When I realised that Hawkwind were touring to celebrate 50 years of the band, my first thought was, wow, where did that go. After all, I and countless others, have followed the band for a good proportion of that time.

Hawkwind, of course, were pioneers of giving you more than just performing a set of songs. They brought drama and lights. Stage dancing and stage creations.

But it has not been an easy ride for Hawkwind. Despite charting albums and well attended gigs they seemed to lumber from one financial crisis to another. Some of it their fault, like wasted money. Some of it not like the time they lost a load of uninsured kit, leaving the band equipment less.

The gig itself, teleported to The Empire – the old Paris cinema – after the demise of the Leamington Assembly (which, I am glad to report, has now reopened), was career defining and evoked some wonderful memories, as Hawkwind found time for many old crowd favourites.

They opened with ‘Motorway City’. I remember seeing Hawkwind perform that one at Tiffany’s when Ginger Baker was in the drum seat.

‘Silver Machine’ was also given an outing. As was ‘Born to Go’. This was originally a part of the Space Ritual set that kind of broke the band to a whole new level back in 1972.

Following an incredibly busy touring, schedule that included a couple of gruelling tours of the US, the band returned to the UK to tour Hall of the Mountain Grill album during 1974. This included a visit to Coventry Theatre and I remember there being a lot of interest in the gig. So much so that I spent a night outside the box office, in a sleeping bag, in search of tickets.

‘Spirit of the Age’ was another old fave. This time however, I popped across to Birmingham to see that particular supporting tour. I can still see Bob Calvert providing the vocal to this incredible piece of Hawkwind history.

‘Assault and Battery/The Golden Void’ from the Warriors on the Edge of Time album wrapped up the set before the band returned to the stage for their encores.

These included ‘Hurry on Sundown’, from Hawkwind’s very first album release and ‘Master of the Universe’. ‘Hurry on Sundown’ was one tune which I, personally, cannot recall ever hearing live before.

All Hawkwind tours have a concept, and this one is no different. Gone are the lavish stage productions of old but the lighting and backdrops were still quite impressive throughout. The theme and visuals for this particular one is based around extinction. And in-between the above mentioned classics is a good selection of songs from the recent chart entering album ‘All Aboard the Skylark’.

A totally enjoyable evening for many reasons. And, given the healthy audience size, Hawkwind proved that they can still create a lot of interest. Thanks for the memories and here’s to the next 50 years.

On first listen I was immediately cast back to a time in the mid 1970s when, I was listening to styles of music, I would not admit to to some of my friends and peers. Although I suspect they knew.

Despite my love for progressive/underground music I did have a penchant for Chic, Donna Summer and others. And, on occasion, I didn’t mind a visit to the disco.

‘Love to you to Bits’ was a totally surprising listen. But should it have been?. Via a video, promoting the album, Steven Wilson revealed that the roots of this release had been conceived some 25 years earlier.

This would have been around the time of the ‘Flowermouth’ album released during 1994. I was curious as to whether this was before or after ‘Flowermouth’. So I took the liberty of asking vocalist, Tim Bowness, direct. He said:

‘From memory, LYTB (the opening song section) was written in 1994 after the release of Flowermouth. At around the same time, we also wrote the beginning of what became Lighthouse. Both songs developed and changed over the years and the album of LYTB features a great deal that was written over the last year’.

Around a year after ‘Flowermouth’, and before the more hard edged ‘Wild Opera’, the band released a cassette (later a CD) called ‘Flowermix’. This was a more dance/ambient oriented release. So the seeds of LYTB kind of fits to that time.

Moving away from the over-riding beat I was also curious to learn more about the lyrics. To me they seemed to be about some kind of romantic tragedy. But given the style of music I was also getting a vibe that the lyric might be about the death of disco itself. Tim also kindly enlightened me:

‘Lyrically, the idea is to cover the aftermath of a relationship from the perspectives of both participants as well as the third perspective, which is the one they share (but can’t discuss with one another because communication has broken down). On the physical formats, the lyrics are colour coded so you know which voice is talking. My other hope was that I could capture the optimistic beginnings (thereby giving the piece more of a sense of light and shade). If it has a metaphorical aspect, in some ways it could also be read as a depiction of the creative death of a band,

Weirdly I did write a song about the death of disco called The Death Of Disco Dottie with Centrozoon in the early 2000s’.

Again, and away from the main theme, there are many incredible solo moments woven into it all including a particular delicate few minutes from a brass band. It all works together wonderfully well.

no-man are a pop art band. With no real boundaries. Expect the unexpected from them. Personally, I must say that this record is like a breath of fresh air. The story line is particularly engaging. I love it to bits.

With thanks to Tim and Steven.

An article about The Mercers Arms pub, close to the old Highfield Road stadium, was recently released onto a Coventry Facebook site. It appeared to attract quite a bit of interest. Repeatedly though, comments were appearing about The Yardbird Club.

I can recall The Yardbird Club as being held at the Mercers during the mid to late 1970s but some of the comments seemed to suggest that the club existed during an even earlier time. And, as it turns out, they were correct.

It appears that The Abracadabra/Yardbird Club  first opened its doors, some sixty years ago, during early 1959. It began as a jazz club, held on Sunday evenings, in the concert room at the rear of the pub. The opening night showed the clubs ambitions as the guests that evening were Ronnie Scott and Tubby Hayes.

It was a certain Harry Flick who used to organise the events. And I say ‘a certain’ as I recognised Harry’s name from a recent book about drummer Ginger Baker. It turns out that Harry had promoted one of Gingers old bands, The Graham Bond Organisation. He even put on their second ever gig at The Yardbird Club. The bands debut had been at Klooks Kleek in West Hampstead.

The book says ‘Our very next gig was in Coventry for the promoter Harry Flick. He was a big jovial bloke who got us loads of gigs in the Midlands and was rather fond of a joint. He would take a long hard toke and say ‘where’s it all gonna end fellas? Where’s it all gonna end?’ before he exhaled’.

It is clear that Harry had connections. For example, if the Johnny Dankworth Orchestra were in the area then members of that group would guest at the club. Such as Danny Moss sextet or The Dankworth Four.

Also guesting during the clubs opening year were the likes of Ronnie Ross and Allan Ganley who, during September 1959, also appeared at the Newport Jazz festival.

It does appear that, from its opening night, the club was a huge success. And this had me wondering if Harry had been an influence on Ronnie Scott when he first opened his club in London towards the end of 1959.

Other key figures such as Jamaican born jazz musician and a pioneer of free form, Joe Harriott, also starred. This meant that, almost certainly, legendary drummers the calibre of Phil Seamen would have appeared on stage as he had been in Joe’s band.

It looks as though all formats of jazz, trad through to rag time, were covered as, in later years, guests included the likes of Pete King (Ronnie Scotts partner at the London club), Terry Lightfoot, Mick Mulligan, Eric Allandale, Harold McNair, Ken Colyer, Mike Cotton, Georgie Fame and a whole host of others.

The Abracadabra Club, in its initial format, ran until around 1964. After this it became known as The Yardbird Club. This was until activities appear to have concentrated more on the already established Leofric Hotel Jazz Club. Also, as I understand, organised by Harry Flick. The Yardbird Club as I remember, was it seems, a revival of the name.

It certainly appears that I cannot overstate the importance of The Abracadabra/Yardbird Club. Sixty years ago it must have easily been one of the most important outside of London.

He passed away a generation ago but the music of John Lee Hooker still lives on through commercials, TV shows and dozens of films.

I recently attended an interesting, insightful and incredibly honest question and answer session, at the Coventry Music Museum, involving former Specials guitarist Roddy ‘Radiation’ Byers.

Clearly Roddy is not the most comfortable public speaker, few of us are. Roddy’s talents are in other areas, such as writing songs and playing guitar. So well done to host Pete Chambers for keeping the session flowing.

With songs such as ‘Concrete Jungle’, ‘Hey Little Rich Girl’ and ‘Rat Race’ in his armoury Roddy has written and created a succession of quality songs over the years. And, he is second only to Jerry Dammers in the amount of original material he wrote for The Specials during their classic years.

At first impression Roddy comes across as a battle scarred warrior. However, scratch the surface and as I had long suspected, you find a genuinely good guy.

The question and answer session began with Roddy revealing his early musical interests growing up in his Keresley home. Roddy explained how his Father played trumpet in local bands and how he himself briefly took up brass instruments. But then came The Monkees and their madcap, yet wonderful, TV series. The influences continued and emanated from the more edgier bands such as The Kinks and The Rolling Stones.

Roddy’s first proper group were The Wild Boys a band influenced by the early 70s New York rock scene. By 1975 that same scene was proclaiming that ‘Punk is Coming’.

I asked Roddy how he got into the UK punk rock scene so early. When I say early, I am

Roadent – aka Scon Steve Conelly

talking about late 1975/early 76, when punk had not yet broken out of London. It turned out that Coventry bohemian, Steve Connelly aka ‘Roadent’, had been based in London at that time. He contacted Roddy letting him know about the scene that was still in its embryonic stage, and how, he might enjoy it. Next thing Roddy is in London watching the Sex Pistols in front of 40 people.

Roddy also shared with us how he first became involved with The Coventry Automatics, later to become known as The Specials, and how Jerry Dammers had approached him in the Domino club. The Domino had always been known as a notorious late night drinking den, based in the lower precinct.

Roddy was worse for drink when he agreed to sign up. He was duly woken early next day by both Jerry and Pete Waterman, who then whisked him off down to London for recording sessions that resulted in the demos that were later hawked, unsuccessfully, around the capital.

Jerry Dammers created The Specials by hand picking, and poaching, what he saw as the cream of Coventry’s finest musicians. And that led to the biggest disclosure of this discussion – to me at least. Roddy revealed that, as such, there were no true friendships forged within the band. None, at least, in the same way that are created when a band is formed by a bunch of mates. With no real bonding, they all remained as individuals.

With that lack of true camaraderie in the camp the days of touring became long and arduous and the band became fractious. Things were not helped when, during those early days, the band were living in the back of a van with little money and food coming in. Additionally, continually being slapped down, and not being given full freedom to express, or not be allowed to be heard, will always boil over into pure frustration.

The Clash guitarist Joe Strummer, who The Specials once toured with, insisted on the band getting a pay rise on hearing of their plight and the horrendous conditions that The Specials were having to put up with.

Another contentious issue happened when Roddy wrote his song ‘Rat Race’. Roddy mentioned that, in no way was it aimed at any of the band members. Roddy remains adamant it came about after overhearing a conversation in a university bar about jobs that students had already had lined up for them by their parents.

After the demise of The Specials Roddy became involved with his own bands The Bonediggers and The Tearjerkers. And then a reunion of sorts, known as The Specials Mk 2.

Amusingly Roddy remembered back to when Amy Winehouse jumped on stage with the reformed Specials during the summer of 2009. They performed several songs together. Afterwards Amy mentioned to Roddy that her friend wanted to marry him. Of course, as flattering as it was, Roddy let her know that he was already spoken for.

Roddy is an incredibly talented person. His songwriting and legacy will far outlive him. But he is also a principled man and, as I touched on from the outset of this article, a man who struggles to express himself other than within song. As such he is, as his social media avatar suggests, a tortured soul. Devoutly, he ‘is not a rich persons lackey and money is not his main motivation.

Interestingly, what Roddy had hoped for, at the outset of The Specials, was for a Jagger/Richards type writing partnership with Jerry Dammers. It had me thinking, imagine the interest, even in today’s times, if both managed to get a few songs together. A kind of electronic come punk rock mix springs to mind. Either way, with the power of the internet and its potential to create music nowadays. Never say never.

Nowadays, Roddy can be found fronting The Skabilly Rebels, a band who have been around for several years now. But more recently the Skabillys have been incredibly active on the live scene.

Yes, Roddy may well be back playing in pubs and small clubs. But he does seem more content with life. ‘Better to fade away like an old soldier than to burn out’ – John Lennon.

Find out more about The Skabilly Rebels here……. https://www.facebook.com/skabillyrebels/ and here http://www.roddyradiation.com/

Coming face to face with your own mortality is not something I would recommend. Thankfully the skill of a surgeon and hospital staff turned the tide for me and, recently, gave me a second chance of life.

Fairly soon after that episode and I find myself listening to the latest solo album, ‘All this Will Be Yours’ by Bruce Soord, singer songwriter for The Pineapple Thief.

And within its obvious beauty it certainly packs a powerful and emotive punch below it’s surface. The brutal honesty of life that I certainly wasn’t expecting in a song.

It is clear exactly who the songs are aimed at, but sometimes, you cant help but hear lyrics from your own personal angle. It has to be said that I discovered this album while a fragile state of mind existed. One that I never realised I had.

And because lyrics do become, almost, personal stories you try to deconstruction them in order to suit yourself. You try to get inside them. To try to see the song and feel it.

Across the whole of this album I found an honesty in the lyrics that is just so painful in the most exquisite way. The music, as beautifully crafted as it is, is almost incidental.

There is also a clever ambiguity to the songs. On one level they carry a simple message but on another there is something more complex coming through.

The reality though, is that this selection of songs is for Bruce’s growing family. It is advance notice to the complex trials and tribulations they face ahead of them. This, and Bruce’s first solo album, feel as though they are very much linked. A guide to life if you like.

Bruce’s debut album was very much from the standpoint as a father. Certainly in places at least. And as his family has grown then so did this path of songwriting.

It does sound very much like a part 2, to that debut, if you like. Could this be a part of a future trilogy?. Who knows but I think that this is potentially how it could all pan out.

Maybe it was the health scare I recently experienced but, for me, these lyrics did seem to relate back to that period. The last track particularly, ‘One Day I Will Leave you’, really has resonated. And Bruce kindly provided me with a word or two about it:

Bruce said ‘I did think twice when I sat down to write the closer. Could I really sing what I had written?? It was quite difficult to get through that track, or play it back!’

Performing the song live, I must admit that I hadn’t even thought of it from that angle. Its one thing listening to it. But recording it and singing it in public must be something else altogether.

Bruce continued: ‘I’m really happy you like it. I must confess I spent a LONG time on the words. They may be quite sparse compared to other artists but I would often spend hours labouring over a line. I hope others like it as much as you do!’

This album is thoughtfully written. It has depth and substance. And like a murmuration of birds the whole thing ebbs and flows in intricate and yet very precise directions. The honesty within it is astonishing. It is intense and incredibly thought provoking with a heart wrenching, yet truthful, finale.

‘All This Will Be Yours’ was the first new album I had heard during my bonus years. And it was well worth hanging around for. But please Bruce don’t attempt this album live………you will get me all ends up.

Life is a journey and you get drunk on it when you are young, according to the lyric of another well known songwriter. But it doesn’t last forever. Life is not infinite. And this album pulls no punches in reminding you of that.

Footnote: this album release comes almost 50 years to the date after a fatal car accident in Hipswell Highway, Coventry during October 1969. It was outside the shops, close to where I grew up. And I had been in one of those shops when it happened. I have never forgotten that accident, or the person who lost their life that day, who had been at a similar age to me at that time. Life is so precious yet, at the same time, so fragile. And I just wanted that person to know that, despite the passage of time, they had not been forgotten.

In a recent, and much enjoyed visit to Liverpool, I found time to visit the Billy Fury statue on the Albert Dock.

On the base of it were two plaques. One letting you know that the statue had been unveiled on the 19th April 2003 by the legendary Jack Good and councillor Eddie Clein.

Of course, Billy Fury wasn’t his real name. That was bestowed upon him by his manager Larry Parnes. The second plaque gives you Billy’s actual birth name which was Ronald Wycherley. And along with his name it also gives Billy’s birth date and the day we lost him.

It went on to read that Billy had been a legendary British rock ‘n’ roll star and a major UK chart artist, live performer and songwriter. And that Billy had, primarily, been a songwriter.

And being a singer as well as a songwriter was an unusual thing during the time that Billy began performing in the late 1950s.

So unusual in fact that Billy wrote some of his own songs under the pseudonym of Wilber Wilberforce. Whether that was due to his modesty, or if he just didn’t want the greater public to know, is open to debate.

But Billy, without doubt, went on to create a milestone album in British popular music.

The ‘Sound of Fury’ was a 10” album release. 10 tracks in total 5 on each side. It was recorded at Percy Phillips studio 38 Kensington in Liverpool. Numerous artists from Liverpool, including the very early manifestations of The Beatles, recorded there. The whole album was recorded in a day and, when released, cost 22 shillings to buy.

Joe Brown played on the album and commented how he initially thought the songs had been written by a R’n’ R / Country player. Not a guy from Liverpool.

Unusually, by the standards of and era, you find that 2 basses appear on the LP. One electric and one slapped.

During the albums production Jack Good was trying to recreate and capture the Sun sessions days of the 1950s. At the same time Jack didn’t put his own spin on the album. He retained Billy’s original thoughts of the songs. The way that Billy wanted them to sound.

After the ‘Sound of Fury’, Billy moved away from rock ’n’ roll to crooning and had huge hits such as ‘Halfway to Paradise’ which, in all honesty, became a style of singing he was more famous for.

The early part of the 1960s had seen Billy appear on the huge package tours that passed through the theatres of Coventry.

However, after the hits dried up, Billy Fury found himself, like many, on cabaret circuit and appearing at clubs such as Mr Georges in the lower precinct.

The working men clubs circuit also beckoned Billy Fury as he also appeared locally at venues like the Walsgrave WMC and the Wyken club.

Sadly, this was to be the fate of many from that era.

I have been aware of Stylusboy for at least 10 years. I first became aware of him when I saw him perform a gig at the Tin Angel when it was based in Spon Street. And over that time Stylusboy has produced a succession of quality songs and music.

Whether it be at Café’s or Pubs, Bookshops or Bistro’s he has played the lot. And I have tried to get to see him perform as often as I could. And throughout those many gigs he performed solo or as part of a duet.

For the release of his second album ‘Routes’, Stylusboy was going to step out of his comfort zone, by performing with a band. And, to my knowledge, this is the first time he has performed his music with a band. Although I do seem to remember a band at the Tin Arts Centre which he featured in.

The setting for this launch gig of ‘Routes’ was the unlikely surroundings of a coffee shop. But of course, this is no ordinary coffee shop.

Backhaus and Co. coffee shop is part of the Fargo village complex. It is situated on what I remember as a child as being Cooks warehouse. Cooks, amongst other things, sold carpets and was located on industrial estate off Gosford Street.

Parts of the fabric of the old warehouse still exists. The coffee shop is tucked away within that part of the old building. And the acoustics within the room were, surprisingly, very good.

Stylusboy mentioned to me beforehand that he had a touch of nerves. Months of planning and preparation had gone into the event, so I guess he was entitled to be. But if he was feeling a tad skittish it wasn’t at all visible as the gig got underway.

Despite it being Stylusboy’s evening he was surrounded by a strong team of experienced musicians. His band consisted of Wes Finch on guitar, Holly Hewitt – harmonies, John Parker on double bass and Tim Bowes – Drums.

For just over an hour they effortlessly breezed through songs from the new album. The single ‘Out Upon the Ocean’ along with ‘Embrace the View’, ‘Ride This Storm’, ‘Open the Door’ and ‘For the Souls of my Brothers’ along with many others, were among those that featured.

But the evening wasn’t totally devoted to ‘Routes’ as Stylusboy found time to revisit a few old faves such as ‘Lamplight’. And these were performed as they were conceived – without a band -who, for a few minutes, took a well-earned rest.

I asked Stylusboy where his inspiration for the Routes title came from: ‘Routes came from the fact a lot of the songs reference the idea of moving along a journey, maybe literally or through life. We all take different routes in life’.

I was also intrigued by the map of Coventry City centre presented on the physical CD: ‘The map came from the fact that a lot of the songs are inspired, directly or indirectly by Coventry. The map is old as you can’t copy a map unless it’s older than 50 years!’

It was a truly delightful and totally memorable evening. A lot of work and effort has gone into this album. Find more details about the album and other goodies on the link below. https://stylusboy.bandcamp.com/album/pre-order-campaign-for-my-new-album-routes?fbclid=IwAR1P_NzG5G43JPW1t9CJsockQg7FRrqCZ_nkWV9U1P1zef9Be4y3vUWjYXo

Stylusboy Youtube channel https://www.youtube.com/channel/UCaFvzgJd6guU77M5zVUtB3g