An early proposal for a Coventry Music Museum that circulated c2003 / 4 from Trev Teasdel and used

as idea material for the More Than Two Tones Exhibition 2009 – on which Trev was a committee member with Pete Chambers and others.

was done between 2007 and 2009 at the Herbert Museum and Art Gallery. Initiated by Pete Chambers in negotiation with the Herbert team, a steering committee was formed comprising Herbert staff via Roger Vaughan, representatives from CV1, Radio Mercia and BBC Coventry, Pete Chambers, Trev Teasdel, and musicians Neol Davies, Roger Lomas. Richard Elms and many more as can be seen in the minutes on this site below.
Read the Minutes and more on this site below


http://covdiscoarchive.blogspot.co.uk/2013/11/coventry-music-exhibition-herbert.html


And read the review of the launch of the More than Two Tones
Exhibition here –


http://covdiscoarchive.blogspot.co.uk/2013/11/more-than-two-tones-review-of-launch.html


At the launch both Kristy Gallacher and The Primitives played at the Herbert – this is one of the songs filmed at the Herbert –

MORE THAN TWO TONES VIDEOS – Local Artists talking about the Coventry Scene.

Find the full series of these More than Two Tones Videos here http://covdiscoarchive.blogspot.co.uk/2013/11/coventry-music-exhibition-2009-more.html

Pete Chambers – Two Tone Trail / Plaques / Walk of Fame / Books / Music Museum

On this page, linked here, you can see photos of the fuller range of work done by Pete Chambers, from his Coventry Music books, the Walk of Fame, Two Tone Trail and plaques to the Music Museum.
http://covdiscoarchive.blogspot.co.uk/2013/11/pete-chambers-two-tone-trail-plaques.html

LAST month has seen Brian Matthew back in the spotlight yet again with the release of the latest Beatles double CD titled ‘On Air – Live at the BBC Volume 2’.

Volume 1 was first released back in 1994, apparently selling five million copies in the first six weeks of release. Volume 2 is another delve back into the BBC archives and contains 63 tracks of which several are previously unreleased recordings along with studio chatter of The Beatles talking to the various radio presenters where Brian is quite prominent throughout in particular on disc 2. Brian Matthew was born in Coventry on September, 17 1928 and attended Bablake School. He began his broadcasting career for forces radio in Germany during 1948.

After that Brian worked for Dutch Radio in Hilversum which was once known as the centre for radio and broadcasting in The Netherlands. He then moved back to Coventry where he worked for a short while in a dairy.

And it was while at the dairy that Brian wrote to the BBC asking them if he could present a programme on Dutch Jazz through a programme of theirs called ‘World of Jazz’. After an audition his offer was taken up.

And that was the start that Brian had at the BBC where for well over 50 years his slightly deep yet silky smooth voice has graced the airwaves as he went on to present radio shows such as Saturday Club, Easy Beat, My Top 12 and the arts programme Round Midnight.

Almost all the big names of the era appeared on Brian’s shows, many of them live on air, and one of the biggest and most popular at that time were The Beatles who he developed a friendly relationship with. He even spent a week in the US touring with the mop tops.

Saturday Club was a prestigious radio show, originally launched in 1957, and was a showcase for up and coming talent. Brian was presenter of this show when, for example, Gene Vincent and Eddie Cochran appeared on it.

The Beatles also gave their first performance on Saturday Club during January 1963. And Brian Matthew was also host for the Easy Beat programme when The Beatles first appeared on that show later the same year.

It has been documented that The Beatles appeared on 275 live performances at the BBC between March 1962 and June 1965. They appeared on 39 radio shows in 1963 alone and, on one single day, recorded upward of 18 different songs. In fact during 1963 they had their own radio programme titled ‘Pop Goes the Beatles’ which went out on a Tuesday tea time.

Despite working with The Beatles many times Brian has admitted that, although friendly, he was never that close to them on a personal level.

He did admit though that he was close to Brian Epstein and did count him as a personal friend. In fact at one point Brian Matthew and Brian Epstein had plans to build and own their own theatre in the Orpington area of Kent but the project never materialised.

Another, more recent radio show Brian has been involved with is ‘Sounds of the Sixties’. This iconic BBC show has been running since 1983 and, for a while, each episode was presented by a different artist from that decade.

Brian Matthew took over during March 1990 and, for two hours each Saturday morning he has made the show his own as he has presented it with his own unique style.

He divided the programme into one hour of ‘A’ sides and an hour of ‘B’ sides which even involves the listeners who sometimes introduce the song they requested. 1990 also saw Brian receive a Broadcasting Press Guild Award for Outstanding Contribution to Radio.

Brian has not been confined to the radio either. Between 1961 and 1966, and in addition to his radio commitments, Brian was travelling from his London base to Birmingham’s ITV studios to be one of the presenters of ‘Thank Your Lucky Stars’.

The format for this show was that each band played two songs although on this show the acts usually mimed to their hits.

And back in the days when radio was as popular then as TV is today Brian’s shows would attract the biggest and greatest of pop acts for on air coverage.

During his early days there was very little pop music played on radio and his pioneering shows regularly attracted young audiences that were numbered in the millions.

Today it is very difficult to imagine just how gruelling life was for the bands during those formative years of beat and pop.

But to get an indication of how just one day’s life was like for The Beatles, George Harrison once recalled, ‘We used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the programme.

Then we’d probably drive back up to Newcastle for a gig in the evening’.

Apart from a final gig on the rooftops of the Apple studios in London during January 1969 the Beatles retired from playing live after a tour of the US in August 1966.

The Beatles ‘On Air – Live at the BBC Volume 2’ is clearly aimed at the Christmas market. And due to the fact that, essentially, there is little new in these releases then, yes I agree, this CD will not be for everyone.

Having said that there are some previously unreleased recordings and studio chatter by The Beatles are to be made available for the first time. These include covers of Chuck Berry’s ‘Too Much Monkey Business’, a Frank Pingatore song called ‘Clarabella’ and an unreleased Lennon and McCartney tune called ‘I’ll Be on My Way’.

But one thing I am certain of is that this release is sure to interest those who enjoyed the ritual of tuning into those old radio programmes.

It will also revive many memories of an exciting time for those fortunate to have grown up during the 1960s.

Pete Clemon‘s (in his latest Coventry Telegraph article) treats us to a special report on a new Celtic Christmas single by Coventry based Joe O’Donnell’s Shkayla Noel Nouvelet – which has a long and interesting history as Pete explains and is offered as part of a free EP download but with the hope that people will pay for it as the money is to go a Children’s charity to fund an innovative Music Therepy programme at the Rainbow Children’s Hospice. The EP on Silvery Records can be downloaded here http://www.silveryrecords.com/#JoeODonnell


Joe O’Donnell has a page on Facebook – https://www.facebook.com/JoeODonnellsShkayla


The single features Shkayla – Joe O’Donnell, Si Hayden, Martin Barter, Adrian Litvinoff, Brendan J. Rayner and additionally the vocals of Coventry singer songwriter and acoustic music promoter Justine Watson, Coventry Bhangra percussionist Juggy Rihal and London based Asian Vocalist Shaheen.


Over to Pete Clemons –

IF you happen to be on the lookout for some Christmassy music with a difference and, at the same time, would like to help a great cause then can I direct you to the latest single by Joe O’Donnell’s Shkayla and friends titled ‘Noel Nouvelet’.

‘Noel Nouvelet’ is actually a traditional French Christmas carol which originally contained thirteen verses and translates roughly as ‘Sing We Now of Christmas’.

It was apparently intended as a New Year’s carol, as opposed to a Christmas carol, with versions of it dating back to the early 1500s. The traditional version that is used nowadays dates back to one from the 1720s.

However, Joe’s interpretation of this carol is very different from the original. For a start he has also managed to incorporate the famous ‘Coventry Carol’ which can be heard at the beginning and at the middle eight section within the tune.

And not only does the single include members of Shkayla but it also features the talents of Coventry bhangra percussionist Juggy Rihal, indie vocalist Justine Watson and London-based Asian vocalist Shaheen.

The combination of all these influences creates a potion of incredible melodies and rhythms that originate from both the East and the West.

The ‘Coventry Carol’ is, of course, a Christmas carol that dates from the 16th century. It was named after and was performed within Coventry during those days as part of a mystery play titled The Pageant of the Shearmen and Tailors.

In fact performances of the Coventry Mystery Plays, or Coventry Corpus Christi Pageants, have been recorded as being performed as far back as 1312/13 and continued for almost two centuries. I believe that there were ten in total.

The carol itself refers to the Massacre of the Innocents, as told in the gospel of Matthew, in which Herod ordered all male infants under the age of two in Bethlehem to be killed.

The lyrics of this haunting carol represent a mother’s lament for her doomed child and apparently it is the only known piece of music that has survived from this particular play. The original author of the tune is unknown.

It is said that the only original copy of the play was always kept by the council for safe keeping. And when a copy was required the copyist had to go to the council and pay a hefty fee in order to stage the play on. But apparently the council copy of the Coventry plays has long been lost.

The only manuscript copy, from those originals, to have survived into recent times was destroyed by fire during the late 1870s and it had been held at the Birmingham Free Reference Library. Fortunately though Coventry antiquarian, Thomas Sharp, had preserved copies in two volumes and it is from these that we know about, and interpret, the mystery plays today.

And the same biblical story which inspired the Coventry Carol has also been the inspiration of some wonderful, but quite graphic, paintings and artwork from artists of all nationalities over the centuries.

All proceeds of the single, which is available as a download only, will be passed onto the Music Therapy department of Loughborough based Rainbows Hospice that helps terminally ill children.

The power of music has, over the years, been well documented. Studies have shown that music can influence heart rate, respiration, blood pressure, pain perception, physical health and all round well-being. At University Hospital’s Rainbow Babies and Children’s Hospital, music therapy helps children and families discover new ways to effectively cope, both physically and emotionally, with hospitalisation.

Says Joe, “I’m very keen to support Rainbows Hospice with this project. Music has been my life and I was fascinated to find out how music has been used to help improve the quality of life for the young people in its care – and for their families.

“My hope for Christmas is that as many people as possible download the single and I would be absolutely delighted if ‘Noel Nouvelet’ can help to build up Rainbows’ resources for this fantastic support and therapy.”

Time in hospital can disrupt normal living patterns, school and important social activities for children.

The Music Therapy Program at University Hospitals Rainbow Babies & Children’s Hospital attempts to minimise this disruption by providing sensitive and creative interventions that includes the playing of instruments and the writing of songs.

These interventions also offer acute and chronically ill children the chance to learn, express themselves, interact with family and friends and simply relax and just enjoy themselves.

Even parents, brother and sisters can join the fun and experience the benefits that music creation can bring. Music therapy interventions take place individually, during group sessions, and during Rainbow Channel TV programming which is available on the Rainbow Hospice website.

Rainbows Hospice music therapist, Neil Eaves says, “We care for around 250 families every year, and facilities like our music room help our dedicated to team relieve symptoms, improve quality of life, and support parents and siblings.

“The truth is that we can’t do our work without public support and we’re excited that Joe O’Donnell’s fantastic music may go a long way to supporting this very important and valuable work.”

All three mixes of the single are available from the Silvery Records website for a suggested donation of PS1 per download and are available from the link below. I hope you agree that this is the perfect opportunity of being able to offer a chance to make a difference to young people’s lives through the power of music.

And while there why not take the time to look at all the other delight that are available at www.silveryrecords.com/

The story of  Coventry band Peppermint Kreem is a little complicated, involving a number of bands and line up changes but Pete Clemons has managed to unravel the band’s history for his latest article for the Coventry Telegraph – his 60th article not including the 24 Rock of Ages listings for the paper.


Peppermint Kreem has fan page on Facebook with lots of photos and such like https://www.facebook.com/pages/Peppermint-Kreem/136585376392428?fref=ts


The other Coventry bands include Makeshift / The Plague / Dr Slagg’s Confessions and at least 3 versions of Peppermint Kreem and associated bands New City Sounds and The Motion / Revolution.
CLICK the Links to read more about these bands and view some of the photos etc.

OF all Coventry bands I have read about or researched none, for me at least, is more fascinating than that of Peppermint Kreem.

The story is actually a trilogy which takes the group from its beat band beginnings in 1968 through to their conclusion in 1987 but not before they had recorded a rock opera. Paul Kennelly has meticulously kept extensive notes over the years and it is these that I have plundered to pull this article together.

The roots of Peppermint Kreem can be traced right back to previous incarnations of the band beginning with Makeshift from around 1967 and then The Plague who existed between December 1967 and April 1968.

The Plague was formed when Paul Kennelly put an advert in the Coventry Telegraph. Arthur ‘Modie’ Albrighton was first to answer it. “We were hungry for work and would take anything.” said Paul. “It was a great way of learning the business and the band performed from The Benn Hall in Rugby to Harlaxton Manor in Lincolnshire.”

The line-up of The Plague was Paul Kennelly (vocals), ‘Modie’ Albrighton (bass guitar), Brian Griffiths (drums), Ray Haywood (lead guitar) and Bob Hopkins (keyboards) and they played their first gig at The General Wolfe on Friday, December 8, 1967.

Brian Griffiths left The Plague on January 25, 1968 to be replaced by Tom Ryan on drums. Bob Hopkins then left the band during April ’68.

At that point it was agreed to give the band a fresh start and a new name. Ray Haywood suggested Peppermint Creams to which Paul responded with a slight variation to Ray’s original idea. And so on April 26, 1968, they appeared as a four-piece at The Heart of England Club, Meriden, as Peppermint Kreem.

As covered by an article and various photographs for a Coventry Standard piece during May 1968 they bought a 15-seater bus from the Enterprise Club for the Disabled in Avon Street for PS24 and 10 shillings. This was used to carry their equipment.

1968 saw the band just ‘out there playing’. They were, not at that time, in to doing their own music. What they would do though was to rearrange numbers, speed them up/ slow them down and fill in with drum solo links. The band toured extensively and regularly appeared locally in venues such as The Navigation on the Stoney Stanton Road and The Walsgrave.

On July 13 Peppermint Kreem added keyboard player Dave Fairclough to the line-up. His first gig for them was on Saturday July 13, 1968 at the Hobmore Hotel, Yardley.

By late 1968, the band had been signed by Don Fardon, his own solo career had taken off, and Vince Martin, of Friars Promotions, stepped in as manager. A tour of Scotland, for impresario Albert Bonici, was booked for December which would take them as far north as Lossiemouth, Nairn, Aberdeen, Elgin and Arbroath.

But sadly, due to other commitments, only Paul and Dave were available. In order that the tour could go ahead, Paul and Dave hooked up with Glass Forest, a Welsh band who were based in Birmingham, the lineup being Paul on vocals, Dave on keyboards, Andre on guitar, Karl on bass and Byron on drums and the band performed as Peppermint Kreem.

And that was the end for this phase of Peppermint Kreem. Paul and Arthur (“Modie”) formed a band with Pete Davoile (Peppermint Kreem 2 and Seagull) on drums and Dec Wilson on guitar. Appearing as Dr. Slagg’s Confessions, they polished off the last few dates left in the old Peppermint Kreem diary. After that, they all went their separate ways, with Arthur replacing the bass player in New City Sounds, and Paul replacing Allen (“Sabu”) Parsons in The Motion.

Within days of Paul joining, the Motion changed their name to Revolution, and then eventually became Natural Gass. The line-up over this period was: Paul Kennelly (vocals), Dave Sutton (lead guitar), Reg Galland (bass), Granville Barber (drums), Bob Hopkins (keyboards), Pete Smith (ex-New City Sounds) on bass and Martin Lucas on lead guitar.

That wasn’t the end though for Peppermint Kreem. 1972 saw the band reform and they went onto to achieve many good things. The previous version of the band never got to record but this would all change with Peppermint Kreem mark 2. Paul admitted: “I had never got to write and perform my own material and it just seemed the right time. It wasn’t originally conceived as an opera. I just began to work up song ideas. What began as separate songs became a string of pieces, linked together. This was influenced by our standard set that was composed of varied material all tied together making a non-stop presentation.”

This time around Modie had switched to guitar with the rest of the band being Paul (vocals), Keith Jaynes (bass), Bob Hopkins (keyboards) and Pete Davoil (drums). “We recorded the opera at Bird sounds studio near Stratford-on-Avon and it was called Revelation 2001. Regrettably it was never released and I have no idea what became of the master tapes. We did play the whole thing live on carnival day at the War Memorial Park during July 1973. It was a fine summer’s day and we were set to go on stage at 9.30pm.

“For the first 20 minutes we played our versions of non-stop standards, then, after a short break we presented Revelation 2001. We held a respectable sized crowd for the standards show but I was not sure how they would react to the opera.

“You have to appreciate that the public were not directly paying for our performance, and could have drifted away at any time, but they didn’t, the melody, some of it haunting, held them spellbound.” That was last time that Peppermint Kreem played live together. However, in 1987 three of the band got back together yet again. Known as Peppermint Kreem 3, Paul Kennelly, ‘Modie’ Albrighton and Bob Hopkins, set about re-recording Revelation 2001 at Time Machine Studios in Earlsdon.

Sadly though it was never fully completed and although CD copies got ‘out there’ it remained unmixed. It is just made up of keyboards, guitar and Paul’s vocal. There are no drums or bass. Also, at Time Machine, Peppermint Kreem laid down keyboard and vocal tracks for another project called ‘Atlantis’. Again, this was never completed and remains unreleased.

Although there are no plans to complete these works it is still something that at least some kind of legacy of this wonderful story exists. ………………………………….

Recorded at Montybird recording studio in Snitterfield and possibly at Midland Sound Recorders around July 1968. They
were a great live attraction, using spectacular light shows and were extremely popular. they recorded a rock musical, Revelations 2001, which along with 4 other PK CDs is available now!

Pete Chambers writes “Modie was a top class guitarist and Blues harpist who began with

the Makeshift before moving on to Peppermint Kreem and New City Sounds. Peppermint Kreem headlines the Memorial Park gig in the mid 60’s. They recorded their own Rock Opera – Revelations 2001 at Time Machine Studios in Earlsdon. Modie was also in Nuts and Bolts, Crossfire and Heaven Sent – a club band that would include Rodney Byers (Radiation) in its ranks.Modie now lives in Germany where he is well known for his music and runs a recording studio).”

Pete Chambers writes in Godiva Rocked to a Backbeat

” The Albrighton brothers – Arthur (Modie) and his brother Roye (website http://www.royealbrighton.com/ns/home.asp) are
both now located in German where Modie runs a recording studio and both have found some fame. However their roots are entrenched in Coventry and its music scene. Modie -a top class guitar and blues harp player began with the local band Makeshift before moving to the 5 piece Peppermint Kreem that headlined the Memorial Park concert in the mid sixties.They even recorded their own rock Opera – Revelations 2001 (at the Time Machine Studios – Earlsdon).Members included Paul Kennelly, Tom Ryan, Dave Fairclough and Ray Haywood. Modie went on to join Nuts and Bolts, Crossfire and Heaven Sent – a club band that would include Roddy Byres (Radiation) in its ranks. Roye joined the German based prog rockers Nektar. (See his website). Modie and Paul played in Plague, Makeshift. Modie later played in new City Sounds too. Modie went to Germany in 1976. Modie remembered going to Coventry Theatre when he was 8 to see Larry Adler in Jack and the Beanstalk. Adler threw harmonicas out and asked if anyone that had one wanted to come on stage and join him. When Modie got on stage he told him he had his own and did a duet with him.”

From Pete Chambers – Backbeat – Coventry Telegraph
” Nostalgia: Peppermint Kreem lads had some fresh ideas

IT’S amazing the number of bands I come across who, for one reason or another, have nothing to show for their musical journey but precious memories.

No cuttings, photos or recorded music.

No such problem with one Coventry-based band, Peppermint Kreem.

These guys have kept a veritable museum of their band history from the 1960s, just the kind of thing we love here
at Backbeat. I caught up with founder members Paul Kennelly, Pete Davoile and Arthur (Modie) Albrighton and asked them about the life and times of one of Coventry’s more interesting bands.

Arthur (Modie) Albrighton was born in Coventry in 1941, and could play the harmonica by the age of four. “My dad would take me around the working men’s clubs,” Modie said. “I would perform pops and classics.

My most treasured memory from my from my early days, is doing a duet with Larry Adler, live on stage at the Hippodrome (Coventry Theatre). 

“My first love was the blues. I was working as a radio and television engineer and playing in The Ricky Thompson Band at the time. I guess I wanted to try something different and this led to Peppermint Kreem.”

Peppermint Kreem were formed when Paul Kennelly put an ad in the Telegraph. Arthur Albrighton answered the ad: “We were hungry for work and would take anything,” said Paul. “It was a great way of learning the business, from The Benn Hall in Rugby to Harlaxton Manor in Lincolnshire.”

Modie said: “We formed a makeshift band and we used the name The Plague. We had heard there was another Plague on the road, so we chose the name Peppermint Kreem. We thought no one else would have that one!

“The line-up was Paul Kennelly on vocals, Modie on bass, Ray Haywood on lead guitar, Dave Fairclough on keyboards and Tom Ryan on drums.”

Things looked good for the band, that was until they were lined up for a tour of Scotland in 1968, with the help of Vince Martin. Sadly some of the members were not prepared to commit. It was left to Paul and Dave Fairclough to join up with a Birmingham-based band Glass Forest to complete the tour.

“Considering we were a puttogether band, we did very well,” said Modie. “I’m so glad that I made it up there though.”

That wasn’t the end of the band, however, because in 1972 Peppermint Kreem 2 were formed. 

The line-up was Modie on lead guitar with Paul on vocals, Pete (the feet) Davoile on drums, Bob ‘Spindler’ Hopkins on keyboards and Keith Jaynes on bass.

The mark one band Peppermint Kreem never got to record, the mark two version would put the record straight, in more ways than one.

“It was my baby,” reveals Paul. “I had never got to write and perform my own material and it just seemed the right
time. It wasn’t originally conceived as an opera. I just began to work up song ideas. What began as separate songs became a string of pieces, linked together. This was influenced by our standard set that was composed of varied material all tied together making a non-stop presentation.

“We recorded it at Birdsounds studio and it was called Revelation 2001. Regrettably it was never released and I have no idea what became of the master tapes. We did play the whole thing live on carnival day at War Memorial Park in July 1973. It was a fine summer day and we were to go on at 9.30pm.

“For the first 20 minutes we played our versions of non-stop standards, then, after a short break we presented Revelation 2001. We held a respectable-sized crowd for
the standards show but I was not sure how they would react to the opera. You have to appreciate that the public were not directly paying for our performance, and could have drifted away at any time, but they didn’t, the melody, some of it haunting, held them spellbound.”

Modie said: “When we re-formed in 1972/73 we achieved great things, but the band didn’t hang together and I emigrated to Germany, met my wonderful wife, Eva and continued to play guitar and harps with various bands. I was also employed by the US army at the time and made friends with serving personnel, teaching guitar and recording.

“We are still living in Germany.

Eva and I have a wonderful country house, part of which is given over to my business Falcon-Studios. Here I record up-and-coming artists, encourage them and publish original material.”

This year is the 40th anniversary of the band, and there is talk of a new album with a Nordic theme, plus a website with images, history and news, there may even be some merchandise. 

I’ll leave the final words to former drummer Peter Davoile: “The most rewarding thing for me was being part of a professional band and playing something new and very creative!”

Pop Trivia – PEPPERMINT KREEM

SOME of the places the band played were Sibree Hall, Barker Butts School, Navigation Inn,

Leofric Hotel,
Nicholas Chamberlaine School, Newdigate Club, Chase Inn, Holyhead Hotel, Woolpack, Coventry City ground, Walsgrave Hotel, Bell Inn, Sportsmans Arms, Elite Club, Blue Boar (Watford Gap), Heath Hotel, General Wolf and others.

THE band recorded a second rock opera in 1987, entitled Atlantis.

PAUL is now living in Wales and runs the West Wales Museum of Childhood as a way of displaying his lifelong collection. Visit www.toymuseumwales.co.uk

Look out for three top guns off the local scene playing together at the Beer Engine, Gosford Street, on June 21 at 9pm. That’s Neol Davies and Aitch (both former Selecter) and John ‘Johny Slide’ Alderson, former Traveling Riverside Blues.

……………………………………………

Paul Kennelly says ” We regularly used Monty Birds studio to rehearse and record. I believe that it was an

old R.A.F. tracking station…or similar. I do have photos taken inside Bird Sound studios ” http://www.snitterfield.com/forum.asp?forumID=344&subject=Bygone-Snitterfield

his is Peppermint Kreem at the old crossing gates on Heath Road, Bedworth in November 1968. L to R : Ray Haywood ( guitar) Tom Ryan ( drums) Arthur Modie Albrighton ( bass guitar) Dave Fairclough ( keyboards) and Paul Kennelly ( vocals).

Paul Kennelly has a Facebook page dedicated to the history of Peppermint Kreem and many previous bands he was in – here https://www.facebook.com/pages/Peppermint-Kreem/136585376392428

ARTHUR ” MODIE ” ALBRIGHTON………. By Paul Kennelly.

“A complicated , multi talented instrumentalist and sound engineer of the highest standard.

He played Bass guitar with the 1968 band, Lead guitar with the 1973 band and guitar/keyboards in the 1987 sessions. Modie is the brother that I never had and I love him very much and hold him in high esteem. He is also one of funniest people that I have ever met…. just look at these great photographs.”

Paul kennelly’s outfit.The thinking behind the white outfits was, we had a huge , white fabric screen that hung on a scaffold, set behind the band , on stage. Modie developed a bizarre light show, using epidiasopes, cine projectors, light wheels and strobes. When this was in ” full flight ” , the projections fell on us as well as the screen ( well, that was the general idea ) ! Paul.

One of my most memorable gigs with Peppermint Kreem 2 was the Memorial Park. We played the Rock Opera ( Revelation 2001 ) but because we were on in the daylight, we could not use the light show. This was not good because we were as hot on visual effect as we were on getting our sound right. Paul.
Coventry Evening Telegraph 1973

L to R Bob Hopkins ( Rhythm Guitar) Ken Davenport ( Drums ) Tony Tallis ( Guitar ) Paul Kennelly ( Bass Guitar ) Grahame Fox ( Lead Guitar ).

Paul kennelly’s outfit.The thinking behind the white outfits was, we had a huge , white fabric screen that hung on a scaffold, set behind the band , on stage. Modie developed a bizarre light show, using epidiasopes, cine projectors, light wheels and strobes. When this was in ” full flight ” , the projections fell on us as well as the screen ( well, that was the general idea ) ! Paul.

The Matadors used to also go down a storm at the Coventry Flying and Country Club out at Baginton. So much so that, along with bands like Johnny B Great and Goodmen and The Echo Four they would be given pleasure flights out of the nearby airport.

Such was the band’s popularity that during 1965 The Matadors won a poll organised through the Coventry Express newspaper. Thousands of music fans had filled in their printed forms and posted them off and the group found themselves as the clear winners. Runners-up being The Little Darlin’s while actually the biggest surprise of that poll, which had been for beat groups, was that Coventry’s own Irish show band had made it into third place – The Pat Gissane Show Band.

This is how The Matadors’ victory was reported at the time: ‘The winners of the Express poll, The Matadors, have themselves undergone a definite change. An organ has been added and much of their earlier material has been dropped. The Matadors now put a great deal of emphasis on stage work and their material ranges from hit-parade gear to ballads and modern arrangements of older “pop” hits. One of their most popular numbers is a rendition of the old Buddy Holly flipside “Everyday” – one of the rock numbers to have stood the test of time. The “Mats” do some of their own material and hope to have a record released which is mid-tempo and sung in falsetto harmony – on an Ivy League kick’.

1965 then saw the band sign up with top independent record producer Joe Meek, the man who had produced several million selling hit singles including ‘Telstar’ made world famous by The Tornadoes. All the signs were good as a clutch of songs were recorded. Enough in fact to make three singles. However, a year later not one record had been released.

The Matadors moved on after their personal manager, Mike James announced ‘we can’t wait around for ever’. The whole experience made the band and their management unhappy and totally disillusioned with the music industry.

After the well publicised delay and the band’s response The Matadors first single was leased by Meek to the Columbia Records label and was at long last released during January 1966.

The ‘A’ side was titled ‘A Man’s Gotta Stand Tall’ with the ‘B’ side titled ‘Fast Cars and Money’. Its matrix number was Columbia DB7806 and the lead song can still be found even today. It is on a CD called Joe Meek – RGM Rarities Vol. 2: The Beat Group Era. 

…………………………………..

The MATADORS
circa 1962 – 1967 – Sources Broadgate Gnome / Rex Brough / Pete Chambers / Tim James

Beat group

Line up: Neil Tyson (vocals, guitar, harmonica), Dave Finlay (organ, vocals), Dave Colkin (bass, vocals), Harry

Heppingstall (drums).

Formed 1962 , they were a hard gigging and well respected band who were based in Coventry, but who actually came from Hinkley.

In 1964 they signed with Joe Meek as their recording manager and cut a number of sides with him.

“Joe twisted our sound up, he speeded us up so we sounded like chipmunks” said Dave Colkin recently.

After a delay Their first single was leased by Meek to Columbia in 1965 and local sales proved healthy. They released a second single, but dissaffection was setting in with Meek’s techniques and they shopped around for another recording manager, and both Tony Hatch and Andrew Loog Oldham both showed interest around May 1966.

By 1967 they were being courted by Polydor, but as the label had a low profile in the UK then,but they never released any singles.

They became Magazine in 1967 with the addition of a brass section, a reflection of the tastes of the time.

Single:

As ‘The Four Matadors’

A: A Man’s Gotta Stand Tall/ B:Fast Cars And Money (Columbia DB7806 1966)

Their single A Man’s Gotta Stand Tall can be found on the album Joe Meek – RGM Rarities Vol. 2: The Beat Group Era

Mentioned in NME 1966 as The Four Matadors http://www.skidmore.edu/~gthompso/britrock/NME/nme6601.html

” The winners of the Express poll, the Matadors, have themselves undergone a definite change. An organ has been added and much of their earlier material has been dropped. The Matadors now put a great deal of emphasis on stagework and their material ranges from hit-parade gear to ballads and modern arrangements of older “pop” hits. One of their most popular numbers is a rendition of the old Buddy Holly flipside “Everyday” – one of the rock numbers to have stood the test of time. The “Mats” do some of their own material and hope to have a record released which is mid-tempo and sung in falsetto harmony- on an Ivy League kick.” Via Tim James Site From Coventry Express, Friday May 28th 1965

Citybeat by Paul Connew

From Rex Brough

“Stuart Colman tells me they were from Hinckley. from an article that Tim James posted up , Matadors had an organ player. The Matadors put a great deal of emphasis on stagework and their material ranged from hit-parade gear to ballads and modern arrangements of older “pop” hits. One of their most popular numbers was a rendition of the old Buddy Holly flipside “Everyday”. The “Mats” did some of their own material and hoped to have a record released which is mid-tempo and sung in falsetto harmony- on an Ivy League kick.

Stuart also tells me The Matadors cut one single for Columbia entitled “A Man’s Gotta Stand Tall”. The record was issued in January 1966 and had an excellent band original on the flip called “Fast Cars & Money”. The single was issued as being by The Four Matadors and is now highly collectable as it was produced independently by Joe Meek. He remembers another of their own songs they performed on stage called – “The Sun, The Sand & The Sea”.

Memories from Tim James

“I always thought they were an ace band in the early 60s, they looked good and played hard biting rock & roll of the day at the youth club dances where I first saw them. But but by ’64 they were old hat, hadn’t changed with the times, and went on to look more like a cabaret act before they folded.”

From Pete Chambers – Backbeat – Coventry Telegraph

” This fine “Coventry” band had a secret, they weren’t from Coventry at all. They in fact hailed from Hinckley in
Leicestershire, formed out of the enter-level band the Rapiers in 1961, one of the first bands in the area.

Original drummer Graham Baker had the misfortune of working shifts, so missed various bookings. His temporary fill-in was Harry Heppingstall and after some soul searching Graham was asked to leave and Harry took over the “skins” on a permanent basis. By early 1962 they had re-branded themselves The Matadors.

“The Beatles came and changed everything,” confesses Dave Colkin. “We had a vocalist Larry Spain, but he was asked to leave and we found ourselves as a four piece band. The line-up was that of The Beatles, bass (Dave Colkin), lead (Neil Tyson) and rhythm Dave Findlay (guitars) and a drummer (Harry Heppingstall). We also shared the vocals like the Beatles and would often indulge in three-part harmony again like the Fab-Four. “We even got called the Midlands Beatles. We were playing the same songs as them, but up to that point we hadn’t heard them so it wasn’t like we were copying them. Larry Spain’s brother worked on the American Army bases and got hold of the latest stuff coming Stateside, records like Twist and Shout and Chains, so we used them in our act, as did the Beatles. We went to see them when they played at The Co-op Hall in Nuneaton October 1962 and we all turned to each other and declared that they were doing our act!”

Indeed, their choice of songs was of interest to some of the big acts they got to support. “We used to play Do You Wanna Dance,” Harry Heppingstall told me. “We supported Brian Poole and The Tremeloes one night and they expressed an interest in it, next thing we know they had a number one with the song. To make matters worse we had thought about releasing it ourselves.”

It’s worth pointing out at this point that the Matadors (or the Mats), were not your average beat band. They were very professional unit that knew how to work an audience, they had a great stage presence and an exciting set-list that included Can I Get A Witness, Well Alright, Walk Like A Man, Fun, Fun, Fun, Mr Pitiful and Everything’s Gonna Be Alright. As you can see an emphasis on good old R’n’B – but not so for their one and only single, A Man’s Gotta Stand Tall.

By 1966 The Matadors had got a chance to record a single with the legendary Joe Meek, thanks to their manager Mick Tiernan. Meek was a loose cannon, a changeling producer who had an original approach to sound techniques. He had produced the first US number one by a British pop group – Telstar by The Tornadoes. He liked to experiment with sound’ the easiest and most simple way was never an option for Meek.

We went down to his recording studio in London. I found him arrogant and not over-friendly,” said Dave. “Instead of a normal mixing desk Meek had his in a stack and worked standing up, and he looked like a teddy boy. “He fixed Dan Findley piano keys with paper and drawing pins to get the sound he wanted, everything was very experimental.”

I recall,” injects Harry. “How very bossy he was, I put my drumsticks down at the end of a take, and he shouted at me to
pick my sticks up again, ‘I’ll tell you when you can stop’!”

The Matadors (or the Four Matadors as they were known at the time of this single), were not happy with Meek, the way he had delayed releasing the record and what he had done to it.

He had speeded up the whole thing, and the vocals just sounded far too high. That’s a shame because at the correct pitch, the song has a great keyboard phrase, and is a fine sounding song.

After internal wranglings with Joe Meek, the single was finally released by Columbia, and sold tremendously well locally, selling out in Jill Hansons, Coventry, in a matter of hours.

Sadly Columbia never promoted it enough and the lads left to seek another recording contract. One was with the Walker Brothers’ recording manager who wanted them to sound like The Walker Brothers, and even puppet master Gerry Anderson of Thunderbirds fame demoed the band in Birmingham, but never got back to them.

The lads continued doing what they did best, working as a jobbing band seven nights a week, supporting the likes of Matt Monro. They eventually split up, sadly Neil Tyson passed away. The two Daves formed the band Magazine for a time. Harry joined soul band Natural Gas and now drums in Lonnie Donegan tribute act Paul Leegan and The Legends. Dave Colkin still sings, and does a wicked Elvis impersonation in countries as diverse as Thailand and Tenerife. While Dave Findlay went on to play in the band The Old G’s (The Old Gits).

PopTrivia – MATADORS

IN 1964 The Matadors played on ATV’s TV show, For Teenagers Only alongside The Swinging Blue Jeans.

THEIR Colombia single A Man’s Gotta Stand Tall/Fast Cars and Money is now worth around pounds 80 in mint condition, thanks mainly for its Joe Meek connection.

JOE MEEK lived a troubled life, particularly towards the end of it. Joe had a crush on Heinz, a member of The Tornadoes, and consequently he built a solo career for him where one was not obviously beckoning. When Heinz formed a close relationship with a woman Meek was livid and shot his housekeeper then turned the gun on himself. The gun belonged to Heinz but a verdict of suicide was later proved beyond doubt.”

See Pete Chambers Pop into the Past article too http://www.bbc.co.uk/coventry/content/articles/2006/05/26/pop_into_the_past_28_matadors.shtml

From Pete Chambers – Godiva Rocked to a Backbeat

” The Matadors played so much in Coventry that most people thought they were from the town -( they were from Hinckley). They won the Best Coventry Band Contest. Dave Colkin – ” We went down to Holloway Rd, London to the house Joe Meek used as his recording studio. I found him arrogant and not over friendly. Instead of a normal mixing desk, Meek had his in a stack and worked standing up. He looked like a Teddy boy. He fixed Dan Findlay’s piano keys with paper and drawing pins to get the sound he wanted. Everything was very experimental.”

THE last few years have seen a low key but welcome return to the live music scene of local rock band Barnabus.

Despite a hiatus of almost 40 years this three-piece retain the exact same line-up that once graced venues such as The Walsgrave and The Plough on the London Road.

Barnabus, originally formed in Leamington, were and still are John Storer on lead guitar, Keith Hancock on bass guitar and Tony Cox on drums. They initially came together in 1970 when John and Keith, who had recently split from covers group The Jay Bee Kay Pees aka The JBKP’s, joined forces with Tony who himself had just left The Rockin’ Chair Blues Band.

The Rockin’ Chair Blues Band who last performed during the late 1960s, were themselves a popular act back then, and regularly seen at venues such as the Drumbeat Club at the Globe Hotel in Warwick. They were also on the bill for the 1969 weekend music marathon staged at the Umbrella Club in Queen Victoria Road alongside bands such as The Chris Jones Aggression, Wandering John, Dando Shaft and many others. The Rockin’ Chair Blues Band lineup was completed by Martin Johnson on bass, lead guitarist Stuart ‘Digger’ Davies and Jim Gault on rhythm guitar and they played a mix original material and covers by the likes of Muddy Waters and Howlin’ Wolf.

When Barnabus started out with live dates there was confusion over the band’s name. It seems as though the band’s booking agents, for whatever reason, tried to get the band to change their name to Barnabas Legge and actually heavily advertised them as such. But despite the confusion the band members insisted they remained as Barnabus. Initially Barnabus played rock and blues covers. But the band soon began to develop a guitar led heavy rock style that was quite prevalent at the time. They also wrote some very good original material and began to build up their own repertoire. This was done with the help of a young lyricist and poet named Les Bates whose work was once described as being articulate, and, a lot better than a lot of ‘name’ bands around at the time.

During 1971 Barnabus recorded an album at Monty Bird’s studios, in Snitterfield near Stratford upon Avon (aka Bird Sound Studios). These studios later became better known locally as Tank Studios. Monty himself was joined by Bob Young, a local entrepreneur who had formed the Sunshine Music agency and also ran a folk club/venue. He then formed an outfit named ‘A Band Called George’ (Bell label recording artistes). Tank Studios also ran their own independent record label and produced several releases in the mid to late seventies.

Then, in 1972, the band had a major breakthrough. Barnabus went on to win the Midlands heat of the Melody Maker Rock & Folk contest. The judges at the competition included Ozzy Osbourne and Tony Iommi, both of Black Sabbath fame. This success led to the band furthering their growing reputation resulting in them breaking away from the gigging circuit around Coventry and Warwickshire. Barnabus also gained several notable support slots for bands such as Man, Trapeze and the Edgar Broughton Band. This led to the band gaining further work as far away as London. They even supported Hawkwind at the Coventry Locarno in Coventry during April 1972. But, despite being so close to making it into the big league, it was all short lived and Barnabus split up a year or so later during 1973.

Wind forward 35 years to 2008 and Tony, who had become disillusioned with the whole music scene, suddenly rediscovered his old mojo again. And this meant the purchase of a new drum kit after selling his old one when Barnabus disbanded.

However, the need to play live again had already returned to John Storer and Keith Hancock who, during 2002, had already reformed The Jay Bee Kay Pees. And incredibly during 2007 the original line-up of the band that also included guitarist Bob Chimes and drummer Pat Branagan performed together for the first time in almost 40 years. The Jay Bee Kay Pees (JBKP’s) continue today to be very popular around Leamington and district performing at many pub gigs and charity functions.

Tony resumed drumming duties for a Bob Dylan tribute band called The Bob Phillips Dylan Rhythm Band. This band also included Keith Hancock on bass. So the natural progression then was for Tony, John and Keith to reform Barnabus. This happened in 2009 and if you search youtube you will find some really excellent clips from that reunion gig at the Kingswood Tavern in Nuneaton.

Tony’s main musical outlet nowadays though is blues rock band The Hoochmongers where he was reacquainted with old college friend and Rockin’ Chair Blues Band bass player Martin Johnson. The Hoochmongers are essentially a rock band who play a varied blues based set. A typical set ranges from classic rock to blues standards to rock ‘n’ roll. They have a well maintained website and the gigs page is kept right up to date.

Barnabus have also been featured on a recent compilation release. ‘Casting The Runes – The Recorded British Abyss 1969-1976’ contains several Barnabus tracks such as Apocalypse and Resolute. This release though is on vinyl only and not on CD. It has been compiled from reel to reel tapes and acetates and was limited to 200 copies.

The LP includes some incredibly obscure and hard to find heavy rock tracks and, incidentally, also included is a track by another local outfit ‘The Edgar Broughton Band’.

A more recent Barnabus reunion took place at The Zephyr Lounge’ adjacent to The Assembly in Spencer Street, Leamington, during August 2013 with hopefully more gigs in the future.

“The rock band Barnabus formed in 1970, in Leamington Spa, when pop covers band the Jay Bee Kay Pees split. Lead guitarist John Storer and bass guitarist Keith Hancock, enrolled drummer Tony Cox from the also recently defunct Rockin’ Chair Blues Band. Barnabus started out playing covers from bands such as Black Sabbath, Trapeze, Deep Purple, to name but a few, but before long they progressed to writing their own numbers, with the help of a young lyricist/poet called Les Bates. They played all over the local area and in London. They were the support act for several “name” bands of the time – Man, Edgar Broughton, Trapeze. They even supported Hawkwind at the Coventry Locarno, and in 1971 recorded an album at Monty Bird’s studios, in Snitterfield near Stratford Upon Avon. Barnabus won the Midlands heat of the Melody Maker Rock & Folk contest, in 1972, where the judges were Ozzy Osbourne and Tony Iommi. The band eventually split up a year later, but reformed for a few charity gigs in 2009. All the members now play in other bands, but still play the occasional gig together. The band were promoted by their booking agents as Barnabas Legge although the band stuck with Barnabus themselves.”


Some Text from the Hobo A to Z of Coventry bands

“Band Name Tony Cox has cleared up the confusion about the name of the band. The band’s name was Barnabus but
” Barnabas (sic) Legge was the name our booking agents tried to persuade us to use, unsuccessfully!” Says Tony.
On the Broadgate Gnome site and originally on here there was an entry for both bands names as it wasn’t clear if they were two bands with similar names. The spelling of the name was different too. Thanks for that clarification Tony.

Tony Cox explained
” Keith, John & I formed the band in 1970 following the demise of our previous bands, The JBKP’s(K&J) and The Rockin’ Chair Blues Band (me).


We started out as a rock covers band but soon started writing original material, aided by lyricist Les Bates. We had a bit of success, as well as the Melody Maker thing, we supported a several “Name” bands of the time, such as Man, The Edgar Broughton Band, Trapeze and Hawkwind.
The band split up in 1973 but got together again 3 years ago to play a few reunion gigs, mainly for charity.”

Gigs
Leamington based rock outfit. Played the Walsgrave 31st Dec 1970 and Tuesday 26th Jan 1971 (Silk Disco). Won Melody Maker ‘National Folk/Rock Contest’ early 1972. In 1970, as can be seen from the above advert in Broadgate Gnome, they played Henry’s Blues House at the Mercers Arms. Just a few of their many gigs.




Tony Cox adds ” The demand for 60s/70s original prog rock is not great and so we don’t gig that often!! However John & Keith play in a 60s “pop” band called the JKPs and are always busy in the Leamington area. Keith and I also play in a Bob Dylan tribute band called The Bob Phillips Dylan Rhythm Band which gigs occasionally, but Dylan music is also a bit of a niche market. So to keep busy, I also play with a blues rock outfit called Hoochmongers, and our bass player is the very same Martin Johnson from The Rocking Chair BB days!! so we’ve gone full circle”


…………………………………….


PETE CLEMONS has another article on this site regarding a more recent charity gig – this is a direct link to it https://coventrygigs.blogspot.com/2017/03/barnabus-charity-gig-2017.html

An early version of America by Barnabus

More tracks on Youtube by Barnabus – click through
https://www.youtube.com/watch?v=qC1h4fuTc10 Apoclypse 1971


https://www.youtube.com/watch?v=XwDrScZ-W5E Resolute 1971


https://www.youtube.com/watch?v=_ra1Qb_20WI War Drags 1971


https://www.youtube.com/watch?v=-BSirixSFig Don’t Cry for me Lady


https://www.youtube.com/watch?v=yvdeDkX3P5o Perdita


https://www.youtube.com/watch?v=saCKDzG7fJg Clasped Hands


https://www.youtube.com/watch?v=2jA8JuwCcc4 Gas Rise


https://www.youtube.com/watch?v=TvPPfC1OEoY Mortal Flight


And you know, there maybe even more – versions from 1971 and recently on youtube.
Look up the Hoochmongers and the individual muscians too.

And this uniqueness has made them very popular with the major names of rock music having performed for the likes of Eric Clapton and Robert Plant. In fact Steve’s first gig with them during 1994 was just hours after he had auditioned to join them. This association with the band led to Steve having some particularly memorable moments. Crazy Legs was an album released by Jeff Beck and The Big Town Playboys during June 1993. It pays homage to the music of Gene Vincent and his Blue Caps who were a major influence on Jeff’s early career. Although Steve was not involved with the recording of this album he did join the band shortly after its release and was with them when they were invited to play at a surprise 50th birthday party for Jeff at his home in Kent.

With Jeff out for the day the band set up their equipment to perform in front of an audience that included Kate Bush, Queen guitarist Brian May, Paul Rogers who was the vocalist for both Free and Bad Company and Journey’s Neal Schon among others.

It must have been a quite intimidating experience but after the gig Steve got to discuss guitars and amps with Brian and Jeff, who went on to show him some of his own vintage guitars, and both Brian and Jeff complimented Steve on his playing. In fact Jeff Beck also attended some later gigs at the 100 Club in Oxford Street, London.

Steve was also a member of The Big Time Playboys when they performed as part of the wedding celebrations for Pink Floyd’s David Gilmour when he married Polly Samson at Marylebone Register Office during July 1994.

Of course this is only a snap shot of Steve Walwyn’s distinguished career. His first band “Hands Off” were formed while he was still at school. He then joined rock band “Chevy” in 1978 and it was at that point when he turned professional.

His next band was ‘The DT’s’ who he joined in 1982 and it was while with them that he played with the late Steve Marriott (ex-Small Faces, Humble Pie) from 1987 until joining Dr Feelgood in 1989.

Surprisingly, it was not until he was about 17 years old when Steve thought about learning to play the guitar. He had been inspired by many artists and records, but his main influence at that time were the likes of Rory Gallagher, Jimi Hendrix, Steve Marriott, Peter Green and other, mainly blues, guitar players.

Influences came from many musical styles as wide ranging as from classical to country, rock and roll, Cajun, jazz, and some folk music. But above all the blues is his number one musical love with Muddy Waters, John Lee Hooker, Howlin’ Wolf, and Robert Johnson being particular favourites. 

I HAVE always personally considered that it was mid 1963 when, from seemingly out of nowhere, a sort of musical explosion happened in Coventry.

Of course, this is not strictly true because a lot of the musicians and singers involved in this release of energy were already established and had actually been around the local circuit for some time. But it just seemed that a lot of events came together at that time which brought to the surface what was maybe a more underground scene.

There is no denying though that there was a fundamental change happening at that time. Rock ‘n’ roll was far from gone but, at the same time, a large amount of new bands were emerging, energised by the beat boom.

Legendary local promotion company, Friars, were growing and all of a sudden there were plenty of venues willing to embrace and introduce beat music into their own pub or club. By now this revelry was not just confined to weekends. Weekdays were now beginning to get busy as well.

And the Whitmore Park/Holbrooks areas of the city were, very quickly, at the centre of the action in the shape of two very contrasting public houses that sit barely a mile and a half apart. Already established as places for live music and entertainment The Craftsman, on the corner of Beake Avenue and Rotherham Road, and The Pilot in Burnaby Road became magnets for Coventry’s musical talents back then.

The Pilot opened in 1938, although it’s not clear if that also reflects the age of the building. Looking at an old 1936 Ordnance Survey map of the area the pub is not shown but it is there by the 1955 version. A building plan for the pub was approved on September 7, 1938. However, this is just when the plan was approved rather than when construction started.

The Craftsman opened in 1958 or 1959, the licence having been transferred from a pub in St John’s Street which had closed. Again this does not necessarily reflect the age of the building. The pub is not marked on a 1959 map of the area but is shown on the 1963 map of the same area. A building plan, dated December 1956, exists for the construction but again this is just when the plans were approved.

Pre-1963 and both pubs put on free and easies along with trios and quartets led by band leaders such as Brian Willis, Gordon John and Paul Leslie. Beverley Jones, from a very early age, would famously sing at Sunday lunchtimes in The Craftsman from early 1962.

But 50 years ago, from mid-1963, both these pubs were suddenly at the forefront of this new release of musical vitality. For a while during the first half of the 1960s both venues were among a whole host of Coventry pubs that were heavily used by Friars promotions for live gigs.

Initially 1963 saw The Craftsman bring in a resident band, Col Williams and the Easibeats, who would play several evenings a week. The other evenings saw regular visits by acts such as Tony Martin and the Echo Four, The Avengers and The Rave On’s.

Down the road at The Pilot a similar thing was happening with The Matadors and The Millionaires appearing there on a very regular basis in the up stair concert room. In fact The Matadors became a permanent fixture at the pub for several years.

1964 continued where 1963 left off with regular visits by Johnny B Great and the Goodmen, Beverley Jones, The Beat Preachers and Coventry’s first ‘Mod’ band The Sorrows. So popular were the bands that, over the weekends, you would have both lunchtime and evening sessions.

Maybe it is down to the geographical location of Whitmore Park/Holbrooks area and the fact that it is on the Birmingham side of Coventry but both venues even staged ‘Brum Beat’ nights Birmingham acts like Carl Wayne and the Vikings, Gerry Levene and the Avengers and Denny Laine and the Diplomats (complete with future ELO and The Move drummer Bev Bevan – Bev had been a member of The Diplomats around this time) regularly made the journey down the A45 to perform at both pubs.

Of course, both Carl Wayne and Denny Laine would each both reach even greater success with future bands The Move and Paul McCartney’s Wings respectively.

One of the problems with The Pilot however was the constant rowdiness and boisterous behaviour that the place seemed to attract and became renowned for. The doormen were always kept on their toes to avert any trouble. It did get to the point where the manager threatened to pull the bands in order to preserve his licence. Toward the end of the 1960s the live music, by way of bands, seemed to dry up at both venues and they reverted back to mainly free and easies for way of entertainment.

However 1969 saw The Pilot become a hub for growing folk music scene. An early resident band was Dando Shaft who appeared there many times prior to them releasing their albums and finding a wider audience.

By 1973 The Pilot folk club had formed and, although relatively short lived, it managed to attract many guests such as Jasper Carrott, Jake Thakery and Harvey Andrews.

Even the legendary Joe Brown and his band at the time, Homebrew, played a gig at the club. It became incredibly popular and regularly attracted three figures on club nights. But increased costs, imposed by the venue, soon put paid to the folk club and it moved on.

Like most pubs though, the 1970s and 1980s saw mobile discos take over and pushing out the live bands. That’s not to say that entertainment levels tailed off. There were still some memorable nights to be had at these venues. This brought many spin offs as each became very popular for wedding receptions and other family events.

Today the fortunes of each of the pubs seem to have gone in very opposite directions. The Pilot is still a very imposing building with huge potential but is currently boarded up and there is no denying that it looks very tired and run down.

The Craftsman, however, continues to thrive. It seems to have a really healthy passing trade and appears to be a fairly popular place to go at the moment. The function room with its extensive garden are used on a regular basis by organisations such as the ‘All or Nothing Scooter Club’ who hold their family days there.

And not forgetting the Saturday football special double decker bus that once took you directly from the pub to the Ricoh Arena – hope fully it will not be too long until that one resumes again.

THE YEAR of 1967 was a tremendously important one for rock music with the release of so many incredible albums and 45s.

Among the many great releases from that particular year were ‘Are You Experienced’ and ‘Axis Bold as Love’, both by The Jimi Hendrix Experience, ‘The Piper at the Gates of Dawn’ by The Pink Floyd and The Move’s then latest single release ‘Flowers in the Rain’.

From November 14 through until December 5, 1967 all three bands were a part of a package tour of the UK. They shared the bill with The Amen Corner, The Nice, Outer Limit and Eire Apparent and the tour, which was compered by Radio 1 DJ Pete Drummond, took in 31 shows across 16 cities.

And on Sunday November 19, 1967 the tour stopped off at Coventry Theatre for two shows. Jimi had been inspired musically by the blues and initially his success was in the UK and Europe. However, after appearing at the Monterey Pop Festival in California during 1967, his name quickly spread across his native America. Later on in his career, he would perform at the legendary Woodstock Festival in 1969 and the Isle of Wight Festival in 1970. Shortly after that Isle of Wight performance he died in London on September 18, aged 27.

The first of the two Coventry shows was scheduled to start at 6pm and the other began at 8.30pm. In terms of stage time The Jimi Hendrix Experience had been given a 40 minute slot per show, The Move 30 minutes, The Pink Floyd 17, Amen Corner 15, The Nice 12 and the others eight minutes each. The whole event had been described as one of the most exciting happenings to take place in the city since the visit of The Beatles a few years earlier.

More than 3,000 people attended the two houses. Apparently most of them appeared to rush the stage when Jimi Hendrix and his backing group ‘The Experience’ appeared while, those that didn’t, stood on their seats. Everyone was in great anticipation and they were not to be disappointed. Jimi was totally uninhibited and completely went for it.

His showmanship and musical brilliance shone through. Every trick in his book was revealed from playing with his teeth, or behind his back, lying on the stage. The result was a stunning, completely individual performance which included hits like ‘Hey Joe,’ ‘The Wind Cries Mary’ and ‘Purple Haze,’ and the wildest version yet of ‘Wild Thing.’ The Coventry Telegraph reported at the time that he had ‘mixed pop’s new sounds with the rawest of blues combined with a brilliant musical technique. He can play guitar better, with it behind his head, than most with the guitar in the more ‘conventional position’.

The same Telegraph report was, however, not so complimentary when it came to The Pink Floyd. The same report continued ‘but the teenagers who had stood on their seats for Jimi Hendrix were unmoved – and I guess somewhat bewildered – by The Pink Floyd, a group for whom the new wave is more of a spring tide. The Floyd’s extended instrumental/electronic experiments were fascinating, almost hypnotic, but unappreciated by an audience probably expecting their hit tunes’.

After a bit of research I believe that The Pink Floyd performed two extended tracks on the tour. The first was a piece called ‘Take up thy Stethoscope and Walk’ and the second being ‘Interstellar Overdrive’.

The Pink Floyd’s iconic leader Syd Barrett had been in very poor shape at the time of that 1967 tour. The band had just returned from a disastrous tour of America where his problems had really begun to surface. Syd’s personal issues had caused the band to arrive late at pre-arranged dates and the cancellation of several concerts. Where he did appear he would stand motionless and simply stare into space. In the words of the band ‘he was unable to function’.

I may cause some disappointment and debate here but after reading several books and interviews with those involved in this tour, I am convinced that Syd did not actually play at those Coventry Theatre gigs at all. I am certain, in my mind that, the guitar player under the floppy hat that night was actually Davy O’List of The Nice. In a recent interview with Davy he alluded to how he had deputised for Syd on the tour: “We were kind of similar in build and had similar length hair so the image fitted. We played the same colour Fender Telecaster so the image fitted. And when I came on girls began screaming loudly and I was convinced I would be recognised from being on stage earlier with The Nice.”

Of course, I might be totally wrong in my assumptions but, ultimately, those previously mentioned issues led to Syd being replaced in the band by David Gilmour early in 1968.

Birmingham band The Move got a warm reception and their set did include their top ten numbers ‘I Can Hear the Grass Grow’, ‘Fire Brigade’, ‘Night of Fear’, ‘Something Else’ and ‘Flowers in the Rain’. Carl Wayne, the group’s bass player, was no stranger to Coventry.

He and his band The Vikings had performed here several times prior to forming The Move.

Both The Nice and The Amen Corner were also highly praised for both of their sets. The Amen Corner included ‘Gin House Blues’ and ‘Bend Me Shape Me’. And, in particular, the group’s fine lead singer Andy (Fairweater) Low was singled out for special praise as his vocals on ‘World of Broken Hearts’ brought a section of the audience to fever pitch excitement. The Nice, whose classical influences gave them a more avant garde feel and who were a precurser to Emerson, Lake and Palmer performed ‘The Thoughts of Emerlist Davjack’ and ‘Rondo’.

Nowadays, I guess, it is hard to imagine three or four of the biggest acts in world music appearing on the same stage at a humble venue a short bus ride from where you live. But it did used to happen.

And during the 1960s music fans were blessed that these artists brought their music to the masses by turning up in their towns and cities to play at the local cinema or concert hall.