Pete Clemons on the enduring legacy of The Ramones

Telegraph contributor discusses the legendary band 40 years on from their self-titled debut.

You seem to see them all over the place and if I am in company when I do see this particular item of clothing then the now anticipated and totally predictable comment is to be heard: ‘I bet they don’t even know who that band were’.

What am I talking about? Well it’s a tee shirt with the name of The Ramones emblazoned all over it. And I must admit that I do give the wearer of them the benefit of the doubt when it comes to knowing who The Ramones were. I mean, surly you wouldn’t go around wearing a bands tee shirt who you didn’t know anything about, would you?

2016 marks forty years since The Ramones released their self-titled debut album. And it is terribly sad to think that none of the four original members of the band, Johnny, Joey, Dee Dee and Tommy, had lived long enough to be around at this time. Even Arturo Vega, the man who designed The Ramones legendary logo, that is found on all those previously mentioned tee shirts, is no longer with us.

Although it is forty years since their first album, The Ramones have been around for slightly longer. During 1974 bass player Dee Dee (Douglas Colvin), guitarist Johnny (John Cummings) along with manager and producer Tommy (Thomas Erdelyi) who had all been associated with previous groups met up with Joey (Jeffrey Hyman) and invited him to join them in a new band.

The initial line-up featured Dee Dee on lead vocals, rhythm and bass guitars, Johnny on guitar, and Joey on drums.

Realising that he could not keep up with the speed of guitar playing Joey was moved across to vocals while Tommy took over the drumming duties.

The debut album contained fourteen songs when, combined, lasted just shy of half hour long. Most of The Ramones songs barely lasted two and a half minutes in length. Their lyrics carried a certain element of humour despite almost always being on a downer about something or other.

The songs, though, were always given a huge lift by a constant and full on incessant rhythm guitar that lasted the duration of the song along with an accompanying pounding back beat. And it was this, for me that made The Ramones albums compulsive listening.

In a live situation, however, The Ramones were something else. The band was simply explosive. They were fast and exciting. They would dress alike in black leather jackets and ripped blue jeans. And their stage presence seemed to have that unexplainable magic. Lead guitarist Johnny Ramone, for example, had that unforgettable stance of standing legs astride while performing.

In a 1995 interview Joey Ramone was asked where the band name came from: In the days of the ‘Silver Beatles’, Paul McCartney would go to check into a hotel room, using the name Paul Ramone. Dee Dee was a big Paul McCartney fan, so he changed his name to Dee Dee Ramone. When I hooked up with Dee Dee, we decided to call the band the Ramones. All the then current and future Ramones band members would follow suit also by adopting the surname of Ramone.

Personally, I was a bit late in joining The Ramones party. I only became aware of the band late 1977 when they had just released their third album Rocket to Russia. In fact it was a single from that album ‘Sheena is a Punk Rocker’ that probably alerted me to them. And by the time I saw them play live, which was during 1980, they had by then replaced Tommy on drums with Marky Ramone (Marc Bell).

However The Ramones did play locally with their initial classic line up and that was when they appeared at Birmingham Barbarellas during 1977. In fact The Ramones had been down to tour with The Sex Pistols and The Clash on their November 1976 tour but, for whatever reason, had to pull out. So Coventry potentially missed out as that particular gig famously visited the city.

The band did play in Coventry and that was when they played Warwick University during 1978 with the revised line up. Now I do know that well known photographer and former Virgin Records employee John Coles was at the Warwick Uni gig. And I am also fairly sure he once mentioned to me that he had been at the earlier gig at Barbarellas in Birmingham too.

The bands chart history was nothing to really shout about either. They fared slightly better in the UK than their home country of the USA. But they never really had what could be classed as a major hit album in any of the territories that their music was released in.

Even the addition of Phil Spector as producer for their ‘End of the Century’ album failed to achieve that real chart success apart from a cover version of the song ‘Baby I Love You’ released as a single which did reasonably well.

The Ramones didn’t enjoy the Phil Spector experience. Studio wise they seemingly preferred to be in and out as quickly as possible. But producing ‘End of the Century’ kept them in the studio for longer than they had been used to. In a later interview though, Johnny conceded that the experience hadn’t been as bad as he had initially made it out to be.

I personally think that The Ramones left us with a more than half decent discography. And maybe, in that respect, their time is yet to come. What I also think is without question though is the influence The Ramones have had on so many bands that have come along since. But what has been the undoubted success is The Ramones tee shirt. If you listen to some folk it appears to be the most instantly recognisable thing about the band. One Two Three Four, Hey Ho Lets Go.

Pete Clemons on the day The Clash rocked Coventry

The Clash famously played at the ‘Lanch’ along with The Sex Pistols.

I really do not have the capacity to fully describe how euphoric the period was, for me personally, from the middle of 1976 and through to late 1978.

For a music listener and gig goer it was an incredibly exhilarating period. New bands seemed to be popping up everywhere. And they were coming from all areas of the country. At the same time there appeared to be a never ending production line of quality seven inch singles.

These singles were by now housed in picture sleeves rather than the standard record industry bags. And, quite often, they were released and distributed by record labels that were completely new to you.

Looking back now, it all seemed to happen with incredible speed. And as quickly as it came it then sort of disappeared as the music scene kind of transitioned into the new romantic period.

As with many, I was not a punk rocker by way of appearance, my hair was quite long and I lived in denims. But I really did lap up everything that the punk rock period had to offer in terms of music. And yes, for a while, I was guilty of putting to one side, all the previous music genres that had, until then, given me so much pleasure.

One of several bands that totally grabbed my attention back then was The Clash. Hard to believe but it is now 40 years since they burst onto the scene. And yet they are still at the forefront of my mind as one of the most exciting bands I ever had the pleasure of seeing perform live.

For some music lovers The Clash were the greatest rock and roll band of all time. And I for one would find it difficult to disagree with that train of thought.

I am not saying they were the most technically gifted band or that they released the best records ever. I am not even saying that they are my personal favourite band of all time – (although they may have been all three).

But The Clash were just so exciting aurally and visually. They were explosive on record and absolutely incendiary on stage. And once you had seen them play live you certainly never forgot the experience, at least, that has been the case for me. Nothing quite prepared you for them.

The band was born in a period where a set of incredibly visionary musicians brought with them, an energy, that completely took a nation by storm.

I had never really experienced anything like it before or since and if truth be known, the fact that I am putting this article together, I guess goes to prove some way, the impact they left on me.

The Clash formed in 1976 and very quickly found themselves in the public eye by way of their association with the then controversial punk rock movement.

The band initially were Joe Strummer – Guitar and vocals, Mick Jones – lead guitar, Paul Simonon – bass, Keith Levene – Guitar and Terry Chimes – drums

They did their reputation no harm at all when they supported the Sex Pistols on the Anarchy in the UK tour during December 1976. Apart from the cancellations the tour was beset with problems. All but three of the gigs on that tour were cancelled. But most of all, the tour – or lack of it, generated much publicity.

Just prior to this tour The Clash had famously, to the people of Coventry, played at the ‘Lanch’ along with The Sex Pistols. The gig had been organised as part of the polytechnic’s 1976 arts festival.

The first few months of their existence had been fairly fluid in terms of stability of the band yet January 1977 still saw The Clash sign up with CBS records as the three-piece of Strummer, Jones and Simonon.

By then both Levene and Chimes had both departed the band. However with an album to record Terry Chimes, returned to The Clash and the bands self-titled debut album was released during April 1977. Its impact was immediate and immense. The intensity of the songs didn’t take me, and a lot of others music listeners, long to realise that The Clash were a band to be taken seriously.

After the album launch Chimes left once more. He was replaced by Nicky ‘Topper’ Headon who became the band’s full-time drummer. Headon’s inclusion in the band now meant that The Clash had a solid line up. One that would continue through to 1982.

There then came the release of the single ‘Complete Control’. Amongst other things it was actually a pop at their record company CBS for not giving the band complete artistic freedom as allegedly promised.

To support the album and singles The Clash undertook a UK tour. And during November 1977 that tour that took in Coventry Tiffany’s (nowadays used as the library).

Soon after, during January 1978, the band returned to Coventry again. This time it was the turn of the Lanchester Polytechnic for the setting.

The band were, initially, due to reappear at Tiffany’s but were forced to switch venues at short notice. The Clash had wanted to use Tiffany’s to record some tracks for a live album saying that it would have ‘provided the right atmosphere’. But the venues management were already in the process of giving the Tiffany’s a facelift.

Both gigs were similar in that they opened with ‘London’s Burning’ followed by ‘Complete Control’ and concluded the set with ‘White Riot’. In between the band showcased album tracks like ‘Janie Jones’, ‘Garageland’ and ‘What’s My Name’.

November 1978 saw The Clash again play Coventry. This time it was in support of their second album release ‘Give ‘em Enough Rope’. From the opening bars of ‘Safe European Home’ the whole thing left you feeling totally exhausted as the gig, like the others, was played at breakneck speed.

A year later saw the release of the bands third album ‘London Calling’ with its iconic sleeve. As well as it being a double LP release The Clash were now introducing a new dynamic to their music as they incorporated elements rockabilly and ska. It was all just as frenetic though.

February 1980 saw a fifth and final visit to Coventry by The Clash. Once again Tiffany’s provided the venue. The new album featured heavily as tunes such as ‘Brand New Cadillac’, ‘Jimmy Jazz’, ‘Clampdown’ and of course the title track and current single were all included in the set.

Despite this being the bands last action in Coventry it was, of course, not the end of The Clash. Far from it, in fact. Further albums followed that spawned well known songs like ‘Rock the Casbah’ and ‘Should I Stay or Should I Go? ‘.

The Americans totally took the band to heart. The U.S loved The Clash and The Clash loved the U.S. But all good things come to an end and the band eventually dissolved in 1986.

Pete Clemons on Coventry musician and record plugger Tony Beard

His formative years were spent growing up at the Golden Fleece pub in Bell Green which his parents kept. 

Chart rigging – an unscrupulous practice or a service that aimed toward helping up and coming bands and trying to get them the best visibility?

Almost as soon as the charts were introduced, back in the 1950s, music moguls were looking at ways to give their product or artist a nudge in the right direction. And there began a lot of behind the scenes stuff happened in order to give a band a chance. This practice was also known as ‘hyping’ and it was quite widespread during the 1960s, 70s and 80s.

Going back though to those days when there was no internet or mobile phones to aid the promotion of records, a lot of the activities had to be done on foot.

Tony Beard is Coventry born and bred and his formative years were spent growing up at the Golden Fleece pub in Bell Green which his parents kept. Tony was also a guitar player and is a one time member of rock n roll group Bob Tempest and the Buckaneers who existed during the late 1950s and early 1960s.

During the late 1960s, after his flirtation with rock ‘n’ roll, Tony was working for Illingworth Signs in the city centre town. And it was from here that he ventured back into the music business taking up all kinds of positions and duties.

It began with an order placed at Illingworth Signs by Adrian Williams of EMI. Adrian would go on to take up a senior position within the EMI organisation.

The order had been for around 500 posters and these were to advertise forthcoming tours, by the then relatively new bands, the Electric Light Orchestra, (not yet known by the abbreviated ELO), and Wizzard. The order was increased to 1000 posters and Tony volunteered his services to flyposting. And through this initial contact, and due to his flyposting activities, Tony would end up working and touring with ELO.

Tony took the task of flyposting to its extreme and ended up putting posters up on the backs of ambulances and on police station walls. Tony’s flyposting days also took him up to Scotland where he plastered cities like Glasgow.

Don Arden, apart from being Sharon Osbourne’s father, was a music manager and agent. Arden had been manager of The Move and had remained in this capacity during the period when The Move evolved into ELO and Wizzard.

Tony’s flyposting was certainly getting noticed as a call came in from Don, who was based in Wimbledon at the time, telling Tony to be a bit more discreet.

But the flyposting continued and Tony would also become acquainted with Ex Nashville Teen vocalist, Arthur Sharp, who by this time had moved into management and organised tours for Don Arden.

Tony’s association with Don Arden led to Don giving Tony a nationwide list of ‘chart return record shops’. Tony would tour these record shops to buy two copies of certain records helping them get the chance to chart and earn that all important appearance on the TV programme Top of the Pops.

Tony saw no harm in ‘hyping’. ‘If a band got onto Top of the Pops, the rest was down to if the people liked them or not and the sales that were created’. The ‘extra’ records bought were not simply disposed of either. They would then be recycled as freebies to DJ’s etc.

It got around London that Tony was a ‘chart fixer’. A good one at that. And as such he was head hunted by the likes of record producers and songwriters Nicky Chinn and Mike Chapman.

Magnet records also poached Tony. And it was at this point that Tony met up with Pete Waterman who was also working for Magnet Records at that time. The pair would even take the train to London together. Pete Waterman and Tony Beard would also write jingles for DJ which would be used to introduce singles on radio by the likes of Susan Cadogan. And while working for Magnet, Tony was in contact with the labels head, Michael Levy head.

Among the records that Tony helped ‘improve’ the chart positions of were Sherry by Adrian Baker, New York Groove, Hello, Wizzard, Lynsey de Paul along with countless others. And Tony was even in contact with Doreen Davies who at the time was head of the BBC playlist.

By the end of the 1970s and accusations being rife about the charts being fiddling the jobs in that direction began to fizzle out.

Despite Don Arden achieving a certain amount of notoriety for his business tactics, Tony’s assessment of Don was that he was actually a really nice guy. But he did demand the best if he had paid for a particular service. Chart rigging or hyping was justified by ‘simply giving a band a chance’ by helping to push them in the direction of success.

Point of interest with regard to the Paul McCartney and Wings album ‘Band on the Run’: The cover sleeve featured a number of stars of the day posing with the band in a prison break pastiche. From left to right, they are Michael Parkinson, Kenny Lynch, Paul McCartney, James Coburn, Clement Freud, Linda McCartney, Christopher Lee, Denny Laine and John Conteh. However, both Tony and Roger Lomas are adamant they have seen a copy of the sleeve with Don Arden featured on it. So a bit of a mystery exists here. Maybe they saw an early version of the finished product who knows.

Tony’s ideas were ahead of their time. For example, when Joe Mercer was manager at Coventry City during the 1970s it was suggested, by Tony, to put on a 2 day concert festival at Highfield Road that would include Birmingham’s finest bands that would have included ELO and Black Sabbath. The board of the day turned the idea down.

I must admit that I really don’t have a clue if this kind of practise even exists in today’s digital age. There may still be a little bit of paying DJs to play certain records but I am guessing that, since the downturn of music buying, there cannot be the spare money around that once existed. I do acknowledge though that social media has played a part in getting songs to the top. For example, a particular social media group may set’s itself on a mission. But this is an exception rather than the rule.

At the end of the day though, and I guess it still applies today, it was almost always in the hands of the music buying public as to whether a record became a hit or a miss. After all, you were not forced to buy the record.

In June 2016 I was invited to talk via a phone in on the BBC Radio Coventry and Warwickshire Jo Cameron show about Coventry music and the 70’s. Here is my bit – 

In January 2016 Pete Clemons, Trev Teasdel, Paul Wright (A London Specials fan) arrived at BBC Radio Coventry and Warwickshire to talk about aspects of Coventry’s rich music history as part of a wider programme created by the production company 7 Wonder,who were making pop programmes for BBC 4 under the heading of The People’s History of Pop. This was one of the local radio spin offs.Helen Shapiro topped the bill of this programme via a phone in that can be heard at the end of the programme. 

Peoples History of Pop Radio Coventry Jan16 from Coventry Music Scene on Vimeo.

Here is some of the memorabilia that we took down to Coventry.

Remembering Coventry-born Moody Blues producer Tony Clarke

http://www.coventrytelegraph.net/whats-on/music-nightlife-news/remembering-coventry-born-moody-blues-11723275

Pete Clemons documents the life of the producer who passed away in 2010

‘A true gentleman with a fast wit and great sense of humour’. These are the words of Mike Pinder, most famously remembered for being a member of pioneering rock band The Moody Blues.

Mike was writing about Coventry born record producer, Tony Clarke, who passed away during January 2010.

Tony was born during the time that the Second World War was affecting the city. During his teens he discovered skiffle and rock ‘n’ roll. This led to him playing in bands like Danny Storm and the Strollers who, at that time, were being managed by Reg Calvert.

Tony found work as an artists and repertoire (A&R) staff member for Decca Records. The A&R division of a record label is also responsible for overseeing the recording process. Functions include finding the right producer and generally working alongside the artist and guiding them through the whole music publishing side of things.

And I am guessing that it was these early associations with Reg Calvert that led to Tony teaming up with Rugby band Pinkerton’s Assorted Colours where he produced the single ‘Mirror Mirror’. This was his and their first chart success.

But it is with The Moody Blues and his 12 year association with the band that Tony will long be remembered for. Between them the created seven of the most remarkable records you are ever likely to hear.

And this association began 50 years ago, during 1966, when Decca Records assigned Tony as producer to the ‘new’ line up of the band that now included Justin Hayward and John Lodge alongside core members Graeme Edge, Ray Thomas and Mike Pinder.

Despite receiving no formal training Tony, by all accounts, was inquisitive and eager to learn. He set about personalising his allocated studio to the point that it became specific to the requirements of the ‘Moodies’.

Graeme Edge was quoted as saying that ‘Like the band, Tony was young and enthusiastic. We could have stuck with traditional guys but tony was open to the music and hearing our ideas’.

1967 Decca Studio 1,was equipped with a custom, 20-channel, wrap-around console,15-inch Tannoy monitors in Lockwood cabinets, and a Studer J37 four-track tape machine and Ampex half-inch four-track. The live area did have swinging panels, where we could have a hardwood surface or absorbent wall tiles, yet part of the key to the sound there was the echo chamber on the roof, there was another one for Studio 2, but none for the big Studio 3, which had been built in 1961 or 1962 and was a bit of a failure. Because of muti-track, there were also four EMT echo plates in the basement that could be switched between Studio 1 and Studio 2, and we had to plug them in to tie lines, as we did for the echo chambers. That meant there were six echo sources for the two studios, and another pair were installed for the remix room that was very close to Studio 3’

For the Moody Blues first LP release with Tony at the helm, ‘Days of Future Past’ Tony introduced cross fading. This is a technique where as one song fades out the next fades in and overlaps for a short period and gives the impression that you are listening to a continuous piece. And this would become a feature for the Moody Blues music.

During 1968 The Moodies encamped themselves in Decca’s Studio One with Tony Clarke and engineer Derek Varnals. They reappeared with ‘In Search Of the Lost Chord’ which was the product of a highly inventive period.

Mike Pinder mentioned at the time that ‘Tony was a calm and collected man with musical talents and great ideas. We soon realized that Tony was playing an equal part in our recordings. He was the right man to complete our recording team. We really were a team and Tony was the captain of our ship.

The creative channels were open and we shared our musical ideas and much laughter’.

“Tony really understood the Moodies,” said Ray Thomas. “We were talking with Tony 24 hours a day, not just music but philosophy and astronomy too. He had a huge telescope on the roof of his house and we’d go up there, look at the moon and stars, and talk about everything. He knew the lyrics of our songs always had other connotations, and was really good at seeing the broader picture.”

An example of how Tony understood the feel of The Moodies music happened during 1969, at the start of the recording of the bands next album ‘On the Threshold of a Dream’. Even from demo’s he had already picked up on the spiritual feeling that this album would bring.

These feelings would be relayed to engineer Derek Varnals who would, in turn, provide the sounds for the atmospheric beginnings to the album.

The next album up was ‘To Our Childrens Childrens Children’, also released in 1969. Apart from the obvious subject matter, as depicted by the album’s title, a major inspiration for this record was created by the moon landings. And that was time and space. Again Tony Clarke and his team were instrumental in provided the atmosphere behind the songs.

And this successful and creative formula continued with the albums ‘A Question of Balance ‘and ‘Every Good Boy Deserves Favour’. Right through to ‘Seventh Sojourn’ in fact. The band delivered beautifully crafted songs while Tony added the warmth and depth to them. ‘Seventh Sojourn’ was actually the bands final album, before their well publicised hiatus.

The final Moody Blues album that included Tony’s production talents was titled ‘Octave’ released in 1978. It was a difficult album to release due to logistical issues amongst other things.

Although it was a very welcome release for the fans it had been, apparently, a stressful time for all involved. But the album itself still stands up well and had its really good moments.

But that was the end of Tony Clarke’s involvement with the Moody Blues. Although he remained friends of the band members he moved on to pastures new. But those twelve years with the band ensured that Tony’s legacy was cemented forever in popular music history.

Remembering Nektar guitarist and Coventry musician Roye Albrighton

http://www.coventrytelegraph.net/whats-on/music-nightlife-news/remembering-nektar-guitarist-coventry-musician-11689892

Pete Clemons on Bell Green axeman who has sadly passed away

Roye Albrighton was born in the Bell Green area of Coventry on February 6 1949. He is a son of Arthur (Senior) and Anne Albrighton. He will always be best remembered for his continuing involvement in the world renowned band Nektar where he plays lead guitar and is also lead vocalist.

Roye, actually born Roy, started learning to play guitar at around the age of 10 when brother Arthur (Modie), who had been a television repair engineer, used to fix elderly people’s TVs for free. One day he was given an old Spanish guitar by one of his clients. Roye came across the guitar that, apparently, only had one string. This minor issue did not deter him, the guitar was repaired, strings were replaced and the rest as they say is history.

His early influences included bands like The Ventures, The Spotniks and The Shadows. Later, as he was learning his craft, he would be inspired by bands like The Beatles and the various Jimi Hendrix bands like The Experience and The Band of Gypsies. Incredibly, in fact, Roye once actually jammed with Hendrix during a spell of living in Gothenburg, Sweden.

Roye began his musical career in local band The Peeps who went on to release several singles for the Philips label. After this he became a member of Rainbows. Actually The Peeps and The Rainbows were essentially the same band. But it was at this point when Roye started to write his own material and began to work it into Rainbows music.

Rainbows were known for their flowing silky robes, eye liner and Vidal Sassoon styled hair. This was fairly outrageous stuff for the time. The band also relocated to London for a while where they signed up with Ashley Kozaks management.

They recorded and cut two singles on the CBS label. The first was called ‘Rainbows’ and the second was called ‘New Day Dawning’, a quite wonderful song that would eventually feature on a Nektar album called ‘Sounds Like This’.

During 1968 Rainbows were doing some gigs in Germany. These included dates at the Top Ten Club in Hamburg. And it was during some leisure time that Roye paid a visit to the famous Star Club next to the Reeperbahn.

While there he heard a drummer rehearsing. His curiosity got the better of him and Roye went into the club and met up with Ron Howden who, at that time, was drummer of house band Prophecy. The following day Roye took his guitar along and the 2 jammed together. The chemistry between Ron and Roye was almost instant.

Roye rejoined Rainbows but, sometime during 1969, the band went their separate ways. Incidentally, after the split, the nucleus of Rainbows went on to form a band called Still Life who, themselves, released their own highly regarded album.

From Rainbows Roye then moved to Sweden and took up residency for a while. While there he met up with a promoter who had worked with him when Rainbows toured the country. This led to him being put in touch with a band called The Outsiders who he played with for a short time until it was time for him to return to the UK.

It was now late 1969, and a year or so after those jamming sessions with Prophecy, and Roye received a telegram out of the blue from Mo Moore who was Prophecy’s bass player. The telegram asked if he would be interested in going back to Germany and taking up the lead guitar position within Prophecy as their guitarist was leaving. At the time Roye had been rehearsing for a part in the backing band for the London debut of Hair.

However, in November of 1969, Roye teamed up with Prophecy and, shortly afterwards, together they formed the band Nektar.

In the 40 plus years since their formation Nektar have often been regarded as one of the most influential bands of the 1970s within their genre. They were pioneers of futuristic live shows and performed some of the earliest gigs that included lights and pictures. Their 1970’s albums are some of the most adored records of the progressive rock genre.

Following the release of Nektar’s fourth album ‘Remember the Future’ during 1973 (their second album release in the U.S.), the band were launched into orbit as they became hugely popular, not just in Europe, but also in America.

Sadly Roye passed away recently in his home town of Poole.

During 2014 I was fortunate enough to have a chat with Roye. He was great company and was agreeable to answering all the questions I had ready for him. And so here is that conversation in full…………..

You grew up in the Little Heath / Bell Green area of Coventry. Were they happy memories?

They were very happy memories, especially just after I left school and started out on my musical adventure.

Celebrating 50 years of The Moody Blues

Pete Clemons recalls the formation of the classic West Midlands band

Incredibly 2016 marks 50 years since Justin Hayward and John Lodge joined up with The Moody Blues.

The band would then transform itself from, what was already a very good R ‘n’ B group, into a band that would shape and influence the future of rock music forever.

The version of the band to include Justin Hayward and John Lodge first came together during late 1966.

Legend has it that guitarist Justin was actually answering an advert placed in Melody Maker by Eric Burdon of The Animals. Burdon then passed Justin’s details onto the Moody Blues flautist Ray Thomas.

John Lodge was already known to the group having been band mates of Ray Thomas and keyboard player Mike Pinder in the early 1960s Birmingham beat group El Riot and the Rebels.

Drummer Graeme Edge, formerly of Gerry Levene and the Avengers, is now the only remaining original member of The Moody Blues, from their early R‘n’B days who is still performing with the band.

The Moody Blues have already completed an American tour this year to mark this momentous achievement. And, throughout the rest of 2016, various other events featuring the pair at their own gigs will ensure that this celebration of their achievements continues.

The first single to include Hayward and Lodge was titled ‘Fly Me High’ and was released during May 1967 and in a recent Moody Blues press release the band recall those early days:

“And one of the first things we did together that year (1967) was record ‘Fly Me High’ at our own expense at Regent Sound Studios in Denmark Street. The suits at Decca liked it but thought it could be recorded better. So we turned up at the Decca studios on the appointed day where we met Tony Clarke for the first time. He was assigned to us as in-house producer and we recorded the song again. Decca released the new version and it was picked up by the BBC who used it as a jingle for a while. It was all absolutely great and ‘Fly Me High’ was the start of our new sound and direction. The Decca engineer on ‘Fly Me High’ was Gus Dudgeon who went on to produce mega-hits for Elton John. He did a great job!”

At the time Tony Clarke was a junior producer with Decca Records who had been assigned to the Moody Blues to produce the demonstration record. Unknown to the record company the Moody Blues gave Tony an insight as to the ambitious direction that they wanted to go. Tony bought into it all and to all intents and purposes went against his masters and aborted the task in hand. Instead Tony and the band recorded what became known as ‘Days of Future Passed’. The record was also released November 1967 on Decca’s subsidiary label Deram.

It needs to be mentioned however that the albums engineer, Derek Varnals, take of the story is slightly different. Derek who, at the time, kept diaries mentions “At some point, Decca decided to liven up the label by having a pop group record with an orchestra,” The Moody Blues project was simply described to me as an album with recurring themes, and for the orchestration they’d be using Peter Knight.

Coventry born Tony Clarke had incredible vision when it came to recording processes and would eventually become known as the sixth Moody Blue, so much so that some albums carried a photo of him.

‘Days of Future Past’ was indeed a whole group effort with each band member contributing. And, arguably, it was this album that brought the Mellotron (an electro mechanical tape relay keyboard) to the world’s attention. Mike Pinder, who played this particular instrument on the album, once worked for the manufacturer of the Mellotron – Streetly Electronics in Birmingham – and has long been associated with the instrument ever since.

The music that followed, six breathtaking and ground breaking albums between 1968 and 1972, stunned the music world with their endeavor and dynamics. They were orchestral landscapes.

The lyrics were a mix of easy going, love and just general thoughtfulness. But most of all they were incredibly thought provoking as they posed questions on the subject of our very existence, they made us examine our own consciousness, and to think of our place within the great scheme of things. This was indeed cutting edge stuff. And, for me at least, those records still thrill after all this time.

Following the album ‘Seventh Sojourn’ the band just had to take a break. Continuous recording followed by extensive touring had taken its toll. According to one band member, they had been living in each other’s pockets for too long. A period of calm followed for the band and a selection of live, compilation and solo albums followed.

Then, after a five year hiatus the band reformed in 1978. Despite the musical climate at that time the resulting album ‘Octave’ received the warmest of receptions. It was as if the whole music world was just so pleased to see the return of The Moody Blues. Again, each of the band members contributed to the song writing. Sadly though, and due to personal reasons, this was to be Mike Pinder’s swansong album. ‘Octave’ was also Tony Clarke’s final involvement with the band. Maybe the album sleeve, where the band is pictured disappearing through a door, was prophetic.

Despite these setbacks the band readjusted accordingly and produced another decent, if not prolific, series of albums. These were particularly successful in Canada and America. In fact The Moody Blues were so popular over in the North Americas that, amongst the many tours, they performed at the Red Rocks Amphitheatre complete with a full orchestra.

The Moody Blues then had another hurdle to clear when founder member Ray Thomas retired from the band toward the end of 2002. Ray has great website full of archive photos. He also gives some heartfelt advice to those of a certain age.

Some years ago The Moody Blues released an album called ‘Sur La Mer’. Well even that has become a reality as the band, for the last few years, have organised a music cruise.

More recently Mike Pinder released a filmed interview that, amongst other things, gave an insight into the reasons as to why he left the band. He also gives a poignant recital of Graeme Edge’s ‘Late Lament’ poem.

And now another new dawn beckons by way of solo and intimate performances. As mentioned earlier, there will be plenty of activity in the region over the coming months. I, for one, have recently bought tickets for forthcoming concerts by both Justin Hayward and John Lodge who will be in and around the area during the next month or so.

It is testimony to the enduring quality of their music that The Moody Blues have achieved top 20 album releases over four consecutive decades beginning in the 1960s. Their output seems to transcend so many generations and does not feel that it sits in any particular era. And I am convinced that The Moody Blues will continue to give pleasure to generations to come.

Pete Clemons recently went over to Pebble Mill, Birmingham to be interviewed for Pete Waterman’s new programme ‘Back to my Roots’ on BBC Radio Coventry and Warwickshire and West Midlands.


This is Pete’s interview, talking about bands that played Coventry or local bands.

‘Godiva Festival showcases Coventry’s wonderful talent’

Pete Clemons on what was memorable to him at the 2016 three-day event

Godiva Festival means so many things to so many different people. It is so vast and varied that no one can take it all in.

Yet those who attended will have had a great experience and will have our own special memories of it all.

Pete Clemons, a regular Coventry Telegraph contributor, found the whole event inspiring.

So in no particular order, other than when they appeared, Pete has put together a brief snapshot of what was memorable to him on the first and third days, having been unable to attend on Saturday.

The Ellipsis: The opening act for the whole event on Friday evening. What a task to be given and how well they took it.

Luna Kiss: By the time Luna Kiss appeared on stage the ever growing crowd were soaking wet after a horrible downpour.

However this excellent performance proved to be very popular. At the heart of the set Luna Kiss showcased the title track from their recent EP ‘Gravity’. By the end of their performance the sun had returned and the audience had been well and truly warmed up sufficiently for the headline acts.

JLR Brass Band: What an enjoyable way to begin the proceedings for Sunday. In the vast expanse of the ‘This is Coventry’ tent I was pleasantly surprised as to how much I enjoyed hearing tunes by the likes of Queen and Jimmy Webb played in this fashion.

To fill the space between bands we were treated, in the middle of the giant tent, to some performance art. This involved some amazing high wire acrobatics. Initially I thought that the accompanying music had been pre-recorded. I was staggered to notice that the vocals at least were live.

The Moonbears: One of Coventry’s finest and a joy to listen to. They try to make the best pop music they can with what they have. I personally think they undersell themselves. The Moonbears are incredibly skilled at their craft and play complex arrangements with exciting rhythms. Their set included the very popular tune ‘Catnip’, which given the reaction of the audience, was very welcome.

Callum Pickard and the Third Look: Not only has this band grown in size, they are now a six piece, they have grown in reputation. And that reputation has, from all accounts, spread far and wide. And on this evidence it is easy to understand why.

Tunes included ‘Hoard the Pieces’, ‘Driving Through, Empty Skies’ and the wonderful ‘Lonely Boy and Girl’.

Emma McGann: Back to the main stage and despite having heard so much about her, this was my first introduction to Emma.

Her very energetic set really wowed the sun drenched crowd. And her equally effervescent backing band was also hugely impressive.

Cliff Hands and his Band: Coventry’s very own super group. These are not my words, but those of other people far more knowing than I am. What a great year it has been so far for Cliff, culminated by this gig on the main stage. The set began with the very powerful and guitar driven ‘Going Down’ continued with ‘Liberty Ward’ and the band concluded with a tribute to David Bowie by way of a unique version of ‘Heroes’. This was great touch indeed, greatly appreciated by the by now visibly growing main stage crowd. You really must check out his recent CD release ‘Two Inches Down to Dust’.

Joe O’Donnell’s Shkayla: Joe and his band are perennial visitors to the festival. This year we were treated to the full five piece band and, wow, did they put a shift in. The tunes are fast and furious and a lot of the song titles are in Gaelic which I will not even attempt to name. And it is such a joy to see Joe and guitarist Si Hayden exchanging licks. But the band always throws in a ballad. And they did just that with ‘O’Neill’s Lament’. A beautiful tune that is simply sublime. Surly Joe and the band are overdue a shot on the main stage.

Pete says: “The thing about all the bands and artists I have mentioned above is that, in the main, music is not their full time career.

“What makes it all the more remarkable to me is that music is a passion that they fulfil in their spare time.

“And the music they are creating is their own. It is what burns inside them. Most weekends they can be found playing the pubs and clubs in the region. So please continue to give them your invaluable support.”

Pete continues: “Godiva Festival is without doubt the jewel in the council’s crown. It is a showcase for much of the city’s wonderful talent.

“And it is quite possibly the biggest stage they appear on. And this may even lead to greater things for them.

“With almost 15,000 people attending over the course of the weekend, long may it continue to grow.”