Pete Clemons with his latest article for the Coventry Telegraph. They recently played the Godiva Festival and back in the 70’s they played Mr Georges with Neil O’Connor’s punk band – The Flys who continued to tour with them after that. I saw the Buzzcocks gig at Tiffany’s with Penetration c 1978.
The punk band The punk band that still gets that still gets me buzzing!
by Pete Clemons
I WAS personally delighted when I heard that the Buzzcocks were going to headline the Friday evening of the Godiva Festival 2014. Having seen them play live on many occasions I do admit that they really are a guilty pleasure of mine.
This band is one of the UK’s most popular and successful groups to have emerged from the punk rock era. For well over thirty years they have produced a host of studio and live albums. And, today, they continue to influence many a young, up and coming band.
The idea for e Buzzcocks came about during early 1976 and had been inspired by an early Sex Pistols gig attended by Bolton based students Peter McNeish and Howard Trafford.
Guitarist McNeish became known as Pete Shelley while vocalist Trafford became known as Howard Devoto. To complete the band they were joined by bass player Steve Diggle and drummer Mick Singleton on drums. By April 1976 and after a few gigs Singleton had been replaced by self taught drummer John Maher.
By mid1976 the band were touring with the band that had inspired them, namely e Sex Pistols, as well as touring with e Clash on the infamous ‘White Riot’ tour. And then toward the end of that year they had entered recording studios in Stock-Stock port to record a number of tracks, of which four would end up on their first record release ‘Spiral Scratch.’.
Released during January 1977 on the band’s own New Hormones record label, ‘Spiral Scratch’ became an almost instant cult classic and, due its limited production run, the record soon became a much sought after release. The Buzzcocks had created a fast, fresh sound and the pop world had not heard anything quite like it. is was a true musical revolution in the making.
By February 1977 Devoto had left the group and the band had to reshue. John Maher remained on drums, Steve Diggle shifted to guitar, Pete Shelley took over vocal duties as well as retaining his guitar parts and the band recruited bass player Garth Smith who had known Shelley from a previous band.
Howard, Devoto returned to college but would resurface a year or so later with a new group called Magazine. A totally different story but Magazine went on to become a quite superb band in their own right.
By mid-1977 the Buzzcocks were attracting the attention of major record labels. And it was this latest line-up of the band that played Coventry’s Mr Georges Club during October 1977. is gig became significant for two reasons. One was the fact that this gig would be Garth’s last for the band and the other was that the Buzzcocks had been supported by Coventry band the Flys.
Described by guitarist Neil O’Connor as one of the best ever gigs by the Flys, the band were invited to stay on as the opening act for the Buzzcocks for the remainder of that tour and at the same time attracted the attentions of EMI records.
Shortly after that Coventry gig the Buzzcocks, who by then had been signed to the United Artists record label, released their first single for that label. ‘Orgasm Addict’ was the only single to feature Garth Smith who, by the time the record was released, had been replaced by bass player Steve Garvey.
The Buzzcocks were now recording sessions for John Peel and becoming more and more noticed by the wider public. Their next single ‘What Do I Get?’, released during February 1978, was their rst to reach the UK top 40 charts. ‘ was followed in March by their wonderful debut album ‘Another Music in a Different Kitchen’.
A further three visits were made to Coventry by the Buzzcocks during 1978. A couple of those gigs were at Tiffany’s, of which one I recall was where they were supported by another amazing band called ‘Penetration’. The third visit was at the Coventry Theatre to promote their second, and equally brilliant, LP release ‘Love Bites.’.
* Arguably the band had their finest hour when the single ‘Ever Fallen in Love (With Someone You Shouldn’t’ve)’ was released during September 1978. For me personally it was just another great single by the band. But its longevity cannot be denied as, even nowadays, the song seems to crop up with regularity on the radio and television as well as being instantly recognised by the masses.
After several more singles, a further visit to Coventry eatre during 1979 and a third LP titled ‘A Different Kind of Tension’ released the same year the Shelley, Diggle, Garvey and Maher line up continued right the way through till when the Buzzcocks eventually broke up to pursue solo careers during 1981.
However that ‘classic’ line-up then, seemingly out of the blue, regrouped once more during 1989 for a US tour that included an appearance on the TV series ‘Bedrock.’ .’ Many bands were featured on this lucrative TV show but only on the condition that it was the most recognised line-up of the group which would perform. And, apart from a brief stint by ex-the Smiths drummer Mike Joyce, the band remained together again until 1992.
During 1992 Tony Barber joined on bass and Phil Barker on drums, replacing Garvey and Maher, and it was this line-up that embarked on a tour with Nirvana and again with Pearl Jam during 2003. An album titled ‘Trade Test Transmissions’ was released the same year. is had been e Buzzcocks rst release in 14 years.
To date the nucleus of the Buzzcocks has always remained as Shelley and Diggle. During April 2006, Phil Barker left and was replaced by Danny Farrant. And in April 2008, Tony Barber left and was replaced by Chris Remmington.
During January 2009 the Buzzcocks embarked on a UK, European and American tour which they titled the ‘Another Bites Tour’ where they played their first two albums in full as well as completing the gig with an encore of their other hit singles. Support came from another 70s punk band the Lurkers’ and the tour called in at the Leamington Assembly.
Another out of the blue moment happened during November 2011 when a couple of shows featuring Howard Devoto, John Maher, and Steve Garvey were announced. Both the reunited line-up, plus the current line-up took to the stage for two very special shows held at the Manchester Apollo and the Brixton Academy.
The Buzzcocks have an incredible legacy and over the years many bands have cited the band as a major influence. And many, I think, do indeed owe this unique group a debt of gratitude. I am sure that the Godiva Festival will remember them for a time and will be left with some nostalgia for an age yet to come.
Penetration who supported the Buzzcocks at Tiffanys in Coventry 1978
Neil O’Connor’s The Flys who supported the Buzzcocks at Mr Georges and subsequently toured with them.
Neil was Hazel’s older brother for those who may not know.
Pete Clemons has posed a question for his latest article for the Coventry Telegraph. “Did Nick Drake play a gig in Coventry?”. There are things that hang on that but Pete will explain in the article.
Did city gig make Nick Drake stage shy?
by Pete Clemons
A MUSICAL question I have had, for a while now, and tried to find a definitive answer to, is one surrounding Nick Drake. It is whether or not he ever played a gig in Coventry, which would solve a riddle about one of my all time favourite ever singer songwriters.
Nick Drake was born in June 1948 and died on November 25, 1974. He grew up in Tanworth in Arden, Warwickshire, was educated at Cambridge University where he was an accomplished sprinter (I believe he still holds the university record for the 100-yard dash) and it was there where he discovered the English folk scene.
His love of folk music led to him signing to Island records in 1969 where he recorded three almost perfect albums. Sadly the wider audience at that time, and for whatever reason, failed to notice Nick and his albums barely sold 5,000 copies each after their release.
No footage, as far as I know, exists of Nick and relatively few photographs were taken or interviews conducted. ‘is lack of all round success led, in turn, to bouts of depression and insomnia that in the end had a major bearing on him losing his life at such a young age.
Since his death, and in particular from the beginning of the 1990s, Nick’s popularity increased dramatically. It is said that his music has been an influence on such luminaries as Paul Weller, Pete Buck of REM and Robert Smith of the Cure. And those influences spread to the artists’ extensive individual fan bases, and beyond, and suddenly it seemed the true genius of Nick Drake had begun to be realised. As a result several posthumous albums and compilations have been released along with various books and articles.
Apart from busking around France and parts of the UK in his early days Nick Drake only ever played a handful of official live performances. Depending on what website or list you look at the total number of recorded events Nick Drake participated at has never gone beyond 20 or so gig dates. And among those confirmed, no date has ever been given for a gig in Coventry.
The websites containing his gigging activity show that he once played a gig in Smethwick. The exact date is unknown but indications show that it was sometime during autumn 1969 at a venue for the Guest, Keen and Nettlefolds works social club. Guest, Keen and Nettlefolds were more commonly known as GKN a company who, at that time, produced cast iron products.
On that particular evening in question Nick performed to an inattentive crowd between a works dinner and a disco that was scheduled for later in the evening. One of Nick’s closest friends was singer songwriter John Martyn. So close were they that John had written one of his most famous songs, ‘Solid Air’,’ especially about Nick. ‘I know I love you, and I can be your friend, I can follow you anywhere’ is a line from that particular song.
John, it seems, remembered the works dinner event well. And some years later, during an interview on Radio 1, John reflected on that particular experience: “It really destroyed him’ and that he thought that they (the audience) would have rather listened to the Troggs. So I think that was a major blow to his confidence. I remember him being defencive about it for days and days.”
I then read a Nick Drake biography by the well respected author Patrick Humphries. I was completely astonished to read on pages 124 and 125 of the paperback that Patrick had written the following passages which related to gigs played by Nick during late 1969. It was based on more recollections made by John Martyn: “He primarily played for his own amusement. One of the things that contributed to his utter detestation of the whole thing was that he was once booked to play at a Coventry Apprentices Christmas Ball. In those days, Purple Haze was ‘in’, and there he was singing ‘Fruit Tree’ and all those gentle breezy little ballads and I can just imagine them swigging back Carlsberg Special and giving him an awful time. I know that gig lived in his mind and he’d talk about it quite regularly.”
” Another source, an unconfirmed eye witness account of the gig, states that: “Nick came on at about 9pm. They were still clearing away the tables and chairs from an earlier dinner. Without a word he proceeded to play and an audience of 10 to 15 people who had stayed and gathered in front of the stage. the rest of the people in the hall continued to arrange chairs, clean up after the meal or just chat. After five or six numbers he just packed his guitar in its case and walked of stage.”
Facts and other things can easily be forgotten over the passage of time. But John Martyn would surely have known if he had been in Coventry or not. Particularly as John’s partner at that time was Beverley Kutner who happened to live in Coventry. John Martyn knew Coventry fairly well at that time.
Another factor is that Patrick Humphries is a great writer and I just could not imagine him publishing something without the full facts being fully researched and checked.
Seeing those passages in Patrick’s book was all I needed to start my search for evidence and after some considerable time I came across an advert for an Alvis Apprentice Christmas Dance at their Sports and Social Club on the Holyhead Road (nowadays the home of the Alvis retail park). It was held on Friday December 19, 1969.
Admittedly, Nick Drake’s name was not on the advert. the band shown on the advert, as scheduled to appear that night, was called ”The Big Idea.’ .’ But everything else about the whole event seems to fit. It would certainly not be the first time a band or artist had played at an event and whose name had failed to have been included on the advertising flyers.
One of the many things Nettlefolds (GKN) were famous for was the manufacturing of iron castings for the automobile industry. Alvis were of course a major player in the manufacture of cars and heavy artillery for the armed services.
So the links between the two companies were denitely there. So much so in fact that during 1998 Alvis plc acquired the armoured vehicle business of GKN plc. A long shot I guess, but, reading this article may just jog the memory of someone who attended the Alvis apprentices dinner and dance.
I could, of course, be way o| beam with my thoughts, however, I just think that John Martyn’s memories, along with his knowledge of Coventry at that time, are just too strong to ignore. I really do think my suspicions hold some water.
Having said that, and even though I really do think it happened, I do so with mixed feelings. On one hand I am convinced in my mind that Nick Drake did perform in Coventry during the winter of 1969. Yet, I get a sense of guilt that Coventry could possibly have been the city and provided the audience that destroyed him as a live performer.
An unfinished song by Nick Drake and Beverley Martyn finished recently by Beverley on her new album.
Pete Clemons reports on the memorial service for Rod Felton. Attended by the who’s who list of Coventry musicians including Pauline Black of Selecter and folk star Derek Brimstone. True to form, Rod was still giving them the run around after his demise! From the Coventry Telegraph.
Farewell to Folk Star Rod.
Pete Clemons
SO, as widely reported by way of many tributes and remembrances in the press and other media, the world lost Coventry singer songwriter Rod Felton on Wednesday, March 26. Born on August 28, 1942 Rod was just 71. (Ed Note – think the birthdate was April 24th 1942 according to the funeral notices)
A bout of chemotherapy for throat cancer had left him very weak and he finally succumbed to bronchial pneumonia and emphysema.
But, in keeping with Rod’s ‘doing it his way‘ approach to life, even the lead-up to his funeral was not as straightforward as these things would normally be. And those who were close to him had to admit that, giving his family a final runabout, would have been in keeping with Rod’s sense of humour. You see, and not for the first time, Rod went missing for a while.
After his passing, Rod, was transferred to hospital. At some point inbetween the incident, documents were accidentally mislaid and this resulted in Rod being listed under the name of Donald Felton (part real name and part stage name) instead of his real name of Donald Rodney Feltham. As a consequence of the coroner not receiving any information Rod became ‘lost’ for a while. This resulted in Rod’s brother-in-law Alan and niece Kelly, a nurse at University Hospital, touring its catacombs and having to make a visual search until he was found. Apparently a joyous ‘there he is‘ went up when he was discovered.
A little later, and after Rod’s whereabouts had been discovered, he was visited by his sisters Gill and Jan who remarked at how peaceful he looked. They likened him to ‘lying in state‘ blissfully unaware of the events that had been going on around him.
Rod lost his mother May during November 2013 and had not been very well at all during that period. However, a few weeks before his passing, he seemed to be rallying around. He even phoned his sister Jan to announce that his voice had returned and to prove it he began singing down the phone to her. My darling girl, he said, the old vocals are getting stronger and the calluses on my fingers are returning.
The night before his funeral there had been a gathering and a celebration of Rod’s life at the Royal Oak in Earlsdon. As Rod once played a large bass drum for them, apparently never missing a beat, the celebration included Morris men dancing and singing out in Earlsdon High Street.
There was even a re-creation of a team photograph taken during Rod’s own Rod in younger Morris men days. His friends took up the same positions that they had stood many years ago but Rod’s sister Jan took front row centre position behind the bass drum. Poignantly, this had been the very position that Rod had taken up on the original photograph.
The Morris Men will be having a ceremony in October where, apparently, they nail a plaque to a tree in his honour. is particular honour dance will take place on Hearsall Common and is normally reserved for respected members of the group only.
The thing that passed through my mind, that particular evening, was when it suddenly occurred to me as to how late the daylight had remained. I just happened to think that, for April, it seemed unusual for the darkness not to draw in until at least 8.50pm. Just me I guess.
Rod’s funeral took place on April 29 at Canley Crematorium. I remember that that particular Tuesday morning had started off rather damp and misty. There was even a drop of rain. But by midday glorious sunshine had broken through.
The chapel was packed with Rod’s friends and family. Not only were people stood in the aisles and at the rear of the room but there were masses of folk outside who could not get in. Despite the high turnout it all remained very orderly and dignified. Even the minister who conducted the service commented on the fact that in 20 years service at Canley he had never witnessed a crowd like it.
The theme of celebration, that was prevalent the previous evening, continued throughout the proceedings. One of Rod’s songs ‘And I Love You‘ heralded the mourners into the chapel and another, and possibly the one he will be most remembered for, ‘Curly’, was heard during the service.
Now I will admit that I do not know who ‘Curly’ is. Maybe one day I will find out. But I had it on good authority that ‘Curly’ was present on the day. The ever traditional ‘Morning Has Broken’ was also heard. The readings included a eulogy, a poem written and read by Rod’s sister Jan, and a bible reading from Ecclesiastes 3:1-8 ‘To everything there is a season, and a time to every purpose under the heaven’ which was adapted into a song by Pete Seeger and made infamous by the Byrds.
At times, throughout the service, spontaneous accompaniment could be heard from the mourners which made for a most wonderful and memorable event. Rod would have absolutely loved it. And with donations being requested, a considerable amount of money was raised for Rod’s favourite charity e British Red Cross and Cancer Research.
Even after the formalities it was all back to Whitefriars Olde Ale House on Gosford Street where acquaintances were remade, stories of days gone by swapped and memories revived. Apparently by the end of the afternoon, due to the size of the crowd who had attended, the pub’s supplies of alcoholic beverages had began to run into short supply.
Rod’s ashes will now be taken to Scotland where they will be released during a Spiritual Native American Ceremony. Originating from the head of the ‘Bear Tribe medicine clan’, Chief Two Trees, the ceremony releases you to the four elements of earth, wind, re and water. is form of spirituality was something Rod very much believed in.
Everyone I have spoken with recently seemed to agree that, as a lyricist and songwriter Rod could have ‘made it.’ .’ Yet the thought of ‘making it’ was not, I think, what Rod would have wanted. There would have been demands and expectations that he would not have enjoyed.
A legacy website has been talked about, as has a ‘Concert for Rod’ which is due to happen during August. e intention being that a website will contain his music, photographs and cuttings. But of course this will take time and can only be achieved when Rod’s possesions have been sorted through. And as Rod was in the process of moving house then his bits and pieces are currently in various locations.
Many people crossed paths with Rod during the various stages of his life. He seemed to have been known by a wide and varied range of folk. And he did have some very good and close friends who knew him better than most. But I am not sure if anyone actually ever knew the real Rod Felton. He was indeed a unique and special character.
Pete Clemons with yet another article in the Coventry Telegraph, this time looking at the former Coventry Bier Keller turned New Wave cellar bar pub / music venue The Dog and Trumpet.
There’s life in the old Dog, yet.
by Pete Clemons
IT was great news when it was announced early last year that the Dog and Trumpet in Hertford Street, or the Dog as it now known, seems to be getting a new lease of life by way of regular quality gigs and music nights. This unique pub and music venue was a very popular place to go up until twenty years ago.
When I first heard about this news, and the same most likely happened to many other readers, the memories came flooding back of many tremendous evenings in this below ground level bar. Not strictly unique though, I guess, as the Lady Godiva had a downstairs below ground bar area although, as I remember, not as spacious as The Dog.
There was a time there were several pubs existing within Broadgate, the Precinct, and the pedestrianised city centre. Some that immediately spring to mind are the City Arms, The Climax, The Market Tavern, The Thistle, The Black Eagle and The Penny Black. I am sure that there may have been a few more as well but they are now long since gone.
The Bier Keller, as it was, opened in 1972 and carried that name for five years. Initially it was, as the name of the place suggests, German themed. Accordion playing musicians and oom-pah bands dressed in lederhosen would regularly entertain the punters as they drank the German beer that was on offer. The venue also hosted traditional jazz nights.
That all changed in 1977 when the pub became known as The Dog and Trumpet and a more varied live music scene began to take shape at the venue. For those without such long memories: The Dog and Trumpet was named as such because, directly above it, was situated the HMV shop that existed there at the time prior to it moving further down Hertford Street. Of course HMV has since moved on again to its current location in the Precinct.
With the new name came a new genre of live music and, initially, it was folk music that dominated the venue. With punk rock taking hold of the youth at the time this music style seemed to be the polar opposite as to what was happening up and down the country. However, undeterred, regular visitors included the likes of Black Parrott Seaside, Ninepenny Marl and local favourites The Armpit Jug Band.
The end of the 1970s saw the emphasis began to change with regard to live music. The folk bands were still appearing but now also were local bands such as The X-Certs and The Incredible Kidda Band. And this marked the beginning of a glorious period for the venue. For the next fifteen years the venue went on to stage an abundance of top quality gigs The Dog and Trumpet even played host to The Specials and King in their formative days and, under the leadership of Ken Brown, the venue became very much the place to be during Coventry’s 1980s music boom as he introduced DJs as well as keeping the live music.
The early 1980s saw popular local bands such as The Ramrods and The Vetoes perform regularly. 1983 then saw the beginning of a club night that still exists today. The Pink Umbrellas, who themselves would play the venue regularly, began a night called The Groovy Garden. From memory, The Groovy Garden began its life on Sundays at the D+T. The club night later moved to the Tic Toc Club during the early 1990s. And until very recently I understand that a Groovy Garden night continued at the Kasbah.
Christmas Eves and New Years Eves were special, in particular New Years Eve, as the crowds flocked out of the Dog & Trumpet as well as other bars, and made their way to Broadgate. The revellers around, and on top of, Lady Godiva’s statue must have numbered thousands at times.
The mid 1980s saw the Dog and Trumpet continue with its incredible success story as visitors to Coventry included the calibre of The Wilco Johnson Band and The Photos but there was still room for the finest of local bands like The Furious Apples, Major 5, Crystal Amees who all appeared at the venue.
1985 even saw the pub selected as a venue for the Coventry Festival. This festival, held for several years, was an early pre-cursor to the ever popular Godiva Festival as we know it today.
As a new decade began brought upon us the 1990s the D+T played host to regular gigs by the ever popular rock ‘n’ roll revival outfit The Eager Beavers along with their continuing and ongoing policy to support the then current music scene by way of providing a decent stage for the fresh wave of local bands at that time like Kick FC and Eusebio.
And after two successful years in Leamington the early 1990s also saw the well publicised relocation of the Worldbeat Club from Hinton’s Wine Bar to the D+T. The Worldbeat Club, which was quite cutting edge back then, had a fortnightly residency and for a while alternative sounds from around the world could be heard at the venue on Monday evenings.
The Dog has now been refurbished and is up and running again. I am sure that the venue continues to remain in the hearts and minds of many who grew up during the period that encompassed its glory days. And, given the right support, I am also sure that those days will return.
The music being put on at the venue nowadays reflects the current scene with a mix of acoustic acts in midweek and DJs dominating the weekends. But it is fair to say that the place covers most genres and will appeal to many. After many years in the doldrums the city centre deserves a new lease of life.
Is it purely coincidence that since the city centre lost the abundance of pubs and music venues it once boasted the shopping area has also taken a downturn in fortunes? Who knows. But you only need to look at other towns and cities in the region where pubs, theatres and shops mix well together and you get an idea of what might have been. Either way, let’s hope that this is the start of things finally being turned around.
Thankfully the revival of The Dog, along with other established pub music venues such as The Shakespeare in Spon Street and The Town Crier, things will hopefully begin to pick things up again and breathe new life into the city centre again.
Some of the bands that played the Dog and Trumpet
Machine / Hot Snacks – Coventry Ska band.
21 Guns
EMF
This is a promo for the Leeds Bier Keller to give a flavour of the former Coventry one before the venue changed.
Bad Manners Roger Lomas tells us ” Bad Manners played at the Dog & Trumpet to absolutely jam packed audiences on two occasions in 1980. Both times, they were ‘warm up’ gigs for their first two album promotional tours. Both of Bad Manners first two albums were recorded at Horizon Studios in Coventry. I produced all four of Bad Manners ‘hit’ albums. The first two (‘Ska’n’B’ & ‘Loonee Tunes’) at Horizon Studios in Coventry, and the second two (‘Gosh It’s….’ and ‘Forging Ahead’) at Rockfield Studios in Monmouth”
Pete Clemons takes a look at an old but new Roger Lomas album with material recorded with another Ex member of The Sorrows, Pip Whitcher. Rog and Pip‘s new album on Rise Above Records, run by Lee Dorian is the subject of Pete’s latest article for the Coventry Telegraph.
Rog & Pip Rarities Get New Release.
by Pete Clemons
RISE Above Records is a London based independent record label owned by Coventry born Lee Dorrian. Lee, of course, is probably best known for his involvement in bands such as Napalm Death and, in more recent years, Cathedral. The record label itself is named after a Napalm Death song, titled ‘Rise Above’ which came from their 1988 EP release ‘Mentally Murdered’. Lee has been running Rise Above since 1988. The label itself was created, initially, as an outlet in order to sell releases by his band Napalm Death. It was a mail order business which operated out of Hillfield’s House. And, for all correspondence, he would use a PO Box number in Bishop Street sorting office.
Over time the label grew and it began to release the music of groups that were similar to that of his own band. And over time Rise Above Records has built up a considerable back catalogue. A few years ago Rise Above expanded by announcing a sub label called Rise Above Relics which would cater for rare and vintage 1960s and 1970s releases. Several albums have so far been released on the ‘Relics’ label.
Rise Above Relics has, just recently, announced a series of new releases for 2014 and among them is an amazing collection of never before, and rarely heard, material by a Coventry partnership who created music together under the name of Rog and Pip.
For music lovers in Coventry, Warwickshire and beyond Rog and Pip (aka Roger Lomas and Philip ‘Pip’ Whitcher) should need little or no introduction. Both had been members of legendary 1960s Coventry band The Sorrows and, clearly, the pair was more than just band mates together. They had actually struck up a strong creative relationship during that period when they were together in The Sorrows.
Sometime after returning home, and settling down again, from The Sorrows infamous tours of Italy, during the late 1960s, Rog and Pip realised those dreams and ideas by creating a very productive song writing team. And over the next few years Rog and Pip recorded a treasure trove of songs.
Their partnership lasting well into the 1970s and during that period they apparently recorded a vast amount of material, mainly, at the state of the art AIR studios in London. Fortunately, Roger made sure he kept hold of copies of tapes of everything the pair recorded together. His instincts told him that, should they not be used, the contents of those tapes may well have been lost forever.
Some of the tunes they recorded were formally released but many never saw the day of light. And, now for the first time, this Rise Above Relics release titled ‘Our Revolution’ pulls together a dozen of those songs of which some are being aired for the very first time.
As the CD title suggests the songs themselves, all involve Roger Lomas and Pip Whitcher and of those which were formally released, had been, under various different group names. So the CD includes releases by Rog & Pip from the early 1970s along with other bands they were both involved with such as Renegade and The Zips.
The band Renegade came about after Roger had spent several months down in London doing session work for Southern Music. He made many contacts while in the capital including the estranged wife of Danny Williams. Her name was Virginia Williams and she recorded and released one of Roger’s songs, ‘Loving and Forgiving.’ .’ Rather than the song being released using her own name the single came out under the moniker of Renegade and was issued on the Parlophone label during 1973.
When he returned to Coventry Roger set about the creation of Renegade the band. For this he returned to his partnership with Pip Whitcher. Rog and Pip each played guitar and, together, they added the talents of bass player Mick Eastbury and Roger’s brother Nigel Lomas on the drum seat. A second Renegade single ‘A Little Rock ‘n’ Roll’ complete with B side ‘My Revolution’ followed in 1974 and this was released on the Dawn label.
The Zips were a three-piece band who featured Rog and Pip and also ex-Indian Summer drummer Paul Hooper. The Zips were signed to Mickie Most’s Rak Record label. For a short while, during studio work only, the band also included bass player Tom Evans from Badfinger. This band existed, approximately, between 1974 and 1976.
The Zips recorded two singles for Rak Records. One was a cover of The Everly Brothers ‘Bye Bye Love’ and the other covered The Beach Boys ‘You’re So Good To Me.’ .’ In both cases Mickie Most was at the helm for production duties. Mickie Most, you may remember, produced a host of bands and artists from the 1960s and 70s and was also on the judging panel for the ‘New Faces’ talent show.
Although the A sides of those RAK releases are not included on the CD, it is the B sides that do feature on ‘Our Revolution’. Despite both singles getting plenty of airplay at the time they failed to dent the charts and so Zips disbanded, which was a shame, as the singles were both really good records.
Listening to the songs today after so many years Roger says ‘these tracks were long forgotten about and the fond memories I had of recording the tracks, came flooding back. It was a very nostalgic and enjoyable experience.’.
Pip continues, ‘When we first played the tapes again in Roger’s house, for me it was quite an emotional experience. I was amazed how good some of the stuff was. Some of the tracks I don’t even remember recording but it was wonderful hearing them again. I don’t think either Rog or I realised just how good we were.’ It is important to note that the sounds you will hear on the CD are not re-recordings. They are the actual songs created at that time maintaining a raw, gritty and slightly edgy tone. This is the genuine article and it is a tremendous slab of history.
Many of the tapes were not in the best of condition as they are over 40 years old. So Roger had to bake the tapes and mastered them himself. ‘Some of the tracks turned out better than others, but considering that they are the only copies in existence, we had to accept that,’ said Roger.
Roger’s response to a question on would he and Pip ever perform or make more music again was ‘As much as I would love to be able to turn back the clock I can’t see it happening unfortunately. We had a phenomenal energy in our music. Could we achieve that again? Could we take the risk, and maybe fail? Better to let bygones be bygones. However, never say never, as they say.’ To the same question Pip says, ‘Oh if only. I loved all the stuff I did with Roger as Renegade, Zips and Rog & Pip. Musically, it was the best time in my life but unfortunately the years have moved on and, as Rog says, could we ever have the power and energy that we had then? It is great to listen to it now and wonderful to think that I was part of it. But in saying that I think the chemistry we had between us will always be there and I suppose stranger things have happened.’ So the full track listing of ‘Our Revolution, as arranged by Lee Dorrian, is as follows: 1. Why Won’t You Do What I Want, 2. My Revolution, 3. Rock With Me, 4. Evil Hearted Woman, 5. Gold, 6. Doin Alright Tonight, 7. A Little Rock N Roll, 8. Hot Rodder, 9. Its A Lonely World, 10. Why Do You Treat Me Like That, 11. From a Window, 12. War Lord.
What ‘Our Revolution’ does is to give you a glimpse into the world of Rog and Pip’s activities during the 1970s and, this release will be sure to be of interest to those keen on the Coventry music scene and vintage rock music in general.
Pete Clemons visitation to the Coventry music scene once again – this time with a Coventry Telegraph article on Tony Martin’sEcho Four and The Pickwicks – both managed by Larry Page c 1963 / 64.
There’s also a an article by Pete Chambers on this post and a link to Leah D’ Archy’s article on Pickwick musician John Miles.
Pickwicks were frock and roll.
By Pete Clemons
ONE of the earliest of the Coventry beat bands was Tony Martin and the Echo Four. They formed during the early part of 1963 and the original line-up doing the circuit back then was Tony Lucas (AKA Tony Martin) on vocals, Mac Watts lead guitar, Alan Gee rhythm guitar, Rod Simpson bass guitar and Malcolm Jenkins on drums.
They were a relatively short-lived band but during 1963 Tony Martin and the Echo Four played well over 100 gigs in our region alone. The earliest dates I can find being at The Binley Oak in Paynes Lane which was one of the earliest venues to regularly put on ‘rock and twist’ nights. The band soon found their popularity growing and quickly got themselves on the circuit that included venues such as The Baginton Oak, The Craftsman, The Heath Hotel, Coventry Flying Club and many others.
Tony Martin and the Echo Four were highly rated for their musical ability and, after around a year or so, came to the attention of Larry Page who, at that time, was in control of entertainment at The Orchid Ballroom. I am guessing though that he had his own ideas about them and in what direction they should take.
One mystery that I do have concerns the discovery of a few dates I have made by a spin-off band called The Bandits who apparently featured Tony Martin. These gigs occurred toward the end of 1963 at the Flying Club and The Parkstone Club. Apart from those dates I know very little about this group and I am curious to know a bit more about The Bandits along with the other musicians who made up this group.
By March 1964 and, under his guidance, Larry Page reshaped The Echo Four and re-launched them as The Pickwicks. Firstly Mac Watts, who left the band, had been replaced by John Miles (See Leah D’Archy’s enlightening article on her grandfather John Miles HERE and Tony (Martin) Lucas took on bass guitar duties as well as doubling up on vocals because Rod Simpson had also left the band.
The overhaul was completed with a final line-up of John Miles (vocals and lead guitar), Alan Gee (rhythm guitar), Tony Martin (bass) and Malcolm Jenkins (drums).
The Pickwicks, through Larry Page, obtained a residency at The Orchid Ballroom and they also gained a recording contract with Decca Records. Their first single was released during May 1964. It was a “beat” version of a song made some forty years previous which they called ‘Apple Blossom Time.’.
* The original, ‘(I’ll Be With You) In Apple Blossom Tim’,’ was a popular song in its day written by Albert Von Tilzer and lyricist Neville Fleeson, and first copyrighted in 1920. The song has been recorded by numerous artists including Artie Shaw, Nat King Cole, Jo Stafford, Anne Shelton and many others.
In keeping with the Charles Dick-k ens theme the band had a photo shoot where they were dressed in Dickensian attire complete with top hats. But with dry cleaning and the pressing of this gear, in particular the frilled shirts, taking up to a week and a half it proved to be totally impractical.
Johnny Miles sang lead vocal on The Pickwicks version of ‘Apple Blossom Time’ and it and was given a B-side titled ‘I Don’t Wanna Tell You Again’. The matrix number for the single was Decca 1964 – F11901 but, despite the publicity, it failed to hit the charts.
So by the time the second single, ‘Your Old Enough’,’ was released the band had reverted back to a more orthodox stage dress. On its release it was described in the local press as ‘a throbbing rhythm and blues sound led by vocalist John Miles who also comes over well on the flipside ‘Hello Lady’.
Incidentally ‘Your Old Enough’,’ Decca 1964 – F11957, was released during August ’64 and was specially written for the band by songwriter Michael Julian who had also written Cliff Richard’s hit ‘Constantly’.
The Pickwicks, although playing a lot of dates in and around Coventry, seemed to spend a lot of their time on the road playing many dates around the country. There are plenty of tales to tell that involved incidents with their van overheating, breaking down on the M1 and such like.
The band’s third and final single was released in January 1965. This one was titled ‘Little by Little’ and was released on the Warner Brothers label. Its matrix number was WB151 and produced by Larry Page himself. Its B-side ‘I Took My Baby Home’ is an early Ray Davies song and the original version can be found on the B-side of The Kinks’ first single ‘Long Tall Sally’. It was widely reported that future Led Zeppelin guitarist, Jimmy Page, played lead guitar on the single but some reports I have read deny it.
The Pickwicks eventually split up in March 1965. Maybe The Kinks and his latest find, The Troggs, were now uppermost in manager Larry Page’s thoughts. But it seems that the group had not been getting the amount of work they expected.
Tony Martin, as well as working as a driver, went on to join a band called The Clouds alongside both Roger and Nigel Lomas. Alan Gee worked for Alfred Herberts. John Miles and drummer Malcolm Jenkins had hoped to form another group. I am not sure if this ever happened but Malcolm did have continued success when he resurfaced with The Ray King Soul Band appearing on their Live at the Playboy Club album.
The story of The Pickwicks did not end there though. Even after the band called it a day their legacy continued for a little while longer… well at least the band’s name did.
It seems that after Coventry’s Pickwicks disbanded a group of musicians based up in Manchester bought the rights to the band’s name. Back in the 1960s you could easily register a name. The Manchester version of the band toured Germany and other parts of Europe. One of those band members would go on to become an agent and promoter.
……………. Leah D’Archy (the granddaughter of John Miles) has written a great article on John Miles and The Pickwicks. John Miles sang on The Kinks single You Really Got me! You can read Leah’s article here
Cutting via Broadgate Gnome A to Z
The Pickwicks (R&B/Beat group) made three singles under Larry Page in 1964 –
Apple Blossom Time – 1964 b/w I Don’t Wanna Tell You (Decca 1964 – F11901)
You’re Old Enough b/w Hello Lady (Decca 1964 – F11957)
Little by Little b/w I Took my Baby Home (Warner Bros. 1965 – WB151)
The Pickwicks made three singles under Larry Page in 1964
This one, a B side from c1965, was written by Ray Davies of the Kinks with – allegedly Jimmy Page on guitar.
From Broadgate Gnome 2003 “The Pickwicks line up consisted of – John Miles (lead guitar), Alan Gee (rhythm guitar), Tony Martin (bass), Malcolm Jenkins (drums).
Started life as Tony Martin And The Echo Four, before Larry Page signed them in March 1964 and changed
their name. Initially their stage gear was top hats and tails a’ la ‘Pickwick Papers’ , but when they couldn’t find anyone to clean them, they quickly gave the image up!
They cut 3 fine singles of tough Beat/R&B, with Jimmy Page playing lead guitar on at least the first 2 of them. ‘Apple Blossom Time’ is a cover of the old standard with a tough backing but fairly weak vocals, whilst the B-side has a great Page guitar solo. The A-side of the second single was a ballad, but the B-side was described as ‘…throbbing R&B…’ ‘I Took My Baby Home’ is an early Ray Davies song, originally released as the B-side of ‘Long Tall Sally’, The Kinks first single.
They eventually split up in April 1965 with drummer Jenkins going on to join The Ray King Soul Pact / Band.”
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NOTE – ” On Youtube Leah D’Archy “Singles: Tony Martin and the Echo Four did NOT originate from the Pickwicks … The Pickwicks had John Miles and he wasn’t it the Echo Four … he told me that himself … Johnny miles is my grandad”
From Pete Chambers – Backbeat – Coventry Telegraph
” DID fabulous Coventry beat group The Pickwicks lose out on chart success because their B-sides were better than their A sides?“
TONY MARTIN and His Echo Four had been playing the local and national circuits, including a prime show at Coventry Theatre supporting Brian Poole and The Tremeloes. Local impresario Larry Page spotted them and so began the image building.
Out went the black suits and ties. In came the “Mr Pickwick” frock coats, breeches, top hats and even stick-on whiskers! It was March 1964 and The Pickwicks had completed the transformation with the line-up of John Miles (vocals and lead guitar), Alan Gee (rhythm guitar), Tony Martin (bass) and Malcolm Jenkins (drums).
With a residency at the city’s Orchid Ballroom and a diary full of bookings, Larry Page secured a Decca recording contract for his boys.
Johnny Miles insisted their first single was a remake of the old classic Apple Blossom Time (the 1920s Fleeson &
Tilzer song that had been recorded by The Andrews Sisters among others).
But this was no ballad, instead it was given the big beat treatment.
“I was always influenced by the drums and bass sound that Johnny Kidd and the Pirates achieved,” reveals John Miles.
“Our drummer Malc was a big guy so he could hit the skins with a lot of power.”
Indeed such was the style of Malcolm Jenkins that when John heard a band long after The Pickwick days playing live, without seeing their drummer he recognised Malc just by his drumming style.
Apple Blossom Time was completed in just three takes and I Don’t Want to Tell You Again was picked for the B-side.
Apple Blossom was a good song, but the B-side was a great song – a product of that time and akin to the multi-part harmonies The Beatles were doing on the likes of She Loves You and I Want to Hold Your Hand.
Johnny’s fabulous pop-beat voice was more than good enough to be heard on the charts, but Apple Blossom Time was the chosen single and I Don’t Want to Tell You Again never got a look-in.
Towards the end of 1964 the Pickwick Papers image had been dropped, mainly due to the fact that they couldn’t get the costumes cleaned quickly enough.
John says: “It was so hard to find a cleaner who knew how to clean and press all the ruffs and frills, and when we eventually did find one, it took about a week to get them back, so it was easier to just give them up.”
But The Pickwicks were more than just an image. Anyone who has ever witnessed them will know what a top-flight
freakbeat unit they were.
This was much in evidence on their second single You’re Old Enough with Hello Lady on the flip.
On hearing these two tracks you start looking yet again for which is the A-side and which the B.
You’re Old Enough is a good enough song, but the B-side – that’s what The Pickwicks were all about.
Hello Lady (recorded in just one take) positively rocks along in a 12- bar boogie style and John’s lead vocals are spot on.
I talked to him about the way the single was released, saying I couldn’t understand why Hello Lady was consigned to a B-side. I felt that had it been an A-side then Coventry may well have had another hit band.
“You are right of course”, explains John. “We pleaded with the management at Decca to flip the whole thing, but they were adamant and look what happened.”
What happened was, like its predecessor, it failed to chart.
Despite the lack of hit-parade success, the band continued to play up and down the country. One such concert at
Bradford’s Fat Black Pussycat Club was more memorable than most.
John says: “We were on stage at this smallish club, when suddenly Tony Martin started going wild. He was leaping about with his bass still playing. I was knocked out. I thought Tony’s well into it tonight, this was pre- Hendrix but he was doing all his kind of stuff, going mental.
“It turned out that he had leant against some heating pipes at the back of the stage and burnt the skin off his neck, but like a good trooper he had continued to play.”
In 1965 they switched labels to Warner Brothers releasing the now highly collectable single Little by Little with I Took my Baby Home (a Ray Davies/Kinks song) on the B-side. Yet again, in my opinion, a mistake.
Both songs were good but I Took my Baby Home was by far the catchier of the two.
As I said, this single is highly collectable, because all over the internet it is claimed a certain Jimmy Page played guitar on the track.
Although a great session man, the future axe-person for Led Zeppelin never played on this or any other Pickwicks
record, it was a guy called Harry Friar.
So that’s just lopped pounds 50 off my copy of Little by Little!
Before 1966 The Pickwicks had split up, with Malcolm Jenkins joining The Ray King Band and Tony Martin joining Roger Lomas in The Clouds. John went on to work with The Kinks and with his idol Johnny Kidd: “He was a lovely man, I never heard him criticise anyone. Such a talent.”
And then in 1988, while visiting a relation in Myton Hospice, John saw a face he barely recognised. It was Tony Martin.
“We sat and talked about the old days, it was so good to see him again. I went back a few days later with Alan Gee. We took our guitars along and sang Apple Blossom Time with Tony one last time, it was magical but so very sad.
“A month later Tony was gone, but he will never be forgotten.”
THE PICKWICKS TRIVIA
HELLO LADY was written by former Harley Street specialist Michael Julien in just five minutes. He had previously
written Kiss Me, Honey Honey, Kiss Me for Shirley Bassey and Constantly for Cliff Richard.
LARRY PAGE got The Pickwicks a prime place on the bill at the Royal Albert Hall. Others playing that night included The Applejacks and Adam Faith.
Little by Little was also released on Warner Brothers in America.
Malcolm Jenkins started his drumming career with The Coventry School of Drums. ”
The ever prolific Pete Clemons with his latest for the Coventry Telegraph. The background to Lieutenant Pigeon and Mouldy Old Dough – which wasn’t their only single of course.
How Mouldy Old Dough was big hit.
Pete Clemons
ONE of the biggest sellers of any hit record to have been written and produced in Coventry was to all intents and purposes an instrumental. The main theme of the song was played mainly on piano, in a honky tonk bar room style, although the piano was accompanied by drum and tin whistle. The song’s title derived from an adaptation of a 1920s jazz phrase, ‘Vo-De-O-Do’.
There were very few words involved in the song. In fact the only lyric used is the song title which is repeated from time to time in a gruff voice. Actually, because I enjoy hearing this jaunty tune, I am being rather kind to it. The Guardian newspaper once described the vocal as “unspeakable” and continued “it sounds like he’s just emerged from a skip, clutching the titular dough with hideous relish.” The single itself was also described in the Guardian article as both “awesome and horrible” in the same paragraph.
The tune in question is also one of the very few number one records to feature a mother and her son. In fact the only other parent and child combinations I can think of off the top of my head are Frank and Nancy Sinatra, who had a 1967 hit with ‘Somethin’ Stupid’ and Kelly and Ozzie Osbourne who appeared together on ‘Changes.’.
I am sure most of you will have, by now, realised which song I refer to. And when you start to scratch the surface and delve deeper into history of Lieutenant Pigeon’s iconic tune ‘Mouldy Old Dough’ (Decca 13278); released in February 1972, you will soon discover that it has had quite a life throughout the years. Some of it, as I also discovered, was slightly controversial.
For those who need an introduction to Lieutenant Pigeon they were Robert Woodward (piano, guitar and tin whistle), Nigel Fletcher (drums), Steve Johnson (bass guitar and tin whistle) and Hilda Woodward who was in her late 50s at this time. Hilda, apart from being Rob’s mother and a member of Lieutenant Pigeon, was also a piano teacher.
During its lifetime ‘Mouldy Old Dough’ has been used as the British Banger Car racing theme song and was played on the rolling lap of many banger and stock car meetings. It has been played over the tannoy at the beginning of Oldham Athletic Football Club to herald in the teams. It has been heard on a BBC TV nature programme in which Kate Humble was presenting a show about pigeon breeding. And maybe most surprisingly Jarvis Cocker, leader of the band Pulp, chose it as one of his songs when he was featured on BBC Radio 4 Desert Island Discs during April 2005.
During an interview with the weekly music paper New Musical Express the band’s drummer Nigel Fletcher explained: “Hilda’s front room in Coventry was the scene of the crime. We didn’t use the best equipment – it was recorded on a domestic machine. We find we get a better sound using the front room.”
When ‘Mouldy Old Dough’ was initially released it did not sell well at all. However, out of the blue, fate crept in. The song had been picked up by a Belgian TV current affairs programme which used it as their theme tune. Additional success in the Belgian charts resulted in the song getting a new lease of life over here in the UK. And to further help its progress BBC Radio 1 DJ Noel Edmonds had picked up on the tune’s novelty factor and he chose to help it along where he could.
From its initial release the single took eight months to reach the top of the UK charts and, at long last, became a hit in the UK. It spent a total of 19 weeks on UK singles chart, and during October 1972 it spent four of those weeks at the number one spot.
In all, ‘Mouldy Old Dough’,’ sold well in excess of 750,000 copies, becoming the second biggest selling UK single of the year, behind ‘The Band of the Royal Scots Dragoon Guards’ bagpipe version of ‘Amazing Grace.’ .’ 1972 certainly was a year for diverse music. ‘Mouldy Old Dough’ also saw its creators, Rob and Nigel, win an Ivor Novello award for song writing.
Because it topped the UK charts, appearances on Top of the Pops beckoned. Graham Gouldman of 10cc fame was once quoted as saying “it was beyond doubt the most singular and bizarre thing I had ever heard on the programme.” The band also performed a home town gig at the Locarno Ballroom during October 1972. There then began a legal battle over who actually played piano on the chart topping single. It was claimed by a third party that he had actually performed on the record. The group maintained that the record had in fact been re-recorded with Rob’s mother Hilda on piano. The whole issue was eventually resolved out of court, after it was agreed that the claimant had indeed played bass piano on a demonstration version of the tune. After two years, and much legal wrangling, a settlement had been worked out and in December 1974 a payment was awarded to the claimant.
The follow-up single to ‘Mouldy Old Dough’ was another largely instrumental track titled ‘Desperate Dan.’ .’ This spent a total of ten weeks on the charts, peaking at number 17 in December 1972. Despite releasing a further dozen or more singles with titles that included ‘And the Fun Goes On’ and ‘Oxford Bags’,’ it was ‘Desperate Dan’ that proved to be their only other British hit. But it was not to be the band’s last ever chart success. Lieutenant Pigeon managed to score a further hit, in the autumn of 1974, when they reached number three in the Australian charts with a cover version of ‘I’ll Take You Home Again, Kathleen’.
Lieutenant Pigeon eventually split up in September 1978 only to reform, in name only, for a lucrative offer to tour Scandinavia during the 1980s. The offer was taken up by bass player Steve Johnson who put together a new band. Despite the fact they played no part in the tour, due to family commitments and alike, both Rob and Nigel gave Steve their blessing.
Hilda Woodward sadly passed away during February 1999 aged 85 but Rob Woodward and Nigel Fletcher still find time to work together. 2001 saw them release an autobiography titled ‘When Show Business is No Business.’ .’ I can’t recommend this book enough. It is an excellent read.
And most recently the pair have combined their musical talents once again. You may have noticed, and understood the significance of, the sky blue ribbons around our city. To support the ‘Tie a Sky Blue Ribbon’ campaign they have released a revamped version of their 1981 single ‘Bobbing Up and Down Like This’ and re-titled it ‘Ribbons Everywhere.’ .’ It is now available for download on itunes.
This band created Coventry’s first No 1 hit in their living room in Stoke. Mouldy Old Dough, was basically an instrumental save for the intermittent refrain of the title. The B-side, “the Villain” is highly recommended as it is very very strange. The follow-up Desperate Dan, just made the Top 20.
Singles 1.Mouldy Old Dough/The Villain Decca 18/02/72 2.Desperate Dan/Opus 300 Decca 1/12/72 3.And The Fun Goes On/Opus 302 Decca 11/05/73 4.Oxford Bags/Creativity Decca 31/08/73 5.Big Butch Baby/I’ll Take You Home Again Kathleen Decca 1/02/74 6.You Are My Hearts Delight/Love Inflation Decca 9/08/74
7.Rockabilly Hot Pot/Gosford Street Ragg Decca 19/09/75 8.Goodbye/I’ll Sail My Ship Alone Decca 23/04/76 9.Spangles Comet 23/09/77 10.Disco Bells SMA 14/04/78 11.Bye Bye Blackbird Elver 12/07/78 12.Bobbing Up and Down Like This Shack 22/05/81
Albums 1.Mouldy Old Music Decca 1973 2.Pigeon Pie Decca 1974 3.Pigeon Party Decca 1974
Reissue CDs Mouldy Old Dough – 1998 Emporio
Heavy Cochran Singles I’ve Got Big Balls (Of Resentment)/Well, Fairly Big Psycho P 2611 I’ve Got A Little Prick (Of Conscience)/It’s 12 Inches But I Don’t Use It As A Rule (8/79) Psycho 2619
Rob Woodward Single Bogie/Hell Bent On Rock’n’roll (6/80) Bounty Hunters
Single Coconut Shuffle (Remix)/Barrelhouse (6/80)
Rob Woodward made records as a solo artist – Shel Naylor – for Decca when he was only 17. This is his second single One Fine Day, written by Ray and Dave Davies of the Kinks with Jimmy Page on guitar recorded in 1964.
This is their other band Stavely Makepeace with Steve Tayton – Cov sax player
DOES your memory stretch back to when the Virgin Record and Tape shop used to exist in the Arcade close to the birdcage and the old Climax pub as it was then? As teenagers we all used to use it to buy our records and cassettes. Along with a good friend that I grew up with I spent many a happy hour in the place browsing through and chatting with staff about the new releases.
And yet, as much as I have since tried to research it, I can find no evidence of the actual opening. The shop just quietly appeared. There was no fuss and, unlike other record shops at the time, no advertising that I can remember in the local press. The shop simply went about its business in a quiet and effective manner. Or so it seemed.
Of course, unknown to us at the time, the opening of this humble g t tn shop, with I guess its then shocking name, was at the beginning of what would become one of the greatest empires in entertainment history. In fact the Virgin name would go on to, and 40 years on continues, to spread into many facets of our life from travel to banking and from media to health.
Virgin Records and Tapes in the Arcade, Coventry, which opened early to mid 1973, was one of the first of a dozen or so stores opened by Richard Branson. It followed on from the opening of his original store above a shoe shop in Oxford Road, London during 1971. A second shop quickly followed in Notting Hill and then the name was rolled out nationwide. Lots of music fans, though, were already aware of the name thanks to Virgin’s very popular mail order operation.
A short while after Virgin had opened its doors a gig that involved David Allen and his band Gong was held in the parking area at the rear of the shop. Maybe this event marked the official opening.
Almost simultaneously to the shops opening nationwide the Richard Branson’s next move was the creation of the Virgin record label complete with its distinctive Roger Dean design ‘twins’ logo. The labels first release was Mike Oldfield’s ‘Tubular Bells’ which proved to be an instant success.
The original guys that ran the Coventry shop were Malc, whose full name I cannot find, and Mike O’Hare. Both of them knew the music well and were very friendly and helpful people. They were also very open to what was happening in the music scene locally, created a much laid back atmosphere in the shop, and were always happy to help. Such as with a magazine that Trev Teasdel helped produce called Hobo. The shop was more than willing to sell copies as well as write reviews of new albums.
Malc and Mike even compiled a singles and album chart, for the magazine, of what was selling in the shop at the time.
Around 1974 Dave McGarry joined the team at the Virgin shop. During his stay there he developed a love of Texas music. He remained at the shop till around 1977. ‘Texas’ Dave McGarry, as he is now known, now resides in Australia and is renowned for bring the best Texas acts to that country.
Pete Waterman also moved into the Virgin shop during 1974. Pete, of course, moved his ‘Soul Hole’ record outlet from the ‘I Am’ store on The Burges to the top floor upstairs at Virgin.
Richard Branson, as has been proved throughout his career, is not the type of person to rest on his laurels. He knows that things must always be freshened up. During 1975, and to widen his roster of bands, he made an audacious bid to sign up The Rolling Stones. But that attempt failed, however 17 years later, he would realise that ambition.
From the mid to late 1970s the Virgin shop employed a number of local luminaries such as Gordon Montgomery and John Coles. Under names like ‘Fopp’ and nowadays ‘Rise’ Gordon would go on to build his own entertainment and music outlets. John Coles, of course, captured in great detail the early days of 2-Tone on film and even now continues to delight us with his shots. Stu Knapper of Coventry punk band Riot, original vocalist for The Specials’ Tim Strickland, Chris Long of 2-Tone band The Swinging Cats and, the then, future drummer for The Specials, John Bradbury, all served time in the shop. These guys knew the music scene incredibly well at that time very and, in particular, John Bradbury certainly introduced me to a few new bands back then.
1977 saw an opportunity that the company just could not miss. Virgin records, I think it is fair to say, had become associated as an outlet for those with longer hair than most and had a little more of a laid back approach to life. That image was soon ditched when the record label made the master stroke signing of The Sex Pistols. They were soon followed by a host of other punk and post punk bands. This diversification of the music also spread to reggae and other genres.
The Virgin record shop was also attracting customers who were based in Coventry while studying at the city’s various universities. Simon Frith, the celebrated rock music sociologist, frequented the Coventry store. Radio 1 DJ Simon Mayo apparently queued up at Virgin to buy Gangsters when it was released, while he was at Warwick University, while The Specials bass player, Horace Panter, in his excellent book ‘Ska’d for Life’ recalls standing in Virgin pretending to browse the record sleeves but really watching people buy The Specials ‘Gangsters’ single.
And in 1980 the ‘Sent from Coventry’ compilation album sold 8,000 copies in its first week as it went on to reach number eight on the UK Alternative charts. Local records stores like Virgin records played a large role in this success as did the then new Coventry music magazine of the time, Alternative Sounds, produced by Martin Bowes.
During the early 1980s Virgin had acquired the Charisma Records label, along with their back catalogue, which included the likes of Genesis. All of a sudden names like Phil Collins and Peter Gabriel became known the world over and not just on the underground.
After ten years the Virgin Record and Tape Shop in Coventry moved premises. During 1984 it had moved into The Precinct. The shops, or stores as they had now become, were rebranded as Megastores.
The company continued to grow and diversify as other artists like Soul II Soul and Janet Jackson signed to Virgin. This move would see their careers flourish worldwide. Branson eventually sold Virgin Music to EMI for in excess of PS500million in 1992 in order to finance other interests that the Virgin Empire was growing into.
Despite the sale the Megastore name continued under its new owners. By then vinyl was being replaced by compact disc and cassettes had almost disappeared. Games, phones and other forms of media were now being introduced as technology, and rapidly, advanced. But of course it advanced so far that music began to become downloadable. All of a sudden the physical product was not a necessity.
A management buyout in 2007 saw the stores rebranded as Zavvi but this was short lived as Zavvi, itself, entered administration less than two years later. Some of the stores were sold to HMV and this is where the Coventry store remains today.
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Pete Waterman’s Soul Hole record Store was upstairs at Virgins c 1974 – next two pics from Hobo Magazine 1974
Peter Waterman, John Bradbury, Pete Chambers and photographer John Coles in this pic of the Two Tone plaque launch at Virgin Records Coventry c 2009
John Coles and John Bradbury with the Virgin Records plaque.
Virgin Records Two Tone plaque again.
Trev Teasdel – editor of Hobo – Coventry’s Music and arts magazine 1973 – 75 – on sale at Virgin Records during that period.
Among the many albums for sale was a very special one full of Coventry bands initiated by Martin Bowes – Alternative Sounds.
Stu Knapper of Coventry Punk band Riot Act worked at the store in the late 70’s – Riot Act youtube below.
During Stu Knapper’s time at Virgin, Simon Frith – author of The Sociology of Rock and a professor at Warwick University in the 70’s was a regular visitor to the Coventry store. Simon was very familiar with the Coventry music scene.
Texas Dave McGarry worked at Virgin records Coventry c 1974 onwards before moving to Australia to promote texas Music artists touring down under. His story is here –
Hobo Magazine 1974 – Virgin (Coventry store) charts and album reviews by Virgin staff appeared in Hobo
Some of the Virgin Charts (Coventry Store) from Hobo Magazine.
VIRGIN RECORDS ALBUM CHART (Coventry Store) August 1973 Compiled by Mike O’Hare and Malc) 1 Mike Oldfield – Tubular Bells 2 David Bowie – Hunky Dory 3 Pink Floyd – Dark Side of the Moon 4 Faust – Tapes 5 Santana – McLaughlin 6 George Harrison – Material World 7 David Bowie – Aladdin Sane 8 Genesis – Live 9 Clifford T Ward – Home Thoughts 10 Roy Wood – Boulders 11 David Bowie – Ziggy Stardust 12 Cat Stevens – Foreigner 13 Terry Riley – Rainbow in C 14 David Bowie – Man Who Sold the World 15 Lindisfarne – Live 16 Alan Hull – Pipedream 17 Mott the Hoople – Mott 18 Genesis – Foxtrot 19 Pink Floyd – Meddle 20 Beatles – 67-68
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Virgin Album Charts (Coventry Store) October 1973 1 Rolling Stones – Goat’s Head Soup 2 Mike Oldfield – Tubular Bells 3 Pink Floyd – Dark Side of the Moon 4 Status Quo – Hello 5 David Bowie – Ziggy Stardust 6 David Bowie – Man Who Stole the World 7 Pink Floyd – Meddle 8 David Bowie – Aladdin Sane 9 Beatles – 66 / 70 10 Yes – Yes Album 11 Led Zeppelin – 5 12 Uriah Heap – Sweet Freedom 13 David Bowie – Hunky Dory 14 Yes – Yes Songs 15 Van Morrison – Hard Rose the Highway 16 Slade – Sladest 17 Budgie – Never Turn Your Back 18 Beatles – 62 – 67 19 Faust 20 Steely Dan – Countdown to Ecstasy
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Virgin Album Chart (Coventry Store) FEB 1974
1 Mike Oldfield – Tubular Bells 2 Leo Sayer – Silverbird 3 Roxy Music – Stranded 4 Yes – Tales from Topographical Oceans 5 ELP – Brain Salad Surgery 6 Who – Quadrophenia 7 Black Sabbath – Sabbath Bloody Sabbath 8 Bob Dylan – Dylan 9 Gong – Angels Eggs 10 David Bowie – Pin Ups 11 Fripp and Eno – No Pussy Footing 12 Elton John – Yellow Brick Road 13 Santana – Welcome 14 Alice Cooper – Muscle of Love 15 Wings – Band on the Run 16 John Lennon – Mind Games 17 Faces – Faces Live 18 Donovan – Essence to Essence 19 Ringo Starr – Ringo 20 Nazareth – Loud n Proud
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Virgin Album Charts (Coventry store) March 1974 1 Free – Free Story 2 Tangerine Dream – Phaedra 3 Joni Mitchell – Court and Spark 4 Deep Purple – Burn 5 Bob Dylan – Planet Waves 6 Wings – Band on the Run 7 Steely Dan – Pretzel Logic 8 Roy Harper – Valentine 9 Slade – Old, New and Borrowed 10 Incredible String Band 11 Eno – Here Come the Warm Jets 12 Pink Floyd – Dark Side of the Moon 13 Pink Floyd – A Nice Pair 14 Steeleye Span – Now we’re Six 15 Sutherland Bros / Quiver = Dream Kid 16 Montrose 17 Lou Reed – Rock n Roll Animal 18 Mick Ronson – Slaughter on 10th Avenue 19 Carly Simon – Hot Cakes 20 Temptations – 1990
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Virgin Album Charts (Coventry store) 1 Gong – Camembert Electrique
2 Mike Oldfield – Tubular Bells 3 Rick Wakeman – Journey 4 David Bowie Diamond Dogs 5 Wings – Band on the Run 6 Uriah Heap – Wonder World 7 Sparks – Kimono 8 Tangerine Dream – Phaedra 9 Bonzo Dog Dog Do Dah Band – History of 10 Bad Company
Virgin Singles Charts (Coventry store)
1 Sparks – This Town Ain’t Big Enough for the Both of Us 2 Bad company – Can’t Get Enough 3 Montrose – Bad Motor Scooter 4 Brian Ferry – The In Crowd 5 Allman Bros – Jessica 6 Captain Beefheart – Upon the My oh My 7 Kevin Coyne – I Believe in Love 8 Jan Akkerman – House of the King 9 ELP – Jerusalem 10 Black Oak Arkansas – Jim Dandy
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From Alternative Sounds c 1979 “We talked to Tim and John here. Virgin records have been open for 6 years in Coventry. They stock everything here (except from brass bands0 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” Martin Bowes.
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Hobo Magazine Album Reviews from Mike O’Hare and Malc of Virgin Records Coventry c 1973/4
Here are the links to their album reviews on another part of this site. Complete with youtube.
Pete Clemons with yet another article for the Coventry Telegraph, this time celebrating Delia derbyshire day who was born in Coventry and realised the Doctor Who theme electronical and much more…
Delia’s Recipe of strange sounds.
Pete Clemons
MENTION the name Delia Derbyshire and, quite naturally, most people will immediately remember her for her involvement in the creation of the theme tune for the classic TV programme Dr Who, created during the early part of the 1960s, and which has just recently celebrated a remarkable 50 years on our screens.
Through her day job at the BBC Radiophonic Workshop, Coundon born Delia Derbyshire was also an explorer within the world of electronic music. And as well as arranging the Dr Who theme tune, which is thought by many as being the best ever TV signature music ever, she was also heavily involved in the recording of an album which would become a cult classic on its release during the late 1960s.
That album ‘White Noise – An Electric Storm’ was begun during 1968 with recording continuing into 1969. It would eventually be released by Island Records during June 1969 and would go on to sell hundreds of thousands of copies worldwide. During its lifetime it would be name checked as having influenced artists as diverse as The Orb, Julian Cope, Jerry Dammers, Martin Bowes Attrition and many others.
White Noise came about when David Vorhaus, an American electronics student with a passion for experimental sound and classical music, attended a lecture by sound scientist Delia Derbyshire. The pair then hooked up with fellow workshop composer Brian Hodgson and percussionist, Paul Lytton. Vocalists John Whitman, Annie Bird, Val Shaw were also involved in the project.
Early recordings of the album were undertaken at the BBC workshop in Maida Vale during the night after all the staff had gone home. It seems as though the BBC were unaware that their equipment was being used for these purposes, at that time, although the organisation is now fully aware.
But the group could not continue this practice of ‘borrowing’ the BBC’s resources for the whole album so they ended up creating their own studio. And as such the rest of the album was created in Kaleidophon Studios in Camden, London.
The final results were quite groundbreaking at the time. It was an experimental record built up with a collection of strange and wonderful songs. And it was created using a combination of tape recording techniques. It was also said that it used the first British synthesizer, the EMS Synthi VCS3, but having read a later interview with David Vorhaus I think that theory has now been cast into doubt.
The album does contain lyrics but the voice was also used to create some of the soundscapes. According to David Vorhaus ‘I always used a lot of voices and if, for example, somebody screams in the background then that can be used as part of one of the waveforms. It makes the sound more interesting, without the listener actually knowing what they’re hearing.’ When the ideas were first submitted to Island Records, over a year prior to its release, you do kind of wonder why they invested in it. Having been a blue beat and reggae label at that time, it must have sounded like nothing they had ever released before. I can only assume that it may have been a case of right place right time. After all it was 1968 and the music industry was becoming more open to freedom. And Island Records, themselves, were introducing alternative music and, along with bands such as Traffic and Spooky Tooth to their catalogue. Regardless, White Noise became one of the first of this new crop of signings and the album became a cult classic.
The opening track on the album ‘Love Without Sound’ included, for example, speeded up tape edits of a double bass to create some astonishing sounds. The LP itself was in two halves. Side 1 was subtitled ‘Phase in’ with side 2 being known as ‘Phase out.’ .’ The rest of side 1 of the record or tracks 2 to 5 on the CD is made up of the following titles ‘My Game of Loving’,’ ‘Here Come the Fleas’,’ ‘Firebird’ and ‘Your Hidden Dreams.’.
The whole of side 2 of the album, tracks 6 and 7 on the CD, contains some of the most chilling music I think I have ever listened to. It really is quite powerful stuff. Track 6, titled, ‘The Visitation’ is about a road accident that leads to an out of body experience and that track alone took three months to complete.
The final track on the album also has its own story. It seems that Island Records had advanced the ‘band’ a considerable sum of money. But a year after the deal was complete Island was still waiting to see the results. So the label wrote to David Vorhaus demanding that they receive the album’s master tapes within seven days or they would set about reclaiming their money. This resulted in the hurriedly recorded finale and fairly self explanatory ‘A Black Mass: An Electric Storm in Hell.’.
By today’s standards the album is quite short as the seven tracks clock in at around 36 minutes but at the same time it really is a must for those that are interested in electronic music, particularly in those early pioneering days.
It may not be the most conventional of records and it will not grab the attention of everybody. It is, however, a quite legendary and important album in the eyes of the small group of people as well as the critics alike. But make no mistake, Delia Derbyshire and her colleagues were true pioneers within their chosen field of work.
Delia Derbyshire continued to work for BBC until 1973 when she left London. She took on a variety of jobs that included being a radio operator for a team of people who were laying the national gas pipeline and also a bookshop manager. She did however make one more musical contribution. And that was collaboration with Sonic Boom which took place toward the end of the 1990s.
Delia passed away during July 2001. Yet even today, so revered is Delia Derbyshire, that a tour inspired by her work has been planned for the week of April 12. A female trio based in Manchester called the Delia Darlings have spent time with Delia’s archives and have created music based on their findings and will be touring it around the country.
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