It’s amazing where an article can lead you. I recently wrote a piece on Nuneaton bands and have since been provided with further valuable information. So I have tried to collate it all.

Max Hollyman needs little introduction to those who have followed the local music scene. For at least five decades Max, from Nuneaton, had either performed or promoted music.

One of Max’s earliest bands were the Demons but this piece, first written during May 1967, documents another, The Orphan Clyde:

Note the name, The Orphan Clyde. For this Nuneaton pop group, made up of five local lads, is certainly going places. On Monday the Clyde, barely five months old, set off on what they hope will be the road to success.

For the ambitious five are turning professional and going to try their luck on the West German club circuit, which has been the foundation of many of Britain’s top pop groups – including The Beatles.

The Orphan Clyde consists of Max Hollyman – vocalist, Barry Spruce – the organist, drummer Kevin Smith, lead guitarist – Dave Walbyoff and Mick Harris who is bass guitarist.

And already this bunch of young men have their sights focused on fame and glory. But who can blame them? For just look at what they have lined up in front of them.

Possibilities of television appearances and a recording session while they are in Germany.

• Holiday bookings in Skegness when they return home.

• They had a song written for them and are going to make a demonstration disc in Jack Jackson’s studios, London, to send to the record companies.

• High hopes of a return visit to the German scene

The night when things really began to happen in a big way for the Orphan Clyde was two months ago when they played an audition for Darvill Entertainments of Nantwich, Cheshire. The agents liked what they saw and immediately booked them for the continent.

Since then the Nuneaton lads have never looked back. They have a manager, Alan Hale, ‘who’, says Barry Spruce, ‘has been a tremendous help in organising the tour’. Hale used to be in charge of The Chuckles pop group and adds Spruce ‘His experience has been invaluable’.

In fact Hale has been working very hard over the past few weeks to put the Clyde on their feet to success and has already been over to Germany to check and finalise arrangements and also fix up a return trip for the group.

When they leave on Monday the Clyde will be spending a month in Europe. They have fortnightly dates in both Berlin and Kiel. ‘This is more or less the same circuit that The Jones’s another, Nuneaton group, did a few months ago’ said Max Hollyman. ‘But they did Hamburg instead of Berlin’.

Since that night in Nantwich, everything has looked up for the Clyde. Their bookings have increased and also moved into a higher class.

‘We do a lot of work around Birmingham and Leicester’ said Hollyman. ‘And a few weeks ago we played on the same bill as Dave Dee at the Plaza Ballroom, Handsworth’.

Hollyman continued ‘We have also a good following from the Stockingford and Arley areas. About a month ago we did a show in Cheshire and their were a couple of dozen Nuneaton people there who had travelled especially to see us. And then we played Rugeley and again there were a number of our own followers in the hall’.

Only one member of the group, Mick Harris, has not had previous experience in the pop world. Hollyman has been vocalist with The Travellers, who went to Frankfurt three years ago, and The Demons and he have also recorded a single for EMI which was the English cover version of Elvis Presley’s ‘His Latest Flame’. But it was never actually released.

The Orphan Clyde existed between 1966 and 1968. They started out playing venues like The Arley Miners Welfare Club and The Nags Head in Nuneaton. One of the last dates I have recorded was at The Sportsmans Arms up on the Birmingham Road.

1967 has often been called the best year in pop music. It was the year of the concept album and, additionally, so many fantastic singles were released. It was also a big year for Nuneaton band The Jones’s.

The Jones’s success story, in their then format, had began exactly a year before during early 1966. Mick Broadhurst, Dave Simpson and Alan Hankinson wanted to form a group and joined up with Bob Price and Roger Prince of the former Jones’s. Previous members had included Norman Parkes and Roger Price.

Mick’s brother Barry joined them as road manager and they played in and around Nuneaton. Particularly at venues like the Holly Bush and the Nags Head on Queens Road. They became popular in Warwick and, just recently, have been making their name in Coventry and now even London.

The Jones’s had a dress sense and a sound to match the ambitious times. And their popularity has taken them all by surprise and they are now looking forward to a successful tour and a good number to record when they come home.

The following is an account of how they secured a tour to Germany and how it was told by the local press during January 1967:

‘Keeping up with the Jones’s is becoming increasingly difficult these days. In fact, fans of the Jones’s – the local pop group – will be left far behind next month, for the five lads are off on a tour of Germany. This weekend they will pack their bags, board their van and make tracks for the south coast. A short boat trip across the channel, and a journey across the continent will get them to Kiel in Germany in time for their first booking on February 1st

But their faithful fans who have followed them all over the Midlands will be happy to know that they will be returning to England in March and will be planning to cut a record.

The five are Dave Simpson – drummer, Alan Hankinson – guitar and vocals, Bob Price – vocals, Mick Broadhurst – bass guitar and vocals and Roger Prince – guitar and vocals.

The group have now al turned professional and are managed by Bob Wilkinson of BMA productions, Bedworth. After being spotted they were immediately booked for the tour of Germany.

For the occasion they have brand new equipment and new stage clothes. They play in white regency suits with dark shirts.

When they arrive in Germany they will live in at the first club and will probably stay there for the first week before moving on. All their bookings are being arranged by their agents’.

After returning to the UK The Jones’s appeared to play more often in Coventry than Nuneaton. They regularly visited venues such as The General Wolfe, The Newlands, The Plough and The Cheylesmore. Yet despite securing support slots for band such as The Who and The Kinks, The Jones’s kind of disappeared at toward the end of 1967.

It could be argued that the highest achieving musical artists live by a different set of rules. There are so many common trappings and artists, who refuse to fall victim to them, find it key to those achievements. They also refuse to be known as a one trick pony. Additionally, true artists do not let others define their success. They do what they feel is right for them.

Like David Bowie, Kate Bush, Prince and others, Steven Wilson has created his own musical genre. And during his 30 year plus professional career Steven has continued to pull in all kinds of fans, at different times, from across the entire spectrum of music. Additionally, his reach has gone worldwide. And, as such, each of Steven’s album releases tends to come with endless controversy and debate.

With each change in direction – which to be fair, Steven has done throughout his career, this is certainly not a new phenomena – has brought with it more than its fair share of destain and criticism.

With all that said, his latest release, ‘The Future Bites’, has seen Steven Wilson, in a sense, going full circle?. After all his first venture as a professional musician was with the more pop art oriented No-Man. And, of the tracks that have been drip fed so far, kind of suggests he is back in that field again albeit with the use of state of the art technology.

Steven has recently invested in a lot of different keyboards. And, for this project, Steven has moved away from the guitar. During a recent interview Steven admitted to getting bored with the guitar sound and, with his abilities, having taken the instrument as far as he could. And he is right. Most guitar based rock music is a variation of a previous theme. Its all been done before. That’s not to take away the fact that some of it is still very good.

Influences have tended to dominate Steven Wilson releases. Just look at his playlists prior to an up and coming release. The last few years has also seen Steven being more impressed by individual songs and not so much from albums.

And these are the latest influences Steven seems to have taken on board for his latest release which is an exploration of the brain in the internet era. Why do people, for example, put stuff in their shopping basket but not pay for them?. And how has the algorithm been subtly allowed to control our thinking – more so than our political leaders?. ‘The Future Bites’, according to Steven, has been designed to create a mood and not a story.

The recent single ‘Eminent Sleaze’, is very electronic with programming and processed vocals. As is another drip fed track ‘King Ghost’. But you need to hear the dropped out tracks within the context of the full album, to get the full effect, as they definitely grow on you after multiple listens. So for ‘The Future Bites’ Steven has drawn from the music of the now and not the past. It is less rock and more contemporary electronic. And, despite an abundance of bonus tracks the basic album is back to the good old fashioned forty minute format.

‘The Future Bites’ also has a more punchy sound. In part as it has been mixed by producer David Kosten who is well known for his work with the likes of Bat For Lashes, Everything Everything and Guillemots along with his own project Faultline

Recently, more contentious tracks, such as Perfect Life, Lazarus and Permanating have proved to have had the highest number of streams. But then come the one track critics. Maybe it is deliberate, maybe in this digital age, this is how music is promoted. But I do think that the time for drip feeding tracks should end. It would be good if artists, like Steven Wilson, just released an album unannounced. No slow burn or build up or releasing of individual tracks, no prior promotion.

‘The Future Bites’ is being released in Dolby Atmos. Put simply, this is the next step up from 5.1 surround sound. Dolby Atmos is 7.1.4 with the 4 being the number of speakers above your head. And, this album is one of the first of its kind. Trouble is though is that smartphones do not have access to multiple speaker placements. And that medium is how a lot of folk listen nowadays.

Touring his last album ‘To the Bone’ lasted the best part of eighteen months. It lasted for 145 concerts, taking in over 30 countries and over 100 cities around the world. It also saw Steven appears to be more comfortable in being the centre of attention. His reluctance to do so in the past was down to the fact that his early influences were bands like Pink Floyd who, as individuals, tended to shun the limelight. Going forward, and when the pandemic allows, Steven intends to play fewer shows but in larger venues.

Steven Wilson stresses he does not want to offend anyone by the style of music the album takes. But at the same time the listener needs to respect Steven’s right to evolve in a way he sees fit to. That is his right as an artist. Your choice as a listener is to whether to buy or not. The Future Bites, which seems to have been around for an age now, eventually sees day of light during January 2021.

It really is great to see indoor live music making a comeback in Coventry. And leading the way for the return of these events is the Arches Music Venue based in Spon End.

I am truly pleased, not least, for the musicians who must be incredibly relieved that the restrictions have finally been lifted slightly enough to get, some of them, out there again. It has been an incredibly frustrating period of inactivity for them.

Musicians, I guess, just want to be in a band and perform live. Just being able to play with some mates again. For some it is a full time job accepting any kind of work in order to pay the bills. I guess, at this time also, is when the realities of being a musician kick in and, suddenly, those initial dreams take a change of direction. There is always, however, a desire to really try and understand the tools for improvisation and composition, and the ongoing personal challenge for improvement as a musician. So do not be under any illusions, being a musician can be a tough life.

The current rules are far from ideal. And dedicated music venues have been given slightly different guidance to that of pubs, bars, social clubs and restaurants which now have the strict 10pm closure times. A band can carry on till 10:15pm/10:30pm then everyone has to leave. Last orders from the bar is around 9.30pm.

As such, in order to allow for support acts and to comply with the requirements, recent headliners Blues2Go had to cut down slightly on the number of songs played during a 2 set schedule. But that’s not to say it impaired on the enjoyment level. Not in the slightest. This was a tremendous gig. It was as if the band had never been away. It all ran well and, as an added bonus, it completely sold out. It is certainly what the music loving public want and are more than prepared to tolerate.

Be warned though, buying advance tickets could be essential. As mentioned, it was a sold out event and several people were left disappointed at not being able to gain entry at the door. The audience was relatively small but well behaved and totally into what was happening.

The gig itself featured the quartet of vocalist Al Maynard, bass player Horace Panter, drummer Rick Medlock and lead guitarist Pete Gardner. Between them they re-energise the music of Cream, Jimi Hendrix, Etta James, BB King, Elmore James and many more. And it was certainly evident that they had missed their time away from the stage. That special feeling of magic that permeated through the crowd. It was clear that these guys were back doing what they love and, indeed, what motivates them.

Post gig comments certainly confirmed the joy of being back………..

‘Doin’it for the first time in a long time last night in soggy Coventry. Big thanks to everyone who turned out. The good times definitely rolled!’

‘Fantastic gig and absolutely fantastic to play live again’

‘First indoor live gig I’ve been to in…er…I can’t remember how long’

‘Social distancing or not, it was great to see these awesome guys doing their thing to the appreciative “sell out” crowd. Hopefully a longer set next time’.

Small steps I appreciate but lets hope it keeps going. Its what the musicians want and its what an audience requires and its what Coventry needs.

There is an often used expression along the lines of ‘you don’t know what you’ve got until it’s gone’. And this, I think, has applied to the music scene. In all truth, you knew what you had, you just never thought you’d lose it. We take things for granted on a daily basis, always with the assumption that whenever we need something, it will be there. But this pandemic had all but killed live music.

So when I heard that Stone Foundation were playing a series of indoor gigs at the Queens Hall in Nuneaton I was quick off the mark in securing tickets. It was certainly my first indoor gig since lockdown began. In fact this, as I understand, was one of the first in the country. A lot of stops were pulled out by venue in order to just put these gigs on. For example, tables were laid out with sufficient distancing and everyone entering had temperature taken. And, to be fair, it has to be said that the vast majority of the audience respected the rules. Having said that, since these gigs, the rules have been tweaked again.

The first night of these three special gigs was excellent. It was quite clear from early on that this eight, occasionally nine, piece band had missed live performance. As had the audience of course. Stone Foundation, who had not played since March, gave us a continuous set split into different sections. The first section saw the band perform the whole of their new album ‘Is Love Enough’. This was immediately followed by a ‘favourites’ section that included ‘The Limits of a Man’, ‘Back in the Game’, ‘Season of Change’, ‘Simplify the Situation’ and a host of other great songs. And, finally, there were several encores that included a couple of crowd warming covers.

For many and varied reasons Paul Weller is not an artist who needs to offer his services in collaborating with just any group. In fact it all began when Paul Weller approached the band to add their talents to one of his tunes. And now, as he was on the bands previous release, ‘Street Rituals’, here is Paul once again featuring and collaborating on Stone Foundation’s latest release, and where the band pose the question, ‘Is Love Enough?’.

Additionally, Stone Foundation have also managed to secure the services of the likes of Mick Talbot, Steve White and a host others. Such is their ever growing reputation. ‘Is Love Enough?’ continues their fruitful collaboration with Paul Weller who produced 2017’s ‘Street Rituals’ and played on 2018’s ‘Everybody Anyone’.

‘Is Love Enough?’ is the band’s sixth studio album and was recorded at Paul’s Black Barn Studios. This time however it has been produced by Stone Foundation’s founding members Neil Jones and Neil Sheasby.

To give a fuller picture and to leave the reader under no illusions, in order to make the gigs work, they were rolled out over three nights with a reduced capacity. Ticket prices also had to be increased from where they would normally be. The band, as I understand, earned over the course of these three night, what they would normally have done in a single night. Such are the strange times we are currently in.

The accompanying postcard, that was bundled together with the album, and signed in one corner by David Longdon just spoke volumes. It was a lovely item to be included but there just seemed to be this large gaping void that was yearning for another name.

Of course Judy Dyble is no longer with us, or is she?, but what a way to bow out. What an incredible legacy she has left us with. Along with David Longdon they have created this magnificent release. This is far more than just a beautiful album musically, it contains some incredibly personal and haunting lyrics. It really is a wonderful meeting of minds.

During the albums making a tumour was taking away Judy’s breath and, in a blog by friend, author and artist Jackie Morris, it is mentioned that the pair would discuss the breath of life and the spaces in between. They became fascinated by the phrase ‘Between a breath and a breath’. And for Judy, as far as this album is concerned, it seems that between a breath and a breath was where her magic lay.

David Longdon has mentioned that the album had its challenges. And now, understanding a little more about how the title was arrived at, certainly gives you a greater insight as to how demanding it really must have been. I cant help thinking it all involved a great deal of patience.

The album kicks off with Judy questioning the astrologers, in reference to love, she uses phrases like ‘Oh stop it now’ and ‘That is a cruel joke to play’. Given the love and praise being heaped on this album then maybe the astrologers were right after all.

But, for me, it is the song ‘Tidying away the pieces’ that stops you in your tracks and really makes you focus on the lyrics. It is devastatingly honest and frank. The words created by Judy really do lay it all out there. She is somehow putting things in order and, at the same time, covering up any frustrations. The album signs itself off with Judy questioning ‘For what will be the next adventure, should there be such a thing’.

In one of those bitter sweet phrases David Longdon describes, when he listens to the record, to an episode of Randell and Hopkirk deceased where David is the surviving one. He feels Judy’s presence. I really cant imagine how difficult it must have been for David to put together this album. It must have taken an incredible amount of resolve and effort.

Sadly this project is now all over before it has really begun. It is only ever going to be a one off project but what a special one it has been. The pair, by all accounts, met in 2015 after Big Big Train gig at Kings Place after being introduced by violinist Rachel Hall.

Even the albums sleeve has paid particular attention to Judy’s life. The beautiful front cover painting is of things special to her. And then the gatefold sleeve reveals the pair sat by a fireplace illuminated by a Tiffany lamp. On the mantelpiece is a coat of arms and a grey photo of the Marx Brothers. So it is a kind of pastiche towards the Fairport Convention album that Judy appeared on.

Leaving the final words to David, during a Q+A, he alluded to things he had learned from Judy. These included to always have fun, not to take things too seriously, always make time for silliness, don’t worry about the things you cant change and to learn that, one day, we have to let go of life and the things we love. Judy Dyble was a very pragmatic and amazing lady.

It is only right, as I delved into Jackie Morris’s blog for understanding the albums title, that I mention her recent book where it was derived, ‘The Unwinding’. Again, I have borrowed phrases within it. It is a book for dreamers. It is an unwinding of the soul, when the pressures of work were too much. The aim of the words and pictures is to set the reader’s mind adrift from the troubles of our times, into peaceful harbours where imagination can stretch, where quiet reflection can bring peace.

Its difficult to imagine that there was a time when most towns and cities produced some really good bands. This was during the late 1950s and throughout the 1960s.In part, this was thanks to when radio was king and rock ‘rock’n’roll was filtering through the airwaves. Not all the bands were household names but those with long memories, and who live in the North Warwickshire area, will certainly remember names such as The Reason, The Puncture Outfit and The Jones’s to name but three.

In fact all those bands mentioned were from Nuneaton and one of the musicians central to the scene back then was guitarist Keith Bates. And Keith, as best as his memory serves, has provided me with a wealth of fascinating information about these bands.

As a touring musician Keith Bates played all over the Midlands, at a lot of top venues, with the various bands he was involved with. These included The Co-op Hall Nuneaton which was once, a major Midlands venue, and which Keith played dozens of times. He also appeared at venues like Kettering Town Hall, The Makadown, Crown and Cushion, The Lyndon Tree, The Rum Runner, Smethwick Baths and Handsworth Baths all in Birmingham.

Nearer to Coventry Keith’s bands played The Pilot in Radford, The Navigation on Stoney Stanton Road, The Griffin Inn in Foleshill, The Parkstone Club and The Banba Irish Club (Treetops) both on the Foleshill Road and many more.

Keith’s earliest days on the circuit involved his first band was The Critics 1963/64. The Critics featuring Dave Dyed on Drums Len Bailey on Bass , Alan Wright on Rhythm (replaced by George Beardmore) Keith Bates lead guitar, and Johnny Thompson on Sax

The Critics evolved into The Chuckles around 1965. This band were almost as above. Dave Dyed, George Beardmore, Len Bailey along with Barry Spruce on keyboards formed The Chuckles who, for a while, became the late Gene Vincent’s backing band when he toured the UK.

Next up for Keith Bates was The Agents 1964/65, aka Dave Burns and The Agents. This line up was made up from Keith Bates lead guitar,Terry Hamilton on vocals, Clive Ellams drums, Colin Bonsor bass, Alan Hankinson rhythm guitar. When The Agents broke up, the late Alan Hankinson along with the late Dave “Spud” Simpson on drums, accompanied by Rob Price on vocals, the late Roger Prince lead guitar and bass player Mick Broadhurst formed The Jones’s during 1965.

At the same another Nuneaton band,The Puncture Outfit – formed around 1965 – began playing the circuit. The Puncture Outfit line up was Roy Bartram vocals, Johnny Gibson lead guitar, Johnny Varden rhythm guitar and vocals, Fred Burrows bass and Alan Jones on drums.

Around this time the music was changing from beat to more r ‘n’ b and a ‘Mod’ scene was taking off. Nuneaton pubs such as The Nags Head, The Weddington, The Corner house and The Holly Bush were quick to hold ‘Mod’ dances.

This change in direction meant a change for The Puncture Outfit and they became The Reasons. This was when Keith Bates joined replacing the late Johnny Gibson. ‘The line up was the same, said Keith’ but prior to Johnny Gibson there was a guy called Mel Sheasby on lead guitar and that is as much as I remember of that band’.

The Reasons existed between 1966 and 1968. When Keith joined them the line up was Roy Bartram vocals, Keith Bates lead guitar, Johnny Varden rhythm guitar and vocals, Fred Burrows bass, Alan Jones drums. And, for a while, The Reasons, worked for Dot Calvert out of Clifton Hall, Rugby who provided the band with gigs.

When Keith left The Reasons, he went on to do some session work. He was replaced in the band by a guy called Pete Kirkham. And then drummer Alan Jones left the band and he was replaced by a drummer called Pete Simpson who has since sadly passed away.

For a while Keith Bates also played with Roye Albrighton when an early band of Roye’s, The Hells Angels, first took off during 1965. Hells Angels existed till around 1967 and, although never a full time member of the band, Keith remembers Roye with much affection. ‘He was such a lovely guy’ says Keith.

In addition to Roye The Hells Angels included Frank O’Sullivan on vocals Robert Hodgkins rhythm guitar, Roger Hodgkins on bass and drummer Barry Llewellyn. Coventry’s Bev Jones joined Hells Angels early 1967 for a while.

Nowadays Keith Bates has a small studio where ‘I emulate Hank Marvin, and give lessons to a couple of Hank Marvin nuts’. Keith is also related, through his Grandmother, to Mike Malyon who was a sports reporter with the Coventry Telegraph and who has written extensively about Larry Grayson. Mike’s grandmother was Keith’s grandmother’s sister.

Many thanks Keith for all of this valuable information and for sharing his memories !.

Cover of Sandy Nelson’s ‘Let There Be Drums’ to say thank you to the NHS

Times are tough right now. Many are coping with it all ok. Some, I have been told on several occasions, were born for lockdown. But there is no denying that everything feels slightly uncertain. And there is no doubt that this worldwide pandemic has had far-ranging and devastating effects on people’s lives. And this will continue to do so for years to come.

In some ways physical distancing is bringing us closer together. And little by little we are learning to adapt to new ways, such as working from home, not a new phenomenon but one which has seen a huge take up in recent weeks.

It seems that working from home has also begun to apply to musicians who are coming up with their own unique way’s of continuing what they love and enjoy. And, of course at the same time, spreading much joy to others.

I began to notice it during April when a video began to circulate of a cover of the Sandy Nelson classic ‘Let There Be Drums’. Its purpose, as I understand, was to show solidarity with the NHS for all the brave and outstanding work they were doing back then, and continue to do today.

Retitled ‘Let There Be Life’, this cover featured a cast of many that included a host of local musicians including Steve Walwyn, Ted Duggan, Horace Panter and Pete Riley. It really was an uplifting listen.

Other home movies watched with anticipation were those produced by guitarist Steve Walwyn. During late Spring and on into Summer Steve introduced the viewer to eight of his own favourite artists. Those who had helped form and shape his own musical tastes. On a different guitar for each artist represented, and in a different location throughout his house, Steve walked us through the music that has stayed with him for life. Of course, each story came with an accompanying soundtrack and anecdotes. A recurring expression Steve used was ‘this blew me away’. And as an avid viewer that expression was kind of how I felt. For those interested Steve’s choices were:

1 I Say a Little Prayer – Aretha Franklin

2 Don’t Waste My time – Status Quo

3 Black Coffee – Humble Pie

4 Laundromat – Rory Gallagher

5 Black Dog – Led Zeppelin

6 Jessica – Allman Brothers

7 Oh Well – Peter Green

8 Like a Rolling Stone – Bob Dylan

9, had there been a number 9, may well have been Blind Faith and ‘Cant Find My Way Home’ as Steve mentioned it had just failed to make the cut. As a postscript Steve concluded the series with some slide guitar.

Along with the magnificent Holly Hewitt and bass player Craig Rhind, early August saw Steve complete a trio performing a barnstorming set from his back garden. With a background of light drizzle the set included Voodoo Mama, Little by Little, My Chauffeur Blues, Fool, I Got My Mojo Working and is well worth a watch.

The working from home theme continued into September as another of Steve’s bands, The Dirt Road Blues Band, another trio and featuring Horace Panter on bass and Ted Duggan on drums, reconvened after a year apart. Again the setting was Steve’s back yard.

These boys aloud, as neighbours have seemingly re-christened the band, performed four tunes. ‘See That Grave is Kept Clean, Second Hand Man, Tulane and Laundromat. Again, accompanying the videos, you can find some background information and anecdotal information.

I can’t imagine the frustration being felt right now by musicians. But these lockdown sessions have been an absolute delight for us listeners. And well worth getting on to youtube to check it all out. It can do absolutely no harm. In fact it can bring on many positive effects. Thanks.

Finally, Robert Plant, if you happen to be reading this – you still owe Steve Walwyn and the DT’s a support slot.

Kids eh, who’d have em?

I don’t know. You meet a partner, fall in love, maybe marry them and, quite often, raise a family. And then you spend the rest of your time worrying about that family. Their well being, their security and, in general, the world you have brought them into.

The last few albums that have been released by Bruce Soord, either solo or with his band The Pineapple Thief have, I think, tended to reflect these issues.

During 2018 the band released ‘Dissolution’ which looked at the issues around social media and the internet. Then came Bruce’s solo album ‘All This Will Be Yours’, released during 2019. This is where, as a father, Bruce is almost guilt ridden for bringing children into this world.

And now his latest release ‘Versions of the Truth’ addresses the manipulation of truth and getting a narrative to fit your own agenda.

To be fair Bruce Soord has always written about matter of the heart. But it could be argued I guess that this particular theme, where Bruce appears to have delved deeper with a more incisive examination, began with his first solo album. That was a huge personal statement about how his life had changed and what had become of the corner of the world where he lives.

Within that album is a pair of bookended songs where, initially, a child is being spoken to by his parent. The next tune sees that child now having their own family and, in turn, speaking to their own children. These are truly touching songs.

Musically, ‘Versions of the Truth’, is as Bruce has already mentioned, a complete band effort. It is quietly dynamic with a highly polished and, to be quite honest, a flawless production level. The thing now is not to expect a new release to be comparable to the last.

Each of the musicians having been given a chance to reveal more of their own talents. Gavin Harrison’s unmistakeable rhythms clearly cut through a good portion of the album. But listen closely to the bass and keyboards and you will hear some wonderful and incredibly complex elements. Bruce Soord’s driving guitar has taken more of a back seat but has been replaced with more delicate subtleties. The album is choc full of complex and intricate rhythms that compliment the lyrics yet, at the same time, made to feel effortless.

So far I have found that this album is most enjoyable under headphones and the volume quite high. By detaching yourself you kind of become more of a part of the album. The atmospherics are more revealing and dynamic.

All parents suffer similar concerns and worries to greater or lesser degrees. I certainly have done. But things do change. Life does get easier as time goes on. With all its imperfections, your family does adapt to the world they have been brought into. They are tougher than you imagine. Quite often they become stronger than you ever expected. And, as time goes on and they have responsibilities of their own, the boot can gradually move to the other foot as much that they begin to worry about you. But deep down, they are still your family and the worrying never quite comes to an end.