dynamic grooves of modern rock and jazz. It’s a unique and powerful sound that has evolved since band leader and ace electric fiddle-player Joe O’Donnell moved to Coventry in 1998.

Joe O’Donnell

Members – Joe O’Donnell, Si Hayden, Martin Barter, Adrian Litvinoff, Brendan J. Rayner

Joe O’Donnell is one of the finest electric violin players performing in the Celtic tradition. He’s also widely acclaimed as a first-class mandolin-player, singer and composer.

Born in Limerick, Ireland, Joe began taking classical violin lessons at the age of twelve. After seven years of study he won two scholarships for the Royal Irish Academy of Music to study orchestral work. When Joe left the Academy, he took up playing lead guitar but returned to the violin two years later. During this time he played for various groups, including Decca’s Granny’s Intentions, who had also featured Gary Moore on guitar. This started a busy and productive period in the world of progressive rock music, with Joe playing a key role on both sides of the Irish Sea.

In 1971, Joe moved to London and joined Woods Band for nine months, featuring Terry and Gay Woods, founder members of  Steeleye Span. It was at this time that Joe started making electric violins for his own use, including violectra and 8-string violins.

In 1973, Joe joined East of Eden stepping into the shoes of their celebrated fiddle-player Dave Arbus. He was featured on their hit album Another Eden and toured Europe with the band until they split in 1978.

In 1977, Joe released Gaodhal’s Vision, a concept album of his own compositions, heralded as a fusion of Celtic music with jazz and rock. Drawing on Irish Celtic mythology, the music tells the story of the exodus from the Carpathian Mountains to Ireland by a race of people known as The Milesians. The project followed a deal with Decca after Joe approached Tubular Bells producer Tom Newman and Jon Field. Joe was joined on the album by Rory Gallagher, Steve Bolton, Theodor Thunder (Alan Price Band) and David Lennox (Ginger Baker, Blodwyn Pig, The Equals). The album was re-released in 2004 on Sony’s BMG label with three new bonus tracks.

In the 1980s, Joe lived in Guernsey. During this period he remained active in folk-rock music, and appeared

Martin Barter Keys

with various line-ups at festivals in Brittany and the Channel Islands.

In 1998, Joe moved to Coventry, to work with producer and musician Martin Jenkins, former member of acclaimed folk bands, Dando Shaft, Hedgehog Pie and Whippersnapper. Joe released his album, Shkayla and around this time formed the first line-up of the band, Shkayla with Martin and his guitarist son Ray Jenkins.

In 2004, Martin and Ray took up new projects and a new line-up of Shkayla was established, when Joe recruited guitarist Dave Perry (ex-US band, In Athens and Norwegian prog-rock band The Truth Monkeys) and keyboards-player Martin Barter (ex-Birmingham band, The Alliance).

In 2006, the expanded five-piece line-up of Joe O’Donnell’s Shkayla performed Gaodhal’s Vision at the Warwick Folk Festival. This introduced new band members, drummer Paul Johnston (of Midlands folk-rockers Meet On The Ledge) and bassist Mark Fulton. The

show also featured The Celtic Vision Orchestra conducted by Christopher Evans, plus dancers Sinead Lightley, Amardeep Nanra and Indigo Dance & Performing Arts. The show was recorded for later CD and DVD releases.

In 2008, Joe completed the long-awaited new Shkayla album Celtic Cargo. He is now touring with the band’s latest line-up in which Martin Barter and Mark Fulton have been joined by guitarist Si Hayden and drummer Brendan J.Rayner.

Joe uses Sonic Violins and a unique ceramic violin made by John Stevens.

Singing songs in English and Gaelic and playing soaring fiddle melodies and improvisations, Joe is accompanied by a team of first-class musicians who really understand and do justice to the dynamic spirit of Celtic and rock music.

Si Hayden

And Watch this one on Youtube
http://www.youtube.com/watch?v=Ni-LwCyVBvo

Don’t Pick a Flower was a curiously named folk duo was based at the Coventry Arts Umbrella club c 1971 led by poet and songwriter John Leopold who led many of the folk and poetry sessions at the Umbrella around that time.

I have a note in my 1971 diary for Sunday14th February at the Plough Club on the London Road. A gig and disco run by Silk Disco. Dando Shaft were playing along with Music Box (Colin and Rob Armstrong). The entry says I got the addresses of Music Box and Don’t Pick a Flower at that gig with a view to them playing at the Umbrella Friday night band nights I was organising at the time. I’m not sure that I put either outfit on at the Umbrella in the end for whatever forgotten reason but collecting contact address was part of the process.

Don’t Pick a Flower were a gentle harmony folk duo with interesting lyrics as far as I can recall. They seemed to be around the Umbrella a lot at that time, weekends, sitting in the coffee bar, playing guitar and chatting.

Trilogy
were an acoustic group formed c 1973 by Al Hatton (ex – original version of Indian Summer) and consisted of –
Al Hatton – Acoustic Guitar and Vocals
Ron Ablewhite (Ex Torqwood) Acoustic guitar and vocals
Roy Brewster – assorted percussion

Al Hatton

They played both folk clubs and venues associated with bands. They later developed into a full band Just Jake and Ottoman.
incorporating members of

We covered this band in Hobo Magazine –

From Hobo 1973

“Another band to emerge (bearing some connection to Indian Summer) is Al Hatton’s band. Al used to play bass for Indian Summer. Al is now playing acoustic guitar with three others known as Trilogy. The group have another guitarist and percussionist and make some nice sounds, using original material.”

From Hobo 1974

TRILOGY
“Who are due to play the Windsor Free Festival during the last week of August, are a new band featuring Al Hatton (late of Indian Summer) on acoustic guitar; Ron Ablewhite (Ex. Torqwood) also on guitar and Roy Brewster on assorted percussion. All members compose and contribute vocals.”

JOHN WANDERS BACK

“Ex Wandering John guitarist – John Alderson, returned from Sandersfoot in Wales, where he was reported to be living in Hobo issue 2. John met up with Trilogy –

TRILOGY

“Trilogy were also reviewed in issue two. An acoustic band. They are expanding their line up to include keyboard player Martin Barter who also sings, Rog Jackson on bass, John Alderson on lead and slide guitar along with the original members of the trio – Roy Brewster on congas and percussion, Ron Ablewhite on acoustic guitar and vocals and Al Hatton on acoustic guitar and vocals. They write all their own material which without classifying it too much, is, suffice to say, funky with harmonies. The band appeared recently on Midland’s Today and are entering the Melody Maker contest. I caught the original band at the White Bear pub in Willenhall Wood recently with blues soloist Mick Stuart.

Original formation (1965) was Jon McIntosh, Ted Crum, Jane Parks and Giles Poole.

Reformed around 1970 comprising Jon McIntosh (Double Bass), Ian Wall (Vocals), George Van Ristell (Guitar, Banjo and vocals) and Ian Elson (fiddle, viola, mandolin and tenor banjo).

Sneak’s Noise back after 20-year gap; WHAT’S ON: Folk. 2005

by PETE WILLOW

MEMBERS of local legends Sneak’s Noise are rolling back the years this weekend and lining up for a night of nostalgia in Brinklow.

The band’s name goes back to Shakespeare when servants at the Boar’s Head in London’s Eastcheap called for Sneak’s Noise to entertain Falstaff and his cronies.

The band’s founder members, Ted Crum and John “Tool” McIntosh, started playing traditional English songs in 1966.

One of their memorable early gigs was in the city’s Locarno Ballroom where they performed a song about the Aberfan Disaster at a fundraising event.

Tool now plays in electric bass folk-rock ceilidh band Peeping Tom, but he became the lynchpin of Sneak’s Noise as it went through line-up changes in the 70s.

The band was instantly recognisable with Tool’s double bass complete with macabre human skull perched on the tuning pegs.

With Graham Bradshaw on vocals and guitar and George Van Ristell on banjo and mandolin, Sneak’s Noise were residents at Logfire Folk Club in Leamington.

In 1971, they formed Kenilworth Folk Club, which met in the Virgins and Castle before moving to the Burnt Post in Coventry.

The trio will play its first gig in nearly 20 years at Brinklow’s Wurzel Bush Folk Club tomorrow when Ted Crum also makes a guest appearance.

Tool has borrowed a double bass for the occasion, although the skull has long gone.

The concert opens a new season of monthly big-name events now taking place on Saturday nights at the club’s venue, the British Legion, Heath Lane.

The music starts at 8.15pm with resident duo Clive Ryder and Maggie Coleman.

n Tickets from 01788 832021.

Songs – Mr Slater’s Parrot / Morning Blues / Ask Me No Questions / Stealin / Just Because.

The Armpit Jug Band began life in Coventry UK in 1970 after emerging from Coventry College of Education University of Warwick.

Stringbean Cumming. vocals kazoo washboard

Jazz Beasley. Conductor traps guitar sax clarinet harmonica

Hot Lips Haines. banjo jug guitar tuba

T-Bone Jones guitar mandolin vocals

Dr Groove Green piano harmonica.

From this site –

http://www.dannyhaines.com/armpitjugband/begin.htm

“Before the Armpit Jug Band there was the Gosford Armpit Band. And before that there were several

disparate and desperate individuals wandering the mysterious and joyous landscape of the early 60s.

Jazz Beasley and Hot Lips Haines, his surly companion in schoolboy criminality, were struggling out of the musical straightjackets of the Boys Brigade to form the ill fated Tame Valley Juke Stompers. It foundered on the rocks of discordant incompetence. Little Wedge Beasley was kicking at his pushchair straps and beating his Tommee Tippee in time to Budgie and Iron Maiden.

Somewhere on the others side of the Birmingham tracks, in the depths of Shard End, was

In the days when Fred West was just another cowboy builder with a spare bag of cement …. somewhere in

Gloucester was Stringbean, the tortured aesthete standing alone in the shadows of the match factory . . . England’s Glory! He tossed a coin up into the foggy glare of a sodium lamp and lost his bus fare home.

Jazz and Stringbean, with others too inept to mention, became the Gosford Armpit Band while students in Coventry. At first it was just holding hands . . . but before they knew it they were going steady. There were hours of rehearsal . . . ( was it 3 or 4?) . . . in a tiny room made of  fetid with the secretion of bodily odours and the acrid smouldering of Park Drives. At last they were ready to thrust themselves into the world of musical history. “

ARMPIT JUG BAND. NO SWEAT. LP. 1975. EURO 50
On COTTAGE Records Label – COT.201R. Stereo. 1975

A folk based band operating in the early 70’s from Warwick (I think). I saw them play the Coventry Arts Umbrella and Earlsdon Cottage. They had an album on sale at the gigs which I think must have been Jason Lodge Poetry Book. The band made two albums according to this site and one single. (You can buy the albums and single from that site too.). Ron Lawrence and Grey Richardson of  the Coventry folk rock band APRIL were involved with the recording.

Albums
Jason Lodge Poetry Book 1971                   Tommorow’s Another Day 1972

Single
Wilhemina Before Sunrise 1971

Beautiful debut album by UK band Gothic Horizon. The music exposed on this album is
highly unique, transparent and fragile. Kinda like Left Banke meets Honeybus larded and sauced with UK folk. A real beautiful album. Originally released on Argo in 1970 Gothic Horizon made two albums: ‘The Jason Lodge Poetry Book‘ (Argo ZFB 26) 1970, which also gained an American release: ([USA:] London PS592) 1971; and ‘Tomorrow Is Another day’ (Argo ZDA 150) 1972.

Tracklist: http://www.last.fm/music/Gothic+Horizon

1. The Jason Lodge Poetry Book
2. Song For Susan
3. Odysseus
4. A.J. Lone’s Dog
5. Willow Tree Vale Song
6. Six Summers Back
7. Song
8. Althea Williams
9. Wilhelmina Before Sunrise
10. St. Valentine’s Day Massacre
11. A Third For Jason Lodge
12. Pisces
13. A Farewell Ode To Port Sunlight

Bitrate: 192, ripped from vinyl

Dave Commented –
I first met the guys when helping out at the Earlsdon cottage folk club in Coventry where Richard & Andy were regular & popular guests. Bass & drums on the album were provided by Ron Lawrence & Gray Richardson of Coventry folk band APRIL for whom my buddie bullet & i were unofficial & very much unpaid roadies. Gothic were always well received in Coventry and i am delighted to say i still own a signed vinyl copy of the LP. i hope they are both well. Dave

in that direction more through circumstance than anything else. In Coventry he met up with multi-instrumentalist,

Sean’s first album came out last year on the Cottage label, entitled The Roving Journey Man, Erin the Green (CBS Ogham, 1979) and the titles were –

1. The newry highwayman
2. The banks of the bann
3. The bantry girls’ lament
4. Siúil arún
5. The bay of biscay
6. The yellow bittern (an bunán búi )
7. The red-haired man’s wife
8. Ned of the hill (Eamon an chnuic)9. The bonny bunch of roses
10. Erin the green

appropriately named as he reckons he travels about 50,000 miles a year to gigs. (His Morris Minor alone clocked up 30,000 miles since last April.) he has recorded a new album on the Ogham label for release hopefully in April. Sean hasn’t thought of a title for it yet (but we can now tell you in with hindsight that it was called ‘

With all of his commitments  and the fact that he’s living in Yorkshire these days, Sean feels a little out of Dyres Arms where his old colleagues play regularly. he recalls that the music played in the days of the Cofa’s Tree was extremely good. Generally these days he sees folk enthusiasts as people who like songs for their face value, when the folk revival started there was more of a political interest, with many left wing connotations in the material played. “The standard of playing now is better than ever. The instrumental ability of many artists today would have been amazing fifteen years ago” Sean speaks modestly of his own guitar playing though the tremendous feeling  that he puts into his arrangements of songs leaves him in the minds of most club audiences as one of the most outstanding soloists performing in the world of music today.

touch with the Coventry folk scene, although he visits the city as often as he can  to give impromptu performances, usually at the

is young Coventry artist who started out in acoustic venues and has built quite a
career for herself that spans both acoustic and band work, promotion and radio work and recording and touring.

From her website – http://www.emmamcgann.com/
” ‘I dropped everything I was doing in my life to follow a dream. I know that sounds reckless, but you have to be brave and take risks to get where you want to be. Music has completely flooded my life. Ultimately, all I want is for people to dance, enjoy and be inspired by the songs that I write.’

Starting out at open mic nights, showcases and talent shows, critically acclaimed singer-songwriter Emma McGann has made her music known on an international scale. Receiving awards and acclaim from high profile artists such as Kylie Minogue and Nancy Sinatra, Emma continues to strive for success in her musical career and doesn’t plan to stop anytime soon.

‘I started out with nothing on my plate, nothing to my name but that didn’t mean to say I couldn’t make something of myself. You can be whoever you choose to be. I vividly remember my first time on stage, biting my nails in the dressing room, the whole stage freight scenario. Then once you’re up there, it’s the best feeling in the world. Nothing feels better than to throw up a fist pump and sing your heart out to a crowd of people.’

Claiming influences from Imogen Heap, Alanis Morissette and Suzanne Vega, Emma really grasps the essence of pop in all its glory. With some promising gigs in the pipeline and a passion for performance and songwriting, these influences list a few examples of what Miss McGann aspires to become.”

Especially for you, Emma.. City songwriter receives award from pop princess.
By Sandish Shoker From Coventry Telegraph
“COVENTRY music student Emma McGann had pop princess Kylie Minogue bopping as she collected

a prestigious award.

Songwriter Emma McGann, met the pint-sized singer after scooping the Studyvox FM Music prize.
And the former Neighbours’ sweetheart, who has performed in front of millions since shooting to pop megastardom, couldn’t resist showing off her dance moves when Emma took to the stage.

The 19-year-old, of Whitefriars Street, Coventry, said: “It was unbelievable meeting Kylie. This time last week I had no idea I would be meeting her.
“It was really strange. I was really nervous at first but once we had met her, it calmed everyone’s nerves and we realised that she was really nice.
“It is great the judges listened to our stuff on the website and then handpicked us. That’s a good feeling.”

Studyvox Foundation, which provides bursary support to undergraduates to help them with tuition fees, has launched its online student radio station, Studyvox FM, which plays only music produced by students, and a new social networking website.

Through the station, Emma – who’s in her first year at Coventry University – uploaded some of her material,

Kylie Minogue with Emma McGann

which was played on air and then picked by the judges.

They were chosen after receiving the most requests through the Studyvox website.

Kylie, who became a patron of the charity earlier this year, said: “Music has been an enormous part of my life and I’m especially proud to present the music award, which offers an important lifeline for student bands.”

Emma, whose family home is in Binley, usually performs at acoustic sets at the Phoenix pub in Gosford Street, Coventry, with boyfriend James Plester.

After the ceremony, he joined her on stage with two other friends to perform some of Emma’s songs in front of other students and the Australian songstress.

Emma added: “I had sent some of our stuff to Kylie and her record company for them to listen to and they really liked the production on it, which was good.

“Kylie said she really liked our music, and then at the end she came out to listen to us play and she was dancing away. It was really encouraging.

“In the future, after I graduate, I would really like to go into some kind of career in the music industry, so this award is definitely a good thing to put on your CV.”

Four other students who entered the competition and submitted their material to the Studyvox radio station were chosen to receive bursaries of pounds 10,000 and pounds 2,000 to help with their study fees.”

Emma with her band and boyfriend / guitar player James Plester (right) Emma has promoted her own music nights at the Phoenix in Coventry promoting Coventry talent and done a  lot of musical work in schools which you can read about on her site. Emma McGann’s On line shop for her EP / downloads / Shows and merchandise. http://www.emmamcgann.com/#!buy Here’s some of her videos

Teary Eyed · Emma McGann · produced by Mike Shinoda of Linkin Park

Another current Coventry singer songwriter is Wes Finch –  

https://www.facebook.com/wesfinchmusic/

Listen to Wes Finch

Bandcamp: http://wesfinch.bandcamp.com/

Soundcloud: https://soundcloud.com/wesfinchuk

Youtube Channel: http://www.youtube.com/user/whoiswes

.

From Coventry Telegraph

Coventry songwriter Wes Finch sells his skills to fund third 

album release By Warren Manger on Jan 31, 12 11:15 AM

http://blogs.coventrytelegraph.net/themusicabyss/2012/01/coventry-songwriter-wes-finch.html

“The charming Coventry folk musician has already written, recorded and mastered the album. He even has

the artwork ready. Now he is selling advance copies – and his songwriting services – to help raise £1,500 through cottage industry website WeFund for the physical release.

WES Finch shifts uncomfortably on the sofa as the subject of X Factor creeps into the conversation.
“When I tell people I’m a musician I always get the inevitable questions,” he admits with a sigh.
“Have you ever thought ever thought about going on the X Factor or Britain’s Got Talent?”
He stifles a wry smile when invited to answer the question.
“I don’t think that’s me – it doesn’t really appeal.
Wes aptly and elegantly describes his approach to making music as “organic”.

It is a far cry from the polished pop production line churned out by Cowell and his chart contemporaries.
The 34 year-old has been working on his third album Mayflower steadily for a year, taking a heavily hands-on role at every step of the process.
He wrote the 12 songs in creative bursts during the first half of last year, recording them at home studios owned by two friends and backed by a supporting cast of musicians from the local scene.
Wes took two weeks off work to start mastering the album then continued to grab what time he could at evenings and weekends to forge ahead, refining the tracks as he went along.
When he was made redundant by the University of Warwick in October he took the bold step of devoting a year to his music.

In order to do that he moved home to his parents’ house in Coundon, where we are sat in a sunlit

conservatory overlooking a charming garden.
“I sat down and worked out that I had reached a level where I could just about sustain myself from music,” he explains.
“The idea of pursuing my music full time had always been their in the background, so it seemed like a logical time to give it go.”
With more time on his hands Wes has been able to make rapid progress.

The album is now fully mastered and he even has the artwork ready to go. There is just one finaly hurdle remaining – raising the capital to produce the actual CDs.
Wes is one of a growing number of artists who has turned to his fans to help him do that.
“I want to make a good quality CD that I think the album deserves,” he says.
“Rather than borrow from a bank I want to raise money through fan pledges.
“My approach to music is organic and wherever possible self sufficient and raising money in this way feels like the right thing to do.”

But Wes is not asking his fans for charity.

He has put together a range of packages to reward those who help him to raise the £1,500 he needs to create the first batch of CDs. Those who stump a fiver will receive an acknowledgement in the Thank You section of the CD inlay, plus a copy of one of his EPs.

Anyone who digs a little deeper and pledges £10 will get the same acknowledgement, along with a copy of the Mayflower album when it is released.
Meanwhile £50 will buy you a signed copy of Mayflower, a copy of his previous album Asthill Grove, a mention in the ‘thanks to’ section and some exclusive extra goodies and songs.

Wes has also devised two more extravagant offers for those who give most generously.
For £100 he will make a personalised recording of the pledger’s choice (one of his songs or a cover) and dedicate it to them for their enjoyment and entertainment. And at the very top end of the price range £250 will buy you a house concert or a song written especially for you – about the subject of your choice.
“I’m a little bit nervous about writing a song for someone,” he confesses.
“One of my friends has already threatened to make me write a song about their dog.”

Wes has already made a healthy start to his fundraising and has passed the half way marker on website We Fund. However, he still has to raise £700 within six weeks to hit his target of £1,500.
This ambitious and innovative approach to releasing his latest album is a far cry from the schooldays Wes spent jamming with a friend in his bedroom, inspired by the early 90s grunge scene (he cites Pavement, Nirvana and Pearl Jam as favourites and major influences back then). It was taking time out after university that proved the decisive factor is his music career.

Wes sold his electric instruments and took off to New Zealand armed only with an acoustic guitar, before working his way back via Fiji and America.
“After that I finally found the confidence to get up and perform on stage,” he says.
“Once you have got on a plane to the other side of the world on your own, playing your music to people doesn’t seem so scary.
“It changed the kind of music I wrote and played too. When all you have is an acoustic guitar you have to adjust.”

Wes regularly gigs around Coventry, satisfying popular demand by playing covers of artists such as Kings of Leon and MGMT with his own material. He lists the cosy confines of the Nursery Tavern in Chapelfields as a favourite venue. And this year Wes has already been invited to play a string of folk festivals as far afield as Cumbria and Northumberland, including Grillfest – a BBQ themed event.
“Now there are so many people with and instrument and their own songs, it can be really competitive trying to get paid gigs.
“But it’s great to be part of a really strong grassroots music scene.”

Wes Finch may be a softly spoken and painstakingly polite public school boy (he’s a Bablake alumnus) but it seems he is making his voice heard.”

The tracklisting for Mayflower is:

Tithe Farm (ambient recording)
Good Morning, Captain!
The Mermaid’s Song
Close Enough for Rock ‘n’ Roll
Good As Gold
I Know You Have A Secret
I’ve Been Told
Canalside with Matt Hernandez (ambient track)
The One You Let Slip Away
Southern Cross
Bowl of Stars
Cold Hands, Warm Heart.

To find out how you can help Wes fund the release visit his WeFund page.
…………………………………

Justine Watson – who goes out as Justine is a talented singer and songwriter who has also done so much to promote the Coventry acoustic scene in recent years.

On periodic visits back to Coventry in 2009 / 2010, I ventured along to her acoustic nights at the Golden Cross and later the Escape Bar in the old Fire Station  I was impressed with her organisation and M/C skills, encouraging a diverse range of  Coventry acoustic acts. I’m not sure if she is still running it but the last venue for her acoustic nights was at the Tin Angel – Taylor John’s House.

Here’s Justine in action at the Escape Bar

From her website –
“Spine chilling, hysterical, moving and emotional performances are what everyone has come to expect from Justine’s gigs. Apart from her amazing yet vulnerable vocal quality, Justine’s lyrics are auto- biographical, blunt and to the point; inspired by the everyday mundane such as pushing the pram and dodging wheelie bins.
Acoustic music has always been at the heart of Justine’s world enabling her to express personally the mood in every song.

A gig from Justine is as intimate as a whispering in your ear.
“In the space of three songs she can take you from cutting reality to hilarious absurdity past every emotion in-between. Add to that an amazing flair for some brilliant guitar work and you have a real star in the making”
Phil Garvey – Whitfest

This is an early youtube from Justine

https://justinewatson.bandcamp.com/album/acoustic-nerve

Acoustic Nerve by Justine Watson