 'Venues' which will enable us to include bands from outside Coventry, like the Beatles, who have played here.<br />
There will be a section which looks at the types of music being made in Coventry today.<br />
<br />
4. <b>Events programme</b><br />
<br />
The Herbert's new events officer, Jessica Pinson, attended the meeting. She has a file of ideas left by her predecessor, Jo, who attended previous meetings. There are potential links with Black History Month and Peace Month, both October, as well as the 30th anniversary of Two Tone.<br />
<br />
Date of next meeting To be confirmed.<br />
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<span style="font-family: arial;"><br /></span></div>
<div><span style="font-family: arial;">
See also the Review of the Launch and the videos.</span></div>
Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-3736899986832214692013-11-18T08:33:00.003-08:002023-04-12T11:00:38.802-07:00Coventry Music Museum Proposal 2003<span style="font-family: arial;"><i><span style="font-size: large;">At long Last (and thanks to the huge efforts of<b> Pete Chambers</b>) Coventry now has a Music Museum championing the City's huge musical history). This post (re-posted from the original Hobo Vox blog) has an early proposal by <b>Trev Teasdel.</b></span></i><br />
<b><br /></b>
<b><span style="font-size: large;">A Coventry Music Museum Proposal from 2003 - Via Hobo Magazine</span></b><br />
<b><br /></b>
<b>The Background</b><br />
In 2003 I took my kids back to Coventry to visit relations and we had a walk around the city centre. They were busy redeveloping things and were establishing a History trail - sites relating to ecclesiastical history around the Cathedral area - the Car Museum etc but where was the music?? In the Herbert Museum and Art Gallery there was one small display cabinet dedicated to Two Tone and that seemed to be it!<br />
<br />
I had a case full of material relating to Coventry's vibrant music scene in the 70's and early 80's for the the <b>Broadgate Gnome </b>(run by <b>Ian Green</b> and <b>Paul Leather</b>) and sent them the Hobo A to Z of bands info from the early 70's, most of which they had no information about. They were well received but they only uploaded material as far F and no further work was done on the site - no doubt they were busy with work commitments but it was a disappointment.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Coventry Music Museum 2013 - photo Paul Kennelly</span></td></tr>
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days i was involved in the <i>Coventry Arts Umbrella Club</i> and ran <i>Hobo magazine and Workshop</i>. My first thoughts were to put the material on line and then campaign for a physical museum. I did a search on line and found that the earlier Coventry underground magazine The Broadgate Gnome) had established an A to Z of mainly Coventry bands from the 1969's and some from the early 70's and they had mentioned my magazine <b>Hobo</b>. It was a brilliant site (and still there) and so I contacted the <br />
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Through their site I found two other similar sites - <b>Rex Brough's A to Z of Coventry bands</b> which was stronger on bands from the late 70's and early 80's but also hand info on earlier bands two and <b>Tim James</b> site which was more of a personal site about his musical influences and interactions but still a great contribution to building the huge archive of Coventry music. I had wanted to do the Hobo site for a while but hadn't got the html skills to achieve it so began by contributing the band info to the existing one by <b>Broadgate Gnome </b>and intended to work on getting a site built to house all the band cards / cuttings and other material that is now on the HOBO sites here. By the end of 2006, Vox Blogs had started up and the sites were easy to use without html knowledge and could house text / graphics / audio and youtube. It was idea and from the the Hobo site developed, bringing together many of the former Coventry musicians on line and which helped to launch a number of new projects including the <b>Gnome Label</b> with <b>Broadgate Gnome</b> and helping <b>Peter Chambers</b> with the <b>Coventry Music Exhibition</b> at the Herbert - from which Pete went on to establish <b>Two Tone Central</b> and the brand new (as at 2013) the <b>Coventry Music Museum</b> (at last).<br />
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However, when I got back from Coventry back in 2003 no of this had been established and i wrote a <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Two Tone Central</span></td></tr>
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proposal for a <b>Coventry Music Museum</b> and circulated to the various A to Z sites and and other contacts and that early proposal is posted below. A few years on after <b>Pete Chambers</b> had published his book <b>Godiva Rocks</b> and he wrote a column for the <b>Coventry Telegraph</b> mooting the idea of a Coventry Music Museum. I have no idea if Pete saw this earlier proposal, but Pete's enthusiasm and drive for Coventry music was such that he probably thought along similar lines and so i sent him a copy of the tract below and it so happened that he was in negotiation with the <i>Herbert Museum and Art gallery</i> to established a temporary <b>Coventry Music Exhibition</b> for the anniversary of <b>Two Tone</b> in 2009 and invited me down to Cov for the meetings. The minutes of those meetings are posted on this site also <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Pete Chambers Coventry Music Museum 2013</span></td></tr>
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(transferred from the original Hobo Vox site). The Exhibition was a huge success and from that basis Pete went on to establish the brilliant <b>Two Tone Central Museum </b>at Coventry University and then on Ball Hill, Walsgrave. Last month they widened the remit to create a Coventry Music Museum to reflect the fuller spectrum of Coventry Music. I've yet to go and see it but well done to <b>Pete Chambers</b> for his dedication and determination to see it to fruition. I'm pretty sure it covers most of the ground I envisioned in this early proposal 10 years back and more. Without Pete's hard work, this wouldn't have happened. There will be a separate feature on Pete's new Museum (seen in the photos here and worth a visit) but here's my proposal from 2003 (re-presented from the original Hobo Vox blog).<br />
<b>Trev Teasdel</b><br />
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Visit the New Coventry Music Museum opened 2013 by <b>Pete Chambers</b></span></div>
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join them on Facebook <a href="https://www.facebook.com/groups/Covmusic/?ref=ts&fref=ts"><b>https://www.facebook.com/groups/Covmusic/?ref=ts&fref=ts</b></a></span></div>
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<b><span style="font-size: large;">COVENTRY MUSIC MUSEUM</span></b><br />
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<b><span style="font-family: arial;">(A proposal from Trev Teasdel 2003 and circulated at the time to contacts in Coventry)</span></b></div>
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<a href="http://coventrymusichistory.typepad.com/.a/6a0133f436b043970b0133f437450f970b-pi" style="clear: right; float: right; font-size: 13px; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img src="http://coventrymusichistory.typepad.com/.a/6a0133f436b043970b0133f437450f970b-200pi" /></span></a><table><tbody><tr><td style="padding: 0cm;" valign="top"><span style="font-family: arial;"><br /> <br /> <br /><br /><br /><br />Notwithstanding Homer Simpson’s adage that “good things don’t end in ‘eum’ ” I have a proposal! The proposal is the above title but much more. Ok - to appease Homer think-a-likes we can change the title and put the above in parenthesis.<br /><br /> <br />Coventry is being re-developed again, with a sense of heritage inflecting city center walkways. The Skydome is being erected for state of the digital arts concerts. The car museum is getting a new space-age frontage and possible a refurbishment. Cars are Coventry but like Motown (Detroit) so is music. So what evidence do we see along the heritage trails of that rich musical lava flow that threw up Two Tone, Pete Waterman, Dando Shaft, King and others that erupted on the world’s stage? Not much I think!<br /><br /> <br />In Liverpool they have the Beatles Story Museum. Not much to it – I took a group of WEA students and they were through to the other side in minutes. Disappointing given what the Beatles represent to popular culture and the creativity it spawned! The time has come, I think, to put that rich musical lava flow on the heritage map with the musicians and artists of Coventry being the idea architects and storyboarders.<br /><br /><br /><b>SO WHAT’S THE BIG IDEA THEN?</b><br /><br />There are 8 main elements to the idea, all of which will be discussed separately.<br /> <br />Museum (audio/visual/interactive) <br />Venue <br />Restaurant <br />Entertainment <br />Record Production / Store <br />Merchandise / shop <br />Education Programme / Workshops <br />Meeting / rehearsal space <br />Conceived as a tourist attraction / heritage venue and creative outlet for today’s musicians and artists, the main idea of course is the museum. Perhaps this<br /><br /> <br />§ Might trace the history of music in the city from earliest times in context,<br /><br />§ Dedicated rooms/areas to the biggest names /attractions – Two Tone / Waterman etc.<br /><br />§ Local Bands and music in decades – 50’s /60’s 70’s / 80’s etc up to present<br /><br />It might include posters / band cards / instruments and equipment / simulated discos / record shops etc/ records / clothing styles / oral transcripts / relevant music / videos / computer simulations / art work / poems / etc etc It would span rock / pop / ska /punk /folk / poetry / discos / festivals etc. Timelines and group family trees / photos / montages etc.<br /><br />It would have a restaurant area and venue. During the day it would be there for visitors / tourists. Lunch time, local bands / poets / singer songwriters would perform and it would aim to attract people working in the city centre for their lunch with local entertainment. This would provide a cool facility and income generation to develop and maintain the museum. In the evening, it could act as a venue for local bands etc. Perhaps theme nights that fit in with the museum – 60’s ‘80’s etc, mixed media nights / discos / folk nights / ska night – whatever. It would aim to provide a venue like many of the pubs have for local band in the past. There would be space on the walls for local artists to display and even sell their work.<br /><br /> Merchandise might give work for local artists / crafts people as well established merchandise related to established artists. The usual suspects I suppose – T shirts / mugs ….If much of it was made by local artists this would fit in with the spirit of the local music and arts scene and enable them to earn a living from their artistic leanings. It would also be about income generation for the development of the museum / paying local bands / publicity / employment etc. Good economic arguments.<br /><br /> The museum would have a good Education Programme for visiting groups – schools – student / community groups. Songwriting workshops / Guitar / keyboard workshops / relevant talks and demonstrations etc. Weekend schools / writers and artist workshops.<br /><br /> Rooms could be available for meetings and rehearsal space / artists studios for hire at artist affordable rates,<br /><br />An exciting proposal would be the Record Production / store element. The record store would of course sell discounted records by the big names – Two Tone / Hazel O’Connor / SAW and so forth as well as other bands who’ve made records – Indian Summer / Dando Shaft / Sent From Coventry / Singles by Lieutenant Pigeon / Sorrows and so forth. But also special CD’s could be made to be sold only at the museum (or via its website) e.g. outtakes / remixes of Two-Tone records – rare unreleased alternative takes. Another good reason to visit the museum and income generation as well as interest value. Also compilations of groups who have made singles – regardless of whether they hit the charts or not. Also many groups never cut a record but may have good taped material home or live. With today’s digital equipment some of them could be digitally enhanced. Where justified, some groups may get whole albums, other may have only one or two tracks usable. E.g. 70’s group Wandering John made a live album tape. There were faults with it and the band split up. However they me one or two tracks that could be salvaged with today’s technology and any instrumental imput needed. It would be great to have a compilation of some these past groups on CD. People such as Roger Lomas might be interested in this, knowing many of the groups and with his great recording / production knowledge. This could create quite a bit of excitement.<br /><br /><b> So how do we get this started then?</b><br /><br />I’m e-mailing some of the people with Coventry music websites with a view to getting feedback on the idea and forming an initial steering group. As some, like myself, no longer live in Coventry, communication could be by e-mail with maybe a periodic meeting in Coventry if practical and needed. The ideas could be developed / shaped up into a formal proposal and presented to the Coventry Museums / local authority. I will make some enquiries.<br /><br />This group could act as the steering / advisory group but as most of us are busy enough, the local authority would possibly take charge of the project, identify an venue for it, include it in its heritage trail / tourist plans, find funding, employ researchers etc. the new Coventry websites for local bands – Broadgate Gnome / Rexbrough / Tim James / The Black Room and the forthcoming Hobo site could be starting points for the research with their data bases on the local band scene and the contacts they have with local musicians.<br /><br /> So what do you think? Is there anyone you think should be involved / informed of this? You can pass this on to them and they can e-mail me with any feedback. I’ll keep you informed of any progress on it.<br /><br />Note - as the Gnome have pointed out - while the Coventry big names are important and will be what draws in the wider interest and demonstrates the achievement, the museum should reflect the whole of the music scene in Cov, whether bands made it or not or even those whose rejected the music business as an ambition for their muse.<br /><br /><b>Trev Teasdel 2003</b><br />................................................................................<br />Comments transferred from the Hobo Vox Site<br /> I went back to Coventry a few years ago for a journalism course. I had been trained as a tour guide in the City so agreed to take a couple of groups around essentially to see the sites. The people were more interested in my stories of the music scene and such , even though there was very much to be seen in relation to them. This broke the first rule of guiding,,"Dont talk about anything that isn't there!"<br />The Culture of the 60s and 70s can be interesting. The more usual facts ,,Chuck Berry recorded in the Library, The Italian Job filmed there, John Lennon planted an acorn, are important;; but its the background of everyday life that people relate to <br />I think its important that some effort goes into collecting and recording the memories of those that were there, even though they may not have achieved anything by modern day comparative standards.<br /></span><br /><br /></td></tr>
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Posted by: <b>BroadgateGnome</b> | <a href="http://coventrymusichistory.typepad.com/blog/2007/02/coventry-music-museum.html?cid=6a0133f436b043970b0133f4374522970b#comment-6a0133f436b043970b0133f4374522970b">02/11/2007 at 03:06 PM</a><br />
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That's good feedback Gnomes - Yes the context is important - not just on a superficial level - the clothes and cars (and cars are important to Cov of course) but the different mind-sets - the search for alternative life-styles, concerns for the environment, emergent feminism, the radicalism etc etc against the industrialism and materialism. All of which affected the music. Ok some were pure pop - but much of the music was inflected by the idea that things were changing and it was possible to change the world, make a difference, create something which added more depth to a lot of the music. Of course there were contradictions involved and the world went a different direction. But that kind of context would need to be explored and yes some kind or oral voices project might help with that. DISCUSS.....(or add your own threads to the discussion!)<br />
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Posted by: <b>HOBO - Coventry Music Magazine</b> | <a href="http://coventrymusichistory.typepad.com/blog/2007/02/coventry-music-museum.html?cid=6a0133f436b043970b0133f4374523970b#comment-6a0133f436b043970b0133f4374523970b">02/11/2007 at 03:42 PM</a><br />
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<br />Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-67359184372754311152013-11-18T04:16:00.002-08:002023-04-12T11:02:52.498-07:00Friars Promotions<br /><span style="font-family: arial;">
Friars was started by <b>Vince Holliday </b>(later <b>Vince Martin</b>) of <b>The Vampires</b> (one of Coventry's earliest Rock n Roll bands started <b>Friars Promotions. </b>The Vampires were legendary and written about on the A to Z of Coventry bands.<br />
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<tr><td class="tr-caption"><span style="font-family: arial;">Vince with Wee Willy Harris</span></td></tr>
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From <b>Pete Chambers</b> <i><a href="http://www.bbc.co.uk/coventry/content/articles/2005/07/25/pop_past_twelve_vince_holliday_feature.shtml">BBC Coventry Pop into the Past</a></i> " Members came and went and as this new musical form (Rock n Roll) began to grow so did the industry that would inevitably surround it. Vince began handling the bands bookings, on the occasions they were booked for a certain date, Vince would contact other bands to see if they could fill the booking. </span></div>
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After a few months of this a bright shiny light bulb began to glow above his head, and that shiny bulb had a pound sign-shaped filament. Vince was getting a little tired of all the hectic gigging and the idea of getting paid for booking bands instead of doing it for free became too appealing to miss. So Big Three Enterprises was born.</span></div>
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Local bands like the Sorrows, The Matadors and The Mighty Avengers were all on their books. They<br />
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<span style="font-family: arial;"><i> s</i>oon began to branch out even further and they became Friars Promotions based in Albany Road and their clients were to include a young pre-Move Carl Wayne (and his Vikings), the fore-runner to Alvin Stardust, Shane Fenton, and the colourful Wee Willie Harris."<br />
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<i>Even Lulu and Cilla Black were on the books, though Vince was to miss out on a young welsh singer called Tom Jones (wonder what ever happened to him?)"</i><br />
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They were tied in with the <i>Cortina Club</i>, managing a number of venues in the city and local and top stars including <b>Shane Fenton</b> (later <b>Alvin Stardust</b>).<br />
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<b>Pete Waterman</b> worked for them running discos and gigs at the <i>Walsgrave</i> and the <i>Mercers Arms</i> among others. I had no direct contact with Friars Promotions but did the door for <b>Pete Waterman</b> at the <i>Walsgrave</i> on the Tuesday night progressive music nights for a while in 1970 / 71. </span></div>
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Later in an unpublished version of Hobo Magazine August 1974, we reported that <i>"Reports reach Hobo that Friars Promotions have gone bust.." </i></span></div>
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Pete Clemons on Friars Promotions from Coventry Telegraph.</span></div>
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<b><span style="font-family: arial;">Here's a transcript - </span></b><div>
<span style="font-family: arial;"><b><br /></b><b style="font-size: x-large;">Pete plucks out Twanging times of city dances; YOUR nostalgia.</b></span></div>
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COVENTRY rock fan <b>Pete Clemons</b> is working on an archive of the city's music scene. <br /><br />Here, Pete, a regular Telegraph contributor and member of Coventry's Wall of Fame steering committee, recalls the city's Twang Dances of the 1960s. <br /><br />ASK anyone of a certain age and I bet they would have attended, or at the very least known about, a Coventry Twang Dance held during the early to mid 1960s. <br /><br />Let me take you back to late 1962 when a PR company called <b>Friars Promotion</b>s, who specialised in putting rock 'n' roll/beat/pop acts on at local pubs and other venues and were run by local lads <b>Mick Tiernan </b>and <b>Jack Hardy</b>, operated from Whitefriars Street. <br /><br />Also at that time <b>Vince Martin</b>, who had left his band <b>The Vampires</b>, and moved into promoting bands through his latest venture VM rock groups. <br /><br />Friars had sorted out a deal with local brewers <i>Mitchells and Butler</i> where they would put on bands at the larger sized M&B public houses that had their own function rooms. Basically, in return for the door charge, Friars would put on a band and DJ while M&B took the bar sales. <br /><br />This turned out to be an incredible success for both parties as Friars set up dances at pubs not only in Coventry but also Birmingham and even as far away as Wales and Scotland. <br /><br />So successful were they in fact that it got to the point where there were more venues than bands. <br /><br />To deal with the increased demand something needed to change. So at the turn of 1962/63 Friars promotions and VM rock bands joined forces and became known as Friars Promotions and Agencies. They also left their respective offices and moved to new premises on the corner of Albany Road and Broomfield Road in Earlsdon. <br /><br />By all accounts <b>Mick Tiernan</b> was an incredibly forward thinking person and was always looking for ways and ideas to keep his dances fresh and to keep them in the public eye. <br /><br />He had a pet name for the guitar-based bands that he was putting on and that name was the <i>Twangers</i>. And so it followed that, from early 1963, Friars dance nights became known as <i>Twang dances.</i> <br /><br />The<i> Twang </i>name quickly spread and was soon being attached to all kinds of dances. <br /><br />For example if Friars put on a dance for Coventry City FC the poster advertised it as a <i>Sky Blue Twang</i>. <br /><br />If a band such as <b>The Matadors</b> were performing then the evening was advertised as a Twang night with The Matadors. <br /><br />For verification of the term Twang I have recently asked several prominent local musicians from that period where the word originated and to a man they all confirmed it was indeed coined by <b>Mick Tiernan</b>. <br /><br />By mid 1963 the word Twang was rapidly spreading and was even being used by <b>Andy Anderson</b>, the prominent pop guru of the former <i>Coventry Standard</i>. <br /><br />Andy, though, was using the word in the context of the dancers and a particular dance. <br /><br />In September 1963 he describes a dance where the dancers, or hipsters, are 'shaking their heads and swinging their hips.' He continued that 'Not many knew why the dancers' hands spent so much time behind their Beatlemoded backs. Well believe it or not but the posture was inspired by the Duke of Edinburgh for whom the youngsters have great respect'. <br /><br />Another article I found in the <i>Coventry Standard</i> from early 1964 and again written by <b>Andy Anderson</b> describes how exciting it was twanging in the new year at <i>The Orchid Ballroom</i> (better known nowadays as <i>The Kasbah</i>) with bands such as <b>The Avengers, The Matadors</b> and <b>The Xciters</b>. Apparently, hundreds of twang enthusiasts hippy shaked their way into 1964. <br /><br />At their height Twang nights were being h<i>eld seven nights a week at venues such as The Walsgrave, The Red House, The Mercers Arms, The New Inn </i>at Longford, <i>The General Wolfe, The Heath Hotel </i>and <i>The Newlands</i>. <br /><br />There was, however, a problem with Sunday dances because back then licences were not issued for these to be held in pubs. This problem <br /><br />was solved by effectively turning the pub into a club and that the paying customers were charged accordingly and given a membership. Another of Mick's innovations to keep his dances in the public eye was to add the following wording to his posters and flyers '<i>No Free Beer and No Free Entrance.'</i>.The word 'no' being in a very tiny print so at first glance it looked like the punters would be getting Free Beer and Free Entrance. <br /><br />By the mid to late 60s the Twang term simply began to disappear and new labels such as Mods and Rockers and progressive rock nights began to appear. <br /><br />But that was not to be the end of Friars. Far from it in fact, as they were now putting on early gigs by bands such as <b>The Who, The Nice, Manfred Mann</b> and <b>Peter Green's Fleetwood Mac</b> at venues such as <i>The Swan</i> at Yardley. <br /><br />They continued to thrive throughout the early part of the 1970s. Vince, now in his mid 70s, is incredibly still promoting bands and organising functions like his annual Call Up the Groups. Sadly both <b>Mick Tiernan</b> and <b>Jack Hardy</b> are no longer with us. But what a legacy and what memories they have both left us. </span><div>
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<a href="http://www.thefreelibrary.com/Pete+plucks+out+Twanging+times+of+city+dances%3B+YOUR+nostalgia.-a0277753159"><span style="font-family: arial;">http://www.thefreelibrary.com/Pete+plucks+out+Twanging+times+of+city+dances%3B+YOUR+nostalgia.-a0277753159</span></a></div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-63884142133219238862013-11-09T14:00:00.002-08:002023-04-12T11:04:35.617-07:00Colin Richardson Interview Part 7 (Artist Management, Charisma, Music Journalism)<br /><span style="font-family: arial;">08/09/2009 Visit <b>Colin Richardson's</b> blog <b><span style="font-size: large;">http://colinrichardsonjazz.typepad.com/blog/</span></b></span><div>
<span style="font-family: arial;"><span style="font-size: large;"><b><br /></b></span><b><span style="font-size: large;">Colin Richardson Interview Part 7</span></b></span></div>
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<span style="font-family: arial;"><b>AFTER COLOSSEUM - EMA</b><br />When <b>Colosseum</b> folded at the end of October 1971, I left the <b>Bron Organisation</b> to set up the London office of <b>EMA, </b>the Swedish tour promoters that I had been working with on all of Colosseum's Scandinavian dates. I had a very good working relationship with <b>Thomas Johansson</b>, one of the directors, and he had broached the idea when he heard that <b>Colosseum</b> were breaking up. I liked the proposition and we agreed terms. I then had to find offices, organise equipment and furniture etc. Luckily, I had persuaded Jan, my incredibly efficient secretary/p.a. at Bron, to come with me and she helped with all the logistical stuff that had to be got together in very short order. We got some music press coverage and this brought forth a few record company contacts asking if we could manage their artists..<b>Nat Joseph</b> at <i>Transatlantic</i> and <b>Dave Howells</b> at <i>MCA </i>come to mind. Our main role though, was to effect the <i>Musician Union</i>'s exchange requirements for the British name bands that <b>EMA </b>were importing, i.e. a 5 piece group playing 4 dates = 20 man/days, which had to be matched by a 3 piece Scandinavian group (like "<i>Made in Sweden</i>") playing 7 dates/21 man/days. This wasn't easy, as these bands were completely unknown in the UK, so would be working for very low fees, thus the cost of the tour invariably exceeded the income and this shortfall was covered by the Swedish company as an '<i>overhead</i>'.<br />After getting things set up and running as smoothly as possible, I began to realise that the cost of running the office, together with my and Jan's salaries, was quite a burden on the parent company and there wasn't much in the way of income either, About this time, I was approached by <b>Tony Stratton-Smith</b>, boss of <i>Charisma </i>Records, who asked if I interested in joining the label. So I suggested to Thomas that costs would be greatly reduced if I handed everything over to <b>Norman Haines</b>, who had been working with us while managing "<i>Gringo</i>", an MCA artist who had conveniently just broken up. I knew Norman could easily run things from his own apartment, which would save on office costs, plus he would be quite happy with a lower salary than <b>EMA</b> were paying me.<br />So the transfer was effected and I joined <i>Charisma</i>..</span><div>
<span style="font-family: arial;"><br /><b>MY CHARISMA YEARS (1972 -76) AND MY SUBSEQUENT RETURN TO ARTIST MANAGEMENT </b><br />I spent 4 years with <i>Charisma Records,</i> most of them as International Manager, which meant that I travelled</span><div class="separator" style="clear: both; text-align: center;">
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a lot, mostly around Europe, liaising with the various label licensees and their press/promotion departments. I also made several trips to America, once with the 'boss', who insisted we flew First Class and took a suite at the<b> Algonquin Hotel</b>, where the famous "<i>New Yorker</i>" writers (<b>James Thurber, S.J.Perelman</b>, <b>Robert Benchley, Dorothy Parker</b> etc etc...) met for their 'round table' meetings. The main Charisma artist at the time was, of course, <b>Genesis</b>...who were just beginning to really take off when I joined in June 1972. They were exciting times and I thoroughly enjoyed working with <b>Tony Stratton Smith</b>. I had a lot of respect for his way of working, which was often bold and sometimes risky, but always interesting. His musical maxim was "anything good of its kind" and he gave a lot of artists a chance who wouldn't have got </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">James Thurber</span></td></tr>
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the time of day from most other labels. <b>Charisma</b> release many '<i>off-the-wal</i>l' albums, like those from <b>Sir John Betjeman </b>and <b>Bo Hansson's</b> "<i>Lord of the Rings</i>", not forgetting the fabulous <b>Bonzo Dog Doo-Dah Band / Vivian Stanshall</b> and<b> Monty Python</b> releases. It was good to have the opportunity to work with such a variety of artists, especially the last two, as our paths had already crossed back in my <i>Bron</i> days. I have fond recollections of touring in Germany with the Bonzos and a flying promotional visit to Copenhagen with the two '<b>Python' Terrys (Jones and Gilliam</b>) to do some press interviews.<br />After 4 years though, I sensed that things were changing somewhat. '<i>Strat</i>' wasn't around quite as much and eventually announced that he was bringing in someone to be 'him' on a daily basis, as he wanted to spend more time with his other love; 'horse-racing'.<br /> <br />Right about this time I was approached by <b>Bruce May</b> (brother of <b>Ralph McTell</b>), who suggested that, if I </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTvNQc0BiZ3059mYA1-MMPnexXL3-Ib26yDgp102JzbQPA3g5J75Tvw7P7Ucom_aZvYPItwakA3P-tXNXhcSCCqAsRAiRKI39wVzmDMNEC6pi38xRyDK0bBM8wAWlDncKjdzEWbqEKv8/s1600/Colin+Richardson+interviewing+Ralph+McTell.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTvNQc0BiZ3059mYA1-MMPnexXL3-Ib26yDgp102JzbQPA3g5J75Tvw7P7Ucom_aZvYPItwakA3P-tXNXhcSCCqAsRAiRKI39wVzmDMNEC6pi38xRyDK0bBM8wAWlDncKjdzEWbqEKv8/w640-h464/Colin+Richardson+interviewing+Ralph+McTell.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: arial;">Colin Richardson interviewing Ralph McTell</span></td></tr>
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joined his company, working with people like <b>Bert Jansch</b>, <b>John Martyn, Ralph </b>etc<b>.</b>..I would also have the freedom to bring in other artists of my choice. At the time, Neil Ardley, my old friend from the <b>NJO</b> days, had just recorded his best and most commercial album to date "<i>Kaleidoscope of Rainbows</i>" and I saw a chance to be involved with getting Neil a recording & publishing deal, if I accepted Bruce's offer. So I did. At first, it seemed that I had made a sound choice. My first job was to fly out and join <b>Ralph McTell</b> on his Australia / NZ tour, which was a fantastic experience, the climax of which was his appearance at the <i>Sydney Opera House</i>. The <b>Ardley</b> album eventually came out on <i>Gull</i>, a newly formed label run by two guys I knew when they both worked at <i>MCA</i>..<b>Derek Everett </b>and <b>David Howells</b>. They were enthusiastic jazz buffs and were very keen to release Neil's album. It garnered some amazing reviews (for a jazz album), <i>Melody Maker</i> comparing it to a jazz version of "<i>Tubular Bells</i>". High praise indeed. It sold well enough, but its market was always going to be fairly limited. It did, however, establish Neil as one of the most innovative composer/arrangers around.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVC3KwWoDflE-L7ZOJ1PjlfPwAWV2r0D_eaJoebWU1O8dD2pMrEoBXi20jY0lnnyzGue4Ij3WravkKo8ArcK0M6ePN1tBlY7IsA75F6b-m3z_SQEWCifOC_yKmGVuTt94gsdCrF6r_Qk/s1600/Colin+Richardson+with+Neil+Ardley+and+musicians+from+Kaleidoscope+of+Rainbows.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVC3KwWoDflE-L7ZOJ1PjlfPwAWV2r0D_eaJoebWU1O8dD2pMrEoBXi20jY0lnnyzGue4Ij3WravkKo8ArcK0M6ePN1tBlY7IsA75F6b-m3z_SQEWCifOC_yKmGVuTt94gsdCrF6r_Qk/w640-h384/Colin+Richardson+with+Neil+Ardley+and+musicians+from+Kaleidoscope+of+Rainbows.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Colin Richardson with Neil Ardley and musicians from "Kaleidoscope of Rainbows"</span></td></tr>
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But, after being there almost a year, I began to feel that perhaps it might not have been such a good decision after all and when a US tour for <b>John Martyn</b> hit problems with the support funding promised by his American label boss..I found myself in an impossible situation, which ultimately led to my parting company with <b>Bruce May Management</b>.<br />It wasn't great timing! The record industry was going through tough times on the back of the oil crisis and the resulting vinyl shortage. No-one was hiring and nobody in a good executive position was moving! I was also pretty unimpressed with the new wave of "punk" bands that seemed to have blown all the established rock groups temporarily out of the water! So, I considered my position for a while, thinking "something will turn up". Well, after about a year...something did. An old friend from my earlier association with <i>Phonogram,</i> <b>Ralph Mace</b>, who was now working at RCA, phoned me and offered a 3 month consultancy position covering the up-coming European tours for <b>David Bowie</b> and <b>Jefferson Starship</b>. It appeared that their International Manager had departed suddenly leaving them with no-one to ride 'shotgun' on these two important tours. </span></div>
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<span style="font-family: arial;"><br /><b>THE "JOURNALIST" YEARS</b><br />Almost at the same time, a German promoter that I had worked with briefly (well, one booking of the <b>Who</b>, actually) tracked me down and asked what I was doing. I tried to put the best possible 'spin' on my situation...but ultimately, I had to admit, I wasn't doing anything much! He then told me that he was, in fact, the publisher of a major German musician's magazine called "<i>Fachblatt</i>", which he compared to International Musician in the States, in that it was about the technology..instruments, amps, PAs etc. and would I be interested in working as a journalist for the magazine. He ignored my assertion that I wasn't, and never had been, a journalist, saying that, with my background and experience, I could get to the kind of musicians that he wanted interviews from and all I had to do was ask the right questions...which he would brief me on, to start with. Well, I decided to give it a try, but explained that I couldn't start right away as I had already committed to the 3 month stint with <i>RCA</i>, . So, I worked the 3 month contract, which I will gloss over, as it could almost be another book in itself! Then, ironically, I was offered the job permanently, but I decided to stick with the journalist plan and, somewhat regretfully, passed on the<i> RCA</i> offer. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMLGXHMeDDKWA7JZ6479dsdHQtzTSBOg-eYwSORZPrnRDOvS6sHSHR8O7t2MZbyuP-p3e33g57JOFkqYGzNH5DAAS9-N6AKs4diXzhBRn0WmJ3BGVeklZte1b94QDQdX2Y_QVOtY6TWEQ/s1600/Colin+Richardson+Interviewing+Harry+Nilsson+at+the+Algonquin+Hotel.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMLGXHMeDDKWA7JZ6479dsdHQtzTSBOg-eYwSORZPrnRDOvS6sHSHR8O7t2MZbyuP-p3e33g57JOFkqYGzNH5DAAS9-N6AKs4diXzhBRn0WmJ3BGVeklZte1b94QDQdX2Y_QVOtY6TWEQ/w640-h440/Colin+Richardson+Interviewing+Harry+Nilsson+at+the+Algonquin+Hotel.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: arial;">Colin Richardson Interviewing Harry Nilsson at the Algonquin Hotel</span></td></tr>
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<span style="font-family: arial;"><br />So, using a few of my contacts, I very quickly got interviews with people like <b>Pete Seeger, <a href="http://colinrichardsonjazz.typepad.com/blog/2011/05/harry-nilsson-now-there-was-a-nice-guy.html">Harry Nilsson</a>, (</b>see more about Nilsson interview here)<b> Mark Knopfler</b> of <b>Dire Straits</b> and old mates like <b>Manfred Mann</b> and <b>Dave Greenslade</b>. Then <b>Phil Collins, Mike Rutherford</b> and <b>Tony Banks</b> of <b>Genesis</b> were enlisted and a bit later on, an <i>Abbey Road</i> interview with <b>Paul McCartney</b>! I also persuaded another old mate,<b> Jon Hiseman</b>, to contribute a regular drum column. Things had got off to a pretty good start. I continued getting good interviews, some in Germany and then I made a trip to the States, where I brought off what I thought was a terrific coup. A photographer I was using for pictures to go with the interviews, told me that <i>International Musician</i> had secured an exclusive interview with <b>Keith Richards</b>. As it turned out, I knew a guy at IM from the time he had worked at <i>Atlantic Record</i>s in L.A. I made contact and asked if Fachblatt could buy the German language rights to the article. He invited me up to meet the Publishers and negotiate directly with them. I got the deal for $500, which I thought was a 'steal'. Following through, I then negotiated an running option to reprint any interview printed in <i>International Musician </i>and the sister mags, Contemporary Keyboards and Frets, on condition that they didn't appear until 3 months later. What I hadn't realised at the time was that, this deal effectively rendered my role redundant, a fact which eventually dawned on Fachblatt's publisher. At that point, I was history! So was my <i>'journalist career'</i>!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimaggD11uQHjzmpUOfamAP3sxGFZ6MZYBu9kxfWP4JD51tz2dBu8BXAahnJfqjQ0vYjAciAd2eHN8FGMcBSkEjEvSFnl6nACYAKd8SirfHN9n6O8hp1qDLXxGfCI_wccU-_AqgAqzVMW4/s1600/Colin+Richardson+interviewing+Mike+Rutherford+and+Phil+Collins.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimaggD11uQHjzmpUOfamAP3sxGFZ6MZYBu9kxfWP4JD51tz2dBu8BXAahnJfqjQ0vYjAciAd2eHN8FGMcBSkEjEvSFnl6nACYAKd8SirfHN9n6O8hp1qDLXxGfCI_wccU-_AqgAqzVMW4/w640-h440/Colin+Richardson+interviewing+Mike+Rutherford+and+Phil+Collins.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: arial;">Colin Richardson interviewing Mike Rutherford and Phil Collins</span></td></tr>
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<span style="font-family: arial;"><br />By this time, I was thoroughly disillusioned with the whole music biz... its shallowness and cynicism..its lack of any entrepreneurial foresight and the prevalence of "suits"; (accountants and lawyers) who seemed to be calling all the shots. I had had enough!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsUu87wu4iu2o4_ardbcWfs1jUxFTz_ydoUBAtHCfnqU7y0JUy6fYoOXNKObj9pKRbFNrzWChu9RAhUPBSTG_inSwqDlssb7VvhJQOGhE-gGf1EldNb-RTeOaOduQvqFN_7QmG19SjKE/s1600/Colin+Richardson+interviewing+Paul+McCartney+at+Abbey+Road.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsUu87wu4iu2o4_ardbcWfs1jUxFTz_ydoUBAtHCfnqU7y0JUy6fYoOXNKObj9pKRbFNrzWChu9RAhUPBSTG_inSwqDlssb7VvhJQOGhE-gGf1EldNb-RTeOaOduQvqFN_7QmG19SjKE/w640-h434/Colin+Richardson+interviewing+Paul+McCartney+at+Abbey+Road.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: arial;">Colin Richardson interviewing Paul McCartney at Abbey Road</span></td></tr>
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<span style="font-family: arial;"><b><span style="font-size: large;">Colin Richardson's unpublished interview with Paul McCartney at Abbey Road, May 1980. Listen to it here.</span></b><br /><b><span style="font-size: large;"><a href="http://a2.typepad.com/6a0133f3fc567f970b0134871d6e62970c-mp3">http://a2.typepad.com/6a0133f3fc567f970b0134871d6e62970c-mp3</a></span></b></span><div>
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<span style="font-family: arial; font-size: large;"><b>Read more about the interview on Colin's blog - here </b></span></div>
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<span style="font-family: arial; font-size: large;"><b><a href="http://colinrichardsonjazz.typepad.com/blog/2009">http://colinrichardsonjazz.typepad.com/blog/2009</a><a href="http://colinrichardsonjazz.typepad.com/blog/2009/10/paul-mccartney-interview-at-abbey-road-1980.html">/10/paul-mccartney-interview-at-abbey-road-1980.html</a></b></span><div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-38304912736783983942013-11-09T11:23:00.002-08:002023-04-12T11:16:14.726-07:00Colin Richardson Interview Part 6 - Monty Python at the Belgrade, Coventry<div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-family: arial;">08/09/2009 Visit <b>Colin Richardson'</b>s blog on Typepad <a href="http://colinrichardsonjazz.typepad.com/blog/"><b><span style="font-size: large;">http://colinrichardsonjazz.typepad.com/blog/</span></b></a><br /><br /><b><span style="font-size: large;">Monty Python's First Ever Live Performance - Belgrade Theatre, Coventry 1971 as part of the Lanchester Arts Festival.</span></b></span><div>
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<span style="font-family: arial;"><b>PART 6 <br />'Live' Python found at Belgrade Theatre, Coventry!</b><br />By Colin Richardson<br /><br />1971 <i>Lanchester Arts Festival </i>included many well-known artistes on the 10 day programme of events, </span><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: arial;">
including <b>Elton John, Ralph McTell, Caravan</b>, blues legend <b>Arthur Big Boy Crudup</b>, <b>Leon<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7OplIP71ZdB-eLh9ifUATrhzoQSCDQcXQK-ZdtRLWd41ZrMvdtyEoxEtYZkFTZiLaI6lFk5l03D80JfjscwQU8eZR1UH23k-CHi2P-13TMAh2lQRMVY2eqso4sgdwBE95prxW8_7tvHnd7qiY8jgcGY-2zKNugrBuMFwq7_4gh4nG6qrpuu6if67/s526/311086481_10228087114873297_1607628219806736764_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="526" data-original-width="526" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB7OplIP71ZdB-eLh9ifUATrhzoQSCDQcXQK-ZdtRLWd41ZrMvdtyEoxEtYZkFTZiLaI6lFk5l03D80JfjscwQU8eZR1UH23k-CHi2P-13TMAh2lQRMVY2eqso4sgdwBE95prxW8_7tvHnd7qiY8jgcGY-2zKNugrBuMFwq7_4gh4nG6qrpuu6if67/w400-h400/311086481_10228087114873297_1607628219806736764_n.jpg" width="400" /></a></div><br /> Russell </b>and <b>Andre Previn</b> (conducting the <b>London Symphony Orchestra</b>), but the high point of the student-run mixed media festival that year, was without doubt, the first '<i>Live on Stage'</i> performance of <b>Monty Python's Flying Circus. </b><br /> <br />How did a modest little Polytechnic in Coventry come to be favoured with such a prime coup? Here's how it happened.<br /> <br />I had been the Festival's booking consultant in 1970, working closely with <b>Ted Little</b>, the student organiser. We made a good team, as he was always open to my ideas and suggestions, though quite firm of mind when it came to final decisions as to which act was chosen. I guess he must have been pleased with my contribution, as he retained my services for the following year.<br /><br />At some point during the planning, he asked if it would be possible to book one or two of the <b>Monty <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxn6qZTHgIvEU12eXtFSP9bgze5awngA-Kbbk9iVm7q3mdDNbD2lwoBiP-cVLFXJziLomxwAAEq-k_BAx9qUDbevS1a6zRIhKbfPR1DuvUeMCgX-xvwvsOVmeoAHzBAq0IlRHvvBCFVPM/s1600/6a0133f436b043970b0133f437430e970b.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxn6qZTHgIvEU12eXtFSP9bgze5awngA-Kbbk9iVm7q3mdDNbD2lwoBiP-cVLFXJziLomxwAAEq-k_BAx9qUDbevS1a6zRIhKbfPR1DuvUeMCgX-xvwvsOVmeoAHzBAq0IlRHvvBCFVPM/s1600/6a0133f436b043970b0133f437430e970b.jpg" width="204" /></a></div>
Python </b>team to perform a couple of sketches from the cult TV show, as they were immensely popular with the student fraternity. I was doubtful, as none of them had ever made any live appearances hitherto and I was pretty sure that they only produced their unique humour for the TV cameras. However, I said I'd see if there was any chance of one or more being interested. I had no idea who their agent was, but, as luck would have it, there fell into my lap a circuitous conduit to to one Python ear. It went like this: I had a little band going at the time...a quintet playing jazz and dance music around the club/college circuit and we had a singer by the name of <b>Jean Hart</b>, who was an American living in London and she was the girlfriend (later wife) of the comedian <b>Bill Oddie</b>. Bill would occasionally 'sit in' with the band, singing a credible blues. He knew most, if not all, of the Python team, so I asked him (through Jean) if he knew how I could go about contacting their representative. To my astonishment, he offered to introduce me to <b>Eric Idle</b> (it's possible that he was sharing a flat with him at the time, though I'm not certain about that) and eventually I got the summons to attend his presence. Being a bit of a fan myself, it was with some trepidation, awe and downright nerves that I presented</span><div><span style="font-family: arial;"><br /></span><div><span style="font-family: arial;"><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpaZQcO6D3iAQhUjvCatF8ufrr5SLY87f4WzBXnyWcMmNxB5Ri0nvTDXQh-JV7TNKCNm2cpqHUTiPEYAqylvKKBthF9RKanA5hOnyjIYeO00CTR41Ee8D5UxOas-gqeHBTOIhbJwu7_I/s1600/6a0133f436b043970b0133f4374303970b.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpaZQcO6D3iAQhUjvCatF8ufrr5SLY87f4WzBXnyWcMmNxB5Ri0nvTDXQh-JV7TNKCNm2cpqHUTiPEYAqylvKKBthF9RKanA5hOnyjIYeO00CTR41Ee8D5UxOas-gqeHBTOIhbJwu7_I/w640-h500/6a0133f436b043970b0133f4374303970b.jpg" width="640" /></span></a></div><span style="font-family: arial;">myself, but he very quickly put me at my ease with his relaxed and friendly attitude. He asked a few questions about what dates we had in mind, the Festival organisation, its history etc. I threw as many 'names' of artistes that had already been booked, or who had appeared in the previous 2 years and described how well run it was and he took it all in. I was expecting him to indicate who, if anyone, might be up for taking part, when he said something that had me almost fainting with inner excitement. It was along the lines of: "Well, your timing couldn't be more fortuitous (he could even have used the word 'serendipitous') as we've been discussing the possibility of doing something live on stage and, if we did, we would definitely do it outside of London, in case it didn't work for us. If you can find out whether the <i>Belgrade Theatre </i>is available for a 3 night run, that would certainly increase the odds of us agreeing to do it, as we have all worked there before and know that it would be ideal for us".<br /><br />In something of a daze, I promised to get back to him asap and left to find a phone to call <b>Ted Little</b> and </span><div class="separator" style="clear: both; text-align: center;">
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give him the astounding news. He didn't seem to take it in at first and kept asking which of the Pythons was I talking about. I said "All of them..the tout ensemble', the whole damn Circus!" After they brought him round, he checked the Belgrade's availability and phoned me back to say that we could have 3 nights, bang in the middle of the Festival. I passed this on to Eric and, soon enough, the dates and the deal were agreed. For the life of me, I can't remember the details, except that the shows would start at 12 midnight and that the fee was extraordinarily reasonable. In a cloud of euphoria, I passed this incredible news to Ted. Tickets went on sale a few days later...and all three shows sold out in about 20 minutes!<br /><br />Needless to say, the shows were a fantastic success, the student audience a proven fan base who already knew most of the sketches, not that this in any way diminished their noisy enjoyment of them. I recall that,on the first night, the entire front row was wearing '<i>Gumby</i>' style knotted handkerchiefs...to the astonishment of the first Pythons onstage. An interesting coda to this story is that, a couple of weeks before the premiere, I received a phone call from the plummy-voiced P.A. of an illustrious music biz heavyweight (no names, no pack-drill!) who, after ascertaining that I was, indeed, the person responsible for this 'showbiz' coup, informed me that Mr. ******** would 'like a box, for the first night' ! After a deep breath and summoning</span><div class="separator" style="clear: both; text-align: center;">
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my most innocent of tones, I asked: "What kind of box would he like? Orange?". Well, that went down like the proverbial lead balloon. A few moments of silence, then: "You do realise that it's Mr ******** we're talking about?" To which I politely replied: "Even if it was the Queen Mother, I still couldn't get you a seat, let alone a box. It's completely sold out." A gasp of incredulity and frustration, followed by the crash of the phone going down at his end. I have to admit that I got a degree of quiet satisfaction from the exchange, which just added to the enormous pride that I felt at being the guy who helped facilitate the very first '<i>Live on Stage</i>' appearance of <b>Monty Python's Flying Circussss!</b></span><div>
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<b><span style="font-family: arial;">From Comment from Chris Applebey via Facebook</span></b></div>
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<span style="font-family: arial;"><b>"</b> One of the most memorable weeks of my life! I was a reporter for the<b> Nuneaton Observer </b>and had press tickets for all events. The stand out moments for me were <b>Elton John's</b> performance in the Lanch Hall - he'd just switched from the <i>Burn Down the Mission</i> style stuff to the screaming up and down on top of his piano bit - and then his dressing room afterwards where he was very kind to my, then 17 year old, sister Sue. He was a sweetie to her. The same week I saw <b>Monty Python's</b> first live show at the <i>Belgrade.</i> I was in a press box, right next to the stage and Cleese stood in front of me, glaring and shouting "<i>Albatross! Albatross! Gannet on a stick! Tern ripple</i>." I was crying with laughter as he just stood po-faced in usherette uniform as I clung to the balcony legless with laughter. I interviewed him afterwards, I am tiny and he's huge and I was very star-struck and young. All I can remember was him saying how great it was to see so many people had come such a long way to see them, from somewhere up north, all dressed as "<i>Gumby</i>". It was an incredible coup for the Lanch to get so many big names that year, who were just hitting the big wave of their careers. I guess free tickets made it a very good deal. On the price of tickets, I remember seeing in the Sheffield newspaper (I was on a course there as part of my journalism training) that <b>Marc Bolan</b> was refusing to perform if venues charged more than a pound for tickets. Good for him."</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">The Gay Gannet, Broadgate, Coventry early 70's</span></td></tr>
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In <b>Michael Palin</b>'s Diary, he recalls the 1st ever Live performance of Monty Python's Flying Circus at the Belgrade Theatre, Coventry under Sunday January 31st 1971 in these sample pages of the diary on Google Books. <b><a href="http://books.google.co.uk/books?id=WauIZAVNYz8C&pg=PT93&lpg=PT93&dq=Michael+palin+-+breakfast+at+the+gay+gannett%2C+coventry&source=bl&ots=gGFOTtLJV2&sig=-3Tj0OxllQAJn99lroakyMEhi40&hl=en&sa=X&ei=wqhiUoOsOe6z0QXE44GgDQ&ved=0CDUQ6AEwAQ#v=onepage&q=Michael%20palin%20-%20breakfast%20at%20the%20gay%20gannett%2C%20coventry&f=false">HERE</a></b></span></div>
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He recalls their surprise to the response to their performance with over 1000 people in attendance. The next morning (Feb 1st,) having stayed at the <i>Hotel Leofric</i> in Broadgate, he describes how the went across Broadgate island to a café called 'unbelievably' <i>The Gay Gannet</i>' for breakfast!</span></div>
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<b><span style="font-family: arial;">Colin's story was covered by BBC Coventry and Warwickshire Radio in October 2009</span></b></div>
<span style="font-family: arial;"><br />10/10/2009<br /><br /><b><span style="font-size: large;">Monty Python at the Belgrade Theatre - BBC Coventry Report<br />HOW COOL!<br />BBC RADIO COVENTRY COVER THE COLIN RICHARDSON MONTY PYTHON STORY</span></b></span><div>
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<b><a href="http://www.bbc.co.uk/coventry/content/articles/2009/10/08/monty_python_feature.shtml"><span style="font-family: arial;">http://www.bbc.co.uk/coventry/content/articles/2009/10/08/monty_python_feature.shtml</span></a></b></div>
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This is the link to the BBC Coventry page following Colin Richardson's broadcast along with David Partridge who was in the audience at the Belgrade. It was featured on the Annie Othen show.</span></div>
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You can listen to the broadcast with Annie, Colin and David here.</span></div>
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<b><a href="http://a6.typepad.com/6a0133f436b043970b0133f436bf6e970b-pi"><span style="font-family: arial;">http://a6.typepad.com/6a0133f436b043970b0133f436bf6e970b-pi</span></a></b></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">The Monty Python team</span></td></tr>
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<span style="font-family: arial;"><br />Hannah Tobin of BBC Radio Coventry and Warwickshire got in contact with Colin Richardson after Hobo had <br /> <br /> <br /> <br /> <br /> <a href="http://a6.typepad.com/6a0133f436b043970b0133f436bf6e970b-pi"> <img src="http://a6.typepad.com/6a0133f436b043970b0133f436bf6e970b-200pi" /></a> <br /> <br /> <a href="http://a6.typepad.com/6a0133f436b043970b0133f436bf6e970b-pi">Annie Othen's Show on BBC Coventry & Warwickshire</a> <br /> uploaded an interview with Colin, part of which dealt with he's scoop of bringing the Monty Python team to the Belgrade Theatre in Coventry for the first ever live performance in 1971. Colin and also David Partridge (who was in the audience) were interviewed on BBC Coventry Tuesday October 20th 2009 on the Annie Othen show. Thanks to Rosie King at the BBC for allowing us to relay the interview on the site.</span>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Colin Richardson with Paul McCartney at Abbey Road.<br /><br /></span></td></tr>
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</div></div>Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-75149804030565545332013-11-08T15:45:00.002-08:002023-04-12T11:17:55.548-07:00Colin Richardson Interview Part 5 ( Formation of Colosseum and the Lanchester Arts festival)<br /><span style="font-family: arial;">
07/05/2009 Follow <b>Colin Richardson'</b>s blog here on Typepad <b><span style="font-size: large;"><a href="http://colinrichardsonjazz.typepad.com/blog/">http://colinrichardsonjazz.typepad.com/blog/</a></span></b><br />
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<b><span style="font-size: large;">Colin Richardson Interview Part 5 - <br />Formation of Colosseum</span></b><br />
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<span style="font-family: arial;"><b>THE FORMATION OF COLOSSEUM<br />by Colin Richardson</b><br />
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A few months after joining <i>Bron Artiste Management</i>, July I think, I got a call from <b>Jon Hiseman </b>to tell me that he was forming a band and asked if I was interested in being the manager. <b>Dick Heckstall-Smith</b> had left John Mayall's Bluesbreakers in early June, but <b>Jon Hiseman</b> had stayed on with Mayall for several more weeks. Dick and Jon had often talked about forming a band together...and this was their 'window of opportunity'. Dick apparently had said to Jon: "If we're ever going to form this band of ours, it's got to be right now!" So, after mulling things over,Jon decided to 'bite the bullet' and let Mayall know that he was also leaving He then told Dick it was 'game on' and set about getting the other musicians. <b>Tony Reeves</b>, who had also been with Jon and Dick in the Bluesbreakers had left at the same time as Dick and he was Jon's first choice for bass. Then Dave Greenslade was recruited... he'd been with <b>Geno Washington's Ram Jam Band</b> for the past 18 months and was ready for a change. So, now the main part of the group was set. Perhaps it should be explained at this point, that Jon, Tony and Dave had known each other since they were teenagers growing up<br />
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in South East London. Jon and Tony had played together many times at the <i>Jazzhouse</i> in Blackheath, which I wrote about in an earlier section. Dick, of course, had met Jon when they were both in the <b>Graham Bond </b>Organisation a few years earlier. Jon and I had also known each other quite a while, having worked together during the Jazzhouse days, both musically and when I was one of the club managers, as well as the early days of the <b>New Jazz Orchestra</b>. This was probably the main reason he approached me to manage the new band, which he had named Colosseum. I was flattered...but had to explain that, as I had a family and a hefty mortgage, I couldn't afford to take that kind of risk. I could, however, talk to <b>Gerry Bron</b> and see if I could get him interested in signing them and that way I could still be involved, but from within the organisation. That way they would benefit from the agency/management/publishing expertise of the company. I told Gerry, who was impressed with their pedigree and agreed to go and hear them when they had some material ready. Jon was happy with that option and a few weeks later announced that they were ready to show what they could do. We took ourselves down to the rehearsal room and listened as they ran through a few numbers. We were both blown away by the sheer musical ability of the guys and<br />
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Gerry signed them up without a moments hesitation. He then proceeded to set up a bank account for them, with a hefty overdraft facility and they were off and running within a week, with gigging scheduled to start in October, a couple of months later. They were well received by both fans and the music press and over the next 3 years played all over Europe and America (though never really cracking the latter), released 3 strong selling albums...the last of which was a 'live' recording, which was probably their best. They folded in November 1971, when they ran out of new material (and steam), the catalyst being guitarist <b>Clem Clempson's</b> departure to join <b>Humble Pie</b>. Amazingly, the group re-formed in 1993, over 20 years later, with the exact same line-up as when they broke up! They made several more records (CDs now, of course) and made frequent tours of the German-speaking territories. <b>Dick Heckstall-Smith</b> died in December 2004, aged 70.<br />
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<b><span style="font-family: arial; font-size: large;">Available here on Jon Hiseman's site - The biography <a href="http://www.cka-net.com/acatalog/info_TM-PTB.html">http://www.cka-net.com/acatalog/info_TM-PTB.html</a></span></b></div>
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<span style="font-family: arial;"><span style="font-size: large;">January 24th 2010 marked the 40th anniversary of the historic performances by Colosseum with The New Jazz Orchestra and Jack Bruce and Friends at the Lanchester Arts Festival in Coventry 1970.</span><br />
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I was lucky enough to have seen that concert at 18, sat squat legged on the floor of the Student Union main hall and <b>Colin Richardson </b>who i have interviewed here (unbeknown to me at the time) was just a few yards from me on stage with the band. In addition to interviewing Colin, I suggested the title of Jon's book which was a quote from one of Jon's interviews and seemed to sum up his approach not only to drumming but to his life in general. He doesn't play the drums, he plays the band - there's a huge difference!<br />
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Colin, who edited Jon's book, gave permission to use this chapter from <i>Playing the Band </i>which focuses on Colosseum's momentous gig in Coventry at The Lanchester Arts Festival in 1970, which Colin also arranged both as the Bron booking agent and as <b>Colosseum's </b>manager. The concert features <b>The New Jazz Orchestra</b> and <b>Jack Bruce and Friends</b>.</span></div>
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<span style="font-family: arial;"><b>From the chapter - A Giant Leap for Colosseum - Martyn Hanson writes</b> - <br />
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<a href="http://coventrymusichistory.typepad.com/.a/6a0133f436b043970b0133f436bc09970b-pi">Jon Hiseman with author Martyn Hanson</a><br />
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<i>“This remains one of the best gigs I was ever involved in. I was so proud that all my old mates from Tamworth were there to see it.” Clem Clempson on the Lanchester Arts Festival</i>"<br />
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<span style="font-family: arial;"><b><span style="font-size: large;">A Giant Leap for Colosseum (An Extract from Playing the Band)</span></b><br />
“This remains one of the best gigs I was ever involved in. I was so proud that all my old mates from Tamworth were there to see it.” Clem Clempson on the Lanchester Arts Festival"<br />
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The first few days of 1970 found Colosseum back on the road doing TV and live dates in Europe, including their first gigs in France…2 shows at the famous Paris Olympia, where they received a standing ovation from a euphoric audience. The feeling of satisfaction at having acquitted themselves so well in such a prestigious venue was slightly tempered by having to be up and away early the following morning in order to make it to the next gig, which was at the Winter Gardens, Weston-Super-Mare. Back to earth with a bump! <br />
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The heavy work schedule continued, but with a slight difference. Wearing his agent’s hat, Colin Richardson was the booking consultant for the Lanchester Arts Festival, a student-run, mixed media project in Coventry… a role which, the following year, would give him the opportunity to bring off something of a major ‘showbiz coup’…the first ‘live-on-stage’ appearance of Monty Python’s Flying Circus…three shows at the Belgrade Theatre as part of the 1971 Festival programme. For the current year though, he had already booked the UK premiere of Jack Bruce & Friends, featuring American stars Larry Coryell and Mike Mandell, together with ex- Hendrix drummer Mitch Mitchell. Also on the bill were Colosseum and the New Jazz Orchestra, playing live together for the first time…an idea that partly stemmed from the NJO brass and reed sections playing on the studio version of Butty’s Blues. Given the close musical relationship that had always existed between Neil Ardley and Jon Hiseman, it was a naturally symbiotic combination, which would prove to be both musically satisfying and exciting. For Jon it was all part of the plan, as he told Melody Maker: “When I formed Colosseum I was consciously trying to create an environment in which we could involve a band of this size.” His real ambition went even further: “The ultimate goal is to produce a 20-piece band whose members are individually as well-known as Colosseum. It’s impossible, of course”.<br />
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On the night, the New Jazz Orchestra opened proceedings with Dick, Tony and Jon in their ‘big-band’ roles. The Lanchester College newspaper reported: “The Mike Gibbs composition Rebirth, showed what a ridiculously accomplished set of musicians they were, while Dusk Fire, by Michael Garrick, had Tony Reeves playing the best bass solo I’ve ever heard”. The Guardian and Melody Maker echoed this praise in their reviews, MM going on to report: “Jon Hiseman swung beautifully through every number giving one of the most tasteful displays in drumming and stamping his style memorably on everything”. Ronald Atkins of the Guardian was equally impressed: “Few drummers in this country can touch Hiseman for sheer technique, and he obviously takes every chance to vary his patterns.” <br />
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This NJO gig was also something of a milestone for Barbara Thompson as she got her first chance to play a solo in public, in a duet with Henry Lowther. Jon recalls: “She played on Mike Taylor’s Study a very hypnotic slow ballad and it brought the house down. I learned the big lesson that night that you didn’t have to go in with a sharp stick to get an audience reaction. I couldn’t apply it to Colosseum as I always had trouble in keeping the tempos down, but I applied it to Barbara’s later career. She was fantastic that night, I was so proud of her.” <br />
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After the NJO left the stage, Dave Greenslade and Clem Clempson came on and Colosseum played their set. They kicked off with Lost Angeles, by now considerably longer than the studio version, followed by the old Graham Bond staple Walkin’ in the Park. Next came The Machine Demands a Sacrifice, which featured Jon’s drum solo, inspiring the college paper to write: “For those of you who saw the first solo, the second was even better and for those who saw the second, Jon had been on stage for over six hours when he started”. It’s quite likely that most of the crowd were there to see Jack Bruce, but already they were experiencing some seriously powerful and memorable music…but the best was yet to come! the NJO musicians returned to join Colosseum for the final two numbers, the first of which was Butty’s Blues, featuring some forceful playing from Dick, but the highpoint of the performance was always going to be the closing piece, Valentyne Suite, scored for the augmenting musicians by Neil Ardley. At one point during the performance, Dave Greenslade was suddenly aware of the significance of the moment: “This was amazing for me Jon and Tony, as we had seen all those great big bands all those years ago. And I found myself playing Hammond in the middle of this great brass section - it gave me a great buzz.” The suite’s climactic ending prompted lead trumpet Bob Leaper to hurl his trumpet high in the air, deftly catching it on its return flight. It was a fitting climax to a memorable collaboration. Jon congratulated Clem after the show saying it was the best he’d heard him play and the college paper also singled him out for his outstanding performance. There was good reason for Clem to be so fired up and playing so well that night: “This remains one of the best gigs I was ever involved with. I was so proud that all my old mates from Tamworth were there to see it.” Colin Richardson concurred: “It was an amazing concert…without doubt, one of the highlights of my music biz career.” The Guardian’s Ronald Atkins was amazed by the crowd’s good humour, as they sat shoulder to shoulder in stifling heat: “No one grumbled and no one collapsed; they sat quietly while the music played and clapped and cheered when it stopped. As a veteran of FA cup ties and smoky jazz clubs, I offer them my envious congratulations.” <br />
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Dick also considered it a milestone for Colosseum: “Of all the outrageous things to attempt – the NJO incorporated in the set, playing Neil Ardley’s arrangements to some of our recorded numbers. The hall was packed to the rafters and the reception we got started off as enormous and ended up gargantuan.” The Lanchester college paper went into overdrive: “But then, back came the NJO for the final 40 minutes of the best music I have ever heard here…words cannot do justice to the reality. Quite simply, it stopped the show.” The last word is from Jon: “Lanchester was just amazing. We played to a total of 5000 people in the two shows. Dave Gelly told me that was more people than he’d performed to all year.” The success of this collaboration ensured that there would be further such joint concerts later. Jack Bruce’s set was also well-received, with Jon joining the audience to dig it, enthralled by the drumming of Mitch Mitchell. “He was just wonderful that night – his was a talent I much admired but I think he got lost somewhere along the way.” <br />
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Barbara had, in fact, played in Coventry on another occasion. In the early part of 1969 she had formed the Barbara Thompson/Art Themen Quintet. Art Themen was a very talented tenor saxophonist who had known Jon and Dick Heckstall-Smith for many years (he’s also Arthur Heckstall-Smith’s godfather). They played at the Belgrade Theatre and Melody Maker reported: “Opening with John Coltrane’s Promise they played some interesting modern jazz with Barbara and Art both blowing fluent tenor, soprano and flute.” The audiences tended to be on the small side, but Barbara enjoyed the artistic freedom. She told Melody Maker: “Musicians have got to get the idea they can make a living out of jazz out of their minds…it’s a pipe dream,” In spite of this remark, since her Cabaret experience, she had made the decision never turn down the opportunity to play jazz just because it didn’t pay. Barbara always kept several projects on the go, including composing music and writing arrangements. She also seems to have had a thing about drummers, as she also played on Keef Hartley’s album Battle of North West Six. To promote it, Hartley had performed a John Peel ‘live special’ with a 14 piece big band, which featured Barbara in the sax section. Two days after the memorable Lanchester Festival gig, Barbara made her first public appearance with Colosseum on Beat Club a German TV show, filmed in Bremen. Colin Richardson was a good friend of the producer/director, Mike Leckebusch having previously booked Manfred Mann and the Bonzos on the show. Barbara remembers she wore a strange outfit: “It was the time when the Indian Squaw look was really in, and the make-up department at the German TV station went to town on me.” <br />
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Barbara reprised her flute playing on The Machine Demands a Sacrifice which she had performed on the Valentyne Suite album. Clem, who had by now settled in and had gained in confidence, gave an inspired vocal performance. <br />
1970 had certainly got off to a good start, but unfortunately, another crisis was already looming on the horizon! "<br />
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<b> Martyn Hanson (From Playing the Band)</b><br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-34231708051244091112013-11-08T09:12:00.002-08:002023-04-12T11:18:44.787-07:00Colin Richardson Interview Part 4 - Bron Booking Agent<br /><span style="font-family: arial;">
6/18/2009<b> <span style="font-size: large;">Visit Colin Richardson's blog - here <a href="http://colinrichardsonjazz.typepad.com/blog/">http://colinrichardsonjazz.typepad.com/blog/</a></span></b><br />
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<b><span style="font-size: large;">Colin Richardson Interview Pt 4 - Booking Agencies</span></b><br />
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Continuing from part Three we look at Colin Richardson's development as a Booking Agent in the music business..</span></div>
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<b>At some point you became a Booker with The London City Agency, your first break into the music</b><br />
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business. How did that come about?</b><br />
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In 1964 I was working as an Office Services Manager for a computer company, north of Oxford Street. This was about the same time I got the Marquee 'night manager' job on Monday and Wednesday evenings, as well as Sundays at the "<i>Jazzhouse"</i>...plus playing the odd gig here and there. I was also, on occasions, booking bands into local colleges on a 'split commission' basis (this is where you get a booking for a band that you don't actually represent, but the band's agent will accept the booking and 'split' the 10% commission with you 50/50. Some agencies were quite happy to do this, even though I wasn't officially an agent.).<br />
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One such booking was for the <b>Artwoods,</b> a popular R&B group (with <b>Jon Lord</b> on Hammond organ!). Some time after this gig, I was phoned by their booking agent, <b>Barry Dunning</b> at the <b>London City Agency</b>, asking if their was any chance of them getting a '<i>return booking</i>'. In the conversation that followed, I let it be known that I was interested in getting into the music business and he suggested that I go and have a chat with them, as one of their bookers, <b>Steve O'Rourke</b> (who was later to be part of <b>Pink Floyd's</b> management) was moving on. So, I went to meet with Barry and his partner, <b>Johnny Jones</b>. After <br />
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asking a few questions, they seemed happy to offer me the job... and I was happy to accept. Oddly enough, I started off booking out the aforementioned Artwoods, plus a few other acts, but, more importantly, I also had to get bookings for some very well-known visiting blues artists, such as <b>John Lee Hooker, Chuck Berry</b> and <b>Jesse Fuller</b>. It was certainly 'in at the deep end', but it was definitely a great opportunity to learn the ropes. After about 18 months though, I was kind of 'head-hunted' by<b> John Gunnell</b> of the <b>Rik Gunnell Agency</b>.<br />
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<b>So, your next move was to the Gunnell Agency...</b><br />
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This would have been around September 1966. I had got to know John Gunnell, the younger of the 2 brothers, through booking some of the LCA bands into the <i>Flamingo</i> and <i>Ram Jam clubs</i>, both of which were run by the Gunnells. Their agency had an impressive roster of 'name' bands like <b>Georgie Fame and the Blue Flames, Geno Washington and the Ram Jam Band, Zoot Money, John Mayall, Long John Baldry</b> etc., so they were a much more powerful set up. When John asked if I would like to join them, I didn't really hesitate..though I did have some pangs of guilt at leaving LCA, who had given me my first break, but I realised that it would be a big step up for me to handle bands of that stature. They were much easier to sell, since they were such reliable 'draws' and it was just a question of which gigs to take and which to pass on. Like LCA, the Gunnells occasionally imported artists from the States. I remember booking out blues guitarists <b>Freddie King</b> and <b>Albert King</b>, as well as soul singers like <b>Mary Wells</b> and <b>Joe Tex</b> (who cancelled at the last minute, causing real problems which resulted in the Gunnells calling a halt to such tours).<br />
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We also had something to do with the <b>Stax tou</b>r in '67, with<b> Otis Redding, Sam and Dave, Arthur Conley </b>and <b>Wilson Pickett.</b> I think it might have been as promoters of the <i>Finsbury Park Astoria concert</i>, I can't remember exactly. It was very exciting working with such major league artists, but in December 1967, I was offered the job of General Manager at <i>Bron Artistes Management</i>, who looked after <b>Gene Pitney,</b> <b>Manfred Mann </b>and the <b>Bonzo Dog Doo Dah Band</b>. I like the idea of working with such a diverse range of artists, plus it was another step up for me.<br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-34672350758765911842013-11-08T08:50:00.001-08:002023-04-12T11:19:21.313-07:00Colin Richardson Interview Part 3 (The Marquee Club 1964-65)<div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">
06/16/2009 <b>Colin Richardson's Typepad<span style="font-size: large;"> <a href="http://colinrichardsonjazz.typepad.com/blog/">http://colinrichardsonjazz.typepad.com/blog/</a></span></b></span></div>
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<span style="font-family: arial;"><span style="font-size: large;"><b><br /></b></span><b><span style="font-size: large;">Colin Richardson Interview Pt 3 The Marquee Club 1964-65</span></b></span></div>
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<span style="font-family: arial;"><b>Colin Richardson worked as a Night manager at The Marquee Club between Autumn 1964 until </b><br />
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early 1965, under the supervision of Harold Pendleton and John Gee. How did that come about? And what was your role?</b><br />
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My route into the<i> Marquee </i>was through the <i>National Jazz Federation</i>, which was set up by<b> Harold and Barbara Pendleton</b>, who were both jazz enthusiasts, mainly to act as an agency for <b>Chris Barber</b> and other 'trad' bands and to run the <i>Marquee Club</i> (at that time in <i>Oxford Street</i>). Later they founded the <i>Reading Jazz and Blues Festival,</i> which in those days, was exactly that...jazz and blues. They had a tiny office just off (I think) <i>Dean Street</i>, where Chris's sister Audrey also worked. I met them through my involvement with the "<i>Jazzhouse</i>" and the <b>New Jazz Orchestra</b>, which was runner-up at the 1964 festival's newcomers competition. Some time later, they asked if I would like to be a 'night manager' at the Marquee. Naturally, I jumped at the chance.<br />
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Harold and Barbara worked mostly at the NJF offices, a short walk away in Dean Street, which were quite modest, just 2 or 3 rooms over (I think) a restaurant.That's where they ran the admin, booked the bands etc. I didn't see them at the club much, though they would sometimes show up on Humph's night. (<b>Humphrey Lyttelton Band</b>). I ran the Monday night session with <b>Long John Baldry</b> <b>and the Steampacket</b>, as well as Wednesdays, which featured the <b>Humphrey Lyttelton Band</b>.<br />
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The atmosphere in the club was always pretty good, whatever the size of audience, though it could get very hot and sweaty when it was full. As 'night manager', I had to oversee the whole evening, ensure the box office was set up, cash float, etc... check that the band was ready to go on at the right time, cash up at the close, pay the bands, etc... Lock up and go home. Everything except the catering.<br />
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The bands were nearly always booked by John Gee, the club manager or through the office, in the case of American visiting musicians. Some of the artists could be quite difficult. I frequently had problems on the Monday night, when <b>Long John Baldry and the Steampacket</b> played. Baldry and <b>Rod Stewart </b>always seemed to end up arguing over the money and sometimes the keyboard player <b>Reg Dwight,</b> later to re-invent himself as <b>Elton John</b>, would also get involved. I often had to practically throw them out, so I could catch my last train. Never had problems with Humph's band, who all behaved like the professionals they were.<br />
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The Marquee was an extremely important step on the way to my music biz career. I made some very <br />
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influential contacts, which I sustained over the next years or so. It provided me with excellent experience in dealing with bands etc.... plus it meant I could pretty much always get my bands on there when I wanted. As they say... it's who you know, as much as what you know! Remember, Harold, Barbara and John also ran the Reading Festival at that time, so my relationship with them paid big dividends later on. Though I only worked there a few months... it certainly played a big part in my getting into the music biz.<br />
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<br />Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-38992316279379698732013-11-08T07:24:00.003-08:002023-04-12T11:20:22.856-07:00Colin Richardson Interview Part 2 - The JazzHouse Club 1962<br /><span style="font-family: arial;">
1st published on Hobo Vox / Typepad site 06/15/2009 Visit <b>Colin Richardson's</b> <br />
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<b style="font-size: x-large;">Colin Richardson - Interview with Trev Teasdel Pt 2 - </b></span></div>
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<span style="font-family: arial;"><b><span style="font-size: large;">THE JAZZHOUSE CLUB – Blackheath 1962 </span></b><br />
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<b>In 1962 Colin Richardson co-ran The Jazzhouse Club (at the Green Man Pub) in Blackheath. I </b><br />
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asked Colin to describe the club. </b><br />
“The jazz club was held at the <i>Green Man</i> pub in Blackheath every Sunday evening, upstairs in what was euphemistically referred to as the "Banqueting Suite". It was a decent sized room, which originally had a tiny triangular stage across one corner of the room (though this was later enlarged to an oblong area which extended right across one end of the room). The '<i>house band</i>' was the <b>Ian Bird Quintet</b>... the line-up was usually tenor and baritone saxes, plus rhythm section of piano bass drums, occasionally augmented with a trumpet player. They played 'straight down the line' jazz, mostly by guys like <b>Oliver Nelson, Benny Golson, Miles Davis</b> etc. with arrangements usually by<b> Clive Burrows</b> (the bari player). Every week a different 'star' soloist would be booked...<b>Tubby Hayes, Joe Harriott, Ronnie Scott, Don Rendell, Tommy Whittle</b>...all the current premier league instrumentalists of the day. They all got paid the same fee...£5 (which was about 3 times what the resident musicians took home!) The resident band would play the first half, then, after the break, the 'star' would play, backed by the house rhythm section. Sometimes (depending on the whim of said 'star', the other guys would return for a jam session end to the evening.<br />
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The atmosphere was always friendly, the audience usually around the 100 mark, depending on how strong a draw that week's soloist was. There was a bar at the rear of the room, but the audience, though enthusiastic, was always well-behaved and knew their jazz.”<br />
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<b>One of the interesting developments at the Jazzhouse was the addition of an R & B night with Manfred Mann before they made the big time. What can you tell us about that?</b><br />
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Manfred first appeared early in 1963, I think, at our second club, which we had just opened at the <i>Hackwood Hotel</i> in Bromley. As far as I recall, he had only recently arrived in the UK (from South Africa) and was essentially a jazz pianist at that point. He had got together with <b>Mike Hugg</b> and they were playing holiday camps as the <b>Mann/Hugg Blues Brothers</b>. He was checking us out for the possibility of a gig there, but nothing much came of it as the new club wasn't a great success and we didn't continue with it.<br />
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Next time we saw him, he pitched up at the <i>Jazzhouse</i> one Sunday and told us he had switched to Hammond organ and was playing R&B as <b>Manfred Mann</b> (he probably deemed his real name, Lubowitz, too unwieldy). He suggested that we open a 'rhythm and blues' night, saying that they would play every other Friday for a straight 50% of the door take (such was his confidence that they would draw a good crowd, which turned out to be well-founded). We could then book one of the many other bands playing R&B (like <b>Chris Farlowe</b> or <b>Graham Bond</b>) on the other Fridays. With some trepidation (plus we were admittedly a tad 'snooty' about going downmarket, as we saw it) we agreed to give it a whirl, encouraged by Manfred's assertion that and that we could make a lot of money, which we could use to improve or enhance the jazz nights.
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We agreed a date for the opening night...booked a couple of other bands for the 2nd and 4th nights...and set about publicising the new venture.<br />
On the first Friday, I turned up at my usual time of around 7pm...30 minutes prior to opening the doors. Normally, on a Sunday, I would arrive to find maybe 15 or 20 people waiting in an orderly queue. On this occasion as I was approaching the venue, I noticed that there seemed to be a crowd milling around and wondered if there was a problem of some kind. As I got closer, I realised that it was 'our' queue...which stretched from the club entrance on the first floor, down the stairway, out the main entrance and around the block! Around 300+ fans were waiting (with incredible patience, it should be mentioned) to get in. We were, as they say, 'gobsmacked'! The gig was a resounding success and we cleaned up! Not every group did quite as well, but nevertheless, we always made money, whoever was on. As fate would have it, the success of the R&B night, with its much larger crowds, was indirectly the cause of its demise. It happened thus: On Saturday nights at the <i>Green Man</i>, a slightly dubious promoter used to stage what he described as "<i>A Battle of the Bands</i>", when he would assemble a bill of 5 or 6 local 'beat groups' (as they were known then) who would 'compete' for the title of the night's best group. They would 'win' the prize money of about a tenner..the rest got zilch! The promoter, of course, always made a bomb! There were often minor scuffles on these evenings...nothing serious...but one Saturday a fight broke out and a knife was used...enter the 'fuzz', who promptly closed ALL the clubs down..even though we were unconnected and had never had any trouble on our nights. When the landlord told us, we went to the police and pleaded our case. At first they were adamant that no music clubs would be allowed at the pub, but after more pleading and explaining that the Sunday night jazz club had been running for well over a year without any sign of trouble and that furthermore..our jazz audiences rarely numbered much more than 100...they relented and allowed us to continue with the Sunday night jazz club...but NOT the Fridays. So, our venture into the world of 'commercial promotions' came to an end..but , at least we had made a bit of money, which we used to fund the formation of a 'big-band workshop', the brainchild of <b>Clive Burrows</b>, co-leader of the resident quintet. The rehearsal band eventually evolved into the <a href="http://en.wikipedia.org/wiki/New_Jazz_Orchestra">New Jazz Orchestra</a><a href="http://en.wikipedia.org/wiki/New_Jazz_Orchestra">,</a> which went on to play many concerts, some in collaboration with Colosseum...notably at the Lanchester Arts Festival in 1971...and that leads us neatly on to the next episode.<br />
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The idea for putting together a larger band, originated with Clive Burrows, co-leader of the house band. He wanted a kind of 'workshop' where the younger musicians could get experience of sight-reading and ensemble playing, as well as writing arrangements for a bigger line-up. So, we set about finding around 18 guys playing the right combination of instruments, sorted out some interesting and challenging 'charts'..<b>Gil Evans</b>, <b>Oliver Nelson</b> etc. plus one or two own arrangements from Clive and one of the club managers, <b>Les Carter</b>, who played flute...and we were all set.<br />
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The first rehearsal was at the<i> Jazzhouse</i> on the November 10th 1963 and I noticed straight away the enthusiasm of everyone who turned up. It was Sunday lunchtime and quite a few of these guys would have been out on gigs the night before, but they were raring to go.<br />
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After a few weeks, everything was going well and the guys were starting to talk about playing to an audience. So, we set up the debut performance for Sunday 22nd December at (where else?) the <i>Jazzhouse</i>, with its new larger stage. Billed as the '<b>Bird-Burrows Big Band</b> (great alliteration, but cumbersome!) it was a roaring success... our usual crowd turned up, plus a whole bunch of new faces, curious to see what it was all about.<br />
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This successful debut gave a whole new impetus to the band...rehearsals continued apace and in the New Year, the band members were already asking when the next gig was going to be and 'how about recording it'? I realised at this point, that we had something pretty special here and as everyone seemed to think I was the manager...I decided to start 'managing'.<br />
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The next gig we did was was early in 1964 at the <i>Widmore </i>(not 'Wigmore'!) Hall in nearby Bromley as a fundraiser for the '<i>Freedom From Hunger Campaign</i>'. On this occasion, we had a vocalist...a guy by the name of <b>Duffy Power</b>, who was actually a young up-and-coming 'pop-star' but with a pretty good bluesy voice. I have no recollection of how this came about...it was a 'one off'' and he didn't make any further appearances with the band. I guess his pop career took off or something!<br />
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Soon after this <b>Clive Burrows</b> accepted an offer to turn 'pro' with <b>Zoot Money and the Big Roll Band</b>. <b>Ian Bird</b> had already departed some time earlier which meant that the rehearsal band was left rudderless at which point<b> Ian Carr</b> suggested bringing in a budding young composer / arranger <b>Neil Ardley</b> to take over leadership. A new name was also needed and some one came up with a rather grandiose <b>Neoteric Jazz </b><br />
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<span style="font-family: arial;"><b>Orchestra </b>but this was quickly revised to the <b>New Jazz Orchestra.</b> Later that year the <b>NJO</b> won the <i>All England Jazz Contest,</i> the final which was held as part of the <i>Guildford Jazz Festival </i>and were also runners up at the <i>National Amateur Jazz Contest</i> which was held under the auspices of the National Jazz Federation as part of the <i>Richmond Jazz and Blues Festival</i>. Eventually in 1965 the orchestra recorded a live album - <i>Western Reunion</i> which was released on the <i>Decca </i>label. It was surprisingly well received, with <i>Melody Maker</i> making it their 'Album of the Month'!<br />
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It's actually still available, but on CD...the original vinyl LP is now a sought after collectors item valued at around £50. Of course...I lost my copy years ago!<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Neil Ardley</span></td></tr>
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As to the line up - apart from <b>Ian Carr</b> (trumpet and fluegel horn) who did go on to fame (if not fortune!) as <b>Miles Davis</b> biography. Then there was <b>Jon Hiseman/Tony Reeves </b>etc with <b>Colosseum</b>. Maybe I should also mention <b>Trevor Watts</b> (alto) and <b>Paul Rutherford</b> (trombone) who later became a force in the British avant-garde jazz movement. <b>Neil Ardley</b> (now no longer with us) also has a certain cult following, because of the important albums he made later under his own name ('<i>Symphony of Amaranths'</i>, '<i>Le Dejeuner sur l'herbe'</i>, and '<i>Kaleidoscope of Rainbows</i>') with many of the musicians from the NJO. Other than that, they were all young, relatively inexperienced semi pro musicians...which is why it was so special.<br />
the author of his <br />
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The "<i>Jazzhouse</i>" was just one of many such clubs, not just in the London area. Run mostly by enthusiasts (as they rarely made any money putting on modern jazz) many of them operated similar policies to ours...a good-ish resident band of local musicians, with a different 'name' guest musician each week, like <b>Ronnie Scott, Tubby Hayes, Joe Harriott</b> etc. The biggest name we ever booked was <b>Oscar Brown Jnr</b>, for our first anniversary night. With boldness derived from our naivety, we 'doorstepped' him when he was on a visit to the UK. Somehow we heard he was staying in <i>Holland Park</i> with <b>Stanley Myers </b>(pianist/composer/arranger of some note). We offered him double our usual fee (£10!), which he found quite amusing, I think. Then agreed to do it on these terms: Car to pick him up and drive him back..a bottle of decent cognac, the rhythm section to pre-rehearse 3 songs, charts provided by him. He would arrive, perform and leave immediately after....oh, and forget the £10!<br />
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It was a great night!<br />
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<b>Taking it back to the personal – What were your tastes in Jazz. Who did you admire and why?</b><br />
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I sat and thought about this for a bit, which I haven't done for many years and I was quite surprised to realise that the kind of jazz that I prefer listening to now is still the jazz that I listened to back in the 50s...<b>Charlie Parker, Miles Davis, Stan Getz, Charlie Mingus, John Coltrane, Bill Evans, Gil Evans, John Lewis, Milt Jackson, Errol Garner</b> etc etc...I could go on, as there are many others, but where would I stop? I guess the simple answer is that I was excited by the (then) new jazz...called by some be-bop, which is, I think the term conjured up by <b>Dizzy Gillespie</b>. He and <b>Charlie Parker</b> were probably the two main proponents of the harmonic breakthrough that defined theses new sounds. It changed the whole ballgame, musically speaking and from then on, there was a big divide between these musicians and the old school playing Dixieland or swing. Of course, at that time, because of a protectionist stance by the American union disagreement, you couldn't hear any of these guys live, unless you went to the States (or occasionally Paris, where there was no union block, as there was in the UK). I remember the first bandleader to get round this, was Stan Kenton, when he flew his band over to Southern Ireland and everyone who could afford it, travelled there to hear this incredible music. Ironically, <b>Duke Ellington</b> was allowed to play in England, as he was classified as an 'entertainer', not a musician!! So, the only live jazz I could experience was seeing bigbands like <b>Jack Parnell</b> or <b>Ted Heath</b> in concert theatres, or go to clubs like the Flamingo to hear guys like <b>Don Rendell, Tubby Hayes, Tommy Whittle </b>etc., who were the 'young turks' of that era. That all changed when the two unions came to an agreement and the ban was lifted..and I got my chance to see some of the musicians I had been listening to on record, live in concert. One such, stands out in my memory..and that was seeing <b>Norman Granz's</b> '<i>Jazz at the Philharmonic</i>' package at the <i>Gaumont State </i>in Kilburn.. with the <b>Oscar Peterson Trio, Dizzy, Illinois Jacquet</b> and many others. That was some concert!<br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-65119868835982208162013-11-07T15:42:00.004-08:002023-04-12T11:21:05.348-07:00Colin Richardson Interview Part 1 (Manager of Colosseum and Much More) <div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">
04/04/2009</span></div>
<span style="font-family: arial;"><br /><b><span style="font-size: large;">Colin Richardson was the Bron Agency representative through<div class="separator" style="clear: both; text-align: center;">
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whom the Lanchester Arts Festival booked many of its bands - including Colosseum (who Colin Managed), Jack Bruce and friends / New Jazz Orchestra / Monty Python's Flying Circus / Edwin Hawkin Singers / Ivor Cutler and more.</span></b></span><div>
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<span style="font-family: arial;"><b>Colin Richardson</b> got in contact with Hobo after seeing the original article on the Lanch Festival to give me some background. Along the way I became aware of his long standing role in the music business from the early 60's onwards and decided to interview him. This interview originally appeared on the old Hobo Vox / Typepad blog.</span></div>
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<b><span style="font-family: arial;">Colin has been a Jazz club manager, bass player/band leader, night-manager at the Marquee club, London. Agency booker. Artist management for Colosseum and a Music journalist. His insights into the music business, his stories and his background information to Coventry's major arts festival in the 1970's are quite amazing - </span></b></div>
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In an exclusive interview with <b>Trev Teasdel</b> for HOBO Colin describes his life and career in the music business.</span><div>
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<span style="font-family: arial;"><b>PART ONE - COLIN'S DEVELOPMENT AS A JAZZ MUSICIAN</b><br /><br /><b>Colin, You were born on 31st December 1936 in South-East London. What were the significant musical influences on you when you were growing up?</b></span><div>
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The first 2 records I bought (in 1952!!) were 78s...one was <b>Jelly Roll Morton'</b>s <i>Dead Man Blues</i> b/w<br /><i>Sidewalk Blues</i> the other was a <b>Humphrey Lyttelton</b> record, but I can't recall what the tracks were. I played them on a '<i>wind-up</i>' gram! Gaaad, that dates me! Then, I got into <b>Earl Bostic</b> for a bit... I liked his version of Flamingo. Later that year I joined the Merchant Navy, so my listening was confined to shortwave radio for the next couple of years...though I do recall buying a 10" LP of<b> Stan Getz</b> in Montreal (even though I had nothing to play it on at the time!). That would have been late '53 on my last trip before quitting. After a short spell, in 'civvy street' I had to do my "National Service, as conscription was still in force..so I joined the RAF (1956) and was posted to Germany. There I bought quite a few LPs from the American Forces shop...<b>Errol Garner, Duke Ellington, Dave Brubeck, Shorty Rogers</b> etc.</span><div>
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<span style="font-family: arial;"><br /><br /><b>A lot of your career was spent promoting, booking and managing other bands. Tell us first about yourself as a musician. You played Double bass. How did your own musical career begin.</b><br /></span><div>
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I suppose the earliest musical attempts were at age 13 when I started to learn classical piano. I wasn't exactly gifted and nothing came easy to me. Hated practicing, so the omens weren't good and I threw the towel in after less than a year (something I naturally regretted later). I fooled around with a guitar while in the MN...and trumpet in the RAF. No tuition whatsoever..just picking out tunes myself...I remember attempting "<i>Someone to watch over me</i>" at one point. I didn't persevere with either and didn't make much progress. Then later, (must have been early 60s by now) to further my 'career' in office management I had taken evening classes for 2 or 3 years. To take a break from these studies, I signed up for a course in jazz<br />and blues at Goldsmith's College in South East London tutored by an eccentric trumpet/trombone/bandleader guy, name of <b>Owen Bryce</b>. </span></div>
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He claimed to be "<i>Britain's First Jazz Trumpeter</i>" and his instrument case proclaimed this in large red and yellow letters! The plan was to play piano on the course and I did start out thus, but there were 3 other guys who played piano, so for 3/4 of the 2 hour session, I just sat and watched. After a couple of weeks, Owen arrives schlepping a somewhat battered double bass, with 2 of the 4 strings missing and asked if anyone could play it. No-one put their hand up, so he then asked if anyone wanted to play it. I figured that, rather than sitting and watching, I would have a go on this large and slightly daunting instrument! So I stuck my hand up...marched up to the bandstand and commenced plucking! I'd like to say it was love at first 'pluck', but that might be exaggerating..though I certainly enjoyed my first attempts at providing rhythm for the other instruments. I subsequently took the bass home, got a new set of strings for it, bought a tutorial book and...and off I went !</span></div>
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I practised quite a bit...took a couple of lessons from <b>Joe Muddel </b>(well-know bass player at the time, who lived quite near to me) and at some point, <b>Owen Bryce</b> asked if I'd like to 'dep' for his regular bass player next Saturday at the<i> Moat Hotel</i> Wrotham? My first gig...and it paid £3! (not a bad sum at the time!). I had to borrow a tux (from my next door neighbour). The band played what was known as 'mainstream jazz', slightly watered down for a dinner dance crowd. From time to time, this offer was repeated and eventually I was playing more often than the 'regular' guy so, by default, the job was mine. Neither of my parents were at all musical...other than playing the odd 78 record of 30s'40s songs. I do remember "Pedro, the fisherman...was always whistling"!!! Now there's a "scoop"!!! Hold the front page!</span><div>
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Other than that, I don't recollect being all that aware of what was going on musically. Mostly I went to the cinema...or very occasionally, a local variety show. As a teenager, I heard all the current pop songs on the radio..<b>.Johnny Ray, Guy Mitchell, Rosemary Clooney, Pat Boon</b>...all very "schlocky" (except <b>Rosemary Clooney</b>...a much underrated singer). trying to think of the first 'live' band performance I saw....pretty sure that would have been the <b>Jack Parnell Big Band</b> in Streatham, some time in 1952, I think, when I lived in Streatham prior to joining the MN.<br /><br /><br />Most of my leisure time was devoted to ice-skating at that time...I was a fanatical, if not always upright, speed skater!...5 nights a week!<br /><br /><b>3. What kind of music did you play and who with and where? </b><br />Later, when working in the music biz...I kind of formed my own band (the "<b>Cole Richards Combo</b>"!!!..this name was suggested by <b>Dave Gelly</b>, the tenor player from the <b>NJO (New Jazz Orchestra</b>) and a long time friend. This band played a kind of "cabaret/night-club jazz for dancing," for quite reasonable fees, at colleges and other commercial gigs...and, with some line-up modification, out and out modern jazz (for little or no money!) in jazz clubs (<b>Ronnie Scott's</b> "Old Place", the <i>Marquee</i> etc.) and even the odd BBC radio prog like Sounds of the 70s.!<br /><br /><b>4. Any highlights / stories around your own musical activity?</b><br />...quite a few, some even printable!</span></div>
<span style="font-family: arial;"><br /><br />My 'career' as a musician/bandleader was never going to lead to anything remarkable..I played mainly for enjoyment and was fortunate to have around me some highly talented up-and-coming local musicians like <b>Jon Hiseman</b> (at that time still a semi-pro drummer, whilst holding down a day job at ICI!) and <b>Dave Gell</b>y (tenor sax) later to become an established author and journalist (jazz critic for the "Observer")...<b>Art Themen</b> (who had been at Cambridge with Dave) and was usually the other front line instrument with the New Jazz Quintet (the version of my band that played the jazz gigs)).<br /><br />Some of the slightly more notable occasions include: backing <b>Champion Jack Dupree</b> at the Chelsea College of Technology...we had to be on our toes...as Jack would sometimes decide that the 12 bar blues he was playing would be improved with the addition of an extra bar or two!<br /><br />Other highlights would be...a recording session for <b>Jean Hart</b>, an american singer who worked with my band at the time. She was <b>Bill Oddie's</b> girlfriend (and was the original conduit to <b>Eric Idle</b> and the Python booking coup!) She seemed to be connected to quite a few 'high-flying' celebs, including Richard Rodney Bennett...who she somehow roped in on piano to record some songs for a demo. Dave G and Jon H were also on the session...but where the tapes went is anybody's guess. Dave recently told me he did have a tape of the session, at one time, but had no idea whether it was still around. Shame...I'd love to have a copy.</span><div class="separator" style="clear: both; text-align: center;">
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IN PART <i>TWO </i>COLIN TALKS ABOUT THE JAZZ HOUSE - <b>NEW JAZZ ORCHESTRA</b> - <b>MANFRED MANN</b> - <b>THE MARQUEE</b> <br /><br /><br />COLIN RICHARDSON IS ON TYPEPAD <a href="http://colinrichardsonjazz.typepad.com/blog/"><b>http://colinrichardsonjazz.typepad.com/blog/</b></a></span></div>
Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-18437246099619845842013-11-06T09:18:00.009-08:002023-04-12T11:26:24.860-07:00Warwick University Arts Festivals - Early 1970's<span style="font-family: arial;">In the early 1970's - c 1970 - 75 - alongside with the Lanchester Poly Arts festivals in Coventry, Warwick university held some incredible Arts Festivals. A trove of bands, solo artists, Street theatre, Absurd theatre / Sound poets and much much more for a very cheap weekend ticket. Open not only to students but anyone who wanted to raise their cultural horizons. Here are some of the programmes and posters i still have...<br />
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<b><span style="font-family: arial;">Memories from Trev Teasdel</span></b></div>
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This poster from 1971 shows just the bands and music they had on and was posted in the reception of the Coventry Arts Umbrella Club - hence the note about the Umbrella Poets being on in Airport Lounge. The Umbrella club, under the editorship of Terry Watson, had run a quite classy poetry / literary magazine around the 'movement' and one edition included an essay by Phillip Larkin - Not the Places Fault (mentioned in Andrew Motion's Bio of Larkin as a footnote <a href="http://coventryartsumbrella.blogspot.co.uk/2011/06/not-places-fault-phillip-larkin-in.html">http://coventryartsumbrella.blogspot.co.uk/2011/06/not-places-fault-phillip-larkin-in.html</a></span></div>
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The Umbrella a full programme of visiting poets / extra mural classes / poetry / folk performances and the Umbrella Poets group who met to read and critique poems and do performances - Warwick University being one. I did my first tentative public poetry performance with them at Warwick, on stage at Airport lounge. The group had such luminaries as John Hewitt, the celebrated irish poet who at the time was Director of Art at the Coventry Herbert Museum and Art Gallery"</span></div>
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The Warwick festivals were quite amazing - happening over a weekend and part influenced my own approach to organising artistic endeavours. They created a kind of atmosphere and were open to both students and the public. We used to stop over in the hall of residence, taking a sleeping bag, crouched up with others in the communal kitchens or any where you could sleep (unofficially of course)!<br />
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The following few pages are from a booklet given to me by a Warwick Uni student / poet who was at the Festival - Carol Gutteridge, as i was waiting outside Airport Lounge to read with the Umbrella Poets.<br />
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<b><span style="font-size: large;">Comments from the Hobo Vox Blog </span></b><br />
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High Tide..wasn't this the band that was a bit Hawkwindesque led by Tony Hill? ( who was a tad Jim Morrison ,(Doors) ) and sometimes included Simon House of Hawkwind and Third Ear Band.<br />
My memories not so good , but I think they played in Birmingham a bit before the Warwick gig , deffo did the Roundhouse around Easter time. They toured after their 69 album Sea Shanties, which is still well worth listening to, even today.<br />
I think they didnt go down too well at Warwick, I might be wrong. or there was some problem about payment,<br />
They could be a bit too Beefheart for some<br />
lesley<br />
ps found this<br />
http://www.myspace.com/therealhightide.<br />
lesley<br />
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Posted by: BroadgateGnome | <a href="http://coventrymusichistory.typepad.com/blog/2007/02/warwick-university-arts-festivals-1971-75.html?cid=6a0133f436b043970b0133f43742fc970b#comment-6a0133f436b043970b0133f43742fc970b">02/14/2007 at 09:14 PM</a><br />
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Thanks for that Lesley - I did see the gig with High Tide but can't remember much much about them now - T'was an age and a half ago. Ithink they alos played the Village in Cov and possibly the Plough - will check archives.<br />
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<a href="http://www.myspace.com/therealhightide.">HIGH TIDE _ MY SPACE</a> - I've made you link active here - although when I tried to put the url into the browser I got a Page not available - will see if an active link fares better!<br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0tag:blogger.com,1999:blog-5492290540183328508.post-91097265704229604112013-11-06T09:18:00.008-08:002023-04-12T11:23:50.485-07:00Lanchester Polytech Arts Festivals ( Now Coventry University) - Early 1970's<br />
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<b><span style="font-family: arial; font-size: large;">LANCHESTER POLYTECH GIGS AND ARTS FESTIVALS IN THE 1970'S</span></b></div>
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<b><span style="font-family: arial; font-size: large;">First a Little History of '<i>The Lanch</i>' from Pete Clemons</span></b></div>
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<span style="font-family: arial;"><i>The Lanch </i>as it was known back in the 1970's referred to <i>The Lanchester Polytechnic</i>, now called <i>Coventry University</i>, "can be traced back to when it was known as<i> Coventry College of Design</i> back in 1843. During 1852 it became <i>Coventry School of Art</i> which then became a<i> College of Art</i> in 1954. During 1960 the college's city centre buildings were erected and housed the newly created <i>Lanchester College of Technology.</i> The art college also shared the buildings.<br />
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Finally, during 1970, these two institutions merged with <i>Rugby College of Engineering</i> in 1970 to create the<i> Lanchester Polytechnic</i>. During 1984 '<i>the Lanch</i>' became <i>Coventry (Lanchester) Polytechnic</i> and finally went on to gain full university status in 1992, ie <i>Coventry University</i>. <br />
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Besides having a great reputation as a provider of education, the university buildings, or to be more precise, the downstairs gymnasium across from the new Cathedral, also has an incredible legacy as a music venue. In fact I cannot over emphasise how important this venue was when bands were taking their music up and down the country through the different universities and colleges." <b>Pete Clemons.</b><br />
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<b><span style="font-family: arial;">About the Lanchester Poly Arts Festivals</span></b></h3><span style="font-family: arial;">
From c1989 to the early 80's,<b> The Lanchester Polytechnic Student Union, </b>Priory street Coventry, organised a Winter Arts Festival for a whole week in February. These were amazing multimedia events mainly centred around some of the best upcoming underground bands and artists in many genres and solo artists. There were also poetry, theatre events etc as you will see for the programmes here and included the first ever Live Performance by <b>Monty Python's Flying Circus.</b><br />
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The Lanch of course had regular Friday night band sessions in the Main hall for students and non students. Most of the budding musicians and fans would have gone to see these bands at the time. Sometimes you could see three top name bands quite cheaply by today's standards.<br />
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Lanch Social Secretary <b>Ted Little</b>, summed up the festival in 1970 -<br />
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"<i>The Lanchester Arts Festival is different from most of the other leading festivals in that is aimed to be progressive, and not just in the 'Pop' sense of the word. Basically the aim of the festival is to bring together people who do not normally perform on the same stage, and get them to do something out of the ordinary. For example, <b>Sir Adrian Boult</b> has very rarely played with <b>Nathan Milstein</b>, and<b> </b>is likely not to do so again in the near future. Similarly what <b>Ron Geesin</b> and <b>Ivor Cutler </b>do on stage at the end of their evening will be worth seeing.</i>"<br />
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From this piece kindly contributed by <b>Alan Willis -</b><br />
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<span style="font-family: arial;"><b><a href="http://coventrygigs.blogspot.co.uk/">Pete Clemons</a> </b>tells us some of the early history before the festival began - </span></h3><span style="font-family: arial;">
"<i>During my research I came across the odd jazz date held at the Lanch during the early 1960s but the first true rock / beat event I could find evidence for was held during November 1965 and involved a group called <b>Silence</b> who were supported by Coventry band <b><a href="https://sites.google.com/site/bandsfromcoventry/coventry-bands-a-to-z/coventry-bands-s/the-sorrows">The Sorrows</a></b>. Now I do know that <b>Mott the Hoople</b> were once known as <b>Silence</b> but I didn't that think they went as far back as 1965 so that one has left me wondering somewhat.<br /><br /> Further significant events followed throughout the mid-1960s period with several visits by <b>John Mayalls Bluesbreakers</b> along with gigs by<b> Cream, Peter Green's Fleetwood Mac, The Kinks </b>and <b>The Jeff Beck Band</b> complete with<b> Rod Stewart </b>and <b>Ronnie Wood</b></i>."<br />
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A comment from (I think) <b>Chris Porch</b> from an earlier post in 2012 throws some light on this early part -<br />
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"<i>I was at the Lanch (officially from 1965-70, but heavily involved in the music scene there for some time after that). I can claim to have changed the type of music being played, as when I first arrived all the then Social Sec was interested in was mainstream pop groups. I managed to persuade him to book <b>Cream</b>, and will never forget the look of amazement on his face at the queue round the block to get in</i>."<br />
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<b>SOCIAL SECRETARIES </b> - <b>Keith Glazzard</b><br />
The first Social Secretary I know about is <b>Keith Glazzard</b>, who wrote to this site when it was on Vox Blogs in 2009, Keith told us "<i>If an archive of the student newspaper -<b> Phoenix</b> - from the period exists, which I doubt, there would be loads of information about all of this and the early days of the LAF 'Lanchester Arts Festival' in there.</i>"<br />
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Keith was at the Lanch from 66 to 69 and was the union social secretary during 67/68. He says "<i>I had <b>Cream</b> and <b>Peter Green's Fleetwood Mac</b> (with a guest appearance by <b>Jimmy Tarbuck</b> no less!) during the 67 rag week. <b>Amen Corner</b> then <b>Soft Machine</b> started the 67/8 season which included <b>Julie Driscoll and The Brian Auger Trinity</b>, <b>The Jeff Beck Band</b> and <b>The Kinks</b>. In 67/68 I had to organise two formal balls. As a 19 year old working class kid I had no idea, but they went well. <b>Humphrey Lyttleton's</b> band were superb, and brought<b> Danny Thompson</b>, also of <b>Pentangle</b>, back for another night in Cov. The other was headed by a a jazzy trio called <b>The Peddlers</b> who, I have since been told, actually recorded that bloody awful Telstar hit (<b>Tornados</b>) for <b>Joe Meek</b> (citation needed).<br /><br />Something I am very sure of was that the folk club organiser - <b>Steve Kurrein</b> - asked me if he could put <b>Alexis Korner</b> on next week. I had to make sure the bills were paid, which they were. About 30 of us had a wonderful evening with the founder of British blues. We had <b>Simon Dupree</b> <b>and the Big Sound </b>on the main stage one Saturday night. They went on to rebrand as <b>Gentle Giant</b>.</i><br />
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<i>One panic which I remember was having booked <b>Marmalade</b>. A few days before, I got a call saying they would break the contract due to a better offer. We had to promote <b>Julie Driscoll</b>, second on the bill, to top it. Wheels On Fire was in the top 5 or so about then. We couldn't sue for loss of income as we made more on the night than we would have done (money, which in my time went back to subsidising the folk club and other good ventures <b>Ted Little</b>, of course, took this to a higher level).<br />One band we had on more than any other was the local <b><a href="https://sites.google.com/site/bandsfromcoventry/coventry-bands-a-to-z/coventry-bands-r/ray-king-soul-band-pact">Ray King Soul Band</a></b>. When TwoTone exploded I was sure that I was hearing echos of the Coventry I knew back then. </i><br />
<i>Great days. When I left I though they would never be better. But incredibly, they have been for me, and I can guarantee that they have been for Cov as well. " </i>These are just some of the bands / acts that Keith remembers.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: arial;">Ted Little</span></b></td></tr>
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<b>TED LITTLE - Social Secretary Sept 1968 - 71</b><br />
<b>Keith Glazzard</b> tells us that "<i><b>Ted Little</b>, who I knew well, took over from me Sept. 68. Ted was in his mid-twenties (a mature student as opposed to the immature rest of us!), a soft-spoken Irishman with experience in the jazz world. The LAF (Lanchester Arts Festival) was very much his idea. Many of the lads who had worked with me to organise our gigs went into Ted's and they put on a good range of stuff in their first go in 69 - I particularly remember <b>Pentangle</b> in the cathedral.</i>".</span></div>
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Not sure who sent this message to the original site as the name wasn't attached "<i>I knew Ted Little well - I stood against him (and lost) for Social Sec. It was during his year in the office that he did indeed found the Arts festival, and he asked me to look after all the press side of things, as well as the staging. I well remember this formidable female, who turned out to be <b>David Bowie'</b>s wife, arriving one day asking for me to discuss his appearance at one of the multi-media events (this was before his fame). I had to gently persuade her that Bowie had not actually been booked, and her response was unprintable. I believe this led to his changing agent, just before his career took off. I also persuaded the Students Union Council that it would be a worthwhile investment to buy a sound system, decks etc rather than paying someone else - I ended up running the discos myself using largely my own record collection. The once-weekly discos, held in the main hall, when the "townies" were let in proved to be a huge money-spinner (costing effectively nothing to put on), the cash being used to underwrite all the band bookings."</i></span></div>
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<span style="font-family: arial;"><b>Ted Little</b>,who created the LAF, elevated it into a major festival. From a flyer contributed by <b>Alan Willis </b>we learn "<i>The outlay for the festival has gone over the £12,000 mark, which puts the Lanch festival right at the top of all University /College festivals. A great deal of money has been spent on advertising in the form of press, carrier bags, posters and circulars. for the first time, the organisers have used a London Public Relations firm to handle the great demand for news of the festival.Both BBC,sound and television, will be covering the events in their arts programmes, and the Birmingham Post will have a permanent representative at all events. This in itself indicates the scale of the festival is considered 'across the causeway'!</i>" </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: arial;">Colin Richardson with <br />Paul McCartney</span></b></td></tr>
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<span style="font-family: arial;"><b>Ted Little</b> not only engaged a London Public relations firm but also engaged<b> Colin Richardson</b>, a booking agent with the <b>BRON Agency, </b>to book many of the acts for the festival 1970 - and 71. Colin is a very interesting man and in 2007 contacted the <i>Hobo </i>site to tell his story. Colin began as a Jazz bassist in the early 60's but discovered his talent was in organising and promoting. He ran a London Jazz club, which gave <b>Manfred Mann</b> an early residency, helped form and then managed Colosseum and the <b>New Jazz Orchestra</b> - who much later he booked for the Lanch Festival in 1970, became the night manager for the <i>Marquee club</i> in 1965 and then worked as a booking agent for <i>Bron</i>, with a remit to provide bands and acts for the LAF. It was Colin that procured <b>Monty Python's Flying Circus</b> for their first ever live performance,which took place at the<i> Belgrade Theatre</i>, for the LAF in 1971. He also booked the <b>Edwin Hawkins Singers</b> who performed in <i>Coventry Cathedral,</i> <b>Ralph McTell, Ivor Cutler</b> and many more acts. I have interviewed Colin extensively about his musical career - a very good read for those who like the kind of music performed at the Lanchester Poly. The interview is in 7 parts on this site - find Colin Richardson in the sidebar or index here.<br />
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This is a link to Part 5 which deals with the performance of <b>Colosseum, Jack Bruce </b>and <b>The New Jazz Orchestra</b> at the Lanch Festival in 1970<br />
<b><a href="http://covdiscoarchive.blogspot.co.uk/2013/11/colin-richardson-interview-part-5.html">http://covdiscoarchive.blogspot.co.uk/2013/11/colin-richardson-interview-part-5.html</a></b><br />
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And this link is the story of how Colin managed to procure <b>Monty Python </b>for<b> </b>the<b> </b>LAF in 1971.<br />
<b><a href="http://covdiscoarchive.blogspot.co.uk/2013/11/colin-richardson-interview-part-6-monty.html">http://covdiscoarchive.blogspot.co.uk/2013/11/colin-richardson-interview-part-6-monty.html</a></b><br />
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You can see <b>Colin Richardson'</b>s name at the bottom of the 1971 LAF Programme for 1971, here<br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: arial;">LAF 1971 Programme</span></b></td></tr>
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<b>Again there was no name on this comment but they </b>recall "<i>During the Arts Festival, Ted somehow managed to persuade <b>Chuck Berry</b> to fly over for a gig, held in the Locarno. I have fond memories of shaking the great man's hand as I introduced his show. What we didn't know was that he was having it recorded, and out of those recordings came a live album (called "<b>The London Sessions</b>" paradoxically) and single - <b>My Ding-a-ling</b>, which of course went to No.1. The festival never received a penny in royalties, which would have gone a long way to repaying the Council the £18k they had to spend underwriting the losses. Incidentally, once the <b>Chuck Berry</b> gig was finished, we had (with great difficulty) to clear the hall so <b>Pink Floyd</b> could set up for Act 2 of the evening's entertainment (which finished at some time about 4 in the morning as I remember - the Locarno management had to be bribed not to pull the plug</i>."</span></div>
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<span style="font-family: arial;"><b>Ted Little</b> passed away in 1999 at the young age of 56 but after leaving the Lanch in 1971 "<i>became administrator of what turned out to be the longest-lasting of these collectives, <b>the Birmingham Arts Lab</b>. In 1974 he staged an international performance festival, taking over Birmingham city centre in a marvellously anarchic celebration which provoked a delighted, if sometimes bemused, response from the public. After Birmingham he headed London's Institute of Contemporary Art later in 1974. His three-year tenure, burdened by a struggle for adequate Arts Council funding, marked an important stage in the ICA's development.</i>" You can read more of his career history in his obituary in the Guardian here <b><a href="https://www.theguardian.com/news/1999/aug/12/guardianobituaries">https://www.theguardian.com/news/1999/aug/12/guardianobituaries</a></b><br />
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<b>Jennifer Jones - Social Secretary LAF organiser 1976 and 1977</b><br />
Jennifer wrote with the following comment-<br />
"<i>This is a bit of a blast from the past. I ran the Lanchester Arts Festivals in 1976 and 1977. The 1976 one I ran with Sheila someone (sorry - can't remember her surname) who was a Fine Art student. I do still have a copy of that programme and I remember typing the content on a golf ball typewriter in the LAF Office. My highlights from 1976 were definitely <b>Ivor Cutler</b> - who I know appeared more than once at Lanchester - <b>George Melly</b>, who was a real character and who I met several more times before he passed, and probably<b> the Sex Pistols</b> - who appeared at the LAF just before one of them said 'fuck' on television which ricocheted their career into the limelight. I do remember them inciting the audience to riot! <b><a href="https://sites.google.com/site/bandsfromcoventrypart2/home/tiara-buana-jazz-band">The Tierra Buena Jazz band</a></b> were a group of local jazzers who I knew too. We didn't have the budget of the earlier LAFs and our programme wasn't quite so high profile, but a great time was had by all, I'd say, nonetheless. I don't know if I have the 1977 programme off hand - will have to search through my old files. The 1976 programme cover was designed by another Fine Art student - J<b>im Morris</b>. Happy memories!"</i></span></div>
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<span style="font-family: arial;"><span style="font-size: large;">Music Journalist <b>Pete Clemons</b> has written -</span><br />
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a number of articles on the Lanch for the Coventry Telegraph, using some of the information from the original HoboVox site alongside his own research. This first one gives some of the history of the Lanch and its development as a major Coventry music venue.</span></div>
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<span style="font-family: arial;"><b>Pete Clemons </b><i>Coventry Telegraph</i><b> </b>article on the Lanchester Poly Gigs link<span style="font-size: large;"> <b><a href="http://coventrygigs.blogspot.co.uk/2012/10/the-lanch-lanchester-polytechnic-gigs.html">http://coventrygigs.blogspot.co.uk/2012/10/the-lanch-lanchester-polytechnic-gigs.html</a></b></span></span></div>
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<span style="font-family: arial; font-size: medium;"><b>Pete Clemons</b> has also covered <b>PinkFloyd</b> and <b>Chuck Berry</b> playing for the LAF at the Locarno in 1972 - follow the links for more.</span></div>
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<span style="font-family: arial; font-size: large;"><b><a href="http://coventrygigs.blogspot.co.uk/2013/02/pink-floyd-at-coventry-locarno-1972.html">http://coventrygigs.blogspot.co.uk/2013/02/pink-floyd-at-coventry-locarno-1972.html</a></b></span></div>
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<span style="font-family: arial; font-size: large;"><b><a href="http://coventrygigs.blogspot.co.uk/2013/02/chuck-berry-live-at-coventry-locarno.html">http://coventrygigs.blogspot.co.uk/2013/02/chuck-berry-live-at-coventry-locarno.html</a></b></span></div>
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<b><span style="font-family: arial; font-size: large;">Some more LAF Programmes</span></b></div>
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1974 Lanchester Arts Festival Programme</span></div>
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1976 Lanchester Arts Festival Programme</span></div>
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Chuck Berry's Set List for the Locarno.</span></div>
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Sweet Little Sixteen </span></div>
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Roll 'em Pete </span></div>
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It Hurts Me Too </span></div>
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Around and Around </span></div>
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The Promised Land </span></div>
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Reelin' and Rockin' </span></div>
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My Ding-a-Ling </span></div>
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Bye Bye Johnny </span></div>
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Johnny B. Goode </span></div>
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<b><span style="font-family: arial;">From Hobo 1974</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkB7HzN6ThNOsq32SGqNW42pIKIqOx6w46w1OkKDqCi1FCTFNLE2NRaM5oHjXtquoOxNKS1R68-Ug-z4foQgHG9Z_6rpsmocmQLxeQ-yFJNART-iQwoi-hmuKpczl0FWttoPO_y7g5Gvs/s1600/What's+On.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkB7HzN6ThNOsq32SGqNW42pIKIqOx6w46w1OkKDqCi1FCTFNLE2NRaM5oHjXtquoOxNKS1R68-Ug-z4foQgHG9Z_6rpsmocmQLxeQ-yFJNART-iQwoi-hmuKpczl0FWttoPO_y7g5Gvs/s640/What's+On.jpg" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqY81UgyfnQPNBbDegS0h2ERduQd6g2gK1gnlSF9zpYkStgxsD3KHB_xS7caVp6SC0XuVK7uVkH3PYY_V3ju4otZEhzHXUrT7qqhTJPeq4XbCUlyWHbnqSBh0xD2sQ_rTaQcYDLdUWUew/s1600/Lanch+1969+Arts+fest_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqY81UgyfnQPNBbDegS0h2ERduQd6g2gK1gnlSF9zpYkStgxsD3KHB_xS7caVp6SC0XuVK7uVkH3PYY_V3ju4otZEhzHXUrT7qqhTJPeq4XbCUlyWHbnqSBh0xD2sQ_rTaQcYDLdUWUew/s1600/Lanch+1969+Arts+fest_n.jpg" width="384" /></span></a></div>
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1969</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMhILW1PCkEFozAS4piMKCebUfk_QB4_gfIeHPUMlYSymMCx7XlZCn6eq-cf9FnyBZq1LmGSlXhyphenhyphenyjNpfq1xNVye562w3pDLzZBIAEo2I56mjxp07MObUOl3hmChczfhyphenhyphenl_NXWySWxcA/s960/135274967_10223926953111677_638617654748969469_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="954" data-original-width="960" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMhILW1PCkEFozAS4piMKCebUfk_QB4_gfIeHPUMlYSymMCx7XlZCn6eq-cf9FnyBZq1LmGSlXhyphenhyphenyjNpfq1xNVye562w3pDLzZBIAEo2I56mjxp07MObUOl3hmChczfhyphenhyphenl_NXWySWxcA/w400-h398/135274967_10223926953111677_638617654748969469_n.jpg" width="400" /></span></a></div><div style="text-align: center;"><span style="font-family: arial;">Above Lanch Festival Programme 1970</span></div><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj47zOVt97PA1lGH63s7VEb18yocWej1Ve7vTe_tGaEPbBoaEb2NxoHycVh7POSyUkhmei12PNrau5rG6JYrLHQUhw9Cqvn10pt4PeyfD1xj8CVffgEoL_bT481u37y1JyZnmmnAzrOU/s1406/142249133_1623832461121642_7911676864925560318_o.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1406" data-original-width="1004" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLj47zOVt97PA1lGH63s7VEb18yocWej1Ve7vTe_tGaEPbBoaEb2NxoHycVh7POSyUkhmei12PNrau5rG6JYrLHQUhw9Cqvn10pt4PeyfD1xj8CVffgEoL_bT481u37y1JyZnmmnAzrOU/w458-h640/142249133_1623832461121642_7911676864925560318_o.jpg" width="458" /></span></a></div><span style="font-family: arial;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU5MVYAgJMHnzd9TwzVD3L8SnouaUfVe0-FWmnK636ge_fIbnRAGwNFgHf-Wf03sr4UnBrsm63VAYgyIq1X4UqL1ICof8YSlPOQQVOx3CCXCzf6Htme0ZXlJNGA6-Kjeu26m49ELBTls/s878/Mel+maker+Colin+Richardson.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="225" data-original-width="878" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU5MVYAgJMHnzd9TwzVD3L8SnouaUfVe0-FWmnK636ge_fIbnRAGwNFgHf-Wf03sr4UnBrsm63VAYgyIq1X4UqL1ICof8YSlPOQQVOx3CCXCzf6Htme0ZXlJNGA6-Kjeu26m49ELBTls/w640-h165/Mel+maker+Colin+Richardson.jpg" width="640" /></span></a></div><span style="font-family: arial;"><br /></span><div style="text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div>
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1975 adverts from Hobo Magazine</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7uonqIp_Bme64SrqU1XDMxrGeK3a9o0zuGXQ2F9b62deNbUgHSR9giMfD_3yR6BxD1GE60H4KkULEaxzo0kNsM9EPwqKvZr2tNp2iuV33TSGuSgn2Rhw9NbGz0waYo5V-O6Go-YjsYyo/s1600/Streetpoem4011.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7uonqIp_Bme64SrqU1XDMxrGeK3a9o0zuGXQ2F9b62deNbUgHSR9giMfD_3yR6BxD1GE60H4KkULEaxzo0kNsM9EPwqKvZr2tNp2iuV33TSGuSgn2Rhw9NbGz0waYo5V-O6Go-YjsYyo/s640/Streetpoem4011.jpg" width="444" /></span></a></div>
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Paddy Prescott (dancing below) pioneered the Lanch Folk Club in the 1970's,</span></div>
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readmore about it here<b><a href="http://coventryfolkclubs.blogspot.co.uk/2017/02/paddy-prescott-organiser-of-lanchester.html"> </a></b></span></div>
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<b><a href="http://coventryfolkclubs.blogspot.co.uk/2017/02/paddy-prescott-organiser-of-lanchester.html"><span style="font-family: arial; font-size: large;">http://coventryfolkclubs.blogspot.co.uk/2017/02/paddy-prescott-organiser-of-lanchester.html</span></a></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzNceYlYCffQcXY1T6g4OTH5GYUJRQtYDlUfq8c5y7R6jcSqTVShBYEFDUNOl9zOkc1mpWbU1dIzl2wCZ4oxCyjCW5VnkqqOifXZtKhIRglHw_44UdBFVmoVvtUcWDdREUZNKa_t0mvqo/s1600/Paddy.2jpg.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzNceYlYCffQcXY1T6g4OTH5GYUJRQtYDlUfq8c5y7R6jcSqTVShBYEFDUNOl9zOkc1mpWbU1dIzl2wCZ4oxCyjCW5VnkqqOifXZtKhIRglHw_44UdBFVmoVvtUcWDdREUZNKa_t0mvqo/s400/Paddy.2jpg.jpg" width="400" /></span></a></div>
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Paddy at Lanch Disco</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERfm3dqwVg7T6PgG565FrxutAI-xS0W5cjfIUe-gxqwKu4kmsbJloqTA0HCjeQO4wXMo7q34CxaUTx1Z6bsz5Fdf0g30Ab1pu_dlC7MU5m20oHpYuj_XEBppmHj0HL5gKPLXl0eMnVUA/s1600/Lanchdownstairs1979sn.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERfm3dqwVg7T6PgG565FrxutAI-xS0W5cjfIUe-gxqwKu4kmsbJloqTA0HCjeQO4wXMo7q34CxaUTx1Z6bsz5Fdf0g30Ab1pu_dlC7MU5m20oHpYuj_XEBppmHj0HL5gKPLXl0eMnVUA/s640/Lanchdownstairs1979sn.jpg" width="640" /></span></a></div>
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Lanch Bar downstairs</span></div>
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From Hobo magazine November 1973 - Lanch gigs at the bottom of the page top ones Warwick University.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBl5Fz5Oc8_5VMaEYHkvAeN6vVrAMLGxkT9p6AoEtCUMpQytx_1KhR0GBlIgZVs7gL7z_p6LPpDr8HNYshnV7zYB6sPc7LcBH2-uk3_QO_WGRhnKuCaxspYpFTWtimUb6dIbi93Lbu1mE/s1600/Hobo3orig019a.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBl5Fz5Oc8_5VMaEYHkvAeN6vVrAMLGxkT9p6AoEtCUMpQytx_1KhR0GBlIgZVs7gL7z_p6LPpDr8HNYshnV7zYB6sPc7LcBH2-uk3_QO_WGRhnKuCaxspYpFTWtimUb6dIbi93Lbu1mE/s640/Hobo3orig019a.jpg" width="464" /></span></a></div>
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<b style="font-size: x-large;"><span style="font-family: arial;">Leon Russell / Osibisa / Indian Summer poster 1971</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioAFD6cQJc2w_obLGHB3o3FHkCdqD7RKfkEgbcj8H2ETAyQbNHGFeeq-enzckTOYV2jvhYUeiLpbmR1MHv6PrCSXpCu2AxxvoXkr8wcmoy8-H0shriDkKjMVg0S0FL-t4khQDPCDNi5bU/s1600/16998041_10211938235121396_4582112746746278083_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioAFD6cQJc2w_obLGHB3o3FHkCdqD7RKfkEgbcj8H2ETAyQbNHGFeeq-enzckTOYV2jvhYUeiLpbmR1MHv6PrCSXpCu2AxxvoXkr8wcmoy8-H0shriDkKjMVg0S0FL-t4khQDPCDNi5bU/s640/16998041_10211938235121396_4582112746746278083_n.jpg" width="640" /></span></a></div>
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My Leon Russell Poster is currently in the Coventry Music Museum and can be seen here behind Pauline Black with some of the Lanch programmes on the wall too.</span></div>
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Another poster from the 1971 LAF was sent by <b>Alan Willis.</b></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-family: arial;">Scans of the 1971 Lanch Fest Brochure via The Coventry Music Museum where the full Brochure can be seen.</span></div>
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The Lanch produced some brilliant posters for gigs in the early 70's.</span></div>
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This is the only one we've managed to source apart from the plainer <b>Leon Russell</b> one. This poster was preserved by Coventry musician <b>Lee Dorrian</b>. If anyone has any more Coventry Lanchester Polytech posters from the late 60's early 70's let us know. This one is for the <b>Dr Strangely Strange </b>/ <b>Pieces</b> concert. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHp7pPbWsJIeq4Lyt_lGPtcnWiks7jWAw1Meat7DwT6HkrBCZE-UTIuO8uBu8WU_HWGSHqAJ5e-xcB99y_l1n4PA7hnPerESnmyiR0Ar861PQg0ACU9MGf6U0ba-vuiqq_G1xgoLIsY_c/s718/121588823_10218671496118885_3160332687594762195_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="718" data-original-width="543" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHp7pPbWsJIeq4Lyt_lGPtcnWiks7jWAw1Meat7DwT6HkrBCZE-UTIuO8uBu8WU_HWGSHqAJ5e-xcB99y_l1n4PA7hnPerESnmyiR0Ar861PQg0ACU9MGf6U0ba-vuiqq_G1xgoLIsY_c/w485-h640/121588823_10218671496118885_3160332687594762195_n.jpg" width="485" /></span></a></div><span style="font-family: arial;"><br /></span><div class="separator" style="clear: both; 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<span style="font-family: arial;"><b><span style="font-size: large;">Lanchester Polytechnic Bands include</span> -</b><br />
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Amazing Blondell / Adrian Henri and Liverpool poets / Arthur Big Boy Crudup / Arthur Brown / Amen Corner / Asgard / Atomic Rooster / Adrian Mitchell / Arthur Lee / Andre Previn / Alexis Korner /Andy Fairweather Lowe / Bonzo Dog Doo Dah Band / Blue Mink / Bridget St John / Brett Marvin and the Thunderbolts / Blackfoot Sue / Blodwyn Pig / Barclay James Harvest Brewers Droop / Big Idea / Big John Wrencher / Brownsville Banned / Brinsley Schwarz / Bad Manners / Caravan / Chuck Berry / Coliseum / Can / Curved Air / Cream / Centipede / Canned Heat / Claire Hammill / Cousin Joe Pleasant / Climax Chicago Blues Band / Cockney Rebel / Christopher Logue /Duster Bennett / Dada / Drought Porridge / Daddy Longlegs / Dando Shaft / Dexys Midnight Circus / Doctor Ross the harmonica Boss / Danny Abse / Davey Graham<span style="background-color: white; color: #333333; font-size: 13px;"> / </span>Don Fardon / David Bowie / Elton John / ELO / ELP / Erasure / Eddie Playboy Taylor / Eyeless in Gaza / EMF (US) / Edgar Broughton band / Edwin Hawkins Singers / Fairport Convention / Fleetwood Mac (Peter Greens) / Flying Hat Band / Fresh Maggots / Furious Apples / Free / Groundhogs / Gentle Giant / God's Toys / George Deep Jackson /Goliath / Grimms / George MAcBeth / George Melly and the Feetwarmers / George Chisholm and Johnnie Patrick Trio / Gordon Giltrap / Hatfield and the North / Heron / Humphrey Lyttleton's band<span style="background-color: white; color: #333333; font-size: 13px;"> / </span>Izzy the Push / Indian Summer / Instant Sunshine / Ivor Cutler / Jake Thackery / Jack Bruce and Friends / Jo Ann Kelly / John Silken / John Williams / John Hewitt / Jethro Tull / John Dowie / John Mayall's Bluesbreakers / Jesus and Mary Chain / Judy Dyble and Penguin / Jeff Beck Band / Jackie Wittren / Jimmy Tarbuck / Julie Driscoll and The Brian Auger Trinity / Jans Duke De Grey / Kevin Ayres and the Whole World Kinks / Lindisfarne / Love / Liverpool Scene / Lesley Duncan / Last Fair Deal / Larry Johnson / Leon Russell / Mead (Neol Davies band) / Medicine Head / MC5 / Mott the Hoople / Magic Lantern / Monty Python's Flying Circus (not a band obviously!) / Mr Fox / Moon / Mike Absolom / Nice / Nashville Teens / New Jazz Orchestra / Nucleus / Neil Innes / National Acoustic band / Osibisa / Oasis / Pentangle / Pink Floyd / Pink Umbrella / Pete Brown and Piblokto / Pink Fairies / Principal Edwards Magic Theatre / Pete Aitkin / Patto / The Peddlers<span style="background-color: white; color: #333333; font-size: 13px;"> / </span>Paul Jones / Roy Harper / Ray King Soul Band <span style="background-color: white; color: #333333; font-size: 13px;">/</span>Roxy Music / Reluctant Stereotypes / Ra Ho Tep / Ralph McTell / Ramrods / Ronnie Scott / Ron Geesin / The Ring / Slade / Strawbs / Scaffold / Sticky George / Skin Alley / Skid Row / Selecter / Sorrows / Simon Dupree and the Big Sound / Supergrass / Sex Pistols / Silence / Smiths / Stone the Crows / Suzi Quatro / Spirit / Specials / Tyrannosaurus Rex / T. Rex / Tu Pac / Trees / T. Apache Indian / Tom Pickard / Tiera Buena New orleans band / Tsar / UB40 / Urge / Vandergraff Generator / Wandering John / Wild Turkey / Wild Angels / Who / Wizzard / Whistler / Yes<br />
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<b>HAVE NOW CREATED A SPECIAL SITE FOR THE LANCHESTER POLYTECH BANDS WITH YOUTUBE WHICH CAN BE FOUND HERE </b><br />
<a href="http://lanchesterpolybands.blogspot.co.uk/"> <b><span style="font-size: large;">http://lanchesterpolybands.blogspot.co.uk/</span></b></a></span></div>
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<i>14 JANUARY 1967 -<b> CREAM </b>- LANCHESTER ARTS FESTIVAL </i><br />
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Find Lanch / Cov University gigs in the 80's on this site. <a href="http://www.last.fm/venue/8934845+Lanchester+Polytechnic">http://www.last.fm/venue/8934845+Lanchester+Polytechnic</a><br />
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Kraftwerk at the Lanch poly Friday Oct 8th</span></div>
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More info on Lanch gigs here <a href="http://www.songkick.com/venues/45011-lanchester-polytechnic">http://www.songkick.com/venues/45011-lanchester-polytechnic</a></span></div>
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From this interesting site - Spirit at the Lanch 1973</span></div>
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1973 with Thin Lizzie / Greenslade and Man etc at the Lanch Poly</span></div>
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<a href="http://www.songkick.com/venues/45011-lanchester-polytechnic"><span style="font-family: arial;">http://www.songkick.com/venues/45011-lanchester-polytechnic</span></a></div>
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<span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #333333; font-family: arial; font-size: 15px; line-height: 20px;">Edgar Broughton Band Lanchester Polytechnic circa 1972</span></div>
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<span style="font-family: arial;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #333333; font-size: 15px; line-height: 20px;">From </span><span face=""helvetica neue" , "helvetica" , "pro w3" , "hiragino kaku gothic pro" , , "meiryo" , , "arial" , sans-serif" style="color: #333333;"><span style="font-size: 15px; line-height: 20px;"><a href="https://www.pinterest.com/pin/92464598569619872/">https://www.pinterest.com/pin/92464598569619872/</a></span></span></span></div>
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<b><span style="font-size: large;">THE WHO AT THE LANCH </span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA-hxakyieDT1UTAL8J5FZS3YSDtv35A-j2-m8c2MhhZsamrCX0n4m4CVTDh8rRb4FNSNVPVF-bra4izU4Q55pLIwxNHywF-p16M88nHNB71QuZraAzb6PdRU9BxuMNQNb1pIIb1tqx4k/s1600/Who-+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA-hxakyieDT1UTAL8J5FZS3YSDtv35A-j2-m8c2MhhZsamrCX0n4m4CVTDh8rRb4FNSNVPVF-bra4izU4Q55pLIwxNHywF-p16M88nHNB71QuZraAzb6PdRU9BxuMNQNb1pIIb1tqx4k/s1600/Who-+1.jpg" width="320" /></span></a><span style="font-family: arial;">"<i>The first concert I went to was The Who at the Lanchester Poly in November 1970. Tickets we were £1 each! There were only 900 tickets available as The Who insisted on having a special stage built which reduced the capacity. By all accounts the Poly made a loss on the concert as The Who were paid £1200 for the gig.</i><br />
<i>It is reckoned that there were over 1000 people outside the hall listening to the show. </i><br />
<i>The headline in the Coventry Evening Telegraph on the Monday read..........'The why of the loss from The Who'</i>" <b>Beesman</b></span></div>
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<span style="font-family: arial;"><b>"</b><i>I was one of them outside, couldn't get in. Outside on on Priory street were their Rolls Royces and we watched through a small open window at the back of the stage (near the halls of residence). The stage was much larger than normal and some early synth intro was playing as they began. Dressed in patched up jeans jeans, we heard the trademark cresdo of Townsend and the deep bass of Entwhistle. It was cold outside but there was plenty of heat escaping from the Lanch gym which doubled as the concert room.</i>" <b>Trev Teasdel</b></span></div>
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<b><span style="font-family: arial;">BROADGATE GNOME REVIEW OF THE WHO CONCERT AT THE LANCH.</span></b></div>
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"The WHO concert at the Lanchester proved to many (including our friends in blue) that a full scale show with a top name group can be put on in Coventry without the expected rough and tumbles that are associated with it. When the Who arrived, they were more than pleased with the layout of the place, including the extra power supply and the drinks in the dressing room. They gave a gig that lasted about an hour and a half, starting with a couple of warm up numbers, one of which was called Water. and should be released on a single before Christmas.</span></div>
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The WHO are never really appreciated unless they are seen live, they really are a visual thing. They struck me for some strange reason as being a very clean and hygienic band, no sooner than they were on stage and they were playing away - a sure sign of good management on the side of the Roady.<br />
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The gig was good, very few breaks for farting about with the equipment as is so prevalent with some groups. Very professional. They do live up to their big band name as one could judge by the amount of equipment taht was used (a quarter of the hall was taken up by the special stage etc.) The gig never really got going until they broke into My Generation and from that point onwards there were people seen standing up from the well seated crowd doing their own thing and generally causing a bit of hysteria. The light show that was used was effective with the audience and the music, including a feeling that if you looked away then you were sure to miss something. It was good and well worth the money."</span></div>
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<b><span style="font-family: arial;">TWO TONE AT THE LANCH</span></b></div>
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<b><span style="font-family: arial;">Rat Race was recorded at the Lanch in the Main Hall.</span></b></div>
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<b><span style="font-family: arial;">The Two Tone Plaque on the Main Hall entrance Coventry University erected by Pete Chambers of the Coventry Music Museum.</span></b></div>
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<b><span style="font-family: arial;">Horace Panter, Pauline Black and Jerry Dammers all studied there.</span></b></div>
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<span style="font-family: arial;"><b>Pete Chambers </b>and <b>Horace Panter</b> sharing Lanch and Two Tone memories at in Main Hall entrance c 2009.</span></div>
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<b><span style="font-family: arial; font-size: large;">Photos and material contributed by Alan Willis.</span></b></div>
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<b><b><span style="font-family: arial;">Lanch- Gym/hall Nov 16th 1968 Bonzo Dog Doo Dah Band.</span></b></b></div>
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Below The Who at the Lanch Feb 14th<span face=""helvetica" , "arial" , sans-serif" style="background-color: white; color: #1d2129; font-size: 14px;"> </span>1969</span></div>
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Priory Street Blues 1968</span></div>
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Alan Willis says</span></div>
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"During the late sixties, early seventies I assisted Discotheque Services provide Discos in the upstairs refectory and support for groups in the hall/ gym. " Below Upstairs Refectory Disco's<br />
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History<br />
<br />
1843 College of Design<br />
1852 Coventry School of Art<br />
1954 Coventry College of Art<br />
1960 New buildings in centre of the city and became <br />
Lanchester College of Technology (Art College shared buildings)<br />
1970 Merged with Rugby College of Engineering to become <br />
Lanchester Polytechnic<br />
1992 Became Coventry University<br />
<br />
As well as a great reputation for providing education the downstairs gymnasium, (and the refectory above it) across from the new Coventry Cathedral, has an incredible musical legacy.<br />
<br />
1960’s The occasional jazz night held<br />
<br />
1965 Nov 1st A rock event – featured group called Silence, supported by a local band called The Sorows <br />
Mid sixties also saw concerts by <br />
John Mayall’s Buesbreakers<br />
Cream<br />
Peter Green’s Fleetwood Mac<br />
The Kinks<br />
Jeff Beck Band( featuring Rod Stewart & Ronnie Wood)<br />
<br />
1968 Discotheque Services (DJ’s Ted Doyle & Johnny T started providing Discos in the refectory above the gym)<br />
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1968 Friday 11th October -Priory Street Blues Night (8 shillings) featured<br />
John Peel<br />
Savoy Brown Blues Band<br />
Alexis Korner<br />
Pete Brown’s Battered Ornaments<br />
Jo-Ann Kelly<br />
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1968 Nov 1st Coventry Art College had The Gods playing <br />
( included soon to be a Rolling Stone Mick Taylor)<br />
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1968 Nov 2nd Lanchester gym/hall Love Sculpture<br />
1968 Nov 16th Lanchester gym/hall Bonzo Dog Doo Dah Band<br />
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1968 Nov 28th Coventry Art College Ball featured <br />
The Nice<br />
Joe Cocker<br />
Love Sculpture<br />
<br />
1968 Dec 6th Lanchester Disco in Halls of Residence (Tower block)<br />
1968 Dec 7th Lanchester gym/hall featured Colosseum<br />
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1969 Jan 18th Lanchester gym/hall featured Idle Race (included Jeff Lynne)<br />
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1969 Lanchester Arts Festival (Jan 24th- 29th)<br />
24/1/69 In the Hall (Gym) Priory Street Blues Night featured<br />
Fairport Convention<br />
Alexis Korner<br />
Duster Bennett<br />
25/1/69 The Family & The Eclection<br />
29/1/69 Pentangle at Coventry Cathedral<br />
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1969 Feb 14th On the new stage (they demanded) at <br />
The Lanchester gym/hall THE WHO<br />
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1969 March 14th Lanchester gym/hall featured Colloseum<br />
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May 1969- The Art College’s May Ball at The Locarno in Coventry featured<br />
Joe Cocker<br />
Spooky Tooth<br />
Pink Floyd<br />
Wellington Kitch<br />
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1969 Oct 14th Lanchester gym/hall featured Pete Brown & Piblokto<br />
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1969 Oct 25th Lanchester gym/hall featured Keef Hartley Band<br />
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1969 Oct 30th Lanchester ‘Shelter’ Disco, upstairs Bar, take the new wem system to the volume limit- floor starts to shake!<br />
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1969 Nov 15th Fairport Convention due to appear in gym/hall but group breaks up so soon to be famous T Rex step in ( Mark Bolan & Micky Finn)<br />
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1969 Nov 22nd Discotheque Services get over 400tthe upstairs Disco, floor shaking & bending<br />
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1969 Nov 29th Lanchester gym/hall featured Soft Machine<br />
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1969 Dec 6th Term ends with a bang! Lanchester gym/hall featured Graham Gigantic Bond’s Initiation and The Taste (Rory Gallagher, Richard McCracken & John Wilson)<br />
1969 Dec 11th Final Upstairs Disco of the year, also appearing were Indian Summer along with Danny & The Heartthrobs<br />
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1970 January 10th Lanchester gym/hall featured The Family<br />
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1970 Lanchester Arts Festival (Jan 23rd- 31st)<br />
(Rumoured to have cost £12,000. Coped with the break up of King Crimson who were due to appear)<br />
23/1/1970 Priory Street Blues Night (10 shillings entry) featured<br />
Chicken Shack<br />
Duster Bennett<br />
Jo-Ann Kelly <br />
Bob Hall<br />
Mike Cooper<br />
24/1/1970 Jack Bruce (Mitch Mitchell on drums, Larry Coryell on lead guitar, Mike Mandel on organ)<br />
Colosseum<br />
NewJazz Orchestra<br />
25/1/1970 John Peel <br />
Ivor Cutler<br />
Ron Geeson<br />
Principal Edwards Magic Theatre<br />
27/1/1970 Salena Jones & Barbara Thompson at Belgrade Theatre <br />
28/1/1970 Edwin Hawkins Singers<br />
30/1/1970 ‘Mothers Night’ ( a famous Birmingham Club) featured <br />
Yes, Atomic Rooster, Free, Mott the Hoople &DJ Erskine<br />
31/1/1970 Folk Festival featured Roy Harper & The Strawbs<br />
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1970 March 7th Lanchester gym/hall featured (for Rag Week) The Nashville Teens and The Wild Angels<br />
The Rag Ball features Love (including Arthur Lee) Juicy Lucy<br />
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1970 May 2nd Lanchester gym/hall featured Fleetwood Mac supported by Room<br />
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1971 Lanchester Arts Festival (Jan 29th- Feb 7th)<br />
29/1/1971 Priory Street Blues Night featured<br />
Big Boy Crudup<br />
Climax Chicago Blues Band<br />
31/1/1971 Curved Air<br />
Ivor Cutler<br />
Adrian Henri<br />
2/2/1971 Andre Previn & London Symphony Orchestra in Coventry Cathedral<br />
31/1/1971- 2/2/1971 Monty Python’s Flying Circus Live at The Belgrade Theatre<br />
3/2/1971 Leon Russell & Friends<br />
Osibisa<br />
Indian Summer<br />
5/2/1971 Elton John<br />
Caravan<br />
Skid Row<br />
6/2/1971 Ralph McTell<br />
The Strawbs<br />
Mr. Fox<br />
7/2/1971 Ronnie Scott’s Jazz night<br />
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1972 Chuck Berry (recorded ‘My Ding a Ling’ & Pink Floyd at The Locarno<br />
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Gym /hall also hosted appearances by <br />
MC5<br />
Spirit<br />
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1976 Sex Pistols( as part of Arts Festival)<br />
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Lanchester Gym /hall featured in the video of The Special’s ‘Rat Race’<br />
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Gym /hall hosted appearances by<br />
The Smiths<br />
Erasure<br />
Housemartins<br />
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1992 Stopped using the Gym and moved most events to The Planet Nightclub<br />
Oasis<br />
Supergrass<br />
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<b><span style="font-family: arial; font-size: large;">Comments by former Lanchester Polytechnic Social Secretaries</span></b></div>
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<span style="font-family: arial;"><span style="color: #333333; font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5492290540183328508" id="c6a0133f436b043970b016768a64f96970b" style="color: #5e9ad2; text-decoration: underline;"></a></span>Some of which have been incorporated in above text.</span></div>
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<span style="font-family: arial;"><b>From Keith Glazzard</b><span id="comment-6a0133f436b043970b0133f436d2c3970b-content"></span><br />
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<span style="font-family: arial;"><span id="comment-6a0133f436b043970b0133f436d2c3970b-content">Hi - I was at the Lanch from 66 to 69 and was the union social secretary during 67/68. Ted Little, who I knew well, took over from me Sept. 68. Ted was in his mid-twenties (a mature student as opposed to the immature rest of us!), a soft-spoken Irishman with experience in the jazz world. The LAF was very much his idea. Many of the lads who had worked with me to organise our gigs went into Ted's and they put on a good range of stuff in their first go in 69 - I particularly remember Pentangle in the cathedral.</span><br />
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<span id="comment-6a0133f436b043970b0133f436d2c3970b-content">I'm trying to piece together information about the gigs I was involved with and I found a list at deanocity3 which is very patchy and probably inaccurate in parts. For example, I had Cream and Peter Green's Fleetwood Mac (with a guest appearance by Jimmy Tarbuck no less!) during the 67 rag week. Amen Corner then Soft Machine started the 67/8 season which included Julie Driscoll and The Brian Auger Trinity, The Jeff Beck Band and The Kinks.</span><br />
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<span id="comment-6a0133f436b043970b0133f436d2c3970b-content">If an archive of the student newspaper - Phoenix - from the period exists, which I doubt, there would be loads of information about all of this and the early days of the LAF in there. If I find anything I'll let you know.</span><br />
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<span id="comment-6a0133f436b043970b0133f436d2c3970b-content"><b>Keith Glazzard.</b></span><br />
<span id="comment-6a0133f436b043970b0133f436d2c3970b-content">Posted by: Keith Glazzard | 05/06/2009 at 05:15 PM</span></span></div>
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Hello again - I've been looking at the acts listed above and some memories return.</span></div>
<span id="comment-6a0133f436b043970b0133f436d2c3970b-content" style="font-family: arial;">A poetry/acoustic night in the first LAF I think might have included Ivor Cutler. There was certainly a wild mad scot whose name I will eventually remember (banjo player), and the amazing Davey Graham (having a not unusual bad night). Poet Christopher Logue too.<br /><br />The Bonzos gave a superb night at the Lanch for Ted (68?) a few months after they had done at Warwick University a few months before. Germaine Greer, already a bit of a celebrity, was at the gig (a lecturer at UW that year).<br /><br />Speaking of Gibbet Hill, the first time I saw Cream was in the bar of the UW student union about October 66. Excellent - no stage, just set up on the floor at the end. Had a chat with Eric and Ginger at half time.<br /><br />The house band at UW was called New Economic Model and supported the likes of Chickenshack and The Crazy World of Arthur brown. Their drummer was Guy Evans who became a full-time member of Van der Graaf Generator when he graduated (a more or less local lad I think).<br /><br />Colosseum almost seemed to be a Cov house band at the time - on everywhere. Founder John Hiseman was a mate of one of our lecturers at the Lanch (citation needed) but I first encountered him, I think playing in the Graham Bond Organisation (having replaced Ginger Baker) at the blues club at the back of the pub up Highfield Road (or Harnall Lane?) just across from the football ground - Thursday nights. Dick Hextall-Smith, cap, clogs, two saxes and all was very memorable.<br /><br />Meanwhile, back at the Lanch, in 67/68 I had to organise two formal balls. As a 19 year old working class kid I had no idea, but they went well. Humphrey Lyttleton's band were superb, and brought Danny Thompson, also of Pentangle, back for another night in Cov. The other was headed by a a jazzy trio called The Peddlers who, I have since been told, actually recorded that bloody awful Telstar hit (Tornados) for Joe Meek (citation needed).<br /><br />Something I am very sure of was that the folk club organiser - Steve Kurrein - asked me if he could put Alexis Korner on next week. I had to make sure the bills were paid, which they were. About 30 of us had a wonderful evening with the founder of British blues.<br /><br />We had Simon Dupree and the Big Sound on the main stage one Saturday night. They went on to rebrand as Gentle Giant.<br /><br />One panic which I remember was having booked Marmalade. A few days before, I got a call saying they would break the contract due to a better offer. We had to promote Julie Driscoll, second on the bill, to top it. Wheels On Fire was in the top 5 or so about then. We couldn't sue for loss of income as we made more on the night than we would have done (money, which in my time went back to subsidising the folk club and other good ventures Ted Little, of course, took this to a higher level).<br /><br />One band we had on more than any other was the local Ray King Soul Band. When TwoTone exploded I was sure that I was hearing echos of the Coventry I knew back then. <br /><br />Great days. When I left I though they would never be better. But incredibly, they have been for me, and I can guarantee that they have been for Cov as well. <br /><br />Posted by: <b>Keith Glazzard</b> | 05/08/2009 at 09:47 PM</span></div>
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<span style="font-family: arial;"><span id="comment-6a0133f436b043970b0133f436d2c5970b-content">this is good] Hi Keith,</span><br />
<span id="comment-6a0133f436b043970b0133f436d2c5970b-content">Trevor signalled me that you had posted some interesting stuff on those halcyon days of the LAF. A lot of it connects with me...and I can tell the name of the mad Scot was (is?) Ron Geesin, who was good mates with Ivor Cutler. They were both booked by me and I even had to drive Ivor Cutler and his little harmonium to the gig as he had no transport at the time, which was great, because we became friends on the journey. Unquestionably, the proudest achievement for me was the 'coup of all coups', getting Monty Python for their first ever live-on-stage appearance. As you so rightly say..."great days".</span><br />
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<span id="comment-6a0133f436b043970b0133f436d2c5970b-content">Posted by: <b>Colin Richardson</b> | 05/09/2009 at 12:38 PM</span></span></div>
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I've only recently come across this site, and of course it brought back lots of memories. I was at the Lanch (officially from 1965-70, but heavily involved in the music scene there for some time after that). I can claim to have changed the type of music being played, as when I first arrived all the then Social Sec was interested in was mainstream pop groups. I managed to persuade him to book Cream, and will never forget the look of amazement on his face at the queue round the block to get in.</span></div>
<span id="comment-6a0133f436b043970b0133f436d2c5970b-content" style="font-family: arial;"><br />I knew Ted Little well - I stood against him (and lost) for Social Sec. It was during his year in the office that he did indeed found the Arts festival, and he asked me to look after all the press side of things, as well as the staging. I well remember this formidable female, who turned out to be David Bowie's wife, arriving one day asking for me to discuss his appearance at one of the multi-media events (this was before his fame). I had to gently persuade her that Bowie had not actually been booked, and her response was unprintable. I believe this led to his changing agent, just before his career took off.<br /><br />I also persuaded the Students Union Council that it would be a worthwhile investment to buy a sound system, decks etc rather than paying someone else - I ended up running the discos myself using largely my own record collection. The once-weekly discos, held in the main hall, when the "townies" were let in proved to be a huge money-spinner (costing effectively nothing to put on), the cash being used to underwrite all the band bookings.<br /><br />During the Arts Festival, Ted somehow managed to persuade Chuck Berry to fly over for a gig, held in the Locarno. I have fond memories of shaking the great man's hand as I introduced his show. What we didn't know was that he was having it recorded, and out of those recordings came a live album (called "The London Sessions" paradoxically) and single - My Ding-a-ling, which of course went to No.1. The festival never received a penny in royalties, which would have gone a long way to repaying the Council the £18k they had to spend underwriting the losses. Incidentally, once the Chuck Berry gig was finished, we had (with great difficulty) to clear the hall so Pink Floyd could set up for Act 2 of the evening's entertainment (which finished at some time about 4 in the morning as I remember - the Locarno management had to be bribed not to pull the plug.<br /><br />Nice to see the comments from my old mate Keith. Happy Days.<br /><br />Posted by: A Facebook User | 02/04/2012 at 06:01 PM</span></div>
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For Trev Teasdel<br />
I tried taking a pic of the 1972 Arts fest poster with my iPad but it's too large, 35 by 24 ins. Would be happy to let you have a look at it sometime. It lists the pink Floyd concert taking place before Chuck Berry but it was actually the other way round, and Slade were bottom of the bill even though they were doing very well at the time!<br />
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Posted by: Chris Porch | 07/21/2012 at 06:30 PM<br />
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This is a bit of a blast from the past. I ran the Lanchester Arts Festivals in 1976 and 1977. The 1976 one I ran with Sheila someone (sorry - can't remember her surname) who was a Fine Art student. I do still have a copy of that programme (photo above) and I remember typing the content on a golf ball typewriter in the LAF Office. My highlights from 1976 were definitely Ivor Cutler - who I know appeared more than once at Lancester - George Melly, who was a real character and who I met several more times before he passed, and probably the Sex Pistols - who appeared at the LAF just before one of them said 'fuck' on television which ricocheted their career into the limelight. I do remember them inciting the audience to riot! The Tierra Buena Jazz band were a group of local jazzers who I knew too. We didn't have the budget of the earlier LAFs and our programme wasn't quite so high profile, but a great time was had by all, I'd say, nonetheless. I don't know if I have the 1977 programme off hand - will have to search through my old files. The 1976 programme cover was designed by another Fine Art student - Jim Morris. Happy memories!<br />
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Posted by: Jennifer Jones | 04/23/2013 at 11:21 PM<br />
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Thanks for your interesting comment Jennifer,<br />
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That would be great if you had the 1977 programme. If you find you can send it via hobozine@googlemail.com<br />
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Shame the funding was curtailed - they were always great events and influenced not only students but a lot of budding Cov musicians. A lot of us appreciated the work that went into organising them.<br />
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It was at the Sex pistols Lanch gig that a Cov friend of ours Scon became a roadie with them and later Clash - better known as Roadent. He went on to appear in a German TV play and went out with Barbara Grogan of the Passions - who wrote the 80's hit I'm in love with a German Film Star. As a result he introduced the Specials to the infamous Bernie Rhodes at Mr Georges and as Mr Rhodes is the subject of Gangsters inadvertently influenced another song!<br />
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Thanks again Jennifer - Trev Teasdel<br />
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Posted by: Coventry Music Archives | 04/24/2013 at 04:24 PM<br />
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com15tag:blogger.com,1999:blog-5492290540183328508.post-36500089398050324402013-04-08T10:03:00.004-07:002023-10-20T10:55:58.022-07:00Silk Disco and Promotions and Lightshow<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif"><span style="font-size: x-large;"><b>Silk Disco and Promotions</b> </span>was one of the biggest of its kind in Coventry from 1968 to at least the early 80's.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSsAKRc9W8pT-MKcl3BkQ7QIyH2486a1xG8re-T7mxlNzbql0RIdWlOVIcGBKM2ipqz2YukBs5VKjlZu7kC6r0VbxOKl4fho01GoqdgjGMrqfA0ocVikYwrGSyWWcUDtUS_oXkKql3QM/s1600/254341_2033952258587_6033220_n.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSsAKRc9W8pT-MKcl3BkQ7QIyH2486a1xG8re-T7mxlNzbql0RIdWlOVIcGBKM2ipqz2YukBs5VKjlZu7kC6r0VbxOKl4fho01GoqdgjGMrqfA0ocVikYwrGSyWWcUDtUS_oXkKql3QM/s1600/254341_2033952258587_6033220_n.jpg" /></span></a></div>
<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">This young, well organised team sustained their activities for well over a decade and much of the provision of discos and band venues came from this team.</span><br />
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<span face="Arial, Helvetica, sans-serif">As far as I know, Silk began about 1968 and consisted DJ's <b>Jim Twyneham</b> (AKA <b>Jim Silk</b>) - later an engineer at <i>Horizon Studios</i> and DJ on <i>Radio Mercia</i>, <b>Graham Wood</b> (later a co-founder of<i> Sunshine </i>Agency) with technical support from <b>John Coles</b> ( later celebrated <i>Two Tone</i> photographer responsible for some of their iconic images), <b>Paul Taylor</b>, <b>Paul Riley</b> and<b> Steve Whittle.</b></span><br />
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<span face="Arial, Helvetica, sans-serif"><b>NEW Information July 2016 - </b>Thanks to <b>Dennis Cotter </b>and help from <b>John Coles</b> and <b>Jim Twynham</b>, <span>I've </span>been informed an earlier Silk DJ not previously included here. His name was <b>Steve Miles</b> who also worked at J J Cash Ltd. Steve was with Silk disco 1968 to 69.</span><br />
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In 1973, in the <i>Coventry Evening Telegraph'</i>s On the Scene (colour supplement), <b>Nichola Gorringe</b> reported - " So what i admire about Silk, the mobile disco that operates in and around Coventry, was the hint of subtlety.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOz89wEQm28OEHoBxf_Q1A24n-DaKzdTOVv1E1eAYI5P-HI58XeZgJ3ut3uiZkXj529biNPPcuro6ocvVwXdlXXkZe6MAlwuoPiX-wJGREnZXVDLfn-hEWHV4-mnL7ktuNftkWKpYUT1Y/s1600/250872_2033963898878_5469560_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOz89wEQm28OEHoBxf_Q1A24n-DaKzdTOVv1E1eAYI5P-HI58XeZgJ3ut3uiZkXj529biNPPcuro6ocvVwXdlXXkZe6MAlwuoPiX-wJGREnZXVDLfn-hEWHV4-mnL7ktuNftkWKpYUT1Y/s1600/250872_2033963898878_5469560_n.jpg" width="283" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Jim Twyneham</span></td></tr>
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<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">For a start the lighting was really effective. A modern specious area at the <i>Trocadero</i>, Weston Hall Hotel, Bulkington, was transformed into something cosy and personal.</span><br />
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<span face="Arial, Helvetica, sans-serif"><i>Silk</i> are no amateur outfit. they are a bunch of level-headed semi professionals who are setting out to perfect their own form of entertainment.</span><br />
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<span face="Arial, Helvetica, sans-serif">They have been operating for three years. The name Silk is associated with the <i>Plough Club</i> (London Road), <i>Circles</i> (West End Working Men's Club - where they promoted such bands as <b>Caravan</b>)., the <i>Locarno</i> promotions, <i>Arthurs</i> at the Humber Hotel, Humber Road and more recently <i>Chums</i> at the Bear Inn, high Street and the <i>Trocadero</i>.</span><br />
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<span face="Arial, Helvetica, sans-serif">Two of the original entertainers - <b>Jim Twyneham</b>, who is 23 and <b>Graham Wood</b> 21, are still there. Twenty four year old <b>Paul Taylor</b> joined in January 1971 at about the same time as <b>Paul Riley</b> (21) was brought in to improve the lighting effects, which until that time had been slightly unsophisticated due to lack of equipment. Jim and <b>Paul Taylor</b> and <b>Graham Wood</b> are the outfit's DJ's. Their roadies / technicians are <b>John Coles</b> and <b>Steve Whittle.</b> All live and work in Coventry.</span><br />
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<span face="Arial, Helvetica, sans-serif">Jim, who is a local government officer, told me: "The reason we set up in the first place was because we were dissatisfied with entertainment in general in the area. We wanted to introduce some creativity into Coventry."</span><br />
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<span face="Arial, Helvetica, sans-serif">Since then Silk have done over 200 mobile bookings and their impact on the area can be judged by engagements over the next two months. They have only five days free of bookings this month and 10 in February.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRTOAlAMHoiz4Lzw1gNAKCe7RklGfnK53BkWr5E9zlsSZmzqev7GecFso5KPB6blx4tgTnT6RWxvD0bwmgcR1qx1TWg_299-P4qoFVHWuqik10oxytFE3cgbmZ4zIed1IocNlW0R8A_Sg/s1600/250872_2033963978880_3523152_n.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRTOAlAMHoiz4Lzw1gNAKCe7RklGfnK53BkWr5E9zlsSZmzqev7GecFso5KPB6blx4tgTnT6RWxvD0bwmgcR1qx1TWg_299-P4qoFVHWuqik10oxytFE3cgbmZ4zIed1IocNlW0R8A_Sg/s1600/250872_2033963978880_3523152_n.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;">Silk at the Trocadero Bulkington 1973</span></td></tr>
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<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">Running a disco is an expensive business. But by pooling their resources and ploughing everything back into their show they have been able to buy over £10,000 worth of equipment, including records, during the last three years.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqaTLPCD-jfux7F8okiOrIkTud3Gn4TNfYATEJ1p_pAHAAy72T9wdbo4mHe9QmdJCqvPgcT710ws_TF9xJsDE2dFOEILWjk5HkaQ38dg6QOrzW1-EjHO6ojAacEiyFx_3CSDc_PSuCZ4/s1600/254341_2033952458592_4578064_n.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqaTLPCD-jfux7F8okiOrIkTud3Gn4TNfYATEJ1p_pAHAAy72T9wdbo4mHe9QmdJCqvPgcT710ws_TF9xJsDE2dFOEILWjk5HkaQ38dg6QOrzW1-EjHO6ojAacEiyFx_3CSDc_PSuCZ4/s1600/254341_2033952458592_4578064_n.jpg" width="284" /></span></a></div>
<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">What type of music do they play? "<i>Anything and everything from <b>Caravan</b> to <b>Glenn Miller</b>. Everything we think people would like to hear. We have no musical prejudices</i>" Jim said.</span><br />
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<span face="Arial, Helvetica, sans-serif">Silk present shows at the <i>Trocadero</i> on Monday and Tuesday evenings each week and run a heavy underground session at <i>Chums </i>on Thursday evening. On Friday and Saturday they have mobile bookings such as 21st birthdays, weddings, and so on, with Sundays and Wednesdays reserved for occasional bookings.</span><br />
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<span face="Arial, Helvetica, sans-serif">A note of warning to potential disco operators from Jim.."<i>Don't start unless you are sure you want to make a go of it. Be conscientious and willing to please and, above all, be kind to the public because they are your income - they keep you going</i>."</span><br />
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<span face="Arial, Helvetica, sans-serif">Pictures by <b>David Trinder</b>.</span><br />
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<span style="font-family: arial;"><span face="Arial, Helvetica, sans-serif">From the Plough club in the early 70's Jim Silk (Twyneham) had a distinctive red car with Silk as part of the registration.</span><br /></span><span style="font-family: arial;"><br />
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<span style="font-family: arial;">Chums advert from Coventry Evening Telegraph 1974</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;">Advert in Hobo Magazine 1974</span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaSZC9Hb_hahMO4-6EY1-jf6DtLrrzjawqsWT3ct4JlXLsdfxM5LVpL4l6wPxOB-wUSF7l63BaMPVgaKljhCblaHvhfjAGbvpaErDORoeBJdsqldJkUaGh2_LL314ZdUwLGwDKEEfG0oljKNLK4g08CvlfIrSWNbPVNe4V5BkjbfKBN3dB3rCGbnK/s960/547884_3977398203521_554292827_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="664" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaSZC9Hb_hahMO4-6EY1-jf6DtLrrzjawqsWT3ct4JlXLsdfxM5LVpL4l6wPxOB-wUSF7l63BaMPVgaKljhCblaHvhfjAGbvpaErDORoeBJdsqldJkUaGh2_LL314ZdUwLGwDKEEfG0oljKNLK4g08CvlfIrSWNbPVNe4V5BkjbfKBN3dB3rCGbnK/w442-h640/547884_3977398203521_554292827_n.jpg" width="442" /></a></div><br /><span style="font-family: arial;"><br /></span></div>
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<span style="font-family: arial;">Along with some of the pictures, this was the text for the Cov Telegraph On the Scene Supplement.</span></div>
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<span style="font-family: arial;">For ad in Hobo magazine. Thank you Mr Silk!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxxbFvxEiJW5kc8FxOL9vTVrfG47B1Vy2u83_ooFnFzZfmiqY1iKkbX_ODLJi_OTRdMp-CKVIWPWpFilEibKPq5tz9pmVvkL5iwdDlTHh0BXJiYpNAH-Zzdf-eCyrTlXAWMaCmWc8J5As/s1600/6867_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxxbFvxEiJW5kc8FxOL9vTVrfG47B1Vy2u83_ooFnFzZfmiqY1iKkbX_ODLJi_OTRdMp-CKVIWPWpFilEibKPq5tz9pmVvkL5iwdDlTHh0BXJiYpNAH-Zzdf-eCyrTlXAWMaCmWc8J5As/s400/6867_n.jpg" width="400" /></span></a></div>
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<span style="font-family: arial;">Via Pete Chambers</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi49kd-JeY56eRSwbKMA9EpdJIheQ2Rb2Fl02IvzE29tcxIrjmJoGefjurpNG5mGt8F3SHTa9kHlilkaJMiU4EiE4_g45eCyc9t1daKRZ1gN2esqB1H8hpS3ggfMd56OIcVS-ty-ZAVD8U/s1600/Chums+Disco+(Silk)Hobo+ad.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi49kd-JeY56eRSwbKMA9EpdJIheQ2Rb2Fl02IvzE29tcxIrjmJoGefjurpNG5mGt8F3SHTa9kHlilkaJMiU4EiE4_g45eCyc9t1daKRZ1gN2esqB1H8hpS3ggfMd56OIcVS-ty-ZAVD8U/w640-h421/Chums+Disco+(Silk)Hobo+ad.jpg" width="640" /></span></a></div>
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<span style="font-family: arial;">Advert in Hobo Magazine 1974</span></div>
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<span style="font-family: arial;">Bill Jackson - Photographer, friend of Martin Barter - both regulars at the Plough Club 1971</span></div>
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<span style="font-family: arial;">From Cov Telegraph</span></div>
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<span style="font-family: arial;">John Coles more recently with John Bradbury of The Specials</span></div>
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<span style="font-family: arial;">Graham Wood</span></div>
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<span style="font-family: arial;">Photograph thanks to Sue Long (then Graham Wood's girlfriend)</span></div>
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<span style="font-family: arial;">Photograph thanks to Sue Long</span></div>
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<span style="font-family: arial;">Photograph thanks to Sue Long</span></div>
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<span face="Arial, Helvetica, sans-serif">Gentle were a Derby heavy rock band. I had put them on at the Umbrella Club in 1970 and after they played the Plough Club with Silk Disco and a few other Cov gigs of the time.</span><br />
<span face="Arial, Helvetica, sans-serif">Some of the other bands i remember at the Plough Club (Near the Chaterhouse - London Road) were Music Box (Rob Armstrong and Colin Armstrong and Pip) / Dando Shaft and many more.</span><br />
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<span face="Arial, Helvetica, sans-serif"><b>Sad News - A Tribute to Jim Twyneham who passed away in 2017</b></span><br />
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<b>John Sillett leads tributes to Coventry City's 'Voice of Highfield Road' Jim Twyneham.</b></div>
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<b><span style="font-family: arial;"><span style="font-size: large;">Coventry Telegraph </span>BY ANDY TURNER 20:34, 5 JUL 2017</span></b></div>
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<b><span style="font-family: arial; font-size: large;">View here</span></b></div>
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<b><a href="http://www.coventrytelegraph.net/sport/football/football-news/john-sillett-leads-tributes-coventry-13287781"><span style="font-family: arial; font-size: large;">http://www.coventrytelegraph.net/sport/football/football-news/john-sillett-leads-tributes-coventry-13287781</span></a></b></div>
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Coventry Music Scene Archivehttp://www.blogger.com/profile/02507690333577188771noreply@blogger.com0